So, You Want to be Published ...

Getting Published - Having a Book With Our Name on the Front

Where to Begin:

Writers often ask me where they should start in trying to get their manuscript published.

I always tell them, I am no expert. I used the hunt-and-peck method, because I didn't know how to begin, who to ask, or where I should start. But I am glad to share a few things I learned by trial and error to get you started.

One of the first things I always suggest is, get your work (and your name) out there.  Join some writer groups and communities online and post your work.  And if you ever hope to be published, for heaven's sake, use your own name.

If you hope to sell your books someday, you want your work, and your name, to be recognized.  How else will anyone know what you’ve written?

The web is full of excellent writing by cutsie pen names like “fluffy kitten” or “Pearl Onion”, but it isn’t professional, or wise, especially if they ever want to publish under their real name at some point.  No one will know who they are ...

There are many writing communities online, but a few of my favorite ones are Authors Den (fiction, non-fiction, essays, articles, poetry), PoemHunter (poems, lyrics), and the Arcanum Café (mostly poetry).

Most offer critiquing of your work by other writers, with helpful suggestions as to how to make necessary changes. Of course, you should also read and critique the work of other writers, in return. I’ve read some excellent writing through these communities and I’ve also made some lasting friendships.

Another step that will get your work and your name noticed: create a website to showcase your work. There are many sites online that offer to host free websites. Often they have different looks and designs to pick from and, with a few choices on your part, your site will be up and running in just a few minutes.

Once you have your website set up, submit the URL to search engines, link it to a blog you may have, or put the link to it on your page in communities like Facebook. Again, you want to gain as much visibility for you and your work as you can.

Okay, you’ve posted your work at writing communities and you have a website, or blog. And you’re getting some excellent feedback from both. Now it’s time to decide if this is enough for you.

Are you satisfied, merely having a nice following, or do you still want to be published so bad that you can taste it?

If you answered 'yes' to the above question, then the next step is to go to a bookstore either in your community, or online. Invest in a copy of the Writer’s Digest book that applies to the particular type of work you do.

You’ll find Writer’s Digest books for poetry, fiction and non-fiction, memoirs, and so on. They also have one for children’s writers and illustrators. These books come out once a year and they will be like a Bible to you for facts and information, i.e., where and how to send your work to magazines, periodicals and publishers.

When it comes to submitting your manuscript to publishers, be careful. Always read their rules for submissions. Each publisher is specific in how they want to be approached by writers.

Some only want agented material, so you'll have to forgo those, unless you want to take the time to try and get an agent. (There are Writers Digest books geared to getting an agent, as well).

Some publishers will only accept exclusive manuscript submissions. This means you send your manuscript only to them and then wait for them to either accept, or reject, your work for publication. It can take anywhere from three to six months to hear back from them … and there are some cases where it takes even longer … and still other cases where you won’t hear back -- at all.

There are also a few who require you to submit a query letter first.  If they are interested in hearing more, based on what you said in your query, they will invite you to send your manuscript.

Here’s a little heads up about manuscripts and submissions:

Never send your original manuscript, only a copy.
Always make sure it’s spell-checked.
Always double space.
Put the word count in the top right corner.
If the publisher says no staples … they mean no staples. Use a clip.
Always include a SASE (self-addressed stamped envelope), or you will never hear from them.

Nothing will get your precious manuscript trashed faster than sloppy work, spelling errors, and not following their rules. Again, each publisher is very specific with their submission guidelines.  Refer to your Writers Digest book (your submission Bible) for every publisher you send to.

The competition is fierce these days. Publishers can have three-foot piles of manuscript submissions, sometimes monthly. Believe me, I’ve seen the piles.

They get so many manuscripts, they can afford to be picky. But don’t worry, most of the information you’ll need is explained somewhere in the Writers Digest book you buy. There are also interesting articles and interviews peppered throughout, so you actually gain a lot by buying a copy.

I’ve left one of the most important steps until last. Edit, edit, edit.

Cut out all unnecessary dialogue, adjectives, adverbs, pronouns, anything not crucial to the story, as well as any obvious fillers.  Read your manuscript out loud. See how it sounds. Edit.

Read it out loud to others and get their opinions. Edit again.

When you’ve edited, edit again, and then again.  Read it aloud to yourself and others one last time, before taking it to the post office.

I know this seems extreme, but if you don't tighten it up, be assured, their editors will -- and your finished book might not end up the way you want it to be.

That’s about it. I’m sure I’ve forgotten a few things worth mentioning, but at least you have a guide to getting started. If you have any questions, you can always email me. I will be happy to help in any way I can.

Just one more thing.  If you're like me, you'll get a pile of rejections, before you get that one 'yes', but that’s okay!  Don't take it personally -- if you joined those writing communities I mentioned above, you will be somewhat used to having your work scrutinized.

But also keep in mind that a rejection might only mean that what you sent to that particular publisher on that particular day wasn't what they were looking for at that particular time.  You may have sent the ultimate best story about a little purple duck, when they were looking for one about a green pony.  They never tell you.

You can't wear your feelings on your sleeve.  Be persistent and persevere.  Remember, it only takes one 'yes' and you’re published.

I wish you success!

Writers Digest Books at Amazon

Email CJ


See also:
Publishers, A Rant ...


