By Michael P. Geffner

1) Don’t forget that networking is just as important as your talent and computer. It’s a must-have tool in your writing existence. You need to seek out contacts, preferably the power brokers at the top of the masthead or high-level editors, and cultivate them as “allies.” If you ignore this aspect of the business, believe me, you’ll suffer the consequences. I hear all the time from writers, “But I don’t like to mingle. I’m too shy. I’m not a good talker.” My response is matter-of-fact: “This is the way the game is played. If you don’t want to play, don’t expect to win.” Which means: Don’t expect editors to come to you. They won’t. Like Mohammed, you need to go to the mountain. I don’t care how much talent you think you have. It’s not enough to “make your career” all by itself. And remember: If you’re not cultivating contacts, some other writer out there is.

2) Force yourself to work under deadline pressure. Deadlines are what separate the professional from the hobbyist. Pros can’t wait for inspiration, or an act from God, to propel their creativity. They write because they have to, because someone on the other end is waiting for their work. They write whether rain, sleet, or snow, and all hours of the day and night. I’ve tortured myself to hit deadlines over the years, from five-minute ones to monthlies. That’s the nature of the beast. It’s where the tough gets tougher. So, either get assigned to something with a due date or create an artificial one. If nothing else, it’s good practice to see how well you function in such a situation. You may actually find that you’re not cut out to write professionally, that in reality you’re merely a dabbler. Not that there’s anything wrong with that. It’s just good to know where you stand.

3) Build a portfolio before you start hitting the major newspapers/magazines/

You can find Michael at http://mikeswritingworkshop.blogspot.com/

You may also follow him on Twitter http://twitter.com/MikeGeffner

Michael Geffner

New York, United States Writer/Journalist/Columnist. Awarded for outstanding column and feature writing by APSE (Associated Press Sports Editors) 2005, 2006; won New York Publishers Association’s contest for Distinguished Sports Writing, 2007; included seven times in annual Best American Sports Writing anthology; voted Best Sportswriter in New York City by New York Press, 1990; won first place for profile writing by the Society of Professional Journalists (NJ), 2000; interviewed former President Nixon (twice, about baseball), Kareem Abdul-Jabbar (at his home atop a hill in Beverly Hills), Dennis Hopper (during a round of golf in Simi Valley), Forest Whitaker (via cell phones while he was driving around Los Angeles), Derek Jeter (by his Yankee locker); written for USA Today, The Associated Press, Details, The Sporting News, Cigar Aficionado, Texas Monthly, Page Six Magazine, FHM, The Writer, and The Village Voice.

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By Michael P. Geffner

These principles represent the best advice I can give anyone interested in making writing a career. Study them, learn them, and, most of all, do them. You’ll be amazed by the results.

1) Be a letter writer, not a resume sender. Resumes get shoved into the bottomless pit of file cabinets or dumped into the black holes of wastebaskets. Learn instead to be an aggressive composer of letters, though not sending these so often to the same editor that you become increasingly annoying. There’s a fine line between persistence and being a nuisance. Don’t cross that line, lest you risk turning people off who control your fate in the industry. In your letters, sell yourself like a salesperson, with you, of course, being the valuable commodity: who you are, what makes you different and better, what passions you have, how eager you are to work hard, and why you-and not someone else–should be working for the publication. The stationery and envelope should be of the highest quality (first impressions count!) and smaller than standard letter size (the small size virtually guarantees you’ll be put on the top of the pile by the secretary). The letter itself should be flawless and tightly constructed, and the envelope should always be marked “personal and confidential” (to pass the gatekeeper). Your singular theme should be this: I know I can make a difference at your publication. You need people like me. You must use me.

2) Come up with five solid ideas, things hopefully you’re passionate about and expert in, and write a couple of paragraphs on each (exactly what the story is and how you’d be attacking it). Make sure these “pitch letters” are well written (the editor will be judging your writing talent every step of the way) and targeted at the appropriate publications, ones publishing similar type stories. Fitting your story to the right publication is key. It should be as natural as a hand slipping smoothly in a glove.

3) Timing is everything. Spot trends and hit publications quickly with story ideas based on these, before someone else beats you to the punch. The hot item of the day approached uniquely is always a great way to get into print. Believe me, a well-timed pitch is gold!

