In this issue:

Writing Avenues

The Split
by R. S. Nailor

Staff

Radio interviews are a very powerful tool in book promotion, but when you're first starting out they can be a little intimidating. Here are the top ten things to do -- and not to do -- in the radio interview process:

1) Do your prep-work.
When you're talking to the producer of a show about appearing as a guest, be sure to find out how long the interview will be, what time and time zone the interview will take place, and whether you'll be calling them or they'll be calling you. Get contact information as well, and offer to send them a review copy of the book, along with your press kit. As a general rule of thumb, the more information they have on you, the more they'll perceive that they have to talk to you about, and the longer the interview will be. Once you're booked, a few days before the interview call the producer back just to double-check everything, especially the time. I can't tell you how many occasions I've discovered a misunderstanding about what time zone the 2:00 interview was in. On the day of the interview, make sure that you're going to be in a quiet room with no television, no doorbells, no babies crying or dogs barking. I actually put a sign on my front door: "Please Do Not Disturb -- Live Radio Interview In Progress." Don't use a cordless, speaker or cellular phone; stick to the old-fashioned kind with a cord to cut out the possibility of any interference. You also need to be prepared for your segment on the show to be running a little early or late. Finally, if you haven't heard from them by fifteen minutes after the appointed time, call the producer just to see if there was a mix-up. Rarely will they forget about you, but misunderstandings do happen. I've had more than one producer say, "Oh, you're in the CENTRAL time zone! I thought you were on the east coast!"

2) Don't be nervous.
The first time that I did a radio interview, I was sitting in my easy chair at home with a copy of my book on my knee, phone up to my ear, waiting for the host to introduce me. I could hear the commercials playing, then the host bantering back and forth with his newsperson, when suddenly it hit me: in only a matter of seconds, I was going to be addressing tens of thousands of people, all listening to every word that I said. The thought not only boggled my mind, but also terrified me. After the first couple of minutes, though, everything was fine. I suddenly realized that this was exactly like having a telephone conversation with a friend -- I only heard the host, and it was like we were chatting about the book, not broadcasting over the airwaves. I've never been nervous again. Don't let the idea of being on the radio intimidate you; it's painless, and if you can carry on a telephone conversation, you can do a radio interview.

3) Do have an easy catch-phrase for listeners to remember.
The title of the book I've been promoting lately is "Haunted Encounters: Real-Life Stories of Supernatural Experiences." That's a mouth full, and something that is going to get very old if I'm saying it over and over on the air. For that reason, I used the catch-phrase "Haunted Encounters." It's something that the listeners will remember, it's easy to keep on your mind, and it cuts down on the confusion of the long book title. When I was promoting my book, "Uncle Bubba's Chicken Wing Fling," after mentioning the entire title, I'd refer to it simply as "Uncle Bubba" to imprint that on the listener's mind. Many people will be driving, or busy at work, so giving them a simple phrase that they can remember is imperative.

4) Do mention the title of your book.
A good program host will work the title of your book in throughout the interview, because he or she knows that listeners will constantly be joining and leaving the program during the broadcast. If your book and catch-phrase aren't getting mentioned, though, it's up to you to work them in. When you are asked a question, don't hesitate to preface your answer with, "Well, when I was writing Uncle Bubba, I found that!"

5) Don't over-mention the title of your book.
This is an important addendum to Number 4 above. Just as it's very important to keep the title of your book in the listeners' minds, you don't want to get the reputation as a bad interviewee. If you come off like a one-person plugging machine, not only will you not be asked for a return visit, but your current interview can be cut short before it was scheduled to end. It's a delicate balance, granted, and there are no concrete rules. Just use your best judgment. If you feel like you're mentioning the name of your book too much, you probably are.

