16 Things Your Editor May Be Doing When You Call

If you wondered what your editor is doing like right when you call or send an email, most likely he or she is not working on your manuscript. There is a small chance that time and chance may line things up just right for you to call as they are editing your manuscript or reading your proposal, but most likely not. So if you catch a hint that they don't have a clue about what you're wanting to know, for a split second, that's true. But they'll quickly catch up.

When an author calls or emails me, my mind is usually on something entirely different. I am what most people call a "real" editor. Just kidding. No, seriously, I edit and acquire books for publication. So when I am not doing acquisitions, I am editing. And when I am not editing, I am doing acquisitions. I edit approximately ten to fifteen projects during a four-month season (Winter, Spring, and Fall). Then I am developing about twenty to thirty acquisitions prospects at any given time--I work for a small-to-med-size house (about 50-70 titles published per year). Not to mention, traveling just a bit to writers conferences and author events. And the meetings! OK, I won't even go there.

So when you call or email, most likely

1. I am editing another author's book.
2. I am editing another author's back cover copy.
3. I am doing some online super-sleuthing for new authors.
4. I just got off a long conference call with another author or an agent.
5. I am responding to a long emailed list of contract revisions from an agent or another author.
6. I am writing an edit letter to another author.
7. I am preparing proposals for an upcoming acquisitions meeting.
8. I am preparing a monthly activity report.
9. I am on my way to a meeting.
10. I am just getting back from a meeting and I am trying to figure out where I left off in my work.
11. I am taking action on the action steps from a meeting I just attended.
12. I am honing my telepathy skills when I have no idea what another author is talking about in the book I am editing.
13. I am trying to decode a cryptic request from someone who just stopped by my desk and asked me to do something for them.
14. I am making a desperate attempt to create a to-do list so I don't forget anything that has to do with the thirty to fifty projects I have in the pipeline.
15. I am conceptualizing a best seller (yes, it pays to speak positively).
16. I am shutting down my computer and on my way home for the evening.

None of these are wimpy tasks; they are all quite cerebral and take lots of focus. So sometimes, I am even a little startled when the phone rings, "Like what the heck is that thing ringing for!" LOL! I am sure you can relate when it comes to your field.

Sometimes I wonder if authors think that they are the only author their editor is working with at the time. Do you? That would be ideal, let me tell you. But since it's not reality, I hope you can extend some grace to us when we have to play a bit of catch up with you, we let the call roll over to voice mail, or we don't respond to your emails right away. We will get back with you as soon as we know we can give you the attention and focus you need. Truly, your success is our success, and you matter.

So, what are you doing when we call you?

6 Things Writers Should Not Say to Editors or Agents at Writers Conferences

In light of my going to a couple conferences this month, I figured I would put into writing a few things I hope writers will not say to the editors and agents (or maybe just to me) they schedule one-on-ones with. This may be selfish. It may not be. It may actually help someone more than it saves me from having to smile and say my favorite noncommittal word, "Interesting!" Yes, I am being way more tongue-and-cheek here than I would ever be in person, so don't be scared to come talk to me. :) But this space, this blogspot, is kind of like my home, where you have entered in on me being myself and where you get to be... well, whoever you want to be, I guess.

But here are some things I've heard from writers in the past that I hope to not hear at this year's round of conferences. Although, some of them make for great stories.

1. "This is my first draft, but I just wanted to see what you thought."

Huh? No. Do not bring your first draft to a conference. This could be your one shot. Have you seen the movie 8 Mile, or maybe you've just heard the song by Eminem. If not, go listen to it now and then think again about bringing your rough draft to a conference. Now, if your main reason is to attend a conference for a learning experience, that's a whole other story. But still do not show your first draft to an editor. You can consider counseling with an editor, asking questions about the industry, maybe share your idea, but please do not ask us to read your first draft. We are not attending the conference to review manuscripts or to do any conceptualization or development. We are looking for ideas to publish. Well, at least that's why I want to do one-on-ones.

2. "Before I tell you about my manuscript, I just want you to read the first few pages. No, no, just read..."

