“An Actor and A Gentleman” by Louis Gossett Jr. and Phyllis Karas
c.2010, Wiley
$26.95 / $31.95 Canada
308 pages, includes index

Reviewed by Terri S.

When you were a kid, you thought you were so smart.

Back then, you knew better than your elders, but you also knew better than to tell them that. You were smart enough to get away with doing things (you thought) they never learned about. For sure, nobody could touch you in the brains department when you were a kid.

Then you became an adult, and you saw how much you didn’t know.
In the new book “An Actor and A Gentleman” (with Phyllis Karas), author Louis Gossett Jr. says he never knew much racism as a child. But as his career rose, so did the bigotry.

Growing up on the edge of Brooklyn near Coney Island, little Louie Gossett never wanted for love. His parents, grandparents, aunts and uncles showered it upon him. Cousins watched his back because they knew he had potential. Even Italian and Jewish mothers in the neighborhood embraced the “it takes a village” philosophy, and helped raise young Gossett. He says, in retrospect, that he was the victim of racism more than once, but that’s the way things were and he barely noticed.

Although Gossett initially thought he might become a pro basketball player, during his junior year of high school, a different, more appealing opportunity presented itself: an English teacher cast Gossett in a school play. For the rest of his life, Gossett was in love with theatre, a love that transferred easily to movies and TV.

In 1961, Gossett moved to California to try his hand at film and, despite that he loved acting, he encountered racism that sent him back to New York. Seven years later, he tried Hollywood again, but the racism was worse.

Undaunted, and encouraged by colleagues and social changes in America, Gossett made his home in L.A., and stuck with acting. He dated; briefly married, had a son, and divorced; dated; adopted a child, then married, went into rehab for alcohol addiction, and divorced again.

Clean and sober, he began to put his life, personally and professionally, on track. But then, he started to lose weight…

If one to were read “An Actor and A Gentleman” at face-value, one might believe that nearly everybody in America grew up with, worked with, or otherwise knew author Louis Gossett, Jr. fifty or sixty years ago.

Name-dropping, boasting, and personal shout-outs are so rampant in the first half of this book that it became tedious, making me want to skip large swaths of page.

And yet, if you can read between the lines, Gossett and co-author Phyllis Karas redeem the tedium by giving readers a unique, first-hand peek at racism in entertainment. I really liked that part of this book, mostly because of the well-defined (and well-deserved) outrage that Gossett lets sneak through his narrative.

Overall, my recommendation for “An Actor and A Gentleman” is limited. I think, if you’re looking for something on African Americans in Hollywood, here’s your book. If you’re looking for a light Tinsel Town bio, though, you’d be smart to choose something else.

UM: Introduce yourself and style of writing to readers.

IT: My name is Imani True and I’ve been writing my whole life, but I started writing Erotica a few years ago. “Strawberries, Stilettos, and Steam” is my first work of Erotica.

DS: My name is Dreama Skye. I’m an erotic poet/writer and mother of two. I’ve been writing some form of Erotica since high school.

UM: How did you meet and what inspired the title Strawberries, Stilettos, and Steam?

DS/IT: We met on a social networking site. We were working on different erotic projects. We liked each other’s work, and decided to mix our styles, do something different from the other Erotica that’s out there. The title came from a story we were trying to finish. We put these three sexy things together: Strawberries, a very erotic fruit; Stilettos because they’re sexy to men and women; Steam, as in hot enough to make your temperature rise. We thought the title and the visual was too hot to waste on a story, and that it might get lost inside of a book. So we used it for our book title.

UM: Explain which story you enjoyed writing the most and why?

DS/IT: Definitely Nika’s Birthday was the most fun to write! With this one, we were able to tell a really sexy story with humor, but also realism. We wanted to make it believable that a husband would allow such a thing to happen, and the ground rules that would have to be in place on order to pull it off. All of the characters are mature, responsible, and secure in their relationships. In the end, everyone has fun, and they all remain friends. It was so much fun writing this, and we came up with some of the funniest dialogue in this story. It was crazy!

UM: Describe the collaboration process.

DS/IT: One of us would start with an idea or concept. Then we developed characters, and worked on the plot in no particular order. When we started a story, we usually had a working title that changed by the time we were done. But the plot generally stayed the same from beginning to end. Then we did a line-by-line collaboration via Yahoo, Skype or text messages. We worked in chat for the actual dialogue between the characters. Finally, we went back-and-forth until we wrapped each story the way we wanted.

UM: What were the challenges /advantages of collaborating?

IT: For me, there were no challenges because we respected each other’s talents from day one. The main advantage of collaborating was that we brought two sets of experiences and different perspectives to each story, but we realized early in the project that things worked out really well when we blended them. Dreama’s poetry background gives her an unbelievable flair for flow, visual descriptions, and character development. My strong suit is character names, dialogue, and moving the story along. Our brainstorming sessions were amazing!

