Showing posts with label links. Show all posts
Showing posts with label links. Show all posts
Sunday, September 4, 2011
New Development
I highly recommend that you check out the new online journal The Polycultural, created by some friends of mine from Wilmington. Poke around and see how you like it! One of your favorite bloggers has a post in there. Enjoy.
Monday, July 11, 2011
Lundi Links: Sweet Charity, the Animal Edition
Lundi Links is back after a long hiatus! I'm sure you've been wringing your hands over its unpredictability.
Today's theme is animal-related causes you can donate to or just learn about. First, we have HeroRATS, who use their super-smelling to seek out landmines, tuberculosis, and more.
Then there's the Carolina Raptor Center, which I never visited even though it was just steps from my door at Davidson! Not literally, but it was pretty close. They take care of injured birds and do education work. Similarly, Carolina Tiger Rescue is taking care of the big cats right near Pittsboro. Pretty cool, huh?
I completely understand when people say resources should go toward people before we worry about animals, but I want to highlight these organizations because, well, it's just cool. The next one, the big one, is not part of that argument because it uses animals to help people. Presenting The Heifer Project, my all-time favorite charitable organization! I wanted to work for them abroad after college, but it turned out they only employed locals. Let down as I was, I couldn't complain. Of course they should! That way, the people who are running the operation know the area, the land, the people, and the customs, and there's less of that icky white-man-coming-in-to-fix-things feeling. Plus, that job means much more to a poor local than it does to some post-college ne'er-do-well who wants an adventure. Seriously smart move, Heifer.
The organization, also called Heifer International, provides animals to communities who make proposals to them. That way, Heifer doesn't dictate what the community needs; they decide what will work and how they want to go about it. All the animals are used for something sustainable, like milk or wool or honey or eggs. They range in size from bees to elephants. The first animal donated was a heifer (a cow that hasn't had babies yet), and the recipients ate it. Understandable! They were hungry! But it's sort of a give-a-man-a-fish situation, and Heifer is all about teaching them to fish, so to speak. Since then, they make sure to train all recipients in how to take advantage of the animals' gifts over the long term.
I worked at Heifer's educational farm in California for a few weeks (my consolation prize for not being able to go somewhere more exotic), during which my admiration for the organization grew and grew. I really want to write a book about Heifer someday, possibly combined with other humanitarian projects that work really well and make sense.
You can be a volunteer at one of Heifer's farms in Arkansas or Massachusetts (I believe the Cali one has closed or transitioned to some other use, but I could be wrong), either on a live-in basis or as a local who comes in during the day. If your Christmases or your friends' birthdays have been a little "eh" on the gift side, think about giving donations in honor of someone, to Heifer or to any organization. I personally love picking out animals that someone will like. Baby chicks never fail to delight.
When I lived at the Heifer farm, our dining-room table and chairs had been won on The Price Is Right and donated to the center. We had a piano in the house, so I had my parents send me a bunch of sheet music and almost got the hang of "Hey Jude." We had chickens, ducks, geese, a water buffalo, goats, an ostrich, turkeys, a heifer, sheep, alpacas, and a few cats that were unaffiliated with the project. The ostrich, Sweet Pea, was like something George Lucas and Jim Henson would make together. The turkeys sounded like old church ladies at the end of the barn. The goats were my favorite, and I'd love to have one someday. Sheep are really stupid, alpacas extremely aloof, and when all of the animals were together, I got to feeling just a little jealous of Noah.
Today's theme is animal-related causes you can donate to or just learn about. First, we have HeroRATS, who use their super-smelling to seek out landmines, tuberculosis, and more.
Then there's the Carolina Raptor Center, which I never visited even though it was just steps from my door at Davidson! Not literally, but it was pretty close. They take care of injured birds and do education work. Similarly, Carolina Tiger Rescue is taking care of the big cats right near Pittsboro. Pretty cool, huh?
I completely understand when people say resources should go toward people before we worry about animals, but I want to highlight these organizations because, well, it's just cool. The next one, the big one, is not part of that argument because it uses animals to help people. Presenting The Heifer Project, my all-time favorite charitable organization! I wanted to work for them abroad after college, but it turned out they only employed locals. Let down as I was, I couldn't complain. Of course they should! That way, the people who are running the operation know the area, the land, the people, and the customs, and there's less of that icky white-man-coming-in-to-fix-things feeling. Plus, that job means much more to a poor local than it does to some post-college ne'er-do-well who wants an adventure. Seriously smart move, Heifer.
The organization, also called Heifer International, provides animals to communities who make proposals to them. That way, Heifer doesn't dictate what the community needs; they decide what will work and how they want to go about it. All the animals are used for something sustainable, like milk or wool or honey or eggs. They range in size from bees to elephants. The first animal donated was a heifer (a cow that hasn't had babies yet), and the recipients ate it. Understandable! They were hungry! But it's sort of a give-a-man-a-fish situation, and Heifer is all about teaching them to fish, so to speak. Since then, they make sure to train all recipients in how to take advantage of the animals' gifts over the long term.
I worked at Heifer's educational farm in California for a few weeks (my consolation prize for not being able to go somewhere more exotic), during which my admiration for the organization grew and grew. I really want to write a book about Heifer someday, possibly combined with other humanitarian projects that work really well and make sense.
You can be a volunteer at one of Heifer's farms in Arkansas or Massachusetts (I believe the Cali one has closed or transitioned to some other use, but I could be wrong), either on a live-in basis or as a local who comes in during the day. If your Christmases or your friends' birthdays have been a little "eh" on the gift side, think about giving donations in honor of someone, to Heifer or to any organization. I personally love picking out animals that someone will like. Baby chicks never fail to delight.
When I lived at the Heifer farm, our dining-room table and chairs had been won on The Price Is Right and donated to the center. We had a piano in the house, so I had my parents send me a bunch of sheet music and almost got the hang of "Hey Jude." We had chickens, ducks, geese, a water buffalo, goats, an ostrich, turkeys, a heifer, sheep, alpacas, and a few cats that were unaffiliated with the project. The ostrich, Sweet Pea, was like something George Lucas and Jim Henson would make together. The turkeys sounded like old church ladies at the end of the barn. The goats were my favorite, and I'd love to have one someday. Sheep are really stupid, alpacas extremely aloof, and when all of the animals were together, I got to feeling just a little jealous of Noah.
Wednesday, June 8, 2011
Photos from Wedding #1, Lauren and Paul
If you want to see some more photos, the public link to my FB album is http://www.facebook.com/media/set/?set=a.10150652364300243.688552.890485242&=16a19bed75. Here are a few others.
The church.
The carriage ride. 
The cake cutting. As I took many pictures of this, I was standing next to some teenagers who worked at the winery. I asked if they had a lot of weddings, and they said they were booked for 68 weeks. I said, "But this is the best one, right?" They said, "She is really pretty."
Some of the views we're talkin' about. Who knew this was in Missouri? I would seriously go back just for the heck of it.
Lauren's grandfather playing the clarinet at the brewery. He also played at the rehearsal dinner a little bit.
The sweet puppy at the brewery.Monday, May 30, 2011
Lundi Links: Sweet Charity
This week's Lundi Links features some of the sites that show the internet's power for good. These sites connect those with money to donate with those who need it. I have a long list of sites of specific organizations I'd like to help, but the ones I'm posting today are the ones that serve as directories or connections between many individuals or groups. To be clear, I haven't used these sites yet myself, but I have heard good things about most of them.
http://www.donorschoose.org is a very popular site where teachers can ask for funding for micro-projects: one set of books, supplies for one chemistry experiment, etc. I'm sure some of them are a bit bigger, but I love the simplicity and specificity of it, almost a poetry.
http://www.kickstarter.com is a little like donorschoose but helps fund small businesses, inventions, and creative projects. I've read up on a documentary about Matthew Shepard, a stylus tip that attaches to a regular Sharpie to make it easy to draw on an iPad, and funky drink koozies called Freakers (ILM-born!). Most of the requests have videos, and many have rewards that increase with the amount you donate.
http://www.razoo.com is a little like kickstarter but for nonprofits.
http://www.kiva.org is your path to being a microfinancer. The site partners with existing microfinance organizations (which are an inspiring and brilliant concept in themselves, although I seem to recall hearing something bad about one recently, like it went under or something?) to get small amounts of money into the hands of folks all over the world who can turn it into more resources for themselves, their families, and their communities. You can loan in $25 increments, and I believe you have a choice of receiving the money back or keeping it circulating in the Kiva system. It's incredible what these "small" amounts can do in most parts of the world.
http://www.modestneeds.org lets individuals post a specific need at a specific amount. A new muffler, travel expenses for a conference, a fan for a sick child in the coming summer, things that cost money but not astronomical amounts and that will make big improvements to the people's lives. There's some kind of point system involved.