Umm... Excuse me? Yes, this has happened to me. The writer practically put their one index finger to my lips as I began to talk and said, "Shhh... Just read this. I know it's going to blow you away." Do I really need to say what's wrong with this? Let's just say this writer is not publishing with me.

3. "I know this isn't the kind of book you are looking for, but I just wanted to talk to you anyway."

Yeah, about that. No. I really need to use the little bit of time I have away from the office (on office time by the way) maximizing on meetings that may have some kind of ROI for me and the company. What happens in these meetings is that, fifteen minutes after the author's spiel, I still end up telling them that this is not the kind of project I am looking for, but perhaps XYZ publisher or agent will be better suited for you.

4. "I have never heard or known of a book like mine. It is so unique."

Really. This seems like a good thing, but it's not. If there are no other books in the market like yours, there may be a reason for that--the market (i.e., readers) does not want a book like yours. So saying this is not a selling point. Perhaps you could show how your book is similar to other books along the same lines (same genre or category) and then you could show how your book is different. Saying that you know of no other book like yours in the market says several things: 1) you don't read much, 2) you don't understand the book market, 3) you don't know the job editors have to do to sell book ideas to their sales and marketing team who sell books to distributors based on comparison, 4) you did not do your research.

5. "I don't have a proposal, but I just wanted to see what you thought about this idea."

Great, but not during the one-on-one. Meet me at a meal. I could be off here, but during one-on-ones I expect to meet with authors who are ready to be published. If you are still just learning and seeing if the author's life is right for you, let's talk over a meal.

6. "You guys publish the weird stuff, right?"

Cute. But no. Try not to say anything about the publisher you are meeting with that could be taken negatively. In this case my thoughts were on my defense, not the author's pitch: We publish verifiable genres and recognized BISAC categories--at least in our minds. So that is a little off-putting to say our stuff is weird, but then again maybe you're also saying your stuff is weird and that we should all get along because we're all weird. I guess that's OK. But come to me showing me that you understand what we are publishing and perhaps what we publish sets us apart from what other publishers are doing in our same market. That would be nicer to hear. I don't want to be working for weirdos (although sometimes I question if I am or not, but only I get to say that).

While I may have been taken aback by many more surprising statements during these wonderful editor-writer encounters, these are the ones that come to mind right now. Maybe more will come later. While I am probably the nicest editor you'll meet at a conference (I will still enjoy our meeting as if you have done nothing wrong even if you come to me with any of the intros listed above), I do think it shows an author's thoughtfulness and seriousness about their career when they take these one-on-one meetings and use them for what they are for--to get a publishing deal. If you are not ready to be published or you've found an editor or agent you'd like to just network with but don't have a manuscript ready, you should plan to share a meal with them--sit at their table. Please sit at my table. I love to have a full table. I am there to be exploited and to have indigestion for those three or four days. I love this business, the readers, the authors, and the whole bit that much. And then if I do request your manuscript, please, please send it to me. If you have problems hitting "send," read this.

That is all. Thank you.

What are some interesting things you've heard people say at writers' conferences?

An Editor's Inspiration

Today I am working on an extensive edit, where I am having to fill in large portions of text. And I have actually been battling what I call editor's block. Being a developmental editor, it is my job--and really it's a gift--to be able to see how a theme or topic can germinate into a full-fledged trade book. Basically this is called conceptualization. That part came pretty easily to me for this particular project. But somewhere between the conception and the development, I lost my train of thought a bit.

Now I am knee-deep into my edit and the deadline is encroaching upon, creeping into, or threatening to cramp my creative space.

However, what inspiration I thought I lost has returned full force. Want to know how? I began listening to the author speak on a similar topic. Having CDs or DVDs of my authors speaking or doing media interviews is really a point of inspiration for me when I begin to conceptualize or edit their work. I get fired up about their project just by hearing or seeing their passion about whatever it is they are talking about. I get a better sense of their voice, their mannerisms, their coined words or phrases, and other things that connect them so well with their audience. It helps me to be able to take those unique and identifiable traits and add them to the work I am conceptualizing or developing for them. I think adding those elements strengthens the impact of their book as well.

