Archive for April, 2008

Kristin Bair O’Keeffe Reports on the Writing Life in Shanghai, China

You may have noticed that Kristin Bair O’Keeffe has been busy getting her words out in the world. Specifically you probably noticed her dispatches on the writing life from Shanghai, China, where she lives with her husband, Andrew. Kristin “trailed” Andrew to Shanghai shortly after they married. Today, she is a great correspondent on the writing life on the other side of the globe…

Raw Inspiration: Postcard from Shanghai” is featured on the Poets & Writers Web site.

And here’s her “Dispatch: Shanghai Adventure” in the Pittsburgh Post Gazette.

Writing and Selling the Personal Essay: How to Write a Hook That Hooks

October 2007 Family Fun MagazineBy Kristin Bair O’Keeffe

hook (v.) – to seize or make fast as if by a hook

The truth is, when you write an essay, you’ve got a single sentence to hook-to seize and make fast-your potential reader.

Not a paragraph. Not an entire essay. Not even, in most cases, two sentences.

Like it or not, one sentence.

Think of it this way.

You’re a writer in Shanghai, and your potential reader in Omaha, Nebraska, is hungry and late for a meeting with her boss. She needs to eat lunch and hightail it to the 3rd floor where her boss is anxiously tapping her foot.

Luckily, this potential reader also wants to read. She wants to feel connected. She wants YOU to seize and make fast her attention in Sentence #1 so profoundly that she forgets the growling pangs in her stomach and reschedules the meeting with her boss.

(Why else would she have opened the magazine in which your essay is published in the first place instead of wolfing down a candy bar on her way to the meeting?)

This potential reader is looking for something. Something that you, the hook-savvy writer, can give.

So how do you do it? How do you hook her? How do you give her what she needs to move from potential reader to reader?

Well, there’s more than one way to write a compelling hook. Here are six good ones!

1. Start with a personal anecdote.
“I kneel in the muskeg, bucket between my legs, cushion of sphagnum moss crimson beneath my rubber boots.”
(from Aleria Jensen’s “Gathering Berries,” Orion Magazine, September/October 2007)

2. Inform your reader.
“In 1993, life began to change for the young women of Ciudad Juarez, Mexico.”
(from Teresa Rodriguez’s “Why Speak Out?” Skirt! Magazine, February 2008)

3. Appeal to a universal experience.
“It is not easy to love people when they’re lovable. It’s harder when they’re not.” (Yep, I know. This author uses two sentences here to hook readers. But the two are a team. See how they work together?)
(from Patti Digh’s “Loving Unlovable People,” Skirt! Magazine, February 2008)

4. Make your reader go, “Huh?” or “Really?” or “You’ve got to be kidding!”
“‘Honey, could you please bring me the tissues out of my bag?’ I called from the bathroom in the rundown backpackers’ hostel.”
(from Nicole McClelland’s “Sitting Pretty,” Orion magazine, November/December 2006)

5. Offer a how-to tip.
“First, fall apart.”
(from Kelly Love Johnson’s “How to Fall Out of Love,” Skirt! Magazine, February 2008)

6. Start with a quote.
“IN THE BEGINNING God created the heavens and the earth. And the earth was formless and void and darkness was upon the face of the deep. And the spirit of God moved upon the face of the waters.”
(from Roger Pinckney’s “The Bare Boughs of Winter Trees,” Orion magazine, January/February 2007)

So what are you waiting for? Pull out that essay you’ve been tinkering with and write a hook that sings.

Personal Essay Marketplace: Editors at Orion magazine are looking for “thoughtful submissions concerning the collision of nature and culture, the commingling of people and place.” Sound like something you might write? If so, check out the submission guidelines and get started.

Kristin Bair O’Keeffe moved to Shanghai, China, in April 2006 and has been writing about this incredible country ever since. Her blog, “Shanghai Adventures of a Trailing Spouse,” chronicles her adventures (and misadventures) in Shanghai and garners the attention of readers all around the world. Her essays about the China experience can be found in The Baltimore Review and To Shanghai With Love (forthcoming). As a respected writing instructor, she has taught hundreds of writers over the past fourteen years and is currently teaching both fiction and nonfiction writing in Shanghai.

Fund Your Writing Projects: Build Your Grant Writing Team

Gigi RosenbergBy Gigi Rosenberg

No writer is an island. Although it’s possible to write a grant solo, your application will be much improved and the process of writing it more enjoyable if you get others involved.

There are many grant-writing tasks that can benefit from team-member involvement throughout the process. Here’s a list of some of the help you can call on others for:

Co-Researcher: Team up with another writer and commit to both spending a set amount of time researching grants. When you meet again, share what you found.