DS: For me, the advantage of collaborating was being able to bounce ideas off someone else. There were no challenges.

UM: With the onslaught of books available to the public, what can you do to get your books into the hands of readers?

DS/IT: So far, we’re working to get it out in as many places and as many formats as possible. This includes e-book and paperback. Our publisher has really been great about that. And we’re promoting everywhere. Once the readers get their hands on it, we think they’ll really enjoy our stories, which are different from what’s already out there in the genre of Erotica.

UM: What will readers enjoy most about Strawberries, Stilettos, and Steam?

DS/IT: We think our book will appeal to a wide audience. Different stories, characters, situations, and dilemmas. Our characters are people most can relate to. Also, the stories are read by a narrator. It’s something new that will not only entice, but intrigue and entertain. We hope it changes how people look at Erotica.

UM: Compare writing to your poetry, what are the similarities and differences?

IT: I haven’t written poetry in many years, but I’d love to get back to it. A good poem and a good story both make the reader visualize what you’re writing. Poetry is more personal, more emotional than writing fiction. When I was writing poems, it was very hard to remove myself from the writing, distance my emotions. That’s much easier to do with fiction.

DS: My poetry and my other writing are very different. I write my poems in a rhythmic pattern, and I really pour myself into them. My fictional writing is more fantasy, and I can be whoever I want to be. As for similarities, I can be as naughty as I want to be in both styles of writing.

UM: What is next and how can readers contact you?

IT: I am working on several projects. My next one is a novel entitled “A Little Sumthin’ Sumthin’,” but I also have the outline for a Crime Mystery/Forensic Thriller series with erotic twists. Plus, Dreama and I have a second collection of erotic stories on the backburner. I also have a story being published in “Between the Sheets” by Delphine Publications.

www.facebook.com “Author Imani True”

www.twitter.com/ImaniTrue

DS: I am currently working on a novel, a book of erotic poems, and another collaboration with Imani True. My story, The Closer, is in “Between the Sheets” which is being published by Delphine Publications later this month.

www.facebook.com “DreamaSkye”

www.twitter.com/DreamaSkye1

UM: Where can readers get this book?

DS/IT: Next month, the book will be available in bookstores nationwide. Until then, readers can find it in e-book on Amazon.com, Borders.com, BarnesandNoble.com, and Smashwords. For signed copies, they should go to and pre-order it directly from us through PayPal.

1. How did you get your start in this business/industry?

In February 2008 I was sitting on the bed watching my husband pack for his second tour to Iraq. Already staying in a new city of San Antonio, I felt alone and bored. I simply stated to him I wish I was in a book club. Just out of nowhere in that instance an idea of starting a MySpace page and to post up books I read came across my mind. I thought it would be a great idea to just talk with people over the internet. In that same month I started to get emails from authors I had never heard of who wanted me to read their books. I said to myself, wait I should read their books and post my thoughts on them. Not knowing that it was going to grow into something so large. This is how African Americans on the Move Book Club was birthed. I later birthed AAMBC Radio and Delphine Publications.

2. Did you have any formal business training?

I had absolutely no business training. I didn’t know anything about blogs, book reviews, how to publish, how to market, or any of that. I started with posting up my views on the author’s book and I asked people to read them. I believe this totally came from God’s doing. I was blessed to have met so many authors through MySpace and learn from all of them all at once.

3. What separates you and your firm from the competition?

I honestly didn’t know of any other format when I started my company. So the fact that I launched something clueless to the industry excites me. The ideas and concepts I started in which I continue to do all began when I knew nothing or no one. So the fact that I based a lot of my early works just from brainstorming separates me from the rest. Not to say I am original but I am not duplicated.

4. How would you describe your experience as an Entrepreneur?

Being an entrepreneur is tough, time consuming, and adventurous. You take complete control and meet so many people. To think that I am here in this position is a blessing because I didn’t start to read novels until 2006. But I was always a writer since the day I could write a sentence.
Being your own boss has its blessings and sometimes I find myself so obsessed over my work that I can’t stop. Ideas come one after the other. So I enjoy being an entrepreneur because I control my destiny. Well me and God that is.

5. What do you like most about your profession?

I design my concepts, I promote my concepts, I develop my concepts, and I can stop when I want to. I enjoy having control over what I do, when I do it, and how.

6. What is your biggest challenge in business? How did you overcome it?

My biggest challenge is that with success come trials and tribulations. I am a fan of myself but somewhere down the road you meet others who are not. It can be because of what you do, what you’ve accomplished and so forth. I use that as my motivation. So how I overcome the negativity is to use it as my gas to keep it moving. A business such as any other industry requires tough
skin so I put mines on and my game face and I enjoy my works.

