Need Help With Your Writing Career?

Just a reminder of — or for new folks here, an introduction to — my writing coaching packages. The total breakdown:

Coaching Packages

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Some nice words from folks who have worked with me before:

I can’t say enough about Jennifer. Her experience speaks for itself, but her generosity of spirit sets her apart. She is genuinely interested in other writers’ stories and ideas and invested in their success. She’s not just an acclaimed author and magazine writer. She’s a teacher. Last fall, I began tooling around with a concept for a nonfiction book and struggled to start writing a proposal: My inner critic thought, “I can’t do this!” I procrastinated. Realizing I was getting in the way of myself, I called Jen. She helped me break up my proposal into manageable parts, spreading out assignments over several weeks. She offered constructive criticism and a compassionate ear. Her class has been an invaluable education. Now I believe I can write a book, and I’m dedicating it to Jennifer. — Erin Carlson

Jennifer is an extraordinary writing coach.  She taught me the basics of narrative nonfiction in 60 minutes, more or less.  Her advice was concise and 100% practical and useable.  I bought two 6 hour coaching packages with Jennifer to complete a book proposal.  A couple weeks later, I had a meeting with the single biggest agent in the field, and a meeting with another agent at a leading agency a couple weeks later.  I couldn’t have done it without her.  To be frank, her services are astonishingly high value for the very reasonable rate charged.  — Jonathan Petts

Jennifer really helped me define concrete goals as a writer, and work on addressing them. She also provided detailed feedback that was insightful and on point. I struggle with writer’s block, so I appreciated her mentorship. — Emma Pfeiffer

 

We can do any of these from afar if you’re not in New York — Skype or phone works great.

Special: $399 for six hour-long sessions in the following subject areas. Click on the PayPal button below for easy purchase, or  email me for details and payment options. (I accept PayPal, Venmo, credit cards, and checks as well.)

    • Becoming a Writer … Who Writes: You know you want to be some sort of writer, but have no idea where to begin. I’ll walk you through the early stages in easy, clear steps until you’ve got a concrete plan and routine for moving forward. I’ll help you figure out what you want to write, or at least start with—an obviously critical step. We’ll work together to draft a writing routine that works for your life and even a reading list to keep that important part of being a writer on track. We’ll talk about how to incorporate basics like character, scene, and structure into whatever you hope to write. And we’ll talk about living the “writer lifestyle” on your own.
    • Finding Your Writing Voice: In these six weeks, I’ll help you get in touch with the essence of your personality that should come through in your writing. (Yeah, it’s a little shrink-y and Oprah-y, in the best possible way.) We’ll talk about voice from every angle: the lit-geeky (Kerouac, Salinger, The New Yorker) and the pop-star-ish (Beyoncé and Britney might come up). There will be weekly exercises designed to help you find your writing voice (no dancing required, though if you’re feeling it, by all means …). We’ll explore ways to get comfortable with being vulnerable and how motivation strengthens your writing. We’ll also talk about karaoke or opera, if the mood strikes.
    • Launching Your Blog: A complete how-to, from drafting your plans and finding your target audience to setting up and writing. I’ll walk you through the basics of choosing a platform and design, then work with you to fine-tune the writing before you go live. You’ll have a chance to workshop blog posts and ideas, get critiques, and make a blogging schedule. By the final session, we’ll launch your blog with five posts up and another five ready to go.
    • Launching Your Writing Career: You want to be a writer — a published one — but you don’t know where to begin. With this package, you’ll find your writing niche and learn how to get published. I’ll guide you through coming up with specific, attainable writing career goals and drafting plans to accomplish them. By the final section, you will have made progress on — and perhaps even accomplished — three specific writing and publishing goals. And you’ll have action plans for completing all of them.
    • Writing a Nonfiction Book: In this package, I’ll help you figure out your nonfiction book from start to finish: from what your book is about and why anyone would want to read it to researching it to getting an agent.  During the six weeks, we’ll work on your sample chapters, your proposal, your title, and what to do next.
    • Writing Your Nonfiction Book Proposal in Six Steps: I will walk you through the entire process of writing a nonfiction book proposal in six sessions. We’ll assess your idea, then work on a section of the proposal at each meeting, honing your material and allowing you to get feedback on every part of the proposal. This is for students who have an idea, know they want to write a proposal, and are ready to get it done.

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More affordable options are available as well: Training materials, without the one-on-one consultations, for just $99. (Not available for Launching Your Writing Career, which is a customized program.) Email me for details.