6) Don't argue with the host.
The job of the host is to keep the interview interesting, and occasionally that means stirring up controversy. Thankfully it doesn't happen often, but there are interviewers out there who will try their best to make you angry, agitated, upset, or otherwise emotional to provide an entertaining show for their listeners. On the other hand, they may simply have a difference of opinion with you. Whatever the case may be, you must never let emotion take over the interview. You're there to sell your book, and nothing more. As long as you're respectful of the host's or caller's opinion, and keep the conversation moving along, it's okay to disagree -- just don't let an argument take the place of your book as the center of the interview.

7) Do have an easy way for the listeners to get your book.
You don't want to force the listeners to write down something like, "Haunted Encounters: Real-Life Stories of Supernatural Experiences, available at atriadpress.com" in order to get your book. When promoting the book, it only takes me fifteen seconds to say, "Ask for Haunted Encounters at any Barnes & Noble nationwide, go to Amazon or hauntedencounters.com, but all my books are available on my website: whitington.com -- that's 'whitington', with only one 't' in the middle." In that fifteen seconds, I've reinforced my catch-phrase "haunted encounters" a couple of times, let them know that it's at B&N, told them how to spell my name, and even herded the point-and-clickers to Amazon for a copy. That's four places to buy the book, two mentions of the book name, and the specifics of my last name, all in fifteen seconds. One other thing to note is that my catch-phrase is also a website. It makes things easy for the listeners. In reality, hauntedencounters.com merely launches the web-browser to the publishing house's website, atriadpress.com; everyone can spell hauntedencounters.com, but atriadpress.com is not something that the listeners would be familiar with. I also have an unclebubba.com page -- that's much easier for the listeners to remember than "Uncle Bubba's Chicken Wing Fling."

8) Don't lose sight of what you are to the radio show.
When you are doing a radio interview, it's extremely important to keep things in perspective. To the show, you're nothing more than a segment for that day. They may want you to call them for the interview, or they may phone you when it's time. The show could be running twenty minutes late, or ten minutes early. The interview time may be two o'clock in the morning, seven in the evening, or straight up noon. It may be a direct interview between you and the host, or he may take calls with questions. The producer may request a few free copies of your book to give away on the air. The interview may last five minutes, or two hours. All of these things -- and more -- have happened to me, but that's okay; I may just be an interview segment to them, but if they're letting me on their airwaves to promote my book, I'll be the most accommodating guest that they've ever had!

9) Do give listeners some add-on reason to visit your website.
You're going to have several folks who are intrigued enough by your interview to go pick up your book. Others, though, might require a little additional prodding, and the way that I accomplish this is with website content. If I'm promoting my Uncle Bubba book, I'm always sure to mention that the book is about a fellow trying to open a chicken wing restaurant, and that on unclebubba.com there are tons of recipes -- chicken wing and otherwise -- complete with photos, all from the tiny town of Cut Plug, Texas. For Haunted Encounters interviews, I point out that it's actually an anthology, and that the webpage hauntedencounters.com has all of the information for submitting their own true ghost story and being a part of the next edition. No matter what your add-on is, you have to provide incentive other than just buying the book. It will help attract many more listeners to your website, where you'll have another opportunity to sell your book.

10) Don't forget to track your results!
Track your results -- I use web page hits to see how the interview went. I haven't done a single interview where I haven't seen my webpage hits go up several hundred points for the day, sometimes even more. I know that not everyone who visits will buy a book, but there will also be people who don't go to the web page who will go into a store or straight to Amazon to pick it up. Webpage hits are just a way that I use to validate the fact that I actually reached some people. I record the number of hits on the two days following any particular interview, along with all of the contact information, names, phone numbers, etc associated with the program, and finally a few notes as to how the interview went. When it comes time to promote my next book, I'll use these as a springboard for launching my next media campaign!

* * * * *

Mitchel Whitington has published in many genres, from comedic fiction in "Uncle Bubba's Chicken Wing Fling" to his latest travel guide to haunted locations in the Lone Star State, "Ghosts of North Texas." Find out about his new book at www.ghostinmysuitcase.com.