You may be reading this and thinking that writers have to come up with all their own ideas. That is definitely and hugely helpful and most generally preferred. Then there are times when someone who has adoring fans and incredible insights who needs that extra hand putting an actual book together that strings all of their appeal together into one place and on a solid, salable concept. That is where I come in.

So just a little tip: inspire your editor by sending them a CD or DVD of you communicating your heart to a large audience. It doesn't necessarily have to be about the subject at hand, although it really helps if it is.

If you are editing or writing for someone else, what are some tangible things that inspire you?

What I Don't Like About Being an Editor

Just the other day someone asked me what don't I like about my job as a book editor. I must have been going on and on about what I do like and they must have been like, "C'mon, there's got to something you don't like. It can't be all that." I promise you, I tried very hard to think of what I don't like. I was actually at a loss for words. I just kept thinking, "What don't I like about my job? My day-to-day duties? The authors? My coworkers? Freelancers? Agents? Books? Deadlines? Hmm..." I ran and reran the list.

I still don't know. The core of this job is dreamy. I get to utilize every corner, extreme, middle, and far left of my personality traits and natural skills in this job. I can be creative. I can be logical. I can be an introvert. I can be an extrovert. I can be strategic. I can be spontaneous. I can be OCD. I can be willy-nilly--authors can make you willy-nilly. Trust me. If they push hard enough, you'll catch your hard-and-fast wall of preferences come crumbling down, and from some place far away, outside your gut and core intentions, you'll hear your mouth say, "Aw... what the heck?" Ha! After a while, some things really don't matter.

I can be restrained, and I can be flexible. I have to be flexible.

What's not to like about being an editor?

• Bad manuscripts? No. You just fix 'em or reject 'em. Done.
• Difficult authors? No. You read the book How to Win Friends and Influence People and follow the steps in part 3. Done.
• Impossible deadlines? Not here. Speak your mind and say, "That's not going to get done in that kind of time." OR... Adjust your thinking. There's always a way to get it done, yes? Plus, it's good to get the blood flowing every now and then. Done.
• Small cubie? Salary? Really? YOU'RE DOING WHAT YOU LOVE and you are influencing culture. I mean, honestly, you can't fake it. You're either really here or not. Another truth: you are always in a meeting, traveling, on the phone, or glaring so deeply into your computer screen that you can't see anything else anyway. Done.

Help me. What else could there be to dislike? 'Cause honestly, if there is much to dislike about this job, you really can't do it well or for too long. The desire to do this kind of work really does come from a deep passion for words, books, creativity, and people--in a nerdy, introverted kind of way. If there were things about this job that bothered me enough to call out, I don't think I could have lasted in it for eight years and others for twenty-five and thirty years. It's my niche, my right fit.

WAIT! It just hit me! I do not like THE SLUSH PILE. I don't. I really don't. For real, what is the stuff that lands in there? It's horrible. It takes up a lot of time that I don't have and I have yet to publish anything out of it. I used to enjoy going through it back in year one or two. It used to be fun or funny. Whatever. Since I began calculating the ROI (after year four or five), I realize it SUCKS! Busy, I can handle, but wasting time? Not so much.

Ahhhhh... (sigh of relief). There. I said it. And now I feel free.

So what are some other things editors don't like about their jobs? Share.

Happy Anniversary to Me: 8 Years in Book Publishing and Counting!

A Personal Treatise

Not sure exactly why this year is so significant to me. I've had seven others and truthfully none have felt so exciting. All year I've been waiting for today so that I could somehow, somewhere mark this auspicious occasion [stilted language--for no apparent reason]. I do realize that the number eight is not so significant when it comes to celebrating any life event or milestone. Most people look forward to the fives--five years, ten years, fifteen years, and so on.


Eight is significant because for me it confirms a new beginning of sorts. The interesting thing about reaching eight is that you don't start all the way over. You tend to begin again with a fresh and new perspective of all you've learned, struggle through, and experienced in the previous years.