There are several sites that keep track of charities and their activities so you know they're on the up and up (love that brand identity at Target, by the way, pipes up the designer in me). I haven't used these at all, but a couple of them for your perusal are http://www2.guidestar.org, http://www.charitynavigator.org, and http://www.charitywatch.org.
The internet, like pretty much everything, has the capacity for the most wretched evil and the most elevating good. I am so impressed with humanity when I see sites like these, how they bring strangers together for just a few minutes and a few dollars to help each other and the world. What a beautiful thing! I'm going to make a $1 donation right now. I hope you'll consider trying one of these sites.
http://www.donorschoose.org is a very popular site where teachers can ask for funding for micro-projects: one set of books, supplies for one chemistry experiment, etc. I'm sure some of them are a bit bigger, but I love the simplicity and specificity of it, almost a poetry.
http://www.kickstarter.com is a little like donorschoose but helps fund small businesses, inventions, and creative projects. I've read up on a documentary about Matthew Shepard, a stylus tip that attaches to a regular Sharpie to make it easy to draw on an iPad, and funky drink koozies called Freakers (ILM-born!). Most of the requests have videos, and many have rewards that increase with the amount you donate.
http://www.razoo.com is a little like kickstarter but for nonprofits.
http://www.kiva.org is your path to being a microfinancer. The site partners with existing microfinance organizations (which are an inspiring and brilliant concept in themselves, although I seem to recall hearing something bad about one recently, like it went under or something?) to get small amounts of money into the hands of folks all over the world who can turn it into more resources for themselves, their families, and their communities. You can loan in $25 increments, and I believe you have a choice of receiving the money back or keeping it circulating in the Kiva system. It's incredible what these "small" amounts can do in most parts of the world.
http://www.modestneeds.org lets individuals post a specific need at a specific amount. A new muffler, travel expenses for a conference, a fan for a sick child in the coming summer, things that cost money but not astronomical amounts and that will make big improvements to the people's lives. There's some kind of point system involved.
There are several sites that keep track of charities and their activities so you know they're on the up and up (love that brand identity at Target, by the way, pipes up the designer in me). I haven't used these at all, but a couple of them for your perusal are http://www2.guidestar.org, http://www.charitynavigator.org, and http://www.charitywatch.org.
The internet, like pretty much everything, has the capacity for the most wretched evil and the most elevating good. I am so impressed with humanity when I see sites like these, how they bring strangers together for just a few minutes and a few dollars to help each other and the world. What a beautiful thing! I'm going to make a $1 donation right now. I hope you'll consider trying one of these sites.
Monday, May 9, 2011
Lundi Links: Useful
Under this category in my Favorites are mostly boring things like my bank and Mapquest and the Weather Channel; you can figure out what you need in that department. But there are a few that you may not know about, things that have come in quite handy.
At http://www.icantfindmyphone.com, you can type in your phone number, and it'll ring for you as you poke around the house playing the hotter-colder game with yourself.
http://downforeveryoneorjustme.com is a pretty ingenious concept. If you have trouble getting to a site, you type in the URL and it tells you whether it's your problem. If only there were a site like that for personal problems.
At http://www.oneacross.com, you can type in the clue that's stumping you in a crossword puzzle, plus the pattern (like, "refined" and "cl***y"). You'll get a list of possible answers rated by likelihood. Whether this is useful, because it aids a relatively non-useful pastime, is debatable, but I like it.
Another site of debatable usefulness, and one I've never actually used but is a cool concept: http://www.filleritem.com helps you find something to get you just over the $25 mark on Amazon so you can get free shipping. Or you could join Amazon Prime and always have it. Or, shop at used book sales instead.
That's it for today. Check back for more Lundi Links next Monday, and maybe a regular post or two in the meantime.
At http://www.icantfindmyphone.com, you can type in your phone number, and it'll ring for you as you poke around the house playing the hotter-colder game with yourself.
http://downforeveryoneorjustme.com is a pretty ingenious concept. If you have trouble getting to a site, you type in the URL and it tells you whether it's your problem. If only there were a site like that for personal problems.
At http://www.oneacross.com, you can type in the clue that's stumping you in a crossword puzzle, plus the pattern (like, "refined" and "cl***y"). You'll get a list of possible answers rated by likelihood. Whether this is useful, because it aids a relatively non-useful pastime, is debatable, but I like it.
Another site of debatable usefulness, and one I've never actually used but is a cool concept: http://www.filleritem.com helps you find something to get you just over the $25 mark on Amazon so you can get free shipping. Or you could join Amazon Prime and always have it. Or, shop at used book sales instead.
That's it for today. Check back for more Lundi Links next Monday, and maybe a regular post or two in the meantime.
Monday, May 2, 2011
Lundi Links: Art and Visuals
Today's focus for Lundi Links is the sites that make me go "ooh" and "ah" in a purely visual sense.
http://www.guidodaniele.com is the site of an artist who paints mostly on other people's hands. It's awesome stuff.
http://azuregrackle.com/periodictable/table/ is a project that recruited different artists to design prints for each element of the periodic table. Extra points for blending art and science.
http://www.brickartist.com has some very impressive Lego sculptures, including Conan O'Brian.
http://www.abelardomorell.net is the site of a really neat photographer. One of the first things you find is camera obscura work.
At http://irinawerning.com/back-to-the-fut/back-to-the-future/, you can find grown folks reenacting pictures from their childhoods. Cross-reference: Funny.
Five at a time is enough, so that's all for today's Lundi Links. Check back next week for more, and possibly some regular posts in the meantime.
http://www.guidodaniele.com is the site of an artist who paints mostly on other people's hands. It's awesome stuff.
http://azuregrackle.com/periodictable/table/ is a project that recruited different artists to design prints for each element of the periodic table. Extra points for blending art and science.
http://www.brickartist.com has some very impressive Lego sculptures, including Conan O'Brian.
http://www.abelardomorell.net is the site of a really neat photographer. One of the first things you find is camera obscura work.
At http://irinawerning.com/back-to-the-fut/back-to-the-future/, you can find grown folks reenacting pictures from their childhoods. Cross-reference: Funny.
Five at a time is enough, so that's all for today's Lundi Links. Check back next week for more, and possibly some regular posts in the meantime.
Monday, April 25, 2011
Lundi Links: Funny
Here are a few things on the 'net that consistently make me laugh.
http://catalogliving.net has a perfect eye for the absurd. The creator is the lady from this and several other funny commercials: http://www.youtube.com/watch?v=hjHoxSKqE0M&feature=related.
http://slushpilehell.tumblr.com is a real agent's mental responses to real queries.
http://tinyartdirector.blogspot.com is a chronicle of a young girl's responses to her professional-artist dad's drawings. It is rarely updated, but maybe it is new to you.
http://www.unnecessaryquotes.com shows pictures of signs all over the place that misuse quotation marks, and a brief response about what they really mean.
http://hyperboleandahalf.blogspot.com is just a really good, funny blog.
On http://www.overheardinnewyork.com, people send in things they really overheard. From there, using the colored rectangles, you can find Overheard at the Beach, Overheard at the Office, Overheard Everywhere, and Celebrity Wit.
Enjoy! Next Monday will bring links in a new category.
http://catalogliving.net has a perfect eye for the absurd. The creator is the lady from this and several other funny commercials: http://www.youtube.com/watch?v=hjHoxSKqE0M&feature=related.
http://slushpilehell.tumblr.com is a real agent's mental responses to real queries.
http://tinyartdirector.blogspot.com is a chronicle of a young girl's responses to her professional-artist dad's drawings. It is rarely updated, but maybe it is new to you.
http://www.unnecessaryquotes.com shows pictures of signs all over the place that misuse quotation marks, and a brief response about what they really mean.
http://hyperboleandahalf.blogspot.com is just a really good, funny blog.
On http://www.overheardinnewyork.com, people send in things they really overheard. From there, using the colored rectangles, you can find Overheard at the Beach, Overheard at the Office, Overheard Everywhere, and Celebrity Wit.
Enjoy! Next Monday will bring links in a new category.