Dear Santa - A Letter To The Editor
by Dave Kish

Did you ever notice how as children, we write our letters to Santa Claus hoping to get that great bounty of gifts come Christmas morning? We paint ourselves in the best possible light, making sure that our halos are straight and our rooms are cleaned, all in the quest of getting our hearts desire of winning the big guy over.

For example:

Dear Santa,

I have been very, very, very good this year. I have worked hard on being nice to my sister and helping my mom around the house, just like you told me to do at the mall when we talked last year. Remember? I can't wait until you come to our house this year. Your stops make my Christmas the best time of the year.

I am so happy to know that you are helping all of the kids in the world. You are so loving and giving and generous. I would love to help you make all the kids happy.

If you decide to come by my house this year, I would love to get a new Playstation, a hockey-stick, and the latest album from "Uncle Spanky's Monkey Factory."

If you could please give me a Christmas present this year I promise I will leave you a big plate of cookies (the good kind - the ones we decorated) and a tall glass of milk. My mom says that if you would rather have eggnog, it's in the fridge.

Thank you for reading my letter.

Merry Christmas,
Dave

This is a pretty typical letter to Santa from a six year old kid, if they have good supervision by a parent, grandparent, or older sibling who knows how the system works.

Did you know that you can use some of these same techniques in writing a letter to an editor/agent/publisher as you do in writing to Kris Kringle?

It's true. Look for these 5 important points in your letter.

Five Points in Writing a Successful Letter to a Publishing Santa Claus:

When we put these all together in a letter to the editor it might look a little like this.

Dear Ms. Slushpile:

I am requesting permission to submit my manuscript for your evaluation. The working title "Junk in the Trunk" is a 200 page double-spaced action/adventure novel of a woman who, despite her ample posterior, knows how to defend herself in a city of vampire-dentists. She alone knows the secret and can't get anyone to believe her.

This story is written in the same genre as your previously published works, "So Sad, Your Dad" and "You Want It When?" Both published by your successful publishing house. I have had my novel edited professionally and it is ready for publication.

I bring a unique perspective on this subject matter as I have been both a dentist and detective in my personal life. This book is an original vampire tale not relying on many of the old clichés. The story ends with our heroine, Butter Lumps, exposing the vampire dentist ring and bringing them all to justice. But there are threads left dangling for a sequel if this should prove to be a success.

An S.A.S.E. is enclosed. Sample chapters are available upon request.

Thank you for your time. I look forward to hearing from you.

Sincerely, Little Davey Author

Now, being kind, humble, advising, bribing, and generous in your query letter may not guarantee you a contract or even a gift from St. Nicholas. However, if you do these things, and obey the laws of etiquette, you have a much better chance to get your manuscript passed the gate. If you do get your letter to the north-pole, so to speak, and if it does get into the hands of your own personal Santa Claus, and he reads your letter and decides to pay you a visit, then no matter what time of year it is, it will be like Christmas morning for you.

Happy Holidays

* * * * *

Dave Kish was born and raised in Southeastern Michigan. He primarily writes supernatural/spiritual fiction. He is also 1/3 of a swordfighting comedy show, that can be found at festivals in Michigan and Ohio, called Rogue Blades. Dave is president of the Northwest Ohio Writer's Forum located in Toledo, OH (http://hometown.aol.com/nwowf/forum.htm).

Writer Sugar Plums
or No Fruitcake This Year
by R. S. Nailor

The holiday season is upon us and the main question on everyone's lips is: Whatever do I get Uncle Harry, or even Aunt Julie?

If Harry or Julie happen to be a writer, here are some handy-dandy little tools that person may find useful. If you happen to be that writer, just plant this article where it can be noticed.

The obvious and often overlooked items which can help a writer are: postage stamps, manila envelopes, long white business envelopes, pencils, red ink pens, that always useful printer ink, quality printer paper, floppy and/or CD discs, and file folders.

