Instititute of Children's Literature

Rx for Writers

Transcripts

"How to Present Yourself As a Pro (Even Before You've Been Published!) with Karen Hammond

Thursday, March 1, 2001

Moderator is Kristi Holl, author of 24 books for children and the web editor for this site.

Karen is Karen Hammond, a national speaker and teacher, and her work has appeared in major national publications. She has written fiction, nonfiction, poetry, and books, winning several awards for her writing.

Names color coded in blue are viewers who asked questions.

Interviews are held on Thursday nights: 9-11 p.m. Atlantic/Canada, 8-10 p.m. Eastern, 7-9 Central, 6-8 Mountain, and 5-7 Pacific

Moderator: Good evening, everyone! I'm glad to "see" you all tonight. I think you're in for a very productive evening's chat. I'm Kristi Holl, your moderator and the web editor for this site. We're here tonight to talk to Karen Hammond on the subject of "How to Present Yourself As a Pro (Even Before You've Been Published!)" We'll be talking about everything from writing queries to impressing editors in person. So let's get started! Welcome, Karen!

Karen: Hello everyone. It's a pleasure to be here tonight.

Moderator: Karen, how did you get started writing? What were your "life circumstances" like then?

Karen: I have been writing for more than a quarter of a century now. I worked for a publishing company when I was first out of college, and while I enjoyed editing and learning about publishing, what I really wanted was the job the writers had. So, I learned all I could about the world of editing and publishing, and then struck out on my own as a freelancer.

Moderator: You've been published in such a variety of genres. Is that one "trick of the trade," not putting all your eggs in one publishing basket?

Karen: We are in a time of specialization, but personally I believe many new writers specialize too soon. I think it's a good idea to try your hand at a variety of writing genres. Try fiction, nonfiction, writing for children, writing for adults, at least at the beginning. And yes, I do think being a diversified writer has helped me turn my love of writing into a real career.

Moderator: Let's start tonight's discussion with sending professional queries and making a good impression that way. First, what kinds of writing will generally require a query letter? (And how does that differ from a cover letter?)

Karen: I think of queries as introductions--that is, a way of introducing both yourself and the article you want to write. Generally speaking, editors ask for queries for nonfiction articles. Fiction is more commonly accompanied by a cover letter. The main difference is that you don't need the level of detail in a cover letter because the editor has your completed manuscript in his or her hand. In a query letter you have to supply enough details to make your pitch. The most important thing is to study the markets carefully and send queries or complete manuscripts as requested by the particular publication.

Moderator: What if I send queries out all the time and get them right back with a form letter? How do I get an editor to at least read them?

Karen: You can be sure that your query was read. At small magazines an editor or assistant editor may read queries; larger magazines employ first readers who are often young college graduates. These readers have been trained in what to look for, so the idea is to give them what they want! You can determine that by a careful study of the markets and by reading the writer's guidelines. One tip I can pass on is that if it is a fairly large magazine with a good-sized staff, be sure to target the appropriate editor. For example, if your magazine lists a fiction editor and an articles editor, you should of course send your short story to the fiction editor...not the articles editor, and not the editor-in-chief. That way the right editor or a first reader on her immediate staff will see the manuscript. Also, if you are writing good queries and getting them right back, you may be targeting magazines that are highly competitive. Don't be afraid to start with some of the smaller, lesser known publications. It's a good way to break in and the editors are often very nurturing of new writers.

Moderator: What if an editor wants clips and I don't have any?

Karen: This scares of lot people, but it doesn't have to. Just think creatively. Instead of saying, "Sorry, I don't have any clips," say something like, "I'm enclosing the first two pages of my proposed article to give you a sense of my writing style and my approach to this topic." The editor may read between the lines and know you are unpublished, but you will get points for being professional and giving her a good sample of your work. The bottom line is, editors really care more about that than where you've been previously published.

Moderator: It's good to know what should be in a query. Are there any things that should not go into a query?

Karen: Oh, yes. I'm afraid whole chapters of books have been written about this! Some don'ts: Don't spell the editor's name wrong. It's the kiss of death. This may sound petty, but many editors think if a writer can't be bothered to get the editor's name right, he or she is probably careless about other things as well. Don't state that you have never been published, and certainly don't say that you will be happy to give up a fee in order to get your work in print! I hear you chuckling out there, but this is something editors see a lot, and of course it says "amateur" all over it. Also, avoid telling the editor what the magazine wants or needs. I've seen a lot of queries beginning, "Your magazine should publish an article on such and such..." Needless to say, deciding what the magazine needs is the editor's job and she won't be thrilled at being told what to do. Remember, editors are people like everyone else. Be nice, be professional, and eventually you will get that first clip.

cwalton: What are clips?

