Wave or Waive: Do You Know Which One to Use?

It is no surprise that the English language (at least, as spoken by we Americans) is crammed full of words that turn our brains to mush when it comes to figuring out which word spelling to use, how to spell them, or just when exactly to use them.

Our school systems have long since abandoned the “readin’, writin’, and ‘rithmetic” days when kids were given vocabulary lists and made to memorize spellings and learn definitions (“Class, there will be a quiz on Friday”…). And now that most people simply say “I’ll run spellcheck,” copies of Webster’s Collegiate Dictionary lie untouched and collecting dust.

Well…it’s time to dust off the dictionary—and time to consider the sound-alike words wave and waive (these are also called homonyms or homophones). These words are not interchangeable (unlike some words like forego and forgo that so many people have misused for so long that Webster’s finally gave in and list that “forego” is a variant of “forgo”).

Wave or Waive—Which Do I Use?

In the spirit of “dust off your Webster’s” I’ll leave it to you to thumb the pages to locate each word and read its formal definition. However, here’s a quick review:

Wave can be a noun or a verb. As a noun a wave is ripple or cyclic cresting, usually of water (Surf’s up, dude! Remember it: Surfers crAVE a wAVE). As a verb, it means “Bye-bye!”

Waive, as a verb, means to set aside or pass over some kind of requirement (such as asking the bank to waive a set-up fee when you open a new account; remember it: If you want someone to forgIVE the fee, then you ask them to waIVE it). Waive is rarely a noun (you’d really have to stretch your sentence structure to force this to be a noun).

Waver or Waiver—OK, now my head hurts…

We do like to complicate things, don’t we?

Waver is a verb that means “to modulate” (like a tone that goes up and down. A waiver, which is a noun, is a formal acknowledgment (sometimes an actual document) that some requirement has been forgiven or forgone.

“My voice wavered while saying thank you when the bank manager gave me the waiver for the late fees on my boat payment.”

You can easily improve your command of the English language, and the myriad of colorful and distinctive words that can be used oh so appropriately in just the right place, by simply opening up your Webster’s once daily to a random page, blindly pointing to a spot, and then looking at what word you’ve selected. Remember the motto taught to me by my fourth grade teacher:

“Use a new word three times a day, and it’s yours for life.”

For help with other sound-alike words, and for more writing and grammar help, go to Jan’s Reading Room, and check out the “Grammar and Writing” and “Tutorials” sections (http://readingroom.janktheproofer.com/ReadingIntro.htm).

Jan K., The Proofer is a freelance proofreader and copyeditor. Visit http://www.jansportal for more information about Jan’s proofreading and copyediting services and Jan's other free resources. Please visit Mom's Break (http://www.momsbreak.com/) for free printable crafts and projects. © Copyright 2005. All rights reserved.

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Using Quotations: When You Need Permission

First of all, here’s my disclaimer. I’m not a lawyer. The following is based on my own research and, as you’ll see, every situation is different. That’s why the use of quotes can be confusing. I do hope, however, that this can help you to make better decisions when preparing your own manuscripts or other creative projects.

Quotes are wonderful little things. They can convey a world of meaning in just a few words. And they’re everywhere: books, greeting cards, on the home pages of websites, in daily emails.

But just because they’re everywhere doesn’t mean you can plop a few into your text without asking anyone’s permission.

Sometimes you have to, sometimes you don’t. Here are a few guidelines to keep in mind when you’re trying to figure out which side you’re on.

1. Has the quote been set down in writing?

If the quote you’re using only exists as the words someone has said, then it’s okay to use it. For instance, if you hear Paris Hilton say something on television such as “That’s hot!”, you can use the quote. You should, of course, credit her for saying it. But if Paris were to write the words down in a book, then those words are covered by copyright. You would need permission from her or her publisher to put the quote in your book or on a card.

