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The publishing company is the backbone of the writing world. The publishing company provides a great service to society by publishing and displaying the work of authors. The global existence of publishers is obvious, but the inner workings of a publishing company is unknown by many authors. Many book publishers consider the publishing industry as an apprenticeship industry — most book publishing professionals gain knowledge and skills in this field with hands-on job experience. Generally, what an apprentice learns in one department is useful throughout the publishing house, which gives professionals the opportunity to move between departments. A typical publishing company has many levels to it, each with different functions.

THE ADMINISTRATIVE DEPARTMENT

The Administrative Department is the first level of any book publishing company. It has many responsibilities to help the publishing company function properly. The Administrative Department manages daily operations for publishing executives and management. This responsibility involves interaction with all employees from all departments, as well as interaction with authors and agents. The administrative employees manage the calendar, maintain organized files, screen/prioritize mail, draft correspondence, make travel arrangements and prepare itineraries, process expense reports, take minutes at meetings, and prepare reports. A position as an administrative employee allows a person to have a high-level of understanding of a publishing company, while being visible to executives.

THE ADVERTISING DEPARTMENT

All large and small publishing companies have an Advertising Department. Most publishing companies have in-house advertising agencies that purchase media space and create and design advertisements. In a publishing company, the Advertising Department works closely with the marketing directors, editors, and publishers of titles to create an advertising plan that promotes sales of an author’s book. An advertising plan requires research and negotiation to provide the best venues and the most cost-effective methods of advertisement. These employees also work closely with graphic designers, commercial sales representatives, printing presses, and internal staff to facilitate the run of advertisements.

THE EDITORIAL DEPARTMENT

The Editorial Department of a publishing company is one of the most important departments. The Editorial Department acquires, negotiates, develops, and edits book projects for publication. The daily activities of editorial employees include preparing acquisitions for transmittal to the production department; developing and maintaining relationships with authors, booksellers, and agents; performing general administrative duties; participating in editorial, design and marketing meetings; and reading and evaluating submissions by writing reader’s reports. The editorial department must work closely with all departments.

THE MARKETING DEPARTMENT

Another division of a publishing company is the Marketing Department. The Marketing Department creates, prepares, and establishes marketing strategies and policies for each book title by coordinating the efforts of publicity, promotion, advertising, and sales departments. The Marketing Department prepares all sales presentation materials, audio recordings, fact sheet collation, and promotions; creates and produces additional account-specific presentation materials; researches and establishes relations with new markets; and plans and maintains sales and marketing schedules.

THE PUBLISHER’S OFFICE

The Publisher’s Office is also an important department for many publishing companies. The publishers oversee the life cycle of a book title from acquisition to production, and onto the sales force. Publishers make executive decisions for all book titles within assigned imprints while staying within any cost restraints. This department is also responsible for sponsoring book projects, strategies, and initiatives for the publishing company.

BOOK RIGHTS DEPARTMENT

The Subsidiary Rights and Permissions Department is one of the most important divisions of a book publishing company. This department finds additional sources of profit for a given title, including serials, book clubs, and paperback, audio and e-book rights.

The daily activities for the subsidiary department include writing submission letters; sending manuscripts, proposals, and books to foreign publishers and agents; coordinating co-productions with other publishers; working with book clubs and sales for special editions; and maintaining relationships with other publishing companies.

ENJOY THE JOURNEY

The road to getting a book published is a long one, but well worth the effort. Trust yourself, and trust the publisher to create a beautiful masterpiece. Don’t be discouraged if several publishers are not interested in your book. You may have to self-publish your first book, and then again, a large or small publishing company may accept your book based on marketability. Good luck and enjoy the process.

Do you love to write? Do you have a knack for making words come alive on a page? You may want to consider freelance writing as a way to make a good living from home.

Freelance writers write anything from newspaper columns to web content and even ebooks.

Getting Started

Before you go looking for freelance jobs, you should build up a portfolio of articles. You can write for your own website or blog, offer to write free articles for friends, or contact your local paper about writing a column for them. Work on some articles that you can use as samples of your work and build a list of references for your potential clients to contact.