7. What advice would you give someone just starting out in your industry?

To never enter an industry you don’t know anything about. I know that’s funny seeing as though I was an ammeter when I started. Thing is I took a crash course and learned the industry through others and research. Google is a great engine. Use it. Go to seminars and conferences and speak to veteran authors. Always research and as long as you’re living there is always something to learn.

8. What do you hope to offer your clients or customers to shape their lives?

I hope to give people I work with skills and knowledge. Anyone can show you how to do it but learning it for yourself empowers you. Within AAMBC I give authors exposure and I explain how to self promote. On my radio show I offer authors the opportunity to speak on the things they love while exposing themselves to potential readers. With my publishing house, Delphine Publications, I teach my authors how to hustle and grind. If you love who you are you would work as hard as you can to make sure you reach your highest potential and, even then, shoot for more.

9. What are 3 things all leaders possess?

A Strong foundation, common sense, and a creative mind.

10. How does your mission or vision keep your business growing?

I simply want to help others. My mission is to expose the independent writer so that they too can have a national fan base. Although I do converse and speak to national best sellers my main focus is the new authors. Because of this I have grown in more ways than I could ever imagine. I expect my reach for my company to reach more than triple the current reach within the next year with keeping the same mission and goals. When we started I could count the amount of members AAMBC had and with our new website I am able to keep track of over 1200 members worldwide.

11. Tell us about the people you help. How is your organization or company impacting the public? What social issues or causes do you want to address?

The authors I connect with on a daily bases are usually new authors on their first book or have recently self published and want more exposure. I offer them that. The purpose of getting your book exposed is very important. You want your name and novel to become a familiar product. My goal is to help them become more familiar. Some issues that occur are when an author knows too little about the industry and marketing. It can delay the process of promoting their novel. All authors must know that they have to self promote whether they are with a publisher or not. I always state that the author must self promote and do a lot of research. This is always important to any writer who wants a long term career in writing.

12. What’s new in your company?

AAMBC has become more active in virtual tours since last spring; our radio show has a consistent concept with on average two shows a week. We started annual events such as Holiday Book Bash, Valentine Showcases, Virtual Book Release Parties, Holiday Book Drive, College Scholarship Fund, April is our Poetry Month, and we have our annual conference which will make its home in Dallas starting in 2011. AAMBC Radio has a new co-host Anna Black who is also signed to my label Delphine Publications. I am constantly thinking and developing new concepts and online events for our members. I will never rest I know that for sure.

Tour Schedule:
June 19th The George W. Carver Festival, San Antonio, 11-5

June 18-19th The Juneteenth Music Fest, San Antonio, TX

July 9th, The Literary Joint, Forestville, MD 5pm

July 9, Cartel Books and Cafe, Oxon Hill, MD 1pm

July 10th Michele’s Book Place, Annanoplois, MD 11am

July 10th Borders Lorgo, MD 5pm

July 11, Patapsco Flea Market , Baltimore, MD

July 12th, Michele’s Book Place, Annanoplois, MD 11am

July 13th DC Book Diva, Washington D.C.

July 16, Horizon Book Store, Philadelphia, PA 1pm

July 16th Phenomenol Women Speaking Engagement & Signing, Chester, PA 530pm

July 17th Harlem Book Fair, Harlem, NY

Might as well handle this question up front. The answer is quite simple: I am of a generation that will do for ourselves when others won’t do for us. Having earned a doctorate in creative writing and finding myself in many academic circles, I am made aware time and time again of what I now call the “institutionalization” mindset. Inmates in prison can become institutionalized, meaning that they become conditioned to depend on the order of prison life. They come to crave the need to be told where to go and when, to not worry about bills and the complexities of life beyond prison walls. Some have earned some special status there, the go to man for this or power broker for that group of men. Many commit crimes just to return to prison for that comfort. If people can be conditioned to require a place as violent as prison, people can become accustomed to anything and therefore, become afraid of everything outside of that environment.

Such is the case for many in academia.

The conceit that if one’s writing was exceptional enough, someone of a long-standing publishing house would have published it is strong among scholars and various art snobs alike. I fell for that for quite some time, trying to blend in. Fortunately, circumstances worked in my favor that allowed me to return to my old self.

I am of the hip hop generation of moguls such as Jay-Z, Russell Simmons, Master P, Diddy, Too $hort and countless others who believed in themselves when the business community would not. Each of these individuals took their music and sold it out of trunks and anywhere else they could to get going in their careers. They made the industry recognize them as opposed to waiting to be recognized. Such was the case for writers such as E. Lynn Harris, Zane and others. When publishing houses had every excuse in the book for them, they made it happen on their own terms. This is the main reason I self-publish, but not all of it.