“A writer soon learns that easy to read is hard to write.” ~CJ Heck

Why Do Poets Write Poetry?

Poetry Isn't Easy

A friend once asked me why I write poetry.

She had a creepy look on her face that told me she secretly equated writing poetry with juggling snakes, or worse, licking a germy fly swatter. 

Well, maybe the look on her face wasn't quite that bad, but her expression did remind me of someone sucking on a lemon wedge.

I don't know why poetry gets such a bad rap. I write fiction, non-fiction, flash fiction, memoirs, essays, and three blogs, and I can tell you honestly that poetry is much harder to write.

When you write most anything else, you have a lot of leeway -- pages and pages to tell a story.  Not so, when writing poetry. A poem has to be condensed, without straying from the main theme, and it also usually has a beginning, middle and end.

I can only speak for myself, but I'm reasonably sure other poets would understand. Maybe they can't explain the 'why they write it' any better than I, but they can certainly understand the love for writing poetry.

A poet writes poetry because they love poetry.  It is a challenge -- and not everyone can do it.

While I'm convinced writing poetry is not a disease, it could be called an addiction -- and with no twelve-step program for recovery.

Based on my friend's question, I asked myself, "Why do I write poetry?" I mean, other than the obvious, which is that I can't NOT write poetry. If that's an addiction, well then, I enjoy my addiction. In fact, I actually revel in it.

(You can often find me scribbling thoughts and ideas wherever I am, on whatever I can find, if I get a sudden inspiration.)

To be honest, I probably should have explained to my friend that for me to hold back a poem would be like trying to hold in a sneeze. When I finally let out, it just feels good. Again, other poets would understand what I'm talking about.

I simply explained to my friend that there are thoughts and ideas down inside that I have to get out. They're uncomfortable where they are.

I told her to think of it like having a mosquito bite you can't quite reach. When you finally find someone to scratch it, it just feels good.

So I will continue to live with my addiction, no matter what friends, or anyone else, may think.

But Geez-Louise, I've got to make this short.  I feel a poetic sneeze coming on and it's gonna feel so good when I finally let it out ...


CJ's Poetry for Children:
Barking Spiders (and Other Such Stuff)
Barking Spiders 2 (sequel)
Me Too! Preschool Poetry

Poetry for Adults:
Anatomy of a Poet


“A writer soon learns that easy to read is hard to write.” ~CJ Heck

The Stew: My Story

CJ and Roommate, Chris

by CJ Heck

Saying goodbye to the last of the first class passengers as they deplaned had become methodical.

It was the middle of the night, my feet hurt, I was tired and trying my best not to sound sing-song with my goodbyes. Keeping focused was difficult. My thoughts were wandering elsewhere.

It was the last night of my nonstop coast-to-coast run for the month. This flight had been long and difficult. For one thing, the passengers had had way too much to drink and they'd become overly rowdy.

We'd been forced to take a two-hour layover at O’Hare so the ground crew could repair an engine problem. As an apology for the delay (and with the best of intentions), the captain instructed us to open the bar, once we were back in the air.

I was really looking forward to my four days off, before the next cycle, when it would begin again for another month. One good thing, the next month my flights would get me home at a decent hour -- no more 2:00 a.m. arrivals, feeling totally used up and washed out.

I had made plans the day before to join my three roommates for a bicycle ride on Angel Island on my first day off. We had done this several times before and it was one of our favorite weekend haunts ... oh, I just remembered, I have to buy the sourdough bread. The other girls were bringing the wine, cheese, and a blanket to sit on.

How I loved San Francisco. It was beginning of the 70's and hippies were still hanging out on downtown corners with their beads and music, wearing bright flower garlands in their hair.

I loved the quaint cable cars that clacked up and down the busy, steeply-angled streets. It was local custom that each conductor composed a special beat, which he always played on the bell of his cable car. Each became known by his own unique beat, and the more complicated it was, the better -- my favorite was the cable car that went to The Cannery and Ghirradelli Square. That conductor rang an awesome mean beat on his bell and his cable car was always packed with regulars and tourists.

Half Moon Bay

On Sunday, we were going to Half Moon Bay to soak up some rays on the warm sand. There was never a lack of things to do in San Francisco, only a lack of time in which to do them.

I remember thinking, "Finally, the coach section and then we’re through."

More smiles, more good-byes, although I was acutely aware I had lost the battle to sing-song halfway through first class. My smile felt as though it was bordering on an all out grimace, but I was almost done and then I would head for home.

The fear in icy tendrils prickled the nape of my neck as I walked through the all but deserted parking lot. I chose to ignore the feeling, chalking it up to the hour and being drag-my-butt tired from the long flight. The engine problem at O'Hare had added two hours and it was now 4:30 in the morning -- no wonder I was dragging and feeling hinky.

As always, walking through the lot, I marveled at how the dew crystallized on the hoods of the few remaining cars, creating a twinkling diamond field under the bright lights of the parking lot.

Odd, I thought, this feeling. That night was no different from any other late night flight. I was always tired after, but I usually felt almost rejuvenated by being earthbound and heading home -- and my four days off.

To speed the mindless walk to my car, I thought about the goings on of yet another red eye special, although special was way too nice a word. The work was grueling and the hours long that a flight attendant spent on her feet babysitting jet loads of bored passengers who were anxious, themselves to be home.