One reason I say this with such confidence is because I saw this happen in my marriage. It was like my husband and I recycled into markedly new people after eight years but still had the awareness and consciousness of our life together during the previous years. It was lovely rediscovering who we were at that time. Arguments that used to be so intense suddenly became complete hilarity. Things we thought we knew so well about the other became times of reexploration. We had a new flow, and it just felt right.

The other thing is my instinct: I just sense something new is in the air--a shift. Out with the old; in with the new. Everything fresh.

Now obviously I am not a numerologist, and I would not put myself in a class with the prophets. Still, I know for certain the best is yet to come. I believe that today begins the fulfillment of all the expectations I have held for the last seven anniversaries. I have a stronger sense than when I started in this business, right out of college, that this is where I am supposed to be. I feel at home. I feel like I am growing into my best self. I have a surer sense of what I want, yet I expect to receive it with every bit of childlike wonder and surprise I can express.

If you asked me how I felt about things two-and-a-half years in, you may have caught me looking for the escape hatch. Everything was so quiet, then, you could hear a neuron drop. "Shh, editors at work." I was really questioning how I would fit. But, man, I really had no clue! Real publishing, when you're really in it, is like totally not quiet AT ALL! I'm so glad I stayed. You've got to give high-quality things time to age and settle. Like fine wine or great cheese or my grandma (she's still a hot mama at seventy-six and just getting hotter)...

I am so humbled God has been gracious and patient with me over these years. I wanted things He held back. I resisted things He gently nudged me into. Then I was overwhelmed when what good things I didn't ask for, He showered on me with lavish love and amazing favor. I am so grateful for all of it. Where would I be if it had not been for His grace? Most times, I am thankful that He really does know best and has the wisdom to ignore some of my prayers. Again, where would I be had He granted all of my early, not-too-bright, I'm-still-wet-behind-the-ears-but-think-I-know-something requests?

I suppose I could reflect on all the books I've edited, the authors I've acquired, the company I work for, or the respect I've garnered, but this isn't one of the fives. Eight causes me to step back and have a moment of self-reflection and God appreciation for what was and what is on the way. I absolutely adore my authors and am beyond moved by my coworkers' support and commitment, but what good could I really do them without my own confidence and awareness of who I am, where I am, where I want to go, how I plan to get there, and then a clear view--from my current vantage point--of how all of that works with the bigger picture of publishing? I'm not one to just put my head down and work. I like to look up from time to time to take in my surroundings--see where I'm at and who I'm there with. It is important for me to assess what I know and what I don't know--and learn it--before, I attempt lead, coach, or partner and build relationships with authors, other publishing professionals, and my coworkers.

I think these eight years have just helped me to not only recognize what I don't know, but I've also learned how to ask the right questions to learn what I need to learn. Wait a minute. Isn't that what I learned in college? Dang it! I thought I was on to something. Ah, well...

Here's to the eight gone by and the eight still to come!

10 Things You Can Learn from a Writer

Open up the heart of a writer, and you will discover some pretty amazing things. They are a rare breed. These are the kind of people who go toward the struggle instead of running away from it. Why? Because they see past it into their dreams. This one characteristic in itself is one to glean many life lessons from, but for the moment ('cause I live in those), I thought I would briefly list what I thought writers could teach us all.

1. Don't be so afraid to put yourself out there that you don't--if anything, do it scared.

2. Welcome constructive critique and make the changes.

3. Let yourself dream and your imagination soar.

4. Surround yourself with a supportive network of people or animals or both.

5. Get a mentor or coach.

6. Keep in touch with your deep emotions.

7. Take a break and recharge, when you've hit a wall.

8. Know your strengths and be ready to tell your story.

9. Read a lot of good books.

10. Never give up on your dreams.

What are some other things we can learn from writers?

The New Author Platform Is About Building Community

Like everything else in the book business these days, things have changed and all bets are off.

