Writers on the Rise

Interview by Lori Russell

After writing and publishing a book, an author’s attention turns to promotion. One key to creating a successful author event is matching a particular book to the right community, says Deborah Schneider, public programming coordinator for the King County Library System in Washington State. With 43 libraries and a circulation of over 19 million items per year, King County is the second busiest library system in the country. It hosts about 100 events annually for local and touring authors. Here, Schneider explains how authors can benefit by including library events in their list of promotional activities and shares her tips for creating a memorable program.

How is a reading at a library or other venue similar to or different from reading and signing books in a bookstore?

There is actually very little difference in my opinion. We work with booksellers and have an author’s book for sale at all of our events. Part of the attraction to an author program is the opportunity to have a book inscribed to you. We have great meeting rooms and can provide audio-visual equipment, such as LCD projectors for presentations.

What is the most engaging author performance you have seen and why?

Charlie Williams, aka The Noiseguy, had a book release party for his children’s book, Flush: An Ode to Toilets in one of our meeting rooms a few years ago. He and his wife decorated the room with toilet plungers, toilet paper, and even toilets with plants. They had refreshments, including a punch “bowl” ice sculpture that was a toilet. He performed two shows, and we had over 100 people. A television reporter for a local show came. They even TP’d a librarian! It was all hilarious fun. He was interviewed on the radio and that segment from Evening Magazine has been shown at least three times. It was great publicity for the book.

What are the most effective promotional strategies for inviting people to an author event?

While having a big name author with lots of holds on their books is a sure-fire way to have a successful event, not every author is on The New York Times best seller list. It takes more energy to promote an unknown author. One of the mistakes authors make is to look around a room and only count “noses” to measure the success of the event. Even the big name authors who travel the country know it’s about the publicity, not the number of books sold. Book tours are created to generate “buzz” - publicity and talk about the book and author.

There are several factors that can benefit an author in creating a successful event. Put the event on your website. Have a great publicity packet with good photos, a JPEG image of your book cover and basic publicity materials like the blurb. You can’t rely upon your publisher to do this. They can give you the cover art, and you need to make it available for promoting your program.

What should authors keep in mind if they want to engage their audience at an event?

Start by not calling it a “reading.” Most people get an image of an author standing and reading to an audience for an hour. How exciting does that sound? Instead you need to find a topic you’d like to talk about (that relates to your book), and create a program around it. If your novel is set in a specific time, you can use that as a topic of interest and draw readers because they love those kinds of books. If you take the time to develop a program, you have more to offer. You can read from your book, but find a way to set the scene and leave the audience craving more from you.

How can authors find out about events at libraries in their region and whom should they contact if they want to participate?

Libraries love having author events, but the publishers don’t often consider sending an author to a library when they are on tour. Many don’t understand that books can be sold at the event, and quite honestly, they don’t know how many millions of dollars libraries spend purchasing books every year. You can easily discover what kinds of author events your local library is offering by visiting its website. You will find our author events listed on the front page at www.kcls.org. A great resource for those who want to plan successful author events is The Author Event Primer: How to Plan, Execute and Enjoy Author Events by Chapple Langemack.

Deborah Schneider can be contacted at dschneid (at) kcls (dot) org

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Lori Russell is an award-winning writer who has had the pleasure to work with several great editors in her 17 years as a freelancer. She is a contributing editor to Columbia Gorge Magazine and has been a regular contributor to Ruralite for more than a decade. Her articles have appeared in newspapers and magazines throughout the country and her short fiction and poetry has been published in several journals and anthologies. Lori recently completed her first novel, Light on Windy River.

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Interview by Lori Russell

Writers Digest Books, an imprint of F+W Publications, publishes yearly market directories for writers as well as trade books that examine the craft and business of writing. Chuck Sambuchino is the editor of the 2008 Guide to Literary Agents, the founding editor of Screenwriter’s and Playwright’s Market (to be released in December 200 and the assistant editor of Writer’s Market. He is also a produced playwright, a freelance editor and an award-winning journalist. Here, he discusses what writers need to know about finding an agent in the current marketplace.

