Succeed as a Writer

8/2/2019 Succeed as a Writer

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www.publishingcircles.com

How to SucceedHow to Succeed

As a WriterAs a Writer

by

Avril Harper, Chartered MCIPD

www.smartfreelance.com

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How to Succeed as a Writer

by

Avril Harper

INTRODUCTION

LET'S START AT THE VERY BEGINNING

WHAT PROBLEMS HAUNT THE BEGINNING WRITER?

IDEAS AND WHERE TO GET THEM

READERS' LETTERS AND FILLERS

ARTICLES - THE LARGEST MARKET OF ALL

SHORT STORIES

NOVELS

NON-FICTION BOOKS

POETRY

PLAYS

SUBMITTING ARTICLES AND SHORT STORIES

USEFUL INFORMATION, RECOMMENDED READING

WRITERS' MAGAZINES, ADDRESSES, ETC.

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Introduction

Have you heard that little voice inside of you? The one that tells you, year in year out, about the book -

your book, waiting to come out. For many people, the little voice will never be heard above a whisper,

and a potentially good and satisfying writing career will fail to ever see the light of day. But the little

voice will keep on, and on, and on.

That little voice is the one to listen to. If you feel the need to write, you owe it to yourself to

come out of your shell, and write. If it isn't so much an ambition to write for the satisfaction ofcommitting words to paper, as a need to earn your living from your efforts, then again you will

accomplish nothing by ignoring that encouraging little soul who prompts you ever onwards.

Inertia is the prime reason for the world being robbed of another brilliant writer - that and the fearof failure. And even though so many of us know about that book we owe it to the world to create, for the

vast majority the dream will never materialise. The dreamer, and the reading population, will be so much

the poorer.

Now, I'll let you into a secret. Until that word 'Introduction' was actually typed for this manual, I

spent days - no weeks, anguishing over whether I could actually come up with enough essentialinformation to fill a book of this type. In addition I doubted my ability to write it adequately, for I do not

profess to be one of the more brilliant writers of our times. My subsequent research, with batteries

recharged from the mere placing of that word 'Introduction' on the page confronting me, convinced methat not only had I enough information to fill this particular book, but rather I had so much as to

necessitate my selecting only those pieces of utmost importance.

To allow you the benefit of my remaining research material, I will do what most writers do, and

draw your attention to the many highly specialised books on the market, most of them written by experts

in the field concerned. I must sadly content myself with imparting sufficient information to convince you

that you most certainly do have a future in writing, and to point you in the direction for success.

Inertia, as we've already discovered, can often be overcome by committing that first word to

paper, thereby starting the momentum that will gather speed as you discover more things to say, andbetter ways to say them, until your work is finished and ready to fly.

Fear of failure can be defeated before you have time to say:'rejection slip'. Rejection, despite what they say, is not something the beginning writer must learn to

accept. There are ways to minimise rejection, even to eliminate it completely, the secret lying primarily

in not setting your sights too high as you learn your craft. Write for the lower paying, lesser known

markets, and you won't face opposition from writers with many years' experience to their credit. Marketstudy is of paramount importance to writers at all levels of creative ability. Without it, even those who

regularly earn fat cheques from glossy magazines will find their income drying up faster than a prune

basking in the desert sun.

Give every piece your best. Never hope it is saleable: know it is. And know in advance of writing

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it, to which market it is aimed. Analyse that market, and tailor your work towards fitting its exactrequirements. This is market study - perhaps the most important part of the writing process.

The market for freelance writers is huge and always ready to receive talented newcomers,particularly those who keep constantly up-to-date with editorial trends, whilst maintaining an ongoing

vigil of the changing world around them. Ideas are everywhere, waiting for you to bring them to life.

You owe it to yourself to read on!

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Quotes

'Don't sit around thinking about what you might like to write someday - just do it. Right now'. Bob

Greene, American writer and novelist.

'There is no such thing as genius; anyone can write if they approach the craft with an open heart and a

dedication to the task. Even the greatest writers of our time have to keep at it and at it, and if they don't,

their work will fall short', E. Stacy Creamer, Editor and short story writer.

-----------------------------------------

The beginning writer's world is fraught with difficulties and obstacles which he must overcome before he

is ever to make a place for himself within it. Right? Sorry - Wrong!

These problems he envisages are entirely of his own making, and perhaps result from the

glamorous image accorded to the successful writer, as he sits autographing piles of new blockbuster

novels in a prestigious city centre bookshop, or is interviewed on breakfast time television about hiswonderful new play, the one that had viewers telephoning in by their thousands to congratulate him. Now

here I must admit that very few writers will find themselves at the receiving end of such adulation. Aneven greater number would cease writing today, or else adopt an untraceable pseudonym if the chance

were ever to so much as flicker on the horizon.

Some writers work happily away, in the privacy of their own homes or libraries, never wanting

fame, certainly never courting it, but all the while carving for themselves careers offering personalfulfilment, and often highly attractive financial rewards.

In the very early days, the writer owes it to himself not to dedicate his efforts to one form ofwriting, at the risk of missing out on the very many other writing categories that might prove more

challenging, more financially rewarding, and at this stage in his career, a more likely proposition for his

longed-for break into print.

None of us know at the beginning of our writing career just where our talents lie, unless of course

only one category of writing interests us, in which case it is likely that writing is more important than the

prospect of financial reward. That in itself is an admirable philosophy, but this manual is for readerswanting to earn their living from writing, and we must always keep that aim in mind. To accomplish our

goal we must not tie ourselves down to any category, even one that offers hours, perhaps years of

enjoyment, but with no financial incentive at our labours' end.

There are very many areas open to the beginning freelance writer, and so initial fears of being

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blocked by the professionals who supposedly hog the scene, should be silenced here and now. Theresimply aren't sufficient so-called professionals to fulfil the requirements of each and every category, and

remember too, that even professionals were once beginners.

Were they privileged to more inside information than you? Did they work for years, gathering

rejection slips, and not a bean to show for their efforts? Was each and every one of them just that little bit

more talented or educated than you are? I doubt it! But I bet the vast majority didn't restrict their effortsto one writing project, and Im sure the really successful ones prepared for themselves a strategy thatminimised or alleviated potential rejections.

Later we'll look at strategies for success, and I hope to dispel a greatmany other myths, like the one about writers papering their walls with rejection slips, and the common

misconception that a great skill with words is a prerequisite for a financially rewarding career. I hope to

prove to some extent that writer's block either doesn't truly exist, or else it's nothing more than an excuseto take a well-deserved break in an otherwise punishing schedule.

Let us first of all consider a few of the many avenues open to the writer, surely enough to

convince even a hardened cynic there's more to the wordsmiths world than short stories and articles:

Advertising copy, articles, audio-visual scripts, books (fiction and non-fiction), brochures (for products,

holiday firms and many other services), children's books, columns in magazines and newspapers,

comedy, educational and training literature, feature articles, articles and columns in local and county

magazines and periodicals, ghost writing, greetings cards, crosswords and other puzzles, readers' letters,fillers, handbooks for specific organisations, newsletters, poetry, press releases, public relations

material, advertisement copy, sales letters, short stories, biographies, speeches, sports commentating,

teaching other would-be writers, business and self-improvement manuals, writing up material forcorrespondence courses, journalism, trade journals, radio and television, comic strips, travel writing,

plays, etc., etc., etc.

Now if you can find sufficient 'professionals' to supply the amount of material that lot requires,

you're a better man than me! It is worthwhile considering what constitutes a 'professional'. Is it someonetrained in his field or fields of writing; perhaps someone who never gets a rejection slip; how about

someone who writes from dawn to dusk? I think it's unlikely you'll ever come up with an adequate

description of this creature much revered by the beginning writer. I would even venture to suggest thatsuch a species doesn't in fact exist.