—Alan Rinzler

Every so often on my blog, I capture a bit of data about the publishing industry from secondary sources for my archives. I do this to mark things about publishing that feed my passion for the work I do, give me rare perspective or insight, highlight a significant paradigm shift, help me view the industry through someone else's eyes, or allow me to further support the authors I work with every day.

Today, I share (and archive) the following:

Veteran editor Alan Rinzler blogged about how publishing's view of author platform has changed—past tense. So if you're still operating and thinking in terms of the old model, it's time to upgrade.

The main difference between the old model platform and the new model, Alan says, is that the new author platform now focuses on "developing an unobstructed back and forth between authors and their readers, with the authors—not the publishers—controlling the flow....It's the author, not a publicist, who inspires readers to buy the book."

The new author platform is about the author personally building a community or a tribe around their books—loyal followers, raving fans, engaged evangelists. The middle man (publishers) can't create this kind of synergy on it's own on behalf of the author anymore. Technology and social media have ruined that concept—and I love that they have.

Alan says that an author who masters the following four traits can expect to be successful:

1. Personality

2. Authenticity

3. Expertise

4. Subtlety

He goes into much more detail about all four of these and even provides examples of books and authors who have effectively used them. I urge you to read and bookmark his post for your personal and professional benefit.

Studying these attributes and implementing them in your publishing strategy will keep you ahead of the game. Seeing something behaving in a way you aspire to behave, causes you to take on a portion of that behavior.

"By beholding, you become changed."

I encourage you to get into community with some authors who are doing it right. Follow their blogs, subscribe to their RSS feeds, visit their websites. Take on one new trait or best practice at a time, mastering it before moving to the next. You won't be left behind.

What new methods have you had to adapt to regarding your author platform that have shown positive results?

What Are the Components of a Completed Manuscript?

I write this assuming you are a writer whose book has sold to a publisher and now you are working with your manuscript—writing, researching, gathering facts, honing your key concepts, and all the other necessary goodies that make for a best-selling book.

This post may not apply to the author who was well-coached and managed by a fantastic agent, where everything on my list below was presented at the time of initial query.

But for everyone else...

This is the stage between contract and submission of your final manuscript. What I find when I am wearing my editorial hat (and not my acquisitions hat) is many times I receive a manuscript from an author that is missing quite a few vital components. These components should be part of the writing phase as the author prepares his or her manuscript for publication. I realize that some authors may not be aware of what is part of their manuscript prep and what the editor does during the editorial phase. So often, the things I mention below are overlooked and, by default, land on the editor's plate. (For a refresher of what an editor does, see a previous post.)

Now if you're an author who values a good editor, this should be very disturbing, because what you want is for your editor to spend as much quality time with your content as the editorial schedule will allow. An editor is an expert at making sure the author is all neat and tucked in, but should they also be responsible for doing things the author should have prepared beforehand?

That's a rhetorical question.

But here's another angle. With the whirlwind of trying to get published in the first place and then negotiating the best contract terms, deciphering publishing agreement jargon, working with marketing and sales on best strategies, and fighting through writer's block while working a nine-to-five job, maybe authors are just ready to get that all-consuming thing off of their desk, collect their advance, and are not going back to see what their publisher needs from them to count their manuscript as complete.

Well I'd like to help authors and editors everywhere by providing a little checklist of items and tasks that need to be completed before an author submits their final manuscript to their publisher. Not all of these elements will apply to all projects.

Here's what you need to turn in with your manuscript:

1. Endorsements
2. Dedication
3. Acknowledgments
4. Foreword
5. Preface
6. Prologue
7. Introduction
8. Table of contents
9. List of tables, charts, graphs, or images
10. Charts/tables
11. Graphs
12. Photographs, graphics, or other images
13. Print licenses for song or poetry lyrics; long quotes from books, websites, and news articles; use of charts, graphs, or photographs; or any other copyrighted material
14. Full sourcing (or citation) information for all borrowed and quoted material including author, title, publisher's city and state, publisher's name, publishing date, page number, and/or web link
15. Signed releases from subjects mentioned by name or likeness in your book (changing a subject's name is not enough)
16. Conclusion
17. Epilogue
18. Appendices
19. Bibliography
20. Endnotes or footnotes
21. Index list
22. About the author page

If I were an author at this stage (between contract and final manuscript), I would print this list and put it up in my writing station.