How is finding an agent different today than in the past?

Thanks to the Internet, plenty of agencies have websites where they detail what they’re looking for, how to submit, etc. The ability to submit queries through email has sped up the reply process. You also have plenty of agent-related blogs, where you can learn all about proposals, queries, genres, synopses and everything else.

The bad news is that scammers are online looking for prey. Legitimate literary agencies charge no upfront fees. Look for agents who are part of the AAR; look for sales; look for individuals who have a history in the publishing world. If you’re hesitant, Google the agent. Chances are, you’ll find message boards and forums discussing the agent.

Do fiction and nonfiction writers need an agent?

Books that are small in scope-with relatively low expected sales-can indeed get published without the help of an agent, but most fiction needs an agent. Agents play an important role in negotiating contracts, dealing with payments, working with foreign agents, and so on. Publishers don’t have time to sift through all the bad writing; they need agents to find the gems for them.

A lot of nonfiction is sold directly to publishers-especially smaller houses. If your ultimate goal is to sell a huge diet book, business book or celebrity biography to Random House, you’ll need an agent to negotiate that deal.

Why are agents interested in a writer’s platform?

Publishing houses are very busy and don’t have the time or money to actively market most books. They need you to sell it for them. Platform is absolutely crucial if you want to sell a nonfiction book. With fiction, platform is always appreciated but not mandatory. The book will gain momentum and sell if it’s good enough.

Is the quality of one’s writing still important?

With fiction, the quality of the writing will always be important. Agents and editors read countless submissions, and the cream really does rise to the top. If a writer constructs a brilliant mystery, then the book should be an easy sell.

If a writer composes a story that’s a mix between romance, paranormal and western, then publishers have difficulty identifying who will buy the book. They’re likely to pass on the project, no matter how good the writing is.

Literary fiction writing competition has become very tough. Some very good books get published. A lot of good ones don’t.

With nonfiction, a book will sell depending on the idea/concept, its place in the market, and the writer’s platform. The quality of the writing is also important, but less so than fiction.

Why should writers purchase the 2008 Guide to Literary Agents? What will they find there?

The first 85 pages of the book contain articles that help writers learn the business of submitting a book proposal or a query letter. Everything is indexed, so if you’re looking for an agent that represents both young adult fiction and narrative nonfiction, you can find several easily enough. Every listing is verified each year by the agents themselves or a Writers Digest Books editor. We carefully screen for agents who charge fees and don’t list them. Also, the book has a huge directory of writers’ conferences. Most have agents in attendance who take pitches.

One of the most challenging things about the book is that it’s published only once a year. Thanks to the online directory at WritersMarket.com and the GLA blog, we can relay all changes and information as soon as we know them.

To sign up for Chuck Sambuchino’s new free newsletter or to read his blog, visit www.guidetoliteraryagents.com.
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Lori Russell is an award-winning writer who has had the pleasure to work with several great editors in her 17 years as a freelancer. She is a contributing editor to Columbia Gorge Magazine and has been a regular contributor to Ruralite for more than a decade. Her articles have appeared in newspapers and magazines throughout the country and her short fiction and poetry has been published in several journals and anthologies. Lori recently completed her first novel, Light on Windy River.

Interview By Lori Russell

Changes in the publishing industry over the past several years have led many commercial houses to focus on book proposals and manuscripts that offer wide reader appeal and a potentially large financial payoff. Where does that leave authors with more regional or specialized projects? An increasing number are finding publication success with a university press.

Once home almost exclusively to academic monographs and scholarly texts, many university presses are expanding their lists of books for general audiences as well. Oregon State University Press, established in 1961, publishes about 15 works of nonfiction each year. As acquisitions editor, Mary Elizabeth Braun is responsible for evaluating both solicited and unsolicited proposals and manuscripts for possible publication. She also maintains a network of qualified outside manuscript reviewers who participate in the peer review process for each project.

Here, Ms. Braun explains the role of the university press, how it differs from a commercial publisher and what writers need to know before submitting a book proposal.

