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Title: THE WRITER’S WORKOUT
Author: Christina Katz
Pub date: Jan. 10, 2012
As many of you know, one of the books I consistently recommend is GET KNOWN BEFORE THE BOOK DEAL by Christina Katz. I personally believe it’s one of the best reference books for building a platform, let alone experiencing a good writerly experience. From the first page of that book, it’s evident that Christina practices what she preaches; that she wants to make sure other writers have the best experience possible with their own personal writing paths.
So imagine my excitement upon receiving her newest book, THE WRITER’S WORKOUT. Over the last week I’ve taken the time to read Christina’s book, and am extremely impressed with the thoroughness of its content. So much information is covered, with every single idea and suggestion very accessible.
You can read the book from front to back, open at random pages, or read the specific sections (Spring, Summer, Fall, Winter). It’s your choice. One entry a day = the perfect addition to one’s daily writing routine. Yet another reason to add Christina’s book to one’s writing reference library.
There is much to be appreciated about THE WRITER’S WORKOUT. The “sticky brain” approach, the 500-word dash, the suggestion of saving documents and blog posts that inspire you (to be read again later), honoring introspection (during the writing process), the benefits of “social artistry,” and more. Christina even includes various exercises for developing one’s book ideas, one’s network, and more. I especially like her “Take 25 Actions” exercise. (A great idea!)
THE WRITER’S WORKOUT is an interactive book that only requires you the writer, and a willingness to learn and execute new practices to one’s writing routine. In the long run, one’s writerly life will benefit from these exercises.
So, do know it should be no surprise that THE WRITER’S WORKOUT will be required reading for my future clients – and highly recommended to my current ones too.
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Last but not least, here are some pages I highly recommend from THE WRITER’S WORKOUT:
#14 – Solvency Plan
#19 – Culture a Body of Work
#21 – Writing Markets
#33 – Target Specific Markets
#38 – Dismantle Dismal Thinking
#49 – Awaken Your Senses
#62 – Lead Later
#81 – Serve Up
#83 – Unblock Yourself
#85 – Settle In
#107 – Prospect From Yourself
#110 – Dig Deeper Say More
#117 – Transform Impatience
#141 – Stockpile Resources
#144 – Stay Strong, Carry On
#177 – Don’t Rush Ripe (seriously folks, a must read)
#186 – Evaluate Your Visibility
#237 – Personal Not Egomanical
#266 – Keep it Professional
#280 – Benefits of Traditional Publishing
#285 – Benefits of Self-Publishing
#295 and #297 – Strut Your Social Side (pts. 1 & 2)
#308 – Go Global
#321 and #323 – Update Your Platform (pts. 1 & 2)
#364 – Flex Your Ideas
So enjoy! And go find Christina’s book, as it hits bookshelves this week! :)
Part of the job any person involved in publishing is staying aware of trends, constant research, and bringing a forward-thinking attitude. One way to ensure this happens is updating and adding to one’s publishing reference library. Hence, with every start to a new year I look for additional books to educate and inspire writers (and me). Forget New Year’s resolutions, I’m aiming to keep the publishing brain in sync with the industry.
Books I’d highly recommend you add to your library:
Spunk and Bite – by Arthur Plotnik
There are many reasons to check out this book. The primary reason being that its title is the perfect reflection of what one can gain from reading it. As an agent, I’m always looking for fresh, smart, NEW material. Writing with a little edge and “spunk” is the way to go about it.
One of my favorite discussions in this book focused on the element of surprise in writing; in that surprises are necessary; that they are part of being human. Plotnik goes on further to discuss how one accomplishes this feat; with very much an effective bit of advice for any aspiring author.
Other sections I appreciated in Plotniks’ book include: methods to avoid “geezer” writing, the avoidance of overusing words, the use of tenses (dead on!), and usage of tropes. In summary, Spunk and Bite should be required reading for anyone who claims to have aspirations of getting published. Especially if desirous of standing out amidst the many queries agents and editors receive.
Keep It Real – by Lee Gutkind
I couldn’t agree more with Lee Gutkind. As with anything one does, it’s better to be true to one’s self vs. manufacturing something that isn’t reflective of the creativity within. In addition, keeping it real means bringing a good business brain to a career of writing; which includes a meticulous plan and perseverance.
One bit of advice provided by Gutkind was the 5 Rs of Creative Nonfiction: a Real-life perspective, Reaching out, Research/Reportage, Reading, and ‘Riting. I won’t delve into all the details here, so check out this Keep It Real, let alone this section.