Just sayin'.

Many times, and maybe other editors can relate, chasing down and completing this information impose on my edit time—especially signed releases, print licenses, and sourcing. While I love the thrill of a chase, my time could be better spent really homing in on the author's message or story and helping them make it shiny and life-changing for their readers. It's for the readers that publishers and authors do any of it, right?

Those are just my thoughts as they occurred to me today. What do you think? Did I miss anything? If so, please add them to the comments. Also if you need clarification on what any of the items on the list mean and how to go about getting them, let me know. I'll blog about it for you.

True Editors Do Not Have Writer Envy

Thoughts about Salon writer Laura Miller's interview with editor Robert Gottlieb, "From Editor to Writer," April 26, 2011

I've heard something about most editors being failed writers. Of course I have no idea how true that superlative is. Did someone take a survey? I don't know. But what seems to be more congruent is that a true editor does not envy a writer or the writing process. A true editor is passionate about editing--providing publishing oversight, literary structure, encouragement, and support to writers as they pour out what has been placed in them.

Occasionally, I have been placed in the category of writer and frequently have been asked to write various types of pieces. I am a pretty honest person, so when asked about writing, I admit that I really don't like the writing process itself. I enjoy the research and the thrill of the chase, but then to sit down and pull all of that together is so hard! I have said this before on this blog: I admire writers. I'm in awe of them, even. Don't want their job. It's haunting. Or did I mean daunting?

Many of those who have asked me to write for them think it's strange that I don't like to do it--unless of course it's stream of consciousness like blogging or journaling. They say (don't know how truthfully), "But you do it so well." Um... Yeah...

At times I have felt misguided or even perhaps lazy because I haven't, won't, or don't further develop this "thing" that I do "well" but am not fond of. Then I stumbled upon a kindred spirit in the words of this interview with legendary editor Robert Gottlieb. You've probably already read it, but it was so well matched with how I feel I thought I would capture it and archive it on my blog. You'll notice I'll do this here from time to time like with the video interview with editor Karen Thomas.

Robert speaks my heart so perfectly when he said, "I don't like writing -- it's so difficult to say what you mean. It's much easier to edit other people's writing and help them say what they mean." He went on to say, "I'm utterly happy when I'm sitting and reading through 12 gigantic volumes of Dickens' correspondence. Making notes, underlining -- it's thrilling! When that's all done, and I've had the satisfaction of taking all this stuff in, then unfortunately comes the moment of horror when I have to digest all of it and figure out a way to start writing." Yes! So very true for me too!

Robert has an enviable resume, yet he still so delicately handles the creative renderings of hard-at-work writers. He advises other editors to do the same: "Your job...is to be in sympathy with what the writer is doing and to try to help her or him make it better of what it is, not to make it into something else." Yes, this is all I want to do.

You should read this whole article and experience the heart of this legendary editor.

What are your thoughts about editors and writing? As a writer, have you experienced Robert's kind of purity displayed in an editor you've worked with?

Do You Pray for Your Editor?

There is so much that goes into publishing a book, and the first phase involving editing and production carries some of the most challenging circumstances, obstacles, and distractions.

I’ve been editing a project when all of a sudden Microsoft Word shut down and I lost thirty pages of edits—never recovered. I had to redo all of it. I’ve been editing a project when my hard drive just up and died. I have been in the midst of an edit and cannot for the life of me figure out what the author is talking about, where they want to go with an idea or principle, or I’ve lost my train of thought on how to increase the intensity of a passionate appeal to the reader. If you quiz a few more editors, the stories of what happens behind the publisher's closed doors may actually scare you straight into the nearest prayer closet, sanctuary, or temple.