Thursday, March 31, 2011
Focus
This evening, I am writing this very late, and I am very tired. I haven't accomplished terribly much more today than I do on any other day, but I've been doing things all day. For instance, my grandfather sent me a link to an online jigsaw puzzle, and then I found out that I can do infinite numbers of puzzles. That's not really a for-instance, it's pretty much the only distraction I had today. I love and hate finding new computer games or other distractions. Love because I am amused or challenged or get to use my brain in new ways, and hate because, God, look at me. Think of how well I could have used that time instead. Think of how asleep I could be right now, how much shorter my list could be tomorrow, how much less frazzled I could be as I pack for the weekend tomorrow afternoon.
Things always turn out well for me. Somehow, the things I'm obliged to do get done, no matter how much time I spend on things no one holds me accountable for. This is very much a blessing, but I think it keeps me from reforming and saying a resounding "NO!" to these time-eaters. The best thing I can do, for now, is remind myself of the power of focus and the importance of my top priorities. I thought of this article from Utne, which is actually an excerpt from a book. It's stuck with me for months because it talks about the far-reaching effects of focus or lack thereof. I need this today, and maybe you do, too.
Things always turn out well for me. Somehow, the things I'm obliged to do get done, no matter how much time I spend on things no one holds me accountable for. This is very much a blessing, but I think it keeps me from reforming and saying a resounding "NO!" to these time-eaters. The best thing I can do, for now, is remind myself of the power of focus and the importance of my top priorities. I thought of this article from Utne, which is actually an excerpt from a book. It's stuck with me for months because it talks about the far-reaching effects of focus or lack thereof. I need this today, and maybe you do, too.
Wednesday, September 15, 2010
Excellent Day
This morning I slept about an hour later than usual and felt it pleasantly in my joints upon waking. I visited Karen at the Little Chapel to pick up a book I'd loaned her. She told me I'd lost weight! I always love seeing her.
I went to the Poplar Grove farmers' market to buy tomato juice from Alexis and Betsy, but they gave it to me for free because they liked the article I'd written about them. They had framed a copy! I also picked up a Pink Lady apple and two sweet chili peppers from a booth that had almost a whole table of just peppers and another of just apples, plus fragrant muscadines, blueberries, eggplant, and more. The peppers were individually priced, which pleased me for some reason (as in not by the pound or ounce).
I then stopped at a thrift store and, after much trying-on, bought only books: a Hafiz/Hafez volume and Miss Rumphius. There was a Little House on the Prairie cookbook, but I was happier to glance at it than I would be to own it.
My assignment for the day was to cover the United Methodist Women's Game-a-rama. They were so sweet and insisted that I eat from the buffet. Shockingly, I was happy to see the veggie plate and gleefully took carrots and broccoli to dip in the ranch dressing. I got three or four little desserts and after a couple of bites, thought, "I don't really want to finish this." Who am I? It was a great feeling, to eat good things and skip less-good things not because I felt obligated but because that was what I wanted. I never. (I didn't actually skip the desserts because I was worried about someone seeing me throw away their own creation. And because I was just so incredulous that I fell back on habit. Or something.)
I went in to the office after that and got some interesting work news about a possible change. I saw on email that Harris Teeter's baguettes were half off, so I went there after work to pick up one of those and a few other things. Came home and read, then I went to have FONDUE at the Little Dipper! I can hardly think of anything I'd rather do than dip things in chocolate and cheese, especially in such rich and relaxed company.
Now, to make some more days like it. Go!
I went to the Poplar Grove farmers' market to buy tomato juice from Alexis and Betsy, but they gave it to me for free because they liked the article I'd written about them. They had framed a copy! I also picked up a Pink Lady apple and two sweet chili peppers from a booth that had almost a whole table of just peppers and another of just apples, plus fragrant muscadines, blueberries, eggplant, and more. The peppers were individually priced, which pleased me for some reason (as in not by the pound or ounce).
I then stopped at a thrift store and, after much trying-on, bought only books: a Hafiz/Hafez volume and Miss Rumphius. There was a Little House on the Prairie cookbook, but I was happier to glance at it than I would be to own it.
My assignment for the day was to cover the United Methodist Women's Game-a-rama. They were so sweet and insisted that I eat from the buffet. Shockingly, I was happy to see the veggie plate and gleefully took carrots and broccoli to dip in the ranch dressing. I got three or four little desserts and after a couple of bites, thought, "I don't really want to finish this." Who am I? It was a great feeling, to eat good things and skip less-good things not because I felt obligated but because that was what I wanted. I never. (I didn't actually skip the desserts because I was worried about someone seeing me throw away their own creation. And because I was just so incredulous that I fell back on habit. Or something.)
I went in to the office after that and got some interesting work news about a possible change. I saw on email that Harris Teeter's baguettes were half off, so I went there after work to pick up one of those and a few other things. Came home and read, then I went to have FONDUE at the Little Dipper! I can hardly think of anything I'd rather do than dip things in chocolate and cheese, especially in such rich and relaxed company.
Now, to make some more days like it. Go!
Thursday, August 19, 2010
Just a link for today
I've been reading my daily Sojourners emails much more attentively lately, because I may one day apply for their sweet internship. It's been extremely rewarding and enlightening, such that I mourn what I missed by deleting so many before.
Here's just one of the great articles they linked to.
http://blog.sojo.net/2010/08/19/football-and-ramadan
Very inspiring.
Driving along in the deluge today, just reciting the names of those I'm thankful for was such a powerful prayer that it brought me to tears. That includes my three devoted followers! Blog followers, that is. I don't have any personal followers. Yet.
Here's just one of the great articles they linked to.
http://blog.sojo.net/2010/08/19/football-and-ramadan
Very inspiring.
Driving along in the deluge today, just reciting the names of those I'm thankful for was such a powerful prayer that it brought me to tears. That includes my three devoted followers! Blog followers, that is. I don't have any personal followers. Yet.
Wednesday, May 5, 2010
AWP 7: To Publish or Self-Publish?
The main guy who talked at this panel was Will Harris.
Self-publishing has a bad name, but if you're an indie filmmaker or musician, that's cool. So think of self-publishing as being an indie publisher.
If you're going to self-publish, you'll probably have some control over the cover. People always judge books by their covers, so be sure to make something great. Here are some things to keep in mind with covers.
1. Distill the book's theme and tone.
2. Be clear, even obvious.
3. Be bold, with no boxed-in tiny images. Let the image fill the field! Type in it, not next to it.
4. Be open to the unexpected.
5. Trust your designers. Don't be married to a specific concept. It's OK to argue with the designer, but if you do, have a reason that's related to the book.
Which leads us to the next list, Working with a Designer.
1. Brief them in one page about the project.
2. Be clear about themes.
3. Show covers you like, but...
4. ...no expectations.
5. Feel first--don't overthink.
6. Don't tell them how to design! You can share ideas, but don't say, "Put a cat in the corner."
Don't use timid type. Put nudity on the cover if possible (subtle nudity, to make sure it stays on shelves).
Pitfalls of design:
weak type
anonymity
too much going on
image or type too small in relation to cover
Pictures or people are very effective--people look at people--but not too specific, just a suggestion. You don't want to nail down how the reader can imagine a certain character.
All the major self-publishers are fine, there are no glaring differences or problems with any. The question is what you are going to do, how you are oging to separate writing from editing and designing.
Find your tribe. There are probably ten million people for each author who already love you, agree with you, and want to be your friend. You have friends, a family, colleagues. List fifty people in real life who really like you. Build from there, and that's your tribe. Also go after your mentors and heroes and say you love them. Most of them will honestly and sincerely relate to you if you do so with them. Concentric circles will grow outward from who's already in your life. All of the platforms (Facebook, etc.) are what you make of them. Make sure the relationships on there are actual ones that will help, not just friends for the sake of having a lot of friends.
The two types of people most preyed on are actors and authors. "They'll buy anything if they think it's magic." Don't be in that group. Think about what you're paying for, what you'll get out of it.
Make sure you get an ISBN and a listing in the Ingram catalog. That's how you get on Amazon and stuff.
Readers don't distinguish between self-published authors and traditional publishing. Virginia Woolf, Joyce, Poe, and a long list of others self-published. If it's good, it'll fly. Yes, a lot of self-published books are bad. The founder of lulu.com said, "We specialize in bad poetry that sells six copies to the friends of the author." But remember there are also a lot of terrible books that were published traditionally. The majority of music is bad, but if you make your own CD, nobody cares that it's not produced by a house.
Think about why you're not publishing traditionally. Are you ignoring feedback? You can overcome the bad-book stigma with self-awareness, confidence, and credibility. Time will also help cure the stigma.
Finally, "Technology doesn't make a good book. You make a good book."
