Tapping The Major Magazine Markets With True-Life-Drama

True-life dramas are simply human-interest narratives—accounts of dramatic experiences in the lives of real people. Most major magazines such as McCalls, Ladies Home Journal, Readers Digest, Good Housekeeping and others continually look for these stories. Former McCalls editor Don McKinney says that these articles by freelancers sometimes lead to book contracts and movie and television sales. 

Here’s an example of one of these:

Ripley New York was hit by a severe snowstorm stranding hundreds of travelers on the highway. The people of Ripley not only rescued these families but also found them places to sleep, fed them, bought Christmas presents and even found a Santa Claus for the children…and ended up giving them a Christmas they would never forget.

These magazines take Extraordinary Experiences, a Common Problem, and National Issues

Lets look at these kinds of stories.

An Extraordinary Experience

Such stories involve some sort of disaster (fire, flood, and earthquake) that places a person in jeopardy. The story then goes on to tell how he or she pulled through.

A skin diver searching for gold in California’s Mother Lode has a boulder roll over him and pin him underwater a few inches from the surface. The story tells how a passerby kept diving underwater to save his life by giving him air, mouth-to-mouth, until he is rescued several hours later.

A Common Problem

This kind of narrative describes how a man or woman or family dealt with the sort of experiences many of us have faced or might face---this helps us to understand how such problems can be handled and perhaps how we might behave in similar circumstances.

A man tries to obtain custody of his eight-year old daughter when the marriage ends in divorce. The mother accuses him of molesting the daughter. He is routed out in the middle of the night and thrown in jail. After a trial lasting several months, he proves his wife has falsely accused him to obtain custody of the daughter.

A National Issue

A prospective father petitions the hospital to keep his brain dead girlfriend on a life support system until their baby is born. The girlfriend’s parents and the hospital refuse. He obtains a court order to keep the mother “clinically alive” until the birth of the baby. The hospital delivers a healthy child a few weeks later.

Finding Stories.

Probably the best place to find these stories is in the local newspaper. They are of national importance because they fit one of the categories above. But you can find them anywhere.

One of my students discovered his story about a woman who recovered from Leukemia and went on to have a child by working as a volunteer for a local branch of the American Cancer Society.

Another writer discovered a story about a retarded child and the nurse who rescued her by looking through back issues of the local newspaper—there too he found a story about a girl who sued her parents for abandonment.

Still another writer discovered a woman and her fight against MS in a newspaper column in a North Carolina paper. She always checks the columns in small town papers because these papers like to print human-interest stories.

Writing True Life Drama

Break the story into three parts (A) the problem  (B) Solving the problem   (C) The happy ending

Generally you start with an anecdote where something different happened, or start and end with the solution. Here’s an example

Most of all, Alma Shepherd remembers the blood, it came gushing out of her son’s throat when a tube, placed there by the doctors because the young man was so paralyzed that he couldn’t breathe on his own, slipped our. She recalls a horrible hissing sound and suddenly the hospital walls were splattered with red. It cascaded over her hair, her face, and her chest. Blood puddled in her lap. It shot higher and higher, erupting like an angry volcano. It was the only time, whispers Alma, her hand trembling at the memory, when I really thought he was going to die.”

Now go back and describe the son’s near fatal accident, how his mother learned about it and what happened next as the doctors battled to save his life.  

There is no one right place to end these stories, but the ending should leave your readers feeling satisfied, uplifted, moved. Find some image, some quote, some anecdote that catches the theme of the piece and ties it all together.

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By Michelle Ailene True

Author of True Reflections and True Emotions

michelleailenetrue@yahoo.com

www.michelleailenetrue.com

Tracking Your Poetry Submissions

When you have a well-written poem and submit it for publication in a magazine or journal, it’s easy enough to keep track of it.  However, once you have submitted a number of poems, they quickly become difficult to track.  It’s important to track submissions to make sure you know who has your work so you don’t send them the same poem over and over again.  You also need to make sure you aren’t doing multiple submissions.  Some markets don’t want you to submit a poem to them at the same time you are submitting it to other markets.    If both accept it, you will have to turn down one of the markets.  This may or may not work for you in future dealings with the one you turned down.   

Tracking submissions is important whether you are tracking individuals poems submitted to journals, magazines or poetry anthology publishers, or chapbooks or books submitted to chapbook or book contests.

If a market indicates it responds to submissions within 3 months and you haven’t heard from them you may decide to send the poems to another market.  Make sure to let the initial market know about this.