2. Is it under copyright or in the public domain?

Copyright isn’t always an issue. If the quote is from a work that is older than seventy-five years old, most likely it is in the public domain and you won’t need permission for it.

Copyright lasts throughout the author’s lifetime, plus seventy years after the author’s death.

3. Getting permission.

If you do have to get permission for a quote, start working on this right away, even if the book isn’t done and you’re not sure you’re going to use the quote. It can take months to find out who to ask for permission, and even longer to hear back once you’ve sent the request. So give yourself plenty of time.

You’ll want to send a letter describing your project and requesting the right to use the quote. Note: this will only be a one time right. Getting permission for one project doesn’t mean you have permission to put the quote in other books or other projects.

Unfortunately, there is no one place where you can check to see who owns the copyright on a work. Not everyone registers their copyright since copyright is an automatic right, so the Copyright Office won’t always be able to provide the information. You can start with the obvious: the author’s publisher or literary agent. If you can’t find the author that way, then using search engines on the internet would be your next resource. Remember to look for possible family members of the author as well. It’s important to find a family member since the copyright may have passed on to heirs after an author’s death.

Remember to keep good records of everything you do in your search: sending letters, making phone calls, placing ads. If you can’t contact anyone and you decide to use the quote anyway, you’ll want to be able to show that you made a reasonable effort to find the owner of the copyright.

4. Exceptions, of course.

Here’s where things get murky. Because a quote is so short, it can also be seen as not being a substantial part of a work and therefore available for “fair use”. However, the term is vague and there’s no clear guideline on what it really covers. So when in doubt, get permission. The rules seem to be a little different if the quote you want to use is from a poem or a song. In those cases I’ve found that it’s recommended you always seek permission for those works. I’m guessing it’s because poems and songs are much shorter than books, so any quote from them is using a significant portion of the work.

One last note: don’t let seeking permissions distract you from your writing. Do your research, send out letters if you have to, and move on. If you don’t it’s highly likely that the quotes will only delay your work instead of enhancing it.

C 2006 Sophfronia Scott

WOULD YOU LIKE TO SEE MORE ARTICLES LIKE THIS ONE? See Sophfronia's The Book Sistah Blog, category "Articles". Author and Writing Coach Sophfronia Scott is "The Book Sistah" TM. Get her FREE REPORT, "The 5 Big Mistakes Most Writers Make When Trying to Get Published" and her FREE online writing and publishing tips at http://www.TheBookSistah.com

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Use Time and Timing Wisely for Powerful Storytelling

Anyone who has told stories often knows the importance of time and timing. Used with planning, time can be a storyteller’s best friend. Used without thought, however, time can ruin a performance and rob a teller of credibility, reputation, and the joy of experiencing eager listeners. In this article, I will highlight the ins and outs of time management for storytellers – and I am not referring to the Day Planner kind of time management!

First and foremost, pay attention to the times set for your performance. It should go without saying that a professional is always on time – or even early – for a performance. Even if your stories are perfect for the age group to whom you will be telling, when you will be telling and for how long should be considered. For example, if you will be telling at a birthday party, try not to be scheduled at the beginning. You will be interrupted by the continual disruption caused by latecomers. When planning the length of programs, pay attention to the following tips. Preschool up to six and seven year olds will usually love listening for about 30 minutes, especially if you add interactive rhymes, rhythm and singing. I also suggest that mornings work better for this group when they are still fresh and eager. From eight to 11 years of age, youngsters will easily remained entranced for 45 minutes, and I think any time of the day is fine, unless there is a special party or recess looming.

If you will be performing at a Junior High School and/or High School, be aware that you will not have the time flexibility afforded in the lower grades. When a bell rings, the students must go to their next class, no matter how gripping the story you are in the middle of is. Be sure to know what time those bells will ring, so that you can pace yourself. This takes us into the following topic.