I was a self-publisher as an undergrad at Florida A&M University. I was inspired by said moguls mentioned above and founded Meroen Press when I was 21. It was mainly a move at independence when family members did not take my aspirations seriously. I ran with a crew that published an underground magazine called THOUGHTS. Through that forum, we were able to criticize the school administration in ways the school sanctioned paper never could. So the sweet taste of freedom runs deep in me.

Even though the published novels won me the fellowship that allowed me to earn my doctorate, I put Meroen Press aside as I matriculated. I entertained the idea that it was only tactic for the desperate that were not good enough for mainstream. While I sent manuscripts out and played the waiting game for agents to return calls, I’ve seen many pathetic novels published by major houses and have learned from those on the inside that whether a writer lands anything with one is a complete crap shoot.

The recession has made publishing companies even more skittish to try new talent. My wife already works downtown and arranges book signings for visiting authors. I am a beast at graphic arts (my minor in college), had some disposable income from teaching and was already exploring how facebook, blogging, amazon.com and the like was making publishing easier for others. I’ve always enjoyed the satisfaction of accomplishment in having my own business. To top it off, I am an admirer of art that thrives outside of the mainstream and am forever leery of settling down into any sort of rut. Too many advantages were lining up. So there, in short, I self-published because to not do so seemed ridiculous. True, authors like Pulitzer prize-winning novelist Robert Olen Butler are saying that self-publishing in this day and age definitely has merit (refer to my podcast interview with Butler – http://withinthepagesofmylife.mypodcast.com/).

There are articles of how to do it in well-respected publications like Poets & Writers Magazine for those who require that validation from on high. Luckily, I felt the same way on my own. Would I work with a major publisher? If the conditions are right, absolutely. It would have to be a relationship that allows me to be highly involved in the marketing and promotion. I would have to continue to help other writers through Meroen Press (my wife’s children’s book, a damn good book, is on the way) Perhaps a deal where I could keep my company as an imprint and they took over distribution. Either way, I intend to retain a sense of control too many others give away out of a lack of confidence in themselves or for some false sense of legitimacy.

Does Size Matter? Choosing Your Book’s Size
By Irene Watson

What size should your book be? Both beginning and longtime authors have to make this decision with each book, and depending on the kind of book, it can be an easy or a difficult decision. Here are some basic guidelines for determining your book’s size depending on the kind of book you are publishing.

Fiction

Fiction books are the easiest for choosing a size. Most novels and short story collections are one of two sizes-the mass market paperback size (4.1×6.6) and the slightly larger 6×9 size (occasionally some are 4.1×7.4). Books that are 6×9 have become more popular in recent years-they also usually cost more to buy than mass market paperback sizes-partly I think so publishers can charge more because they look more substantial. In any case, either size is acceptable for fiction. These sizes are appropriate because novels are some of the most portable books from how readers use them. Novels should be easy to hold, relatively light, and portable so readers can take them on airplanes, read them on the beach, etc.

The only real consideration in choosing between the two sizes of fiction books is how thick the book will be. A large novel like Gone With the Wind (my mass market copy has 1,024 pages) would be easier to read as a 6×9 which I would guess would run more around 800 pages, simply because your hand would have to apply less pressure to hold it open, especially if you’re able to hold a book open with one hand-a small feat for most men who have larger hands, but more difficult for women. You don’t want to make your book a size that is awkward for your readers to handle, no matter what kind of book you are publishing.

Children’s Books

Children’s books come in a wide variety of sizes. If they are novels with chapters, then I’d recommend the above sizes for fiction, but for picture books, you want a larger book that will display the pictures to more advantage. Even if you pick a hardcover book, you want it to be lightweight so children can easily open it. Larger sizes also mean the book is thinner and easier to hold. Books that can stay open by themselves are a definite advantage; a larger size and the right binding will make them do so.

You also want a book that is easy to hold open. Remember that with picture books, adults often read them out loud, and they will hold them open wide so children can see the pictures.

With picture books, you want to make sure you determine the size of your book before you get far into your project so you can plan out the individual page layouts. With children’s books, you’ll want pictures to match the text, so you’ll want to plan out what the illustrations will represent, and if you have pictures on each page or every other page, you’ll want to figure out how much text will go on each page, which requires you to know the book’s size so you can write the proper amount of text to fit the page.

Knowing the book’s size beforehand is imperative for the illustrations so they can be drawn at the size of the final book; otherwise, you’ll have problems later with the resolution when you try to shrink or enlarge the photographs to match the book size.

Nonfiction

Nonfiction books allow the most flexibility when determining size. Depending on the book’s purpose and contents, a simple non-fiction book is appropriately sized at the same options for fiction books. More complicated books with photographs or charts may benefit from a larger size.