Karen: A clip is a photocopy of something you have had published. You should begin a clip file with your first published piece. Make several photocopies of your article or story and start your own filing system. You will go back to this file time and again to pull clips to send to editors. By the way, if the name of the publication and the date of publication don't show on the clip, write them in neatly in black ink. Also, be sure your byline is clear under the title. One last thing: never send an editor pages from the magazine. Send photocopies only.

Moderator: If you get a go-ahead on a query, within what time frame should you have the piece written and submitted? Or should you write it first so it's ready to submit as soon as someone wants to see it?

Karen: Usually when an editor gives you a go-ahead, she will ask how soon you can have it ready, or she will say she needs it by a particular date. So you should have a good idea of how you are going to put the article together before you query: where you are going to get your information, where you are going to get quotes if you need them, and so forth. This way, you'll be ready to start promptly. The advantage of not having the whole thing written ahead is that editors often want a slant you might not have thought of. For example, they might want you to add a spiritual component, or use a lot of real-life anecdotes. So by having the basic idea in mind, you can tailor the piece specifically to this magazine by incorporating the editor's suggestions. I do want to say here that once a deadline has been agreed upon, don't let anything short of family crisis or extreme illness keep you from making your deadline. The editor will be watching this as a sign of your commitment to professionalism.

Moderator: Are there any good books on writing query letters?

Karen: Yes, just browse Amazon.com or any library or bookstore. The standard is Lisa Collier Cool's book. I think the title is How to Write Irresistible Query Letters. Any book on writing for magazines will have a section on query writing, however.

WriterEO: Isn't it true that most publishers will tell you whether they want a query letter or not?

Karen: Yes. You should be able to determine this from the writer's guidelines, which you can send for. They're always free for an SASE. Or look at the magazine's web site. When in doubt, a query is always safe.

barbara patterson: If you have nothing published should you say you're a student to let them see you have had some training?

Karen: You've asked a very good question. While training will definitely help you produce more polished writing, it's really not something to put in a query letter. Much more relevant is why you are the ideal person to write on the topic you are proposing. If you are a champion gardener and can tell readers how to keep slugs off their roses, the editor cares much more about that than where or when you learned to write.

Casey: If you've only had fiction published, should they be used as clips when sending a query for an article?

Karen: If you feel that your fiction is very strong, you could include one clip as an example of your published writing. But for a major national magazine, I would not do this. I'd mention that I had been published in XXX magazine, and write the strongest query I could on the topic I was proposing, including, as I mentioned earlier, why you are the best person to write this particular article.

BrimmingCup: So for clips, by photocopy you mean a copy of the actual page(s) of the magazine?

Karen: That's right. Use a good copier and make several clear copies of your article. When a piece is published, most publishers send writers two copies of the magazine. Professionals usually keep one copy intact and carefully remove their article from the other. This one they use as a "master" to make photocopies for the clip file.

AnneKelly: Do you handle the queries the same way for both children's and adult writing?

Karen: The basics are the same: What you are going to write, why you are a good person to write it, proposed length and focus, and so forth. In children's writing do indicate that you understand the age level targeted by the magazine. I've seen a lot of beginning writers send YA pieces to magazines that target readers in the K-3 age group, simply because they are sending queries out to everything listed under "children's market."

WriterEO: I had a story published on the web; how do I "make copies" of this magazine? Can I use this as a clip?

Karen: You've probably printed it out, or can do so if it's in a web data base. Otherwise you could just print it out and indicate that it appeared on X web site on date X. You can use it as a clip, but be a little careful. Try to get a feel from the writer's guidelines as to how the editors feel about web writing. It can be quite different from print work. Certainly for the smaller magazines, I'd say send it as an example of what you can do.

Granny Janny: What if you don't know the editor's name and can't find it; how would you address the letter?

Karen: If you can get hold of the magazine in a library or bookstore, you can find the editor's name. Just look on the masthead. That's the info usually printed within the first few pages that gives the names of everyone on the staff. As you know, it's always best to review at least one issue of a magazine before submitting, and this is one of the things you can learn by doing so! Also, many magazines have web sites now, and all the staff are listed there. Of course you can call, and ask to whom you should direct your manuscript. Or if all else fails, write to "Dear Editor." But I can't promise the editor will be thrilled.

