I’m in my post-Women Who Write phase; the rapture part that follows so much satisfaction from spending another afternoon with Ms. Vicki and the girls, (mostly).

Vicki Abelson’s Women Who Write meets monthly. Sometimes held in NYC but mostly Vicki hosts WWW in her LA home, 4 freeway exchanges away from mine though I don’t even think about the drive.  My monthly at Vicki’s is so worth it.

 Women Who Write was born from passion that seeps through Vicki Abelson’s every pore; passion for family, friends and creative expression all blend into one powerhouse of a woman. Each month, we gather to hear women share their art. Almost always, Vicki’s guest speakers include at least ‘one name to drop.’  Last month, SNL founding cast member,  Laraine Newman read from her work in-progress: thoughtful prose mixed with so much funny and signature Laraine Newman. This month, her song writer sister Tracy Newman sang a love song  about her baby sister titled ‘Laraine’ that made me  mist up. 

Jackie Collins joined us this month and though the woman who has sold over 400 million books – by right - took top billing, everyone on Vicki’ Abelson’s family room center stage shines. Kelly Carlin read from Dirty Laundry.  a collection of essays written by writers connected to famous people.  George Carlin was her dad. She  first realized he was famous when she was 9 years old which she writes about in her contribution. Candy Somoza read from Olivia Slept; more misting in the room. Vicki read chapter 16  from her novel, Don’t Jump, which is getting some attention. Not surprising; her protagonist’s voice demands attention–funny, hip, smart and riddled with self doubt. Jackie Collins read from her latest, Poor Little Bitch Girl,  by introducing the  four characters telling this  naughty vs. nice tale that’s vintage Jackie Collins.  Afterwards, she stood in Vicki’s kitchen signing lots of books and hanging out; one of the girls for the afternoon. 

Vicki wrapped up this month’s  Women Who Write by announcing that Jackie Collins volunteered to write a blurb for Don’t Jump. Won’t Ms. Vicki’s publisher be pleased?

In my earlier post,   The Future Is Here, I shared  highlights of David Mathison’s keynote address at SCWC, www.writersconference.com .  The author of bestselling BE THE MEDIA – launched by TWITTER connections – advised authors on the road to ”Do something remarkable.”

Vicki Abelson,  founder of WOMEN WHO WRITE and author of Don’t Jump  is doing just that. 

Kelly Carlin, Vicki Abelson, Jackie Collins

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What defines it?

Writers often confuse memoir writing with other narrative non fiction which includes autobiographical writing.

So what is a memoir?

Think of it as a turning point—that time in life when crisis catapulted you in some significant way. Read good memoirs. Favorites of mine include Drinking: A Love Story and Eat, Pray Love. Commonalities to both: pivotal moments that anchor the telling of these tales. For Caroline Knapp, it was the day she almost killed her friend’s daughter during a drunken spree. For Elizabeth Gilbert, the night she ended up in the fetal position on her bathroom floor sobbing; a wretch of a woman she’d become in order to stay in her marriage. That night on her bathroon floor became her turning point.

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Like many writers, during my early years, I worked for nothing. One magazine grew from a start-up to a high end publication that sold for almost 3 million dollars. I did not get a raise when new management took over; nor did I ask. I was happy to be kept on as a freelancer.

A recent business experience led me on a search for stories about fighting the good fight against those who know most writers have little recourse except to take what they dish out.

If you have a story to tell, or know a writer who does, tell us about it in the comments. Or if you’d like to remain anonymous, please get in touch. We may be able to use your story in an upcoming muse-letter.

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A Good Example of Branding & Platform Building

At the 2008 Santa Barbara Writers Workshop, a writer asked about platform building and branding. Here’s a good example of both. This publish-on-demand author found her market and built her platform squarely on it. Study her website for clues.

Lois Stern is a publish-on-demand author who branded herself as a lay person expert on plastic surgery. One of her speaking engagements resulted in an interview that was included in a NYT story. Hard work over time is what it takes. A good book doesn’t hurt either though plenty bad ones have sold millions as we all know. With the plastic surgery market growing as we grow older, Stern’s timing is spot on.

Lois W. Stern, Author of SEX, LIES AND COSMETIC SURGERY

http://www.sexliesandcosmeticsurgery.com

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[Note: Questions reflect the perspective of a Russian reader who does not know how things work in the USA.]

1. In Russia the overwhelming majority of writers first start to write, then fail, then think: maybe I have to study the craft and the publishing business before I start writing. Is the story the same in America?

   Sometimes, this is the case and why university extension writing programs are quite popular in the U.S. People working days jobs enroll in craft courses they hope will help them realize their dream of becoming a published writer. However, there aren’t many courses designed to focus on the business side of our industry. That’s really why I developed Marketing the Muse workshops-to focus on craft as it relates to the business of writing.  In today’s market, if you want to be published, you must understand the craft and business of writing.