Most of the above mentioned items fall into the low cost budget, approximately $1.00 to $12.00, suitable for children, or those on a limited income, to give.

There are other gifts that can be even more useful.

File cabinets. Not often considered, but are very useful for the writer to store information.

Book Shelves. Books need to be accessible for research. This will line them up nicely.

Small Handheld Tape Recorders. Writers tend to think of plots and ideas at very unusual times. This item will allow them to make those notes quickly. It can also be used to just dictate the article or story for later typing.

Palm Pilot. Again, useful for making notes, but are definitely a bit more pricey. There are many options that can be added to assist, such as an expandable keyboard for entry. This item can be used to handle addresses of publishers, when and where articles were sent, plus allow entry of information on a story or article.

New Printer. For the serious writer, these tend to wear out quickly over time, mis-feed, or blotch the document that was needed to be in the mail ten minutes ago.

Word Processing Software. Writing is okay, pounding on a typewriter is passe. A computer is the writer's best bet. There are many different word processors available.

New Computer. New software means updating the computer. Desktop models are good; a laptop is mobile.

Flat Panel Monitors. Space is critical for a writer.  The flat panel monitors take up less desk space and seem to be easier on the eyes. If the computer is good, an updated monitor will help. Please don't confuse this with a flat screen monitor.

Keyboard. An ergonomic keyboard can be a lifesaver to a writer, but before purchasing, it would be advisable to check if the writer is comfortable with it.

Subscription (at least one year's worth) to a writing magazine. There are many on the market. Just be sure it is for the genre that the writer works in, or something very generic.

Desk with drawers. A writer needs a space of his/her own and a place to keep his/her files organized while doing research. The dining room table is truly an awkward place to work.

Writing software. This is the uniquely designed program directed at the writer. These will help the writer organize and track different articles, stories, or plots.

The above items will range from $20.00 to over $1,000.00.

So, this holiday season, think of the writer, not the person. Trust me, Uncle Harry has enough ties and Aunt Julie is tired of aprons, and nobody wants the fruitcake that they sent you last year, either.

* * * * *

R. S. Nailor is Poetry Editor and Production Manager for the Emporium Gazette. His manuscript, THREE STEPS: THE JOURNEYS OF AYROLD, is currently in the final stages of editing. He has short stories included in three ebook anthologies from 23House and numerous articles and poems elsewhere on the internet. You can visit him at Lore's Webs.

FROM ANOTHER ANGLE
by Susan Long Turner

A WORLD OF INTERVIEWING

On writing—I know I walk in and out of several worlds every day.
     ~Joy Harjo from NAAW "Quote of the Day" Ezine

One of the most important worlds a writer walks in and out of every day involves interviewing. Whether fiction or nonfiction, your writing might benefit in doing your research by visiting the scene and talking to people rather than spending hours digging through books and magazine articles. The things you've seen and heard firsthand will give a more authentic tone to your writing.

When you need a specific piece of information, talk to an expert at the scene. According to Laurie Henry in THE NOVELIST'S NOTEBOOK, mystery novelist, Sue Grafton, visited a morgue to find out about the latchkey mechanisms inside the drawers where bodies are kept. Grafton planned for one of her characters to find herself in one. Would it be possible for her character to escape? Grafton said, "What I discovered was that there are very few drawers. The drawers that you see in morgues in films and television shows are largely a fabrication of television writers."

Sue Grafton's experience reminded me of an old country song with the line, "Hello walls . . ." The novelist actually "interviewed" the setting as well as a person. In creating fictional settings from actual places, there is a real need to "interview" those places. It's a great way to get a story rolling. "Take a walk to the doughnut shop on the corner of your street with its neon sign flashing," Robin Hemley suggests in her book, TURNING LIFE INTO FICTION. "Go in and take notes. Order a few doughnuts and some coffee so you won't look suspicious. Look at the people in the back making doughnuts. Write a story from one of their points of view. You'll want to interview someone who works there for accuracy."

