What would the Super Bowl — let alone sports marketing in general — be like without the contributions from Nike? For the last 20+ years, the brand has set then shattered the template for commercial creation, in turn building an empire and influencing competitors and advertisers alike. Of course, half of the credit can be given to Dan Wieden and David Kennedy, who actually built their eponymous, Portland, Ore.-based agency at the suggestion of Nike chief Phil Knight in 1982 and eventually built it into a global network of their own.

The brand and agency fittingly grew together in the ’80s, but it took a certain basketball player sporting the #23 for Nike to truly explode. Arguably no single athlete proved more marketable during the ’80s and ’90s than Michael Jordan, who donned his first pair of Nike Air Jordans in 1984 and has since become a logo and brand himself. Magical playing skills aside, Jordan’s commercials broadened Nike’s reach and paved the way for the brand to lure several high-profile athletes in the ensuing years in every sport from basketball and football to tennis and golf.

“Nike has been one of those brands that worked out that it’s better to influence culture than simply reflect it,” says Gareth Kay, director of digital strategy at Goodby, Silverstein & Partners, the agency of record for the NBA. “And that has huge impact on what you think about trying to create. More than any other brand they have shown the way forward time and time again.” Here, we chronicle just a few of those iconic TV ads featuring the Swoosh.

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Spike & Mike — “It’s Gotta Be the Shoes”

The campaign that arguably broke Spike Lee and solidified Michael Jordan as a household name was the brainchild of then-Wieden + Kennedy copywriter/creative director Jim Riswold, who conceived the idea of teaming up the pair after seeing Lee’s Air Jordan-obsessed character Mars Blackmon in She’s Gotta Have It. Riswold told The One Club in 2003: “It all came together pretty easily. Spike was a huge Jordan fan and he was not yet Spike Lee — he was a guy that answered his own phone. And so we made a phone call here and there, and three months later, we were shooting. I think the Spike and Mike stuff helped introduce Nike to popular culture and set a blueprint for a lot of what came after that.” The dynamic duo would end up shooting 17 “Spike & Mike” ads in all, the last of which came after a lengthy hiatus in 2003, which was Jordan’s last year in the NBA. Director Jason Zada from production company Tool of North America says, “[These] spots using two huge icons of the time were funny, progressive and really stood out. I vividly remember [them].”

Bo Knows — “Bo Knows Diddley”

Once again the creation of W+K’s Jim Riswold, the “Bo Knows” campaign starring pro football/pro baseball player Bo Jackson debuted in 1989 with “Bo Knows Diddley”. The idea was to capitalize on Bo’s dual talents, so Nike invited a variety of major athletes from Wayne Gretzky to John McEnroe to tout how Bo knows their sport, with legendary bluesman Bo Diddley himself making an appearance at the end. The ads won One Show and Clio awards, with Nike itself telling the New York Times in 1990 that the Bo Jackson commercials helped make the company No. 1 in its market. In 2008, “Bo Knows Diddley” was called “one of the greatest commercial campaigns ever created” by interactive magazine Zimbio.

Penny Hardaway — Li’l Penny

Just as Chris Rock was bringing the pain and breaking through via his stand-up comedy special in 1996, he simultaneously voiced Li’l ‘Penny, the wisecracking puppet that served as the sidekick to then-Orlando Magic superstar Anfernee “Penny” Hardaway in a campaign to promote his Air Penny shoe line. With a penchant for trash talk, Li’l Penny blew up just as Hardaway was peaking in the NBA, resulting in a series of ads that ran from the mid-to-late ’90s, crossover cameos on ESPN, music video appearances and even a retrospective called Knee High and Livin’ Large: The World According to Me. While, Wieden + Kennedy has revived the puppet-driven formula to some degree of success with the recent Kobe/LeBron “MVP” campaign, it seems to lack the hops, heart and humor of its predecessor (“It’ll never be as good as Li’l Penny,” says one commenter on Adweek‘s review of an “MVP” spot). “Li’l Penny was awesome,” Firstborn CEO Michael Ferdman adds. “All of those [ads] were great, especially this one with a great line, ‘You guys remind me of my shoe collection: one penny and a bunch of losers.'”

Tiger Woods — “Ball Bouncing Trick”

“If You Let Me Play”

Going against the grain in an arena dominated by males, Wieden + Kennedy took a bold step in 1995 with its “If You Let Me” spot, which featured adolescent girls spouting if-then scenarios that were tethered to the idea of inclusion into sports. In their 2006 study Selling Truth: How Nike’s Advertising to Women Claimed a Contested Reality, authors Jean M. Grow and Joyce M. Wolburg tracked the evolution of the brand’s three “big ideas” for marketing to women in the ’90s: entitlement, empowerment, and product emphasis. Some feminists argued that the ad victimized rather than empowered the girls and questioned Nike’s profit motives with what was basically a PSA. However, Janet Champ, W+K’s chief copywriter on the campaign, told the Selling Truth authors that the message was pure. “It wasn’t advertising. It was truth. We weren’t selling a damn thing. Just the truth. And behind the truth, of course, the message was brought to you by Nike.” Even those working for competitors are still affected by the spot, including Marcus Glover, who was the creator of Reebok’s “Terry Tate: Office Linebacker” effort. “[It] was an anthem for girls (and boys) which has helped to fuel the numbers of girls who play sports, many who have enjoyed professional careers as adults. I credit Nike for work which helped to change perceptions of women in sports and women in general. Nike is the brand who should be credited for creating a voice of empowerment for women athletes. Their platform helped to acknowledge that women could be world-class athletes as well as mothers, daughters, wives and sisters.”

LaDainian Tomlinson and Troy Polamalu — “Fate”

Aided by a brooding trip-hop remix of Ennio Morricone’s “L’estasi Dell’oro”, director David Fincher, he of Seven and Fight Club fame, helmed this spot in 2008 that shows how two gridiron greats — San Diego Chargers running back LaDainian Tomlinson and Pittsburgh Steelers defensive everyman Troy Polamalu — were destined to clash from birth. Documenting a life-long journey of the frenetic twosome, “Fate” not only earned raves from film sites like IonCinema.com — which said that it “merges a beautiful mix of slow motion visuals with a fluid musical score” — but was awarded a Cannes Silver Lion for Film in 2009. More importantly, it served as an example of how the lines between feature films and commercials have blurred and also paved the way for Fincher to do a follow-up for Nike Football last year called “Trail of Destruction (Alter Ego).”

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Kiran Aditham is an editor at AgencySpy.

If you’re clued in in the kitchen, wise to what goes on behind the concierge desk, or keyed into major players in the foodservice and hospitality world, there’s a wealth of writing gigs you might never have thought to pursue at trade publications. You don’t need to be a life-long grocery store guru or award-winning restaurateur to pitch, either. Talented reporters who can prove their writing chops can earn the chance to provide news and analysis that food industry experts need to stay on top of their businesses. With tight budget constraints, many mainstream culinary mags and trade publications are turning in-house for their writing needs. But for some, freelance opportunities are growing even more, and a compelling, well thought-out pitch will catch an editor’s attention. We talked to five food and hospitality editors at both print and digital trade outlets to find out how you can get your next freelance idea on their menus.