If he does, he will almost certainly have broken into print, and will have discovered where histalents lie in the writing world. He will almost certainly not seek to make a living in those areas which

offer no intrinsic satisfaction, since a lack of interest in a chosen subject almost always reveals itself in

one's manuscripts, robbing them of the freshness and enthusiasm which are required if you are to presentthe reader with something which will lead him to read your work to the very end and hopefully leave himwanting more.

If the writer is interested in the topic concerned, you can bet your bottom dollar the reader willfind the piece similarly boring, if that is, you can find an editor wanting to read your manuscript.

'Stick to writing what you know' is a very good piece of advice, even if the world and its uncledrum it into you at every possible opportunity. But I would qualify the maxim a little, and suggest that

certainly developing writers should write about what they know; it adds a touch of sparkle and a

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freshness to one's work. But I would add to it: 'or write about what you would enjoy getting to know, orcould get to know without those demons, 'Stress' and 'Hassle' raising their ugly heads'.

For example, the beginning writer with no knowledge of how to get to the coast without a mapand compass, should not offer a personally researched analysis of the wonders of the deep, or seek to

photograph the burial sites of ancient wrecks if in addition to his problems, he has never learned to swim.

But we all like Christmas, don't we? And even though we might know absolutely nothing aboutthe origins of the many traditions behind this most enjoyable occasion, I'm sure few of us would shrink

from putting in the necessary research to prepare an article for a glossy magazine, offering a nice fat fee

for our findings. As we start our careers in writing, dealing with what we already know lessens the timewe need spend researching and leaves more opportunity for practising the mechanics of actually putting

words to paper.

So now we know that the market for our work is almost without bounds, and we hopefully realise

that in the beginning we should seek to deal with topics that at least hold some degree of interest for us.

Let us now look at a few of the other problems seemingly confronting the writer at the threshold of his

career. I say 'seemingly' because I hope in the course of this manual to dismiss most of those 'problems'as nothing more than teething troubles, with pain greatly exaggerated through inadequate planning.

WHAT PROBLEMS HAUNT THE BEGINNING WRITER?

First and foremost must be the fear of failing. None of us wants to find our efforts subsequentlyreceive nothing but an avalanche of rejection slips.

So why do editors send rejection slips? Is it because your writing is poor? Not always! Is itbecause there is no room for you in their organisation? Almost certainly not, unless of course you've sent

your work to a market which doesn't consider unsolicited freelance contributions, in which case the faultlies entirely with your market study, or lack of it! Is it because no-one wants a beginner?

Well hardly! We're all beginners at some stage and if we let the fear of rejection get too strong a

hold on us, then 'beginners' are what we will stay. Remember too, though the newcomer views the

professional as an almost God-like being, they are like the rest of us, mere mortals, and sadly the day willcome when their names will no longer appear in the publications they have patronised for so long.

Without beginners who would fill the subsequent gaps?

'But I don't have time to write' - the claim of many an apprehensive frustrated writer. 'Then get up

an hour sooner or put the telly off an hour earlier, or use your dinner break, etc, etc' There's no answer to

that excuse is there? With the exception of certain stages in our lives when time is at a premium, such aswhen looking after very young children or taking examinations, or starting a business, we can always

make a little time to fulfil our ambition of a lifetime - to become a published writer!

'But I don't know where to start!' Great! Then you'll have no pre-conceived notions as to what liesin store, no worries to deter you from picking up your pen or plugging in the computer this minute. So let

me just say, writing is one of the most rewarding of careers, and yes the first few months will need to be

spent reading, studying, learning and, above all, practising for that career. After that induction periodyou'll wonder why on earth you didn't make the move years ago.

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'I'm afraid no-one will like my work'. By this you mean you're afraid of the dreaded rejection slip,and you, too, have heard those stories of would-be writers papering their living rooms with the pesky

things. No-one was ever overjoyed to receive a rejection slip, unless they'd received a better offer for the

same article somewhere else.

Anyone who repeatedly finds themselves at the receiving end of such rejections must be doing

something wrong, and that something can be corrected. Please don't let me convince you your work willnever be rejected; almost no-one can achieve such excellence. But a strategy can be devised forminimising the chance of rejection.

The methods for safeguarding against rejection include:

Prepare a list of potential markets for every piece of work, arranged in descending order of

priority for your target publication. If the first market rejects it, send it to market numbertwo, and so on.

Start your writing career by submitting to the lower paying and lesser known markets which

the majority of experienced writers have long since abandoned.

Write about what you know or will enjoy getting to know. Make yourself an authority on

your chosen subject, and the relevant markets will be clamouring for your work. BUTwriting about what you know is, in itself, insufficient for any sustained degree of success.

You must also present your facts or opinions in an interesting way.

Always make your work DIFFERENT. Even a subject almost worked to death by your

contemporaries can gain new life if presented from a different angle. Always look for less

obvious facts on the topic concerned.

When you've 'finished' your work, don't send it off hoping it is of an acceptable standard.Know it is!

Think and behave like a writer, and a professional one at that. Read as much as you can

about writing. Read the work of other writers. Present your work in a professional manner.

And above all stop thinking of yourself as an amateur; if you can't convince yourself you area professional writer, you'll stand no chance of convincing an editor.

When you get your 'foot in the door' with a particular magazine or publisher, keep therelationship alive and submit work at regular intervals, always making reference to past

dealings.

Wherever possible undertake solicited work. For this you query the editor or publisher inadvance of preparing your article, story or whatever. You can save yourself a lot of time and

disappointment if you subsequently find he is not interested in your offer.

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Quotes

'Dabble. I've published everything from op-ed to verse to colouring books to fantasy to non-fiction. If

you keep doing the same things forever ......... you may miss your area of greatest talent'. Mary Lou

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Carney, Authoress.

'Don't forget that a magazine or book publisher wants to publish books and stories: that's what he's in

business for. And if he can discover a new talent, he is happier than anything else can make him. They donot reject manuscripts they can accept'. John Steinbeck, Pulitzer Prize Winner.

IDEAS AND WHERE TO GET THEM

In this section I hope to prove that writer's block does not truly exist. I use the term in this

instance to cover that period when you simply don't know what to write about, now that one piece of

work in winging its way to an editor.

In its other definition, writer's block is that affliction which strikes you mid-manuscript and you

are totally unable to find words and ideas that allow you to continue. This type is usually easily resolved,and often means you are trying too hard, or else your brain is overworked, or perhaps you have other

things on your mind. For me this particular type of problem occurs mid-afternoon, the reason being that I

find the early mornings my best time for writing. I'm never stuck for words in the hours before dawn!

Try writing at different times of the day and you might find your creative powers greatly

rejuvenated. Otherwise put your work away until other problems are resolved, or to give yourself the

opportunity to mull the situation over in your mind without that blank page in the typewriter to tormentyou.

Now on to the other type of block, the one that taunts you with the possibility that the manuscriptyou've just posted might in all probability be your last. There simply aren't enough subjects for you to

write about are there? Aren't there? Well if that is truly the case you could well be in the wrong

profession here, for ideas are all around you, and an observant writer should actually find himself, notwondering what to write next, but how to find time to write about all of the things recorded in his pocket

book.