What is the role of the university press in the larger world of publishing?

University presses play a larger role than ever in the publishing world, as their lists expand to include titles of a more popular nature, in addition to the academic monographs that have always been their staples. University presses often take risks on books that a large commercial press would reject. We publish books written by new or little-known authors, or books that might sell “only” several thousand copies––low sales for a large commercial press, but not a university press. Do check out the following summary from the Association of American University Presses about the value of university presses.

How does it function differently than a commercial New York publisher or a small independent press?

Perhaps the largest single difference in how we function is that each manuscript we consider seriously for publication must go through peer review and be approved by the Press Editorial Board before it is published. Also, we copyedit each and every book we publish.

What types of projects are the best fit for a university press?

Years ago, academic monographs were the most appropriate projects for publication by a university press. Nowadays, most any intelligent, well-written project is suitable for publication by a university press. The key factor is identifying a university press that has a strong established list in the subject matter of your manuscript, e.g., regional nonfiction, history, poetry, art history, memoir, etc. This ensures that your publisher will have an established marketing network to best place, promote and sell your book. To identify a potential university press as your publisher, consult the annual directory of the Association of American University Presses.

Does a writer need to have an advanced academic degree or teach at the college- level to write for a university press?

An author need not have an advanced academic degree, or a position teaching at the college level, to be a university press author. In fact, many of our authors are freelance writers or journalists. Nor does an author have to be affiliated with the parent institution of the university press to which they submit a manuscript.

Does a writer need to contact you through an agent or can he/she send a query directly?

I prefer receiving queries directly from the author.

What is the peer review process?

If I review a manuscript or proposal and think it has solid potential as an OSU Press book, I will send it to two outside readers for review. These are usually individuals who are published authors themselves, who are knowledgeable about the subject matter of the manuscript and experienced in evaluating a project’s strengths and weaknesses, as well as its sales potential. This helps Press staff ensure the integrity of each title we publish.

What specific types of projects are you looking for now?

I am interested in intelligent, well-written, compelling books written for an educated general reader that address topics of Pacific Northwest history, natural history, culture, art and literature, as well as books of environmental history and natural resource management. First-person narratives and creative nonfiction are welcome. Do visit the OSU Press website to see firsthand what sort of books we publish and to access the submission guidelines for authors.

Feel free to contact me at 541-737-3873, or mary.braun@oregonstate.edu with any comments or questions. I look forward to hearing from you all.

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Lori Russell is an award-winning writer who has had the pleasure to work with several great editors in her 17 years as a freelancer. She is a contributing editor to Columbia Gorge Magazine and has been a regular contributor to Ruralite for more than a decade. Her articles have appeared in newspapers and magazines throughout the country and her short fiction and poetry has been published in several journals and anthologies. Lori recently completed her first novel, Light on Windy River.

In the Spotlight: Agent & Editor Insights for Getting Published
By Lori Russell

This month, April Eberhardt, an associate agent with The Andrea Brown Literary Agency, shares her thoughts about platform, passion and persistence and what writers need to know when looking for an agent and/or a publisher for their work. The Andrea Brown Literary Agency is a mid-sized firm celebrating 25 years in the publishing industry. With six agents and offices in California and New York, the agency offers its clients the personal attention of a small firm and the clout of a larger one. Eberhardt particularly enjoys working with new and emerging fiction writers.

Each agent brings a unique background and set of skills to her work. How has your experience at a literary magazine and in careers in the banking and management consulting fields shaped your perspective as an agent?

My experience at literary magazines underscored how many new voices are out there deserving to be heard. It whetted my appetite to work primarily with new authors to help them get published. All those years of banking and management consulting shaped my business sense. I learned the importance of strategy, good project management and organization, along with professionalism and integrity. And of course the tenet that in business, including publishing, the trick is to balance creativity and marketing with achieving some financial success.

What types of projects are you and your agency currently looking to represent? Are you open to working with first-time authors?