InsideFandB.com
Background: Billing itself as “the authority on food and beverage,” InsideFandB.com is an online magazine and industry resource that launched in February 2010. Says founder and editor-in-chief Francine Cohen, the site “goes behind the scenes for an unvarnished look at the food and beverage world, putting trendsetting news at the fingertips of hospitality industry decision-makers who need to stay at the top of their game.” With that mission in mind, the Web site publishes both daily (ongoing event coverage and breaking news) and bimonthly feature stories and columns and aims to keep its readers intrigued, enlightened and engaged about their business. InsideFandB.com covers design, technology, equipment, legislation, management, operations, and more.

Experience required: Writers with a passion for exploring the “whys” behind the food and beverage industry are welcome. Says Cohen, “Experienced writers with a business, hospitality and/or travel industry writing background are preferred, but if you know how to ask the right questions and really care about what’s going on in the food and beverage industry, then you should be pitching your story ideas to InsideFandB.com.”

How to pitch: InsideFandB.com looks for industry insights, trends in management, techniques, equipment, operations, service/guest relations, and the like. “Additionally, we have a section for book reviews, profiles, new products, and a travel/dining story in every issue,” says Cohen. Examples of recent freelance stories include “Dirty Little Secrets: Food Safety in Kitchens” and “Mixology, The Sweet Science: Thinking Outside The Box In A Bronx Cocktail Lab.”

Lead time is two weeks for feature stories and columns, daily for the events calendar and events coverage. “When pitching, please consider how our trade audience would benefit business-wise from reading your story,” advises Cohen. Pitch by email only.

Pay: Currently $20 per article. Word counts are between 350-1200 words.

Send pitches to: Francine Cohen: FrancineCohen [at] InsideFandB [dot] com

SupermarketGuru.com
Background: SupermarketGuru.com, created by food and retail journalist Phil Lempert, is a daily consumer-friendly Web site offering news, shopping and nutrition advice and food product reviews for the past 15 years . The Supermarket Guru also publishes a daily B2B e-newsletter: “The Lempert Report,” along with two monthly B2B e-newsletters, “Food, Nutrition & Science” and “Facts, Figures & Future.” Additionally, Lempert puts out a B2B video twice a week.

Experience required: Writers may come from a variety of relevant backgrounds: Nutritionists, health professionals (doctors, nurses), marketers and designers. Founder and editor Phil Lempert says he’s “less worried about background then depth of info and writing ability.”

How to pitch: The editor looks for food trends, health trends and consumer issues; an example of a recent story is, “Before You Bite: How Natural Is Natural Flavoring?” For the daily publications, lead time is one to two days, and for the monthly publications, lead time is one to two weeks. Lempert advises potential freelancers to consider what their readers — consumer or trade — can learn from the story. Pitch by email only.

Pay: $50-$250 per article. Word counts are between 250-400 words.

Send pitches to: Phil Lempert: Phil [at] SupermarketGuru [dot] com

“If [freelancers] have a background in commercial foodservice, golf, course and grounds maintenance, fitness, etc. we’re more likely to work with them. If they don’t, they need to be real go-getters who are willing to work harder to make up for their lack of industry know-how.”

Nation’s Restaurant News
Background: The self-proclaimed “news leader in the foodservice industry” since 1967, this publication covers the business of restaurant and commercial foods, reporting on topics such as food trends, finances, consumer trends and the latest equipment innovations. This weekly print publication will go bi-monthly in 2010 and is available by subscription, though they also feature it in a digital format at NRN.com. Although much of the magazine’s content is provided by staff editors, they do use some freelancers.

Experience required: While most of the magazine’s content is provided by staff editors, former editor-in-chief Ellen Koteff says they do use some freelancers. When considering a writer’s credentials, she says, “We often use editors that have both publishing and foodservice publishing backgrounds.”

How to pitch: Special projects and special issues, as outlined in the editorial calendar, are often the most likely sections for freelance work. An example story is a recent special feature on “Independents — Going it Alone in a Chain World.” Word counts vary. “Pitches are welcome,” says Koteff, “but most freelance pieces have originated from inside our newsroom as opposed to from outside pitches. It’s a good idea to pay attention to our editorial calendar.”

Pay: The freelance rate varies greatly depending on degree of difficulty or time spent on the particular piece.

Send pitches to: Executive editor Robin Lee Allen: RAllen [at] NRN [dot] com

FoodBizDaily.com
Background: FoodBizDaily.com, which began in March of 2009, is a Web site covering global news on the food and beverage industry. It features headlines, product reviews, a new products showcase and blogging; recent news items have covered Indian tea price increases and rice exports from Vietnam. This daily site aims to post news as it happens, and is online only.

Experience required: Writers must have previous experience writing about the food and beverage industry.

How to pitch: Executive editor Fernando Lopez is looking for, “Articles, blog posts — no fixed length. Stories must be relevant to our audience.” Featured articles have a lead time of about seven days. “Prospects should demonstrate knowledge of the F&B industry,” says Lopez. “Personal relationships with industry players are also important.”

Pay: Pay is negotiable with editor.

Send pitches to: Executive editor Fernando Lopez: Fernando [at] FoodBizDaily [dot] com

HOTELS Magazine

UPDATE: Hotels has shuttered as of April 2010.

Background: Established in 1966, HOTELS serves the worldwide hotel industry, covering hotel management companies and major chain headquarters, as well as trends in hotel design, operations, foodservice, technology, finance, marketing and new products. The monthly publication is aimed at hotel owners, managers, designers, architects, and buyers for hotel products and services. It’s available by subscription and at www.HotelsMag.com.

Experience required: “Our freelance writers typically have experience or expertise in some aspect of hotel operations, like F&B [food and beverage], interior design, back office technology, etc.,” says associate editor Adam Kirby. “Writers with an in-depth understanding of the financial side of the industry (i.e. real estate investing) are also useful.”

How to pitch: “We normally only freelance feature articles from our editorial calendar,” notes Kirby. (A request form can be downloaded here.) A recent special report covers, “Franchising Around the World.” Length varies but is usually between 1,200 and 2,500 words. Lead time is generally two to four weeks. “The best way to be considered,” says Kirby, “is to highlight your niche expertise, backed by credentials. Also, note that as a trade magazine we rarely publish ‘travel’ stories, but rather business-focused stories that happen to involve companies within the travel and hospitality industry.”

Pay: Varies based on the nature of the topic and the writer’s experience.

Send pitches to: Editor-in-chief Jeff Weinstein: JWeinstein [at] ReedBusiness [dot] com

Club & Resort Business
Background: Club & Resort Business magazine, launched in 2005, provides ideas for decision-makers at city and dining clubs, yacht clubs, upscale golf clubs and resorts. Topics covered include foodservice, recreation, design, and marketing, as well as news and issues affecting the club and resort industry. This is a monthly trade publication, available to industry subscribers. The general public can only view them online at www.clubandresortbusiness.com.