That doughnut shop could provide many doughnuts of stories. Social mores may not approve, but eavesdropping is a profitable method of interviewing. One morning in that shop a woman proclaimed, "It's come to a point that the only thing free is the air we breathe." I then began to interview myself. The phrase "the best possessions in life are free" flashed through my mind. My method of questions and answers came up with a story for SUNSHINE MAGAZINE titled THE LISTENING EAR. The story was reprinted several times and won an award.

Popular writer, Phyllis Whitney, in WRITING JUVENILE STORIES AND NOVELS, suggests, "Talk to children's librarians and find out what the youngsters themselves think." She also suggests going to the children's room of any library and stock up on books in that field. "Read them in quantity, until you know them well enough to compare the different writers and recognize their flaws. . . . In that way, too, you can learn what has been written over and over." And thus you can avoid those worn out subjects.

Joy Harjo's words, "On writing—I know I walk in and out of several worlds every day," aren't idle chatter.  Interviewing people, places, things and self create one of the most productive worlds for writers.

* * * * *

Back to Top

First Draft, Rough Draft
by Cinda Cash

First drafts can be wonderful. Rough drafts are bummers. So what’s the difference? A first draft is what you just got finished typing. It is wonderful because (A) you have finished it and (B) you haven’t reread it. The rough draft is a first draft you have reread. Bummer.

The scintillating syntax, the unique story, the logic of the plotline, the fascinating characters—where did they go? Somewhere in the process of getting it on paper the literary vision vanished. What happened?

Do not despair, it may still be there. The term "first draft" indicates there will be others. But after the first rereading, everything seems in such a mess. Where do you begin?

Take it one draft at a time.

1. Outline the plot of the manuscript from your reading. Check it against your original. Make adjustments.

2. Read the manuscript for grammar and spelling errors.

3. Check the narrative point of view. Is it consistent? If not, make it so.

4. Next, go back through the manuscript and tighten it. Check for extraneous words and phrases. Fire each one that does not add directly to advancing the plot. Be ruthless with adverbs and adjectives.

If these steps are successful, the last draft will be a manuscript of merit, ready for submission and worthy of a contract.

* * * * *

The Split
by R. S. Nailor

"John?" Betty's voice echoed in the stairwell. The sound of her rushing up the stairs conveyed an unusual sense of haste. "John? Can you hear me?" The normally soft and melodic voice now pierced the air in plaintive shrillness. "John?"

"Yes, dear." He appeared in the first doorway of the hall.

"Oh," she said softly. "Look!" She raised the newspaper for John to view while pushing him back into the room. "I thought of going to the bank today..." She thumbed through the pages. As she manipulated the page into a nicely folded section, she quickly added, "They're running a special."

"Really?" John perused the paper searching for whatever Betty wanted him to see. "A special, you say?"

"Remember last month when they offered a ten percent increase?" Betty bubbled with excitement as her fingers quickly pointed out the ad. "Well, now they are giving two options; an even split or a spread across multiples."

As John listened to Betty briefly explain the details, her eyes danced with enthusiasm. "Do you think we should?" he questioned. "After all, I am forty-four. Would it be a wise move at this time?" Her beaming face answered his question. "Which were you thinking of using, dear?"

"The twelve!" Betty answered. "The twelve on an even split. That would give us two sixes."

"Two sixes... interesting..." John let his hand pass over his chin and slide down his neck. The forefinger and thumb massaged as he thought. "That could certainly give us some diversity."

"With the eight, and the two sixes, our flexibility would be almost unlimited. And if..." Betty looked about conspiratorially. "And if we can get a ten percent increase later, just think!"

John nodded. "Go ahead. Sounds like it might be a great deal in the long run. Take... ah..." He frowned in thought. "Jackie. Yes, take Jackie, with you."