The Economics of Book Deals

moneyWhen I wrote about my own experience going freelance in my Ultimate Guide to Starting a Freelance Writing Business, I mentioned the specific development that allowed me to quit my day job: a six-figure book advance. I didn’t want to get bogged down in the mechanics of book advances/the state of the publishing industry in that post, which was long and involved enough. That said, a freelancer friend wisely pointed out that I might want to explain that further, in case anyone’s reading that and thinking, “Oh, okay! I’ll just get a six-figure book advance then.” There are a number of reasons that I could think this was a reasonable expectation for me at that time (and these reasons, not coincidentally, double as a list of ways I was lucky):

1. We are talking about the lowest end of “six figures.” (I feel like I’m supposed to be coy about this, but you get my drift.)

2. I had made this much for my first book, Why? Because We Still Like You. This was pure luck. I got this book as an “assignment”; Grand Central Publishing was looking for someone to write a book about the original Mickey Mouse Club. I had written a lot about current Disney Channel stars while working at Entertainment Weekly. An agent I was working with then heard they needed someone and put me forward for it. I got the gig. Their budget was pre-set at something like $80K and my agent talked them up a bit.

3. The book that allowed me to quit my job was Mary and Lou and Rhoda and Ted. It was sold on auction, which means that publishers were competing for it, which drives the price up. Many, though not all, of the other offers were very low. I would not have been able to quit my job on those offers. I actually didn’t know what I was going to do if that was as high as we went, because I really did not want to write this book while holding a full-time job. Working at EW was incredibly demanding at this point because we’d laid lots of people off and were trying to feed the web beast. And I wanted to do a great job on the book. So this was a total gamble. We ended up with a few big publishers wanting it in hardcover in the end, though, which is crucial for an advance this large. Luckily, I really liked the two highest bidders, and the absolute highest was Jon Karp, the publisher at Simon & Schuster, who turns out to be a huge Mary Tyler Moore Show fan. This was a no-brainer. (In further lucky news, he ended up editing my book himself, which was an invaluable experience for me.)

4. In conclusion, this was a Cinderella story and not a sure thing.

I think there are a few specific lessons that you, as a person who is not me, and who is possibly considering a similar career path, can take from my experience:

1. Non-fiction tends to sell better than fiction. There’s more of it, and more demand for it, no matter what your pre-conceived picture of an “author” is. It’s also less dependent on you as a name and more dependent on subject matter. Which brings us to …

2. My solo books have all been about TV shows. This makes them more dependent on the show as a brand name and less dependent on me.

3. That said, I have a pretty strong “platform” for writing about this stuff, thanks to having spent ten years at a national magazine covering television. Not only do they trust that I can pull it off, but they also know I have connections who can help spread the word about the book in the right places.

4. In contrast to all of the above, for instance, the book I co-authored with Heather Wood Rudúlph, Sexy Feminism, sold for much, much less. It was meant for a young, female audience, so it made sense to go paperback-only. Furthermore, it had no built-in hook like a very popular television show. I loved doing this book, but it was not the reason I could quit my job. I’m told this is a much more normal experience; I’ve often heard $10K-$20K for a book is the best most people can expect, especially for a first book.

I hope this helps anyone pondering books as a “money-making” option. Also keep in mind that for non-fiction, advances are doled out in halves, thirds, or fourths, usually over a couple of years between signing the deal and publishing the book. So even what sounds like a lot at first isn’t that much. Keep all of this in mind as you ponder quitting your day job.

If anyone has questions (that I can answer) about any of this, let me know!

Lessons from Personal Essay Class

58251_7227I’ve taught a few class sessions on personal essay writing lately, which means I’ve read some personal essay assignments of late. It’s much easier to see the chinks in others’ writing than it is to see it in our own, so I feel as if I’m constantly learning by teaching. (Don’t worry, I still tend to be more of an “expert” than my students, simply by dint of experience.) Here are a few of the principles I’ve learned (or been reminded of):

Be clear about what you’re trying to say. Your first draft of a personal essay can often be a rambling, beautiful mess. You’re typing deep thoughts, stringing together a bunch of incidents and insights that you didn’t even realize were related until you started writing. Personal essays allow for some of the most self-discovery through writing. However, once that first draft is done, you need to figure out what its actual point is, then revise to make it come through.

Have a dramatic, easy-to-understand opening. You need to get my attention with a story. Make it a good one, and make it very clear. One thing that often happens in personal essays is that you assume readers understand your life and your leaps from one thought to another. You often have to slow down and explain the significance of certain people, places, and stories.

Have an audience in mind. Even if you’re writing the essay without knowing where it will ultimately be published, have a publication in mind while writing it. You have to write to a specific audience — true in any kind of writing, but particularly true in essays.