Experience required: “Freelancers need to have a understanding of our market, our readers and our mission as a magazine,” says managing editor Joanna DeChellis. “If [freelancers] have a background in commercial foodservice, golf, course and grounds maintenance, fitness, etc. we’re more likely to work with them. If they don’t, they need to be real go-getters who are willing to work harder to make up for their lack of industry know-how.”

How to pitch: “Our stories run the gamut from feature profiles of club and resort properties to round up features on topics under food and beverage, design and renovation, course and grounds, recreation and fitness, membership/marketing and golf operations,” says DeChellis. “We ask that features be at least 1,200 words and include three ‘summing it up’ points, as well as at least one sidebar.” Upcoming topics will include a design feature on wine rooms/cellars, and a membership/marketing feature covering information on charity events. Freelancers are responsible for obtaining art from the properties they interview. Lead time is two to three months. “We run very lean at C&RB, and we work with a solid group of regular contributors,” says DeChellis. “For someone to stand out from the pack of everyday inquiries, he or she would need to prove that he or she is worth my time.” She starts by sending potential freelancers the editorial calendar, asking them to pitch a story based on the calendar topics and telling her what angle they might take, what clubs they might talk to and what questions they might ask.

Pay: $500-$600 per article

Send pitches to: Managing editor Joanna DeChellis: JDeChellis [at] ClubandResortBusiness [dot] com

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Rani Long is a writer in New York.

[This article was originally written by Rani Long and published on December 21, 2009. It was updated by Blake Gernstetter on March 1, 2010.]

[EDITOR’S NOTE: Though we’ve updated this article recently, the

speed at which things move in media means things may have already changed

since then. If you notice any outdated info, email us, and we’ll fix it

a.s.a.p.]

If you’re like many freelance writers, the thought of asking an editor for more money is enough to make you wake up in a cold sweat. But, as intimidating as it is, the right approach to negotiations is crucial to building a relationship that’s beneficial to freelancer and client alike — and you don’t have to play hardball to get more money.

Sure, the rocky economy has depressed the freelance writing market noticeably. Ten years ago, freelance writer Beth D’Addono always asked for a little more than what she was offered — and often received it. “Now,” she says, “I’m finding that everybody is just so happy to have work that I’m less inclined to try to negotiate… I haven’t found editors to have the resources that they did before.”

But just as many writers say they still find it worthwhile to ask. “I think there’s almost always room for negotiation,” says Mir Kamin, a freelance writer and blogger who pens the Cornered Office blog on freelancing for the Web site Work It, Mom! “It’s very rare when someone comes to you with an offer so good you just go, ‘Yeah, that’s perfect.'”

Whether you dread talking money or you just want to perfect your game, here’s how to attack negotiations and come out ahead.

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1. Do your research
The success of your negotiations will depend on the client’s willingness and ability to negotiate. So before you ask, do your homework, says freelance journalist and copywriter Pam George. “Find out how flexible the publication is, especially in this economy, when many publications are cutting their rates rather than increasing them. Ask around on online message boards or through friends who write for the publication,” George suggests.

It could also help to get a sense of what competing publications are paying their freelancers. “One thing that might help is to say, ‘This other publication is paying me this amount, and I’d really like it if you could match that,'” says Anne McSilver, managing editor at Via.

2. Take your relationship into account

While it’s important to stand up for yourself, it’s just as critical to protect your working relationship with an editor and the long-term value that relationship could offer.

“You have to keep in mind the realistic ability of the magazine to pay you, and not just this one time. You can’t look at freelancing as a one-time deal; you have to see it as forging a relationship with the magazine,” says Sabrina Rubin Erdely, contributing editor at Self and Rolling Stone. “That doesn’t mean selling yourself short, but it should be something that will pave the way for many articles and lead to a steady gig to make you both happy in the long term.”

Moe Tkacik, who freelances for The Nation, Columbia Journalism Review and New York, says proving yourself to an editor could earn you more leverage later. “Everybody’s disposable, everybody’s in the public consciousness one day and out the next. The only thing that can really, to me, help you in a negotiation situation is if you have an element of trust going on with your editor,” she says.

“The most important ingredient headed into negotiations is knowing what you’re worth… If you’re not willing to walk away, you’ll lose some credibility.”

3. Know where you stand, and be honest
“Coming in with an idea of what you want and a convincing reason for why that’s the right fee is the best advice I could give you,” says Wired managing editor Jacob Young.

Calculate your hourly rate, and if an editor can’t match it, be prepared to turn a job down, Kamin says. “I think the most important ingredient headed into negotiations is knowing what you’re worth,” she says. “If you’re not willing to walk away, you’ll lose some credibility.”

Whatever you do negotiate, be sure that you’re not devaluing your work. For Rubin Erdely, protecting her per-word rate is crucial; if necessary, she’ll work with editors on negotiating a flat fee for a given piece, rather than cutting her word rate. Even in a down economy, Kamin says, “It still doesn’t pay for me to take a job for less than I should be earning. Plus, what happens when the economy turns around?”

4. Weigh the unique situation
Especially on the Web, where writers often work for 10 or 25 cents per word, negotiating can veer into the realm of haggling, and that could sour a relationship.

“You don’t want to sound like you’re negotiating for something petty,” says Nick Catucci, articles editor for New York‘s Web site, NYMag.com. He admits that it can be off-putting if a first-time writer comes on too strongly in negotiations: “It could be worth it to take the $100 assignment rather than asking for $110, so that down the road you could ask for more.”

As well, you’ll have to consider what an article is worth to you: Does it involve a lot of time-intensive research? Is the publication a place where you’re eager to get a clip? “I find that people often don’t even ask about fees until after the piece is published, and that shows that people’s motivations are often to get their foot in the door or to get a good story published,” Catucci says.

“Once an editor gets an idea and is really excited about that, there’s more basis to ask for more money — because once you want something, you want it.”

5. Pick the right time to ask
There are pros and cons to trying to negotiate during your first assignment with a given editor. Some editors warned that they’re less inclined to negotiate with new writers, but others say it always fair game.

“I’d hope that somebody would always ask for more money, so I wouldn’t be offended,” says Ashley Primis, food and lifestyle editor at Philadelphia. But, she suggests waiting until the editor is truly sold on your idea. “Once an editor gets an idea and is really excited about that, there’s more basis to ask for more money — because once you want something, you want it.”

Kamin says she’s tried both tactics, and now prefers to negotiate for a better fee on her first assignment. “Usually, I’m more worried about damage to an existing relationship,” she says. “As well, there’s the danger if you walk into a relationship at a low rate, then you’re setting yourself up for problems.”

6. Ask nicely

McSilver recommends asking politely, acknowledging that budgets may be tight, and asking if there’s any flexibility. “It’s better to say, ‘What can you do to help me out?’ than to put it in the form of an ultimatum,” McSilver says.

Finally, as much you may hate to, do it over the phone if you can, Rubin Erdely says. “Be professional but friendly. I’ve always found that being direct really helps… I think my editors appreciate my bringing it up, because no one ever wants to talk about money. It’s an uncomfortable thing, but I introduce it without apologies or discomfort.”