Where To Find Work

The next step will be finding potential clients. You can visit some of the big freelance sites like elance and bid on projects. It is also a good idea to set up a website that showcases some of your writing, tells a little about you and your area of expertise, and of course you will have your contact information on the site. You may also want to consider adding a blog to your site. It’s an easy way to add articles, short tips and any other writings to your site on an ongoing basis.

Networking is another great way to find work. Think about friends, former colleagues, bosses and clients that would be interested in having some writing done and call them up. As you start building your own client base, ask for referrals. Do you know someone that successfully freelances now? Ask them for advice on getting started and spend some time with them. They may refer clients to you that they don’t have time for. Do the same for other freelancers if you are contacted with a project you can’t handle.

Many magazines will accept freelance work. Keep a spreadsheet with names and addresses of the editors of the various publications and pitch story ideas on a regular basis. It can be tough to get a foot in the door with magazines, but once you start getting published it will become easier and in many cases more lucrative.

Getting Paid

How much you will get paid will largely depend on the size of the project and how involved it is. Short articles on general topics that don’t require research may pay as little as $5.00 a piece while doing research for and writing an ebook may bring you several hundred dollars.

If you love writing about a variety of topics, I encourage you to give freelance writing a try. It’s a great way to do what you love and stay home with the kids at the same time. The main key to becoming a successful freelance writer is to practice writing all the time, whether you get paid for it or not. Just get out a pen and paper, or open you favorite text editor and start writing.

Hearing of the massive layoffs in the local car factories erodes a bit the certainties of future and furthers the perception that things aren’t quite the same anymore. So much for the lessons of my youth that once spoke of a surety of workable lifetimes plus a pension fades as the corporate cut away for the leanness of times. Gone are those workplaces that guarantee a place for generations. One is forced to consider what may fall into place for awhile since no longer can one plan for fifty years. Now it’s a time for improvising since changes can occur quite often in one’s life instead of that once good place to settle. One could think one might get too old for adjustments but now survival demands newness no matter where one is at for the easy chair is no longer assured.

One could point a finger since it is an ignorant habit nowadays and say it’s all the union’s fault. Too much greed and too much benefit make the American worker obsolete in the global village of huts with no mortgages and paths walked not driven. Like an expensive habit that one would be better off not partaking of, the workers are the first to be cut. Nothing considered than just a matter of survival. Hopes are for the older ones having houses that are paid and cars that will last a few more years, because it’s time to work at Wal-Mart for six bucks an hour. Medical care can maybe be put on the state and that’s a hole for another year. The younger will adapt and try to survive, law of the species; nothing unusual. It’s too late to take ten bucks an hour instead of twenty; the cars are no longer sold.

Then again one could flip a single finger in the air and say it’s all mismanagement. Too much greed and too much bonuses made the estates that lined the lakes. Way too lopsided allotments for the upper class took away the cushion for hard times. There are those that will have to be cut but only the juniors, the rest are tenure, entwined within the company until bankruptcy. Most likely are taken care of, medical provided, well paid; just a company function. Now it’s time to cut the excesses and indulgencies and get real, scramble together and figure out what went wrong since the cars are no longer being sold.

Not that the cars aren’t sharp or classy, all shine and high tech, the ultimate in current know how of gadgetry and devices, the appeal is in the showroom. Vehicles built for power and grace, style and substance. All for the fleeting glance of prestige and recognition, nothing more than a symbol to attain and maintain. The profits were good and the benefits were great, the American way of life. So one could be fair and say that that it was the greed of many getting what they could from the company to live the best that they could. Yet the real culprit is the American way of life. It is the philosophy of America: better, bigger, and wait until next year. Cars were not built to last but to show. Look at my car and my house. Like the demands and expectations of a youth, or the tantrum of a child wanting attention, America is still young. The reality of a long life requires readjustments. Settle down and dig in. The future is always there for the practicalities of balance for longevity. Changes have to be made to become mature, a matter of common sense over charm. After all it’s only survival with a little grace to get by. America can no longer act like ugly Americans; as if we’re the only ones that matter.