My Favorite Books About Writing Nonfiction

41lhhayQO9L._SY344_BO1,204,203,200_I always love reading about writing. I caution students about spending so much time reading about it that they never actually do it, but these books in particular have been invaluable in shaping my own approaches to writing. Some of them focus on nonfiction specifically, while many are great for any kind of writing:

The Artful Edit, by Susan Bell: I use this every time I do a self-edit on a manuscript. It’s also a fun book to read straight through. She uses the editing process for The Great Gatsby — detailed in letters between Fitzgerald and his editor — to show how editing makes everything better.

The New New Journalism, by Robert Boynton: Interviews with all the rock stars of current creative nonfiction — Ted Conover, Erik Larson, Susan Orlean. This is like a fan magazine for nerds like me.

The Artist’s Way, by Julia Cameron: For anyone doing any kind of writing, or any kind of art, this is a go-to for kick-starting your creativity. It’s a practical, step-by-step process full of nutty self-helpy stuff that I just tune out. I resist what Tom Bissell once brilliantly called “tea and angels writing” — you know, workshops about finding yourself through writing and that sort of thing — and this book has a lot of that silly ’90s self-help language in spades. But underneath is an effective plan for getting your creative juices flowing. I’ve done it at least five times throughout my adulthood.

Storycraft, by Jack Hart: Helps with the hardest parts of nonfiction — making real life into great stories, while still telling the absolute truth.

Telling True Stories, by Mark Kramer: Covers journalism as well as book-length nonfiction, through written pieces by and interviews with writers and editors.

Bird by Bird, by Anne Lamott: A classic. Great inspiration to just keep going with your work — even, especially, when you’re feeling despondent or overwhelmed.

New Resolution: Stop Complaining (Too Much) About Writing

cropped-1408767_87215604.jpegI read the funniest thing today: Some poll found that 60 percent of British people wish they could be authors, making it the most-desired job in all of England. A writer at The Guardian had the same first instinct I did, which was to explain to people why it’s actually a terrible job. He’s right about the “insecurity, loneliness, and paranoia” referenced in the headline. I’d add to that the fact that it’s not even really a “job” for most people who do it — at least not a full-time one. Even the reasonably paid ones (which I feel lucky to count myself among, because nonfiction sells better than fiction on average) don’t make enough on books alone to call a living. We either have full-time jobs and write around them, which means having no life at all, or freelance, which means we spend most of our time chasing down tiny checks just to make our bill payments every month. I would also add the routine rejection, on a daily/weekly basis from editors we pitch freelance pieces to, and on a grander scale when we submit our work to public consumption and reviews.

That said, I think I understand where these people are coming from, all these people who said they’d rather be an author than a “television presenter” (I like this Britishism better than our “TV host”) or a movie star. Being an author, at least a hugely successful one, allows a person to be some level of “famous” but does not involve being chase by paparazzi. No one is too concerned about, say, whom Stephen King or Gillian Flynn is dating. (I think they’re both married, but you get the idea.) It also allows a person to be famous for his or her brains and talent, not for a “bikini bod” or some other unsustainable quality. For a scant few very successful authors, the job allows for the best of all modern worlds: fame, recognition, respect, money, a profession born of passion, and a chance to work from home in a bathrobe. (I am literally in a bathrobe right now, so at least I got one of those down.) I submit to you that television presenter is a better job — you just read stuff off a screen and are still unlikely to be tailed much by paparazzi. But I guess you do have to spend more on skincare and get dressed, so maybe that’s a tossup.

In any case, I’ve decided to take this hilarious and rather meaningless poll as an opportunity to appreciate my “job” instead of indulging in the defensive urge to complain about it (aside from the above nitpicks). Writers have a funny habit of complaining about what they do at every opportunity. I think it’s actually related to this poll: Something about the job of “author” makes almost everyone think he or she could do it, so we feel the urge to explain that it’s not as easy as it looks. And that’s true; to be the kind of “author” these people are dreaming of takes a lot of work beyond sitting at the computer with coffee. Still, being an author does involve sitting at the computer with coffee, and those of us who do it for a living can also take a moment to appreciate that. Then we’ll get back to the complaining.

Why ‘Mary Tyler Moore Show’ Fans Should Read Nick Hornby’s ‘Funny Girl’

urlNick Hornby is one of my writing idols. His way of combining pop sensibilities with serious emotions, humor, and great characters has always spoken to me and inspired me to become a better writer. So I almost felt like I had made it up myself when I read that his newest book, Funny Girl, was about a British woman in the 1960s who happens to be both beautiful and funny, who also happens to land on a groundbreaking television comedy. I wrote a book kind-of like that, except it was the late 1960s and early 1970s in the United States, and it was real, and the woman’s name was Mary Tyler Moore.