7. Make your case
If you’re asking for more money, McSilver says, “put forth the basic economics of the situation.” If it’s your first time working with an editor, estimate how long the story will take, calculate your hourly rate, and go from there. And if you’ve worked with an editor before, tell them how long the last story took or what kind of expenses you accrued to back up your request.

As well, if there’s a premium on your time, find a way to let the editor know. “The more experience you have, the more clips you have, the more right you have to ask for more money,” Primis says.

“Writers can be their own best advocates by knowing what their value has been determined to be in the past,” Catucci says.

That said, if you’ve agreed to a fee, and then a story becomes more involved than you anticipated, you may want to wait until a story is filed to reopen negotiations. “You don’t want to give the editor a sense that you’re in over your head,” Catucci says. “And then, every editor wants to feel like the first priority is the story, because from the editor’s perspective the fee you’re paid is a detail.”

8. Get creative
“There are new rules right now. I don’t think it’s a bad idea to negotiate on non-monetary aspects of the story,” D’Addono says. If an editor can’t offer more money, ask if you can write a bit shorter.

As well, says Tkacik, you can negotiate on rights. Or, she says, “If you’re starting a regular relationship with an Internet property, you might think of trying to get a page view bonus, so that if you write something that breaks out and gets a lot of attention you can get a piece of that.”

For magazine articles, she adds, try to collect your kill fee as soon as the story is submitted. “It can take over a year to retrieve kill fees — and that’s money you’re owed no matter what. As well, it puts you in a better position, if they kill an article late in the process, to ask for more money.”

In fact, some editors are recognizing that the way writers get paid may be due for an overhaul. “Increasingly we’re getting away from the whole idea of a per word rate,” Young says. “We think that doesn’t have a lot of resonance in the way we’re putting together stories. Doing a story for Wired is much more than emailing a manuscript. There’s fact-checking, there are a couple layers of editing, most of our stories have sidebars that we negotiate in advance or carve out as we go along, and then there are digital elements… We’re looking more at story fees because we just don’t think the word rate reflects what journalism is really about these days.”

Finally and most importantly, Kamin says, don’t undervalue your work: “A lot of people end up diluting the salary pool by taking these low-paying jobs, and the only difference between them and me is that I have the confidence to ask for more.”

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Samantha Melamed is a freelance writer based in Philadelphia. She blogs about vegetarian cooking at SeitanWorship.wordpress.com.

After the movie Julie and Julia was released, writers everywhere started turning to the blogosphere with hopes that their hard work online would result in a deal with a major publishing house. Approximately 60 blog-to-book titles were acquired by publishers in 2009, said Patrick Mulligan, senior editor at Penguin Group’s Gotham Books, the publisher of the blog-to-book titles I Can Has Cheezburger? A LOLcat Colleckshun; The Truth About Chuck Norris: 400 Facts About the World’s Greatest Human; and Texts From Last Night: All the Texts No One Remembers Sending. Mulligan personally selected and published only two of the estimated 60 to 80 blog submissions he received that year, and in just the first few months of 2010, he has received — and passed on — more than a dozen pitches for the burgeoning genre. It seems that everyone who aspires to publish their own story thinks a blog is the way to do it.

But what headlines like this one and this one, and this one, don’t tell you is that convincing a large publishing house or an agent of your work doesn’t become easier simply because you can blog. Before branding your own dot-com, here are some realisms to consider.

High traffic does not a book deal make

A five-digit number of visitors to your Web page does not necessarily entice big publishers to come a-knocking. Take Brette Sember, whose 17-month-old blog, “Martha and Me,” takes readers along as she incorporates Martha Stewart cooking, crafts, and inspiration into her daily life and averages about 300 visitors daily. A published author of more than 35 books, Sember has experience writing about a wide range of topics, from parenting to law. Her blog has also landed her several interviews with Martha Stewart Living Radio on Sirius. But her high-traffic blog and years of experience have yet to translate into a book deal for “Martha and Me.”

“Just because you have a blog with a lot of followers does not add value to me. I need to know how else you are going to sell your stuff.”

Sember says that the consensus among publishers who have turned her down is that “this idea has been done before,” but Sember and her agent, Gina Panettieri, are confident that “Martha and Me” puts a new spin on the popular “year of living like so-and-so celebrity” genre and will interest a broad range of readers — and soon, an editor. According to Panettieri, president of Talcott Notch Literary Services in Milford, Conn., it’s not uncommon for editors to pass on a title simply to avoid the appearance of “copying” another popular work. “The idea that, ‘We don’t want to be accused of trying to rip off Julie and Julia‘ ___ that can happen in the publishing world,” she explains. And competition between publishing houses isn’t the only concern. As an aspiring author, you have no way of knowing when a sister imprint — another line of books under the same publishing house — has already acquired a similar title already, making yours that much less valuable. Large publishing houses don’t want to create competition that will essentially work against them.

For other publishing houses, high traffic may also not excite, but for different reasons. Dave Morris, who runs New Year Publishing in San Francisco, a five-year-old publisher with 50 titles (four of which started as blogs), says, “Just because you have a blog with a lot of followers does not add value to me. I need to know how else you are going to sell your stuff.” In the case of Morris’ authors, the answer might be speaking engagements; his most popular blog-to-book author is a professional speaker by trade.

Aside from all those reasons, sometimes concepts are just not executed in a way that hooks editors. “Some editors have said to me, ‘We’ve seen a number of different I’ve-lived-a-year-doing-x types of books, blogs, and memoirs, and that’s been done and is getting old,'” Panettieri says. “But editors will say themselves that they may turn around the next week and break that rule. It’s very arbitrary because something can come in the next week that they said they didn’t want, but there’s something unique or just so winning about it.”

Brilliant ideas aren’t enough — a book has to be able to sell

Agents, editors, and publishers agree: One of the biggest misconceptions shared by bloggers and authors alike is the idea that a true work of art will be appreciated, and subsequently published, by someone somewhere. But book publishing is like any other business — and a publisher has to have confidence that your product will sell.

“People might visit a Web site to talk about things or people they hate, but you’re going to have a tough time convincing self-identifying cynical people to spend $12 to $20 on a book.”

Selling a blog-to-book title can be tricky. According to Mulligan, the book has to also be able to reach an audience that the blog doesn’t. Mulligan said he knew that plenty of cat enthusiasts who didn’t know about the LOLcat phenomenon online would still be interested in the Cheezburger books (now a series), and he was right. Similarly, some blogs with great traffic just don’t sell in book format. “I’ve stayed away from snarky blogs that trade in meanness,” Mulligan said. “People might visit a Web site to talk about things or people they hate, but you’re going to have a tough time convincing self-identifying cynical people to spend $12 to $20 on a book.”

