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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! :)
Yes, my job rocks. I’m on record for saying this many times; but when there’s an opportunity to interact with so many smart, well-read, quirky, endlessly interesting, and friendly individuals in publishing – my love of publishing, authors, and the people behind the scenes grows even more. The newest Red Sofa Chats is a special one. My guest is Michelle Witte, a gal who has worn many hats in our world of books. When Michelle agreed to do this, I was ecstatic!
This is a great interview, especially she refers to the process of writing as going back to the basics of “a word, a sentence, a paragraph, a page.” Having just experienced a near panic attack from writing a NEWSLETTER, this calms me down significantly. If YOU the writer can write a book, I can then write as many newsletters (as needed) by simply remembering Michelle’s calm and encouraging advice.
With this newest installment, there’s the opportunity to win a Query Packet Critique by Michelle (one of the editing services she offers). This will include the critique of a query letter, up to 3 pages of a synopsis, and the first 15 pages of the manuscript. To enter your name a comment and/or question needs to be posted to Michelle. The winner’s name will be drawn on 7/29/11.
Her Bio:
Michelle Witte spends every moment possible with the written word, as a reader, writer, and editor. She offers her expertise to authors and publishers as a freelance editor and writer. Author of the forthcoming Craptastic Guide to Pseudo-Swearing (Running Press, Spring 2012).
Once upon a time, she owned children’s bookstore Fire Petal Books in Utah. Before that, she was an associate editor with nonfiction publisher Gibbs Smith and a copy editor with the Deseret Morning News. You can find out more at www.belletrinsic.com or follow her on Twitter: @michellewitte
1. Michelle, you’ve worn many hats in publishing, which many of us (including me) find your perspective very valuable. In the larger picture, why did you choose to become an editor?
I’ve always loved words. I was a bit of a packrat when I was young, so I still have some of the very first stories I wrote. It’s always been part of who I am, but I never imagined it would take so literal a form.
Even when I was in high school, I loved writing short stories and poetry, but I never thought I’d be patient or persistent enough to write a full-length book. Nor did I want to work as an editor because who wants to memorize all of those rules. It generally comes naturally to me, but the thought of memorizing style guides was completely off-putting.
But once I got to college and started into my journalism coursework, I realized that I love to take what someone has written, point out the flaws, fix the minor errors, and basically help turn it into something wonderful. That’s still what I love about editing. I can see a piece of writing and help the writer see where its weaknesses are so he can take that and make it even better. My life revolves around stories, even if they aren’t necessarily the ones I tell.
In my career I’ve gone from newspaper reporter and copyeditor to book editor to bookstore owner to freelance writer and editor, but each step along the way has taught me about words and writing. That’s what it really breaks down to: a word, a sentence, a paragraph, a page. Then building on those elements until you have an entire book filled with words. It’s absolutely incredible, and something you can’t really understand until you hold a finished book—glossy cover and carefully typeset pages that you toiled over for months and even years. To see it in such a finite state makes the words real. It makes the stories real.
And that’s what publishing really is, what being an editor and writer is: telling compelling stories. Forget that, and you’ve lost sight of who you are and what you do as a writer.
As a note: the grammar and spelling and rules tend to come naturally once you work with words enough. That is, if you pay attention to the minuscule details and use your style guide like a bible. It also helps to take a basic editing course if you’re interested in it but don’t have practical experience, like in an internship or at a newspaper.
2. Stepping back, are there any projects you wish you could have edited?
When asked this question editors tend to discuss books they loved and adored that they wish they could have worked on. For me, it’s the opposite. I see books that I wish I could have guided because the potential was there and it was so, so close, but either fumbled or tanked in the end. It’s those cases where I wish I could have said, “Well, why don’t we try this. Maybe explore this concept a bit further. This section really seems flat. What can we do to fix that?”
A writer recently told me that writers don’t like to hear that their books need to be fixed. That’s too bad, because writing won’t improve if no one is there to say it’s not good enough—at least not yet. It can be better, and you can do it. Because, honestly, editors are coach and cheerleader rolled into one terrifying bundle: they tear you down, build you back up, and then cheer as your loudest supporter.
3. I know that you also have a book coming out next year (so excited!) – What was your experience like in working with an agent (Jean Sagendorph of Mansion Street Literary - whom I absolutely adore and believe to be a fantastic agent). Any knowledge or advice you’d like to share with other writers on how to make a good agent/author and editor/author relationship?
The most vital and important thing an author needs to establish with her agent and editor is good communication, and I’ve learned this as both editor and writer. I could share too many stories of communication breaking down and books falling apart because of it.
I’m not just talking about joking with your agent/editor on Twitter or Facebook. You’ve got to establish now how you’ll communicate in your partnership on business matters. Would you like your agent to check in by email once a week during submission, or would you rather wait until there’s news? Do you want to see rejections from editors? Do you hate discussing business by email and would prefer to speak on the phone about important matters?