Chief: Do you have an agent for your submissions or do you submit on your own?

Karen: I don't have an agent at the moment because I am concentrating on magazine writing. Agents work with you when you are writing a book, but not for magazine articles and stories. The reason for this is twofold: These are short enough for editors to read without having an agent screen them first; and second, even the top paying markets don't pay enough to make the agent's cut worth it.

ocam: I have several pieces in anthologies with no byline. The Table of Contents shows my name. What should I do about a name byline?

Karen: For those who may not know, a byline is just what it says: a printed line that says "By....Your Name." In this case, I would photocopy the pieces you wrote and also photocopy the Table of Contents, highlighting your name. And a reminder to one and all: it's best to hold out for a byline on everything. Often if you ask, you will get it!

pocahontas: How long should you wait for a reply to an e-mail query?

Karen: I'm going to assume that you know e-mail queries are acceptable for this publication, because otherwise you may have a very, very long wait. Editors seem to love e-mail or hate it , with very little in between. If the pub has indicated that e-mail is OK, I'd wait perhaps 10 days and then write a polite reminder. E-mail is here today, gone tomorrow in many cases, which is why I still prefer snail mail when I have a choice.

CD: Some publishers return their guidelines with instructions that they are not currently accepting submissions. Is this becoming more standard? For a novel, should one seek out a publisher or an agent? Where would one find information on agents and how do you get a good one?

Karen: Actually it's good of publishers to let you know they are not accepting manuscripts at the moment. At least they are not holding you up or leaving you wondering. It's a courtesy that publishers are extending now, and I think it's a good one. Fiction has always been more difficult to sell without an agent than nonfiction. However, some children's publishers are still reading unagented work. Not to sound like a broken record, but again, it's important to read the publishers' guidelines. Don't send a piece in to a publisher that specifically says it reads agented work only, because it definitely will not be read. An excellent book on agents and publishers is the Writer's Guide to Book Editors, Publishers, and Literary Agents by Jeff Herman.

Moderator: I've heard that writers' conferences are good places to make personal contact with editors. What do you think?

Karen: Oh yes, some of my best contacts have been made this way. In this day of technology, it's still amazing what a face-to-face meeting can do!

Moderator: Are writing conferences worth the money? Where do you get the most for your money, in your opinion? What are the benefits of each type?

Karen: Conferences can be expensive, but they are business expenses (talk to your tax person!) and very worthwhile, for both beginners and pros. Look for conferences that are well organized and list the credentials of the speakers in their brochure or advertising. Many wonderful writers are not necessarily household names, but there should be some indication of how long they've been writing, where published, and so forth. Next, look to see what editors and agents will be speaking or on hand. Target conferences that meet your writing needs. No point in going to a conference devoted to sci-fi if you want to write nonfiction.

Moderator: If I go to a conference, how should I approach an editor? Can I give her a manuscript or a proposal right then and there?

Karen: If you are going to a conference, be prepared. Bring some business cards with you and have them accessible. You never know who you'll bump into in the coffee line or ladies' room. You must introduce yourself so don't be shy. If you've heard the editor speak, mention something about what she said, such as, "I was interested to know that you're looking for exotic animal articles because I'm working on a piece on spotted leopards right now. May I send you an outline? And meanwhile, let me give you my card."

Moderator: How do I get that professional writer "look" in my correspondence without spending a lot of money?

Karen: The basics are letterhead, envelopes, and business cards. With these, you are ready to go. They needn't be expensive. Most printers today do a good job. Keep everything plain. Get the best paper you can afford and stay away from graphics like inkwells or dripping pens. Just center your name, address, and other contact info at the top, including e-mail if you have it. Printed return address on your envelopes adds a professional touch if you can afford it.

wendymh: At a conference editors will receive lots of business cards. If you are a gardener, for example, is it okay to put a gardening graphic on your business card?

Karen: If you are going to write exclusively about gardening, this might be okay. Otherwise, I would avoid it because the cards will be more versatile.

WriterEO: Letterheads, envelopes, and business cards with nothing on them? I have letterhead which has a watermark of an old typewriter - can I use this?

Karen: Obviously this is a personal choice and your watermark sounds classy. All I can tell you is that most pros use plain stationery that carries their name and contact information, and perhaps the names of one or two writers' organizations they belong to.

Darla: In college, I was always told "Keep things simple" Do you feel this applies to correspondence with editors also? If so, when is simple too simple?