Brainstorming Partner: Another writer or friend can help you decipher grant application questions and brainstorm how to answer them. You can read the questions to your partner and ask: What does this question mean to you? What are all the possible ways I could answer this? If you’re not sure whether your work is a good match for a specific grant, read the criteria out loud and ask: Does this sound like me? Do I qualify for this grant?

Interviewer: You will need someone to interview you to get you talking about your project. Sometimes it’s easier to talk first while taking notes and then write.

Audience Members: Interview your readers to find out what they appreciate about your work. They may see themes you’ve never considered. They may use words and phrases to describe your work that you wouldn’t think of. Let them help you find the language to describe what you do.

Telephone Coach: You may need to call the granting agency to ask a question about your application. Call your “coach” first and rehearse the call. Can you describe your project in two sentences? Can you ask your question succinctly? The more you practice for this call, the easier it will be. Call your coach after the call to let her know how it went.

Editor: Get an editor to read the drafts of your application questions. This person should be able to point out what parts of your answers are reading well and which parts need help and why. Give your editor the list of questions you are answering. Let her brainstorm with you on how best to answer the question.

Proofreader: Enlist a good proofreader to read your grant application before submitting it. Ideally, this will be someone who has not read your grant application yet. A fresh set of eyes can find mistakes in your budget, typos or missing information.

It’s best to have more than one person help you with the different tasks involved in writing a successful grant. However, at a minimum, solicit help from at least one other person. You’ll do better if you’re not in it alone.

This month’s assignment: Contact a friend or colleague and ask for help with one aspect of your next grant application. Offer to help her do the same. Asking for help is not easy; let the grant writing process help you practice.

Gigi Rosenberg is a writer, teacher and occasional performer of edgy, comic monologues on motherhood, relationships and the existential nature of being. Her essays and how-to articles have been published in Writer’s Digest, The Oregonian, The Jewish Review, Cycle California! Magazine and Parenting (forthcoming). “The Hanukkah Bush,” her radio commentary, was featured on Oregon Public Broadcasting. She coaches writers on how to read in public and teaches regional and national workshops on “Grant Writing for Success.”

Freelancing for Newspapers Challenge: Draft a Profile Query

Sue Fagalde Lick By Sue Fagalde Lick

Profiles, features which paint word portraits of interesting people, are among the easiest types of articles to sell. Nearly every publication uses them, and you can often write them with just a little bit of research and one interview. The people you profile need not be celebrities; many people who are not famous have fascinating stories to tell. Examples: the woman who runs a soup kitchen for the homeless, a dog trainer who gets incorrigible mutts to behave, a favorite teacher at the local high school, or a cancer survivor who runs marathons.

Everyone has a story. Look for people with interesting jobs, hobbies, charitable activities, unusual experiences, or special talents. People in the arts and public officials are natural subjects, but you’ll have more luck proposing a story about someone who hasn’t already been overexposed in the media. You never know where you might find a worthy profile. One night at dinner, our waiter happened to mention that he would be gone next month doing research in Saudi Arabia. By the time dessert was served, we had an interview scheduled.

When seeking profile possibilities, consider the mission of the paper for which you want to write. Community newspapers require that profiles be about local residents. A church paper would want someone from that denomination, and an arts publication would not be interested in your dog-training story, unless the trainer can teach the pups to paint.

If someone sounds intriguing, find out as much as you can about who they are and what they do, then craft your query, starting with a lead sentence that will make the editor as interested in this person as you are. Describe what you want to write, why the readers would be interested, and why you are the person to write the story.

YOUR CHALLENGE: Make a list of possible profile subjects, match them to the most likely markets, then draft a query for one or more of them.

You are welcome to share your results or discuss the challenge here, as well as at my Freelancing for Newspapers blog. Remember, there are no right or wrong answers.

Sue Fagalde Lick, author of Freelancing for Newspapers, worked as a staff writer, photographer and editor for newspapers in California and Oregon for many years before moving into full-time freelancing. In addition to countless newspaper and magazine articles, she has published three books on Portuguese Americans. She has taught workshops at Oregon Coast Community College, online for and for Willamette Writers and California Writers Club. She offers an online course on reviews as well as individual coaching. See her website and visit her blog.

