How do I become a writer?
That depends on the type of writer you want to become. Assuming you mean
you want to be a published writer, first you must decide what you want
to write. To be published means to find a "market," (the magazine or
publishing house that buys your writing) for your written work, also
called "piece." Everything written falls into two categories: fiction
and nonfiction. So, which one do you want to write? Fiction includes
poetry, short stories, novelettes, novellas and novels. Nonfiction
includes news and feature articles, columns and books. There are dozens
of books and schools that specialize in teaching these forms to would-be
writers. So begin by doing a little research: find some books and
courses that appeal to you, that break the writing process down into
simple steps. Do your "homework" and learn the basics. And write. If you
do nothing else, get comfortable with words. Make them your friend.
and this leads to another question:
Can anyone be a writer?
This is one of the most controversial questions in the writing business.
Some people believe writing cannot be taught; others say it can. The
process certainly can be taught, but the skill involved in taking a
subject and presenting it in a way that grabs and holds readers may not
be enough to overcome poor vocabulary and a lack of facility with words.
Good writers have ideas that get expressed without the "disability" of
clunky wording. They've learned the art of saying things simply and
directly. They know the difference between using a long sentence and a
short one for effect and how to weave the two variations into one piece
that makes a point or has an emotional effect on the reader. The real
question here is can you put one thought in front of another in a way
that makes people want to read those thoughts? If you can't, this is
what you need to learn if you want to be a writer.
How do I get published?
When you're ready, when you have a piece that's been polished (you've
looked at Writer's Market and followed the instructions it gives for
typing a manuscript in proper format, you've had that manuscript edited
and tightened so it reads smoothly and has the impact on a cold reader
it's supposed to have), you submit it to the markets you've found that
print that type of piece.
4. I see so many different ways of handling grammar and submissions--how
do I know which one is right?
If you're American, get yourself a Webster's Collegiate Dictionary, a
Harbrace or Holt Handbook and a Writer's Market. The first two books
will tell you how to handle grammar, punctuation and spelling, as well
as wording for tightness and effectiveness. The third one, Writer's
Market, shows you listings of magazines and publishers and whether or
not they offer their own guidelines for submissions. Always request
guidelines if you're targeting a particular magazine. For a book
publisher, you may need an agent, and the listing will say something
like "No unagented submissions accepted."
If you're British or Canadian, or if you write for one of those
countries' markets, be aware that they handle quotation marks and some
spelling differently. The Internet is a good example of "mixed"
punctuation and spelling--not only do you have the poor spellers adding
their creative versions of words, but you also have the mix between
American and British styles.
5. What's the difference?
American style is to put all (ALL) end quotation marks OUTSIDE commas
and end-of-sentence periods ("He's gone." He received an "A," a "B,"
and a "C."). British style is just the opposite ("He's gone". He
received an "A", a "B", and a "C".) A spelling example is the family of
words ending in -or: neighbor (British = neighbour), color (British =
colour). It helps on the Internet, for example, to know where the source
of grammar and punctuation you're consulting actually originated: If
it's British, it may have uk in its url, but even if it doesn't, if it
tells you to put quotation marks inside commas and periods, it's British
style.
6. What else can I do?
Read. Whatever types of pieces you want to write, read published
examples of them. Get familiar with which magazines or publishing houses
publish those types. If you can't find a publisher listed in Writer's
Market, check the library for more publishing listings. And practice.
And study. One of my favorite books is Gary Provost's Make Every Word
Count. A favorite grammar guide besides the ones I've already mentioned
is Pinckert's Practical Grammar. Another favorite is William Zinsser's
On Writing Well. For fiction, one of the best how-to books I've seen is
Scott Meredith's Writing to Sell.
When you've reached this point, then it might be time to network a bit
and even to join a writer's group, that is if you're not getting
published already. By networking I mean go to writers' conferences and
meet people, especially taking advantage of the chance to meet authors,
editors and publishers at these conferences. In forming a group, be
careful: The worst writing group is one where no one has done any
"learning" yet. Instead, these wanna-be writers have jumped into
writing without doing their homework. And their advice will be
inconsistent and even contradictory. They are no doubt well-intended and
caring individuals, but why spend time getting pats on the back from
people who don't even know the real basics about getting something
written well for publication? The best place to find a group to join or
to form is in a course with others who are learning along with you.