Today, Norm Goldman, Publisher & Editor of .Bookpleasures.com, is excited have as his guest Frank McGee, author of A Song for the World: The Amazing Story of the Colwell Brothers and Herb Allen: Musical Diplomats.

Frank has built a distinguished career as a writer and journalist over half a century. In the tumultuous 1960s he covered stories as far a field as Brazil, Indonesia, and Viet Nam. As managing editor of Pace magazine, a contemporary of Life, Look, and Holiday, he worked with thought leaders from around the world.

Norm:

Will you share a little bit about A Song for the World: The Amazing Story of the Colwell Brothers and Herb Allen: Musical Diplomats with us?

Frank:

Glad to Norm. This is a book about the power of music. It tells the story of four musicians, The Colwell Brothers and Herb Allen. The Colwells were already country and western instrumental and singing stars in their teens, on TV and national radio in the Tex Williams shows that originated at Knott’s Berry Farm, the first theme park in America. They were the youngest group under contract with a major label, Columbia Records.

Herb Allen of Seattle, a true music prodigy, conducted the Seattle Baby Orchestra at age four. He was a xylophone maestro performing weekly on radio from age five to sixteen, a student of classical piano scheduled to enter Oberlin School of Music, and in high school, conductor of his own dance band, “Herbie Allen and his Orchestra.”

In their teens these four musicians made a choice that startled everyone who knew them: they committed their lives to public service. The remarkable story of how this happened, and what their decisions led to, is told in the book.

Here’s a quick rundown: The Colwells went on to perform in 37 languages and dialects, including songs written with locals in the scores of countries they visited. They sang in African villages, the Diet of Japan, and Carnegie Hall. They worked for a full year in the Congo as the country gained independence, lived through revolution and invasion, and made 400 broadcasts on Radio Congo (there’s a quite dramatic chapter, if I may be permitted to say so, about that tumultuous year). They walked through Indian villages with Gandhi’s disciple Vinoba Bhave seeking land for landless peasants.

The Colwell Brothers and Herb Allen began collaborating from their first meeting in Switzerland in 1953. In 1965 they were the musical founders of Up with People, and a decade later literally invented the modern Super Bowl Halftime Show format during America’s Bicentennial Year, 1976. They performed in three more Super Bowl shows, more times than anyone else on record. That’s how many people came to know of them: through television audiences of 90 million at those games. In 1978, at the end of Mao’s Cultural Revolution, their Up with People cast was the first performing company to visit China. And in 1988, before the Berlin Wall came down, the first in the Soviet Union, where they returned three more times. There’s lots to tell.

Norm:

What motivated you to write your book and whom do you think will benefit from reading it? What are your hopes for this book?

Frank:

The seed was planted in 2003. At a gathering of longtime friends a prosecuting attorney from California told us about terrible things youth in her city were facing. “There ought to be a book about what the Colwells and Herb have done,” she declared. That resonated instantly with all of us. We knew the adventures of these amazing musicians were not only history making but topical. Of course I only realized after the research just how profound the story was, an intensely relevant story of courage, and doing something of value with your life.

Who will benefit from reading the book? I think what a great English headmaster said in 1862 would answer that: “Music is the only thing which all nations, all ages, all ranks, and both sexes do equally well. It is sooner or later the great world bond.” Music has the power to connect people whether they’re musicians or not. Some read the book as an adventure story, not a Harry Potter sort of one of course, but a story from real life that also intrigues the imagination.

Here are my hopes for the book. The Colwell Brothers and Herb Allen have been called musical diplomats. Doors have opened to them wherever they’ve gone, because they’ve gone to listen and to learn, to appreciate instead of compare. That sort of diplomacy is needed in the polarized environment of our times. Many NGOs operate on that basis. But if official diplomacy also did, think what a giant step that would be toward building a better world. That’s why I hope to see this book utilized by schools and universities that train public servants and candidates for Foreign Service.

Norm:

Can you explain some of your research techniques, and how you found sources for your book?