An ideas book is an absolute necessity. I have mine divided into sections for all of the types of

writing I feel comfortable with. I don't like writing short stories so I have no section for them. But I do

like writing articles, fillers and business reports, so I allocate a third of my book to each. Every time an

idea strikes me as potentially suitable for either a piece in itself, or else for inclusion in some other piece,I make a note of it. If I don't make a note, that idea is usually lost to me for ever.

I also keep magazine cuttings which I feel can provide me with information for a similar article. Ialways supplement these cuttings with original research, usually in the library.

My reasons for additional research are twofold, the first being that I want my work to be originaland to have a different angle to the work of others. Secondly, I have very often found the 'facts' in some

articles are totally inaccurate. Rely on published articles too heavily and you risk not only being the one

whose errors come to the editor's attention, but also the possibility he will view your future work with

suspicion, if he feels inclined to view it at all!

To repeat myself, I emphasise that ideas are all around you. If you never did another piece of

research, I venture to suggest that research called 'Living' would provide enough data for a lifetime'swriting. Incidentally, a useful book on how to use life's experiences for your workis 'How to Write and

Sell Your Personal Experiences'by Lois Duncan. In 21 chapters, the writer shows many, many markets

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she has contributed to, in the majority of cases with no additional research.

Already published articles or books on the subject you wish to cover can be researched, added to,

and the resulting article far from being plagiarised, will be your own work. Of course, as a writer, youwill always use your own words, or else you are guilty of plagiarism, or copying the work of others.

Articles pulled together in this way should always be checked for accuracy of facts they contain.

I have lost count of the inaccuracies I've discovered in magazines over the years.

It is essential that you begin a cuttings file of newspaper and article pieces that strike you as

having potential for your own future work. A story in the local newspaper might provide the plot for ashort story, novel, or play. A play on television might set you thinking of a plot for your next novel.

Story writers might find inspiration from reading the brief description or plot on the dustjacket ofa published novel, or the write-up a magazine editor gives of something they have published. There is no

copyright on plots and so you can use any plot that takes your fancy, as long as the eventual story is your

own.

In 'The Thirty-Six Dramatic Situations', Polti suggests that all plots fall within set boundaries

which he analyses in fine detail. He makes mention of some of the world's greatest novels and identifies

their places within the overall structure of his own invaluable research.

Many writers, myself included, obtain great satisfaction and inspiration from writing articles,

fillers, and so on, set around various anniversaries, seasonal celebrations, important dates, and so on. Soat Christmas, magazines are particularly interested in articles spiced with anecdotes and interesting facts

concerning this most enjoyable of celebrations. When the one-hundredth anniversary of some eminent

personality's birth is approaching, that is the time to seek whatever facts you can about that person, andwrite them up into a personality profile.

Your profile can be offered to several markets, tailored each time to suit the individual style of the

publication concerned. For example, (1990) marked the 75th anniversary of the death of the martyr nurse,Edith Cavell. In response I submitted several profiles to such as 'Picture Postcard Monthly'along with

copies of postcards issued to commemorate her bravery, and to the many local newspapers in and around

the Norwich area where she was brought up and is now buried.

I might not have been the only person to submit such articles but I sent them in well in advance of

the date of the anniversary; so that might influence the editors' decisions.

November 5th - yes, Guy Fawkes night! And dont forget Halloween, Mother's Day, and other

annual events. Read magazines at the appropriate time of year and you will find dozens of articles,stories and fillers about nothing else but those particular themes. The secret of acceptance is: Get infirst! Submit your manuscripts six months ahead of time if possible, and you might be the first to deliver

the goods: always a good way of catching the editor's eye!

A good dictionary of dates can lead you in the direction of the oddest and little known happenings

of years gone by. If the event is still of interest to the reading population, it's highly probable you could

be the only writer to submit a piece on the subject. Look for these less well-known events, try to coverthem from a different angle, and send individually prepared manuscripts to your chosen markets.

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You should never be at a loss for ideas. Even everyday items and occurrences can be the startingpoint for a brilliant piece. Look around you. Do you have a car? Ask yourself the writer's watchwords:

Why?, When?, Who?, What?, Where?, How?, What if?.... If you haven't found material for a mass of

articles or stories then I'd be more than surprised.

When for instance, was the first car built, and where? Do you remember the famous Ford saying 'You

can have it in any colour as long as it's black'? What would Henry Ford think of some of the bizarrecolours we see flying around on our roads today?

What do the senior citizens of your village or town feel about the advent of the motor car - has it

changed their lives much - if so, was it for the better? For your short story, could a car bring together yourhero and heroine? Is he a racing driver, or a mechanic? Has she crashed her car? Is she buying one? Is

he the doctor who brings her back from near death after a car accident? Is he the car salesman she starts

off disliking intensely, then finds to be not so overpowering once his sales patter is dropped?

What 'Do you know facts' could you come up with to create fillers for all manner of publications?

Have you seen an odd car number plate you could use as the subject for a reader's letter? And what about

a photograph of the said vehicle to support your letter?

Phew! I'm absolutely exhausted, but not on the subject of cars - I could go on for a long time yet.

So you see, you never really should be stuck for an idea, especially if you maintain an interest in

the world around you.

Shall we continue?

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Quotes

"I'll never forget this idea" is the devil's whisper. Catch everything that matters in your notebook',Richard Bach, Writer and novelist.

'Translate the stuff of headlines into fictionalised yarns. Any daily small-town newspaper in the U.S. hasthe stuffings of at least one smashing bestseller buried in its pages', Catherine Breslin, Novelist.

'Remember that there is a good deal of real life going on around you waiting to be transmuted intodramatic narrative, and that it is better to draw on this source than on what you hear and see in movies, on

television shows, or in someone else's fiction. This way you present to the world what is truly unique in

you. Stanley Ellin, Mystery writer.

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READERS LETTERS AND FILLERS

Readers' letters and fillers are ideal pieces with which to start your career in writing. A larger

volume of work will quite naturally find you earning regular, albeit smaller sums, than might be so forlarger articles and stories. You will doubtlessly also find it easier and quicker to break into print.

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For me though, the biggest advantage of starting with letters and fillers is the opportunity to learnthe process of stringing words together in as compact and interesting a fashion as possible, while at the

same time not restricting yourself to any particular writing form.

None of us as starting writers are fully aware of what writing form is best for them, and this is

something best learnt by the process of trial and error. How nice then to earn a little something while weundertake this all-important decision-making process.

There are some writers who make their entire living from these small pieces, but I venture to

suggest they are either exceptionally talented, highly prolific letter writers, or else don't seek to make afortune for themselves. Smaller pieces will usually yield smaller rewards, the most obvious exceptions

being such as the Readers' Digestwith its offer of 150 for some of the many letters and fillers used in

each issue.

Our own opinion is that letters and fillers should be viewed as the 'icing on the cake'; a lucrative

avenue for supplementing your income from more traditional writing forms. Many a professional writer

of articles, stories, even novels, takes an occasional sojourn into this field when his normal sources ofincome run a little dry, or during times when they are unable to apply themselves to their normal field of

work.

Letters and fillers mustn't be considered an easy option, however, since the usual extensive market

research must still be done before you even put pen to paper to create your manuscript. Look at the very

many publications that use readers letters. Study them and you will find the type and standard of lettersvary dramatically.

Length will also differ; some will accept only intelligent comments on world issues, whilst othershave a penchant for anything that can be said in as few words as possible. And if that offering were in

rhyme, so much the better for many editors. Some print a fair percentage of pieces devoted to the thingskids' say and to other anecdotal family happenings.

Most magazines for career women are likely to run a mile from this type of letter, preferring

instead contributions that speak of career advancement, opportunities open for women in a once male-

dominated sector of the business world, and many other issues which the hard-working mother andhousewife simply hasn't time to consider.