Trans World Airlines Logo

I really loved my job with Trans World Airlines, aka TWA. It’s what I had wanted to do for as long as I could remember. Oh, there were parts of it that rankled, the wandering hands of the crew for instance, but easy enough to fend off, if you knew how.

I grinned as I thought about their almost universal arrogance and well-used line, “So, sweetie, what did YOU do before joining us in the air?”

With smug satisfaction, I recalled my latest comeback, just that evening, “I was a stock car driver, sir. A damned good one, too.” Another favorite I often used, "I was a lady wrestler, sir, usually in mud or jello."

Usually, a knife-sharp comment, a demure smile and the ever popular batted eyelashes were all that was needed to deflate even the most amorous jerk, mid-grope.

Yet passengers could be even worse. I wish I had a dollar for every time I asked, “And you, sir? What can I get you?  Coffee, tea, milk, a cocktail?” only to hear the way-too-familiar response:

“I’ll take you, little lady! Har de har har.” Then he would give a “see-what-a-big-man-I-am” nod to his seatmates. I tried never to dignify the remarks with an answer and, instead, gave them a well-practiced smile which said, ”Oh, you clever man, you.”

After flying for awhile, you discovered there were ways of getting even, with even the biggest big-shot. Devious? Maybe. Necessary? Abso-friggin-lutely.

“Oops! Oh my! I’m so sorry, sir! It must have been the turbulence. Let me get you a few napkins so you can wipe that wine (cola, tomato juice, hot coffee) off of your nice trousers.”

Or that night, I had picked up a dinner tray from a playboy type and found a room key to the Fairmont Hotel and a one-hundred dollar bill tucked under his used napkin. DUH. As if I would ever be so stupid. For the most part though, those kinds of passengers were the exception, rather than the rule.

To me, the irony was obvious, at least back in those days when hijackings to Cuba were always in the news. At the very first sign of a problem, the bad apples were always the first, and loudest, to bombard the flight attendants with pleas for help in getting off the plane. We were suddenly promoted to angels of the skies,where only moments before, we had been treated like flying call girls. Ah, yes, the glamorous life of a flight attendant ...

It sure was different from the Brady Bunch family in which I was raised. San Francisco seemed like the perfect place to be back then. It also seemed like the perfect place to heal, after I buried my new husband -- and my rose-colored glasses -- the year before. Doug had been an army combat medic and one of the casualties of war in Vietnam. I had been only twenty then, and devastated.

After nearly a year, with love and the best of intentions, my family told me they believed the best thing for me was to get back into some semblance of life.

So, with my family's encouragement, I wrote a letter to TWA and then flew to Kansas City for interviews. I was accepted.  Two weeks later, I boarded another plane, this time to their training academy for six weeks in Kansas City. After graduation, I found myself in the most sought after domicile in the whole TWA family.

Walking through the lot, I shivered. Strange that I should again feel ice-cold terror prickling, interrupting the after-flight mind ramblings that were the norm.

"Jeez oh man, this is nuts," I thought, as the razor sharp panic again snaked up my spine and sunk its teeth in. Again I ignored the inner voice. It was more than a whisper, but it wasn’t yet at Defcon One.

CJ and "Alfie"

I couldn’t have seen from that distance the broken glass twinkling on the pavement below the driver’s window of my car.

I would have been horrified to see the long thin slice cut through the rag top of my most prized possession, a little red Alpha Romeo. "Alfie" was an older model, but it had been a present to myself, and I treated that car like it was a long awaited child.

I also couldn’t have sensed HIM from that distance, but the little voice down inside me had, and it had at once spoken. Then a second time, and then again, but I still failed to listen.

But he was there, all right. He was hidey-holed and waiting like a creepy spider ready to bite. His mind was filled with who knows what feral thoughts and his crotch was bulging with a sick anticipation.

The comings and goings in the lot had been followed under the comforting cover of night, his trusted friend. He had watched my routine and he knew it well. He watched, planned, and waited. He really didn’t care who’s thighs he got to part. He had merely learned my routine. His mind erupted like a boil as he sat and waited for the red eye special that night, while a sick smile played across his face.

Suddenly, the fear was overwhelming, like the static in the air when lightning is about to strike. This time, just as I opened the car door, I heard my little voice inside booming like God’s own thunder.

He came at me then with a punch to the face. He held a knife between us in his other hand like an amulet for good luck. His rage for all women let loose and he demanded “Put out, stew, you fuckin' bitch!” There were more punches, more yelling. "Shuddup, bitch! I'm gonna fuck you up good!"

I never really heard the rest of his words. I never actually felt the punches, because that’s when my mind took flight. Mind curdling screams rang out into the night, one scream on top of another, and another. I didn’t realize, but they were mine.

”The screaming is what saved her ass”, the officer said later down at the station. The screaming, and that elderly couple who found her walking, still screaming, right down the center of a busy two-lane with cars whizzing by in both directions."

Thank God, they stopped and convinced me to get in their car for a ride to the police station. The couple was still there, too. I could see them sitting on a bench by the wall in the long hallway, wringing their hands, waiting to see if there was anything else they could do. I remember hugging them as I was leaving, wishing my mom and dad were there.