Some of the resources he and others mentioned:
http://www.360digitalbooks.com- printers, will ship anywhere
http://www.iuniverse.com
http://www.lightningsource.com- discount for stores, returnable books, but less simple--you have to have a fully formatted PDF for the whole book and the cover.
http://www.lulu.com
http://www.authorhouse.com, consolidating several sites
http://www.redroom.com
The next post will be about Digital Publishing and cover some of the same ground as this one. See you next time! Thanks for reading.
Self-publishing has a bad name, but if you're an indie filmmaker or musician, that's cool. So think of self-publishing as being an indie publisher.
If you're going to self-publish, you'll probably have some control over the cover. People always judge books by their covers, so be sure to make something great. Here are some things to keep in mind with covers.
1. Distill the book's theme and tone.
2. Be clear, even obvious.
3. Be bold, with no boxed-in tiny images. Let the image fill the field! Type in it, not next to it.
4. Be open to the unexpected.
5. Trust your designers. Don't be married to a specific concept. It's OK to argue with the designer, but if you do, have a reason that's related to the book.
Which leads us to the next list, Working with a Designer.
1. Brief them in one page about the project.
2. Be clear about themes.
3. Show covers you like, but...
4. ...no expectations.
5. Feel first--don't overthink.
6. Don't tell them how to design! You can share ideas, but don't say, "Put a cat in the corner."
Don't use timid type. Put nudity on the cover if possible (subtle nudity, to make sure it stays on shelves).
Pitfalls of design:
weak type
anonymity
too much going on
image or type too small in relation to cover
Pictures or people are very effective--people look at people--but not too specific, just a suggestion. You don't want to nail down how the reader can imagine a certain character.
All the major self-publishers are fine, there are no glaring differences or problems with any. The question is what you are going to do, how you are oging to separate writing from editing and designing.
Find your tribe. There are probably ten million people for each author who already love you, agree with you, and want to be your friend. You have friends, a family, colleagues. List fifty people in real life who really like you. Build from there, and that's your tribe. Also go after your mentors and heroes and say you love them. Most of them will honestly and sincerely relate to you if you do so with them. Concentric circles will grow outward from who's already in your life. All of the platforms (Facebook, etc.) are what you make of them. Make sure the relationships on there are actual ones that will help, not just friends for the sake of having a lot of friends.
The two types of people most preyed on are actors and authors. "They'll buy anything if they think it's magic." Don't be in that group. Think about what you're paying for, what you'll get out of it.
Make sure you get an ISBN and a listing in the Ingram catalog. That's how you get on Amazon and stuff.
Readers don't distinguish between self-published authors and traditional publishing. Virginia Woolf, Joyce, Poe, and a long list of others self-published. If it's good, it'll fly. Yes, a lot of self-published books are bad. The founder of lulu.com said, "We specialize in bad poetry that sells six copies to the friends of the author." But remember there are also a lot of terrible books that were published traditionally. The majority of music is bad, but if you make your own CD, nobody cares that it's not produced by a house.
Think about why you're not publishing traditionally. Are you ignoring feedback? You can overcome the bad-book stigma with self-awareness, confidence, and credibility. Time will also help cure the stigma.
Finally, "Technology doesn't make a good book. You make a good book."
Some of the resources he and others mentioned:
http://www.360digitalbooks.com- printers, will ship anywhere
http://www.iuniverse.com
http://www.lightningsource.com- discount for stores, returnable books, but less simple--you have to have a fully formatted PDF for the whole book and the cover.
http://www.lulu.com
http://www.authorhouse.com, consolidating several sites
http://www.redroom.com
The next post will be about Digital Publishing and cover some of the same ground as this one. See you next time! Thanks for reading.
Friday, April 30, 2010
AWP 6: Chabon and journalism
Michael Chabon's keynote address was so freakin' good. Here are just a few things I jotted down:
"It may be that all morality rests on our ability to see the likeness in unlike things: I and thou."
"Ideas are the easiest and perhaps the least interesting parts of the job...Ideas are swarming, ubiquitous, chronic. Ideas are a plague....There are five novels in every newspaper, ten in every work of history, one in every unhappy family." Ideas are everywhere--the trick is sticking with them.
"I gave off the moral equivalent of that new car smell."
"the pile of well-typed crap"
Life is not a story, at least not a very good story. Life is just a bunch of middle.
"I got down to the work because the serious and diligent people around me were getting down to theirs."
"If your students are lucky enough to not know everything...."
"challenging each word to defend its presence in the sentence"
"No sentence was so fine that it could not be improved upon the ninth time through."
"I believe that writers ought regularly to read the dictionary" in order to discover the musculoskeletal system, the genome, of our language.
Novelists have two obligations:
1. Bringing the dish. "They bring the news, the gossipy gospel." The author is our friend, showing us the map of a life.
2. Keeping it entertaining. Sometimes using artifice, "all the thrilling sense of deliverance that only a great lie can." Pure autobiography is the last thing we want. When you're vanishing an elephant onstage, you don't tell about the half hour you spent reading up on mirror optics in a chophouse on Wabash Avenue, sitting on a donut cushion for your hemorrhoids.
Chabon did the talk in a Q&A style, asking his own questions and doing voices and impressions of question-askers one might find in an audience, which I thought was pretty genius. He said he'd been very disappointed when he learned we couldn't have a Q&A because the space (a large ballroom) wouldn't allow it. This disappointment again drove home, like almost every panel, the point that writing and reading are all about connecting with other people.
Here are some books Chabon mentioned as having influenced him:
Oakley Hall- Warlock
Jorge Luis Borges- Labyrinths
Edith Wharton- The Age of Innocence
Vladimir Nabokov- "I admire him for Lolita and Pale Fire, but I love him for Pnin."
Love in the Time of Cholera, 100 Years of Solitude
Moby-Dick
Portrait of a Lady
Next, I went to a panel called "It's Not Just About You: Solidifying Journalism's Role in Creative Writing Programs." The panelists were Patrick Walters, Jim Sheeler, Philip Gerard, John Calderazzo, and Rebecca Skloot. Here are my notes.
There's not necessarily any difference between journalism and creative writing. It's important for people who identify as either to learn about and embrace the other.
Reporting is simply defined as looking for facts, about your own life or others'. Reporting makes possible the effects we usually think of as literary--the meaningfulness. "Collect all the dots and connect them." Think of lives not as biographies but as stories. Research is not just looking at a photo; it's wondering what's not in the picture. The best pictures are a gift from the subject to the photographer, and it's the same way when you write about people. They're giving you a gift.
When you raise big problems and issues, you have to put them in context, try to turn it toward resolution. Writing about others forces you to observe and imagine what it's like to be someone who's not you. You take on a huge responsibility to be true to their story. The msot important thing you can say is "I don't know." Don't trust memory, no matter how sure it seems.
When Rebecca Skloot wrote The Immortal Life of Henrietta Lacks (for ten years!), she fact-checked absolutely everything. Even dialogue! When you show that you're trying to get everything right, people will give you a lot. They will help you.
Learn about research methods used by anthropologists and oral historians. Make the writers you read show how they know what they know.
Storytelling isn't going anywhere. People want to read stories, not strands of fact.
Here are some resources they mentioned:
Norman Sims, ed.- The Literary Journalists: the New Art of Personal Reportage
Norman Sims and Mark Kramer, ed.- Literary Journalism
Mark Kramer and Wendy Call, ed.- Telling True Stories
James B. Stewart- Follow the Story: How to Write Successful Nonfiction
At http://www.newsu.org/courses, you can find tons of free tutorials, self-directed courses, webinars, broadcasts, and other resources designed by successful journalists to help you learn some of the skills. It's part of the Poynter Institute for Media Studies. Sounds legit.
In non-AWP news, I'm still waiting to hear about a few jobs that seem promising, and I have an interview on Tuesday to work as a typesetter! Typesetting is by far my favorite part of the publishing practicum. The woman I talked to on the phone said the interview will be more practical, not just talking. They'll actually give me some text and say, "Make a wedding invitation," or, "Make a business card." Very different from typesetting in a book interior, but using many of the same skills and techniques. The job is in a rural area about an hour away from where I am now, which means it would be a hassle in some ways. But my dad commutes about an hour each way, and it's worked for him for years. If I get the job, I'll just get me some books on CD or awesome podcasts (once I get a pod) and learn my way to work. And we never know whom else I'm going to hear from. There's no telling how God is going to work in my life in the next few weeks as we iron all of this out. I'll keep you posted!
Next up: To Publish or Self-Publish?
"It may be that all morality rests on our ability to see the likeness in unlike things: I and thou."