The main thing is to make the book look substantial enough that readers will feel they are getting their money’s worth. A large but thin book with 50,000 words in it may make the reader feel it is overpriced at $15.95, but a book at the same price with the same word count may look like a good buy if it is smaller and thicker.

One small publisher of non-fiction titles told me his goal is for all their books to be roughly 200 pages. The company sells books ranging in size from 6×9 to 8.5×11, but the size is determined by what will result in that 200 page goal. Why 200 pages? They’ve determined that size makes readers feel they are getting their money’s worth without feeling the book is too long and intimidating to read it.

If you’re going to have photographs in your book, you probably want a larger size so the pictures do not look small or cramped but can be viewed easily, and the larger the book, the more the photographs will stand out. Depending on your audience, books with lots of photographs or illustrations, including pictorial histories and art books, or books with lots of graphs, timelines, genealogy charts, or other special design elements may be best in coffee table sizes.

Covers

Finally, consider your book cover. When posted online, your book will look small regardless-book images at Amazon are at most two inches in size. But in a bookstore, a larger book is going to stand out amid stacks of mass market paperbacks. Books too large to fit on a regular bookshelf might make some bookstores less willing to carry them, but in most cases, large books are more likely to end up on display tables where they will easily be noticed rather than be buried on a shelf with only their spines showing.

Remember that the cover is the first thing the customer will see, and it is first and foremost what will affect the vast majority of customers’ buying decisions. A bigger book might well make the difference between it being bought over another simply because it stands out more.

Other Considerations and Recommendations

The size of your book has many other considerations involved with it such as the size of the font in the book. Larger books can have larger fonts so they are easier to read. You might even be considering producing a large print book for people who have difficulty reading.

Most importantly, you need to consider your potential customers. Go to the bookstore and look at books on topics similar to yours. See what you like and don’t like about their sizes. Ask bookstore owners what they would recommend. Talk to printers and book designers to see what they would recommend as well.

In the end, size does matter, so find the book size to satisfy your customers.

Irene Watson is the Managing Editor of Reader Views, where avid readers can find reviews of recently published books as well as read interviews with authors. Her team also provides author publicity and a variety of other services specific to writing and publishing books.

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How Authors Can Benefit From Visiting Book Fairs
By Julia McCutchen

It is one of the main book fairs which take place each year for professionals in the book trade alongside Book Expo in New York, Frankfurt and the Bologna Children’s Book Fair. There are also many smaller yet worthwhile book fairs and exhibitions internationally.

Many authors wonder if it is worth attending these trade fairs and many commentators say that it isn’t. My view is that it can be a valuable experience if you approach it with the right mindset. You also need to plan your visit well in advance and wear sensible shoes in the knowledge that you’ll be on your feet for most of the day!

It is important to be realistic when thinking through a book fair visit, especially if you have a vision of meeting agents and editors to present your book to them. Most publishing professionals will have filled their schedule of 30 minute meetings well in advance of the fair taking place.

Having said that, serendipity can, and does, occur at book fairs.

When I was attending these events as a publisher, I remember well the number of times an author just happened to turn up at our stand when I was in between meetings. On some of those occasions, I did engage in impromptu conversations about new projects, and although it was rare, some of those spontaneous approaches did lead to us to publish the book the author had presented.

So here are 3 tips to help you benefit from attending a book fair this year:

1. Do some research to understand the basics about book fairs, set clear intentions of what you want to achieve, and plan your visit in advance. These events were created primarily for people in the industry and most professionals are there to do business with other trade insiders. Many agents and the conglomerate publishers will not be interested in the kind of spontaneous connections I described earlier. In fact, unless you have an appointment, you probably won’t be allowed in to the agent’s area which is cordoned off from the public.

However, there are many possibilities for authors who let go of unrealistic expectations and who concentrate on what is possible.

For example, you can:

• Research appropriate agents and contact them in advance to set up an appointment at the book fair

• Attend one of the increasing number of seminars being held specifically for authors to help you to get your first book published or advance your career as an established writer

• Identify publishers you may not have come across before who might be interested in your book and keep up-to-date with the ‘vibe’ in the industry.

2. Prepare appropriate materials to take with you.

Although it is unwise to count on being able to show your book ideas to anyone for the reasons I have already given, I do recommend that you take some good quality information with you just in case the opportunity does arise.

Here are my suggestions of what you should have with you. If you are writing:

• non-fiction, take a good book proposal with you plus one or two sample chapters for your book

• fiction, take a one page and a two page version of your synopsis available plus information about you as the author and ideally some marketing ideas

• an illustrated book, take some sample illustrations to show your vision of how you see the book overall.

Make sure that your contact details are securely attached to any material you might have the chance to leave with an agent or editor.