Time your stories beforehand and plan stories of all lengths. No matter where you will be telling stories, you must be prepared to tell stories that fit the time limit given to you. Often, your performance will not start on schedule, so know how to shorten the stories you have decided to tell, or have shorter ones ready. I even practice with a kitchen timer handy, or while driving so that I can glance at the car’s clock. Never, never go over the time allotted to you when performing in a concert with other tellers – it is rude and thoughtless. And, if a teller and/or tellers preceding you go over their time, you will endear yourself to the whole group – and especially the planning committee – if you shorten your time on stage and get the concert back on schedule. A short, punchy story or a well-sung ballad can make as much of an impression on the audience as a long, drawn out tale.

Attention to the timing, pacing and rhythm of your storytelling program will guarantee a successful outcome. I mentioned this previously in my article on creating a program that flows, but want to remind you of the advantage of interspersing short stories between the longer ones. If you have told a longer, gripping story, a short, snappy story will offer a break in the rhythm and even give your listeners a little rest. It helps if the shorter stories are humorous and/or involve the audience. And the timing and pacing within each story should also be practiced with diligence. If we don’t vary our speed and use pauses, we will lose the audience to drowsiness. Let them have time to laugh, to ooh and ah, and to wonder what is going to happen next. In other words, don’t race through your stories as so many beginning tellers do. Also, at the end of each story, and at the end of your program, give the audience a chance to show their appreciation by staying up front or on the stage long enough for them to give you a rousing round of applause. I have even been guilty of rushing back to my seat after sharing a story.

Take a time-out every week to increase your intellectual play – better known as creativity.Julia Cameron in her excellent book, The Artist’s Way at Work, suggests the following: “Once a week for at least one hour, take yourself – the part of yourself you think of as your Inner Explorer – on some small festive adventure. Surely there’s some place or activity you’ve always wondered about. Your time-out is your chance to go there or to try your hand at something new, to explore your wonder. .. Think mystery, not mastery. Time-outs are about awakening our sense of wonder. They are not about self-improvement.” I know that this will add an extra dimension to your storytelling – it has to mine.

Remember that old cliché, “Time is of the essence.” It really is. So, plan yours with care!

If you would like to try an issue of our FREE eclectic e-newsletter, Portfolio Potpourri, sign up by clicking This email address is being protected from spambots. You need JavaScript enabled to view it. and hitting SEND. Just for trying it, you will receive "10 Tips of Ways to Develop Your Personal and Professional STYLE." We never sell names and/or e-mail addresses, and if you ever wish to "opt-out" that's never a problem. Contact Chris King at: This email address is being protected from spambots. You need JavaScript enabled to view it.or at: P.O. Box 221255 Beachwood, Ohio 44122 Phone: (216) 991-8428

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Use the Power of the Pause to Strengthen Your Storytelling

When we are telling stories to a group, and especially as a newer storyteller, one of the most difficult techniques to master is the use of the pause. Even in everyday conversation, most people have a problem with silence. Somehow we feel we must always fill a space with words. And yet silence and a pause during the telling of a story not only enhances the audience’s understanding of the story, it also builds anticipation. In this article I will discuss the whys and how of using pauses to strengthen your storytelling.

Begin with silence. It takes “guts” to stand in front of an audience after being introduced without saying something immediately, but this can prove to be one of the strongest ways to get their attention and to create rapport. I suggest that we start our storytelling by standing quietly, making eye contact with audience members, letting them make contact with us, and then once everyone is comfortable and waiting with anticipation, start with a dynamic story. You will be amazed at the level of attention this produces. And, if you choose to start with a story that involves the listeners, you will find that they will be ready to give you their all and participate freely, because you have already created a bond with them through your silence.

Pause to develop relationship between you and your listeners. During a pause, the storyteller is more like a listener. This is a time when both are listening and the teller can take note of the audience’s quality of listening. We might realize that as the teller we need to change course and tell a light or humorous story. Or it may be time to have the group repeat a phrase or sing along. If, however, we don’t take a moment to evaluate reactions and interest, we might just forge ahead without the audience’s attention or enjoyment of our stories.