As for me, when anyone asked, all I could remember was having feet like lead and being unable to move, completely frozen to the twinkling pavement. Imagine that. Even through it all, I remember seeing the twinkling glass on the pavement.

Now, in looking back, it had been like some bizarre one-act comedy. One actor screaming like a lovesick concert fan, the other, a boxer punching a dummy in the ring, like some eerie, Mexican standoff. Which one would break first and run?

Thank God, it was the sinister star of the play. He had lost all interest in the crazed screaming woman. He ran, his legs like pistons pumping, propelling him towards whatever hell hole he called home that night.

They never did catch him -- oh, I really didn’t think they would. I wasn’t able to tell the authorities much. I walked into the airline terminal the next day, though, and quit on the spot, wearing my cuts and bruises like my husband’s medals from Nam.

I did feel the punches that day, and somehow, I knew it would never be the same again. The girl-next-door flight attendant bubble I had strived so hard for had burst out there in that nearly deserted parking lot, amidst the dewy diamond fields and the twinkles on the pavement.

“A writer soon learns that easy to read is hard to write.” ~CJ Heck

One Morning in "The Enchanted Land"

"Jingling" in New Mexico

by John A. Roof

"Ranger! Ranger, wake up! Ranger, it's time to go!" shouted Tucker.

I heard this distant booming voice, and felt the world shake beneath me.

Overly tired from the previous late night's "boy talk," I wasn't sure what I was hearing or what I was seeing.

Slowly, my mind started to churn awake and I began to remember. I was in the Clark's Fork bunkhouse and this morning it was my first time to herd in a remuda of horses, or jingle, as the old cowboys called it. Oh, and I was deftly sure I was Ranger.

The excitement began to build. I was nineteen years old; the world as I knew it was pure, new, and full of adventure. Today was starting out with great excitement.

"Come on, Ranger! It's getting late. Grab your rigging and let's go! You ride Double S!" commanded Tucker.

Lying in my bunk which had just been shaken to near collapsing, and now wearing my glasses, I could see the back of Tommy Tucker as he walked away. I remember well the sound that he made, as we all did, when we walked in this old bunkhouse.

The floor was so worn over time that its wooden planks, which had never seen paint, were all wavy. No matter how many times a day you swept the floor, it always remained dusty and dirty-looking from all the mud tracked in over the years. When you walked, there was this hollow echo, enhanced further by the grinding of the dirt into dust. Add to that the musical metal jingle of spurs on the heavy cowboy boots we wore, and the picture was complete.

Quickly I glanced around the bunkhouse, taking note of all the nails that had been driven into the walls by previous inhabitants to hang clothes or other items. Though many of the nails were empty, more nails continued to be driven into the wooden walls, as though someday they might all join as one continuous nail.

The smell of the bunkhouse, even though it was quite airy, was a mixture of old leather, dust, and body odors laced with a light scent of aftershave lotion. The aftershave was used in place of a shower, because the showers were a half mile from the bunkhouse. There was no hot water, so the walk back produced the same body odors that the showers took away.

"Ranger! Hurry up!” barked Tucker.

I quickly walked to the grain room that was located at the end of the bunkhouse, and grabbed a feed bag. I then walked to the tack room to gather my rigging, which had been selected for me because of its weight. It was ten pounds heavier than a normal saddle, so the horse would believe a bigger. meaner person was sitting on his back.

Coming through the tack room door was like taking a step back in time. It was just before sunrise and the light had not yet reached the trees surrounding the bunkhouse. The early morning mountain air was chilled, crisp to the point of seeing your breath out in front of you.

I carefully approached Double S, my ride for this morning. I slipped the feed bag over his nose and gave him a reassuring stroke on the neck. I swung my rigging onto his back, positioning it and cinching it tight, and then I waited for Double S to finish his feed.

I looked around the corral and saw Tucker, who was checking Concho, his ride, for loose shoes. Tucker had been raised on many ranches as a child and he always knew what to do when it came to horses. Double S finished his grain. I slipped on the bridle, checked the cinch one more time for tightness, and swung into the saddle.

Now it was my turn to wait for Tucker. I was to ride as his bumper. Concho, who put on a rodeo show every morning, needed another horse and rider to ride alongside to calm him down because he had been broke as a cold back and not gentled as the new horses are today.

Sure enough, soon as Tucker's weight hit the saddle, Concho began bucking. As we finally rode out the gate together, Concho gave one last kick and we were on our way.

We rode in silence. Tucker was a man of few words so as not to disturb the serenity of the mountains and the feeling of peace that surrounded us. We rode our horses to a little knoll just above the main pasture overlooking the hay racks and we waited for the sun to rise over the mountain ridge in front of us. As the sun's rays approached, I could see the horses in the pasture below.

Suddenly, in front of me, appeared this panarama -- just like a painting -- its beauty and color so vivid that no artist could duplicate it, nor a writer ever describe it. It took my breath away. In that one moment, I knew why they called New Mexico "The Land of Enchantment."

"Sixty-one -- three are missing. Let's ride!" Tucker shouted as he snapped the bull whip in the air.

The sharpness in Tucker's voice woke me from a feeling of grace that I have only known a few times in my life. For the next hour we rode hard, gathering the renegade horses and herding them back to the corral.

Then we hit the bunk house and a welcomed cup of hot campfire coffee. The other wranglers were up and waiting. While they grained and saddled the horses for the day's work ahead, I was told to go look for the three horses that were missing.