"Ideas are the easiest and perhaps the least interesting parts of the job...Ideas are swarming, ubiquitous, chronic. Ideas are a plague....There are five novels in every newspaper, ten in every work of history, one in every unhappy family." Ideas are everywhere--the trick is sticking with them.
"I gave off the moral equivalent of that new car smell."
"the pile of well-typed crap"
Life is not a story, at least not a very good story. Life is just a bunch of middle.
"I got down to the work because the serious and diligent people around me were getting down to theirs."
"If your students are lucky enough to not know everything...."
"challenging each word to defend its presence in the sentence"
"No sentence was so fine that it could not be improved upon the ninth time through."
"I believe that writers ought regularly to read the dictionary" in order to discover the musculoskeletal system, the genome, of our language.
Novelists have two obligations:
1. Bringing the dish. "They bring the news, the gossipy gospel." The author is our friend, showing us the map of a life.
2. Keeping it entertaining. Sometimes using artifice, "all the thrilling sense of deliverance that only a great lie can." Pure autobiography is the last thing we want. When you're vanishing an elephant onstage, you don't tell about the half hour you spent reading up on mirror optics in a chophouse on Wabash Avenue, sitting on a donut cushion for your hemorrhoids.
Chabon did the talk in a Q&A style, asking his own questions and doing voices and impressions of question-askers one might find in an audience, which I thought was pretty genius. He said he'd been very disappointed when he learned we couldn't have a Q&A because the space (a large ballroom) wouldn't allow it. This disappointment again drove home, like almost every panel, the point that writing and reading are all about connecting with other people.
Here are some books Chabon mentioned as having influenced him:
Oakley Hall- Warlock
Jorge Luis Borges- Labyrinths
Edith Wharton- The Age of Innocence
Vladimir Nabokov- "I admire him for Lolita and Pale Fire, but I love him for Pnin."
Love in the Time of Cholera, 100 Years of Solitude
Moby-Dick
Portrait of a Lady
Next, I went to a panel called "It's Not Just About You: Solidifying Journalism's Role in Creative Writing Programs." The panelists were Patrick Walters, Jim Sheeler, Philip Gerard, John Calderazzo, and Rebecca Skloot. Here are my notes.
There's not necessarily any difference between journalism and creative writing. It's important for people who identify as either to learn about and embrace the other.
Reporting is simply defined as looking for facts, about your own life or others'. Reporting makes possible the effects we usually think of as literary--the meaningfulness. "Collect all the dots and connect them." Think of lives not as biographies but as stories. Research is not just looking at a photo; it's wondering what's not in the picture. The best pictures are a gift from the subject to the photographer, and it's the same way when you write about people. They're giving you a gift.
When you raise big problems and issues, you have to put them in context, try to turn it toward resolution. Writing about others forces you to observe and imagine what it's like to be someone who's not you. You take on a huge responsibility to be true to their story. The msot important thing you can say is "I don't know." Don't trust memory, no matter how sure it seems.
When Rebecca Skloot wrote The Immortal Life of Henrietta Lacks (for ten years!), she fact-checked absolutely everything. Even dialogue! When you show that you're trying to get everything right, people will give you a lot. They will help you.
Learn about research methods used by anthropologists and oral historians. Make the writers you read show how they know what they know.
Storytelling isn't going anywhere. People want to read stories, not strands of fact.
Here are some resources they mentioned:
Norman Sims, ed.- The Literary Journalists: the New Art of Personal Reportage
Norman Sims and Mark Kramer, ed.- Literary Journalism
Mark Kramer and Wendy Call, ed.- Telling True Stories
James B. Stewart- Follow the Story: How to Write Successful Nonfiction
At http://www.newsu.org/courses, you can find tons of free tutorials, self-directed courses, webinars, broadcasts, and other resources designed by successful journalists to help you learn some of the skills. It's part of the Poynter Institute for Media Studies. Sounds legit.
In non-AWP news, I'm still waiting to hear about a few jobs that seem promising, and I have an interview on Tuesday to work as a typesetter! Typesetting is by far my favorite part of the publishing practicum. The woman I talked to on the phone said the interview will be more practical, not just talking. They'll actually give me some text and say, "Make a wedding invitation," or, "Make a business card." Very different from typesetting in a book interior, but using many of the same skills and techniques. The job is in a rural area about an hour away from where I am now, which means it would be a hassle in some ways. But my dad commutes about an hour each way, and it's worked for him for years. If I get the job, I'll just get me some books on CD or awesome podcasts (once I get a pod) and learn my way to work. And we never know whom else I'm going to hear from. There's no telling how God is going to work in my life in the next few weeks as we iron all of this out. I'll keep you posted!
Next up: To Publish or Self-Publish?
Monday, April 26, 2010
AWP 5: The Limit—or Light—of Spiritual Belief: Across Genres.
Hi all, thanks for being patient as I put off blogging in favor of other pursuits.
This panel included Emily Louise Zimbrick, Scott Cairns, Janet Peery, Nicole Mazzarella, Farideh Goldin, and Josh Allen.
When we encounter inconsistences in scripture and religion, we can ignore them, discard them as irrelevant, or acknowledge and study the complexities. If they're in God's word, maybe God wants us to consider these things, difficult questions, moral complexity. Real faith confronts the trouble and the troubling head-on. Bad literature, religious or not, avoids it. Dickinson wrote, "On subjects of which we know nothing, we both believe and disbelieve a hundred times an hour, which keeps believing nimble."
Scott Cairns started by talking about the ressourcement movement, a French Catholic movement to recover patristic wisdom that had been excised from writings. He used the phrase "squandering tradition" to describe what the people were doing when they originally cut out parts of those religious writings. Cairns introduced (to me) the terms cataphatic, for a theology of attributes in which we say things about God as if he were a person and we knew him, and apophatic, the via negativa, the theology of unsaying and the way of unknowing, in which we think and speak of God in terms of what he is not. The two traditions usually balance each other out. For example, many people think of God as a king, but acknowledge that he is not king in the way we normally think of human kings. Cairns talked about Gregory of Nyssa (or someone else) meeting God in light, then in cloud, then in darkness. He said poetry is not a matter of waying what we think or want readers to think, or redacting experience, but an experience of trusting language and the words on the page. "If I only wrote what I know, I wouldn't have ever made tenure. So what I do is write in order to know."
Josh Allen talked about his fiction in which a husband notices his wife coming home later than usual from work and finds that she is stopping at a Mormon church to pray. He discussed the importance of multiple valid points of view and quoted John Garder, who, in On Moral Fiction, said "True art is too complex to reflect the party line." Allen quoted someone else who said, "We have to safely leave evangelism to the evangelist....Art transcends its boundaries by staying within them."
To an extent, all literature is about a spiritual journey.
Examine truth without examining dogma.
A happy ending, like any ending, has to be earned. The character has to make choices to resolve the story, not just feel despair and go up on the roof and have a transcendent experience. It must stem from choices the characters have made, not grace we don't understand. Offering readers only one emotional response means the piece will tend toward sentimentality.
Things they mentioned in the panel:
Flannery O'Connor, Mystery and Manners
Annie Dillard, Holy the Firm
David Kurzon, ed., Modern Poems on the Bible
The Classic Midrash from Paulist Press
E. M. Forster's Aspects of the Novel talks about the difference between preaching and prophecy. Music critic and writer Greil Marcus, talking about Van Morrison on NPR, says that Van Morrison breaks through his own defenses and thus breaks through his listeners'.
Thanks for reading! The next post will be about the keynote address by Michael Chabon and, possibly in the same post, a panel on journalism and CNF. Good stuff.
In other news, I've just taught my last class, and had my last class as a student last week. It's a very weird feeling, like I'm losing part of who I am. Only part, though, and I can be a student of life whatever my career turns out to be.
I set the inside of my oven on fire the other night. I preheated the oven to make sweet potato fries, and the bottom of the oven had some butter-and-sugar residue from pecan rolls which had overflowed a little (or perhaps more than I thought). Funnily, I was more upset about not being able to bake the sweet potato fries than I was about the actual presence of a small fire in my house. Go figure. I've bought a new drip pan and am now about to install it and retry those fries. Nothing if not adventurous, this life.
This panel included Emily Louise Zimbrick, Scott Cairns, Janet Peery, Nicole Mazzarella, Farideh Goldin, and Josh Allen.