A gardening magazine is almost certain to want nothing to do with accounts of your last holidayin Barbados, or a photo of that funny road sign along the way, unless of course the details have some

bearing on the gardeners' world.

Study length and style of letters in your target magazine, and try to offer something similar informat, but different in content by offering variations on a favourite theme, not something completely

unrelated to the magazine's general slant.

Your letter can be written neatly, or else typed. Personally I prefer to handwrite my 'letters to the

editor', primarily since they are eliciting letters from readers, some of whom will almost certainly also be

freelance writers, but the editor will hardly want to convey the impression of professional wordsmithsbeing allowed to dominate the scene. Incidentally, it is generally accepted that you begin your letter 'Dear

Editor' as opposed to 'Dear Miss/Ms/Mr/Mrs, etc'.

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Sometimes a letter supported by a photograph will greatly increase its chances of publication, as

is often so for funny things kids say, and those heart-rending pieces of readers winning through in the

face of tremendous opposition, disability, or hardship. Sometimes a photograph in itself is enough to winyou a place on the letters' page. Think of those silly signs we see dotted along the road and in the

countryside, and the odd names some professional people have. My local undertaker, for instance, Mr.

Death, being the subject of many an unkind jest, hastily made a minute amendment to his name. He isnow Mr. De'Ath - much more acceptable, but think how useful would have been a photograph of hisfuneral parlour, tools of the trade in the window, and the original 'DEATH' signposted overhead.

Many magazines prefer to include comments on features in previous issues. Of course you willhave to read a magazine regularly to make any useful comment, but this is an avenue well worth

exploring. From the editors' point of view, this type of contribution shows the writer has actually taken

the trouble to read previous issues (not all letter writers actually do), and also allows them to ensure atleast some of the rewards go to their dedicated readership.

Fillers are those pieces used to fill slots in magazines and other publications when a main article,

feature or story, falls short of a published page. Instead of an ugly gap, in goes an amusing anecdote, areaders' recipe, a joke, an amusing photo, a 'did you know that?' piece, a historical fact, a cartoon, puzzle

or newspaper misprint, and so on.

Fillers are more suitable to typed submission since they are an accepted string to the professional

writer's bow. Your manuscript should follow the normal letter format, with name and address in the top

right-hand corner, and the date a few spaces below on the left. A few spaces beneath the date, type in thename and address of your target market.

A few spaces further down type in what you are offering, e.g. anecdote, joke, silly place name etc.and indicate the number of words the actual piece contains. Underneath that type in 'by', then below add

your actual, or if you prefer, your pen name. A few lines further down, now typing in double spacing,start the text. Always leave wide margins for editorial notes, and indent the beginning of your paragraphs

by five spaces, with an extra line between paragraphs, in much the same way you would type a businessletter. When the text is complete type a line of dots and the word 'END' thus:

.......................... END

The following list contains a few of the many types of fillers magazines use. Again nothing will

suffice for a comprehensive market study of the many markets to use fillers. For example, some use

jokes, others don't; some rely heavily on anecdotes, others prefer cartoons:

Misprints - Simply cut out the appropriate piece with enough wording to illustrate its context,

paste it onto a postcard with the source, add your name and address, and post it.

Amusing Sayings - Often those from the lips of kids, and in the case of some magazines

those odd things we adults say, you know the ones: 'we heard what they said but we knew

what they meant'. Malapropisms are extremely effective here, as are those where theunfortunate and inappropriate use of a double meaning word or phrase changes the context of

our statement to one of near ridicule.

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Verse - Some magazines rely heavily on light verse, sometimes in the letters' page, sometimes

as fillers in their own right. Some prefer humorous verse, some serious, some both. Market

study is of paramount importance. Once again!

Anecdotes - These are usually amusing incidents in the course of our everyday lives. Silly

things we see, odd names, people with the oddest of hobbies, ridiculous signs. In the'ridiculous signs' category, I recently saw a sign at the edge of a cliff, stating that children arein danger of falling from such spots. The message itself is one of grave importance, but at the

end of it, the sign stated: 'All children must be accompanied by adults' - right beside the stick

diagram of a child falling from the cliff! A lot of 'did you know?' pieces into this category,and the less well-known the fact, obviously the better. For example, did you know that

Catherine Cookson is reputed to have been told by a professional critic to take up another

career - she would never make a writer? OUCH!

Household Hints - These are used in almost every woman's magazine and often they are paid

for quite handsomely. If the hint is one your granny taught you, and you've never come by it

elsewhere, it could be just the one to submit.

Recipes - Another favourite in the women's magazines, and the more unusual the better.

Those catering for particular groups are useful, for instance vegetarians, and people on sugar-free or milk-free diets. Recipes peculiar to certain parts of the country or areas of the world

are extremely useful, if only due to the fact they are unlikely to be in the minds of many of

your writing colleagues.

Puzzles - Crosswords and other puzzles or brainteasers, are often included as a means of

lightening even the most staid of publications. A good book on the subject of, amongst otherthings, fillers and crosswords is: How to Make Money out of Writing' by Graham R

Stevenson, and published by the Gower Publishing Group. This book offers many tips tomake the life of the puzzle writer so much easier.

Jokes - Again, many magazines request jokes from readers. Jokes vary from the childish, to

bluer than blue, and obviously the joke you send must be entirely appropriate to the

readership of your target market. Who would send a naughty pub joke to the kiddies' page of amagazine with a religious bias? Exaggerated, I know, but the wrong joke, however funny, to

the wrong market, is doomed to failure.

Cartoons - Most markets accept cartoons from freelance sources although this is not always

obvious. Strangely, the contributor need not possess great skill with a drawing implement to

make his mark. If the basic idea and caption are good, the rest will follow through. Editorswill make arrangements for the drawing to be retouched or else completely re-done by a staffartist.

Seasonal Pieces - Christmas, Bonfire Night, Halloween, Mothers' Day, and holidays presentgreat opportunities for the filler writer. 'Did You Know That? pieces, Strange Incidents, and

Traditions relating to the season concerned, are much in demand as the appropriate time of

year approaches. Always submit your pieces well in advance - six months in advance ifpossible.

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Anniversary - Similar to seasonal pieces, the filler writer here submits items relating tothings that have happened on particular dates in years gone by. For instance, you might write

of the 100th anniversary of the birth or death of a famous celebrity. 'Firsts' are a favourite

with filler writers, as incidentally are 'Records', such as those that might inform us of theworld's tallest, or fattest, man, or the Siamese twins who each fathered more children than

most men could ever hope to. The Guinness books of Records and Answers are a boon to

filler writers of this type.

You really could go on writing letters and fillers for ever, but only a short step away is the more

lucrative field of article writing. Read on!

Special Note: Specialised information on writing fillers can be found in How to Be A Five Minute

Writer, also by Avril Harper, can be accessed at www.smartwriter.co.uk

ARTICLES - THE LARGEST MARKET OF ALL

As this chapter's title hopefully implies, the market for articles is greater than for any of the other

traditional writing forms, for instance short stories, novels, books of non-fiction, and therefore really is

one the new writer should investigate.

You might argue the market for readers' letters is larger, and I for one would not dispute it, but

these smaller pieces are not universally accepted as true writing forms and rarely offer a steady living.There are many people who will disagree vehemently on both counts, and I recognise that some people

do seem to devote their entire writing lives, and profitably so, to creating letters and fillers. They will no

doubt argue their work no less a part of the writing world than the article, short story or novel. The debate

is one your must judge for yourself. Certainly there is the chance of an income for the more prolific andproficient letter writer, and trying your hand at letters and fillers is an excellent way to learn your craft, as

well as to supplement your income from other writing sources.