We’re six different agents with six different tastes. Speaking for myself, I’m most interested in finding first-time authors with distinctive voices, fast-moving contemporary takes, smart female characters, and a wry-to-sardonic sense of telling tales. No mysteries, thrillers or murders. I don’t care much for romances, either, unless they’ve got an unusual twist. Nothing too lovey-dovey.

Non-fiction authors must have an expertise in their subject matter and need to develop a platform prior to pitching their book proposal.

What is important for fiction authors to consider before contacting an agent for a project?

Three things:

1. Does the agent represent what you write? Read the agency’s Web site before submitting.
2. What else is out there that’s similar to what you’ve written? Do your market research and be prepared to say why yours is different.
3. How are you prepared to help market your work? Platform is important in fiction, too, as is perseverance and passion for getting it out there. It’s essential for the agent, the author and the publisher to establish a creative marketing collaboration early on, to bring their best ideas and efforts to selling your work.

How important is the size and location of a literary agency when choosing an agent?

I believe it’s the quality and commitment of the agent, as well as a good match between your work and what she loves to represent, that matters most. Technology has made location moot, although having said that, developing a good working relationship always involves a face-to-face component at some point, whether it’s author-to-agent or agent-to-editor. We spend a lot of time building and cultivating relationships with our clients and with editors on both coasts, as well as around the world.

What do you believe writers most need to understand about the publishing industry and/or the writer/agent relationship?

The publishing industry is notoriously fickle—what sells today may not be hot tomorrow. That’s why an openness to tailoring and editing, as well as a creative marketing collaboration, are key. Please also understand that we as agents are inundated with queries—the volume is unbelievable, especially now that many of us accept online submissions—and that’s true for editors too. So if we don’t get right back to you, please don’t take it personally. We’ll be as speedy as humanly possible!

How would you like writers to contact you?

We will only accept queries via e-mail. Please see our bios on our Web site at www.andreabrownlit.com and choose only one agent to whom you will submit your e-query. Target the agent for whom you feel your work is the best fit and send a short e-mail query letter to that agent, along with the first 10 pages of your work. We do not open attachments, so the query must be in the body of your e-mail, and it should include publisher submission history and previous publishing credits, if applicable. Please put QUERY and the title of your work in the subject field of your e-mail.

Lori Russell is an award-winning writer who has had the pleasure to work with several great editors in her 17 years as a freelancer. She is a contributing editor to Columbia Gorge Magazine and has been a regular contributor to Ruralite for more than a decade. Her articles have appeared in newspapers and magazines throughout the country and her short fiction and poetry has been published in several journals and anthologies. Lori recently completed her first novel, Light on Windy River.

In the Spotlight: Agent & Editor Insights for Getting Published
By Lori Russell

Planning and promotion are essential to the development of a writer’s career. This month, Paige Wheeler, founding partner of Folio Literary Management in New York, shares how creating a career plan prior to seeking representation can benefit both the author and the agent. Ms. Wheeler founded Creative Media Agency (CMA) in 1997 and served as its president until merging it into Folio in 2006. The agency has seven agents and represents both fiction and non-fiction authors.

Folio’s Web site mentions looking for potential clients who have a solid five-year plan for their writing careers. What should a first-time author consider when developing such a plan?

An author needs to be realistic about his/her writing goals. Not every author can be a New York Times bestseller right out of the gate—maybe not ever. If your goal is to make a bestseller list, how can you grow your career to make that list? Maybe your goal is to write and get published steadily and consistently. Perhaps you need a book to promote your speaking business or to gain exposure in your chosen field; maybe you’re in academia and you have a publish-or-perish mentality. In each situation, you have to think about how you want your career to progress. Do you have eight books in you? Maybe you could write 30 books or more. Or write different types of books (fiction/non-fiction) or different genres. You should share this information with your agent so that the two of you can plan appropriately.

When setting goals for one’s writing career, what resources would you recommend?

You should read the industry trade periodicals: Publishers Weekly, Publishers Lunch, Writer’s Digest and genre-specific publications. To become part of a larger network of writers, look into different organizations such as the ASJA (American Society of Journalists and Authors), WNBA (Women’s National Book Association), MWA (Mystery Writers of America), RWA (Romance Writers of America) and SCBWI (Society of Children’s Book Writers and Illustrators).