I reined Double S back down the trail that I rode earlier that morning. For me, this was a blessing. I rode back to the knoll, dismounted and sat in blessed silence for some time. I knew I would be in trouble for being so long, but my thoughts had returned to the vision of that early morning.

I jingled many times that summer of 1968, but never again would I see or feel the experience of that first time, especially that morning, in quite the same way. The lasting impression of that one moment in time has never gone away, for it was truly an enchanted morning, in an even more enchanted land.


About The Author

John and Betsy Roof

Originally from Coshocton, Ohio, John A. Roof is an artist, furniture restorer, writer, and a published Western Memoir Author who lives in Staples,Texas with his wife, Betsy.

"As a young man, I spent my summers in Cimmarron, New Mexico, at Philmont Scout Ranch. I could walk for hours looking at the trees, sky, and mountains. Sometimes it was like the earth was put here just for me to see the true beauty." ~John A. Roof

John's Books:

Bill the Calf and the Ride Down the Road
The Walk: Short Stories of a Teenage Boy in the 60's

John's Website

“A writer soon learns that easy to read is hard to write.” ~CJ Heck

Successful Author Visits: For Schools

Author Visit

How to Have Great Author Visits at Your School

The other day, I wrote a blog directed at authors who hope to have a successful school visit. Today, I want to concentrate on what schools can do to assure that the school visit they are planning will be a huge success.

Before you Call to Invite an Author:

Have a list of questions you want to ask and have another list with things the author will want and need to know. I know this sounds overly simplistic, but trust me ... as an author who has done my share of school visits, you would be surprised at the number of schools who make the initial call with no idea of even when exactly the school visit will be, or how much they can afford.

Information to Have on Hand Before You Call:
* Date of School Visit
* A rough idea of what the school can afford (fee, travel, room & food)
* Number of groups/presentations you need and ages of students in each
* Whether you plan on inviting the media (radio, TV, newspapers)
* Where you intend the presentations to be (auditorium, library, etc.)
* School's contact info

Questions to Ask on the First Call:
* Are you available on the date we have in mind?
* Author's fee for the day
* Ideas to help the school afford them in the present economy.
* How many presentations can/will you do per day?
* What the presentation will entail
* Does the author allow for Q&A at the end of the presentation?
* Do you need a microphone?
* What props will you need?
* How many children per group are you comfortable speaking to?
* Do you give schools/students a discount on price of books?
* How do you arrange book sales? Book signing?
* Once arranged, ask for a contract/invoice from author to be sent

Children/Teachers

Make sure the children and teachers know there will be an author/poet coming to the school. Familiarize the students with the author and author's work. Some things that work well are:

* Read a bio about the author in class
* Take students to author's website
* Hang a photo of the author in the classroom
* Make welcome banners and displays to help generate excitement
* Draw illustrations of author's work, then hang in rooms and hallways
* Read excerpts of author's work on P.A. system each morning
* Have students each make a list of questions to ask the author
* Send book pre-order home with children so parents can plan book cost
* Invite parents to attend their child's author presentation
* If school has marquis, put school visit date and author's name on it
* Call media to announce upcoming author school visit
* Make sure school office staff knows about and will greet the author

Anything the school can do to make this an exciting time for students is helpful. Most authors will work with the school, if you ask them, so keep in touch by phone and trade ideas before the school visit. I know one school I visited actually used the fact that I go by my initials (CJ), and held a contest with the students about what the initials really stood for. It was fun for everyone, and the winner got to have her picture taken with me to put in their school's yearbook.

Another school got very creative when the school district cut their funding. To help cover the cost of an author school visit, they held (prearranged with me, of course) a "Dinner With The Author Night". They advertised in the local newspaper and radio that the school was holding a raffle for dinner with the author and sold raffle tickets through the students and the school office. The cost was $2.50 per ticket. The school was able to have the author visit ... and I had a wonderful time at dinner with the delightful winning family.

There are all sorts of ways to overcome the cutbacks in school funding in this crazy economy. Talk to the author you are thinking of hiring for your school visit. See what things have worked for them in the past and ideas they may have for your school for now.

I know I have often donated a some books to schools so they can sell tickets for a book lottery. Then on the day of my school visit, they had me draw one name during each of my presentations for the winner. That worked very well and generated a lot of excitement both before the school visit and during each presentation.

A few more helpful notes: during the presentations, please have the teachers remain with their classes. Children always behave better when they are seated near their teachers. Please don't put the author in the position of being a disciplinarian. They have enough to focus on and may even be dealing with a little stage fright, believe it or not.

In closing, if you've put the author up for the night in a motel, give them a call. Being in a strange town can be a lonely experience. You could offer to take the author out to dinner. They will probably decline, wanting some time alone to prepare for the next day, but I guarantee, the author will certainly appreciate being asked.

I hope your school visit will be a success in every way! If this article has helped you and you want to show your appreciation ... invite ME to your school (wink) ...

Hugs,
CJ

“A writer soon learns that easy to read is hard to write.” ~CJ Heck

Q&A with Budding Authors: by Dave Ross

How Do I Get My Book Published?

The following is reprinted by special permission from children's author, Dave Ross. Thank you, Dave!