Accordingly, it’s important to first consider the marketability of a topic before committing to weeks, months, or years blogging about it. Penny Sansevieri, chief executive officer and founder of Author Marketing Experts, Inc., in San Diego, Calif., suggests that aspiring bloggers investigate the market before committing to a subject matter, both by reading other blogs and pouring over bookstore selections to find out what sells. Furthermore, while it might be easier to rely on reader commentary for your blog, publishing that content as a book introduces other legalities to the equation. Make sure that your site qualifies that comments posted online become property of the Web site. “Clearing rights retroactively, as we had to do for the first Cheezburger book, was a huge undertaking,” cautioned Mulligan.

A blog submission may not beat a traditional one

Once your content is out there on the Internet, editors already have an idea of who and how many people are reading it — which doesn’t always help a writer’s chances. “I think your odds are no better if you are writing a blog and intending to do a book based on that than they are [when you send] a standard submission to a publishing house,” Panettieri says. “You’re one of thousands, or tens of thousands of writers out there with that intention.” That’s why Sember encourages other bloggers like herself to pursue only topics that truly interest them. Blog for enjoyment, motivation, or practice — not to get your heart set on a publishing contract.

Stephen Markley, a 26-year-old author in Chicago, can attest to the fact that good ideas can still capture a publisher’s attention without the benefit of a blog following. Markley’s book, Publish This Book: The Unbelievable True Story of How I Wrote, Sold and Published This Very Book was not based on a blog, but on personal experience. In it, he chronicles his time spent trying to create and publish his book, while recounting the other challenges and hilarities from his personal life at that time. His story was a perfect fit for the independent publisher Sourcebooks.

“There’s been this proliferation of the A.J. Jacobs-type live something for a year and write about it [books],” Markley says. “It’s a gimmick, but it’s a matter of, does the gimmick lead to a successful piece of literature? The goal I set for myself was for it to grow outside the gimmick, to be funny, interesting, and emotionally resonant.”

Being a one-trick pony can limit your success

Depending on your publisher, it may help to demonstrate an ability to produce work in the future. Dave Morris isn’t interested in signing a blogger who can’t produce more than one title. “The cost of acquiring a customer is the same, so if you only have one product to sell them, you’re screwed,” Morris says. That’s why his company focuses on authors who use the blogs and books to promote another primary career, like motivational speaking.

Still some of the best-known blog-to-book titles belong in the humor genre, where an author’s other skills matter much less than the pop culture phenomenon they’ve created online, like I Hope They Serve Beer in Hell or Stuff White People Like. If you have one of those hits on your hands, publishers aren’t likely to care about whether or not your idea can be sustained through multiple books.

“We don’t specifically look for books that can become a series,” said Mulligan. “At the time of first acquisition, we’re entirely focused on the one book. ___ We’ve had success turning out BTBs into series [Cheezburger and Chuck Norris], but I think that’s rare.”

And, after all this, you might still need an agent

There is some debate as to whether agents are integral to the publishing process. Morris speculates that agents won’t be around in 10 years and that the Internet does their job for them. But in many instances, it may be an author’s best chance of getting noticed. “If you want to try a larger publisher, you have to have an agent, because they won’t look at you otherwise,” Panettieri explains. However, she notes that editors have instigated a number of these deals on their own. Mulligan approached the people behind Cheezburger and Chuck Norris directly, and they did later acquire agents to help close the deal. But for the many that don’t get noticed, an agent may help. “These days there are so many literary agents scouting blogs that they’re likely to discover something long before I stumble upon it,” Mulligan said.

For bloggers who are interested in finding an agent, industry pros point to two top resources: Jeff Herman’s Guide to Book Publishers, Editors and Literary Agents and the Web site Publisher’s Marketplace. Looking through the titles that different agents have published will give you an idea of where their interests lie, and how successful they are at securing book deals. Agents agree that you shouldn’t give up on work that you believe in — but just keep in mind, their successes may not extend to you.

“Your blog can be fantastic, but if there is no market for it right now, no one will want to buy it right now,” Sember sums up. “What I’ve come to learn after 13 years: When it’s the right time for a book, it’s the right time.”

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Katie Bunker is an associate editor at Diabetes Forecast magazine and a freelance writer in Washington, D.C..

Perhaps the sharp decline in magazine advertising pages is to thank for 2009’s wealth of lush photo portfolios, some of which dominated entire issues. The trend made for steep competition in this year’s National Magazine Awards, with finalists in the photo portfolio category ranging from an unprecedented shoot at the United Nations to a transatlantic art/fashion mashup in which models displayed the latest looks amidst Picassos and Rodins. We went behind the lens to focus on the five finalists and take a closer look at their chances for an Ellie.

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Jason Bell
Nominated work: “Out 100: The Class of 2009,” in the December 2009/January 2010 issue of Out

Why it works: Out turned to London-born portrait specialist Jason Bell to photograph its selection of “the 100 gay, lesbian, and transgender people who have made an impact in their own communities and on mainstream culture” in 2009. It marks the first time the assignment was given to a single photographer, and Bell delivered with a 65-page portfolio that is at once cohesive and thrillingly diverse. He approached the theme of “school days” playfully, shooting subjects in classrooms, buses, libraries, and gyms, while avoiding on-the-nose poses (Neil Patrick Harris is smoking under the bleachers, not brandishing jazz hands in the school play). Particularly striking are Bell’s close-ups, many of which have the dreamy quality of yearbook photo outtakes, and his light touch with newsmakers: Dan Choi, the Iraq war veteran who chained himself to the White House fence to protest the “Don’t Ask, Don’t Tell” policy, is pictured leaning against a row of white lockers. If ASME decides to share the wealth and not give the award to Platon for a second consecutive year, Bell’s luminous and ambitious portfolio is a shoo-in for the win.

In their own words: “With a great deal of energy! Once I heard that the theme was to be ‘school days,’ I concentrated on getting a mix into the pictures not only of humor, but also nostalgia and intimacy,” Bell tells us. “I liked the fact that the theme is a universal one as well as referencing a time in most people’s lives when they explore and assert their sexuality.” He had eight weeks to shoot 100 people in four cities. “Sixty-five pages in a magazine is a lot, and maintaining visual interest over those 65 pages requires a constant shift in pace and approach — not so great a shift as to abandon the theme but enough to keep the viewer wanting to see more,” says Bell. “Even though there was a huge logistical pressure, my main concern was never to say that a picture was just ‘good enough.’ Each picture had to stand up on its own, not just as a member of the portfolio.”

Marcus Bleasdale
Nominated work: “Exquisite Circus,” in the August 24, 2009 issue of New York

Why it works: It’s not easy to get a fresh perspective on the finely tuned fashion machine as it revs up for the biannual women’s ready-to-wear collections, but New York got just that from Marcus Bleasdale. The veteran photojournalist, who has spent nearly a decade covering the brutal conflict within the borders of the Democratic Republic of Congo, had never heard of Marc Jacobs when he accepted the assignment to shoot the fall 2009 shows. Guided only by his decisions and trained eye for human drama, Bleasdale focused not on the clothes but on capturing the fashion world from all angles. Images from the ephemeral catwalk spectacles and backstage beautifying are joined by moody portraits that highlight the isolation and loneliness inherent in the global fashion cycle.