4) Establish as personal a contact as possible with editors. Try to establish a phone connection at the very least, but face time is infinitely better and should without question be your goal. It’s harder to reject a real live breathing person than a faceless name at the top of another letter. In fact, in your letters to editors, write a sentence about how you’ll be calling on a specific day to discuss your “wonderful” ideas. This opens the door for your phone call. It won’t be easy. It’s like telemarketing at this point. But remember: Every rejection puts you closer to a sale. Though you’ll have to pass some gate keepers to get to the top editors, always be professional, polite but pleasantly forceful. And if anyone asks what your business is with this editor, say it’s personal. I mean, let’s face it, your career is personal. Also, as a way around secretaries and assistants, you can call before 9 AM and after 5 PM-when they aren’t there. And be prepared what you’ll say if the editor actually gets on the line. Don’t ramble. Get to the point and get off. Less is better. Make contact and leave on a high note. You want editors liking you enough to take your phone calls, not dreading the next one.

5) Study and immerse yourself in the marketplace. You need to get in the game to win it. Read media columns and industry magazines, join writing clubs, scan the net for resource sites, buy market books, get insider newsletters. Know the business inside out. Talk the talk and walk the walk. Editor and peers will know a professional when they see one.

6) Read what the best writers in your particular genre are doing. If you’re a magazine writer, get yourself a copy of the annual anthology Best American Magazine Writing. If you’re a short story writer, pick up The Best American Short Stories. See how it’s done at its best. It’ll be a great guide for what YOU should be doing. And read not for enjoyment but to learn. Study the writer’s art and craft, and even try to imitate it. In pop speak, this is called Modeling.

7) Networking is nearly as important as talent. This took me a long time to understand–and believe. I always felt that the talent alone would get me to where I wanted to go. Not true. I found that out the hard way. You need to know people. A lot of them. My advice: Write “networking letters” to major editors (at the top of the masthead), not asking for work (never do that in a networking letter!) but simply for advice on how to succeed as a writer. I mean, these are the industry leaders you’ll be contacting. They know a ton of inside info you don’t, as well as a ton of other influential people in the business. Try to arrange a face-to-face meeting, between 15 minutes to a half-hour long at THEIR convenience in their office. You’ll not only likely get some wonderful advice but will also establish yourself with a power broker. If he or she likes you enough and believes in you, he or she will likely consider you for future or current work (without you ever asking), or might refer you to another power broker. In other words, it multiplies naturally. One contact could lead to six. And after every visit, write a thank you note for them both graciously giving you their precious time and imparting some great information. Networking can also include your friends and family, who may have contacts in the field. Don’t be afraid to reach out for help. You’ll be amazed how many people will reach right back.

Do something toward furthering your writing career every single day. Read a book on writing. Write a pitch letter. Apply for a writing job. Set up an interview for a writing job. Write a networking letter to an editor. Arrange a meeting with an editor. Read a book by a great writer (not so much for entertainment but analyzing what the author does to achieve a certain effect). Read magazines and newspaper articles about the industry in media/publishing sections (This is a wonderful way to find the names of top agents). The thing is, you need to be proactive and be it daily. Action breeds action! It also adds up: A single “positive” every day builds into 365 in a year!

9) Write every single day, no matter what. Your mind is like a muscle. It needs a regular workout to stay strong and sharp. It’s like the man who asks someone on the street, “How do I get to Carnegie Hall?” And the other man says, “Simple. Practice, practice, practice.”

10) Don’t give up. The secret to ultimate success of any kind, I’m convinced, is persevering in the face of repeated rejection. If a newspaper/magazine/publishing house/literary agency doesn’t accept you at first glance, try them again six months later. Editors, people, and philosophies change frequently. If you’re not the cup of tea for one, you might be for another. The trick to succeeding as a writer, I feel, is having the strength and conviction to jump hurdles. Never take “no” for a final answer. Simply consider it the start for coming up with a more effective approach. Bottom-line is, if you write well, have great ideas and are well connected, success is definitely yours!

