We wanted to get to know Suzanne Sherman (NAIWE’s Memoir Coach Expert) better, so last month we sat down with her. Here are some thoughts she shared with us.

How is writing a memoir different than writing a fiction work?

Memoir is interested in the power of the personal. Memoir is a genre known also by the name creative nonfiction. Memoir is nonfiction; it is not fiction. Memoir does, however, share some of narrative tools fiction uses, such as the inclusion of both scene and narrative, the use of character development, plot that drives the story, and narrative arc (the protagonist, or author’s, growth journey from start to finish). Memoir is not autobiography. Autobiography is a story OF a life. Memoir is a story FROM a life, usually one with relatable aspects readers can learn from. Memoir has a theme, usually a focused topic or time period, such as overcoming an addiction (Drinking: A Love Story by Carolyn Knapp), coming to terms with the death of a loved one (Wild by Cheryl Strayed), carrying a child with Down’s Syndrome while in graduate school at Harvard (Expecting Adam by Martha Beck). Writing memoir is different from writing fiction in part because authors are drawing on their experience and animating that core truth with believable characters in unfolding scenes that move the story from beginning to end.

 

Does an author need permission to write about those who may have caused harm to the author?

Memoirists are not required to receive verbal or written permission by anyone mentioned or even featured in a book. In this webinar, Methods for Managing Exposure of Self and Others in Memoir, I will discuss this important detail, sharing information supplied by an attorney who specializes in self-publishing. Authors can choose one of several options if they are concerned about revealing someone’s identity in their book.

 

Why do some authors of memoirs use pen names?

Using a pen name is one of the ways authors sometimes publish to avoid revealing their identity if they are concerned about that, for personal or professional reasons. There can be relief for some in knowing their identity isn’t known when their book is published. There can, however, be drawbacks with this too. In the webinar, I’ll discuss the pros and cons of using a pen name.

——————

Different from fiction, memoir can often lead a writer into some emotionally challenging territory. Writers often have to spend time exploring material that is essential for their book but is uncomfortable to dive into deeply to craft scenes and write an engaging narrative that includes what’s needed.

How do successful memoir authors do it? Jeannette Walls (The Glass Castle), Caroline Knapp (Drinking: A Love Story), and Vince Granata (Everything Is Fine) are just a few writers who have published critically acclaimed memoirs with emotionally challenging material in recent years. Cheryl Strayed (Wild) and Elizabeth Gilbert (Eat, Pray, Love) wrote bestselling memoirs that showcased their vulnerabilities without shame.

Suzanne Sherman will give you helpful tips and tested methods for navigating the emotional territory that can come with writing memoir so you can successfully include what is essential if you want to write a memoir. She will address self-exposure and the exposure of others and show ways other authors work with it. Suzanne will provide information about relevant legalities and discuss the pros and cons of pen names.

Take advantage of this unique opportunity to benefit your writing.

You can join in this conversation on November 14, at 2:00 pm eastern, when NAIWE will host a discussion on feeling vulnerable in writing your memoir. The cost for NAIWE members is only $10! Nonmembers can join for $30. Register today!

 

Suzanne Sherman is an author, book and magazine editor, and writing and publishing coach and consultant. She specializes in memoir and nonfiction and offers a weekly memoir writing class on Zoom. Her latest book is Girlhood in America: Personal Stories 1910–2010.

We wanted to get to know MJ Courchesne (NAIWE’s Copyright & Permissions Expert) better, so last month we sat down with her. Here are some thoughts she shared with us.

How can one identify when content is AI generated?

This is still difficult to do. The best practices I have seen so far include running a manuscript (or content) through plagiarism software like ithenticate.com or other such tools. Other than that, a well-read human or editor is likely to catch non-sensical statements and grammatical errors that don’t make sense. I’m sure the proper technology will be developed to make this easier.

 

Are AI and authors, and AI and editors competing for the same jobs?

I would say not. From what I have learned, authors and editors are generally using AI for ideation and some initial work. With that said, at the moment AI is not wholly replacing anyone.

 

We hear about all the negative news around AI and the publishing industry. Is there any positive news to share?

Of course. Publishers are looking at ways to make sure that the author’s voice comes through, and that it is a human author. Importantly, the US Copyright Office has posted guidance that AI-generated materials cannot be copyrighted. As the human requirement is necessary for copyright, publishers are seeking ways to ensure they are not publishing wholly-AI generated materials. I do not see the industry becoming wholly AI very soon.