In their own words: Bleasdale was on assignment in Congo when he got the call from Jody Quon, photography director at New York magazine, about shooting behind-the-scenes at the fall 2009 collections. “I initially thought I could not do it, as I had never worked in fashion before, but she insisted that was exactly what she wanted,” he tells us of how he suddenly found himself backstage or in prime position on the riser at every major show of the season. “I must admit initially I had a difficult time adjusting, but by the end of New York and the beginning of Milan, I had started to understand and feel my way. Also, I was as much expressing my own mood in the images as I was expressing the place and the fashion world at that time,” says Bleasdale. “When I arrived in Paris it all exploded in terms of the experience, and it became in my eyes a very poetic, beautiful, theatrical, extravagant experience. I loved it!”

Platon
Nominated work: “Portraits of Power,” in the December 7, 2009 issue of The New Yorker

Why it works: In early 2009, Platon happened on Henry Kissinger being interviewed on Charlie Rose. The veteran statesman was explaining how the contemporary political landscape makes it impossible for a country to solve even internal problems in isolation. Addressing international issues, he said, requires special relationships between world leaders. That gave Platon, a staff photographer at The New Yorker, an idea. He proposed an ambitious portfolio of world leaders to editor-in-chief David Remnick, and they decided on the United Nations as the ideal setting. Six months of intense negotiations later, Platon was at the UN constructing (under extremely close supervision) a small portrait studio beside the podium where each world leader would deliver his or her address to the 2009 General Assembly. But it’s not the historic and unprecedented access that distinguishes the 110 resulting portraits, taken over five long days. What makes this portfolio so entrancing is the extraordinarily personal quality that Platon was able to capture in his subjects amidst the cacophony of the conference proceedings, suspicious security teams, and idling entourages. One look at the photos, to which The New Yorker devoted a sizable chunk of its December 7 issue, is enough to convince us that Platon is the odds-on favorite to win this category for the second consecutive year.

In their own words: “I wanted to show a new collective personality, as if all these leaders were now on one team, highlighting the difficult challenges and strained tensions, as well as the new optimism and goodwill, generated by Obama’s election,” Platon told us. “The portraits sit together as individual and intimate character studies. I wanted to show what it was really like to meet these people ‘up close and personal.’ Collectively however, the portraits give us a communal spirit of the contemporary global, political power structure.” The key was negotiating scheduling and access. “It was certainly the most relentless suspension of physical and psychological tension I have ever experienced in my life. Each subject arrived with a massive entourage of Cabinet Ministers, delegates, political advisors, and Secret Service Agents. To negotiate a portrait sitting was often as challenging as the portrait itself.”

Martin Schoeller
Nominated work: Portfolio accompanying “The Hadza” by Michael Finkel in the December 2009 issue of National Geographic

Why it works: How do you capture the essence of an isolated group of people best known for what they don’t do (grow food, raise livestock, use calendars, engage in warfare)? That was the challenge confronted by Martin Schoeller as he set out to photograph the Hadza, an ethnic group in central Tanzania that live as hunter-gatherers. He approached the National Geographic assignment with a combination of stunning close-up portraits of individual Hadza and images of their daily life: searching for game, tracking a bloody warthog, foraging for berries, celebrating in a ritual dance. Schoeller’s clear, assured compositions gain dimension when contrasted with the clouds of dust or flashes of sunlight that give the portfolio the shifting dawn-to-dusk feel of a “day in the life” of a vanishing people.

In their own words: “What the Hadza appear to offer — and why they are of great interest to anthropologists — is a glimpse of what life may have been like before the birth of agriculture 10,000 years ago,” writes Michael Finkel in the feature story that Schoeller’s photos accompany. “The Hadza may hold on to their language; they may demonstrate their abilities to tourists. But it’s only a matter of time before there are no more traditional Hadza scrambling in the hills with their bows and arrows, stalking baboons.”

Inez van Lamsweerde and Vinoodh Matadin
Nominated work: “Art and Commerce” in the October 2009 issue of W

Why it works: Who better than Inez van Lamsweerde and Vinoodh Matadin to photograph the latest luxe fall looks in and around leading museums and galleries in Paris and New York? The established Dutch duo has long straddled the increasingly blurry worlds of fine art and fashion photography, and in this W portfolio, they combine art and commerce to explosive effects. In a Paris gallery, a Lanvin-clad lady confronts a giant Lalanne gorilla sculpture, while at New York’s PaceWildenstein, a Chuck Close portrait of a grinning Bill Clinton competes for the spotlight with an emerald-hued Valentino ensemble. Van Lamsweerde and Matadin take particular delight in games of scale, whether juxtaposing the size of the fashionable leading lady and her diminutive mate or composing their shots to make the art and architecture precisely — and often alarmingly — life-sized.

In their own words: “There is a love-hate relationship between art and fashion, but I personally think the fashion world is much more honest than the art world because it’s very clear the fashion world is about money,” van Lamsweerde said in a 2005 interview with i-D magazine. “Whereas it’s exactly the same in the art world, but they don’t like to talk about it.”

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Stephanie Murg is co-editor of UnBeige.

As media professionals, we have come a long way since the days of scribbling in black-and-white composition books and fretting over dangling participles. Now, we write for the Internet — a medium where things are constantly changing and it can be hard to keep up.

For example, The Associated Press stalled for years to change its guidelines on the word “website” from “Web site” while the rest of the industry insisted it was one word but couldn’t get confirmation from one of the leading authorities on writing style. The media giant finally caved to popular opinion in mid-April, which sent shockwaves, and relief, through the editorial arena.

But there are a slew of old-school conventions, like “don’t split an infinitive” and “always write in complete sentences,” that are customarily set aside when writing for the Web — and when they are, the content gets even better.

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Going for the Quick Skim

By nature, Web writing begs to be kept concise and succinct. Whether you are crafting an e-newsletter article or sales-based copy, it is likely that you want people to read the text — or at least get a gist of what the message is. That’s why it is okay to use shorter paragraphs or sentences. Copywriters tend to use this method for extra drama, and a more conversational tone can be more effective and relatable. Hey, whatever conveys your point.

“Web writing is becoming increasingly more choppy and more SEO-driven… Formal style rules have effectively gone out the window,” says Christina Couch, a Chicago-based freelance writer. “I write for certain sites that don’t even abide by paragraph form anymore. I believe that Web style is far more driven by the graphics, audio or video accompanying text than it is by any of the traditional rules of style.”

“I tend to use a punchier and much more conversational style than I do for print. People read slower on a computer monitor.”

Couch notes that because the majority of Web content is designed to emulate speech, you can get away with breaking traditional conventions provided that your reporting is strong and the tone of the piece flows well. But not all online writing should appear this way. For example, there is plenty of research published on the Web, and that would follow a more traditional style. “You have to know your publication to tell the difference,” she says.

Breaking It Up

Mallary Jean Tenore, a copy editor and writer with The Poynter Institute, says that sub-headlines do wonders for breaking up text.

“When I’ve done a lot of reporting for a story and am trying to figure out how to structure the information in a way that won’t seem overwhelming to the reader, I use subheads to break up the text. Subheads seem more common online,” she says.