Frank:

With this book I was really lucky. The families of these guys kept the letters and photos they’d received from their globetrotting sons. Among hundreds of letters were the personal stories of the struggles they’d faced operating for years in crisis areas around the world, of the sheer grit and sacrifice involved. Then when it got out that a book was in the works, people from other countries began sending photos and documents they’d squirreled away about some historic event. I received emails, letters, photos, publications, and record albums from across the world, Zurich to Anchorage, London to Cape Town, Hollywood to Helsinki. And of course the color of the story and much of the dialogue developed through hours of interviews with the artists, and with music industry people with whom they’ve worked.

Norm:

What challenges or obstacles did you encounter while writing your book? How did you overcome these challenges?

Frank:

I’ll mention just a couple. The first challenge shouldn’t have existed: biographers should portray their subjects with complete objectivity; I was a journalist long before I put on the hat of “author” and well aware of that. As the story unfolded though, with its unparalled global connections, and I became increasingly impacted by the lives and work of these four musicians, I needed to be certain that I let the story speak for itself. They’ve never made claims, and neither should I.

The other challenge turned into a very great plus. Initially I wanted the book to include story-telling pictures throughout, as we had unearthed great photography from around the world. But an important New York publishing company we were in contract negotiations with made it a condition that they would control the design and format, much to my unhappiness. That contract was not finalized, fortunately, and Many Roads Publishing in Santa Barbara, California produced a picture-rich design and format that greatly enhances the effectiveness of the book.

Norm:

What’s the most difficult thing for you about being a writer and journalist?

Frank:

Well, you’ve probably heard the old saying: “There comes a time in the life of every decision when it’s got to be made.” I translate that to mean that if you’re a writer and journalist you need deadlines. I’ve never relished them, something to do with my temperament I suppose, but it’s obvious that until there’s a deadline, nothing happens.

But deadlines are insignificant compared to the satisfaction, intense at times, of creating something that you know has significance and value. I’m very lucky to be in this profession. I became a photographer in Brazil, moved on to creating magazine photo essays, and then to editing, writing, and publishing.

Norm:

Do you feel that writers, regardless of genre owe something to readers, if not, why not, if so, why and what would that be?

Frank:

I definitely feel writers owe something to readers. Some books have been hinges on which doors of enlightenment have opened. Whatever we read remains forever in the mental landscape of our lives. Whether the contribution grows or withers is up to each individual, but putting it there in the first place is a considerable responsibility, I would say.

Norm:

As a follow up, what does it mean to tell the truth? And what does it mean to tell stories in a work of non-fiction?

Frank:

What a great question, Norm! A wise family friend once told us of an exchange she’d had with her professor at Vassar College. Apparently she had submitted a paper in which she’d stated some opinion as fact. So her professor asked her, “And what else is also true?” The topic of truth has filled countless volumes and will fill countless more. What is truth to one might seem lies to another. But if writers portray what they sincerely believe, we should regard their writing as ethical, even if we are diametrically opposed to what they’re saying. Sounds like we’re describing the religious and political divides of the world here, doesn’t it?

About stories, I think they can make non-fiction immensely readable. My wife Helen, who was an English major, has insisted for years that history should be taught through literature; it would be better absorbed and understood. Currently we’ve been reading historical novels, and I’ve become intrigued with things I never thought I’d care about, as I tended to fall asleep in history class. In A Song for the World, I’ve been fortunate, as there was a wealth of first person information in the letters retained and in the interviews.

Norm:

In the past few years or so have you seen any changes in the way publishers publish and/or distribute books? Are there any emerging trends developing?

Frank:

Many changes, Norm, and all of them contributing to the accessibility of information. Conventional publishing channels still run the Olympic games for writers, but the initial selection process can overlook significant manuscripts. A friend recently sent me an article that appeared in The Guardian. It seems that a writer, puzzled by continuing rejections of his masterpiece, submitted to eight major publishers the first chapters, with surnames and locations only slightly modified, of several Jane Austin novels. He received seven rejections, with standard not the type of book for us explanation and keep writing and good luck best wishes. Only one responder mentioned the plagiarism, which he seemed to find amusing.