Betty shook her head back and forth. "Can't even remember the names of our children. It isn't like we got them yesterday. You're getting old; poor dear." Betty gave a mock frown at John as she patted him on his cheek. She spun to leave, turned back and blew him a kiss. "See you later, love." She stepped into the hallway. "Jackie? Jackie?" Again her voice blared in the stairwell as she began her search for their daughter. The sound of Betty's clicking heels dwindled as she hurried down the staircase and out the front door.

* * * * *

"Good morning ma'am. May I be of service?" The young clerk cheerily greeted them as he stood up from behind the polished desk.

"Yes, thank you." Betty returned a smile. "I am here in response to your ad about the split." She placed a portfolio on the desk in front of him and he quickly scanned the cover sheet.

"I see. Be seated. What did you have in mind?" He unobtrusively watched Jackie as she sat down.

"I would like an even split, six each."

The clerk's eyebrows lifted only slightly. "I don't see any problem. Will that be an identical or a simple split six?"

"I don't believe it really matters. Could you show me the different options available to us?" Betty's speech was at a

controlled volume, but under the facade of strained calmness, the wild excitement of change raced through her.

The young man gestured to show the direction. "If you would step this way, please. The second door on the right will be our demonstration room." He grinned bashfully to Betty and Jackie as he opened the door for them to enter. "Allow me to turn down the lights. That will allow a better view of the different choices as they are projected. I'll start with the identical splits." The clerk dimmed the lights and turned on a small projector. "As you can see," he continued. "The particular selection you requested at six is limited, but nonetheless, has very good opportunities with three possibilities."

Betty's head nodded as she viewed the three projected onto the screen. "The middle one..." she started. "Would that be a safe choice?"

"Very prudent." A click and the screen instantly filled with an enhanced picture and full details. "As you can see, this option has had a very good past, and we only foresee optimum growth with a minimum of input."

"Thank you." Betty said while wondering if she was being hustled. "May I now view the others available?"

"Certainly. Which of the other two would you like to see next?"

"I'm sorry, I meant the singles." She hesitated. "Oh, and could you put a hold on the one I just viewed. I wouldn't want to let such an opportunity slip through my hands."

"Very well, ma'am. Continuing on, then, I have eleven options available for the simple split." The clerk manipulated a couple of buttons and a temporary hold was placed on the request. "If you would like more information on any of the current opportunities you are viewing, I would be more than happy to show you."

"I don't believe so; at least, not on any of these." Betty let her nose wrinkle in light disgust. "But I do have a question about the identical split. If I were to take that particular selection, could I trade-in or split just one of them at a later date?"

"No, ma'am. The identical options must be kept together. If we allowed splitting of identicals..." He hesitated and shrugged his shoulders. "I think you understand what could occur." He rolled his eyes about for emphasis.

"Yes, of course, how silly of me. Well, then it is settled." Betty smiled at the clerk. "I believe my husband and I will take the identical split."

"Very good, ma'am," the clerk replied as he turned the lights back up. "I'll have the paperwork started immediately. We'll get your portfolio and..."

Jackie looked at the clerk, a small tear in her eye.

"Now, now, a sad face does not become one so cute," he said. "You just come with me, young lady." He took her hand. "We'll take care of this business and have you out of here in no time." He led Jackie to the door.

He turned back to Betty, picked up the portfolio and started going through it.

"I see you already have an eight. I think everyone will be happy with the choice you have made. Of course," he said, absently while mulling over the paper, "not having a twelve around will alter the way things are done." He closed the portfolio and turned to look at Betty. "Now lets go get those cute six year old twin boys for you. Follow me, please."

* * * * *

R. S. Nailor is Poetry Editor and Production Manager for the Emporium Gazette. His manuscript, THREE STEPS: THE JOURNEYS OF AYROLD, is currently in the final stages of editing. He has short stories included in three ebook anthologies from 23House and numerous articles and poems elsewhere on the internet. You can visit him at Lore's Webs.