Pause with purpose. There are many times throughout a storytelling performance that a pause can add emphasis and/or give the listener a chance to ponder, or even laugh. When we have just told the turning point or points in a story, the listeners need to have time to think about what we just said, or catch up. Even though we can hear words faster than anyone can speak, we do need a moment or two or three to dream our own dreams, see our own images, and create our own version of the story. If, as storytellers, we give participants enough time, they will be much more likely to internalize and remember the story so they can share it with others later. I have also heard storytellers who tell a humorous story and then don’t let the audience members have time to “get it” and laugh. People need time to laugh. And laughter is important because it bonds the audience and teller.

Use pauses to build anticipation. When a leading child psychologist was asked what one important tip he would give parents to keep their children happy, he replied, “Give them something to anticipate every day. Children thrive on anticipation.” Actually we all do. We love the anticipation of looking forward to something special. And, in the same way, we love a story that makes us hang on the words until we find out what happens. As storytellers, if we pause at exciting points in the story, we will hook the listeners and guarantee that they will stay with us. If we speed along too quickly without stopping for emphasis, they won’t have time to anticipate what they think may have occurred. The pauses give them time to wonder and also help build suspense.

Transition with pauses. As a storyteller if you jump from one part of the story to another too quickly and without warning, you will leave your listeners behind or confused. When this happens, they will oftentimes “tune out” and you have lost them for the rest of your story. A well-placed pause will help you and them prepare for the next part of your story, whether it is a change of scene, of character(s), or mood.

Pause for a show of confidence and a natural style. The confident pause is an earmark of the accomplished storyteller. The courage to stop the flow of words is an act of trust in the power of your presence, your nonverbal communication, and your relationship to your listeners.

Being able to slow down and pause will give your delivery a natural and relaxed quality, which, in turn, relaxes the listeners and takes away the attention on the storyteller, placing it where it should be — on the story.

If you would like to try an issue of our FREE eclectic e-newsletter, Portfolio Potpourri, sign up by clicking This email address is being protected from spambots. You need JavaScript enabled to view it. and hitting SEND. Just for trying it, you will receive "10 Tips of Ways to Develop Your Personal and Professional STYLE." We never sell names and/or e-mail addresses, and if you ever wish to "opt-out" that's never a problem. Contact Chris King at: This email address is being protected from spambots. You need JavaScript enabled to view it.or at: P.O. Box 221255 Beachwood, Ohio 44122 Phone: (216) 991-8428

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Understanding Ebook Rights: The Basics You Need to Know

Information products are big online. Generally, they’re PDF products packaged in what is known as an “ebook format”. Years ago another popular option was .exe but due to viruses and their incompatibility with the Mac they have lost a lot of their popularity.

An easy way to start your own web business with low start up costs is to purchase ebooks with what is known as “resale rights”. But what are resale rights? Are they the same as “Master Resale Rights”? Ebooks often come with different types of rights. Translation:

The rights assigned tell you how the information can be used, and since there are so many different varieties, it’s important that you understand them.

Here’s my understanding of the various rights.

1) Resell Rights: When you purchase an ebook with resell rights that means you can sell it and keep all of the profits. One thing you can’t do is pass these rights onto the person who buys the ebook from you.

Generally they come with a canned “sales letter” in HTML format to use in your promotional efforts. Many times the sales copy is very good and other times you may want to edit it.

A “suggested” sales price is often included and if the license permits you can sometimes use them as bonus items and give them away with other products you may be selling.

If you don’t want to purchase re sellable ebooks one at a time to build your collection there are many “resell rights” membership sites that you can join and pay a one time fee to download all of the ebooks you like.

2) GiveAway Rights: This means exactly what it says. You can download these free ebooks and give them away from your own website or to your ezine subscribers. Just make sure you upload them to your own server first.