——————

Join us for this round-up of current issues surrounding artificial intelligence (AI) and the world of creative content. We’ll review pending cases, as well as what the Copyright Office, publishers, creators, and some of the major associations representing creators and publishers have to say about generative AI. We’ll also explore some language you might see in contracts going forward and review some tips, tricks, and tools that may serve you as we move into a future where AI-generated content becomes more ubiquitous.

You can join in this conversation on September 26, at 7:00 pm eastern, when NAIWE will host a discussion on artificial intelligence and author works. The cost for NAIWE members is only $10! Nonmembers can join for $30. Register today!

 

Mary Jo (“MJ”) Courchesne is the owner and principal consultant of Gryphon Publishing Consulting. A publishing veteran with more than 20 years of experience in trade, academic, and direct-response publishing, she has spent nearly two decades specializing in licensing, subsidiary rights, and permissions. MJ is a frequent and polished presenter on licensing and copyright, instructing future publishing professionals in the George Washington University’s Masters in Publishing program for the last 16 years. She currently serves on the Board of Experts for the National Association of Independent Writers and Editors, serves on the Advocacy Committee for the Independent Book Publishers Association, and holds memberships with the Book Industry Study Group and the Society of Children’s Books Writers and Illustrators.

We wanted to get to know Amy Waters Yarsinske (NAIWE’s Nonfiction Expert) better, so last month we sat down with her. Here are some thoughts she shared with us.

Do you interview people for your nonfiction projects?

Yes, I’ve done hundreds of interviews (often 100+ on a single project with a significant research and investigative requirement), which I am quite sure are well into the thousands over my 35+ year career.

 

How do you manage controversial topics, or perhaps topics you disagree with?

It is not whether I concur or not with the subject matter but present it fairly and pointedly for the reader; I am not baited into controversy and believe it unprofessional to make something personal. Narrative nonfiction provides ample opportunity to parse controversial subjects. Investigative subject matter is a good example where getting into the controversies can be enlightening for the writer and the reader. Stories should be told honestly and with all the bark on. I don’t shy from that aspect of my writing, and readers and reviewers respect that by and large.

 

Do you come up with the ideas/topics for your manuscripts?

Yes, I do pick the subject matter for my books. The best work comes from what you know and what drives your interest.

——————

This webinar starts with a short introduction from NAIWE nonfiction expert Amy Waters Yarsinske followed by a time for attendees to ask Amy whatever you wanted to know about the multifaceted aspects of writing nonfiction and being successfully published.

You can join in this conversation on August 24, at 2:00 pm eastern, when NAIWE will host a discussion on refining your public speaking skills. The cost for NAIWE members is only $10! Nonmembers can join for $30. Register today!

 

Amy Waters Yarsinske is the author of several best-selling, award-winning nonfiction books, published regionally, nationally, and internationally. Amy’s proposal technique was featured in literary agent/author Peter Rubie’s Telling the Story: How to Write and Sell Narrative Nonfiction; she also did a National Press Club panel with Rubie during the No One Left Behind press tour. She has been a regular contributor with international, national, and regional media, to include continued guest spots on national radio. An American in the Basement: The Betrayal of Captain Scott Speicher and the Cover-up of His Death won the Next Generation Indie Book Award for General Non-fiction in 2014, and No One Left Behind: The Lt. Comdr. Michael Scott Speicher Story earned her literary awards, an incredible press tour, and national/international recognition. With over 30 years in the publishing industry, Amy has published over 85 nonfiction books, most of them spotlighting current affairs, the military, history and the environment with a few biographies and corporate histories interspersed. Amy graduated from Randolph-Macon Woman’s College in Lynchburg, Virginia, where she earned her bachelor of arts in English and economics and the University of Virginia School of Architecture, where she earned her Master of Planning and was a DuPont Fellow and Lawn/Range resident.

We wanted to get to know Ruth Thaler-Carter (NAIWE’s Networking Expert) better, so last month we sat down with her. Here are some thoughts she shared with us.

How do you know if you have info worth sharing?

When people ask for your advice or “Like” the comments you make in social media groups, compliment your work, or ask you to speak. Maybe also when you have something that feels worth saying that you aren’t seeing in a given community or group.