So, of course, I pray for myself that God will allow my mind to be sharp and enable me to imagine beyond the author’s words and into their heart. I also pray for the author as I am editing, because I know they are out there somewhere writing, speaking, traveling, and impacting people with hope, encouragement, and life-changing solutions. They are out there promoting their upcoming book. They are making connections and contacts. I know that they could benefit from divine help, so I pray for them.

There are things that work against our progress, but as a person who believes in the power of God, there will be none of that. The opposition will not win.

So I challenge the authors out there, who have faith, to pray for their editors. We are very much a part of your success and there are all kinds of things that try to get us off track from making your message everything it was meant to be.

Here’s how you can pray:

• Pray that your editor is able to focus.
• Pray that your editor will have positive interactions with their team members.
• Pray that your editor will have peaceful and quality interactions with their family and friends.
• Pray that your editor is inspired with the same passion you had as you wrote your piece.
• Pray that your editor will have limited distractions—both technological and mental.
• Pray that your editor’s financial needs are met.
• Pray that your editor will have success in other editorial or acquisition endeavors.
• Pray that your editor will have open doors and ears when they go to bat for you on key issues. They are your in-house advocates.

I believe every point listed above plays into how an editor is able to engage in an edit successfully.

What are some other ways to circulate positive synergy in the author-editor relationship?

7 Ways to Win at Waiting

And so after waiting patiently, Abraham received what was promised.

—Hebrews 6:15

It is a great piece of skill to know how to guide your luck even while waiting for it.

—Baltasar Gracian

Waiting is really hard. I won’t tell you how I know that. The thing about waiting is that you know there are things you can quickly do to end the torture: follow up, call one more time, change directions, make a quick decision on the next best thing that’s available right now… But are those the right things to do? Will they bring you the best results? Are they strategic? Or are they things you want to do because you are impatient and you just can’t take waiting?

Then, if you do what you think you could do, will it sabotage the best outcome you hoped to experience after all that waiting? For instance, if you go the easy route with what's presently available, will the one thing you were really hoping to work out suddenly work out but now it's too late because you already chose what was there? Who knows? But you have to always factor in the good, better, and best of a possible action when you’re in a holding pattern.

Here’s my take: if you have reservations about what will happen if you move, you should wait longer. There is something about life that allows the answers to your heart questions to come around to you naturally—and you know when it’s right, because you'll have peace.

In these situations, I personally continue to pray and ask that my ears and eyes be opened to the right moment to act in just the right way to bring about the best answer or solution. I ask God to quiet my spirit so that I can be more keenly aware of the movements and soft nudges toward the right way I should proceed. If I don’t get to a place of internal quiet, then my mind is racing with questions and possible solutions to what I am facing, rather than letting the right solution be made known to me. There is a reward of peace when you allow the process of waiting to have its full work in you. Not only do you get what was divinely yours, but you also get the satisfaction of seeing yourself mature through the process of life. (And in case you haven’t figured it out yet, life is hardly about how much you can get out of it. It seems to be more about who we become through the process, which then determines if we graduate to the next level of great opportunities.)

Waiting is not a fun game at all, but here are some ways to win while waiting:

1. Find a place of internal quiet, where your thoughts are not racing with possibilities and solutions but it is open and ready to listen to divine direction.
2. Pray for the right time and way to proceed to be revealed to you.
3. Remember similar times in your life when you were faced with this type of waiting and how after waiting things worked out for the best. Focusing on a positive outcome is freeing and causes you to wait with expectation instead of nervous dread.
4. Busy yourself with something unrelated to what you are waiting for. Continue to be productive in another areas of your life. It’s amazing how time flies when you’re busy doing something else and you’re mind is not on that ONE THING.
5. Reach out and give encouragement to a friend or colleague who is going through a difficult time (oh and then take your own good advice).
6. When you feel a release to act with regard to what you are waiting for, even if it is in a small way, do it.
7. Rinse and repeat as many times as necessary until you see a break in the clouds. That break is guaranteed, because nothing ever stays the same. Seasons change, and even waiting comes to an end. Just be careful not to belabor waiting. Be very sensitive to when it’s time to act, make a move, or just move on.