2. What is the writer’s gift and how does it correspond with studying the craft? What is more important for success?

   Voice is a writer’s greatest gift in my humble. I don’t believe one can study this facet of craft. A writer can learn how to identify, nurture and develop voice in their work but no book that I know of provides a tutorial. The voice of a piece drives it; point of view is the vehicle. But it all begins with voice.

3. If you could change the past what would you do differently in your literary efforts?

   Believe in myself more than I did. I came from a very traditional American working class home raised during a time, the late 1950’s & 60’s, when a girl’s options were restricted to motherhood, teaching and nursing. First I became a nurse, then mother, and now I’m a writer and teacher. I was first published at age thirteen in our daily newspaper.  I was not published again until my late 30’s. My path is common to many writers regardless of geography. I think most writers possess an equal measure of arrogance and humility; arrogance in believing what you write must be read and humility in feeling that you have a lot of nerve thinking anything you write should be read!

4. You teach writing classes. Can you tell right away who of your students have potential and who have not? What are the signs?

   Usually, I do have a good sense of who’s got the ‘writing chops.’ Writers in my classes most always possess three traits I’ve shared here: voice, arrogance and humility. It could be that the work they read is god awful-craft-wise- but there’s something in it that captures our attention. These writers keep coming back to classes and most always find writing groups somewhere. They just believe that what they have to say is worth reading.

   However, let me add that I’ve been wrong. I have thoroughly disliked concepts that have gone on to sell I can think of one writer-a mega successful businessman – who wrote about success and the cosmos in a new age-y  style that read like a grandiose love letter to self.  I encouraged him to narrow the concept. He didn’t. A few years later, he sold it and made sure I was notified. Much of our business is luck that comes by way of hitting a trend as it emerges. There’s no way to plan for this which is why my advice to writers is simply write what you know.

   I also tell them to be very careful about the advice you take.

5. Do you believe that it is possible to learn how to write beautifully? Please, explain.

   I believe our art form is evolutionary; the longer we pursue it, the more evolved our writing becomes. That’s the beauty of the writing life and I believe it’s intrinsic to the practice. One of my mentors, Shelly Lowenkopf, www.lowenkopf.com refers to it as “The process.” Beauty is found in all story forms, literary, commercial, fiction and non fiction.

6. What are the most important things aspiring authors have to know before they try to sell their books to the publisher?

   Most publishers will not purchase directly from a writer so that’s lesson #1. Unless a writer self publishes-essentially becoming their own publisher—a writer will need a literary agent to sell.

   How to get a literary agent? Begin with a story that is compelling.

   Here’s an example: A few years ago, Stacey O’Brien, author of New York Times best seller, Wesley the Owl: The Remarkable Love Story of an Owl came to my Marketing the Muse Workshop that I was teaching at the Southern California Writers Conference, www.writersconference.com. At that point, her book was in an early draft form. Stacey was not a writer. She was, and is, a zoologist who was writing this incredible tale about her 20 year friendship with her pet owl. The story was there but the craft wasn’t. I introduced her to Sally Van Hiatsma, a San Diego based literary agent. Sally is known for nurturing writers along. She also has an eagle eye for good story. She knew Stacey had one. The rest is history. Stacey applied herself, learned how to write this story and voila! Wesley the Owl is climbing up NYT’s bestseller list.

   It always begins with a good story.

7. Can you give any advice for young authors?

   I developed the Young Writers Program during my tenure as Assistant Director of the Santa Barbara Writers Conference, www.sbwritersconference.com because our youngest writers, teenagers, don’t have many communities where they can go to for support. I’m an enormous fan of writers finding literary homes. Young writers need support.

   In this country, those that get what they need during critical formative years are generally those lucky enough to attend private schools.  My daughters all attended a wonderful private grammar school but when time came for high school, family funds couldn’t stretch that far so they enrolled in our local high school. I live in an affluent part of the U.S., Newport Beach, California. I say that because schools in my community rank at the top and I was (and am) appalled by the lack of literary support offered in class.

   My advice to very young writers, look for a writing group that feels like family. At SBWC, writers ages 14-18, spend a week with writers of all ages and levels. At the end of that week, these kids leave fortified and more confident. They also leave feeling more humble after a week of being critiqued. Like I said, writers are an equal mix of arrogance and humility.

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Jeff Moores is a literary agent at Dunow, Carlson & Lerner Literary Agency in New York City. Last spring, his boss passed along a query letter he liked but could not pursue. Jeff also liked what he read. He requested the manuscript and now represents Michelle Von Euw’s novel, FAR FROM HOME.

At about 500 words, Michelle’s query letter was an ideal length. Divided into four paragraphs, each one delivers necessary information needed to hook an agent.

Following the letter, Jeff identifies portions that caused him to request the manuscript.

To view Michelle’s query letter & our analysis, www.thewritermag.com

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Featured Writing Tutorial For March 2009

TC Boyle shows writers how to give an interview.

Watch and learn during this mini-interview with Sam Tanenhaus, editor of the NYT Book Review where they discuss his new novel The Women.

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