Karen: Good question. Definitely keep things simple. Editors read all day, and they like writers who get to the point, whether it's a query or other correspondence. The editor wants to know within a few seconds why you are writing. I think "too simple" would just be if you don't provide enough information for the editor to work with. For example, if you send a query indicating that you want to write about swimming, with no indication of focus, length, your background, and so forth.

Moderator: Karen, we're talking tonight about looking professional. Since writers work at home, personal appearance isn't an issue, is it? Or are there places where I need to "dress the part" of a writer? What does that look like, anyway?

Karen: Gosh, I just looked down at my fuzzy slippers and flannel shirt. Seriously, if you're going to be home all day, it's up to you, of course. But if you are going to be running out to the copy shop, or the printer, I really suggest taking a few minutes to neaten up. I don't mean you have to run to the copy shop in a suit and heels, but be presentable. I've actually made some very good contacts in places like this! When you get to know printers well, for example, they will often refer work to you. For example, a client who wants something edited or written. So you do want to look like you can handle the job. And of course at a conference, where the idea is to see and be seen, you want to look your professional best.

Moderator: I went to a writers' group locally and it seemed to be mostly a gab session. Then everyone read everyone else's work and said how good it was, even though some of it was awful. Do professionals really go to these?

Karen: I hear this a lot. There are many levels of writers' groups, and I don't think we can characterize them as "good" or "bad". They just may not be a good fit. If you are serious about your writing, you want to be in group with others who are getting published or trying hard to. A good tip is to try not to be the best person in the group (you'll spend your time helping everyone else) nor the worst in the group (because you may feel left out). Instead, strive for a group with folks much like yourself, maybe some who are starting to publish and others who are submitting regularly. And of course there's a place for folks who like to write a little and talk a lot, but these are not the best use of your time if you really want to start selling.

Moderator: How can you start your own critique group that is more business-like? And can you set "rules" for the group?

Karen: You can agree upon some basics, such as the critiquing being honest but not vicious; work out a way to include everyone, perhaps not every night, but on some schedule so that no one is left out, and so forth. I would let the rules evolve after these basic ones. You don't want things to be too rigid. Sometimes the really good part of these groups is just letting the ideas fly in a supportive setting.

Moderator: Online critique groups are springing up now. How do those work? How could you start one?

Karen: You can post an ad in the ICL "Writer's Retreat" section, asking for people who would like to do this. In the ad or forum posting, indicate what you write, whether you want to trade critiques on picture books, poetry, or whatever, and ask interested people to contact you. Several active groups have started up this way. And other writers have met up in ICL's general chat room.

ladyrose: Where does one find such groups (not online)?

Karen: Your local library is a good place to start. They often know the writers in a community and can steer you toward a group. Watch your local newspaper, too, because larger groups usually list their meeting times.

panhandlesky: Is it all right to use good paper and print your correspondence on your home printer?

Karen: You can do that. Just practice until you can center your contact information neatly at the top of the page so that it looks crisp and professional.

Mervy Mitchell: Hi, Karen. I'm 18 years old, unpublished, inexperienced, and writing fiction. I can't prove that I'm the best person to write what I write. What should I say in my query letter?

Karen: You've got it all before you! First of all, it's unlikely that you will be writing a query letter about fiction because editors usually want to see completed manuscripts in fiction and queries in nonfiction. So my advice is to write the strongest manuscript you can and submit it with a very brief cover letter that simply says you are submitting the ms for consideration. And don't forget the SASE.

Darla: I am being published for the first time this June. Though it is a poem, I was wondering how I can use a clip of this for my benefit in the magazine and book market.

Karen: Congratulations! Unfortunately there's not much relationship between poetry and the magazine and book market, unless of course you are submitting more poetry. In that case your clip would be relevant. I'd keep on trying to get that first prose clip, perhaps by submitting to some small, less competitive markets.

ladyrose: I think my greatest fear is to submit a query letter, have it accepted, turn in the manuscript, and have the editor think it's terrible. Do they nix the whole assignment or help you make it publishable?

Karen: There's an old saying among writers that if you can sell an editor a query, you can write the article. Once the editor approves the article outline, he will work with you if necessary to produce a polished piece. However, the real work is up to you. You should turn in the best possible piece of writing that you can. The editor may ask for a rewrite, or two, or three, which you should do cheerfully. This is how you learn to be a better writer. Only in very rare cases are pieces nixed. However, keep in mind that in the beginning, editors will ask you to write "on spec," which means they promise to take a look at the completed piece, but they are not promising to publish it. This is different from having an assignment, in which the editor commits to publishing a piece. Assignments are usually given to writers with whom the editor has worked before.