So what are you waiting for today: a response from a job interview; acceptance from a literary agent or editor; an answer to a request or proposal, bid, or quote; a green light on a financial or business proposition?

The answer, the response, the verdict is there and it’s coming…

Simple Tips for the Christian Writer with Guest Blogger Ann Mulchan

Developing a post like this had been on my mind for a while, then Ann Mulchan, author liaison and contracts specialist for Charisma House, asked me to read over some tips she had pulled together for another project she was working. I thought she did a wonderful job communicating ways to begin writing a book for the Christian market, so I thought I would post them here. She said I could. :) If you are writing for a Christian audience, please take note and listen to Ann. The woman knows what she's talking about.

Ann says...

A good book is measured by the response it evokes from the reader. It captures the heart of the reader. The goal is to help the reader understand, and stay connected by the consistency of the content (concept) of the book. Always think about the end result, and how is this book going to help the reader to grow, change, or see the Christian life from a different perspective. Ask yourself, “Is the reader being enlightened? What’s the take away value? What’s the WOW factor?” Become part of the audience as you write. Would this book interest you, and, if so, will you learn something new? Will you grow in your walk and relationship with the Lord?

Another very important thing to consider: is what you’re writing about something that has already been said, and, if it is, what makes yours unique and different? What is the unique selling point? Are there other books similar to yours, and how does yours compare in terms of being different? Yet, even though similar content may be out there, the skill is to put a fresh spin or a new twist on the same topic, to make it relevant for today’s reading audience, especially with the demographic of the readership changing.

Find creative and compelling ways to add your or others’ experiences to the content. This is the life of the book. Readers want something to connect with, and anecdotal stories help. These don’t have to be in detail, just enough to keep the reader engaged. Weave these throughout the book. Anecdotal stories, or humor, must be in good taste. A splash of humor adds a bit of spice or flavor. Again, this must be in good taste. Note that anecdotal material and biblical references should support the principle you are teaching about. In other words, the principle you are teaching about should be the main character in the chapter, and anecdotal and biblical references should be the supporting cast. The topic (theme) of your book should run through each chapter. Each chapter should have that theme as a thread that connects each chapter. Consistency is very important. Each paragraph should have one topic as the focal point. And then, the wrap up at the end of the book should drive home the topic (theme) of the book—how it all ties together.

While facts are good and needed, try not to have too much where the reader loses interest. The whole idea is to keep the reader engaged until the end of the book. The average reader has to be able to understand and grasp what’s being written about. When writing, try including yourself as part of the audience. Again, ask yourself, “Does it help the reader tap divine resources? Do they sense the presence of God?”What helps is to envision the reader in front of you as you write. Make the content clear, concise, and interesting. Write the way you talk but better.

Books that encourage the reader, books that help that person discover all God means to them, and books about how to overcome the problems of life are always good topics to deliver. They also allow you to easily develop and meet your author promise, which is what you promise the reader will gain by the time they reach at the end of the book.

The average reader does not understand “christianese,” so avoid using Christian slogans, terminology, or Christian “buzz” words that the average reader would not understand. Every reader is at the different level of spiritual growth or maturity, so gear writing toward the everyday reader. For the most part, they are the ones who make up the readership. In the same way, avoid verbose words, or words that one would have to look up the meaning to—unless it’s a book being written for scholars.

Define the market (the audience) for your book. In other words, whom do you specifically see reading this book (become part of the audience as you write)?  Make the material applicable to today’s readers. The culture today is very different from yesteryear, so it is important to know or describe the readership for your material. Keep in mind the reading audience is also very different. The publishing landscape has changed tremendously from what it was even five years ago, so books have to be relevant, fresh, and captivating.

A side note: it’s been said and is good advice to write the book (article, poem, song etc), leave it alone for a few days, then go back and rewrite it. Usually what happens, is that you see things that you did not see before. Go back and rearrange sections, paragraphs, and so on, so that your words and message flow better. It takes a lot of patience to write something that will change lives and impact the world around you.

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Do you have any questions about how to come up with the right idea for your audience?