Being a computer geek, I prefer doing as much using my computer as possible.  This way, papers won’t get lost, and my files are backed up daily.  If you do an Internet search using the keywords “submission tracking software,” you will find several software programs available to help track poetry submissions.  You can also use a spreadsheet program, the Tables feature of a word processing program or a database program.  Try all three to determine which works best for you. 

I prefer a simple Excel spreadsheet.  I create 9 columns titled:

·        Poem Title

·        Market/Publication (contact name, address or email address, phone & fax number)

·        Date Sent (the date you sent the poem out)

·        Waiting Period (how long might it be before you hear back from them?)

·        Date Accepted (the date your work was accepted)

·        Date Rejected (the date your work was rejected)

·        Date Published (the date your work was published)

·        Pay Received (how much money or free copies you were paid)

·        Misc. (any additional information about this market, such as they only read 3 months out of the year)

·        Comments (this is for any comments from the market such as we only accept poems about animals; things I need to keep in mind for future submissions to this market)

I sort the spreadsheet by “date sent” so I can quickly see (based on the date sent and waiting period) whether I need to send a follow-up email or letter to the market.  On the other hand, if the waiting period has passed and I want to submit the poem to another market, then I can go ahead and do so.  Keep in mind that sometimes you will not hear back until long after the writing period has passed.  I recently received acceptance of two of my poems in a poetry journal.  One of the poems had since been published in my first book. I had to inform the publisher that they could only publish the poem that hadn’t been published yet. I had submitted the poems 9 monthly earlier.

Tracking submissions will not only let you see when you need to follow up with a market, submit poems to a different market, and make sure you do not do simultaneous submissions, but can also let you know which markets either like or don’t like your work – and why!    This will make sure you don’t continue sending work to markets that clearly are not looking for your style of writing.  Instead, you can focus on markets that DO like it!  It may take time to find these markets, but it’s equally important to track the process!

Whichever method you decide works best for you, keep fine-tuning it until you are tracking all the information you want and need, then make sure to put it in a safe place if it’s paper-based or back up your files daily if it’s computer-based!

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In addition to writing “The Published Poet” column for The Professional Authors Newsletter, Michelle Ailene True is the author of two books of poetry: "True Reflections" and "True Emotions."  She is currently compiling her third book of poetry ("True Identities") as well as writing two non-fiction books.  She facilitates a poetry writers group and operates an online poetry magazine (www.TruePoetMagazine.com).   She mentors high school students interested in a writing career and reads her work regularly at local poetry open mikes.  She is also a member of several local, state and national literary organizations.

Karen’s Fiction Korner

By

Karen Newcomb

Well I missed Mardi Gras in New Orleans yet again this year. Locals tell me that Mardi Gras is the one time of the year tourist should avoid visiting.  Let’s face it…I’m a writer and a curious writer at that.  I people watch and take mental notes.  Who knows when someone’s characteristics, good or bad, will pop up in one of my novels.  I’ve been to New Orleans only twice and ate my way through each time.  So this year I thought I’d make some Beignets (from the famous French Quarter Café DuMonde).  I guess in my excitement of projecting my desire to go to New Orleans I got a little careless with the hot oil when I finished cooking and now sport a deep fried index finger.  By the way, the beignets were very good and I wouldn’t let a little pain stop me from indulging.

Question:  I don’t quite understand viewpoint.  When I read some books I actually feel as if I know the character, but others leave me cold.  How important is viewpoint in a story and how do you handle two characters on the same page?

Answer:  Read on.

Viewpoint 101

Viewpoint is how a reader will see the story.  The reader will live the story as the character experiences it.  The reader will think, see, hear, feel and taste what the character does.  The reader will experience nothing that the character doesn’t.  And how does an author establish viewpoint?  As soon as possible.  Preferably on the very first line of the book.  An author writes so that the reader knows that he’s looking at the story through a particular character’s eyes.  The reader will live the story as if he were inside the main character’s skin.

Most novels are written in third person viewpoint, also known as objective viewpoint.  This viewpoint shows what a character is doing and goes into the character’s mindset.  You would say ‘he said’, ‘she said’, when speaking, and during internal dialogue.  Use past tense in third person viewpoint.  In this viewpoint the story can continue if the character shuts down for any reason.

First person viewpoint is also called subjective viewpoint.  This is used in personal experience books and memoirs in non-fiction, and occasionally in fiction.  This viewpoint let’s you become that character but are severely limited in use.  You would say ‘I’ when speaking or using internal dialogue.  This viewpoint is limited because when your character goes to sleep, or shuts down, so does the story.