These organizations often have their own publications and helpful advice for both aspiring and advanced authors. Also, attending writers’ conferences is an excellent way to network and learn more about the business.

What suggestions do you have to help writers find the right agent for them?

Do your research. First, choose an agent who handles and has sold the type of material that you write. If the agent is new, see if the agent is part of a larger organization where she is able to get advice from her colleagues. There are a number of resources such as Jeff Herman’s Writer’s Guide to Book Publishers, Editors & and Literary Agents and Guide to Literary Agents (Writers Digest Books). You can read Publisher’s Lunch for recent book sales. You can also network with other authors in critique groups, conferences and other organizations. Make sure that you get along with your agent and that you are clear on the terms of your arrangement. Is this a handshake deal or is there an agency agreement? Are the terms of the agreement acceptable to you?

What types of projects are you currently looking to represent?

For fiction, I like women’s fiction and romance, upscale commercial fiction (think book club books), as well as mysteries, suspense and thrillers. I’m looking for anywhere from Philippa Gregory (The Other Boleyn Girl) to Lori Lansens (The Girls) to Mary Guterson (We Are All Fine Here) to Allison Pearson (I Don’t Know How She Does It). Also, Jennifer Weiner, Lolly Winston, Karen Brichoux, Janet Evanovich and Karen Hawkins. For mysteries, I like both light and dark, even noir. It can be romantic suspense, a gritty thriller, or psychological suspense. I’m looking for writing with an almost lyrical quality to it for the thrillers and the suspense (and the book club books). For non-fiction, the authors should be an expert in their field and have had many articles published or media exposure. If I were a TV producer, would my Rolodex have their name as the name to go to for this field? Am I looking for new authors? You bet!

Folio Literary Management provides author support services. Please explain these services and why they are important in the current marketplace.

With hundreds of thousands of books published every year, the task of marketing and promoting many titles is increasingly falling onto authors’ shoulders. In many cases, however, writers don’t know how to market their work, and they often don’t know where to turn for help. At Folio, we determine the likely readership for your book and then work aggressively to find creative and innovative ways to reach that audience.

We now have a publicist, Ami Grecko, who works with our authors to reach their target audience. Folio also has the capacity both in-house and through strategic alliances to set up radio and/or TV satellite tours as well as find, arrange and book speaking engagements. In the very near future, we will also have the capacity to find and negotiate all sorts of licensing deals based on our clients’ books. In other words, Folio Literary Management lives up to its name. We do more than sell your book and fade into the background; we work beyond the page to manage every aspect of your literary career.

Writers can query Paige Wheeler by e-mail at pwheeler at foliolit.com. Check the Folio Literary Management Web site for more details at: www.foliolit.com.

Lori Russell is an award-winning writer who has had the pleasure to work with several great editors in her 17 years as a freelancer. She is a contributing editor to Columbia Gorge Magazine and has been a regular contributor to Ruralite for more than a decade. Her articles have appeared in newspapers and magazines throughout the country and her short fiction and poetry has been published in several journals and anthologies. Lori recently completed her first novel, Light on Windy River.

Agent & Editor Insights for Getting Published
By Lori Russell

A little research can take a writer a long way. This month I talked with agent Rita Rosenkranz about what authors need to know before they send a query letter to an agent.

A former editor at major New York publishing houses, Ms. Rosenkranz founded Rita Rosenkranz Literary Agency in 1990. She represents adult non-fiction about health, history, parenting, music, how-to, popular science, business, biography, popular reference, cooking, spirituality and general interest titles.

What groundwork should a writer do before contacting an agent to pitch a book idea?

I’d suggest that authors investigate thoroughly the competition for their book, which includes the titles that are now considered classics and that all readers interested in this subject will buy, as well as the titles that are fresh on the market and are drawing attention. I handle non-fiction and most of the time I sell a project on the basis of a proposal and not a complete manuscript. When an author pitches me, either at a conference or through a query letter, I expect the author to understand the book’s place in the category, with the competition in mind. I prefer that the proposal is ready (or at least close to ready) to submit if I’m interested.