You can find Michael at http://mikeswritingworkshop.blogspot.com/

You may also follow him on Twitter http://twitter.com/MikeGeffner

Michael Geffner

New York, United States Writer/Journalist/Columnist. Awarded for outstanding column and feature writing by APSE (Associated Press Sports Editors) 2005, 2006; won New York Publishers Association’s contest for Distinguished Sports Writing, 2007; included seven times in annual Best American Sports Writing anthology; voted Best Sportswriter in New York City by New York Press, 1990; won first place for profile writing by the Society of Professional Journalists (NJ), 2000; interviewed former President Nixon (twice, about baseball), Kareem Abdul-Jabbar (at his home atop a hill in Beverly Hills), Dennis Hopper (during a round of golf in Simi Valley), Forest Whitaker (via cell phones while he was driving around Los Angeles), Derek Jeter (by his Yankee locker); written for USA Today, The Associated Press, Details, The Sporting News, Cigar Aficionado, Texas Monthly, Page Six Magazine, FHM, The Writer, and The Village Voice.

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All writers who deal with fiction must buckle down and come up with a synopsis they hope will inspire an agent to ask for more. So how do you do that? Today, I will give links to many different sites that hopefully will answer that question. I will also post my synopsis to be ripped apart. Anyone who would like to work on their synopsis for next Wednesday, simply email it to us. We will post it and offer critique. Anyone willing may critique, and maybe, we can improve our synopsis skills together.

How to Write a Synopsis

Writing a Synopsis from the Ground Up

Let’s try to break it down. Some authors can outline, take that and write a query and synopsis, and then write their novel. I AM NOT ONE OF THOSE PEOPLE. I tried to do that, and had no clue where the story would go. Why? I didn’t know my characters. I am not a planner. I am a doer. I don’t hold well to schedules, (my poor kids) or to following a plan of action. Maybe because things never worked out how I planned, so I stopped planning. So those methods don’t work for me. They may for you.

The point? Find what works for you. Experiment.

Okay, back to the synopsis. After the manuscript is complete, (that’s the only way I can do it) and you’re ready to either have beta’s read it, or you’re wrapping up edits, but before you query (I discuss why in a minute), you want to write that outline. (And yes. I did this in school. Wrote the paper, then the outline. If the outline was due on Wednesday and the paper on Friday, the paper had to be finished before Wednesday.) Go through each chapter and pick out the most important plot elements.

Now that you have these, at least one for each chapter, you can start weaving them together. This is the first draft of your synopsis.

Put that aside and set your timer for five minutes. Write, without stopping, what your book is about, who your characters are, and what you’d tell a friend if they asked. When the timer goes off, stop writing.

Compare the two. How close are they. The first time I did this, they weren’t even on the same playing field. LOL You want them to find common ground. If it’s not there, set the timer again, and write for another five minutes.

Merge the two, and this is your second draft.

Now that you have gotten this far, a few more basics can be found here.

These steps will help you reach your goal of writing a great synopsis.

We look forward to reading your synopsis next week.

Here is mine. Feel free to shred it.

Synopsis:

When seventeen-year-old SAMANTHA SANDERS’ parents are killed in a car accident, she is forced to move half way across the country to live with the blind Cherokee grandfather she hardly knows. After a dream where she finds herself inside the mind of a killer, she’s sure she doesn’t want to stay in Oklahoma.

A week after her parents’ death, Sam and her grandfather eat dinner with twenty-one-year old hottie, Deputy ANDREW CLEARWATER, and his mother. During the meal, Sam breaks down and Andrew consoles her, almost kissing her, and she instantly falls for him. But his behavior over the next few weeks becomes erratic and standoffish, so Sam finds solace in her math tutor, JAMES PETERSON. Unfortunately, she’s looking for a friend while he’s looking for a girlfriend.

During a backyard game of football, Andrew tackles Sam, pinning her to the ground. But before he can kiss her, her mind is overcome by a presence that doesn’t feel human. The game ends when Andrew’s cousins rush her inside. Darkness takes over, and Sam experiences a strange ability to see through the eyes of a monster who wants to destroy Andrew and his uncle. A searing pain shoots through her body, ending her vision. Frantic and scared, Sam demands explanations but quickly realizes they are not easy to swallow.