There is another viewpoint that is only occasionally used, mostly in literary circles and is so boring I can never get past the first few pages of a book when it is used.  Omniscient viewpoint allows the author to play God by being the spokesperson of the story.  Once popular, it is rarely used in mainstream novels today.  This viewpoint is when a character is like an actor on stage, is mute and all the words (voice) come from off stage and describes what is happening on stage.  The characters can’t say or react to anything except by the off page voice.   There is a lot of author intrusion in this viewpoint so maybe that’s why some authors use it as a platform to express their opinions.

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 This viewpoint should not be confused with narration in a story because that is another element all together.

To answer the last part of the question…don’t get to eager with multiple viewpoints, it’s a learned skill.  Used in a lot in romance novels.  Remember this…every time you switch viewpoints the forward progress of the story stops.  That’s why it takes skill to keep the story moving so the reader stays with the plot.

This month concentrate on viewpoints as you read.  Ask which viewpoint is most commonly used in the types of novels you read.  Study how the author has used the viewpoint to lead you through the story line.  Takes notes.  Analyze.

Until next month, keep writing.

Karen

More Poetry?

My friends who write poetry keep asking me,  “Why don’t the publishers bring out more poetry? After all it is very popular today.”

This question has become so persistent that when I ran into an article in Publishers Weekly called, “What Does it Cost to Do Poetry?”  I decided to let them answer the question.

First runs for poetry run from 1,000 to 2,000 books, about half of the first run for a lower end book, either fiction or non-fiction. The cost of printing a run of 1000 is about $3000. Then there is all the other overhead. Advances for poetry average about $1,000.

Most houses say that poetry doesn’t make money—but then they add, it doesn’t lose money either.  So the question is, why bother? And publishers say that when they employ editors who are literary then you have to let them publish a book of poetry now and then if they really like the book.  In addition they feel that that people who are passionate about poetry will find a way to publish it one way or another. And that goes double for their editors, even at the big houses. One large house feels poetry is essential it’s just a part of being literary, but they say it all has to be part of a mix of other books.

So there you have it. Poetry just is and probably always will be whenever and wherever books are published.

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For Article Writers What Rights Can I Sell?

Article rights are important because if you retain the right rights, you may be able to sell the same article 10 to 15 times or more.

Here they are:

First North American rights.  Generally I lump similar rights together here: First North American English language rights and North American rights. This gives the magazine the right to publish the article first in English in the United States and Canada. After the magazine publishes it, you are free to resell the article. There are some technical differences between the two but the outcome is the same.

Second rights. The magazine acquires the right to publish an article that has already been published first in another magazine. You will find many of these listed in Writers Market.

One-time rights. This can be first or second rights, but the magazine acquires the right to publish the article one time only. Magazines in certain categories are willing to buy one-time rights. These include religious magazines, regional magazines, company magazines, newspapers, trade journals and more.

English language periodical rights. The magazine acquires all periodical rights to publish your article in English. You retain book rights, other non-periodical rights and foreign language rights.

World periodical rights. This gives the publication the right to publish in magazines all over the world. These rights apply to both English and foreign translations. You, however, keep book and dramatic rights. I recommend that you do not sell these because; often you can sell a good article to one country at a time.

What you sell depends on the magazine and you. Most magazines ask for first North American rights. Some insist on world periodical rights or even all world rights because they have foreign editions. Others are willing to buy one-time rights.

Don’t give away your rights just because a magazine asks for them. The rights you retain mean extra money later on. The American Society of Authors and Journalists www.asja.org suggests that writers sell first North American publication rights only. ASJA maintains a contracts watch which I suggest that you check regularly. It keeps you up-to-date with publisher contract problems.     

I personally mark all manuscripts except those intended for major magazine, “one time rights.”  This is usually accepted and allows me to resell my manuscript anywhere I wish.

 If a magazine asks for more than first North American rights you should always try to negotiate. Some magazines will accept the rights you offer, others will not publish your article if you don’t give them the rights they ask for. If a magazine insists on world periodical rights or all rights, you should always ask for more money than they have offered. The justification is that you won’t be able to make additional income by selling second rights to other magazines. Sometimes a publication will agree to pay more for additional rights, and sometimes they won’t. But it doesn’t hurt to ask.

Often, magazines that acquire world rights or all periodical rights will give your rights back after they have published your article. This is never automatic; you must always ask.