 

Many freelancers are introverts. What would you recommend they do to develop their speaking abilities?

Practice with friends, refine with online/Zoom presentations, create outlines and speaking points, have a friend in the audience for making eye contact and feeling connected, and join a Toastmasters group.

 

Please define a public speaking persona.

Upbeat, accessible, engaging, friendly, informal.

——————

Whether you’re a writer, editor, proofreader, indexer, or other communications professional, you may have information worth sharing with colleagues (and maybe even clients). You’ve developed experience, knowledge, and a strong skill set in your editorial niche; on a certain topic, profession, or industry; and perhaps as a businessperson as well. It might be time to consider adding to that skill set by becoming a public speaker or presenter of conference speeches, workshops, or classes. This webinar will provide tips on why and how to develop a public speaking persona and service.

You can join in this conversation on July 18, at 7:00 pm eastern, when NAIWE will host a discussion on refining your public speaking skills. The cost for NAIWE members is only $10! Nonmembers can join for $30. Register today!

 

Ruth Thaler-Carter has been a full-time freelance writer, editor, proofreader, desktop publisher, and speaker for more than 30 years. She has been published locally, regionally, nationally, and internationally in, and does writing, editing, and proofreading for, publications, associations, nonprofits, websites, service firms, independent authors, and businesses. She sold her first freelance articles when she was still in high school. Often called the Queen of Networking, Ruth is active in about a dozen professional associations, serving as a newsletter editor, webmaster, publication author, speaker/presenter, blogger, program host or planner, and chapter leader. In 2006, Ruth launched the Communication Central Be a Better Freelancer annual conference, now cohosted with NAIWE — to help aspiring and established freelancers find greater success. Ruth is also owner and editor-in-chief of the An American Editor blog and owner of the A Flair for Writing publishing business. Her honors include member of her high school alumni hall of fame, in part for her publishing work and networking services; Writers and Books Big Pencil Award for teaching adults and contributions to the literary community; EFfie awards for writing, editing and newsletters; an APEX award for feature writing; the Philip M. Stern Award of Washington (DC) Independent Writers for service to freelancers; and IABC/DC Communicator of the Year and Silver Quills for magazine writing and newsletters.

We wanted to get to know Laura Pennington Briggs (NAIWE’s Business of Writing Expert) better, so last month we sat down with her. Here are some thoughts she shared with us.

Why spend our valuable time on marketing in the good times?

Too many freelancers live in feast-or-famine mode. They wrap up a big project or series of jobs and realize they have nothing on the books. This causes unnecessary stress. There are marketing tasks you can do that take very little energy and time, and they will keep your name out there to help prevent the feast-or-famine mode so you’re not continually starting from scratch.

 

Do you have a unique suggestion of a marketing tip?

Never underestimate the power of past clients. Sometimes people forget their good experience with us or forget our names and just need a good reminder we’re out there. I always start by reaching out to past clients when I need to drum up business quickly.

 

What macros do you have set up to make marketing easier and more efficient?

I use template pitches with links to my work focused on each aspect of my business. For example, I have separate digital marketing, project management, editing, and content writing pitches and work links to make it easy to send what I need when I need it.

——————

Marketing is often overwhelming and ignored by freelancers until they finish a big project or lose a client and realize they have nothing lined up. In this webinar, freelancers will learn the importance of the statement “always be marketing” and how to make it an easy, consistent lift for your freelance brand. Discover how to find your highest-value marketing activities, schedule them, and consistently build a warm pipeline of work.

You can join in this conversation on June 22, at 2:00 pm eastern, when NAIWE will host a discussion on effective marketing practices. The cost for NAIWE members is only $10! Nonmembers can join for $30. Register today!

 

Laura Pennington Briggs is the founder and CEO of the Freelance Coach. A two-time TEDx speaker on how freelancing is changing the economy and the host of the weekly Advanced Freelancing podcast, Laura has helped over 15,000 freelancers start and scale their business. She’s an expert on systems, project and client management, marketing a solopreneur business, delegating to team members, retainers, and developing multiple income streams for writers of all stripes. Laura is the author of five books, including the Six Figure Freelancer and How to Start Your Own Freelance Writing Business. She’s also the founder of Operation Freelance, a national nonprofit providing free entrepreneurship training to military spouses worldwide.