People don’t take kindly upon your using their download link and putting a load on their servers. It’s just the right thing to do. If you do a search at any of the free ebook directories online you’ll find plenty of material you can download. An excellent directory is http://free-ebooks.net

3)Branded Giveaway Rights: The same as above but the free ebook you download will come with a special “branding” software that allows you to add your name and url and sometimes an affiliate link.

If it’s an affiliate program you’re involved with you’ll make money as the ebook circulates the net and people click on your branded link and buy the product or service advertised in the ebook.

4) Master Resell Rights: the “grand daddy” of resell rights. When you purchase the ebook/ report you can sell the product and keep all of the profits and also give the rights to resell it to those who purchase the ebook from you.

5) Private Label Rights: This one is big right now. Everywhere you turn you’ll see the opportunity to purchase “private label rights”. This type of rights is very different then the others. Here once you purchase the ebook or articles, you can modify it anyway you like, re-package it, even add your name as the author.

With everyone clamoring for content for the search engine spiders, this is a very popular trend right now. The possibilities are endless with what you can do with the information you purchase.

Make sure when purchasing ebooks or articles with rights, that you’re getting them from a trustworthy source. You want to make sure they have the rights to give you the rights in the first place. You’ll also want to read over the “license” carefully and make sure you understand exactly what you are purchasing and how you can use it. For example you don’t want to give away “master resell rights” if you only have “resell rights”.

Information products are a great way to make money on the Internet. One of the biggest reasons people browse the Net is to find information, if you can supply it, you stand to make a steady income, and your inventory is all virtual, this means no shipping costs as the products are instantly downloaded.

If you’ve been looking for a low cost way to start your online business, you’ll want to take a serious look at ebooks with resell rights.

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Understanding Children’s Book Genres

I just received a letter from a writer who said, “Alas, I find myself adrift in a sea of unexplained and/or contradictory publishing terms.” It’s true — you can read three different books on writing and find three different definitions of “picture book.” So, to make your life easier, here’s what I hope is a definitive glossary of children’s publishing genres:

* Picture books — In its broadest definition, a picture book is a book in which the illustrations play a significant role in telling the story. Under this umbrella are several types of books:

1. Baby Books — For infants and young toddlers, these books are generally lullabies, nursery rhymes, fingerplays, or wordless books. The length and format varies with the content.

2. Toddler books — Very simple stories for ages 1-3 (under 300 words) familiar to a child’s everyday life, or concept books (teaching colors, numbers, shapes, etc.) Books are short (12 pages is average) and the format can be board books (sturdy paper-over board construction), pop-ups, lift-the flaps or novelty books (books that make sounds, have different textures, etc.) See the “Max” series of board books by Rosemary Wells (Dial).

3. Picture books — Traditionally, picture books (also called “picture story books”) are 32-page books for ages 4-8 (this age may vary slightly by publisher). Manuscripts are up to 1500 words, with 1000 words being the average length. Plots are simple (no sub-plots or complicated twists) with one main character who embodies the child’s emotions, concerns and viewpoint. The illustrations (on every page or every other page) play as great a role as the text in telling the story. Occasionally a picture book will exceed 1500 words; this is usually geared toward the upper end of the age spectrum. Picture books cover a wide range of topics and styles. The list of Caldecott Medal winners, available from your library, is a good place to start your research. Nonfiction in the picture book format can go up to age 10, 48 pages in length, or up to about 2000 words of text.

4. Early picture books — A term for picture books geared toward the lower end of the 4-8 age range. These stories are simple and contain under 1000 words. Many early picture books have been reprinted in the board book format, thus widening the audience. The Very Hungry Caterpillar by Eric Carle (Philomel) is an example.