If you have any interest at all in The Mary Tyler Moore Show — and I suspect at least some of you found me because you do — you should definitely check out Funny Girl. My book, Mary and Lou and Rhoda and Ted, focuses a bit more on the female writers and the feminist movement than this one does. But it’s easy to see Funny Girl almost as a prequel, documenting a fictional history mixed in with some real history; the book does mention the influence of Til Death Us Do Part, for instance, which was the precursor to the massive U.S. hit All in the Family. It also documents the difficulties of being an ambitious, independent woman at the time. I even suspect that the heroine, Sophie Straw, is modeled loosely on Moore; Sophie rises to fame as the wife in a domestic comedy, like Moore did on The Dick Van Dyke Show, though Sophie gets first billing in the humorously punctuated Barbara (and Jim). Her follow-up show includes a female co-writer and features Sophie as a single woman, though her show sounds fluffier than The Mary Tyler Moore Show.

In any case, if you love Mary, you’ll love Sophie.

What ‘The Bachelor’ Teaches Us About Narrative Structure

1417720585_chris-soules-lgI have a number of legitimate excuses for watching The Bachelor regularly: I really did start watching several years ago because I had to cover it at Entertainment Weekly. I write about television, particularly gender on television, and it is certainly some very gendered (and heteronormative, and white) television. I’m also very interested in the biology and psychology of attraction, and it’s full of that as well. But as I sat and watched two hours of it last night, about 90 minutes longer than I had intended, and past my bedtime, I was more aware than I normally am that The Bachelor is, at its core, just damn good storytelling. Professionally manipulative storytelling, lacking in all subtlety and art. But if you want to know how to tell a good story (then, hopefully, add your own subtlety and art), you can learn some things from The Bachelor:

Add some competition. At its heart, The Bachelor is a sport. Every week is one game, and the overall arc is that of a bracket elimination. We love it in sports, we love it on dating shows. It satisfies our human desire for order and sorting the good from the bad from the best. If you can give your story some sense of competition leading to a final showdown, you have a good story. This is among the many reasons sports movies like The Karate Kid are so compelling.

Plant revelations along the way. The Bachelor always involves some major revelations at some point. A number of the women vying for the bachelor’s affections inevitably have secrets they must eventually tell him. Traumatic past relationships are big; we had two widows this season. So are secrets that may cause some judgement, like Jade’s Playboy past this season. Secrets cause tension, and their revelation always leads to some kind of resolution.

Make heroes and villains. We love rooting for an against people. The Bachelor will always have at least one villain per season. Once, in a fun twist, the bachelor himself (Juan Pablo) became the villain.

Pull characters out of their element. This season has the advantage of a farmer from a teeny Iowa town as its title star. This inherently means that at some point, the women — most of them model/actress/waitress types from places like Los Angeles — have to decide whether they can live on a farm. This discussion began with a trip to bachelor Chris’ hometown this week; the expected explosions did ensue. Other seasons contain this element, too, even if it’s just giving the bungee-jumping date to the girl who obviously said on her pre-show questionnaire that she was afraid of heights.

My Favorite Freelance Writing Resources

58251_7227There are so many great sites, groups, etc. out there to help freelance writers new and old. I’ve definitely developed some favorites through trial and error. Since people often ask me, here’s a handy list of the ones I like:

Freelance Success: the forums, where writers freely share contacts and other key info, are worth the membership fee

Freelancers Union: for insurance info and other benefits

Hiveage: an online invoicing system that keeps track of your earnings

MediaBistro: super-useful media news like the comings and goings of editors, plus the best resource on pitching available — the How to Pitch section, available with an affordable membership fee

ProfNet: great way to find expert sources for stories

The Renegade Writer: one of the few writing-related blogs I read regularly, probably because it’s one of the few that offers advice that helps “advanced” freelancers as well as beginners

A Word in Praise of Naps

from morguefile.com

from morguefile.com

I have decided to embrace my desire for afternoon naps whenever possible. It’s an urge I fought for a long time, first by necessity — I had an office job for the first 15 years of my working life — and then because I felt like I had to prove something as a work-from-home freelancer. But when I made myself a new work-day schedule a few months ago, I accounted for a nap from 2-3 p.m. when it works out. A lot of times I have interviews or work due, in which case I will skip it; but on a normal day, I allow for some sleepy time. The fact is, little gets done when I’m crashing mentally at that time anyway. Also, Mr. Rogers took regular naps. I know what people will say: Gosh, I wish I had such luxury! But I have to go to work/deal with my kids/etc. To that, I say: Yes, it is a totally ridiculous luxury. I feel lucky in so many ways. But one of my biggest resolutions this year is to try to extricate myself from the “I’m so proud to be busy and I’m totally the busiest” thing we all tend to do. I think it makes us all a little crazier. So this is my first step: Coming out as a napper.