Andrew pulls Samantha aside and explains the Cherokee Protector legend. They both come from a long line of Cherokees with special gifts and talents that aid them in destroying Flesh Eaters, monsters in human form. She realizes her recurring nightmares are more than just bad dreams. They are a window into the mind of the monster, leaving her with a lust for blood—and for the Flesh Eater.

Andrew and Sam’s attraction continues to grow and they begin secretly dating. As she struggles with the advances of James, another admirer emerges from the shadows—COLIN, the all-too-real monster from her dreams.

Although Colin is bound by his kind to kill her, he becomes obsessed with Sam and manipulates her thoughts and dreams. When he eventually shows himself, he speaks only in her thoughts, and vows to watch over her. Sam hates herself for the calming affect he has on her. The attraction she feels doesn’t help either.

When Colin allows Sam to live, it angers the other Flesh Eaters, and Colin’s long time lover, Jasmine, takes it upon herself to destroy the Protector. Andrew shows up in time to keep Jasmine from killing Sam, but when Colin steps out of the woods, Andrew feels death for them is certain. In the end, Colin saves Sam by murdering Jasmine.

After the near-death experience, Andrew breaks up with Sam, telling her he thinks his attraction is just physical. Heartbroken, but determined to stay strong, Sam turns to James, who’s more than willing to comfort her. Sam doesn’t realize Andrew’s true reasons for leaving her: her grandfather’s visions have revealed that if Andrew doesn’t stay away from Sam, together they could destroy the balance of the Protectors. Sam struggles to make sense of her life, but it’s nothing compared to the hell Andrew is living through each day trying to keep up the lie.

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So you want to write, now what?

You write. And write. And write some more.

Yep, that’s the way to start. Grab a topic: a picture, a song, or simply look out your window and find something to write a blurb about. Ever had a dream that you wished happened? Write it.
Your first draft will not be a masterpiece, but you’ve overcome the first step. You’ve written. And if you make it a habit to write a little every day, one day, you’ll realize that you’ve grown as an author.

Now that you are writing, what next?

Read. A lot.

The best writers, are avid readers.

Okay, you’re reading and writing…

You must study and research the market. We have a list to the side of helps with this, through blogs we follow. Check out who others are following, and visit those sites.
Understand agents, what they want, and follow their submission guidelines. That is a must! Do not go against what they are looking for, even if you love everything about that agent and really really want them to represent you. If they are not into your genre, leave them alone.

And what is your genre?

I Googled genres and found a little info, but many agents hit these topics on their blogs, so don’t just read the most current topics. Go into the archives and see if there aren’t other things to be learned from a blog.

This sounds like a lot if you are just starting out, but it doesn’t need to happen in one day. It does however need to get done. You want to approach writing as work, because it is, even if you greatly enjoy it, as I do. It is hard work. Research is required. Studying writing skills. Learning to market yourself and your work. If you want to succeed, you must put your best foot forward. Learn from the mistake of others—don’t repeat them.

Here are a few helpful links to help you get started. Also, remember to check out the blogs of those we follow. And check here every day for writing exercises, dos and don’ts, and how to market yourself.

Happy writing.

http://www.carolynjewel.com/forwriters.shtml
http://querytracker.net/
http://www.querytracker.blogspot.com/
http://www.publishersmarketplace.com/
http://www.agentquery.com/

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We interrupt your regularly scheduled blog to bring you my favorite game… impromptu writing prompts!

Here’s how it works… I will come up with three completely random topics, and you pick one and write a short story in the comments! You can write about anything you want to, and it can be any length.

There’s only one rule… no reading the comments before you write your story! So, without further a due, I give you the prompts:

The light was bright in my eyes and I felt a sudden drip on my forehead. I reached up to wipe the wetness from my brow and looked at my hand. I was shocked when I saw…

He seemed like an okay guy, what could it hurt? I climbed into the passenger seat of his car and we…

It was cold outside, which was unusual for this time of year. I bundled up in my oversized coat and stepped outside. Shocked, I…

Remember, be creative and have fun! No Peeking!

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I found myself in a dimly lit room.

Beeping.

Tubes.

Darth Vader hissing sounds.

My eyes struggled to open and my mouth was too dry. I looked around slowly. Where was the water? Surely there was some here.