3. Remain alert to unexpected opportunities.

Alongside sensible planning, I also recommend keeping your eyes and ears open for spontaneous possibilities cropping up. You might not be able to get to see the particular agent or publisher you have targeted as being perfect for your book, but you never know who you’ll stand next to in the queue for coffee!

In such a situation, remember the importance of being able to describe your book in one compelling key sentence. That way, the person concerned can quickly make a judgment on whether further discussion is relevant or not. Finally, keeping an open mind will enable you to leave with more information, resources, contacts and opportunities for your book and to further your journey to successful published authorship – and beyond!

Julia McCutchen opens the way for writers to find their true voice, discover themselves in the process, and write consciously, creatively, successfully and with soul. A former managing director and publisher with over 20 years’ publishing experience, Julia’s holistic approach includes coaching, mentoring and masterclasses for aspiring authors. To access free articles, audios and other resources for writers, visit http://www.JuliaMcCutchen.com and http://www.iaccw.com

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The Elements of a Book Proposal – You Can Get a Book Deal!
By Nancy Peske

To sell a nonfiction book to a publishing house, you do not have to have the entire book written, and even if you do, you must submit a book proposal (usually via a literary agent) to procure a book deal. The reason is that the publisher needs to know if investing the money in publishing your book will pay off. Your book proposal must make a compelling case that this book, written by you, is needed in the marketplace.

Here are the core elements of a successful book proposal:

Start with a 3-5 page overview describing the book, why it fills a hole in the marketplace and is needed now, and why you are the right person to write it. Describe the audience for the book and the benefits it offers.

Add an author biography. Include what you have done and what you are doing right now to maintain and build your platform: your visibility and credibility that allows you to have a loyal following that will be eager to buy your book. Note any relevant writing experience you have, and any media experience. Include information about the number of followers you have thanks to your newsletter, website, blog, and social media outreach. Note where you live (no, you don’t have to live in New York City to get a book deal, but it’s good for them to know what time zone you are in and whether you live in a strong “book town”).

Include a marketing statement. Tell the publisher what you are willing to do to get the word out about the book and sell copies. Offer suggestions for easy, low-cost things the publisher can do, such as submitting to specific types of magazines (for example, they will know to send it to Parents magazine, but they might not know to send it to Adoptive Families magazine). Suggest niche media outlets. The idea is to give them a wider range of ideas and show them what you’re willing to do, too (such as research all these wonderful niche markets).

Do a short Table of Contents for the book followed by an expanded table of contents, also known as a detailed outline. Offer at least two paragraphs about what will be included in each chapter. (Also, don’t describe any chapters you are actually including in the proposal as that would be redundant. Instead, just note that the “Sample chapter is included.”)

Provide a writing sample. Some say you should include an introduction and chapter 1; I think that the overlap between the book’s actual introduction and all your descriptive material in the overview and expanded outline makes that overkill. Send in chapter 1, and a section from another place in the book if it will read quite differently from chapter 1 (for instance, if you have a recipe section in your health book, provide some recipes).

Work in the specs of your proposed book. Somewhere in the proposal, note when you can deliver the book, the length, and the format (hardcover or paperback) if that is very important to you and both are options. Publishers generally want the book delivered within six to nine months, maximum, unless you’re writing a work requiring substantial research. As for length, you can specify page count based on the number of words that fit on a typical page (take a look at a book that is about the size, shape, and length of the book you envision, count the words on a page and the number of pages, then do the math). As an in-house editor, I was taught it’s best to specify word count in contracts so that’s what I do in book proposals as it’s much more accurate than a page count. A typical length for a self-help book these days is about 70,000 words (it used to be 100,000 back in the day), but how many words fit on a given page will vary based on the design of the book.

Include endorsements if you can, and even the promise of a foreword by someone with an impressive name if you can procure a commitment. You might be surprised by who will agree to write an endorsement or foreword at an early stage of the book! And if they say no, you can always come back to them later when you have more material to show them (but don’t promise what you can’t deliver; wait until you get the thumbs up from your foreword writer before including it in a proposal).

Before submitting your proposal, consider having it evaluated by an industry professional who can help you tweak it, fill in any gaps, and make it as strong as possible, whether that professional is a literary agent or a freelance editor with extensive book publishing experience who can help you polish your proposal before it is sent to the agent. Spell check it, have another set of eyes proofread it (this is where a friend with great grammar skills is a terrific asset), and double check that you have included all the important elements. Make sure your book proposal makes it impossible for a literary agent, and then an editor, to say no to taking on your nonfiction book project!

Nancy Peske is the author, ghostwriter, and developmental editor of many bestselling books including the coauthored Cinematherapy series with over 340,000 books in print. She has worked in the book publishing business for over twenty years, including as an in-house acquiring editor at a major New York publishing firm. Her website is http://www.nancypeske.com.