"I have an idea for a picture book, how do I get it published?"

The flip answer is: Well, first you have to write the book! Or maybe you have a finished manuscript and wonder what to do next. Congratulations! You are half way there. You have completed the second most difficult task facing an aspiring children's book author: sitting down and writing a manuscript. Of course you still face the most difficult: actually getting it published.

While it is possible to sell an idea before it's written, that might be an unrealistic expectation for a first time author. So lets assume you have a manuscript and don't know where to start. I was in the same boat about a quarter of a century ago. Since there were people who helped me by patiently answering my questions, I feel duty-bound to assist "wanna-be" authors whenever I can.

While I cannot respond personally to all requests for assistance, here is list frequently asked questions, my answers, and some suggestions. If you still have a question after reading this material, you can contact me through my website.

"Where should I send my manuscript to have the best chance of being published?"

If you send an unsolicited manuscript to a major publisher, it goes into the "slush bucket." At any given time, the slush bucket may contain hundreds of manuscripts addressed to "Children's Book Editor." Ninty-nine percent of those will be returned with a preprinted rejection slip, providing, of course, that the would be author has included a self-addressed envelope with their submission.

NOTE: ALWAYS INCLUDE A SELF ADDRESSED ENVELOPE WITH ANYTHING YOU WOULD LIKE BACK! [Back in the '70's I wallpapered a bathroom wall with rejection slips.] Please know, submissions that don't have a self-addressed envelope will be unceremoniously thrown away.

Even if you have a great manuscript, it can sit in the slush-bucket for weeks before anyone looks at it. In the publishing world, slush-bucket authors are the bottom of the food chain.

"Gosh, as an unpublished author, what chance do I have to break into the glamorous world of children's literature?" Well, there are thousands of new titles published every year. Some of those folks are first-time authors. However, the competition is keen.

This is a business, and business people are in it for the money. If you have an idea that will sell books, someone will buy it.

"Who does my idea have to appeal to?"

In publishers of every size, it used to be that the editor had the most say about what got published. Now, with all the mergers and acquisitions within this field, most major publishers are owned by larger corporations.

Across the entire organizational chart of the company, from the CEO in her posh corner office to the lowly editorial assistant in his windowless cubical, there is a whole hierarchy of people who can get fired if the books don't sell.

As a result, publishers have become much more cautious about what they buy. What's more, they are bottom-line oriented throughout the buying process. Publishers may be less likely to take a chance on a new author, and even turn their backs on established authors who haven't had a best seller in a while.

"Is there no hope?"

Sure there is. If your manuscript is well written, it will impress an editor. Suitably impressed, an editor will present your book to a marketing committee. If the marketing people think they can sell it, it will get published.

"But my collection of Latvian folk tales is an important work..." ...and somewhere there is probably a market for it. That's why you need to research publishers before you submit.

"OK then, how do I know which publisher to send my idea to?"

To begin with, there are hundreds of publishers of kids books. They range in size from small publishers that publish a handful of books each year to the giants of the industry which churn out hundreds of new titles.

There are publishers who concentrate on specialty or niche type books [like Latvian folk tales] while others are more eclectic. Some major houses are actually a collection of several different imprints. Each of these smaller units publishes dozens of new books.

Catalogs come out in the fall and then again in the spring. Each imprint features a different range of books that reflects the philosophy or outlook of the managing editor. In the universe of companies that specialize in nonfiction, there are other subdivisions. These subgroups of publishers include those who concentrate on science, crafts, and biographies to name only three.

Your task is to figure out where your idea falls within the various categories of publishers, and then determine in whose catalog your book might logically fit.

"Where do I begin?"

I can think of three ways to proceed, but no matter which approach you take, you are looking for the same thing. You need to determine who is publishing books that are similar to yours.

1. You could ask an expert. In any community there is likely to be someone extremely knowledgeable about children's literature. They could be a librarian, a college professor, or the owner of a children's book store. Try to stay focused on what's been published recently. Trends change and so do editors.

2. The internet is another way to find such publishers. You can sit at your computer and try key word searches. Many publishers have websites that will yield all kinds of useful information. Some even have e-mail links enabling you to ask questions about their offerings. There are also chat groups, list serves, and online newsletters that offer you the opportunity to network within the children's literature community. Check out my lists of favorite sites. There are many links there that will help you in your quest.

3. I think the best approach is to spend an afternoon in the children's section of a book store. The bigger the children's section, the better. Take the time to read enough books so that you get a sense of where your idea falls in the scope of things.

If there is an educational component to your book, a trip to a trade show or convention might be in order. Vendors at these events include the publishers of educational books.

The people who stand behind the counter will most likely know who in their organization you should send your idea to. In any case, your goal is to identify those publishers who are doing something that is similar to what you are proposing. Your aim is to make a list of publishers to send a query letter.

"Whoa! What's a query letter?"

In essence, a query letter is a very brief book proposal you hope to get into the hands of an obliging editor. Your query letter should describe your idea and ask [hopefully in a clever way] if the editor would be interested in reviewing your manuscript.

Since editors are very busy people, it should be concise, no more than one or two pages. It should identify the length* of your book and age or reading level of children it is intended for. If there are other books on the same subject, you need to explain how yours is different, superior and the greatest thing since sliced bread.