Some magazines send you a contract or a letter of agreement to sign that states the rights you are selling. Many simply send a letter stating what they will buy.  Sometimes the rights the magazine wants to acquire are printed on the check.  Often beginning writers will simply sign these and send them back. When you do, you have given them whatever rights they ask for. Don’t sign anything until you and the magazine agree on what you are going to sell. Indicate the rights you are willing to sell in the upper left hand corner of the first page of the article along with your name, address and e-mail address. We will take up Work-for hire agreements in depth in another issue.

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Roswell Says

“ I don’t know where to start. You know I am taking a writing class at the local high school. They told me to bring in four pages and someone would read it to the class. Oh Boy!  So I did. But before I could pass out the pages, the teacher gave a lesson on viewpoint. .

She sounded like my mom did the other night at her fiction critique. She mumbled something about staying in one viewpoint. She said every time you switch viewpoints the forward progress of the story stops. And most novelists never use more than two in a long novel. Whoops! 

I had just passed out the beginning of my story that switched viewpoints six times on the first page. Well after the lecture, they read the manuscript. The teacher just sat there with steam coming out her ears.  The class kept saying it was so bad they couldn’t go on. Finally they decided everyone would take it home, do a little revision and bring it back.

When I got it back last night, my four pages had been condensed to one. I turned it back and forth several to make sure I hadn’t missed anything. There was one short line left on the page. It said, ‘It was a dark and stormy night.’ And there was also a short handwritten note at the bottom of the page that read, ‘And we almost took that line out too.’

I don’t think I am ever going to be a writer.”

Roswell Newcomb, Managing Editor and Office Dog

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The Bulletin Board: Nationwide Writing Announcements

 Sell What You Write Workshop Series presented by the

California Writers Club, Sacramento Branch. All workshops are held on Saturday, 9:00am to 3:00 pm at Luau Garden 1890 Arden Way, Sacramento, CA (across from Arden Fair Mall next to Mervyn’s).  All interested writer’s welcome.

Each five hour session: Members: $40, non-members $50 (Includes lunch) For more information contact Karen Newcomb knew@thegrid.net or call 530-273-7235.

• Write It Right, Simplified Grammar for Writers, April 2, 2005,Bobbie Jorgensen…Northern California’s Clear Writing Authority.  Bobbie has taught for 15 years for a number of schools in both the Bay Area and the Sacramento region. The range of courses include composition (all levels) literature, critical thinking, and creative writing.  I can’t think of any writer who doesn’t need to brush up including me.  
• How to Write and Sell Your Novel, June 11, 2005. Lee Roddy, Author of Grizzly Adams and 54 other novels.  Learn the professional secrets of writing and selling novels

Sacramento State Summer Writer’s Conference: August 5-7, 20005, Sacramento, CA.   Share an intensive weekend of inspiring lectures, hands-on workshops and networking with writers and publishing insiders. Workshops on writing plays, novels, poetry, critique, memoirs and children’s literature. www.cce.csus.edu/writersconference.

Writers clubs and Conferences anywhere in the world are invited to announce their events in the Professional Author’s Newsletter. This is a worldwide newsletter. Send your announcement to me at dnew@thegrid.net . There are states beside California.

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The Booksite

Seven Steps to Writing and Placing Your Non-fiction Book With a Publisher. This seven-step guide will put you on the right track. Also find agents, writer’s conferences, writer’s clubs, fiction, poetry, copyright, fair usage, time management for writers and more at the Booksite. This is all free.  Check out what else is new this month. . www.thebooksite.net

The California Writer’s Academy:

Fiction Writers Can’t attend Karen’s critique group?  You can take her fiction course at the California Writer’s Academy. She covers many of the things that she talks about in the critique group.

www.bookforce.bizland/californiawritersacademy

 Duane’s Speaking Schedule

Saturday May 21^st, 2005: How to find 20 to 30 Markets for Every Article Idea: California Writers Club, Sacramento Branch, Monthly meeting, For reservations call Nancy Ware 916-489-7923 or Patti Costa 530-346-6461.

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The Professional Author Newsletter, Copyright © 2004. You have my permission to use all or part in your newsletter just include name credit and contact information. (Duane Newcomb. dnew@thegrid.net www.bookforce.bizland.com

P.O. Box 190 Penn Valley, CA 95946- Phone 530-273-7235. E-mail dnew@thegrid.net www.bookforce.bizland.com

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