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    Writing What People Buy: 101+ Projects That Get Results
    Writing What People Buy: 101+ Projects That Get Results
    Writing What People Buy: 101+ Projects That Get Results
    Ebook402 pages4 hours

    Writing What People Buy: 101+ Projects That Get Results

    By Anne Hart

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    About this ebook

    This book is for writing instructors and writers on 101 writing projects to write and sell or to create internships and externships and/or writing jobs or assignments and projects. What Will You Write?

    If you ever thought that you don't know what to write, you will now. And you will be able to research, write, revise, and sell to well-paying markets with these projects.

    Create Your Own Internships and Externships in Professional Writing: Projects to Do. Pick subjects for term papers, special studies or independent study courses, or commercial, high-paying book projects.

    Write salable magazine articles. Freelance or create your own job or project. Create Your Own Internships and Externships in Professional Writing with these Projects to Do for Writers, Organizers, Researchers, Writing Students and Teachers from Middle School to Graduate Schools of Journalism, Creative Writing, New Media Studies and Communications, for MFA and PhD projects in Creative Fiction Writing, Journalism, Playwriting, Scriptwriting, and Creative Nonfiction.

    Familiarity sells in fiction. Give 'em the familiar because it sells big. Don't given 'em Crystal Pepsi when they expect classic Coca Cola to be brown.

    In other words, the same Cinderella or Cinderfella story sells in ancient China or Egypt as it did in Europe in 1900 as it does today in Internet romances or virtual worlds avatars. So two points, 1) familiarity and 2) universal values always make best sellers in sagas, novels, multimedia books, and scripts or games.

    LanguageEnglish
    PublisheriUniverse
    Release dateMar 12, 2002
    ISBN9781532000539
    Writing What People Buy: 101+ Projects That Get Results
    Author

    Anne Hart

    Popular author, writing educator, creativity enhancement specialist, and journalist, Anne Hart has written 82 published books (22 of them novels) including short stories, plays, and lyrics. She holds a graduate degree and is a member of the American Society of Journalists and Authors and Mensa.

    Read more from Anne Hart

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      Book preview

      Writing What People Buy - Anne Hart

      All Rights Reserved © 2002 by Anne Hart

      No part of this book may be reproduced or transmitted in any form or by any means, graphic, electronic, or mechanical, including photocopying, recording, taping, or by any information storage retrieval system, without the permission in writing from the publisher.

      Mystery and Suspense Press

      an imprint of iUniverse, Inc.

      For information address:

      iUniverse, Inc.

      5220 S. 16th St., Suite 200

      Lincoln, NE 68512

      www.iuniverse.com

      1001 Projects to Write and Sell is a Guide for Writers and Writing Instructors.

      ISBN: 0-595-21936-5

      ISBN: 978-1-5320-0053-9 (ebook)

      Contents

      Foreword

      Preface

      Introduction

      What to Write About and How to Sell it

      Chapter 1

      Chapter 2

      Chapter 3

      Chapter 4

      Chapter 5

      Chapter 6

      Chapter 7

      Chapter 8

      Chapter 9

      Chapter 10

      Chapter 11

      Chapter 12

      Chapter 13

      Chapter 14

      Chapter 15

      Chapter 16

      Chapter 17

      Chapter 18

      Chapter 19

      Chapter 20

      Chapter 21

      Chapter 22

      Chapter 23

      Chapter 24

      Chapter 25

      Chapter 26

      Chapter 27

      Chapter 28

      Chapter 29

      Chapter 30

      Chapter 31

      Chapter 32

      Chapter 33

      Chapter 34

      Chapter 35

      Chapter 36

      About the Author

      Appendix Additional Media Resources

      Notes

      To all writers, writing students,

      and writing instructors.

      Writing life stories for the inspirational markets

      It makes no difference what religion or spirituality essence you select, but writing a life story for the religious or inspirational markets is in demand and expanding its need for sharing life story experience in the form of books, stories, or featured articles and columns. Focus on simplicity and universal values. Pick a proverb known throughout most cultures world wide and flesh it out with specific details such as instead of generalizing he’s shy, instead say, He took a sudden interest in his sneakers. You show instead of tell. Showing gives concrete specifics—details. Telling generalizes in vague terms.