Finding the right agent can mean different things to different people. What suggestions do you have for writers who want to gain a deeper knowledge of the agents they are pitching?

I think many authors don’t consider the nuances of the agent/author relationship beforehand. More than to simply know they want an agent, authors should identify what matters most to them. Do they want an agent who will simply get them the most money or one who will help them become better writers and who will be available for matters large and small? More than ever, writers can learn about agents thanks to the Web. On many sites authors exchange experiences––offering recommendations, sob stories and everything in-between––undiluted and uncensored. Writer’s Digest, as well as other print and online venues, regularly profiles agents, offering writers a deeper sense of the agent’s personality, taste and approach to the author/agent relationship.

You advertise that you are interested in “familiar subjects presented freshly and less-known subjects presented commercially.” Can you give some examples?

I was instantly moved by Betty DeRamus’ Forbidden Fruit: Love Stories from the Underground Railroad. While the Underground Railroad had been mined extensively, no one had written about it from the lens of love, a mainstream and commercial perspective.

Harrison Monarth and Larina Kase are co-founders of TheConfidentSpeaker.com, a public speaking and communication coaching Web site. Monarth is the founder of GuruMaker, a professional speaking consultancy. Kase is a peak performance and anxiety management expert. Though there are many public speaking books on the market, in The Confident Speaker: Tap into Your Hidden Power to Communicate at Your Best, together these authors offer a uniquely informed perspective and can reach a wide readership.

Jim Kane’s Western Movie Wit and Wisdom gathers more than 2,000 quotations from more than 1,100 western movies. Iconic characters of the American West offer advice, words of wisdom, humor and an occasional historical fact. Although they were uttered in a western setting, they were about life. Jim’s approach makes the material popular and fun, helping to broaden the audience for this work.

Once a writer signs with an agent, what type and what frequency of contact can she or he expect?

It’s impossible for me to generalize, since writers have different needs and agents handle business differently. I personally want my authors to be in the loop in a real-time way, whether it involves rejections or other matters that can play a part in their well-being. At the same time, I’m sensitive to authors’ individual personalities and preferences. While maintaining my basic approach to the relationship, I’ll adapt wherever I can. This might mean not sharing rejections but only letting the author know when there is an offer.

You have worked in the publishing business for more than 20 years, first as an editor and then as an agent. How has the business changed over time? How has it stayed the same?

The business has changed tremendously thanks to the Web, where an author can cultivate and connect regularly with readers. The marketing potential is phenomenal. Many thousands of books are published every year and it’s harder to gain a foothold for a book that isn’t launched with any fanfare. Independent bookstores used to be able to build a book based on hand selling. Now there are significantly fewer independents to make that happen. Despite the extreme changes in the world over the last two decades, publishing remains a business built on relationships, a people business.

What is the most important thing for writers to know about agents?

There is great variety among us, in the kinds of writers we’re attracted to, our approach to the author/agent relationship, our editorial sense, our publishing connections, and our stick-with-it-ness, even when a project doesn’t win a publisher’s interest right away. This should give authors hope that within the large and diverse community of agents, there will be a perfect match.

Writers may query Ms. Rosenkranz via e-mail at rrosenkranz@mindspring.com.

Lori Russell is an award-winning writer who has had the pleasure to work with several great editors in her 17 years as a freelancer. She is a contributing editor to Columbia Gorge Magazine and has been a regular contributor to Ruralite for more than a decade. Her articles have appeared in newspapers and magazines throughout the country and her short fiction and poetry has been published in several journals and anthologies. Lori recently completed her first novel, Light on Windy River.

In the Spotlight: Agent & Editor Insights for Getting Published
By Lori Russell

The Oregonian, a daily newspaper with more than 300,000 subscribers in northwest Oregon and southwest Washington, purchases hundreds of freelance articles every year. Assistant bureau chief, Amy Wang, edits a weekly news magazine for the Metro Southwest bureau that focuses on community-level coverage of three Portland-area suburbs. In this month’s column, she shares what freelance writers need to know about pitching and writing for a daily newspaper.