Look through the many publications on newsagents' stands and you will find the proportion of

short stories to articles is for the most part extremely low. Some publications carry one story, some two

or three, while some provide no opportunities at all for the story writer.

The beginning writer is advised to concentrate his efforts towards writing articles, where his

chances of breaking into print are greatly increased. He is further advised to aim his work towards the

lower paying and lesser known publications where success comes faster. This is good advice, and thoughthe new writer will have to put in more hours for less reward than contemporaries of many years

standing, there is no finer way to establish a track record for yourself as you grow in confidence and

ability.

There are very many excellent books about article writing, and I suggest you read as many as time

and opportunity allow. Those I find particularly useful are listed at the end of this manual.

Many writers' magazines carry pieces on the craft of article writing, mostly written by highly

experienced writers, notably Gordon Wells and John Hines, both of whom have also written books on the

subject. I personally try never to miss anything they write.

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Articles take many forms, including:

Informative

How-To-Do-It

Self-Help

Controversial

Art of Living

Personality Profile

Personal Experience

Nostalgia

Humour

This summary is not however, conclusive. A great deal of overlap can occur between the differenttypes. A personality profile can be serious or humorous, and a nostalgia piece can often come entirely

from the personal experiences of its author.

The various basic article forms are discussed in great detail in the best book I ever read on the

subject of article writing. In 'Article Techniques That Sell', Louise Boggess analyses each type, and

presents her findings in an easy to read manner. She writes with great authority.

She also offers the best advice I have ever come by on how to develop one's article, in a mannerthat will maintain the reader's interest from beginning to end. It's a brilliant book, so full of information

that at first it left me hopelessly confused, and completely disheartened.

So I read it again, and found it made a little more sense. On the third reading everything fell

completely into place. I have read many other books and articles since, but nothing compares withBoggess on the techniques of article writing. A MUST for the aspiring article writer.

Considering the many types of article on magazine and newspaper stands, it is perhaps stating theobvious to suggest that your market study must be at least as thorough as the research you put into

gathering the facts for your article itself. Try the wrong market with an otherwise brilliant, well structured

article, containing newly unearthed details, and you'll unfortunately get what you deserve. Yes. Arejection slip!

Before we go any further with the actual writing of an article, we must consider what market

research is all about, and decide for ourselves just why such importance attaches to it.

Gordon Wells is, for me, the foremost authority on market research. With a fine toothcomb he

unpicks the articles in his target publication to such a degree, that at first I thought he was mad. My firstfew rejection slips convinced me otherwise of the reasons for his almost terrier-like tearing apart of an

article, as he discovers for himself what sentence and paragraph lengths a market prefers, what style of

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writing predominates, what subjects they choose, and on what level the writer generally relates to thereader. His book'The Craft of Writing Articles'is another essential tool for those less experienced than

Mr. Wells.

For advice on gathering facts and information, and deciding upon the appropriateness of such of

your prospective article, John Hines is the man to read. In 'The Way to Write Magazine Articles'he lets us

in on a method of collecting and recording data which he calls 'Non-Linear Thought Patterns'. He andhis wife, another successful writer of articles, use this diagrammatical method, which enables them to seetheir collected information at a glance, usually on one page, and allows them to decide which are the

most salient points, and whether in fact they have sufficient data for further articles. Highly

recommended!

Because space is so limited, I have pulled together those pieces of advice I consider of most use to

the writer in the early stages of his development. Nothing will beat reading the many excellent booksavailable, as you undergo the vitally important challenge of improving and refining your article writing

abilities, essential for your entry into the higher paying markets.

When considering how an article is put together, there are many who would suggest it has threecomponents only: a beginning, a middle, and an end. This in itself is an adequate breakdown, but I would

venture to suggest that it can be expanded upon. I say this purely as a result of the Boggess' book to

which I am so heavily indebted. So I make no apologies for now going into a little extra detail of theshape of an article as seen through Boggess' eyes.

For Boggess the article is broken down into:

THE HOOK. This is a device employed at the beginning of the article, intended to draw in

the reader and make him want to keep on reading. Boggess outlines many types of hook, eachwith its own particular characteristics and advantages. The most startling or interesting fact to

emerge from your research is usually the one to use here.

THE CAPSULE SENTENCE. Here we sum up as briefly as possible what it is we aregoing to tell or show the reader in the paragraphs that follow. It is that part in which you

convince the reader what follows will be of such interest that setting aside the article is the

very last thing he must do.

DEVELOPMENT. This is the main body of the article, in which you assemble, in a logical

way, the points you wish to make. Boggess, as do most authorities, suggests counting thenumber of development points in published articles in your target market. Five strong points,

she says, work better than ten weak ones, so there's no advantage to be gained by throwing in

all the facts at your disposal. Weaker facts, she suggests, should be eliminated, restated, orcombined, until you have a number appropriate to that preferred by your target market. Shealso gives advice on the order in which to present your points.

Development points must not be presented as a mere catalogue of facts. They must makeinteresting reading, or else even the most startling of information can become boring to the

reader and you will soon lose his interest, that is, if your manuscript ever gets past the critical

eye of the editor.

Boggess goes into an elaborate discussion of other techniques by which to hold the reader's

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interest from beginning to end. She covers what are termed Transitions, Expansion Devices,methods of Overlapping the Breaks, and Erasing the Paragraphs. Sounds confusing, and at

first reading it is just that; on second and third reading it becomes unbelievably simple and

extremely useful.

CONCLUSION. the writer sums up what has gone before as briefly and informatively as

possible.

THE TWIST. This is a short statement or anecdote that emphasises the purpose of the

article. Boggess suggests it encourages the reader:

To Think

To Act

To Chuckle

To Sob

The final paragraph should preferably be as startling as the hook, but if the most interesting or

shocking fact has been used at the beginning of the article, then most authorities suggest reserving thesecond such fact for the end.

The title you give your article can play an extremely significant part in its chances of acceptance.A good title can attract the eye of a busy editor, and encourage him to read on, when the reverse might

have been true had you presented even an excellent article with a mundane title. The title you choose

might not appear on the published article, but it can still be the one that gets it to be considered forpublication in the first place. Look at the titles in your target publication and fashion yours to suit. Does

the editor seem to favour wacky titles such as those resulting from a neat play on words, or do theyinstead go for straight-to-the-point titles?

Words, being your prime tool, must be chosen with care, but you should always write in as plain a

fashion as possible. Seek to impress the reader with a brilliant display of vocabulary that sends him

running for his dictionary, and you may find you've lost him. He wants to know what you have to say,not be bombarded with complicated words that rarely enter his everyday vocabulary. But your choice of

these everyday words is of paramount importance and you should seek the exact word to convey your

message. A great book on the topic of word selection is Gary Provost's 'Make Every Word Count'. It isequally useful for fiction writers, and a book I heartily recommend you have on your bookshelf.

In appropriate cases the inclusion of photos to illustrate your article can make all the differencebetween rejection and publication. You don't have to be a brilliant photographer, you don't even need totake the photos yourself, since many photographic libraries can provide the illustrations you require

though usually at a price. To save expense it is worthwhile learning how to take the photographs

yourself, and I would point you towards the John Hines' book mentioned earlier, which includes anexcellent chapter on photography.

A distinction must be made between unsolicited and solicited writing. Basically unsolicitedwriting is that which is sent to a target market without that market's prior knowledge, and because you are

not likely to be fully aware of the requirements of the editor concerned, you risk a rejection, not because

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your work is unsound, but simply because it doesn't fit into the editor's overall plan for futurepublications. With solicited writing however, you query the editor in advance, telling him what you have

in mind for a particular article, and asking him to let you know if he wants to see your work.