      What the religious or inspirational markets are looking for is sharing what you’ve learned from your mistakes or experiences, how you arrived at your choices, and how you’ve grown and were transformed, gaining wisdom that everyone can share. By sharing your experiences and life story, readers will learn how you made decisions and why, what wisdom you gained from your growth or transformation, and what made it possible for you to grow and change and become a stronger and better person. The stories you’d write about would be those universal messages we all go through, such as rites of passage, dealing with the stages of life in new ways, finding alternatives, and how you handled the challenges.

      The religious and spiritual or inspirational markets want stories that give them pictures and choices and show how you solved your problems. The reason people read your story is to find out how to solve their own problems and make decisions. Give them information they can use to make decisions, even if you write fiction. Have some authority and truth in the fiction, particularly about facts and historical information.

      People buy your story to make choices, including choices in the later stages of life or choices in growing up and making transitions. As people move from one career to another or from one stage of life to the next, they want to read about how you made that passage in time and space, and what choices you made.

      Life story writing should be more preventive than reactive. Biography writing is reactive because it responds only when people are in need, in transition, or in turmoil. What sells is preventive story writing. Give transformation, growth, and problem solving information so people will be able to prevent making your past mistakes. Show them how you’ve learned from your mistakes and pass on your wisdom, growth, and change. Readers want to share your understanding. Put rewards and possibilities for personal growth into your life story. Don’t merely dump your pain and prior abuse on readers or your history of how you were tortured. That’s not going to solve their problems. What will is writing about how you’ve worked at understanding challenges. Look at your readers as your future selves.

      Approach life story writing as you would approach writing song lyrics. Pick an industry and focus on the industry as you develop a life story built around an industry or event. If you write about your own life story, do interviews. Interview people who have known you to get a many-sided view. You’ll discover blind spots you would never have noticed about yourself. Treat your life story not only as a diary with a one-sided view, but as a biography. Interview many people who have had contact with you as you grew up or during the experience you’re targeting.

      Writing the Forward

      If you write a biography of another person as a book, story or article, or as fiction in a novel, you’ll need a foreword. This is what you’re doing as you first meet the person you’re interviewing. Have two tape recorders going at the same time in case one isn’t working properly. Get permission to record. Write what you’re doing as you first meet the person you’re interviewing. It should be about 16 double-spaced pages or 8 printed pages, or less.

      Writing the Preface

      What is the person most conscious of? What is the individual whose biography you’re writing doing right now as you first interview that person? What’s the biography going to zoom in on? Describe the body language. In Andrew Morton’s Monica’s Story, Monica stifles a yawn and pulls on black leggings as the preface opens with the title Betrayal at Pentagon City. The prefaces summarizes the most important event in the entire biography. It should be about 10 double-spaced pages or 5 printed pages. Is your character going to be the right person at the right time in the wrong place? Or the wrong person at the wrong time in the right place?

      Chapter One

      Either start with the person immediately becoming involved in the action if he is not well-known or, if your person is in the news and a known celebrity or royalty, start with the date and season. It’s all right to begin with the birth of your biographical character if the childhood has some relationship to the biography. You can describe the parents of the character if their relationship has a bearing on the life of the main character you’re portraying.

      The less famous or news-worthy your character, the more you need to start with the character involved in the middle of the action or crisis, the most important event. Avoid any scenes where the book or story opens and the character is in transit flying to some destination. Start after the arrival, when the action pace is fast and eventful.

      Characters

      You can make a great career writing true story books about people in the news, celebrities, and the famous. If these are the type of books you want to write, focus on the character’s difficult childhood if it’s important to the story and the character is famous or in the news frequently. To create the tension, get into any betrayals by the third chapter. Show how your character’s trusting nature snared the individual in a treacherous web, if that’s in your story. If not, highlight your main crisis here in the third chapter.

      By the fourth chapter, show the gauntlet or inquiry your character is going through. How did it affect your character and the person’s family? How will it haunt your character? Where will your character go from here? What are the person’s plans?

      Focus on an industry or career, whether it be the world of modern art or computers to get the inside story of the people and the industry and how they react and interact. What is your character’s dream? How does your character realize his or her dream? How does the person achieve goals in the wake of the event, scandal, or other true story happening? Take your reader beyond the headlines and sound bits. Discover your character in your story and show how readers also can understand the person whose life story you’re writing. It makes no difference if it’s your own or another’s. You may want to bring out your story’s texture more by adding a pet character and focusing also on the pet’s reactions to your characters.