When we encounter inconsistences in scripture and religion, we can ignore them, discard them as irrelevant, or acknowledge and study the complexities. If they're in God's word, maybe God wants us to consider these things, difficult questions, moral complexity. Real faith confronts the trouble and the troubling head-on. Bad literature, religious or not, avoids it. Dickinson wrote, "On subjects of which we know nothing, we both believe and disbelieve a hundred times an hour, which keeps believing nimble."
Scott Cairns started by talking about the ressourcement movement, a French Catholic movement to recover patristic wisdom that had been excised from writings. He used the phrase "squandering tradition" to describe what the people were doing when they originally cut out parts of those religious writings. Cairns introduced (to me) the terms cataphatic, for a theology of attributes in which we say things about God as if he were a person and we knew him, and apophatic, the via negativa, the theology of unsaying and the way of unknowing, in which we think and speak of God in terms of what he is not. The two traditions usually balance each other out. For example, many people think of God as a king, but acknowledge that he is not king in the way we normally think of human kings. Cairns talked about Gregory of Nyssa (or someone else) meeting God in light, then in cloud, then in darkness. He said poetry is not a matter of waying what we think or want readers to think, or redacting experience, but an experience of trusting language and the words on the page. "If I only wrote what I know, I wouldn't have ever made tenure. So what I do is write in order to know."
Josh Allen talked about his fiction in which a husband notices his wife coming home later than usual from work and finds that she is stopping at a Mormon church to pray. He discussed the importance of multiple valid points of view and quoted John Garder, who, in On Moral Fiction, said "True art is too complex to reflect the party line." Allen quoted someone else who said, "We have to safely leave evangelism to the evangelist....Art transcends its boundaries by staying within them."
To an extent, all literature is about a spiritual journey.
Examine truth without examining dogma.
A happy ending, like any ending, has to be earned. The character has to make choices to resolve the story, not just feel despair and go up on the roof and have a transcendent experience. It must stem from choices the characters have made, not grace we don't understand. Offering readers only one emotional response means the piece will tend toward sentimentality.
Things they mentioned in the panel:
Flannery O'Connor, Mystery and Manners
Annie Dillard, Holy the Firm
David Kurzon, ed., Modern Poems on the Bible
The Classic Midrash from Paulist Press
E. M. Forster's Aspects of the Novel talks about the difference between preaching and prophecy. Music critic and writer Greil Marcus, talking about Van Morrison on NPR, says that Van Morrison breaks through his own defenses and thus breaks through his listeners'.
Thanks for reading! The next post will be about the keynote address by Michael Chabon and, possibly in the same post, a panel on journalism and CNF. Good stuff.
In other news, I've just taught my last class, and had my last class as a student last week. It's a very weird feeling, like I'm losing part of who I am. Only part, though, and I can be a student of life whatever my career turns out to be.
I set the inside of my oven on fire the other night. I preheated the oven to make sweet potato fries, and the bottom of the oven had some butter-and-sugar residue from pecan rolls which had overflowed a little (or perhaps more than I thought). Funnily, I was more upset about not being able to bake the sweet potato fries than I was about the actual presence of a small fire in my house. Go figure. I've bought a new drip pan and am now about to install it and retry those fries. Nothing if not adventurous, this life.
Monday, April 19, 2010
AWP 4: "What's Your Platform? What Agents & Editors Are Looking For in Writers
This panel was more Q&A than planned little speeches. I'll mimic the structure by introducing everyone and then diving into what they said.
Christina Katz- This panel is about how to be an empowered artist. We're all responsible for our careers, not just putting them in the hands of agents or publicists. Becoming visible, getting known.
Robin Mizell, literary agent.
Venn diagram--one group that has studied craft and is talented, one group that has studied how to promote and sell. The sweet spot where they intersect could be "larger and more dangerous." We can cross-pollinate. Jane Friedman says the challenge is writers who are very talented but don't have a mindset for the business.
David Sanders- Ohio University Press and Swallow Press.
Connection between how much of a presence a writer has in the world and how they succeed.
Jane Friedman, Publisher and Editorial Director of Writer's Digest.
Sage Cohen, founder of Sage Communications. Not sure she was actually at the panel--I rarely take notes on who said what--but her sites are cool, so here they are.
When creating your platform, think about what else you do besides writing. How are you going to become visible and rise above the crowd? Our job as writers is to stand out. It can be fun and exhilarating and creative. When you think your writing career is fun and exciting and interesting, it will become that way to others and draw people. Your platform is not your CV. It's an ongoing effort to connect with your readers and others who want to know about you and what you're doing. It takes years of work--it's never too soon to start. It's a journey, a lifelong process, part of your growth as a writer with a career.
Your platform includes:
1. The authority or credentials you bring to the table. It's a presence. Ezra Pound had the best platform of the 20th century.
2. Visibility. Antyhing that was available, Pound would exploit it, advertise his cause (not himself). This is your life. Get your friends to tell you the truth, not stroke your ego.
That was the opening remarks. Here begins the panel discussion proper.
Question 1: How can writers build a platform and gain visibility? It's not what you did, it's what you do and what you're going to do.
Answers:
Build!:
websites,
blogs,
e-zines,
e-classes,
real classes.
Write.
Get published,
give talks,
readings,
workshops,
keynotes,
panels.
Host or organize author visits and reading series.
Coaching, training. (These are all things Christina Katz does.)
Facebook,
Twitter,
LinkedIn,
YouTube.
HARO- Help A Reporter Out- requests for experts, you can answer and get media coverage. Vlogging.
del.icio.us or delicious.com, social bookmarking.
Embrace all the opportunities that exist to help writers become authors. You already have a network in the real world. Guest blogging opportunities, interviews, reviews. You should say yes to anything you're invited to until you're so overbooked that you can afford someone to say no for you.
Create an online presence. It makes you discoverable 24/7, even when you're asleep or unavailable.
Brian Solis has a graphic called The Conversation Prism that shows all of the possibilities for online connectivity, all the different sites. There's a version 2.0 but I'm linking to the older one because 2.0 made my computer not only say "error on site" but make an unprecedented beeping noise.
With all this online stuff, you don't have to be where everyone else is--don't join a site just because other authors are. You can choose what's comfortable for you and what makes sense in relation to your intended audience.
The BBC has a list of the top 100 websites, in a graphic showing proportional traffic. (Just rollover the blocks to see what they are.) You can't spread yourself among all the networks. Once you're inactive on a site, it's not effective. (my addition: probably less effective than not being on it in the first place.) You make a long to-do list and do just a little of it each day. Use what fits not just you but your audience. Where they work, live, where they go, use the tools they are using. Twitter is very effective for writers. People spend more time on Facebook than on Google! Your platform often builds with what and who you already know, where you already are. Reinforce the personal aspect of it. Extend the reach. Communicating and connecting are why we read and write. Being a big fish in a small pond is good. Oprah took away from us the idea of baby steps--we now think we can just write a really good book and then suddenly be famous. She made us think we can put all of our energy into the book and all we have to to is go on Oprah. But our career is 100% our responsibility, even if we land our dream deal with our dream publisher. Fitzgerald, Hemingway, Dorothy Parker all had really messed up relationships with their publishers--they were parent figures in a way, or saviors who were supposed to deliver them. We don't want that! We're going to deliver ourselves.
Question 2: What are the challenges in building platforms for writers?
Answers:
1.Time. The most important thing you have to do is write. But you can't write 50 hours a week unless you're Balzac. You're the expert! Be the expert! Let the world know what you know. If you're not writing nonfiction, write about the process, write about writing, learn what the tools are. That requires some time-budgeting to pay attention to what's happening and your contribution, to further your career. For a writer, your career is something that you don't put down.
2. Getting comfortable with technology and tools. Get comfortable with slow growth--don't ask someone to review your book the minute they friend you. It may feel at first like no one's paying attention. You have to move through the feeling of meaninglessness--give it time to develop, just like any other relationship, to grow before you ask for huge favors.
3. Overcoming the attitude that self-promotion is vulgar or an admission that you're not talented. Remain other-focused. Chris Brogan's book Trust Agents embraces being present in other communities and focused on them for a long time before you even mention your writing or projects. Comment on other people's sites. Attitude is the most important thing. A bad one is the biggest obstacle. Also, clarify who you are, what you do, why you matter, why you're relevant, from the standpoint of common ground with others, through their eyes.
4. Confusing platform development with socializing. Not zooming in on what you can offer.
5. Thinking too much about yourself and not enough about others.
6. Not having a plan. Hope is not a method. Being overconfident, thinking you have more of a platform than you do.
7. Burnout.
Find three role models who are not necessarily largely famous, but whose techniques have brought them success. Quality resources are key. Quiet time thinking about your platform will help. Libel, copyright infringement, privacy violations, and similar issues will get you automatic rejections from publishers.