Writerpreneur: Develop A Seminar

October 2007 Family Fun Magazine By Gregory A. Kompes

By far, the best way to sell books, products and services is to meet your buyers in person. There are three reasons for this:

1.    There’s a strong level of trust that develops immediately when people meet you and respect what you have to say.

2.    Live events are exciting. Enthusiasm creates the impulse to buy.

3.    Frankly, people hate to say no in person.

While you may meet folks in the grocery store lines and have conversations that result in sales, this one-on-one tactic is haphazard and time consuming. A better approach is to create opportunities to speak to people interested in your topic of expertise in large numbers at one time. Live seminars and workshops, either in person or via teleseminar, are the perfect way to reach your niche topic audience.

It’s easy to develop a seminar. The goal of most seminars is to provide help or answer questions that interest your topic audience. Think about the 10 questions you’re most frequently asked about your topic. This is the material that your audience will be most interested in and your answers will form the core of your seminar.

Remember, most folks don’t like to sit through a lecture. Instead, they want to feel like they’re part of the event. Encourage your audience to participate by letting them ask questions and designing exercises that involve individual and team participation.

If you’re not comfortable speaking in public, improve your skills by joining a local Toastmasters or find a professional coach. Two of my coaches are Judi Moreo and Patricia Fripp.

Judi Moreo advises that you be yourself when you speak. Your audience has come to hear and see you because they want the information you have as a topic expert. Patricia Fripp often reminds that the audience wants you to succeed. Audience members want you to do well because when you do that reinforces why they came to see you.

Before you get up in front of a room of strangers to present your new seminar, invite a few friends to be your test audience. Ask them for honest feedback. It’s easier to try something new and stumble with people who care about you.

With your seminar material in place and your speaking skills honed, it’s time to line up speaking opportunities. Start locally, and after you gain some experience, expand regionally. The places you can speak will depend partly on your topic. If you’ve published a book, contact your local library which is always looking for author speakers. Contact your local chamber of commerce; most invite speakers for their meetings. Clubs and organizations related to your niche topic would love to have an expert come and speak to their groups. With these local experiences under your belt, start contacting similar organizations in nearby cities.

While you’ll make sales right after you speak, you’ll also encounter audience members who want more information. Before you speak in person, be sure to have a Website or blog in place. You need somewhere online to send the folks you meet. You can encourage traffic to your site by offering a free, special report to those who join your email list. When folks get there, they’ll be reminded of your expertise and will have another opportunity to buy your books, products and services.

Gregory A. Kompes, author of the bestseller 50 Fabulous Gay-Friendly Places to Live and the Writer’s Series, speaks at conferences and teaches Internet self-promotion courses online. Gregory is editor of Queer Collection: Prose & Poetry, Patchwork Path, The Fabulist Flash, and Eighteen Questions, a Q&A series that collects published authors experiences (chosen a “101 Best Websiteby Writer’s Digest ). In Las Vegas, he hosts the Writerpreneur Workshops and co-host’s the Writer’s Pen & Grill. Gregory holds a BA in English Literature from Columbia University, New York, and a certificate in Online Teaching and Learning and an MS Ed. from California State University, East Bay.

Writing Roots: The Economics of Willingness

Christina Katz

By Christina Katz

Many a literary icon has stood before a crowd at a writing conference counseling young or new writers on how to develop a “thick skin” and persevere. They typically draw on an old file of rejection letters as an example of hard-wrought experience accumulated in their greener years.

The promise goes: if you submit your writing often, eventually someone will recognize your literary talent and you will finally be “in.” Success, like that of your literary icons, presumably follows. But only if you are ambitious about submitting work until you break through — or break down.

Unfortunately, such old-school advice is prone to wearing out eager writers with overwork, discouragement and repeated rejection before they have a chance to find their footing in an extremely competitive and increasingly complicated literary marketplace.

In the past, writers might have been able to justify time invested in aiming high, in hopes of direct feedback from an editor on the quality of their writing. But busy as editors are today, with job descriptions expanding and coworkers disappearing all around them, rejections more often come to a writer as silence, not a handwritten note. So accumulating rejections has little short- or long-term career-growth value for the writer.

The person who broke this spell for me about eight years ago is a writing mentor of mine, Wendy Burt. She gave me refreshing advice that was news to me at the time. What she suggested was simple, yet radical: Aim lower. Even better, she suggested, aim for targets I might actually be able to hit on the first try.

I’d never heard such common sense coming out of the mouth of a writer before. But come to think of it, I didn’t personally know many actual, working writers back then. I mostly had a line up of literary icons I worshipped from afar. So, instead of aiming high and going for a “nice” rejection, I should aim lower and actually hope to hit the mark? It sounded just crazy enough to try.

Turns out the advice Wendy gave me was not only practical but constructive. I could stop aiming absurdly far and high for my level of experience, and I could start, humbly, hoping to finally hit my marks and gain some real writer experience.