Niki: Must you be an expert to write about a subject, or can you research enough for an article?

Karen: You can research virtually anything today. The Internet has opened the world to us. The important thing is to have an interest in the topic so you will want to do the research! And don't forget that experts like doctors, college professors, and so forth are eager to share their knowledge in exchange for the publicity your article brings when you quote them.

Moderator: How can I convince my family and friends that my writing is a real job? My kids get into my papers, my mother-in-law calls me to come over for lunch, and my neighbors want me to pick up sick kids from school because I "don't work." My husband thinks this all a joke and I'll never publish anything.

Karen: I've been there. I think the most important thing is for YOU to treat your job very professionally. If you constantly drop your work for lunch dates, volunteer for every committee, and so forth, you are sending the message that you have plenty of time on your hands. I don't mean you can never take a break or volunteer, but try to schedule your days as you would if you had a 9 to 5 office job. As for the neighbors, you can be a good neighbor and be on hand for a real emergency such as a locked-out child, while declining regretfully that your work makes it impossible for you to run to school when Jimmy is sick or forgets his homework. Husbands, in my experience, tend to be impressed with the first printed piece and the first paycheck, so hang in there!

Moderator: I have a baby and an active toddler at home. Beyond working while they nap, do you have any suggestions? I am always afraid an editor will call and the baby will be screaming.

Karen: The best investment I made when my children were small was a separate business line. I scrimped on a lot of other things, but that line saved my writing career, I am convinced. It was used only for my work, so when it rang I immediately had a "heads-up" that this was a business call. Usually I was able to give the baby a pacifier or give the toddler a cookie and save the day, but not always of course. If a real disaster hits, all you can do is ask if you can call back in a few minutes. Many editors are parents and understand. It's not the end of the world.

Moderator: What do you think about volunteering to do newsletters and other writing tasks for groups I belong to? Will this give me worthwhile practice, or will people assume my writing is a hobby - something I do for fun or to "keep busy"? I want to avoid that.

Karen: Be a little careful. You can get good writing experience this way. I used to write and edit a newsletter for my son's soccer team, and I learned a lot by trial and error, so that when a client asked me if I could produce a newsletter for him, I said "sure" and didn't have to make the mistakes then! But don't overdo it because you are right, there is a tendency for people to think of writing as a hobby anyway. If you do too many things for free you will seem less serious about writing as a career.

Moderator: On a related matter, how do you say "no" to people who assume because you write you would be thrilled to write the church newsletter, take minutes at every meeting, do all the publicity and newspaper articles for your organization, etc. I'm almost afraid to join anything these days because of that!

Karen: It happened to me this morning in aerobics class, as a matter of fact. A woman I don't even know asked if I would write a newspaper profile of someone who has survived a serious disease as part of the organization's PR efforts to raise money. Because I know the organization and know they do a good job, I agreed. But I also kindly said that I am rarely able to do this kind of thing and was doing this because I believed in the cause.

Moderator: I'm determined to be a writer, but I have limited space at home to devote to an office. Any ideas?

Karen: I think it was the late humor writer Erma Bombeck who began her career with a manual typewriter propped up on her ironing board. Try to find a quiet corner somewhere, in your bedroom perhaps, or even in the basement if that's where you can get away from things and concentrate. A friend of mine wrote in a closet for years. She just pulled everything out and slid her desk in. It actually worked well until she was able to have an office. Again, if you can convince your family that your writing is important to you and is your "work" they may work with you to find space, or at least respect whatever space you are able to carve out for yourself.

Moderator: I'm sorry to have to stop now, but we're out of time. This is a subject that could go on for hours! Karen, thank you so much for coming tonight and "thinking back" to the beginning for our viewers and sharing your tips and insights on acting like a "real writer" from the start. I appreciate it, and I know the viewers do too.

Karen: Thanks so much for having me. I'm very impressed by the questions tonight, and I hope you will all keep submitting. I have a feeling several of you out there are just a query away from that first sale. Good luck!

Moderator: Do come back in two weeks on March 15 when our speaker will be Beth Troop to talk on the subject of "What Editors Look For." Beth has worked for Highlights and Boyds Mills Press for more than l4 years, most of that time spent reading submissions as the manuscript coordinator. She knows what happens when your manuscript leaves your hands and the importance of making a good first impression with your work. This will be more of an "Open Forum" type of interview, so come with lots of questions! Until then, good night, everyone!

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