Well, that's a sweet note to end on. Sorry these notes are quite scattered--I didn't realize blogger wouldn't let me cut and paste, so I couldn't re-order some of the info. Next up: Spirituality and Writing! Woo hoo! Quite a departure from the nitty-gritty practical panels of the first morning.
Does anyone know how to email or otherwise send a comment to the postsecret blog? I have some mind to speak.
Christina Katz- This panel is about how to be an empowered artist. We're all responsible for our careers, not just putting them in the hands of agents or publicists. Becoming visible, getting known.
Robin Mizell, literary agent.
Venn diagram--one group that has studied craft and is talented, one group that has studied how to promote and sell. The sweet spot where they intersect could be "larger and more dangerous." We can cross-pollinate. Jane Friedman says the challenge is writers who are very talented but don't have a mindset for the business.
David Sanders- Ohio University Press and Swallow Press.
Connection between how much of a presence a writer has in the world and how they succeed.
Jane Friedman, Publisher and Editorial Director of Writer's Digest.
Sage Cohen, founder of Sage Communications. Not sure she was actually at the panel--I rarely take notes on who said what--but her sites are cool, so here they are.
When creating your platform, think about what else you do besides writing. How are you going to become visible and rise above the crowd? Our job as writers is to stand out. It can be fun and exhilarating and creative. When you think your writing career is fun and exciting and interesting, it will become that way to others and draw people. Your platform is not your CV. It's an ongoing effort to connect with your readers and others who want to know about you and what you're doing. It takes years of work--it's never too soon to start. It's a journey, a lifelong process, part of your growth as a writer with a career.
Your platform includes:
1. The authority or credentials you bring to the table. It's a presence. Ezra Pound had the best platform of the 20th century.
2. Visibility. Antyhing that was available, Pound would exploit it, advertise his cause (not himself). This is your life. Get your friends to tell you the truth, not stroke your ego.
That was the opening remarks. Here begins the panel discussion proper.
Question 1: How can writers build a platform and gain visibility? It's not what you did, it's what you do and what you're going to do.
Answers:
Build!:
websites,
blogs,
e-zines,
e-classes,
real classes.
Write.
Get published,
give talks,
readings,
workshops,
keynotes,
panels.
Host or organize author visits and reading series.
Coaching, training. (These are all things Christina Katz does.)
Facebook,
Twitter,
LinkedIn,
YouTube.
HARO- Help A Reporter Out- requests for experts, you can answer and get media coverage. Vlogging.
del.icio.us or delicious.com, social bookmarking.
Embrace all the opportunities that exist to help writers become authors. You already have a network in the real world. Guest blogging opportunities, interviews, reviews. You should say yes to anything you're invited to until you're so overbooked that you can afford someone to say no for you.
Create an online presence. It makes you discoverable 24/7, even when you're asleep or unavailable.
Brian Solis has a graphic called The Conversation Prism that shows all of the possibilities for online connectivity, all the different sites. There's a version 2.0 but I'm linking to the older one because 2.0 made my computer not only say "error on site" but make an unprecedented beeping noise.
With all this online stuff, you don't have to be where everyone else is--don't join a site just because other authors are. You can choose what's comfortable for you and what makes sense in relation to your intended audience.
The BBC has a list of the top 100 websites, in a graphic showing proportional traffic. (Just rollover the blocks to see what they are.) You can't spread yourself among all the networks. Once you're inactive on a site, it's not effective. (my addition: probably less effective than not being on it in the first place.) You make a long to-do list and do just a little of it each day. Use what fits not just you but your audience. Where they work, live, where they go, use the tools they are using. Twitter is very effective for writers. People spend more time on Facebook than on Google! Your platform often builds with what and who you already know, where you already are. Reinforce the personal aspect of it. Extend the reach. Communicating and connecting are why we read and write. Being a big fish in a small pond is good. Oprah took away from us the idea of baby steps--we now think we can just write a really good book and then suddenly be famous. She made us think we can put all of our energy into the book and all we have to to is go on Oprah. But our career is 100% our responsibility, even if we land our dream deal with our dream publisher. Fitzgerald, Hemingway, Dorothy Parker all had really messed up relationships with their publishers--they were parent figures in a way, or saviors who were supposed to deliver them. We don't want that! We're going to deliver ourselves.
Question 2: What are the challenges in building platforms for writers?
Answers:
1.Time. The most important thing you have to do is write. But you can't write 50 hours a week unless you're Balzac. You're the expert! Be the expert! Let the world know what you know. If you're not writing nonfiction, write about the process, write about writing, learn what the tools are. That requires some time-budgeting to pay attention to what's happening and your contribution, to further your career. For a writer, your career is something that you don't put down.
2. Getting comfortable with technology and tools. Get comfortable with slow growth--don't ask someone to review your book the minute they friend you. It may feel at first like no one's paying attention. You have to move through the feeling of meaninglessness--give it time to develop, just like any other relationship, to grow before you ask for huge favors.
3. Overcoming the attitude that self-promotion is vulgar or an admission that you're not talented. Remain other-focused. Chris Brogan's book Trust Agents embraces being present in other communities and focused on them for a long time before you even mention your writing or projects. Comment on other people's sites. Attitude is the most important thing. A bad one is the biggest obstacle. Also, clarify who you are, what you do, why you matter, why you're relevant, from the standpoint of common ground with others, through their eyes.
4. Confusing platform development with socializing. Not zooming in on what you can offer.
5. Thinking too much about yourself and not enough about others.
6. Not having a plan. Hope is not a method. Being overconfident, thinking you have more of a platform than you do.
7. Burnout.
Find three role models who are not necessarily largely famous, but whose techniques have brought them success. Quality resources are key. Quiet time thinking about your platform will help. Libel, copyright infringement, privacy violations, and similar issues will get you automatic rejections from publishers.
Well, that's a sweet note to end on. Sorry these notes are quite scattered--I didn't realize blogger wouldn't let me cut and paste, so I couldn't re-order some of the info. Next up: Spirituality and Writing! Woo hoo! Quite a departure from the nitty-gritty practical panels of the first morning.
Does anyone know how to email or otherwise send a comment to the postsecret blog? I have some mind to speak.
Wednesday, April 14, 2010
AWP 2
I'm going to do this in chronological order as closely as possible. So, the first panel I went to was about Shamelessly Promoting your Book. It was fun and really informative and practical. I'm just going to put my notes on here, incomplete sentences and inconsistencies and all.
Promotion is communal, fun, a lot of people involved. Twitter. "No sale yet but bravely planning for inevitable success." "Who's excited about what you can do on your own? Who feels beleaguered and confused?"
Jon Spayde- Living the Dream. book: How to Believe: portraits of Christian believers. Don't draw a foolish line between creation and commerce. "rapidly morphing and who-knows-what's-next publishing world" is more interesting and creative every day. Mini-connections instead of major outlets. Reaching out begins with idea and continues all the way to blog, blurb, podcast, reading, coffee house artist residency. Book morphs from static object into one stage of a complex process of communication. Communication and connection are the point. Better sales are a by-product.
Margaret Hasse- Premeditated Promotion. Freelance worker, consultant to nonprofits. Successful promotion requires a creative visionary thought-out tangible PLAN. Consult heart's desire and others.
1. Plan should have a context--statement--what you do as a writer and why. Mission--process, philosophy, passion, breadth, durability, challenge, distinction
2. picture of what will be different in community because of your writing.
3. PRODUCT--what you make and do that people might want to know about and make use of.
4. PEOPLE. Whom do you want to engage? Qualities of prospective readers who would like your book if only they knew about it.
5. PLACE. Where will you and readers find each other? How wide to cast net?
6. price. consider list price, advance. Charge for services like reading, etc., and think about what to volunteer your time toward. "Finance is a footnote to my story."
7. Promotion--how to reach and inform and inspire the people you've identified. Paid ads, profiles and interviews and reviews, website, email and direct mail, personal, trade shows, events
8. definite course of action--timetable, maybe budget. "You will hit some dead ends and turn to new adventures."
plan--from drawing on flat surface--also connected to Plant. Planting seeds.
Todd Boss. Get Committed. poet.
Poetry for popular audience. It should not be shameful for a writer to seek an audience--it's our privilege and duty, our contribution to the world. In other countries, poets are household names! It's perceived as belonging to all audiences, a public resource.