* Easy readers — Also called “easy-to-read”, these books are for children just starting to read on their own (age 6-8). They have color illustrations on every page like a picture book, but the format is more “grown-up” — smaller trim size, sometimes broken into short chapters. The length varies greatly by publisher; the books can be 32-64 pages long, with 200-1500 words of text, occasionally going up to 2000 words. The stories are told mainly through action and dialogue, in grammatically simple sentences (one idea per sentence). Books average 2-5 sentences per page. See the “Amelia Bedelia” books by Peggy Parish or other “I Can Read” books published by Harper Trophy.

* Transition books — Sometimes called “early chapter books” for ages 6-9, they bridge the gap between easy readers and chapter books. Written like easy readers in style, transition books are longer (manuscripts are about 30 pages long, broken into 2-3 page chapters), books have a smaller trim size with black-and-white illustrations every few pages. See “The Kids of the Polk Street School” series by Patricia Reilly Giff (Dell) or the “Stepping Stone Books” published by Random House.

* Chapter books — For ages 7-10, these books are 45-60 manuscript pages long, broken into 3-4 page chapters. Stories are meatier than transition books, though still contain a lot of action. The sentences can be a bit more complex, but paragraphs are still short (2-4 sentences is average). Chapters often end in the middle of a scene to keep the reader turning the pages. Look at the “Herbie Jones” books by Suzy Kline (Puffin) and the “Ramona” books by Beverly Cleary (Morrow).

* Middle grade — This is the golden age of reading for many children, ages 8-12. Manuscripts suddenly get longer (100-150 pages), stories more complex (sub-plots involving secondary characters are woven through the story) and themes more sophisticated. Kids get hooked on characters at this age, which explains the popularity of series with 20 or more books involving the same cast. Fiction genres range from contemporary to historical to science fiction/fantasy; nonfiction includes biographies, science, history and multicultural topics. Check out some middle grade novels from the list of Newbery Medal winners at your library to get you started.

* Young adult — For ages 12 and up, these manuscripts are 130 to about 200 pages long. Plots can be complex with several major characters, though one character should emerge as the focus of the book. Themes should be relevant to the problems and struggles of today’s teenagers, regardless of the genre. The Outsiders by S.E. Hinton defined young adult when it was first published in 1967; the Newbery Medal award list also contains many worthy titles. A new age category (10-14) is emerging, especially with young adult nonfiction. These books are slightly shorter than the 12 and up category, and topics (both fiction and nonfiction) are appropriate for children who have outgrown middle grade but aren’t yet ready for the themes (fiction) or who aren’t studying the subjects (nonfiction) of high school readers.

Laura Backes is the publisher of Children's Book Insider, the Newsletter for Children's Writers. For more information about writing children's books, including free articles, market tips, insider secrets and much more, visit Children's Book Insider's home on the web at http://write4kids.com

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Run Your Own Race-At Your Own Pace

On Thanksgiving Day, dawn spills over Dana Point Harbor where thousands of runners gather for the annual Turkey Trot. The largest holiday race in California beckons folks of all ages, sizes, shapes, and abilities. Waiting at the starting line for the 10-K, I talk to a Dad and his 7 year- old daughter. Around me, I hear bravado talk about marathons, triathlons, hard bodies and zippo fat content. Thankfully, I spy silver haired folks with knee braces, a young couple with babies in jogging strollers and runners decked in costumes ranging from Santa Claus to Elvis Presley. Running in a gold polyester jump suit, and pompadour wig while carrying a boom box blaring Elvis tunes will be some trick. Me-I just want to finish.

The gun goes off and we all inch our way under the balloon arch. Runners jostle for position, elbowing their way to break into stride. Me-I just grin at the new day and feel righteous for having gotten up and down to the event.

By mile two, my righteousness turns to dismay as the seven year-old passes me by. Elvis has already made the turn way before me and I am lagging behind a woman who must have 10 years and 20 pounds on me. The sense of competitiveness heats up and so does my pace. I forget that I already run two miles down to the Harbor and have 4.2 miles left to go. The runners around me set my pace.