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Hooking Your Readers
By Cindy A Christiansen

What makes a reader pick up your book, read the first page and then either put it back on the shelf or buy it? It’s having all the key ingredients to a spell-binding beginning.

You can accomplish a great beginning with four easy tips:

1. Establish who, what, when, where and why.

2. Ascertain what kind of story you are writing.

3. Let the reader care about the character(s).

4. Set the tone of your book from the beginning.

Let’s take a closer look:

1. ESTABLISH WHO, WHAT, WHEN, WHERE AND WHY.

Fiction writing is no different from any other writing. You must answer all of the “w” questions right up front as much on the first page as possible without being obvious. Let’s look at each one:

WHO: Give the character’s name right up front to establish from whose point-of-view (POV) the story is being told. In first-person that is “I”. In third-person you want the name to reflect the time period, the personality of the character, and the tone of your book. Think about how you want the reader to relate to the character.

In my current work in progress, my heroine’s name is Lizzie Cantrell. I point out in the story that Lizzie is not short for Elizabeth but that her mother named her after Lizzie in the play, Rainmaker. She is an artist looking for adventure. The hero, however, is Phillip E. Van Dyke. He insists that his employees call him Mr. Van Dyke, and if they call him Phil, he is extremely upset. Seriously injured, he is determined to keep people from getting too close. By having everyone use his formal name, he believes he can keep his emotions locked away.

Choosing the right name can greatly impact how your readers relate to your characters.

WHAT: To establish a relationship between your reader and your character, you need to suggest what the character is trying to gain or lose based on their goals. In the story above, Phillip keeps pulling up his turtle-neck. I suggest there is something wrong, but I don’t give it all away yet. You need to suggest what is going to happen and make the reader curious to find out.

WHERE AND WHEN: Let the reader know up front in as little detail as possible where your book is taking place and what time period. You don’t have to state the precise date, however that works in some cases. In contemporary novels, any detail about modern conveniences is usually sufficient. For a historical, use something that signifies the time like an event, war, invention, etc.

WHY: Again we don’t want to give the story away, but this is where you reveal what drives your character and why. You just need to give a clue as to why they are pursuing what they are to let the reader know more is to come.

This may sound complicated but it’s not. Here is an example from “A Novel Approach” by Kathy Jacobson that shows all of this important information in just a few short sentences:

Liz had nothing against sleeping with men, but she never again wanted to be married to one. After three years of freedom, even Jeff’s wealth didn’t look like a good trade-off. She smiled at him across the breakfast table and handed back the diamond ring she’d almost cracked a tooth on.

“It was clever of you to hide this in my muffin, but I really can’t accept it.”

Here’s the summation: Who – Liz. What – she’s declining a marriage proposal. Where – her breakfast table. When – three years after her divorce. Why – she prefers her freedom over wealth. Everything in one neat little paragraph. Wow!

2. ASCERTAIN WHAT KIND OF STORY YOU ARE WRITING.

The next important part of a beginning is starting with an important action when the character’s life changes. A good resource for understanding this is Orson Scott Card’s MICE quotient taken from his book, “Characters and Viewpoints”. This will affect your beginning in different ways. For MILIEU it would be when the character enters the new environment. If you are writing an IDEA story, you want to start with something that affects the question being asked. When writing a CHARACTER story, you would concentrate on the character’s emotions concerning the change in environment. With an EVENT story, you begin with the event that pushes the character into a new adventure.

Don’t start your book with the character’s back story. Begin with the circumstances that changes the character’s life. Back story is very important and can be added throughout the book in interesting ways, but starting out with the character’s life story is boring to the reader and you will lose them.

You do, however, want to have your character performing some natural task to make your reader identify with them. Then take them on the journey. If you throw them into the middle of the action too quickly, the reader is confused about what is happening, who the character is, or why they should even care.

3. LET THE READER CARE ABOUT THE CHARACTER(S).

Make sure you give the reader a reason to relate or like your character. You can accomplish this by making sure your character has goals and their reasons for their choices are clearly stated, especially that first scene. Make sure your scenes are well thought out according to POV. Remember that if you switch POV you lose the tension in the scene. It is important to stay with the opening character long enough for the reader to bond with them.

4. SET THE TONE OF YOUR BOOK FROM THE VERY BEGINNING.

Choosing your genre will help determine the tone of your book. Is it suspenseful, humorous, or gory? Your writing needs to reflect that. Even your synopsis should reflect the tone of your book. The editor needs to know you can project the same tone that the book will be written in.

Well, that’s it. It sounds simple enough and really it is. It takes some thought and practice, but it can be done. Given these four tips, you will write a book that will hook your readers and keep them turning pages. Good luck.