I think writers, now as always, need to catch the attention and spark the enthusiasm of someone who will carry the writer’s banner, and will wave it where it can be seen. You’ve heard the axiom: “You can promote anyone but yourself.” But the writer may have to work to find that third person, whether enthusiast, agent, or publisher.

Publishers have long probed distribution channels and are expert at exploiting book clubs, bestseller lists, teacher assignments, library recommendations and more. Of course now the apparently limitless possibilities of the digital world are changing everything from bottom to top.

Norm:

What do you think of the new Internet market for writers?

Frank:

Well just look at us, Norm. Here we are having this conversation online! Our kids think it’s perfectly natural, and it is today, but I grew up before you could say something like that, and I still find it pretty amazing. Someone might read your interview tomorrow in Berlin, or Bangkok, or Budapest. Of course A Song for the World is all about that, isn’t it? Connecting?

Norm:

Is there anything else you wish to add that we have not covered and what is next for Frank McGee?

Frank:

Most of all I hope a lot of people will read the book, because what these musicians have done offers real hope for the future. There’s an engaging glimpse of the story at .asongfortheworld.com, and the book can be purchased there.

We’re in the midst of a book tour now and there is information about that on the website. Special appearances by the Colwell Brothers and Herb Allen in connection with the tour have caused a buzz in cities across the country.

Next for me is a novel I was working on and set aside to write A Song for the World. I’ll be expecting a bidding war for the publishing rights for that, of course. Many thanks for inviting me today, Norm.

The Concept of A.I.M was born out of necessity while I was writing (well more to the point attempting to write) my book called Financial Dignity. The book took many years to research and develop but I was to realise just now much of the time was taken up doing nothing. Many months would go by without me even lifting a pen, tapping a key on the word processor, or turning a page. In between times I would feel highly motivated and would get stuck into the research and bang out a few more pages then do nothing for months.

In the introduction of Financial Dignity I refer to my age at the time and recall quite clearly when I realised I was 3 years older than when I had first started writing the book, but it was still nowhere near finished. I shudder to think that those 3 years had crept up on me so swiftly. The inexorable movement of time had caught me out while I was looking the other way and I had wasted so much of it. Then it had dawned on me why I had not finished the book I had started to so long ago. I knew I was not lazy and worked hard and enthusiastically when motivated. The mistake I had made was waiting for the motivation to happen.

The Motivation Cycle

I thought “Well if I only work on this thing while I feel like it will take for ever”. I was stunned and demoralised and that nearly ended book writing for me. Without the stimulating ‘high’ of motivation the task was just to enormous. Give up! Give up! Pestered the little voice in my head. I think it is human nature to subconsciously take the easy route, to do the more pleasurable things in life and leave the difficult things to last or just hope they go away. I was torn between wanting to complete the book I had persevered with for so long and quitting to do something easy.

I suppose my motivation cycle like most others would go from high to low. The high producing a burst of frantic effort and activity followed by a burn out where you are physically, mentally and creatively drained. I found this took a long time to recover from and it had a de-motivating effect. The problem was the time when I was not motivated; I was not motivated a lot longer than I was motivated. Stoking up the motivation to write and continue pushing your brain to work after a hard days graft ‘at the day job’ is very difficult.

Just doing the time filling, wasteful things like watching TV takes its place all to easy.

The real question

Several months past by… my conscious continued to troubled me about not continuing with the book and then…

A Eureka moment came at 4 o’clock one morning when I awoke with a moment of clarity that often follows a good night sleep when the mind does that marvellous peculiarity of unravelling and sorting the problems and discourse of the day.

“The real problem was not how to get motivated more. It was what to do when I was not motivated”.

The question was how was I to motivate myself to work at something for an hour or two following a hard days work? The Answer was simple “DON’T ”. Don’t wait for the motivation, just take some action every day if you feel like it or not. The action to take is ‘do the next task’ and don’t try to eat elephants whole! Split the project into smaller more manageable and less daunting chunks.

The habit of taking action

In practice I found to my delight reduced periods of energy sapping high motivation and the inevitable un-motivated down time that followed. It was replaced with a steady state where you are achieving on a regular basis, motivated or not.