      For information on possible religious markets for your life stories be sure to visit the links to religious book publishers and paying religious markets on http://www.writerswrite.com.

      Foreword

      Look for a great proverb and fill it out because simplicity and familiarity sells in writing fiction or nonfiction. The details and steps must all be there. Give your readers the familiar because it sells big. Don’t given ‘em Crystal Pepsi when they expect classic Coca Cola to be brown. Give your writing Buzz Appeal.

      Books are sold on buzz. You don’t sell your manuscript by sending it randomly over the Internet or into a slush pile at a publishing house. You develop buzz appeal. You find publicity for your unpublished scripts or book manuscript on disk by putting your writing into a newsletter, electronic or print, and sending both versions to a newspaper reporter of a national newspaper. Also try a magazine, but try the newspaper first. To select a reporter, find out who is writing a story similar to your manuscript or who has recently written a similar angle or story.

      If your writing is honest and dramatic, it will appeal to the newspaper reporter who is writing on a subject similar to yours. If that reporter from a national newspaper or other national publication with a very wide circulation writes about your story or interviews you and incorporates passages into the reporter’s piece, quoting your story—fiction or biography—you have a great chance of publishers and agents contacting you. Usually, it will be an agent who is willing to bid your story to publishers.

      As an example, in August of 1985, San Diego Tribune reporter, Bob Kaiser ran a story about me from an interview. He quoted some of my writing and even photographed a poem I’d written that hangs on the wall of my home-based office. The several paragraphs he mentioned of my fiction writing and poem, plus the photo of the entire poem, added buzz appeal as he wrote a two-page biography of me as a writer, focusing on personal experiences and incorporating quotes from my writing.

      The article appeared in a large daily newspaper and soon was picked up on the wire services. I received calls from all over, including one from a Hollywood agent interested in the screenplay I was writing, that Mr. Kaiser touched upon in his article about me. Within a few days, I was invited up to Hollywood to see the agent (screenplay and novel in hand) and signed a two-year contract.

      At least my work was considered. This would not have happened if I had sent my book over a transom to a publisher. The slush pile contains thousands of manuscripts that don’t get the same royal carpet treatment or credibility and visibility that the buzz appeal of having a reporter write about you lends to your work. Your writing gets sold based on its buzz in national newspapers. That’s what appeals to agents and publishers who bid up your manuscript in an auction.

      Here’s a famous example. According to news reports during the mid-nineties, in the San Diego Union newspaper, Jessie Lee Foveau, at the age of 98, sold her memoir for a million dollars, and she had never published before. She sold her book and movie rights. Was it luck or buzz appeal? The Life of Jessie Lee Brown from Birth up to 80 years had been written in longhand for an adult education class in writing for senior citizens writing their life stories.

      In fact, she wrote the book manuscript 18 years before it found a market.

      How did she get it auctioned to competing book publishers and movie producers? How did she find her agent, Laurie Liss?

      Her life story is all about how she, as a battered wife married to an alcoholic husband, managed to raise eight children alone after leaving her husband and how hard she struggled to put food on the table. It is because she is from Kansas and spends her time knitted cross-shaped bookmarks for her church members that the story has universal appeal to agents.

      It’s hard to find an agent who is willing to take on a 98-year old great great grandma and sell her life story for a million dollars. Foveaux wrote her memoir back in 1979 when friends encouraged her to enroll in an adult education writing class. Her writing teacher, Charley Kempthorne, a writing teacher who also is a farmer, gave out assignments to the senior citizens in the class to write the story of their lives.

      What in this story differed from the thousands of memoirs that are written by seniors in adult education classes? The visibility or buzz appeal began with Foveaux’s writing teacher who put her writing in his newsletter that contained the writing of all the students in the senior citizen writing class. By mailing the newsletter to Clare Ansberry of The Wall Street Journal, this reporter created the buzz that pushed the book to be sold to major publishers for a lot of money.

      There had to be a reason why the newsletter went to this particular reporter at The Wall Street Journal. After all, most people think of The Wall Street Journal as a financial newspaper full of articles on stocks, investments and mergers. The newspaper’s focus is far removed from a senior citizen’s memoirs of raising a large family in an unhappy marriage, yet it made the perfect forum—if considered using three dimensional thinking.