We wanted to get to know Leslie Truex (NAIWE’s Author Representation Expert) better, so last month we sat down with her. Here are some thoughts she shared with us.

What is a literary agent?

A literary agent helps authors sell their books to publishers — that’s the short answer. Literary agents usually help authors get the manuscript ready for submission (many will edit and work with the author on the manuscript before it’s sent off to publishers), review the contract to try and get the best terms, mediate between author and editor when needed, help keep the authors on track so they don’t miss deadlines or necessary work publishers need, etc. Agents stay up-to-date on what’s going on such as what editor isn’t answering email as quickly, where editors have moved to, what editors are now looking for (they change their minds a lot), and more.

 

Do most authors work with literary agents?

Today, most, but not all, traditionally published authors in the big 5 will have a literary agent. Smaller presses often take nonagented work, but the author needs to understand contracts. Some contracts are bad and an author can commit all their future work to a press if they don’t know what they’re signing (I’ve seen some bad contracts!).

Of course, indie authors don’t have agents for their manuscripts, but some use agents to sell other rights, such as audio or foreign rights to their indie works.

 

What role does a literary agent play in the submission process?

Literary agents prepare the submission based on what editors want (e.g., query, synopsis or proposal, manuscript). Before submission, agents work with the author to make sure the manuscript is its best based on what agents know editors are looking for. Agents usually submit in batches, which allow for edits if the feedback suggests it. I submit to the big five publishers first, but agents can only submit to one imprint in a big 5 at a time (so if a publisher has two imprints that would work for my book, I can only submit to one). After big 5 imprints are exhausted, if there isn’t a sale, agents send to mid-size and smaller presses. Agents submit the package to the editors and correspond with them. If they ask for the full manuscript, agents send it. If they make an offer, agents get in touch with the author and contact all other publishers that have the manuscript to let them know an offer is in and give them a deadline for responding.

If the author likes the deal, agents review the contract and talk to the author about it. Once the negotiation is done and the contract is signed, the author works with the editor directly, but agents like to stay in the loop to help the author through the process.

Advances (if any) and royalties go to the agent and are then distributed to the author.

——————

Learn how to set your book submission apart from the hundreds . . . even thousands . . . agents receive a year. In this workshop you’ll learn:

• How to get your manuscript ready for submission
• Additional materials you need to prepare for submission
• Where to find and choose agents to submit to
• Pet peeves of agents and how to avoid them
• What to expect when working with an agent

You can join in this conversation on May 17, at 2:00 pm eastern, when NAIWE will host a discussion on the role of the literary agent. The cost for NAIWE members is only $10! Nonmembers can join for $30. Register today!

 

Leslie Truex is a literary agent with Blue Ridge Literary Agency and an author coach. She began her writing career by accident after starting a career website in 1998 that resulted in a freelance writing career and two traditionally published nonfiction books. However, Leslie’s passion lies in writing fiction. She is the author of a dozen romance and mystery novels using a pen name. Leslie enjoys sharing her insights and experiences to help emerging authors get their books published. She also supports authors through her online community for romance writers and coaching to both fiction and nonfiction authors. Leslie has spoken and provided workshops as an author and agent at a host of events, including The Virginia Festival of the Book, Malice Domestic, Maryland Writers Association, The Virginia Writers Club, as an adjunct at Piedmont Virginia Community College, and more, and she is the former president of The Virginia Writers Club.

We wanted to get to know Marcia Rosen (NAIWE’s Public Relations and Book Marketing Expert) better, so last month we sat down with her. Here are some thoughts she shared with us.

What is it about crime that brings it to the forefront when readers are making their selections of reading material?

People like mysteries of life and who dunnits. I think for cozies, like my recent book, they like to read about the lives of the characters and help them solve the puzzles.

Have you written crime stories based on real-life events?

No. There are people who do write what is known as “True Crime” stories.

Please give an example of past famous detectives that have influenced your mystery writing.

Sherlock. The Thin Man series, Nick and Nora Charles, MidSomer Murders Detective Baraby, Agatha Christie.

——————

Crime is the number one genre people read. Dozens of published authors have created stories hearing the voices of past famous detectives. Many of us mystery writers have the ambition and desire to create thrilling crime fiction with clever detectives. I certainly have been impacted and influenced by these past crime-solvers. Have You?