Solicited writing allows the editor to make comments he feels appropriate to the article you

propose. The problem here for the beginning article writer, is lack of a track record to convince the editor

of his ability to produce the article in a professional manner, and one appropriate to the publicationconcerned. So what you lack in previous acceptances, you must make up for in the professionalism youput into your work.

You must always give your work your best, but never more so than when you are starting out.First impressions count, and once you have made a successful sale, that editor will be more inclined to

accept work from you, whether solicited or otherwise. Working to commission, that is solicited writing,

will always have the advantage of saving you time in preparing work, which though extremely good, isnot what your editor currently requires. Wherever you can approach an editor in advance.

Remember the market for articles is vast and editors are forever on the lookout for new

contributors. Read as many books on the subject as you can. Don't seek to hit the big time in the earlydays; there's plenty of time for that when you have established a track record with which to impress the

editors of those slick magazines and much-revered Fleet Street newspapers.

Strive for professionalism in everything you write, and success will come sooner than you think.

-----------------------------------------

Quote

'Use killer leads (Hooks). They're hard to come up with but they'll set you apart from most of the slushthat editors see. John Wood, Editor.

-----------------------------------------

SHORT STORIES

An exact definition of 'short' in the context of stories is almost impossible to give. In some

publications several hundred words are the norm; in others several thousand words are required. Again

it's all a question of careful market research. Market study will also reveal the type of short story a

publication favours. I know of one for instance where almost every story must be set in Scotland, andhave a heroine who possesses certain characteristics as laid down in the magazine' s notes for

contributors.

I'll leave it for you to discover which magazine it is, for the short story market being so small,

there is no place for the writer who knocks out his story and then looks for someone to buy it. Short

stories must always be tailored for an individual market. Some allow promiscuity to enter the realms oftheir pages, some allow the odd naughty word, some allow slang, whilst others prefer their characters to

be whiter than white, with equally commendable family backgrounds. Some publications favour

historical short stories, others want them set in modern times, with characters and events bang up-to-date.

Market research, remember!

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All short stories have a beginning, a middle, and an end. Perhaps stating the obvious, but howyou handle each section is of paramount importance to the success or otherwise of your work. The short

story illustrates a moment in time, a moment of change, the essence of that change arising from some

element of conflict, whether of a physical or emotional nature. There must be a direct link between thatconflict and the time of change.

To illustrate, let's take a heroine who, having spent her entire life in a small village, and beingengaged to a local teacher, receives a once-in-a-lifetime offer to work in America. She is tempted, somuch so, she starts packing. Her thoughts are racing, filled with visions of New York's bustling streets

and life in a high-rise apartment block. New York - the city that never sleeps! She can hardly wait.

Sorting out her possessions, she comes by her fiance's letters to her while he was away at college, and sheremembers how she missed him then (CONFLICT). Cases packed, her fiance and family informed of her

decision, a week or so later she is on her way to the airport.

The CONFLICT is mounting as her thoughts run riot - New York or him? She sees couples, hand

in hand, as she passes through the villages and towns along the way. She watches families playing in

parks and standing in cinema queues. They're giggling and laughing. Have they even heard of New

York? (MOMENT OF CHANGE) Michael, her fiance, wants marriage and a family, and at this pointshe realises she doesn't really know what she wants, but she's sure that whatever it is, Michael is an

essential part of it. She asks the taxi driver to take her home!

The basic design of the short story is as follows:

CHARACTER/S - PROBLEM - COMPLICATIONS - CLIMAX - SOLUTION

All short stories have certain essential components:

A Plot. 'Plot' is the story line. It is that component which causes something to happen and leads

to the events that follow. In the story of the girl tempted to go to New York, basically the plotconsists of that temptation which is then forced into near insignificance when she sees around her

the things that really are important, and to have those things she must return home. Polti's 'The

Thirty-Six Dramatic Situations'will help you plot your stories, as will the simple art of observing

everyday situations, and stories in newspapers, and asking yourself the question: 'what if...? This

is guaranteed to start the creative juices flowing.

Theme. The theme is the underlying meaning of the story. It is our message to the reader. We

might want to imply there's more to life than the accumulation of vast sums of money; love andconcern for our fellow man are two such examples. In our example story we might say the theme

is, for want of a better description, 'Better the devil you know' or to suggest The grass isn't

always greener on the other side'.

Setting. The setting is the backdrop against which the story is enacted. It might take place in the

past, in modern times, or it may be set in the future. Your story may be set in a sleepy English

village or in a war-torn foreign city. The events may be seen through the eyes of the maincharacter, or told in the words of a bystander. The character chosen to relate the story is extremely

important.

Thoughts known only to the main character cannot, for instance, be divulged by the bystander.

Equally the bystander can relate events not obvious to the central characters, for instance, events

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taking place elsewhere which are crucial to the plot, but of necessity must not be known, yet, tothe characters. In a romantic story, we might not want the heroine to know that her new love has

been married before, although we want to make the reader aware of this important part of the

story.

Characters. Characters bring your story to life. They should be believable, as should their

dialogue. Certain magazines prefer a particular type of character, of a certain age, from a certainpart of the country, and so on. Always study your target publication carefully and obtain whatcontributor's guidelines they have.

Don't make your characters superhuman, unless you are actually writing a fantasy story.Characters can have faults like the rest of us, so don't strive too much for perfection. Characters

should be like people you meet everyday. In this way the reader is able to identify with the people

in your story. The reader gets close to them if their dialogue also is believable.

Go over what it is you want them to say and ask yourself if, in real life, people would use those

words, and always keep your dialogue meaningful. There simply isn't room for the continual

passing of pleasantries. Everything said must move the story along. Give your characters suitablenames. Kylie and Jason might be inappropriate for characters in a Western story, but entirely

appropriate to a modern day story concerning two teenagers.

Style. This is your own particular trademark; your way of saying something; the manner in

which you string together your ideas and thoughts; the mood you create for your readers; the

atmosphere of the story; and much more besides. Another concept almost impossible to define, itis unfortunately something that can' t really be taught, but style can be acquired through practice

and determination. Style is something that should never be copied, however much you admire

another persons work. However, it is almost impossible to reproduce another persons style, butif you could accomplish such a thing, would you find much personal satisfaction in doing so? I

truly doubt it!

Reading the work of others is an excellent way of improving your own style, but not with theintention of creating carbon-copy versions of their latest award-winning short stories. Be yourself

- it's fresh talent editors are constantly on the lookout for!

In our short story, we present our characters with a problem, as the story progresses it increases in

complexity until the point of our story's climax, as near to the end as possible, when we provide

the solution - and wind it all up as quickly as possible. After the climax, there is little point indragging out a short story; it's disappointing to the reader who having been led speedily through

the earlier part of the story, and now gripped by the intensity of the climax, we require a speedy

ending that leaves him still deeply moved by the event of the last few paragraphs.

To recap on some of the main features of a good short story:

The essence is conflict.

Plot comes from your characters and the situations you put them into, and the subsequent

solution.

Start as near the end of the story as possible. Don't drag out the preliminaries to the climax. Time

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is short and the end result can bore the reader - if it hasn't already bored the editor.

As in all forms of writing you must grab the reader in the first paragraph, and lead him or her

through a tightly-constructed story, one that offers no temptation to cease reading until that lastword has been devoured.