Michelle Goodman, a Seattle-based freelance writer and author of My So-Called Freelance Life, says that she always uses subheads when shifting from print to online writing. “Online, all your editors want catchy subheads to break down 750- to 1,500-word stories into digestible chunks. In print, you don’t always get the luxury of using subheads to clearly delineate new topics and transitions in an article,” she notes.

Ed Gandia, co-author of The Wealthy Freelancer: 12 Secrets to a Great Income and an Enviable Lifestyle, does the same thing because he says attention spans are shorter on the Web.

“I tend to use a punchier and much more conversational style than I do for print. People read slower on a computer monitor, so I try to make it very easy on them,” says Gandia, an Atlanta resident.

Writing with Keyword Intentions

While we may not have been instructed to fit in keywords, say, in headlines, the Web is a vastly different place where the right blend of words (especially on the top fold of a page) can mean the difference between getting noticed and, well… not. In addition to being able to quickly skim a page, SEO plays a huge factor with Web content, especially in headlines. The right word combination can get your content noticed, and can also help readers find out what they can learn from an article.

“When it comes to writing for the Web, I think that headlines that let readers know what they’re going to learn can really help. For a recent story I wrote about bounce rates, for instance, I wanted people to know what they could learn from the story. So I titled it, ‘5 Strategies to Lower Your Site’s Bounce Rate,'” says Tenore. In this instance, she was able to offer a catchy headline while getting a keyword — bounce rate — prominently up top.

Starting Sentences… and Ending Them, Too

In addition to a more choppy style, the Web frequently models content that starts with conjunctions like “but” and “and.” And that is perfectly okay according to Robyn Bradley, a Massachusetts-based copywriter who has also worked as a journalist for print and Web. “Readable writing — especially on the Web — mimics the way people talk in real life. So go ahead: Listen to how people talk. We start sentences with words like ‘but’ all the time. And it sounds perfectly okay to do so,” she says.

“Fact is, grammatically correct copy — copy that would earn an A from your junior high English teacher — is often boring copy.”

Bradley, also known as The Copy Bitch™ on her blog, says writers creating online content should consider breaking the rule about ending sentences with prepositions. “It’s okay, especially if it sounds too clunky to rewrite it ‘correctly,’ but grammar purists hate me for it,” she says. “That’s when I pull out a quote (often attributed to Winston Churchill) to make my point: ‘Ending a sentence with a preposition is something up with which I will not put.'”

The Age-Old Split Infinitive Debate

Whether it was your seventh-grade English teacher or your college literary professor, they probably both voted against splitting infinitives. An infinitive is a verb preceded by the word “to” as in the phrases, “to play” “to make” or “to be.” You probably learned in school to keep your “to’s” and your verbs together, as in “to be absolutely sure.” But in the Internet copywriting age, it’s okay to write like you speak so long as it’s professional and doesn’t change the meaning of the sentence. If you want to tell potential customers “to absolutely be sure,” for example, that’s absolutely alright!

Ditching Third-Person Tone

As a student, you were probably told to keep things formal. And that made sense at the time, because all you wrote were term papers. That’s the way it was for Tenore. “I was always taught, for example, to never use the first person when writing news stories,” she recalls.

Many formal publications, such as newspapers, probably agree that unless it’s a first-person account of something, reporting should be objective — and thus, from a third-person point of view. But depending on what you write, especially on the Web, you can get away with first-person. “I like occasionally using the first person in news stories because it can give them more personality and voice,” says Tenore.

But sometimes, first-person gets a little too narcissistic. “When some people use first-person, they fall into the trap of ‘I, I, I’ or ‘me, me, me,'” says Susan Johnston, a Boston-based freelance copywriter and journalist who just released The Urban Muse Guide to Online Writing Markets. “Too much of that can feel self-indulgent, and if you’re trying to sell a product, you really ought to focus on the customer’s needs, rather than making it all about you.”

Another one of Johnston’s pet peeves is when a solopreneur tries to beef up their business by using “we” in the copy. This could also fall under your English teacher’s age-old rule of keeping things factual.

Contractions are Conversational, Catchy

Your English teacher may have taught you how to use apostrophes to make one word out of two (for example, “let” and “us” becomes “let’s”), but as your education went on, you likely weren’t encouraged to use contractions.

But online content, is more powerful when it is conversational, so a contraction here or there cannot hurt; just don’t use them too much. They help to make everything a little more personal, as opposed to visiting another site where the writing sounds like a technical journal. Copywriters may be more apt to use them than journalists, but unless you are writing technical information, make your text more casual by considering the use of contractions.

“Fact is, grammatically correct copy — copy that would earn an A from your junior high English teacher — is often boring copy,” says Peter Bowerman, an Atlanta-based copywriter and author of The Well-Fed Writer series. “To make something readable and engaging, I’ve broken a lot of rules. Using contractions liberally? Don’t hesitate. And starting sentences with “and” or “but”? But, of course.”

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Kristen Fischer is a copywriter, journalist and author living at the Jersey Shore. Visit www.kristenfischer.com to learn more.

Writing for children is tougher than you think. It calls for a unique balance of creativity, concise explanations, good values, and fun — and while the market may not pay as much as the big boys, it also offers a lot of opportunities that many writers have yet to tap.

For one, there’s stability: Many children’s pubs tend to rely on different sources of revenue — a particularly loyal subscription base, product sales, the development of educational materials, and more. Parents who might cut a subscription to Time out of the family budget might be less likely to cut Cricket, a Carus Publishing magazine that offers as much in terms of educational value as it does in pure nostalgia. “People have an emotional tie to our magazines,” says Victoria Telfer, editorial assistant for Cricket Magazine Group.

Remember that with children’s magazines, the lead time may be much longer, and the manuscript review period (that’s right, many pubs want your finished manuscript, no queries) can be quite long. Persistent follow-ups may not help you as much as patience in this particular market. Read on for details about how to pitch:

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1. Babybug

This Cricket Magazine Group “listening and looking” full-color publication focuses on art, simple stories, and poems for infants and toddlers six months to 2 years of age.
Pay: Varies, $25 minimum.
Advice: “We consider all submissions for all of our publications, so there’s no need to submit the same piece to more than one of our magazines,” says Telfer. “However, we appreciate authors who craft their pieces with a specific age group in mind. There’s a significant difference between writing for a Babybug reader and writing for a Ladybug reader. We do try to maintain the highest literary standard, which exists even in poetry for very young children.”
Direct all pitches to: Editorial director Alice Letvin or associate editor Jenny Gillespie, Babybug, Carus Publishing / Cricket Magazine Group, 70 E. Lake St. Suite 300, Chicago, IL, 60601