Let's commit to 2 assumptions:
1. The world is our audience.
2. It is our duty to give the world the poetry it craves.
How to act on it:
1. Commit to a public role. Become a poet laureate. Assert your leadership, assign yourself a role as a local public figure with a constituency.
2. Make a website. Make it yourself so that you can use it and update it easily, move with it nimbly. Use iWeb on a Mac.
3. Make audio. "Audience" comes from "audere--to hear." The world doesn't just crave poetry, it craves the sound. Without it, you're giving the world only half of the poetry it craves. When you sign a book contract, reserve electronic rights.
4. Encourage commissions. Offer on your site to write poems in praise or gratitude toward someone, from someone else. Create a new market based on emotional necessity, urgency, and deep artistic commitment.
5. Collaborate across media. Call for collaborators on your website. Think of yourself less as a writer and more as an artist. Chances are you're a filmmaker, librettist, and playwright too.
Commit to a poetry-craving public in as many ways as you can think of. It will make traditional promotion obsolete.
Marisha Chamberlain. The Good-Enough Book Tour.
Weariness and bitterness can seep through in readings, especially from the financially successful authors.
Touring may make you poorer--you will be paying your own travel expenses. Could be considered delusional.
Achieving profit goals makes people more tense and jittery, not less so.
Tour for reasons other than book sales. Not about me, not about my book, but about a few brave souls who celebrate literature. Sometimes bears no resemblance to the idea you have of a book tour. Your publisher might not send enough copies, or any!
It's not a do-or-die effort, it's good enough. To be all together and alive in the same room caring about literature.
That's the bulk of what Squad 365 said that morning. I have two more pages of notes from the Q and A portion, which I'll put in another post. I hope this is helpful for someone who's reading this. If nothing else, it's good for me to further digest it by typing it up. More to come; writers and non-writers alike, stay tuned!
Promotion is communal, fun, a lot of people involved. Twitter. "No sale yet but bravely planning for inevitable success." "Who's excited about what you can do on your own? Who feels beleaguered and confused?"
Jon Spayde- Living the Dream. book: How to Believe: portraits of Christian believers. Don't draw a foolish line between creation and commerce. "rapidly morphing and who-knows-what's-next publishing world" is more interesting and creative every day. Mini-connections instead of major outlets. Reaching out begins with idea and continues all the way to blog, blurb, podcast, reading, coffee house artist residency. Book morphs from static object into one stage of a complex process of communication. Communication and connection are the point. Better sales are a by-product.
Margaret Hasse- Premeditated Promotion. Freelance worker, consultant to nonprofits. Successful promotion requires a creative visionary thought-out tangible PLAN. Consult heart's desire and others.
1. Plan should have a context--statement--what you do as a writer and why. Mission--process, philosophy, passion, breadth, durability, challenge, distinction
2. picture of what will be different in community because of your writing.
3. PRODUCT--what you make and do that people might want to know about and make use of.
4. PEOPLE. Whom do you want to engage? Qualities of prospective readers who would like your book if only they knew about it.
5. PLACE. Where will you and readers find each other? How wide to cast net?
6. price. consider list price, advance. Charge for services like reading, etc., and think about what to volunteer your time toward. "Finance is a footnote to my story."
7. Promotion--how to reach and inform and inspire the people you've identified. Paid ads, profiles and interviews and reviews, website, email and direct mail, personal, trade shows, events
8. definite course of action--timetable, maybe budget. "You will hit some dead ends and turn to new adventures."
plan--from drawing on flat surface--also connected to Plant. Planting seeds.
Todd Boss. Get Committed. poet.
Poetry for popular audience. It should not be shameful for a writer to seek an audience--it's our privilege and duty, our contribution to the world. In other countries, poets are household names! It's perceived as belonging to all audiences, a public resource.
Let's commit to 2 assumptions:
1. The world is our audience.
2. It is our duty to give the world the poetry it craves.
How to act on it:
1. Commit to a public role. Become a poet laureate. Assert your leadership, assign yourself a role as a local public figure with a constituency.
2. Make a website. Make it yourself so that you can use it and update it easily, move with it nimbly. Use iWeb on a Mac.
3. Make audio. "Audience" comes from "audere--to hear." The world doesn't just crave poetry, it craves the sound. Without it, you're giving the world only half of the poetry it craves. When you sign a book contract, reserve electronic rights.
4. Encourage commissions. Offer on your site to write poems in praise or gratitude toward someone, from someone else. Create a new market based on emotional necessity, urgency, and deep artistic commitment.
5. Collaborate across media. Call for collaborators on your website. Think of yourself less as a writer and more as an artist. Chances are you're a filmmaker, librettist, and playwright too.
Commit to a poetry-craving public in as many ways as you can think of. It will make traditional promotion obsolete.
Marisha Chamberlain. The Good-Enough Book Tour.
Weariness and bitterness can seep through in readings, especially from the financially successful authors.
Touring may make you poorer--you will be paying your own travel expenses. Could be considered delusional.
Achieving profit goals makes people more tense and jittery, not less so.
Tour for reasons other than book sales. Not about me, not about my book, but about a few brave souls who celebrate literature. Sometimes bears no resemblance to the idea you have of a book tour. Your publisher might not send enough copies, or any!
It's not a do-or-die effort, it's good enough. To be all together and alive in the same room caring about literature.
That's the bulk of what Squad 365 said that morning. I have two more pages of notes from the Q and A portion, which I'll put in another post. I hope this is helpful for someone who's reading this. If nothing else, it's good for me to further digest it by typing it up. More to come; writers and non-writers alike, stay tuned!
Monday, April 5, 2010
Same thing with a tweak, I hope
What if I want it to open in a new window? I promise I'll go back to my regular style soon; I just want to get to the bottom of this. And I just noticed which picture comes up first on that link. It's a little unusual, so be forewarned if you choose to click on it.
Fun with Technology
Wednesday, March 31, 2010
Copycattin'
I got this from Erin's blog. My fascination with this song might mean the clip is more appealing to me than to others. But it's pretty hilarious and only fifty seconds.
Tuesday, January 19, 2010
And to your right...
I'd like to direct your attention to the sidebar with other blogs on it. I just added two of the Seagrove potters' blogs--Michael Mahan and Tom Gray--so please go take a look at their awesomeness, both online and in real life.
Tuesday, January 12, 2010
keeping up the pace
Reading Seagrove blogs has gotten me all bloggy, plus I hope to make 2010 the Year of the Blog by being more diligent about it, so here's a post practically on the heels of the last one.
Things Taize and Seagrove have in common:
-They both make me feel at peace and I want to be there a lot.
-They both have remarkable people producing pottery.
-They have complex relationships with outsiders.
-They began with one visionary person or couple.
-From there, they ballooned quickly as a surprising number of people responded and loved the idea of the place. But for all that,
-popularity was never really the goal for either but is certainly a means to two desirable ends in both cases.
www.taize.fr/en just might change your life. Certainly changed mine. (To be clear, the website, while it's great, is less likely to change your life. I'm referring to the place.) Would you like to go with me sometime? One of my life goals is to go back one day, ideally with a group. Plus we will get to see Shakespeare & Company and whatever else you want to see in Paris. I'm an excellent tour guide, ask anyone.
I'm feeling bolstered lately by the uncertain euphoria of almost constantly thinking, "This is my last semester!" I absolutely can't wait to see what's next.
It's very nice to have Tuesday off. Unlike having Friday off like last semester, it's an unexpected little tiramisu (pick-me-up). In a couple weeks I'll start doing pub lab hours on Tuesdays, but for now it's sweet.
Things Taize and Seagrove have in common:
-They both make me feel at peace and I want to be there a lot.
-They both have remarkable people producing pottery.
-They have complex relationships with outsiders.
-They began with one visionary person or couple.
-From there, they ballooned quickly as a surprising number of people responded and loved the idea of the place. But for all that,
-popularity was never really the goal for either but is certainly a means to two desirable ends in both cases.
www.taize.fr/en just might change your life. Certainly changed mine. (To be clear, the website, while it's great, is less likely to change your life. I'm referring to the place.) Would you like to go with me sometime? One of my life goals is to go back one day, ideally with a group. Plus we will get to see Shakespeare & Company and whatever else you want to see in Paris. I'm an excellent tour guide, ask anyone.
I'm feeling bolstered lately by the uncertain euphoria of almost constantly thinking, "This is my last semester!" I absolutely can't wait to see what's next.
It's very nice to have Tuesday off. Unlike having Friday off like last semester, it's an unexpected little tiramisu (pick-me-up). In a couple weeks I'll start doing pub lab hours on Tuesdays, but for now it's sweet.
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