I spied Mom asleep in the corner, her head resting on her chest, slumped over in a chair. What time was it? I had no clue; the room was too dark and there was no window. I lifted my hand. It felt like it wasn’t even there.

Numb.

Freaky. I tried to wiggle my toes. I wasn’t sure if I did or not. It almost felt like my feet were just too cold to tell. I opened and closed my mouth. Had they stuck cotton balls in there? Where was my spit? I reached up to touch my lips.

Rose.

It all came rushing back. Like I was standing by train tracks. Hurtling towards me, flying past, too fast for me to make out each car. Only flashes. Rose walking to my car. My arms on her waist. Watching her across the table. Kissing her.

Kissing her.

Glancing at her across the car.

“What the—!!”

My mom shot up. “Aaron! You’re awake!” She rushed to my side.

My eyes were wide now. I couldn’t think. Where was she? Was she okay? I had to get to her.

Now.

I started to swing my legs over the side of my bed. Mom’s confused face was too close. I tried to push her away. She was speaking, but I couldn’t hear.

I kept seeing her face. Seeing her sitting next to me in the car.

What the crap? What was going on? I couldn’t get my stupid legs to move.

C’mon. I’ve gotta go.

Annoyed now. I reached down with my hand to tug at it. It was like lead. A dead weight. I looked up into Mom’s eyes, a question on my lips.

She was still talking. What was she saying? Didn’t she know I didn’t care? I wanted to scream Shut up! Get out of my way, woman!

Her hands on my chest brought me back. “—lay back. Stop struggling. Aaron!” Her forehead crinkled more than it already was. Her eyes searched my face.

“Now listen to me! Do you know where you are?” Her cold hands gripped mine.

She waited. For something. From me, I guessed. I thought I’d been paying attention, but apparently I hadn’t.

“What?” Why hadn’t she told me where Rose was?

“Do you know where you are?” Her tone softened. She leaned down closer to my face.

“Well, I guess I’m in a hospital somewhere. Where’s Rose?” I looked around the small room for someone else. This woman was getting me nowhere.

She nodded. “So you remember the accident?” Her eyes stayed on mine.

“Yeah, I remember. Where’s Rose?” I looked back to her, hoping she’d finally answer the question. I’d asked a hundred times already.

“She’s fine. I just got off the phone with Jack.” She kept talking, but I didn’t hear anything past the word Jack.

Jack.

It echoed in my brain. Please, no. Was I being punished? “Jack? What about him? I asked about Rose. Where is Rose?”

Her eyes avoided mine for a few seconds. She bit her lip and moved to pull a chair closer.
“Rose is in the hospital in Alexander. We’re in Rockdale. She’s fine. She’s got a broken leg, some broken ribs, and a cut on her head.” She sat and moved her hands to the rail on the bed.

I would’ve gasped at the description of her injuries, but I couldn’t. I wasn’t breathing. No oxygen entered my lungs. It was supposed to be an involuntary action, but my brain stopped functioning too.

And I was fine with that. If there was no chance with Rose, I was ready. Come and take me now, God. I’ll go.

I blinked a few times. Really concentrating on it. I forced myself to inhale. But, maybe I shouldn’t have. Did I want to hear the answer to my next question?

“But…you said Jack. Why did you say that?” I held her gaze with my eyes. They were on fire. No longer blue. I’d managed to turn them fiery red, I was sure.

“Well…Jack is with her. At the hospital.” And she kept talking again. Didn’t she realize I didn’t care? Did she just hear the words that left her mouth? They were a contradiction. It wasn’t supposed to be Jack and Rose. It was supposed to be Aaron and Rose.

Aaron. Not Jack.

Aaron. Got it? Remember it.

Her hands were on my chest again. Pushing. Why did she keep doing that?

“Aaron, you can’t get down. You’re hooked up to a catheter. You’ve got an I.V. You’ve been unconscious since you got here almost two hours ago.”

I closed my eyes and laid my head back. I didn’t want to hear anymore. I didn’t care. About anything.

Screw it.

Screw them.

Both.

Ok…so I’ve been editing and I came to this chapter again. I can’t help but love it. I can really feel Aaron here and he’s not even the MC. But…I know it can be better, so I’m open for suggestions.

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