Cindy A. Christiansen is a multi-published fiction writer. Visit her at:
http://c.a.dragonfly.googlepages.com Send her an email from her contact page to be entered in a drawing for a fancy, beaded, dragonfly bookmark.

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How to Write an Author Bio
By Barbra Sundquist

Wondering how to write an author bio? Feeling like it has to be extra-special because you are a writer? You are not alone. Even though writers have a natural ability to put words together, most writers find it excruciatingly difficult to write an author biography. This article gives practical guidance on how to write an author bio, along with some author bio examples.

Let your author bio brand you

Here are some points to consider when writing your author bio.

1) Think about who is going to be your reader. It could be an editor but it could also include business associates, radio hosts, or even your own family. Write your author biography for your intended reader, and don’t forget that your readers might include people from different backgrounds and generations.

2) Prepare several author biographies of different lengths. Pull one out for an appropriate setting. Author bio examples can range from a short single sentence blurb for a magazine, a longer version of about 100 words in a query letter for a novel, to a full page for a press release.

3) Decide on the points you want to include. Most people find that they have more information than they need. Be ruthless in editing your bio to include only points that are relevant. Should your fishing hobby be mentioned in your bio for a murder mystery novel that you are submitting to a publisher? Probably not, unless the murder took place at a fishing lodge. You worked in a coroner’s office for a couple of weeks to learn about medical examiner’s terminology? Now that’s relevant.

4) Make a list of writing credits to highlight. Limit your credits to not more than three or else it would take up too much space in your author biography.

5) Include contact information and website so readers can learn more about you and your writing. You can include a longer author biography when you write your website biography.

Reveal your personality in your author biography

An author biography plays an important role because it communicates who you are. In the same way that a business card introduces you, an author biography serves as a short introduction to your writing. Take the time to think carefully about what you want readers to remember when they hear your name.

Readers like to know about you. Personal information such as marital status, number of children, pets and hobbies show that you are a normal person and help readers relate to you. However, if you don’t feel comfortable including personal information you don’t have to.

Reflect your writing style in your author bio

When writing your author biography, give readers a sense of what to expect from your writing. Tailoring the tone of your author biography to the content and style of your work. If you’re a humorous or satirical writer, include some humor in your author bio. If you’re an academic writer, reflect the academic world. The tone you take in writing an author bio creates an expectation of your written work.

Here are two contrasting examples:

Norman Langford grew up spying on the neighbours and taking notes in a little black book. No surprise that he ended up writing spy novels!

Dr. Laura Smith has been writing on gender studies for over 20 years. Her research interests include mothering, gender roles and media representation of women.

Have fun writing an author bio

Writing an author biography can be a fun task. The less stressed you are, the more creative your bio will be. So have fun when you sit down to write your author biography.

Have fun? Easier said than done, you may be thinking. If writing an author bio seems daunting, here’s a final tip: BioTemplates.com provides instant fill-in-the-blank bio templates to help you write your author biography. You’ll have a great bio completed within the next 20 minutes. Now that sounds more like fun!

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Short Story Writing Tips For Beginners – Use Vv Mnemonic, Get Published
By Sridhar Chandrasekaran

Are your verbs arranged sequentially while you write a story? Vv set is a mnemonic where “V” stands for Verb and the big letter V and small letter v visually symbolize the arrangement of the verb sequence. This succession could be representing anything that blows up in the beginning and narrows down towards the end of the story. It could be an idea, an emotion or an event that grows and fades. For instance, a narrative could be well thought-out from past to present, big to small, high to low or a set to a subset to absorb the audience consciousness.

Let us take 4 verbs that start with a bigger intensity and ends with a smaller intensity. For instance, “Run” is an intense verb when compared with the verb “stand”. All other verbs such as rush, dash, jog, trot, walk would fall in between the verbs run and stand. Now, let us use them in writing a short episode to show a sequence of events of a character.

Tugging his loose trousers, John, a 20 year old hunter, ran hastily to save his life from this cruel untamed lion that fiercely dashed towards him in a thick Jungle. He altered his moving directions swiftly to brain tease the loin. After couple of hours of combating away from the eyesight of this ferocious animal, John thrived, ultimately. Soon, he was able to relax himself in a far-flung where he paused exhaustively breathing to calm himself from this horrendous nightmare.

In this incident, the highest intensity of “running” gradually comes down to “pausing” or “resting” meanwhile, the audience are taken on a roller coaster ride of intensely anxious emotion to a soothing restful frame of mind.

9 out of 10 novelists develop this kind of dramatic effect, striking dynamic feelings, to amuse the audience and occupy their mind till the end of the narrative tale.

For writing assignments contact sridharsix@gmai.com

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