You can join in this conversation on April 25, at 2:00 pm eastern, when NAIWE will host a discussion on the mystery writer mindset. The cost for NAIWE members is only $10! Nonmembers can join for $30. Register today!

We wanted to get to know Karin Beery (NAIWE’s Fiction Expert) better, so last month we sat down with her. Here are some thoughts she shared with us.

What role do editors play in the publishing process?

Editors are the diamond cutters of the publishing world–they see the potential in a manuscript and help their authors cut and polish their books until they shine.

What role do agents play in the publishing process?

Agents are often called the gatekeepers–authors need to go through an agent before they can reach many publishing houses–but they’re more than that. They’re almost like an older sibling. They’ll fight with you and support you to see your project succeed, but they also need to be brutally honest (regarding your manuscript and the publishing process) to help you do it.

Can the same manuscript be published in the different publishing methods? (self, traditional, hybrid)

That depends on the contracts you’ve signed. Who owns the rights and for how long? It’s possible to self-publish a book, then have it picked up by a traditional publisher. It’s also possible that a traditional publisher will release the rights of a book back to the author, allowing him/her to self-publish. Hybrid publishers also have contracts, so make sure you know what you’re agreeing to before you sign anything.

——————

What’s the difference between a freelance editor and an acquisitions editor? Do you need an agent? If you do, how do you find one? How do you decide between traditional publishing, self-publishing, and hybrid publishing? With so many options available to authors, it can be confusing (and frustrating!) to figure out the best route for your book. In this webinar, we’ll take the confusion out of editors, agents, and publishers and help you figure out which options will work best for your publishing goals.

You can join in this conversation on March 21, at 2:00 pm eastern, when NAIWE will host a discussion on the publishing process. The cost for NAIWE members is only $10! Nonmembers can join for $30. Register today!

We wanted to get to know Jennia D’Lima (NAIWE’s Creative Nonfiction Expert) better, so last month we sat down with her. Here are some thoughts she shared with us.

How do historical details add depth and context to nonfiction manuscripts?

Just like in a work of fiction, details contribute to immersing the reader in the story. They can also be used to heighten the emotions at a given time. For example, a manuscript may be primarily focused on examining the life of a frontier family in depth. A surviving diary entry from one of the members of this family may state a child came down with a disease that would not seem worrisome to contemporary readers. Including statistics for the mortality rate by age, prevalent issues for those who survived the disease, and typical length and severity of the illness would give the reader a better understanding of how the parents may have reacted to this diagnosis. Without this information, an included diary entry along the lines of “Mary was stricken with a fever; we believe she has scarlet fever” may not be given its due significance.

In some cases, these details may also add credibility to the author and any stances taken in the manuscript. This is especially true when making a claim or speculation based on little-known facts. Essential historical background to back up these positions will help decrease the reader’s skepticism while also creating a richer narrative.

What type of historical details should be added to nonfiction manuscripts?

Only those details that are relevant or will add to the reader’s understanding should be included. It is vital to remember that, unless the manuscript is being marketed as a history textbook, there is no need to provide more than the basics. As will be discussed in the webinar, the key is learning how to identify those areas that will most benefit from these inclusions.

Are authors also adding historical details to nonfiction manuscripts to educate readers?

Some are, yes, but this depends upon the author’s original intentions and the larger scope of the work. With a memoir, the focus may not be on education so much as sharing and providing a unique viewpoint. It could be argued this alone is a form of education though it may not be from a historical perspective. However, there will often be ways history naturally and logically incorporates itself even when that isn’t the main goal. For instance, when explaining a medical procedure performed even a decade in the past, providing details may be necessary to give the reader the required information for understanding how it was performed, why it was considered risky or not, and so on. The reader’s knowledge base has now grown despite the author only including this information for clarity-related purposes.

——————

Want to find out how historical details can add depth and context to your creative nonfiction manuscript? Apart from bringing credibility to your topic, these details have the benefit of helping your reader better understand the context surrounding your subject. This session shows how to sift through research and facts to find what will have the most impact and meaning as well as how to identify which areas of your manuscript would most benefit from these additions.

You can join in this conversation on February 27, at 7:00 pm eastern, when NAIWE will host a discussion on adding some history to your manuscript. The cost for NAIWE members is only $10! Nonmembers can join for $30. Register today!