You should be able to tell in a sentence or two what makes your idea a potential best seller or a compelling addition to any library. A short excerpt or sample of your writing might be useful.

*Picture books come in several standard lengths. The number of pages is determined by the printing process. Generally, total pages are in multiples of 16. Typically the shortest books are 32 pages. These are printed on one large sheet, front and back. This large sheet is then cut, folded and gathered prior to binding. Longer books may have 48 or 64 pages [which is about as long as most picture books get].

Chapter books can run even longer. They also run in certain lengths; 96, 128, etc. Since the first few pages of any book are taken with copyright, dedication and publisher information, most picture books start on page 3 or 5 [always a right hand page]. That means at a minimum, you will need enough printed material for 29 or 27 pages.

Keep this in mind as you prepare your manuscript. When indicating page numbers, start numbering the pages with your text at 3 or 5, make sure your last page is one of the standard page numbers.

"But I have a finished manuscript.  Can't I just make copies and send one to each publisher?"

Sure, but multiple submissions are frowned on by most editors. I've never been given an overriding moral, ethical, or legal reason for this disapproval. However, since editors are your gateway to publication, it's probably best to humor them.

The editors I have worked with prefer to be queried first. They say this saves everybody time and energy. Nevertheless, editors have been known to hold on to a manuscript for months before making a decision.

One advantage of querying first is at least you know you've sent your manuscript to an editor who wants to take a look.

"OK, so I send out twenty query letters and I get back three positive responses. Who do I send it to first?"

Personally, I'd pick the biggest publisher as they're likely to give you the biggest advance. This shouldn't be surprising. As a rule, the largest publishers have the best distribution and marketing.

However, if you value having some control as opposed to having more money, you might want to investigate your opportunities with each publisher a little further. This can be done through phone calls or online. You might want to know who else has published with them. Don't be afraid of contacting these authors.

Many authors I know would talk to a budding author about their experiences or at least answer a brief e-mail.

"Does my picture book manuscript need to be illustrated?"

No. Unless you are a talented author/illustrator, submit any picture book manuscript on plain white paper. It is best to double or triple space the text. Allow additional space between each page. If the subject matter requires special visual interpretation, a brief note in parentheses should suffice.

Editors look at hundreds, maybe thousands of such submissions. Trust me, they can visualize what kind of illustrations your book needs.

"But my cousin's next door neighbor is an excellent artist..."

Unless your cousin lives next door to Steven Kellog, you'll be better off without illustrations.

Part of the job of the publishing company is putting together the words of the author with the artwork of the illustrator. This is what editors and art directors get paid to do. By suggesting specific illustrations, your cousin's neighbor, may prejudice the editor against your manuscript.

"But what if I don't like the way the illustrations come out?"

Tough. If this is your first book, quit whining, swallow your pride, and be happy to get published. Seriously though, you should have an opportunity to review the sketches when the illustrator completes the "dummy."

The dummy is a full sized mock up of the book with black and white drawings. While the contracts of most first-time authors preclude much input from final art work decisions, most editors will listen politely to your concerns, then do whatever they think is best.

"Is there nothing I can do to have more influence over my own book?"

Cross your fingers and hope for good sales. If your first book becomes a best seller, you will have more leverage the second time out.

If your first book bombs, it will likely be your last. If sales are OK, you have a "foot-in -the-door" and selling your second book should be easier.

Dave Ross

Good luck,

Dave Ross
Artist, Author, Educator and Entrepreneur

Dave's Website





“A writer soon learns that easy to read is hard to write.” ~CJ Heck

Important Author's Tool: The Business Card

Sample Card

When it comes to marketing your books, don't overlook an important promotional item:  The Business Card. It's one of an author's most important tools and they're not at all expensive to have printed.

You are only limited by your imagination, but there are a few important things you should include on your card.  You can also use the back of the card.  I usually do.

Your Website and URL
A Picture of Your Books
Your Photo
Name and Address
Email
Phone Number

I've sold a lot of books using my business card. There are so many uses for it. I'll share some of my favorites, but I'm sure you will come up with many other ways, besides these.  You are only limited by your imagination.

Remember, we're in the business of selling books:

* Bulletin boards in stores and businesses you frequent. Thumbtack your card there with the others.

* While sitting in waiting rooms, on a plane, train, or bus, or any time you're talking to people. Hand them a card while you're introducing yourself.

* At gatherings, class reunions, or while networking with your 'real' job. Hand people both of your business cards.

* Tuck a few inside a book you've sold for the buyer to pass along to their friends.

* Ask to leave a small stack on the counter at your public library. Libraries love local authors ... and so do people who come into the library. They take the cards, trust me.

* If your book is a children's book, strike up a conversation when see a mother with children. Introduce yourself and hand her a card (and maybe more to give to friends).

* Again, for children's authors, any time you meet a teacher, a principal, or school librarian, give them your card.  You might just get a school visit as a result.

* Ask to leave a stack of business cards on the counter with your mechanic, where you take your car, your hairdresser, or even at the gym.

* Buy a small business card holder, have it full of cards for the table beside you at book signings, school visits, or other speaking engagements. Maybe someone won't buy your book that day, but when they take a business card, it's an excellent reminder of your book for later, when birthdays and the holidays come around.