Suddenly, as I make the turn, I am struck by a humbling sight. Facing me, arms pumping runs a young man with one leg glittering in the sun. The metal shank is attached to his thigh. A thin aluminum calf leads to a metal foot curved like a rocker. He is oblivious to anyone who passes him. He is running his own race at his own pace.

I slow down, take his lesson, and resume my 1-2-3-4 mantra. Lesson learned, smack between the eyes. How many times do we let others set the pace, ignoring our own goals, our abilities? How many times do we judge our success or our failure by what others have done?

I finish despite the pain in my knee. Way behind the silver-haired lady. Well behind the 7 year-old. Ahead of the sleek bodied teenager. It doesn’t matter. It is my race, at my pace. And it is a great day for the race-the human race.

(c) 2004, McDargh Communications. All rights in all media reserved. Reprints must include byline, contact information and copyright.

Named by Executive Excellence Magazine as one of the top 100 thought leaders in business, Eileen McDargh, CSP, CPAE authored one of the first books on work/life balance. Numerous books and articles later, Eileen serves the meetings industry as a popular international keynoter and on the Board of Directors of the National Speakers Association. You can find products and services offered by Eileen at http://www.EileenMcDargh.com.

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How to Write a Romance That Publishers Will Buy

Romance fiction is designed to entertain.

At its best, it can transport a reader to a fantasy place where happy endings are guaranteed, where there are always resolutions to problems and the girl inevitably gets her perfect man.

Is that your understanding? Perhaps.

From an objective (some might say cynical) point of view, romance fiction is an exercise in marketing. Publishers like Harlequin and Silhouette have identified a need, which they set out to fulfill. From a romance publishers’ point of view, the writers actually get in the way of this process. Don’t be naive about this. If they could get computers to write romances, I believe they would!

To them, it’s all about product. If a MS doesn’t do what it’s supposed to, it’s of no use to them. That’s why they reject about 99% of all books submitted.

It’s not personal. They just want you, the writer, to get it right. But, unlike many other publishers, they will usually try and aid you by making helpful suggestions.

If they think you have potential, they will go out of their way to tell you exactly what they think is wrong! In this context, criticism is good. It shows you’re on the right track!

But why would you want to compete in this market?

Well, because it can be a very good career move for a writer. It’s steady work with good advances and fair royalties. At 2000 words a day, you can write a good romance in about a month, and have it on the bookstore shelves within three to six. It’s that fast!

And once readers like your books, they remember your name. Which means, in effect, you’ve got them for life. Many respectable novelists start out writing genre fiction. It’s a clear and well-worn path to success.

But what brings writers to romance in particular? There are probably as many reasons to write romance fiction as there are romance writers. Ask a roomful of them (as I recently did!) and all of them seem to have their own personal slant, they’re own individual reason for doing it. But there are some pertinent similarities. What’s clear immediately is that only very rarely are successful romance writers motivated by money.

Yes, they may enjoy paying their bills with book royalties but that’s not why they sat down to write in the first place. Like all of us, they want to express themselves, tell stories and be liked – and paid – for that talent.

But unlike the struggling, bitter artist who wants to rage against the world in his writing, the romance writer wants to improve things.

She wants to add meaning to the world and show that there can be a better way. She wants you, the reader, to know that there is hope, and that there can be wonder.

Romance writers (and many other artists) believe it is their duty to show that the human spirit is noble and can triumph against adversity.

But is writing about romance important? It depends. If your purpose in life is to enrich other people’s lives then yes. If you have other agendas, it might be frustrating.

What do I mean by this?

Well, almost as soon as a writer reads back her own work or receives some positive feedback, she is aware she is in command of a powerful medium. One she might use to advantage. She realizes she might be able to persuade a reader into accepting her point of view.

Isn’t that the reason why YOU tell stories? Don’t you write to persuade people to believe and concur with your version of reality – even if only for a while? It’s a powerful gift and it’s good, but there is down side.