I started submitting to publications that were looking for submissions by writers of my level. At the same time, I stopped waiting to break into publications that were swarmed with unseasoned writers like me. Big projects like writing a nonfiction book (a leap quite a bit beyond my experience level at the time) were abandoned. And small, doable projects were embraced, one at a time, one after the other.

Not surprisingly, when my aim became more appropriate, I started accumulating clips at a rapid rate, which led to publication in higher-quality and wider-reaching publications. My career, formerly stalled, started to take flight. I was leaving a trail of bull’s eyes in my wake. The transition was complete. I embraced writing simply as a job, not as part of a quest for literary greatness.

With this block removed from my mind, I started to feel like a modest success, which echoed reality. I was a modest success. I found that there were a lot of things I could do with my modest success beyond writing–practical things that also earned money and helped me become better known.

Over time, I found that little successes could be leveraged into bigger successes. I started to develop increasingly professional habits. I accepted that some habits I’d formerly eschewed needed to become part of my routine, like market research and pitching my work. These were skills that I’d formerly looked down on, but soon the tasks of “lesser writers” were coming in handy. Using them consistently over time, I eventually landed and wrote a nonfiction book as a natural extension of the professional momentum I’d created.

This is actually an attitude that works for anyone in any creative field. Get off your high horse, if you happen to sitting on one. Roll up your sleeves and get to work with the common folk. Lofty goals, no matter how dreamy and real they feel in the shower, might actually be getting in the way of real progress.

Once I stopped aspiring to a literary fantasy, I wasn’t waiting for my due greatness any longer. And I wasn’t suffering gobs of rejection to get it, either. I was just a working writer racking up bylines and paychecks.

What has become apparent to me in the process is that my writing success actually has had more to do with the economics of willingness, and less to do with my impossible dreams of eventual greatness.

If you can relate, perhaps forget about accumulating rejections you can share like so many battle scars and go for likely successes instead. You’ll land them when you use appropriate aim.

Christina Katz, author of Writer Mama, How to Raise a Writing Career Alongside Your Kids, is working on her second book for Writer’s Digest Books. She has also written over two hundred articles for magazines, newspapers, and online publications and has appeared on Good Morning America. Christina is a popular writing instructor who has taught hundreds of writers over the past seven years. She blogs daily at The Writer Mama Riffs and is publisher and editor of two zines, Writers on the Rise and The Writer Mama. More at

Time Management Mastery: Mail Management Tips

October 2007 Family Fun MagazineBy C. Hope Clark

I didn’t realize the complexity of mail management until I became a writer. In stocking up the materials I need for my regular correspondence, my office has become a mini-office supply store. I recommend that you do the same by stocking up on these mailing basics:

· #10 envelopes — 4 1/8″ x 9 ½” business envelope for a tri-fold letter. These are absolutely necessary for the SASE required by agents, editors and publishers. Use self-adhesive envelopes (with peel-off tabs) if you can afford them. The folks on the other end will appreciate not having to lick the envelope. Make sure not to use these for submissions, even if only sending a query letter. Unfolding paper is one more obstacle between you and that editorial assistant reading tons of proposals

· 9″ x 12″ flat white envelopes — Use this envelope for your submissions, as it will hold your query and sample chapter or your magazine pitch neatly with no folds. The white has a cleaner, more professional appeal than yellow or manila-colored.

· 8.5″ x 11″ bubble envelopes — The perfect size for a trade paperback or a side-by-side stack of postcards about your book or business.

· Manuscript boxes, white 9″ x 12″ x 2 ½” — These will hold your manuscripts in neat order. Papyrus Place offers a sturdy box at a low price.

· Stationery — If you can afford it, and if you have committed to your writing business, splurge for stationery with a logo, address and url. A ream of paper and a box of 250 matching envelopes will last forever, and the professional image may get your foot in the door of a writing gig that can easily pay for the investment.

· Return labels — Unless you have a logo, go with plain black text on white, preferably Times New Roman or whatever font best matches your mailing label.

· Mailing labels — If your envelope won’t fit in your printer, use address-size labels for smaller envelopes and mailing-size labels for boxes and large envelopes. Learn how to prepare them centered and place them perfectly straight on the outside of the envelope. Use your best print quality. To mail The Shy Writer, I put a picture of the book to the left of the mailing address so the recipient can see what’s inside the envelope before she opens it. For more ideas, go to , a well-known label manufacturer . Even the infamous Miss Snark, the blogging literary agent, has an Avery address label recommendation.

Neatness and a professional appearance send a significant message to the receiver.