Essential Guide to Getting Your Book Published – by Arielle Eckstut and David Henry Sterry
This is a great collaboration between Arielle and David. So much that I ended up writing in the book AT THE BOOKSTORE. As it’s a natural tendency of mine to write in the margins of books. When that happens, I know the book has struck a note with me. There are so many good things about this book, that do know it’ll be a regular book I encourage writers to read from here on out. So much good advice, especially on writer/agent/editor communication. In summary, add this book to you reference shelf.
And stay tuned, as I’m reading Christina Katz’s new book (I’m SO excited!!!)–to which you can expect more later about it. . . .
Throughout the year, I am always searching for new fun artists, writers, and anything that appeals my eclectic tastes. It’s not necessarily for the agency. These outings are meant to inspire my ownself, to meet the people behind such an exciting local creative community, to find new readers and artists to follow, and more.
Now that I’m wrapping up a busy fall, and since it’s that time of the year to discuss “best of” lists, here are a few folks I learned about in 2011. People that I’m highly encouraging you to check out. Why? Just because I liked them. It’s that simple. Nothing more, nothing less.
And while you’re at it, remind yourself to take a moment to support your surrounding creative community. Throw a few dollars towards those artists, and of course encourage others to check them out.
URSULA MURRAY HUSTED:
I m
et her at the Comic Con at the Soap Box Factory. She was such a delight to meet.
Her website: www.ursulamurrayhusted.com
BIG TIME ATTIC:
Kevin and Zander, the brains behind this entity are very talented artists. Very approachable, professional, and guys you should keep your eyes on. I see continued success for them. I also met them at the event at the Soap Factory.
Their website: www.bigtimeattic.com
D.C. ICE
Ever seen an artist, one whom you’d take all their pieces if given the chance? D.C. Ice falls into that category for me. I stumbled across her work at the A to Z Gallery while waiting for my dear friend Kara Hendershot.
I enjoy her illustrations, her understated and dark approach to discussing larger themes, and the overall presentation when her pieces are on display. So much that I can’t even choose which piece I’d want if I had to choose one. She’s also someone to keep an eye on.
Her website: www.dcice.com
BEIJO BRASIL
This is jewelry, and it rocks my world. While running an errand at the Electric Fetus several months ago, I saw some of their pieces on display. I’ve looked at their work many times since then.
The studio is based in Sonoma, CA - and there are many reasons I appreciate their work; the simplicity, the perspective brought to each piece, the unique designs & themes, and the gorgeous craftmanship. Yes, this isn’t a book, but when a book lover is willingly looking at these and inspired, it’s evident there’s something special here.
Their Facebook Page (as they are distributed at various places): Beijo Brasil
So with the new year, here’s my gentle nudge that not only should you shop local bookstores, but support your local and visiting artists. If the true integrity of art is going to stay in intact, in any medium, get to know the people who are making it happen. Here’s to a great 2012!
It seems that we’ve all had an extremely busy Fall – publishing and writer types alike. It’s hard to believe that even a few years ago there would be quiet lulls (in publishing) during any year. Yet as social media has evolved into an everyday part our lives – the pace is always hectic, with infrequent moments to escape the grid. Sometimes it almost seems that social media is driving the figurative bus vs. the folks it represents, but that’s another topic altogether.
Thus, I’m sending a gentle nudge (to everyone) to take the time in stepping away from this mad dash. For writers, their books will benefit. For agents and editors, our ability to think clearly and make sound decisions will continue. This is precisely why writers’ conferences exist. They exist to educate and inspire authors – and to remind those of us who love the publishing industry why we’re involved to begin with.
If anyone reading this blog has followed my agency for any period of time, it’s not required (on my part) that I confirm my belief that we all support and help grow our local writing communities. The process is easily accomplished by buying books locally, attending book events, creating new book events and writing opportunities, and forming a strong alliance & network for anyone who loves books & writing.
This Fall I was extremely honored to participate with the Women of Words Conference and the MN Society of Children’s Book Writers & Illustrators. Both were wonderful experiences – and ones that I’ll never forget. So much that I was reminded again of the strength and vitality of Minnesota’s writing community. Plus, I got to learn a few new things myself!
After the fact, here are several things that come to mind:
1. As a writer it’s 110% essential one builds a strong network of fellow writers and publishing types to collaborate and interact with.