What kinds of articles and/or subjects does The Oregonian look for from freelancers?
As a general-audience publication, we are interested in all sorts of articles and subjects. The sections that use freelancers the most are A&E (arts and entertainment), Books, Travel, FoodDAY, Homes & Gardens, Commentary (opinion) and Living (daily features). As a regional newspaper, we prefer articles and subjects with strong ties to Oregon and Washington. Our five suburban weeklies are even more narrowly focused.

What should writers keep in mind when considering story ideas to pitch to a daily newspaper like The Oregonian?
Unlike magazines, which often work several months ahead, newspaper editors typically work no more than two or three weeks ahead. Many sections that use freelancers go to press a day or two before the actual publication date. Deadlines are tighter and the turnaround from the query to publication can be very short, sometimes just a couple of days.

Before querying, make sure no similar stories have been published recently. If you are serious about freelancing for newspapers, buy a subscription to the Nexis online database, which archives hundreds of English-language newspapers.

Newspaper editors are unlikely to purchase a piece just because the topic is interesting. We’ll ask, what’s the news peg–that is, why publish this piece now instead of two months ago or six weeks in the future? A successful query will explain that your piece about a hair salon just for children is relevant now because it is about to open a branch in our area, or that we should buy your interview with Sarah McLachlan because she is about to perform in Portland.

What are the top two or three things you look for in a query letter?
In addition to what I described above, I also expect some familiarity with my section, which is available online. The articles I publish typically run about 500 words, so a much longer article is not going to get the go-ahead. Plus, more than one typo or grammatical mistake is an instant turnoff for me.

What would be a usual response time for an editor to respond to a query letter?
I generally respond to queries within a day or two; other editors may take up to a week. If a writer hasn’t received a response after a week, I would recommend calling the editor.

Once a writer has had an article published in The Oregonian, are there long-term freelance opportunities available?
If the writer had trouble making deadline or did not respond satisfactorily to an editor’s questions/concerns, or the piece required a good deal of revision or was much longer or shorter than agreed upon, the editor would probably not be inclined to purchase another article, let alone discuss long-term opportunities. If all went well, the editor would be more open to discussion. For instance, a freelancer might pitch the idea of a monthly feature and the editor might agree to plan for that feature while reserving the right not to purchase any one installment.

What current or future trends in the newspaper industry should freelancers be aware of?
Probably the biggest trend right now that affects freelancers directly is toward moving content online. Freelancers should be aware that when they sell a piece, the first-time rights that a newspaper purchases typically include publication on the paper’s Web site.

Do you have any other advice for freelancers wanting to break into
the daily newspaper market?
The better you understand newspapers’ procedures and priorities, the better off you’ll be. We don’t have fact-checkers, so we need freelancers to take accuracy seriously and not rely on us to save them from errors. I would much rather work with an unknown average writer who’s obsessive about accuracy than with a well-known talent who’s sloppy with facts. Also, after I finish a story, I send it to the copy desk, where it is read by at least two more editors who may make further revisions. Finally, newspaper editors are eternally grateful to freelancers who know and abide by the Associated Press Stylebook.

The best way to contact an editor at The Oregonian is by e-mail. For a complete listing of the paper’s staff, go to http://biz.oregonian.com/newsRoster/. Writers can also e-mail a query to: newsroom@news.oregonian.com and include in the subject line, “Freelance query for (name of section).” An editor checks that e-mail account regularly and will forward the query.

Lori Russell is an award-winning writer who has had the pleasure to work with several great editors in her 17 years as a freelancer. She is a contributing editor to Columbia Gorge Magazine and has been a regular contributor to Ruralite for more than a decade. Her articles have appeared in newspapers and magazines throughout the country and her short fiction and poetry has been published in several journals and anthologies. Lori recently completed her first novel, Light on Windy River.

By Lori Russell

Many publishing opportunities exist beyond those found on the shelves of the newsstand or bookstore. A savvy freelancer can also find success, and payment for his or her efforts, writing articles for trade and industry-focused publications.