To start with, it will take will power and effort. If you persevere and keep doing it, it will embed in your subconscious and become habitual. You will be able to carry out the task with hardly a conscious thought.

My preference was to come in from the day job, get a drink (Tea!) and then…just do the next task, which could be research, writing up, editing, whatever useful task needed to be done (sharpening pencils does not count as a task!!!). Doing it at the same time of day everyday trains your mind and body to anticipate what is going to happen next and become habit forming. Once I had acquired this habit of taking Action the new pages to the book started to accumulate along with new Ideas and inspiration. Seeing the book starting to take shape after so long then motivated me to do more and help reinforce the habit of taking action.

“If you want to achieve something just do the next task. Ideas and motivation do not just happen you need to AIM for them”.

Authoring as a Risk-Taking Endeavor

Being an unpublished novelist poses all sorts of dilemmas. Writing is entrepreneurial in nature, more than most people realize, and it is fraught with make or break decisions. Which side of the political spectrum do you show yourself? Do you embellish this or that social issue, perhaps the one most fashionable, or do you hide from them all?

If your goal is publication for its own sake, and you’ve decided to write, say, Gothic romance number 214,386, then you do need to follow the Gothic template. But you also need to make it stand out from most of the 214,385 Gothics that came before. The burden to distinguish is higher for unpublished writers because they have no track record to give their work advanced credibility or benefit of the doubt. Yet if the novice distinguishes herself too well, then her originality may be viewed as too risky in itself.

This need to balance risks even extends to things that look simple and straightforward on paper. Take the question of how good your manuscript should be before you query it. The reference books are all unanimous in urging that your manuscript should simply be the best you can make it before submitting it. But it’s not that simple in real life. First off, many amateur writers don’t know how good their writing is relative to their own potential. This is especially true if you are trying to achieve a literary end that’s new or different, say, push a new frontier in poetry, or achieve new levels of fright in horror.

In my own case, in writing Coinage of Commitment, I was bent on writing a love story unlike any other, a mainstream tale of love at a higher level. That made this project so different that even the style I adopted needed to be distinctive, a vivid way of expression that leads readers through the characters’ souls to glimpse romantic love at breathtaking heights. That’s not exactly stock stuff, making it risky to submit and hard to know when it was good enough to send out.

Not realizing what I was getting into, I polished the manuscript as best I could, then sent it out. Two months of querying later, when on a whim I sat down to reread it, I was shocked to discover that it was not the greatest love story ever written, something I suddenly discovered was important for me to achieve. Important enough that I pulled the ms off the market and sent it to not one but two independent editors in series. Three rewrites and seven months later, I resumed the query campaign. But by then, I wondered about the stability of my improvement progress.

Sure enough, despite best intentions, my writing ability kept jumping ahead of itself. I simply couldn’t keep my hands off the ms for wanting to make it better. That meant that the sample chapters I sent out kept changing. Even after the ms was accepted for publication, I could not quench my hunger for better prose. My publisher, Saga Books, in a fit of artistic benevolence, held the presses for the extra weeks it took me to equilibrate at deciding, finally, that I could not improve a single word.

Yes, I realize that this is an unusual account. But it shows that every publishing journey is bound to be unique. So when you read simple instructions like: submit only your best work, don’t be surprised if the path in execution is more tortuous than you ever dreamed it could be.

I rarely suffer from what writer’s complain about the most and that is: writer’s block. Oh, sure, if I must write on a subject that I am not familiar with, then a certain amount of trepidation and the occasional blankness will set in. Still, if I accept a project I do so believing that I know enough about the topic to produce a compelling piece. Writing isn’t difficult for most accomplished writers, but you must get started. Here are some things that help get me going:

If I am stuck, I write some sort of outline. Okay, maybe not a formal outline but something containing a topic sentence; 2, 3, or 4 main points; followed by a conclusion. As you can read there are three parts to any article: an introduction, the body, and a conclusion. Sometimes certain parts of the article I have more to write about than others. For example, I may have my main points for the body, but I don’t have the introductory part down just yet. No matter, I keep working on my outline until I get something solid.