Any writer’s conference or writing organization can provide that needed opportunity. Especially since choosing any book publishing route can be a long, drawn-out process. Attempting to get published without a network is never a good idea; as there will be hurdles to overcome, which can be discouraging for any aspiring author.
If you need an additional reason, you should remember that editors and agents have always tried to support and communicate with one another – as we too know that the overall publishing world can come across as overwhelming. I’d hope everyone would follow our example.
2. Constantly educate yourself.
For anyone who has played a sport – or was involved in the creation of something – there is always a need to stay abreast of the newest information, newest ideas, and methods of perfecting one’s performance.
The same goes for writing. Any of us would hope that we improve in the craft of writing over a noticeable period of time. The best way to go about accomplishing this goal is participating (and even contributing) to writer’s conferences and organizations. Every student needs a teacher. And every teacher needs a refresher course – to which joining a strong writing organization or conference allows that opportunity.
3. Celebrate the small successes.
We all know that Rome wasn’t built in a day. If one compares his/her writing life to the growth of a large city, the overall general process takes time. . . and requires lots of patience.
Develop reasonable timelines for the goals you want to accomplish; whether it’s in regard to writing, building an author platform, and/or finding an agent. Try to not panic during the process – and most importantly take a moment to celebrate even the smallest accomplishments. I’d personally suggest a cupcake for each moment – but that’s me. 
What has your experience been regarding writer’s conferences and being involved in local writing organizations? What have you learned from the overall process? And most importantly, how are you sharing your experience with others?
I can’t wait to hear what you have to say!
by Dawn Frederick
Right now I’m very excited about the 2012 happenings in my own literary/ publishing world. The mad dash begins in January – and I’m assuming the pace will be as equally interactive when 2012 rounds out.
To those who are saying “Hey it’s still 2011!?!” – I understand. Yet, in the world of publishing, one needs to think outside the present. Especially when determining when to take a book idea to publishers (who are usually buying books 1-2 years before they’re published), and being able to juggle the busy admin duties of “the sofa” during that time.
One of the newest additions to my calendar is teaching a class at the The Loft Literary Center next April. Instead of being a class intended for adults, it’ll be a class for older teenagers. The class will cover the business of publishing, as there’s an entirely new generation of aspiring writers. Many who grew up reading Harry Potter, Twilight, Diary of Wimpy Kid and more. They are avid readers, know technology (better than most adults it seems), and already bring a discerning taste on what they want to read. . . or write.
Going back to the reference of bringing a forward thinking mind to publishing - this new generation is already preparing to enter our literary world. Do you hear me everyone? These smart young adults are getting ready to navigate the figurative publishing waters.
Several reasons why this is awesome: Many teens are tech savvy. They also grew up in a time when the Young Adult sections doubled, sometimes even quadrupled, in titles offered. Plus, it’s normal for many teens to be running their own websites; some are already successful at it. (Do I even to start dropping names here?) And last but not least, these up and coming pre-adults are ready to learn how the cogs of publishing turn – ultimately hoping to learn how a book is published, how it reaches readers, and how to successfully & skillfully put an idea on paper.
Yes, timing is everything. And right now the time is to give the teens a chance to learn how and why book publishing thrives. My theory is that this time/value investment will result in a larger segment of readers and more books sold, as well as additional proof that publishing will never die – especially to some of the naysayers who believe such a myth.
Yes, I’m excited. But really my main goal is to share the same passion I had as a teenager. Forget zombie contagions. I’m all about the reading and writing contagion.
As Dr. Seuss aptly stated in “Oh, The Places You’ll Go!”
You have brains in your head.
You have feet in your shoes.
You can steer yourself
any direction you choose.
You’re on your own.
And you know what you know.
And YOU are the one who’ll decide where to go.
Are those of us in publishing (from any role) ready? I know I’m excited to see what comes of these future adults. What about you?
It’s hard to explain how excited I get with each new installment! So many smart and interesting individuals have already participated, to which I find myself fortunate to include Michele Wells in this month’s Red Sofa Chats. I’ve long enjoyed her banter and insight on publishing in the Twitterverse. Plus, Michele is a great editor, tech savvy, and makes sure to contribute to her community. Last but not least, I can’t help to encourage that you follow her on Twitter, as you’ll see she too agrees on its many benefits.
For anyone who comments or asks Michele a question, you’ll be eligible for nonfiction proposal critique. The winner will be announced on Sept. 29th.