      Kempthorne, the writing teacher, had read a previous article in The Wall Street Journal by Clare Ansberry. The reporter wrote an in-depth article on senior citizens that attracted the interest of the writing teacher in the Midwest. He sent the article to the reporter because it emphasized the commitment to family and faith. To create buzz, your writing must have some redemptive value to a universal audience. That’s the most important point.

      Does your writing have the same redemptive value to create buzz? More buzz surrounded the manuscript to give it momentum by the fact that discussing the mature person’s writing appeared in the Wall St. Journal. Reputation and credibility moved it along the pipeline for all the right connections. The point is that the Wall St. Journal reporter, Ansberry enthused over the Foveaux’s writings. She wrote about her work. It had two simple messages: Foveaux did the best she could do under the circumstances, and she trusted in her faith. She cared for her family. Ansberry’s article ran as a front-page story on March 7, 1997.

      According to the San Diego Union article, offers from publishers immediately flooded the writer. A lawyer hired by the writer’s relative helped to find a literary agent to look at all the publisher’s offers and select the best one. Liss is the agent for The Bridges of Madison County by Robert Waller. When 20 publishers called and 20 movie producers, offering six-figure movie contracts, the power of buzz—of credibility created through visibility to the major national press—spun into action.

      The point is that without buzz (as they say in the publishing world), this book would not have gotten the attention it deserved. Mature adults writing very similar memoirs who send their manuscripts over a transom into a publisher’s slush pile would be ignored in most cases, even though publishers always tell writers they always are looking for good books.

      No matter how great your storytelling is, unless you find someone to buzz you into the national press, you aren’t going to be noticed that easily. The story not only has buzz appeal, but it came at a time when stories of middle America women trying to hold a family together and put bread on the table was in vogue. Some years the fashion in publishing is diary novels, children’s adventure, or angel books. That year it was Simple Values of Middle American Families. This is true in contemporary and historical novels as it is in memoirs and biographies.

      Foveaux’s book was auctioned at more than a million dollars, and Warner cast the top bid. Look at the value of your writing. Is it simple enough to sell for a million dollars? It has to be really simple to make so much money. Simple is understandable, and that’s what’s buzz right now. Look at what will be in vogue when your book is ready for submission.

      A manuscript has value only when it is judged simple and earthy—in the news and print media. You have to be yourself in your drama. Publishers can spot phoniness in a minute. The buzz appeal here was that the author is a real person in her writing. Why is it worth a million? It’s about morals, God, and values...another best-selling book of virtues, and that’s what having buzz is all about in the fiction media. Whether you write romance or memoirs, write about real people who have values, morals, and a faith in something greater than themselves, such as God or something equally valuable to readers.

      Publishers who buy a book on its buzz value are buying simplicity. It is simplicity that sells and nothing else but simplicity. This is true for computer books or fiction. It’s good storytelling to say it simply.

      Simplicity means the book gives you all the answers you were looking for in your life in exotic places, but found it close by. What’s the great proverb that her book is telling the world? It’s to stand on your own two feet and put bread on your own table like she did for her family. That’s the moral point, to pull your own weight, and pulling your own weight is a buzz word that sells books that teach and reach through simplicity.

      That’s the backbone making your writing marketable—salable. Your writing needs to become specific, detailed and simple to operate for the majority. And buzz is not spin. It means you can sell your story or book, script or narrative by focusing on the values of simplicity, morals, faith, and universal values that hold true for everyone. Doing the best to take care of your family sells and is buzz appeal, hot stuff in the publishing market of today.

      This is true, regardless of genre. Publishers go through fads every two years—angel books, managing techniques books, computer home-based business books, novels about ancient historical characters or tribes, science fiction, children’s programming.

      The genres shift emphasis, but values are consistent in the bestselling books. In the new media, simplicity is buzz along with values. What are you going to do to create buzz appeal for your writing? What kind of press can you create that will bring national attention for your simplicity, values, morals, and commitment? You’ll probably have to write about trends or about life in the lane of your choice.

      Even if you write about the Internet, focus on its highway to simplicity. Target its values. Emphasize its commitment. Buzz is universal, but you need national press to get publishers bidding. National press gives you credibility in the eyes of major publishers. The world is impressed by front page coverage in The Wall Street Journal because of what it symbolizes—stability, dependability, security, centeredness.