Once I have all three pieces together, I start to write. Okay, I start to “type” as almost all of my writings are created from scratch via Microsoft Word. There was a time when I had to write on legal sized lined paper and then move it over to a word processor. No more. Today, I rarely “write” anything as I have gotten so accustomed to my laptop computer. Thanks, Dell!

When I am done writing, I check my work to see if it makes sense. Sometimes nothing I write is all that sensible, so I delete what I write and start over again. This is a rare occurrence, but it does happen.

After I come up with a reasonable draft, I scour it to check for misspellings, grammar usage, prose, etc. Many times I have the “bones” of the article, but it lacks “meat” or substance. In these particular cases I “flesh out” the article which usually involves refining sentence structure, clarifying a thought, swapping out words, or inserting or deleting entire sentences or paragraphs.

If I feel reasonably certain about what I wrote, I will do a final run through it to make sure it sits well with me. Occasionally, I put an article to the side and go do something else or I “sleep on it” and take a fresh look at the article the next day.

So, if you are having difficulty writing, simply get started. At least if you start your writing assignment you will have less to do later and you will no longer feel as if your undone article is some sort of albatross around your neck.

Now get started.

If you’ve always wanted to write a novel, but found the traditional structured process too frightening or overwhelming, maybe your imagination works in a more organic fashion like mine. In that case, start with your main character and the idea the character gives you for the plot. Then close your eyes, grab your notebook or computer, and watch the main character. Sooner or later she or he will begin talking and moving around. When that happens, start writing! I guarantee what you hear and see will thoroughly surprise and delight you.

Even though my books are considered literary novels, I’ve always admired the mysteries of Tony Hillerman, and the way he laces his novels with information about the Native American tribes in his area. I call books like these “info novels,” and they are great fun if you’ve never read one. That is also a goal I try to achieve with my Occult novels. With these I’ve been able to weave information about contemporary Pagan life, as well as real spells, chants, or rituals throughout every chapter. This series also provides a wonderful opportunity to add data of interest to my women readers about holistic healing, feral cat rescue, perimenopause, fibroids, and much more.

Anyone who would like to undertake a big project like a first novel should know the sky is the limit. If organic structure development, experimental formats, and “info novels” appeal to you, go for it! Don’t worry if your ideas differ from the traditional novel. And don’t be afraid to seed your novel with information. Just make sure it occurs naturally within the flow of the storyline. For good examples, read the “info novels” written by novelists who excel in this form.

Also, don’t let your first draft scare you, because all first drafts tend to be utterly frightening. A first draft has only one purpose: it’s the place where you put your ideas down on paper. The editing of the first draft is where the magic happens. When I create the first draft of each chapter, it is an exhilarating experience. A real adrenaline rush! But I am first and foremost a poet, and like most poets I love to edit. It’s the polishing of each scene, sculpting it to sail smoothly into the next that gives me the greatest joy.

In fact I am currently working on a new novel, which is proving to be the most organic and intuitive one I’ve ever attempted, making it great fun to write. All I started with this time was the main character and her cats. She never told me her idea for a plot, so I just followed her around, writing down her thoughts, words, and actions as she moved from scene to scene. Suddenly, other characters appeared, and exciting subplots began to emerge.

Now I am six chapters into this novel. The first five chapters have already been published or accepted by literary journals, because I always submit each finished chapter as a short story to gain publication credits for the novel. Yet the main character still hasn’t revealed the plot to me. No problem. This novel seems to be following its own organic, information-rich course, and those who’ve read several of these chapters have enjoyed them immensely and can’t wait to find out what happens next. Me too!

Don’t let fear stop you from writing the novel that’s been bubbling around in your imagination for days, months, or years. Most of all, don’t let a lack of money or education stop you. I never took a writing class, and nineteen years later I’ve published more than thirty poetry books and novels. My poems and short stories have appeared in over seven hundred literary journals, magazines, and anthologies worldwide. How did I do it? I used what was available to me. I found my high school and college grammar books and studied those. And then I read the poetry books and novels of writers I admire, and that’s how I learned to write.