Bio: Michele Wells has fifteen years of experience in publishing, both in print and multimedia. Currently working as a senior editor for DK Publishing editing illustrated nonfiction for children and adults, she previously acquired adult nonfiction for McGraw-Hill and Penguin Group USA, and edited series nonfiction for children and young adults. The author of several nonfiction books, she holds a BA in dramatic writing and art history from NYU and is pursuing a master’s in adaptations and documentary film, also from NYU. Michele is the founding chair of First Book-Brooklyn, a nonprofit organization focused on getting new books to children in need; she also volunteers regularly with the literacy and mentoring program Everybody WINS! Power Lunch. She lives in Brooklyn.
Twitter: @MicheleWells
1. Why did you choose to become an editor?
I can’t think of a time when I ever wanted to do anything but work with books. I’ve been reading since I was three years old, and still have some of the first “books” I wrote and illustrated when I was five, so it was basically a foregone conclusion that I’d end up working in publishing.
When I was 19 I applied to work at a temp agency that did staffing for Prentice Hall, which was at the time part of Simon and Schuster. I took an editorial test, was hired full-time, and went on from there. That’s why, whenever people starting out in publishing ask who you “need to know” and how to “break in,” I encourage them to try something a little different. Temping got me into publishing—and to this day every single editorial job I’ve gotten has come through simply submitting an application on the company’s website. I really do think it’s less of who you know than what you know, and how you present that information to showcase your qualifications for a given position.
2. Are there any projects you wish you could have edited?
I’ve edited nonfiction throughout my entire career, but tend to read fiction for fun. Two recent novels I’ve loved, and would have loved to have edited, are The Night Circus, by Erin Morgenstern, and Those Across The River, by Christopher Buehlman. Both are really fantastic reads—I highly recommend picking them up! In nonfiction, I would have loved to have worked with Mary Roach (Stiff, Spook, Packing for Mars), whose books are an absolute blast, or Erik Larson (The Devil in the White City, In the Garden of Beasts), whose writing is simply gorgeous.
3. What are you reading right now (for personal reading, for fun)?
I’ve just finally gotten my hands on an advance of Haruki Murakami’s 1Q84, and am devouring it. My all-time favorites (at least, for today) are Atwood’s The Blind Assassin, Chabon’s The Amazing Adventures of Kavalier and Clay, Eugenides’s Middlesex, and Pamuk’s My Name is Red. I still haven’t yet gotten around to buying an ereader for personal use, so I still read almost everything in paperback. This means I’m either two years behind what everyone else was reading in hardcover, or ahead of everyone else if I’ve gotten my hands on an ARC. (Which adds another point to the ereader argument, of course—but there’s just something about a physical book that I’m not ready to give up for pleasure reading.)
4. How do you utilize Twitter? How do you believe it has changed the way we go about publishing books?
I’ve sourced everything from opinions on an idea I was developing, to experts for technical edits, to authors with niche experience and specific audience appeal on Twitter. You can put a question out on Twitter, and within hours—or sometimes even minutes!—you’ll have leads that you wouldn’t have found through other means.
In addition to the obvious network expansion Twitter provides and the ability to have a discourse with others in your field whom you might not have known otherwise, Twitter opens the door to quite a lot of give and take within the industry. And Twitter not only helps writers build a platform and a maintain a direct connection with their audience, but encourages concise, precise writing, as well. If you only have 140 characters in which to say something, your writing really has to be tight to be effective.
5. If you had a crystal ball, where do you think (or hope) publishing will be in 5 yrs?
I think in general we’re increasingly becoming more concerned about the global appeal of content, and the shifts we see now in publishing reflect that. I would imagine that as we continue to strengthen offerings with ebooks, book trailers, enhanced video books, and shared online content, paper books will become items that are to be collected and saved—but overall the content will have a much more global appeal. In addition to the obvious growth in all things digital, it may be that translation and foreign rights will be areas that will expand in the next several years.
Michele, once again, thank you! For my readers, what are your thoughts? Your questions? Do you agree that Twitter will help bring a larger global appeal to books and publishing? What has been your experience with writing, working with social media, or finding your niche in the publishing world? Let’s discuss. . .
I always get excited when there’s a chance to share new and exciting updates for Red Sofa Literary. Please take a moment to congratulate Jennie Goloboy on her recent promotion! Having worked as the solo agent at my agency for the last three years, it’s a treat to see Jennie evolve (and quickly no less) into the role of Associate Literary Agent. I know without a doubt that she’ll bring her own sense of ownership and strong knowledge of books to this new role.