      Find a newspaper article that relates to your writing and write to the reporter covering the feature. Query to see whether there is an interest in your story or feature. It’s not every day that someone 98 years old writes a memoir, but it’s news when a centenarian writes a first book and it has those universal values, morals, simplicity, and commitment and spans real history in a way that reads well. Quality in writing is the most important trait, but visibility and credibility to attract a publisher depends on buzz appeal.

      Sell your story on buzz, and you’ll have a commercial script people will want to read. Now that you have a great story told, it’s time to press it, to buzz it, to sell it as print, electronic, film, video, audio, docudrama, virtual theater, and Internet formats.

      ◆ ◆ ◆ ◆ ◆ ◆

      Remember, books sell according to their buzz appeal.

      B better books

      U universal values and simple plots, characters, lifestyles

      Z zesty characters

      Z zany conflicts and problems to solve

      Preface

      What to write about and how to sell it.

      HOW TO ORGANIZE YOUR OWN TEACH-YOURSELF TUTORIAL LESSON PLAN TO CREATE YOUR OWN COMMUNITY OF MENTORS

      Assign students national associations to explore. Have them volunteer to write for the association’s newsletters or journals and volunteer to help set up speaker’s panels or to assist on panels or do research for the speakers, or co-speak on a subject based on research on the topic of the talk.

      Look up in your library or online directories of some of the national associations for journalists, writers, marketing communications professionals, broadcasters, and editors. Writer’s organizations are listed in the Encyclopedia of Associations published by Gale Research.

      Students working with publishers may contact their Web sites and offer to promote virtual book tours for authors or write promotional material and reviews for book and article authors whose works relate to the new media. Research and write about book publisher promotion writing on the Web and virtual book tours, publicity, and marketing communications for publishers in the new media and print.

      Introduction

      WHAT WILL YOU WRITE?

      I don’t know what to write. You will now. And you will be able to research, write, revise, and sell to well-paying markets with these projects.

      Create Your Own Internships and Externships in Professional Writing: Projects to Do. Pick subjects for term papers, special studies or independent study courses, or commercial, high-paying book projects. Write salable magazine articles. Freelance or create your own job or project.

      Create Your Own Internships and Externships in Professional Writing with these Projects to Do.

      Projects to Do for Writers, Organizers, Researchers, Writing Students and Teachers from Middle School to Graduate Schools of Journalism, Creative Writing, New Media Studies and Communications, for MFA and PhD projects in Creative Fiction Writing, Journalism, Playwriting, Scriptwriting, and Creative Nonfiction.

      Familiarity sells in fiction. That’s my point. It’s the hottest tip I can give fiction writers in the new media or the print media. Give ‘em the familiar because it sells big. Don’t given ‘em Crystal Pepsi when they expect classic Coca Cola to be brown.

      In other words, the same Cinderella or Cinderfella story sells in ancient China or Egypt as it did in Europe in 1900 as it does today in Internet romances or virtual worlds avatars. So two points, 1) familiarity and 2) universal values always make best sellers in sagas, novels, multimedia books, and scripts or games.

      Whether you’re selling mortal combat games to guys or suspense science fiction time travel historical romances to gals, familiarity sells books, and values sell virtues we all want to identify with because it makes us feel important in front of ourselves and others, gives us self-respect, and makes us feel good. People are afraid of the unfamiliar unless it’s packaged as the familiar...an old story in new clothes. The new media is an old story in new clothes...that ancient Egyptian Net poem with an attitude, a fresh delivery, a new twist on a universal that’s familiar.

      Use this book to write projects that you intend to sell, to create internships, externships, writing assignments, develop community projects and grants, write term papers, write articles, books, plays, scripts, documentaries, or any other type of salable communication. Teach writing from this book, or find a commercial project to research and write about that you can sell to the higher-paying markets if you’re freelancing.

      What to Write About

      and How to Sell it

      1

      What Will You Write?

      If you don’t know what to write, first create a description of your own Internships and/or Externships in Professional Writing. Make a list of Writing Projects to Do. Label this list as the following: Create Your Own Internships and Externships in Professional Writing: Projects to Do.

      Label a second list as the following: Projects to Do for Writing Students and Teachers from Middle School to Graduate Schools of Journalism, Creative Writing, New Media Studies and Communications, for MFA and PhD projects in Creative Fiction Writing, Journalism, Playwriting, Scriptwriting, and Creative Nonfiction.

      Here is how to start: Familiarity sells in writing fiction

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