Sometimes if your mind works in an organic fashion this may be the best way to tackle your first novel. Then all you’ll need to do is let go, give total control to an imaginary character who lives in your head, listen to what she or he says, and start writing!

One day when I had nothing to do (well, actually, I had a lot to do, but I didn’t want to do any of it), I decided to play the Google game. This is the one where you input your own name or something else into the field in quotes to see how many search results you get. Because my most recent book, Queen Geeks in Love, was coming out soon, I decided to search the term “geek.” What I found astounded me.

I got more nearly 70 million hits from the word “geek.”

That’s million.

So, I figured that most every term would fetch that many results, or close to it. I started with what I would assume is the antithesis of ‘geek’: the “gossip girl’, which yielded 3,560,000. ‘Beauty Queen” yielded 1,750.000. Glamour came the closest to geek, with 44,600,000, but as you can plainly see, being glamorous is nothing compared to being geeky, statistically. Even the trendy “fashionista” only turned back 5,590,000 results.

So what does this mean? Is Google a valid measurement of popular culture? I suppose it’s not extremely scientific, but it does seem to be in indication of how many sites mention the word, which, by the way, originated as a circus term for a person who bit the heads off live animals. Thankfully, that particular aspect of geekdom seems to have faded out, unless you count Ozzy Osbourne in his former glory days.

If you look to the true measure of what’s out there in the zeitgeist, check your local television listings. This fall, every new show seems to be supernatural (which is within the realm of the geek.) We have Moonlight, a vampire tale. We have Journeyman, Supernatural, Ghost Whisperer, and Medium. The biggies&ndashLost and Heroes&ndashsell DVD collections in droves. Geeks are no longer hiding in their cyberclosets.

As early as 2001, the term “geek chic” began to be used, and in fact, a London clothing company ran a campaign using that very term to market its clothing. Fast forward to last year, when ABC premiered a show called Ugly Betty, with America Ferrera starring as an anti-fashion uber-geek. Well, guess who was on the October 2007 cover of Glamour Magazine? That’s right. The geeky girl. Of course, they glammed her up, but still, I couldn’t help but feel that someone from my team finally made it to the big leagues.

Gloria Baume, a fan of Ugly Betty and a fashion editor at Teen Vogue, told the New York Times that Betty’s “geek-chic look could trickle down.” In the New York Times article, she added, ”I’m obsessed with the nerd look right now,” adding that a number of designers appear to be similarly taken with all things dorky. ”Paul Smith did it in London,” she said. ”Lacoste did it here in New York. Luella also did the geek look. In her own kind of funny, twisted way, Betty has her own sense of style. It’s kooky, but it’s totally her.” (New York Times, October 2006).

USA Today even noted that “Knowledge is power and geek is chic. If you’re a cyber whiz who is plugged into the pop-culture world of sci-fi, fantasy, comic books and cult horror, maybe even the master of a Web shrine devoted to such once-arcane matters, you don’t just rule. You rock.”

Scholars are even on the geek bandwagon. One Danish scholar wrote a dissertation on geek culture and cited it as “the third counterculture” after hippies and yuppies. “The geek culture is changing the norm, transforming mainstream culture,” writes Lars Konzack in his thesis, titled “Geek culture, the third counterculture” ” Not long ago nobody would have known outside the geek culture what was meant by player character, experience points, level gain, and hit points. Now it seems like everybody knows. The geek culture is transforming mainstream cultures and it’s just the beginning of a general cultural change in that direction,” Lars Konzack, Aalborg University, Denmark.

In my own novels, Queen Geek Social Club and Queen Geeks in Love, the self-professed geeks of the title are girls who unapologetically are themselves. They like science and science fiction, but they also like fashion and guys. They want to change the world, but they also want to enjoy it. I like to think of them as the geek I never was in high school&ndashconfident, comfortable, clever. They know who they are, and although they struggle with self-doubt and anxiety like all teenagers, they use their intelligence and the support of their geek sisters to get through it all. In the end, it’s a great message to send to girls (or guys), and it reminds me of something someone once wrote in the margin of my yearbook: “be the way you are and you’ll go far.” Go geeks.