Don’t cut corners after devoting hours, weeks and months on your masterpiece. Treat the mailing container as tenderly as you do the manuscript. Show the recipient that you are a class act with everything you do.

C. Hope Clark is founder and editor of, annually recognized by Writer’s Digest in its poll of 101 Best Web Sites for Writers. She delivers four newsletters each week to thousands with her specialty being grants and income opportunities for writers of all sizes. She’s published over 200 articles on paper and online. Those reluctant to promote their writing cherish her trade paperback The Shy Writer: An Introvert’s Guide to Writing Success. Find more hope for your writing career at &

In the Spotlight: Chuck Sambuchino of Writer’s Digest Books

Chuck SambuchinoInterview 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 2008) 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 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

Lori RusselLori 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.

Great Sites for Writers

Tiffani Hill-Patterson
Freelance Success: Helping writers build a profitable career

Freelance Success or FLX as members call it, is a $99 “toolbox” that can help freelancers build a solid business.

A weekly newsletter that focuses on helping you improve your cash flow is the “hammer,” the big gun in the toolbox. The guide nails down inside information by interviewing editors of top-paying publications, says FLX editor and publisher Jennie Phipps on the About Us page.

The toolbox’s “level” is found in the forums, where colleagues offer steady advice and join in level-headed discussions about the business. Writers share editor and source contact information in the Freelance Success Forum. The Juggling Writer forum is described as being for “parents struggling to keep all the balls in the air, for those trying to cram full-time freelancing into a part-time schedule, and for anyone else who feels they’re truly struggling with freelancing.”

The site also includes a “tape measure,” or the Pay Check Database, where members can find and contribute information on publications’ pay rates and whether it’s a breeze or a battle to get a check.

Finally, the site offers a few nails, or 10 reasons to subscribe. If you want to try before you buy, a sample issue is available along with a few days of access to the forums.

Tiffani Hill-Patterson is an award-winning journalist with 13 years of writing and editing experience. She’s a regular contributor to The Writer Mama zine and Birmingham Parent magazine, and her articles on health, parenting, fitness and pop culture have also appeared in The Huntsville Times, The Moulton Advertiser and The TimesDaily. She lives in Alabama with her husband and daughter. Read more at


Writing and Publishing The Short Stuff
Especially For Moms (But Not Only for Moms)!
Next Class Begins on August 20th
Prerequisites: None
Finally, a writing workshop that fits into the busy lives of moms! You will learn how to create short, easy-to-write articles-a skill that will make it easier to move up to longer, more time-consuming articles when you’re ready. Try your pen at tips, fillers, short interviews, list articles, how-tos, and short personal essays-all within six weeks. Now includes markets!
Cost: $199.00. [This Class Fills Fast.]
Register at Writers on the Rise

Targeting Your Best Writing Markets

Next Class Begins on August 20th
Prerequisites: Writing and Publishing the Short Stuff is recommended or Permission from Instructor

Learning to sift through and analyze markets is one of the biggest challenges of launching a writing career. This class will help you tackle the markets head on while covering: idea management, how to discover your best audiences, how to allow those audiences to lead you to fresh ideas, how to break a magazine down into the key areas that matter most to freelancers, and how to start specializing right away so your career will achieve lift-off faster. And how to determine your speciality or specialties so you can earn more.
Cost: $175.00. [Last time at this price. And last time in 2008.]
Register at Writers on the Rise

Platform Building Basics for Writers
Next Class Begins on October 8th
Prerequisites: Writing and Publishing the Short Stuff, Targeting Your Best Writing Markets, and Pitching Practice all recommended or Permission from Instructor
Be the first to sign up for the companion class to my forthcoming book, Get Known Before the Book Deal. Picking up where Targeting Your Best Writing Markets left off. This class helps you go position yourself as a seasoned professional, who isn’t afraid to let the world know what you have to offer. This is an advanced class, for people who have taken classes with Christina Katz and who are ready to take their writing career to a more professional level with a blog, Web site and newsletter. By the end of our six weeks, you will have a clear vision of your platform, and a plan for first and future steps. You will be ready to anchor your book proposal to that all-important online and in-person presence, agents and editors are looking for.
Cost: $199.00
[This Class Fills Fast.]
Register at Writers on the Rise

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  • This Blog Moving to as of December 30, 2009… December 27, 2009
    We’re moving! Writers on the Rise archives have been here for years. I hope that WordPress will let the archive live on for a good long time. However, it’s time to move on, bittersweet as change may be. Please come and find me at my new digs: And while we’re both thinking of it, […]
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