Keep the middle going with the suspense that increases in line with the problem, or problems, youhave set for your characters. If you offer more than one problem, the second should be related tothe first, or you risk the chance of losing your readers. An irrelevant problem belongs to another

story. The second and subsequent problems should be greater, in order to maintain the suspense,

as opposed to deflating it somewhat mid-story.

Make characters as interesting as possible, by getting to know them intimately. Express them to

your reader in the same manner and he will need to know what happens to them, and your storywill be read until that need is fulfilled. Use mannerisms and speech to make them as interesting as

possible.

End the story as soon as possible after the climax, or moment of change.

Never tell your reader what is happening by using straight narrative. Show them what happens by

the use of action, dialogue, and vivid descriptions of the characters' reactions.

MAKE EVERY WORD COUNT - Don't waffle. Refer to the

Gary Provost book at the end of this manual for advice on writing tight and maintaining thereaders interest.

Grab the reader by the senses - let him smell that coffee the heroine makes to occupy hands thatotherwise would lash out in temper! Let him see the trees and smell the flowers in the garden where that

first romantic encounter takes place. Let him hear the jet that suddenly flies overhead bringing theencounter to a maddening end!

---------------------------------------

Quotes

'Don't think of what's in your head that you want to get on paper, but what kind of effect you want to have

at any given moment on the readers' minds and emotions'. S Stein, Author.

'It helps to have a detailed resume for each major character, along with a ten-or-so page bio (biography).

For every fact about a character that is revealed in your pages, at least ten or twenty more should bevividly present in your head'. C Breslin, Authoress.

---------------------------------------

In the world of writing it is the novelist who is most likely to earn the really big-time rewards. But

though rewards for some are unbelievably high, extending to offers from film companies to buy the

rights, it must be said that the chance of a first novel being accepted is extremely low, some experts judgeit to be as low as 1 in 2000.

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If, however, you are already a well-known celebrity in some other field, your chances are vastlyimproved. But if you're not in this privileged category, and you want to write a novel for profit, then the

bitter edge of potential rejection can be somewhat offset by keeping your novel as only one part of your

overall writing plan. Practice other forms of writing: articles, fillers, short stories, and you will at leasthave some income as you embark on your more ambitious project.

The trend today is for longer novels, very long indeed in some cases. A novel can be anythingfrom 40,000 words upwards, although shorter pieces, novelettes, are sometimes published in flimsypaperback form, for sale on newsagents' stands.

It is often said that a novel is easier to write than a short story, and I must confess I find anelement of truth in this theory. A short story must be tightly structured and conveyed in a very short

space of time. The novel allows much more to be said, and also gives the novelist the chance to make

lengthy descriptions, and to include some dialogue which might be wasted in the shorter story.

Tastes in novels change. The person most likely to succeed, it seems, is the one who can predict

what the reader will want next year, at the exact time his prospective manuscript reaches completion.

Study trends and read as many new bestsellers as you can; there's no substitute for reading the work ofthose who have already 'made it'.

You will hear much about the word 'genre', or what many people would simply call 'type'. Sowhat types of novel can you consider adding to? The main categories are:

CrimeMystery

Thriller

EspionageAdventure

WesternsScience Fiction

Fantasy and HorrorRomantic

Historical Romance

Each category presents different requirements to its writer. Research and the structure of the novel

will be individual to the category you have chosen to contribute to. Research for a crime, espionage, or

war novel must be extremely thorough; if you make any mistakes, someone out there will notice themand be quick to point them out to your publishers! Take heed! These novels must also be tightly

structured, and more often than not they proceed at a fast pace, involving lots of action scenes. Romantic

fiction on the other hand can be comparatively less tightly structured, and might need less research,unless your novel is set in years long gone by.

Your work must be well-thought out and planned before you proceed to write. Some start with a

basic outline of events in the form of very sketchy notes; others advocate doing a synopsis of each andevery chapter before writing in earnest begins.

You are the one to decide which way suits you best. I read recently of a highly successful femalenovelist who analysed many bestsellers before writing her own. She worked out the frequency with

which something approaching a climax appeared in each book. She discovered that every two pages

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something must happen to make the reader sit up and take notice, and most of all, stops him from puttingthe book down. She also created a history for her fictitious family, with relevant dates and incidents

carefully built into its structure. She was rewarded with one of the biggest bestsellers of recent times.

As was the case for the writer of articles, the novelist should always seek to sell his work, or at the

very least, the basic idea, before he begins a lengthy piece of writing. Novels can take years to write, and

if the dreaded rejection slip rears its ugly head, that's a long time without earnings for your pains. Youshould contact publishers, outlining your proposals, and asking whether they are interested in publishingyour work.

Choose your publisher with care, since some deal with only certain types of novel, and your work,however wonderful, will be of no use to them. 'Writers' and Artists' Yearbookwill help you find a

publisher. When you have done that send a synopsis of your novel and a few sample chapters, already

written, and properly presented.

There are many excellent books on the market to help with the structure and writing of novels,

and you should endeavour to read as many as possible. Remember, too, if you seek to earn a living from

your writing, to view your novel as only one part of your work. If your novel is published - great! Bepersistent with your manuscript; if one publisher turns it down, send it to another, and another,

and ...........

---------------------------------------

Quotes

'I've never begun a book that I didn't finish, because I haven't started writing a book until I knew the

beginning and the ending, felt that they matched, and felt they associated with enough of a middle. The

journey from the opening paragraph to the end would have to make interesting fiction'. J. Heller,Novelist.

'When I decide where the settings of my book are going to be, I will travel to the location and that will

give me an awful lot of ideas about what's going to happen where. I'll come back with all these crazypictures that I've taken, and they help me keep the details, the feelings of the locations'. R. Ludlum,

Novelist.

NON FICTION BOOKS

Writing non-fiction books is a natural progression for many article writers. The subjects covered by both

are closely related; many would say identical, with the only obvious difference being the actual length of

the work.

A great many non-fiction books come within the 'How to Do It' category. 'How To Sell YourHouse Without an Estate Agent', and 'How to Trace Your Ancestors', are recent examples. Other types are

those dealing with local history, biographical accounts of famous people, studies of parts of the world orits peoples, and a host of topics which do not fall within the realms of the more fantasy-based world of

fiction writing.

Obviously, in starting out in this area of writing, it is preferable to begin with a topic in which you

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have specialised knowledge, perhaps one forming the basis of many of your articles, or a pet hobby orsubject you might not necessarily have written much about, but with which you have kept constantly up-

to-date.

Consider first whether you do in fact have sufficient material to fill a book, by writing an overall

synopsis and a brief description for each individual chapter. If you feel confident that what you have is

worthy of a book, now is the time to look for a publisher. Look through 'Writers' and Artists' Yearbook',and study the requirements of individual publishers.

Then make a list of those that seem suitable for your proposed venture and send details to one of

them, outlining your proposals in letter form, with a brief synopsis of the book, details of the chapters youpropose including, and a few sample chapters you have already written. Enclosing sample chapters is

particularly important for writers new to this field, and is necessary to convince the publisher of your

writing ability.

Send a stamped addressed envelope for the return of your documents in the event the publisher

isn't interested, and then continue to approach other publishers in the same way, until you find one who

does like your work. Remember, a refusal does not mean your work is inadequate. It may be the publisheralready has something similar planned, or else has completed his quota of books in the category to which

yours belongs. Don't be disheartened, for once you have one non-fiction book behind you the road ahead

is infinitely easier to travel, and many article writers become almost exclusively writers of non-fictionbooks and manuals.