Discuss how you’d like to communicate before you even get working so you can avoid misunderstandings, and especially the dreaded silence on the other end. Agents have no way of knowing if you get neurotic when you don’t hear from them every two days unless you tell them. They won’t have a clue that you’ve been pacing the floor like mad, waiting breathlessly by the phone for their call if you never said you’re expecting one. If you’ve ever heard of writers dumping agents because they wouldn’t respond to emails or they just didn’t get along well, imagine how that could have been different if they’d made their communication style clear from the get-go.
We all have our quirks, but the sooner we know about each other’s idiosyncrasies, the better it works out in the end. If there’s any point I can stress on good agent/author or editor/author relationships, this is it.
4. What are you reading right now (for personal reading, for fun)?
I’m just finishing up several large projects, so I honestly haven’t had a chance to read recently. (Does watching Doctor Who count?) Two books I’m really excited to get to, though, are Ultraviolet by R.J. Anderson and The Girl of Fire and Thorns by Rae Carson.
I’m really excited about Ultraviolet because the publisher, Carolrhoda Lab, is doing crazy cool things with YA fiction. I’m learning I can expect awesomeness from whatever they put out. One recent fave from them is Savannah Grey by Cliff McNish. My mind was so eloquently blown by that book.
5. How do you utilize Twitter? How do you believe it has changed the way we go about publishing books?
I’m a bit of a Twitter addict, but it’s almost unbelievable how many professional (and personal) connections I’ve made through social networking. I met my agent, Jean, via Twitter, as well as other great colleagues and friends.
I started on Twitter mainly as a way to find a link with the publishing community back in New York City. Most of the publishing world is there, with some smaller presses scattered throughout the U.S. Working as an editor in Utah felt like a void compared with all the friendships and connections editors in NYC have.
That’s how it started, but since then it’s become more of a support system and university and convention on publishing whenever I want it. I can chat with world-renowned authors, discuss the evolution of digital publishing with brilliant analysts, or talk nonsense with anyone who’ll participate.
At its heart, Twitter is what you make it. If you want a professional tool, great, use it for that. If you want to create a support group of other struggling writers, do it. If you don’t want any of those things and can’t find a single good reason to be online when you could be writing, then stop. Do what is best for you, your writing, and your career. There are countless successful writers who have never spent even a second on Twitter, and they’re doing fine. If it’s for you, great. If not, get off it and stop complaining it’s a waste of your time.
6. If you had a crystal ball, where do you think (or hope) publishing will be in 5 yrs?
Predictions are not my forté, so I’ll leave that for professional prognosticators. Sounds so much better than psychic, don’t you think? 
But that’s all it really is, at this point, when we guess where publishing will go. No one knows anything for certain, but so long as publishers and others take advantage of good opportunities, stop doing what isn’t working, and keep doing what’s right, the industry will make it.
I do hope writers will jump in and make publishing a success, whichever path it takes, and that they’ll be positive and focus on what they can do and stop whining that publishing is an archaic yadda yadda yadda . . . Honestly, the way the entire world interacts is changing and will continue to change. Discussing the future of publishing is fine and all, but it gets to the point where talking doesn’t add any value. So I hope that come five years we’ll all be immersed in what it is and not so worried about what it isn’t or won’t be or can’t be.
Thanks again Michelle! Okay everyone, let’s get this train moving. What questions and comments do you have for Michelle?
It’s time to move to the “why I liked my authors’ writing” segment. This is the BEST part of the agenting process, reading a potential project that brings an excitement and enthusiasm. This segment is all about the writer’s voice, and ability to keep the agent’s interest.
First and foremost, it’s the story that needs to grab my attention. By this point, the book idea survived the initial round of the query process; now it’s time to see if the writer can present the idea successfully within the chapters. No matter what the topic or storyline, every writer should strive to get the agent excited about the material being presented. If I lose interest within the first few pages of the writing sample, the project will definitely be turned down. Moral of the story: Keep the material engaging and interesting from the first page.
The next (and most important) step is the writer’s voice. Now that you’ve gotten an agent’s attention, and there is an interest in the project, the only way to keep pace moving forward (toward representation) is by providing a strong narrative. If the writing voice is strong, there’s a good chance I personally will lose track of time, as I’m enjoying the “read.” For any writer hoping to attain an agent, this should be your goal.
One of my authors once told me he reads his chapters aloud as part of the writing process. As a result, his writing voice is dead on. Hence, time seems “to fly” when I read his work. Obviously this is only one approach; the lesson here is that he gained my attention by being extremely thorough and prepared before sending out his query. Moral of the story: Fine tune your writing to its fullest strength before beginning the query process.