One example is Ruralite magazine based in Forest Grove, Oregon. With a monthly circulation of 312,000 households, Ruralite serves rural electric cooperatives and public utility districts in Oregon, Washington, Idaho, Alaska, Nevada and northeastern California. Each year, Editor-in-Chief Curtis Condon purchases 30 to 40 stories from freelance writers. Here he shares what he looks for from a freelancer and what to know about writing for the trades.

How do trade magazines like Ruralite differ from consumer magazines one might find on the newsstand?

CC: Actually, Ruralite is a hybrid, and much closer—in terms of content—to a consumer magazine. Trade publications are targeted to a specific audience, usually by business or industry type. Often, the content of these publications is moderately to heavily technical in nature. Ruralite is targeted toward the public power/electric utility industry, but most of the content is geared to a general readership. Individual rural electric cooperatives and public utility districts subscribe to Ruralite on behalf of their members/consumers, to use it as a tool to communicate with them. Ruralite is made up of two parts: the basic book pages, which appear in all 47 editions of the magazine, and the local pages, which are generated by each utility for its own edition. The basic book section of the magazine contains general-interest content and is open to freelancers.

What kinds of articles and/or subjects are you looking for from freelancers?

CC: A well-written, well-illustrated personality profile is the best way to break into Ruralite. People like to read stories about interesting people. Our stories are about ordinary people with extraordinary talents, accomplishments, hobbies, etc. Keep in mind, 99 percent of the time the people we feature reside in the service territory of one of our utility subscribers, which mostly includes the rural and small town areas of the northwest and Alaska. Also, we do annual gardening and travel issues.

What catches your attention when you receive a query or an article?

CC: A writer who does everything right: they pitch a good story idea, they demonstrate their ability to write it, they include information about photo support for the story, and, most important, they leave me with the impression that they have studied the magazine and know the types of stories we publish. Unfortunately, the majority of queries and unsolicited stories I receive don’t meet my needs, because the writer didn’t take the time or effort to find out what those needs are. A freelancer who plans to write a story for simultaneous submission should be sure to tailor the query letter and the story to each magazine, with a different lead and different sources if possible.

What qualities do you look for in a freelancer?

CC: I look for good writing and photography skills, professionalism, dependability and consistency. Also, I look for people who can dig up good story ideas. I will work with new/inexperienced writers if they can show a talent for consistently coming up with excellent ideas.

Once a writer has had an article published in Ruralite, are there long-term opportunities to continue to write for the magazine?

CC: Absolutely. I’m always looking for writers who can deliver quality stories and photos, and who can meet or beat deadlines. New writers usually start by preparing a short feature for Side Roads. Then they might move up to writing sidebar material for a main feature. After I get to know and trust a good writer, they may be assigned to write a main feature or two.

Are there any trends in the trade publishing industry that writers should be aware of?
CC: Trade publications are among the fastestgrowing segments of the magazine business. That is one reason why they are such a great potential market for writers. Another reason is because there’s certain to be one to fit almost any writer’s interests or expertise.

What advice do you have for freelancers wanting to break into the trade magazine market?

CC: First, pick a segment that you are familiar with or where you have expertise; second, study the individual magazines before querying the editors. Go to the library or online and read several recent issues of each title. Make notes about any trends and the slant of the stories. Finally, send a personalized query letter to the editor. A “Dear Editor” letter is a clue the writer hasn’t done his or her homework. If the writer hasn’t taken the effort to find out the name of the editor, what else hasn’t he or she made the effort to do?

Ruralite Writer’s Guidelines: http://www.ruralite.org/freelance.php
Lori Russell is an award-winning writer who has had the pleasure to work with several great editors in her 17 years as a freelancer. She is a contributing editor to Columbia Gorge Magazine and has been a regular contributor to Ruralite for more than a decade. Her articles have appeared in newspapers and magazines throughout the country and her short fiction and poetry has been published in several journals and anthologies. Lori recently completed her first novel, Light on Windy River.