Here's one of my personal favorites.  I've sold a lot of books this way:

* Restaurants. When the check comes after dinner, write "Thank you" on one of your cards and then sign it. If possible, put the name of the waiter or waitress on the card to personalize it. Then leave your card, along with the tip, for your waiter, or waitress.

Often, they will follow me to the door, asking more about my books, wanting to shake my hand, or even to ask for more cards for the rest of the staff.

* The above also applies to anyone giving you good service, i.e., a barber, hairstylist, or the clerk in a department store.

Just remember to always write "Thank You!" and sign your card. Remember, it's an autograph, too.

People love meeting authors.  Use this to your advantage. Have those business cards in your pocket, or purse, and be ready to pass them out. You'll sell more books, I promise.

Here are two companies I've used and they are both very good, with fast delivery:

Moo.com

Vista Print



“A writer soon learns that easy to read is hard to write.” ~CJ Heck

Public Speaking: A Necessary Evil

First School Visit - 2000

“According to most studies, people's number one fear is public speaking. Number two is death. Death is number two? Does that sound right? This means to the average person, if you go to a funeral, you're better off in the casket than doing the eulogy.” ~Jerry Seinfeld


Unless you're name is J.K. Rawlings, or Stephen King, and you get a huge advance and sell millions of books, there isn't much money in having a book published. That's so important that I'm going to say it again. There isn't much money in having a book published. Your royalties are merely a pittance.

Add to that the fact that you only get a royalty check two to three times a year, and you can quickly see why most writers and authors don't give up their day jobs.

I've met a lot of authors through various writers' groups and communities, writing conferences, book signings, readings, and other writing venues. Every author that I've met agrees: the real money lies in the speaking engagements. That's what you, as an author/writer, should be doing if you want to make any money with your writing.

That is, unless you're content to merely pass out your books to friends and relatives, or are equally content just see your name printed on a book. Don't laugh, you would be surprised at the number of authors I've met who feel exactly that way. That's enough for them. Period. They want nothing to do with publicity, or speaking to any size group of people.

"But, but, but", you say. "I want to make money. I just can't get up in front of people and talk. I'm too shy!"

First off, let me assure you, there is no one reading this article who is, or was, any more terrified of public speaking than I was.

When I was a child, I was so shy that I would cross a street because I saw someone I knew in the distance walking towards me. I was so afraid I might have to say 'hello' that I bolted. As the years passed, that fear did get a little better, but I digress ...

When my first book of children's poetry was published in 2000, I was living in New Hampshire. The press releases went out to newspapers all around the country and, of course, it was also in our own local papers.

As a result, for my first paid public appearance, I had been invited to speak to a Parent Teacher Association (PTA) group in an auditorium on the evening before my very first school visit at a large local elementary school.

I was excited to have been invited. I was even more excited that I was going to be paid for it. But, neither of those things mattered, once I peeked through the curtains from backstage and saw the packed auditorium.  I had a total meltdown. I was more terrified than I had ever been in my life.

Then someone said something that turned everything around. This is what I want to share with you. I think it will help to put things in a different perspective for you, just as it did for me.

After peeking through the curtain from backstage, I ran to the ladies room and threw up. After my second trip to the ladies room for the same reason, my husband (at the time) asked me how I was doing.

I told him there was no way I was ever going to be able to speak to that huge group of people. I said I was going to back out, give the people in charge my apologies, and then go home where I belonged.

I told him, for one thing, there was so much combined education sitting out there in that auditorium that even Einstein would feel outclassed. Who the heck was I? What possessed me to think I had anything worthwhile to say to a group of educators, let alone the parents, whose children I would be speaking to the next day?

My husband gripped my shoulders firmly. He lifted my face up to his by my chin, looked me squarely in the eye, and told me I could do this. He said anyone can speak to a group of people, no matter how large the friggin' group is, if they are the expert on the subject they're going to talk about.

He said, "Cath', you wrote the damned book! You are the expert on your book! And I'll tell you something else. You're worried about all of the combined education 'out there'. Well let's get something else straight. You've done something that none of them have done. You wrote a book, found a publisher, and you're a children's book author.

You're looking at it ass-backwards! You envy their combined education and college degrees. Well, Lady, they envy your writing talent, your determination, and what you've accomplished.  Now, BUCK UP!  Get out there, put a smile on your face, and be the expert you are and talk about your book!"

It was amazing, suddenly seeing it from a new perspective. I honestly did an about-face in how I saw things from that minute on.

I took a deep breath and walked out onto the stage as I was being introduced.  I could feel the adrenalin start to pump. I put a smile on my face and, as I looked out into that sea of faces, I saw that they were smiling, too.

I had never had so much fun as I did the night I spoke to that PTA group. Now I love public speaking and, somewhere along the way in the years I've been doing it, I've found that I'm even somewhat of a ham, especially with the groups of children during my school visits and poetry workshops.

There's only one downside to it. The adrenalin rush is incredibly addicting and it isn't long before you start to crave your next speaking engagement.

If this article has helped even one other person get over their fear of public speaking, then it was worth it. I want all of you to feel the same rush that comes from talking about your book or your writing.

Don't forget, YOU ARE the expert.

Oh, and smile!  It's a tremendous ice-breaker with a crowd.

I wish you success!
~CJ



“A writer soon learns that easy to read is hard to write.” ~CJ Heck