Last but not least, look at the conclusion of the story. If you’ve managed to gain an agent’s attention, the book needs to end as good as it started. In fiction, it’s evident when a writer isn’t able to bring the narrative to a conclusion; where the story seems to have jumped off a figurative cliff, thereby leaving a lack of finality to the overall storyline. In nonfiction, the chapter outline needs to reflect a successful closing to the discussion of the book’s topic. Much like seeing a bad movie ending, where the movie patrons feel they’ve lost a hunk of their precious time, this same feeling needs to be avoided during the reading experience. Moral of the story: Put the same work into the conclusion of your writing (as the beginning), to ensure the agent walks away with the same excitement initially experienced.
Of course, every agent brings his/her own reading preferences to the overall query process. What one agent doesn’t like = a project a different agent would LOVE to represent. That’s the beauty of the publishing industry, there are many ideas and perspectives, and folks who will happily work with them. This is why I love my job. 
What a fun and interesting week of blogs and “reads!” Instead of commentating on all of them, here are a few of the articles themselves – so go check them out!
Fusenews: Long Time Passing - by Elizabeth Bird, School Library Journal
Kid Goth: Neil Gaiman’s fantasies - by Dana Goodyear, New Yorker
What You Need Before You Query – by Janet Reid, at Fine Print Literary Management
The Death of the Sluth Pile – by Katherine Rosman, Wall Street Journal
The Slush Pile – by Andy Ross, at the Andy Ross Agency
Happy reading everyone!
This morning, while dealing with the wintry precipitation on my sidewalks and driveway, an illustration of shovelling snow and the process of planning one’s publishing/writing career came to mind. Yes, even while pushing snow around, publishing still is at the forefront of my mind.
1. Look at the bigger picture – determine where your book will fit within a particular category, and within the larger publishing industry.
Wintery illustration: If one is shovelling snow in 40 mph winds, it’s a good idea to hit the spots that are absolutely necessary. Why would one shovel the lawn when only the sidewalks and driveway are necessary?
Take this approach with publishing. Why would a writer be too broad with a book idea? It’s much better to narrow down the topic/approach, so that one’s writing voice is truly effective.
2. Choose a path – One needs to determine the initial marketing plan (i.e. writing platform) hand-in-hand with developing one’s book idea.
Wintery illustration: To use the snow blower or the shovel? Using the shovel means it’ll take longer to remove the snow. Using the snow blower will obviously hasten the process. However using the snow blower in 40 mph winds may result in more work, i.e. the snow blowing back at the snow remover. Yet, using the shovel, and choosing the perfect starting point and methodically removing the snow to a designated stopping point = less work, and less need to “redo” it.
There’s nothing more discouraging than seeing a wonderful book idea for a first-time writer, only to realize that the person has no writing platform. It’s evident the writer has put his/her heart into the process of writing the book, but sadly didn’t develop a marketing plan to go along with it. I always look at the book idea and the writer’s “platform,” as most editors will want to see strength in both of these areas. If it seems the author can take care of the “platform,” there’s still a chance I’ll work with him/her. It just means that the writer will need to work on this area before we can move forward with the submission proccess to the publishers.
My advice? Think about how to promote yourself, use social networks, join organizations that advocate and support writing, and more. Meanwhile develop one’s writing voice simlutaneously. It’ll save time, patience, and bring a sense of fulfillment to the writing experience.
3. Be prepared - Put on your figurative armor. Do the best you can do, and don’t take the rejections too personally.
Wintery illustration: One thing that is necessary is good bundling for the shovelling process. A good coat, scarf, mittens, and clothes layering is absolutely necessary. Assume it will be cold, so prepare accordingly. Hence the 40 mph winds will not make the shoveller cold; thereby the shoveller is able to “weather” the experience.
Everyone knows that getting published requires thick skin, as any editor can only take on a limited # of projects. With the high rejection rates (from both agents & editors), the best thing any writer can do is be prepared. In addition to having a marketing plan in working progress, any author should put on his/her figurative armor. Instead of getting overly emotional due to rejections, remember the armor you are wearing-that this is a normal process.
4. Alter your plan as needed – If one’s marketing plan and/or writing voice isn’t working, take the time to edit/tweak the weak spots. It will be to one’s advantage.
Wintery illustration: Let’s say that despite Point A (starting point) and Point B (the end point) having been pre-determined, they aren’t resulting in the best (or most efficient) shovelling “path.” The back is hurting, the snow is deeper than initially expected, and it’s hard to keep a positive attitude. Reevaluate where to start & end again, and move on with the new plan.
No writer should finish a book, only to realize later that the entire book needs to be re-written. Talk about frustrating! Taking the time to have others critique one’s writing (during the writing process) is a good thing. Not only will it strengthen the book and one’s chance of getting published, but one will be able to determine if the storyline is on track. Ultimately if the book isn’t working, a new path can be determined before completion.
Any questions? Let me know.