As adults, we have issues with politics, injustice and various other concerns like poverty, the environment and crime. We might sometimes use our writing to address them, even if only in our fiction. This is all well and good. But it is not always appropriate for genre writing.

Romance writing in particular is not a platform for discussing issues you might have about the world. It is not a soapbox. Whilst reading your romance, readers are not interested in social reform or your views on anything but love, courtship and relationships. This doesn’t necessarily mean that real life can’t intrude on the romance genre. It can, does and should.

But, if you want to succeed in the Romance genre, you must not write with your personal baggage uppermost in your mind. You must write solely for your readers, with the respect and honesty they deserve.

Romance writing is also about being mature, objective and clear-headed.

Also, to write good romance, you should probably consider yourself a storyteller first and a ‘writer’ second.

Think about your philosophy on life. Ideally, for the Romance writer, it should be positive, compassionate and most of all, optimistic.

And, if you engender this positive spirit in yourself – or have it naturally – you are in a prime position to make very good money writing Romance.

Why not give it a go?

This article is written by Rob Parnell. Visit his website at www.easywaytowrite.com

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Researching The Market

Editors always plead with authors to research the market before submitting manuscripts. This makes sense–it cuts down on the number of inappropriate submissions an editor may receive, and presumably will lower the chance of a manuscript getting rejected. But how, exactly, does one research a market that produces thousands of new products each year? I suggest a systematic, three-part approach which works for book and magazine publishers. This involves studying a publisher’s overall list, individual books or issues, and their writers’ guidelines. It doesn’t matter which part you do first as long as you cover all three. (Note: Illustrators can use this same system to research potential illustration markets and then send for artists’ guidelines.)

* Overall lists.

Book publishers have two lists: spring and fall. A magazine’s “list” is comprised of a year’s worth of issues. To get a sense of what each publisher does, read industry newsletters such as CBI, attend writers’ conferences, and consult Children’s Writer’s & Illustrator’s Market (published annually by Writer’s Digest Books). Note which publishers cater to the audience for whom you want to write, both in age group and subject matter. Send for these publishers’ catalogs, generally free for a 9 x 12 self- addressed, stamped envelope with two to four first-class stamps (bigger publishers=bigger catalogs). For magazines, get the most recent issue and then study back issues at the library. Many publishers also have web sites that feature their current lists, though I find it’s easier to study and compare material if you have a hard copy.

But what if you receive several catalogs from large publishers and they all look the same? Then it’s time to read the fine print and find the differences. Does HarperCollins seem to have an abundance of fiction picture books for ages 5-8? Then they might not be buying much for this age group for the next couple of years. Has another publisher just debuted a line of nonfiction chapter books? Maybe your chapter book on whales is just what they need. Do certain publishing giants tend to repackage classics from known authors rather than books from new writers? Pick another publisher who isn’t afraid to feature new talent. Narrow down your number of potential markets.

* Individual books or issues.

Go to a bookstore or library and actually hold books from your potential publishers in your hands. Look at the vocabulary and sentence structure, the style of writing, the pacing of picture book stories. For magazines, note length and subject matter of fiction and the slant on nonfiction topics. Though you don’t want your book to be just like someone else’s, it must fit in with the overall taste of the editors from each company, and the general tone of a publisher’s list. Narrow down your markets once again.

* Writers’ guidelines.

Now it’s time to send a self-addressed, stamped envelope to each publisher asking for writers’ guidelines. Follow the submissions procedures in the guidelines exactly. If you submit a manuscript or query letter more than a month after receiving guidelines, call the publisher to verify that they are still open to submissions. Once your manuscript is in the mail, try to put it out of your mind and start writing something else. And be assured that all your research means your work is most likely headed to where it will be eagerly read.

Laura Backes is the publisher of Children's Book Insider, the Newsletter for Children's Writers. For more information about writing children's books, including free articles, market tips, insider secrets and much more, visit Children's Book Insider's home on the web at http://write4kids.com

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