You'll sign up for the second and third course, and to your surprise
you'll see some familiar faces. Look closer: These people may be just
the ones you need to have in your group.
7. How do I know whose advice to take?
There's a basic rule in "criticism" that goes like this: If several
people read your work and all make different comments, the work is
probably all right. If more than one of them however repeat the same
problem, you should take heed. As for "professionals" like me, well,
there are those who have trained and worked in the business, and then
there are many who call themselves "professionals" when they really are
no such thing. You tell the difference by doing your own homework first;
then if you see letters coming from so-called professionals (or web
sites) that contain typos and other errors in grammar and spelling or
are just sloppily presented, don't be taken in. Someone mere enthusiasm
for a subject doesn't earn that person anything at this point.
8. What about book doctors: How do I know a good one from a bad one?
Again, do your homework first. After you have some "training" under that
belt of yours, you'll have more of an "educated" eye for spotting those
little things that give away the nonprofessional pretenders. Can this
book doctor write? Has he or she ever been published in any kind of way?
Does this person use a name or is the book doctoring business called
something else that "hides" the people involved? How far away is this
person? Is he or she a total stranger? Try to get to know one of your
instructors or develop that group first for this purpose. Instructors
often read manuscripts on the side and charge reasonably if at all. You
may never need a book doctor. But if you do decide that's the only way,
find one through someone you do know, and get other references. You
wouldn't hire a stranger to run your business, would you?
9. When do I know if my work is ready to submit?
It takes awhile to learn to write well. I've had adult students who came
into my courses with works that were so good, all they needed was some
minor editing and trimming. I would say the average learning time is
between four months to a year. That doesn't mean your early stuff is
unprintable, but it may have promise very quickly. It's a judgment call,
and one sure way to tell is to try submitting something you really think
is good and see what happens. There is a "hierarchy" to rejection slips:
Your manuscript crammed back into the return envelope means it was
regarded as "loathsome" by whoever read it; your manuscript neatly
returned with a curt "not suitable for our publication" form note tacked
onto it means lots of things ranging from your writing was not up to
par, the grammar and punctuation were poor, to the article simply wasn't
what they want; your manuscript returned with an actual handwritten or
hand-signed note attached means you are at least regarded as a
professional and they might consider something else of yours or they at
least think you should keep writing and submitting; your manuscript
returned with a letter saying it isn't quite right but redo this or that
means they will consider the rewrite and may still reject it; your
manuscript returned with a note saying IF you change this or that and we
like it, we'll take it, means you ALMOST have a sale.
10. Should I call a publisher?
There are times when calling is probably a good idea. If you get an
unusually favorable rejection with a personal note attached or a rewrite
request and what's said in the letter isn't completely clear to you, by
all means call and discuss it. If you act professionally, the editor
will speak to you. Just don't waste this person's time with trivial
questions and conversation. This is a business, and you have a business
question. Get your answer, say thank you, and let the editor go. You can
be warm and friendly but don't gush and don't ramble.
11. Is that it?
No, and it never will be. There will always be more to learn, even if
you make millions from your first book. You'll keep learning, or you'll
fade away as so many promising writers have. And for all those who
helped you, you'll be passing the good along helping other new writers.
12. So, what does it take?
To succeed at writing is pretty much the same as at anything else: set
goals, take action, be patient and kind, keep learning and improving,
and don't give up. You probably won't sell the first novel you write,
but you'll learn from it. You may learn so much, you sell your second
novel. Later when you reread your first novel, you'll cringe at how bad
it really is and you'll laugh at how good you once thought it was.
About Barbara Sachs Kremer
Barbara Sachs Kremer is a professional editor, journalist and writing Instructor.
She has also written a screenplay and several short stories, and is working on a novel and a children's series of books.