There are many reasons why I’m excited:
- Jennie is an aspiring writer herself. So much that she penned a zombie romance with lots of spunk and her own brand of quirkiness (which we know I like in spades). Anyone who works with her will appreciate Jennie’s empathy for the overall writing process.
- Jennie knows what she wants, and will communicate it accordingly. This ability to be decisive will bring her far as an agent.
- Jennie loves fiction. If anyone has followed me or my agency, fiction is not one of my representative categories – but Jennie is specifically
looking for writers of paranormal and science fiction/fantasy. Her knowledge of those categories is incredible. - She’s a positive, smart, and extremely knowledgeable person. And very resourceful. On more than one occasion, Jennie has shown
these traits. Once again, I’m a lucky gal to have her on board!
This means that Jennie will now be building her own client list. She is looking for YA and adult speculative fiction with a literary edge; especially books with well-developed characters, a sense of humor and perspective, and happy endings. Plus she is a sucker for good romance, as well as noir-influenced narration and attitude. In regard to nonfiction, Jennie is looking for books in the biography and history categories. Jennie brings a special love for American history, but will consider other projects as well. (Please note that she won’t be representing memoirs). She is available via email should there be any questions, or if you’d like to send a query her direction. Her email: jennie@redsofaliterary.com Her Twitter: @JennieGoloboy
Congratulations Jennie!
Tonight I had the fortune of attending the Talk of the Stacks event with Roy Blount, Jr. – and what a treat! I’ve long admired Roy Blount, Jr., as he is a well-established linguist & author, former president of The Authors Guild, a lover of words and thinking-outside-the-box, and of course one of my favorite regular guests on Wait Wait…Don’t Tell Me!
I’ve often stated that to be writer, one needs to be an overly zealous reader. That some folks are meant to write books, because it’s a part of their “being;” while others (like me) are solely meant to be lifelong readers as it defines our existences. This is my own personal observation, others may disagree. Nevertheless, I’m fairly confident I’m not alone in this belief.
Roy struck a few chords with me this evening – two of which I wanted to share:
- That words should be (and are) kinesthetic, i.e. sensory. Writing words on paper,forming sentences, telling a story: it should be a sensory experience. Yes! Writing should be this way, and a reader unconsciously will notice it when enjoying a good book.
- That one’s words need to have a “Garden Path.” Be fully aware that the order in which words are placed can have multiple interpretations. I’ll use a basic example: a boyfriend can indicate one having a friend that is a boy, or the more obvious definition of whom one’s dating.
That’s just TWO of the many interesting points Roy made during tonight’s event. Both pointing to how one’s use of words, voice, and passion to write will influence the overall book.
This goes back to my personal observation of those meant to write, and those meant to read.
As a ch
ild, I had no desire to keep a diary or draw a picture book. I preferred to read, let alone read as many books as possible. So the habit of carrying books to and from home started early in life, specifically in kindergarten. Three of those titles were a used copy of the 1958 Snoopy Weekly Reader (which was further destroyed due to the many times I read it & carried it to school), a used 1972 edition of Otherwise Known as Sheila the Great by Judy Blume (which I wrote my name in purple marker across the cover & placed a 1984 Sticker of Michael Jackson on the inside cover 
), and a 1958 used copy of Crictor by Tomi Ungerer (which is now falling apart, so much I had to buy a new copy).
The reason I carried those books around – marking my name in them, ruining them beyond their used state, and hence why they are still on my shelves today – is because I liked the words, how the words were put together, the images, and the sensory experiences of reading them.
Not just anyone can accomplish such a feat – convincing a young child (or adult) to become a lifelong reader, to carry books everywhere s/he goes, and of course taking the time to invest money in building a personal library. In the larger picture, once ONE writer gains a reader, the rest of the publishing world benefits. Reading books is similar to any other addiction – reading a good book will lead to wanting to read ANOTHER good book, and so forth. Simply the best kind of “addiction” one can have, at least as far as I’m concerned.
For writers, contributing to this process (thereby producing new books for readers) takes the same passion for words that Roy Blount, Jr brings to the table – enjoying the sounds words make, taking into consideration the general impression one gets from the sound of a word(s), and putting phrases together that connote a new idea or tells an engaging story.
I’ve nothing but respect for those who write. For the time being I’ll continue being an avid reader – and of course a literary agent.