POETRY

Sadly, though poetry is one of the most difficult writing forms to master, its not an area where

many writers find fame and fortune, unless of course they are amongst the talented and prolific who finda particular slot ideally suited to their talents. As I write, my local paper conveys news of the death ofPatience Strong, whose inspirational verses graced greetings cards and many, many magazines, and other

publications for over fifty years. Writers of her calibre are in very short supply, but if one person has

carved a career in the way she did, it can be done again. Just don't seek an early fortune this way.

If we include light verse within this category, then we are able to suggest a possible opener for the

'poet' in the letters' pages of worldwide magazines.

Poetry competitions are perhaps the best way to earn from your talents. There are many

publications aimed solely at writers of poetry, many paying, albeit small fees. But some also carry

competitions on a regular basis, prizes for which can often be extremely attractive. Keep your eyes openfor such competitions in the pages of poetry or general writing magazines, or in the competitions pages of

the excellent Freelance Press Services bulletin.

PLAYS

Plays are needed on a constant basis by television companies, radio stations and, of course, theatre

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companies. Individual requirements vary greatly, particularly due to the manner of their conveyance torespective audiences. For example, a radio plays relies heavily on sound effects to keep the listener

aware of happenings which cannot be related in terms of speech. We might, for instance, want to have

our subject observe a passing car, as he stands alone waiting for visitors. That person cannot talkconstantly to him or herself, and so the listener must in some other way be made aware of the cars that

pass by. The writer must remember that what the listener can't be made aware of by dialogue, must be

conveyed in some other manner.

Television is a different matter entirely. In so visual a medium, sound is less important and action

comes to the fore. The theatre is much more restrictive with no availability for outdoors scenes, and

budgets often inadequate to accommodate more than a few scenery and costume changes.

'Get Writing'by George Evans and Vince Powell, published by B.B.C Books, offers excellent

advice on the writing of plays for radio, television and theatre, and is written by professionals with manyyears of experience in this field. The book also covers other writing forms, including the highly lucrative

fields of situation comedy, gags and sketches, documentaries and serials.

SUBMITTING ARTICLES AND SHORT STORIES TO EDITORS

It is essential that your manuscript be presented in a professional manner, if you hope to make a

place for yourself from writing articles and short stories for hundreds of publications requiring the

services of the freelance writer. A well-produced manuscript will immediately gain you an edge in theeyes of the busy editor; a sloppy submission might well not even be read, though its content is of

exceptional value. First impressions are always vitally important.

With the exception of readers' letters and some fillers, e.g. reader's recipes and other items

solicited from 'readers' who are not necessarily expected to have access to sophisticated machinery, yourwork must always be typed before sending it to an editor.

Whether you use a manual typewriter, or the more sophisticated electrical models, or whether you

can stretch to purchasing one of those most wonderful of inventions - a word processor, is entirely for

you, and your finances, to decide. All I would say is, with word processors now available for a fewhundred pounds, many advantages are immediately gained. Your work need never be completely retyped

for subsequent submissions and since all amendments can be made to the original document whilst still in

the machine's memory banks. Nor is there need for typing errors to mar your manuscript, since allchanges can be made before the manuscript is ever committed to paper. These advantages and many

others can greatly increase your actual turnout rate, and such a machine could pay for itself in a very

short time. But don't commit yourself to one unless you are sure your future lies in writing.

Type your work on good quality A4 paper. About 70-80 gm weight is adequate. Type on one side

of the paper only. When your ribbon provides less than a crisp black copy then discard it in favour of a

new one, or have the old ribbon re-inked, where appropriate.

Margins should be approximately 2" on the left and 1" on the right.

On the first page of your manuscript, about one-third of the way down the page, type your title,

centrally, in capitals, and underline it. About 5 lines down type 'by' again centrally, and a similar number

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of lines further down type - centrally, your real name or pen name. Only the title needs capital letters.

About half way down the page start your actual text. Indent each paragraph by five spaces and

type in double-spacing throughout.

Leave margins of approximately 25mm at the top and bottom of each page.

Pages should be numbered and identified in the event of them coming adrift. At the top ofsubsequent pages you should give your name, a brief title, and the page number. Page two for my article

on writing articles might start as follows:

HARPER ARTICLES PAGE 2

A line should be left free before re-commencing text.

At the end of your article or story, leave a few lines and type, centrally:

.............. END

At the bottom left-hand side of your last page type your name and address in single spacing.

Manuscripts should preferably bear a cover sheet giving brief details of your work. On your

cover page approximately half way down, the title of your manuscript is typed in capitals and centred. A

few lines further down type 'by' in lower case, and a similar number of lines down in lower case letteringtype your real or pen name, i.e. the one you want to appear on your published work. Then about an inch

below type 'An article/short story with approximately ... words' underlined and in lower case lettering. If

you are submitting illustrations, state a few lines further down how many photographs/linedrawings/illustrations there are. Type your real name and address at the bottom left-hand side of the

page, in single spacing.

Always send a covering letter stating simply that you are enclosing an article or short story forthe editor's consideration, and saying you hope it might be suitable for publication in his magazine,

newspaper, etc. Provide a suitable size Stamped Addressed Envelope for return of unsuitable

manuscripts. Then wait! Don't bug an editor for an answer unless several weeks have passed for a piecewith limited time interest, such as an anniversary piece for which the deadline is looming. Although

some editors reply very quickly, it is not unknown to have to wait several months for a reply.

After submitting your manuscript, start on your next. Don't dwell too long on the fate of the first!

Good luck and happy writing!

RECOMMENDED READING

HOW TO BE A FIVE MINUTE WRITERby Avril Harper, published by Meander Press go for more

details to www.smartwriter.co.uk

ARTICLE TECHNIQUES THAT SELL by Louis Boggess. Published by B

& B Press and available through Freelance Press Services.

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THE CRAFT OF WRITING ARTICLES by Gordon Wells. Published by

Allison & Busby.

THE WAY TO WRITE MAGAZINE ARTICLES by John Hines. Published by Elm Tree Books.

MAKE EVERY WORD COUNT by Gary Provost. Published by Writer'sDigest Books and available through Freelance Press Services.

THE WAY TO WRITE FOR CHILDREN by Joan Aiken. Published by Elm Tree Books.

TEE WAY TO WRITE RADIO DRAMA by William Ash. Published by Elm

Tree Books.

HOW TO WRITE STORIES FOR MAGAZINES by Donna Baker. Published by Allison & Busby.

WRITING A NOVEL by John Braine. Published by Methuen.

THE CRAFT OF WRITING ROMANCE by Jean Saunders. Published by Allison & Busby.

THE MAGAZINE WRITER'S HANDBOOKby Gordon Wells. Published by Allison & Busby.

TO WRITERS WITH LOVE by Mary Wibberley. Published by Buchan & Enright.

GET WRITING by George Evans and Vince Powell. Published by BBC Books.

HOW TO WRITE AND SELL YOUR PERSONAL EXPERIENCES by Lois Duncan. Published byWriter's Digest Books and available through

Freelance Press Services.

HOW TO WRITE FOR PUBLICATION by Chriss McCallum. Published by Northcote HousePublishers Ltd.

HOW TO MAKE MONEY OUT OF WRITING by Graham R Stevenson. Published by GowerPublishing Group.

ESSENTIALS FOR YOUR BOOKSHELF

THE WRITER'S HANDBOOK Published by Macmillan.

THE WRITERS' AND ARTISTS' YEARBOOKPublished by A & C Black.

THE CONCISE OXFORD DICTIONARY Published by Oxford University Press.

ROGETS THESAURUS OF SYNONYMS AND ANTONYMS. Obtainable from all good bookshops.

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Succeed as a Writer

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