2. Ladybug

This “reading and listening” magazine from Cricket is geared toward 2- to 6-year-olds.
Pay: $0.25/word for fiction and nonfiction; $3/line for poems.
Advice: Telfer says editors are always looking for gentle nonfiction stories as well as fiction, poems and activities for the “World Around You” section. And be mindful of your tone: “We see a lot of writing that’s too childish, or patronizing,” she says. “Children are smart and they know when they’re being talked down to — kids don’t want to read that sort of thing, and neither do we.”
Direct all pitches to: Editorial director Alice Letvin or associate editor Jenny Gillespie, Ladybug, Carus Publishing / Cricket Magazine Group, 70 E. Lake St. Suite 300, Chicago, IL, 60601

3. Spider

This magazine focuses on literature and activities for 6- to 9-year-olds.
Pay: $0.25/word max for stories and articles; $3/line for poetry.
Advice: “Spider readers gravitate toward stories, poems, and nonfiction with humor (from subtle and hyper-realistic to absurd) and memorable characters and topics,” says editor Margaret Mincks. “I see many submissions with humor but little character development, or vice versa; these tend to fall flat. If writers create complex, believable characters, kids will connect with them and, by extension, with the material. Spider readers like names, descriptions, funny tics, habits, etc. — all those little things that make a character and the world of a story come to life.”
Direct all pitches to: Editor Margaret Mincks or editorial director Alice Letvin. Please send complete manuscripts only, no queries, to Submissions Editor, Spider, Carus Publishing, 70 E. Lake St. Suite 300, Chicago, IL, 60601

4. Cricket

The flagship of Carus Publishing’s Cricket Magazine Group, the first issue of Cricket printed in 1973. Cricket publishes fiction and nonfiction, poetry, puzzles, crafts science experiments, and more for children ages 9 to 14, nine issues per year.
Pay: $0.25/word max for fiction and nonfiction; $3/line for poetry.
Advice: “Our readers love fantasy — ancient Greece, Lord of the Rings… We’re also looking for engaging, quality science fiction,” says Telfer. “And all the magazines are looking for humorous pieces. Cricket nonfiction can be more in-depth, more sophisticated. Keep in mind that Cricket readers are coming at an article with a broader knowledge of the world. Our nonfiction articles range from science and engineering to history, biography, and art.”
Direct all pitches to: Editor Lonnie Plecha, Cricket, Carus Publishing, 70 E. Lake St. Suite 300, Chicago, IL, 60601

5. Cicada
Cicada is a bimonthly literary magazine for teen and young adult readers, ages 14 and up.
Pay: Varies
Advice: “Cicada can get pretty edgy,” says Telfer. “Teen readers can handle more mature topics, although keep in mind that 14-year-olds are also reading this magazine. We’re also starved for humor submissions. It’s always good to balance out the angst with some clever wordplay!”
Direct all pitches to: Send completed manuscripts, not queries, to Deborah Vetter, executive editor, Cicada, 70 E. Lake St. Suite 300, Chicago, IL, 60601

6. Click

This nonfiction children’s magazine seeks experienced science writers to tackle topics relating to each issue’s central theme, relating to natural or social sciences, the arts, technology, and other topics for readers ages 3 to 6 years old.
Pay: Varies
Advice: Writers are encouraged to check out not only the website but also several issues of the magazine before contacting editors. According to Telfer, the three science magazines under Cricket Magazine Group — Click, ASK, and Muse — require writers with a strong level of scientific expertise. “Writing nonfiction requires a different skill set than writing poetry for the ‘bug’ magazines,” says Telfer. “Our science magazines appreciate writers who come at the topic from a strong, knowledgeable scientific background.”
Direct all pitches to: Experienced science writers should send a resume and published clips to editor Amy Tao at Carus Publishing, 70 E. Lake St. Suite 300, Chicago, IL, 60601

7. ASK

This nonfiction publication for 7- to 10-year-olds will have nine issues in 2011 and features themes for every issue. All themes revolve around various science disciplines and the world around us, including history, the arts, math and technology.
Pay: Varies
Advice: “If you can send me a short piece of writing that makes me sit up and say, ‘Hey, neat, I never thought of that before!’ or ‘Oh, now I get it!’ or makes me want to run out and show it to my friends, that’s what I’m looking for,” says Elizabeth Huyck, editor. “If you’re stumped for a subject, try your hand at short answer (100-200 words) to one of those tricky questions kids ask — why is the sky blue? Why aren’t there dinosaurs? I’m looking for writers who can explain things clearly and concisely, and with humor.”
Direct all pitches to: Authors should first query ASK with clips or a resume demonstrating a background in science. Send queries only to Elizabeth Huyck, Editor, ASK Magazine. Carus Publishing, 70 E. Lake St. Suite 300, Chicago, IL, 60601 or by email to ASK at CARUSPUB dot COM.

8. Muse

This nonfiction magazine for 9- to 14-year-olds revolves around “life, the universe, and pie-throwing.” One of Carus’s three science magazines, Muse seeks writers with subject expertise, so send in your credentials before submitting a manuscript.
Pay: Varies
Advice: “Muse readers are kids and teens with a deep-seated curiosity and a good sense of humor. They don’t want to be talked down to, and they certainly don’t want to read anything that looks like it came from a textbook,” says Elizabeth Preston, editor. “Muse seeks articles that cover science, history, and the arts, always asking the bigger questions instead of settling for an overview of information.
Direct all pitches to: Send queries to Elizabeth Preston, Muse, Carus Publishing, 70 E. Lake St. Suite 300, Chicago, IL, 60601.

9. Clubhouse

This Christian children’s magazine is published by Focus on the Family, and is geared toward 8- to 12-year-olds.
Pay: $0.15-$0.25/word; $200+ for feature-length fiction; $150+ for nonfiction.
Advice: “It’s easiest to break into the magazine with our shorter pieces,” advises Jesse Florea, editor of Clubhouse and Clubhouse Jr. “Fiction (historical, or modern-day with a strong take-away value) stories of 800-1,000 words is a good place to start. Quizzes with a point or fun factoids are also a good place to break into. Plus, we also need fun crafts that can be made at low cost (hopefully with stuff around the house) that fit a theme — maybe Mother’s Day, Father’s Day, Christmas, etc. We avoid stories that talk about magic or romance, and those without takeaway value. We’re looking for character-building stories.”
Direct all pitches to: Joanna Lutz, assistant editor, Clubhouse, Focus on the Family, 8605 Explorer Drive, Colorado Springs, CO 80920. Send completed manuscripts only.

10. Clubhouse, Jr.

Focus on the Family’s 24-page magazine for younger children aims to entertain and teach Christian values to 4- to 8-year-olds around the world. Circulation is about 700,000.
Pay: $100-$200 for unsolicited fiction, nonfiction, and Bible stories. $75-$150 for rebus stories. $50-$100 for poetry. $30-$80 for puzzles.
Advice: “Our greatest need is finding stories of ordinary kids doing something extraordinary. For Club Jr., those kids should be between 3-7,” says Florea.”
Direct all pitches to: Joanna Lutz, assistant editor, Clubhouse Jr., to Focus on the Family, 8605 Explorer Drive, Colorado Springs, CO 80920. Send completed manuscripts only.

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Katie Bunker is an associate editor at Diabetes Forecast magazine and a freelance writer in Washington, D.C..

Children’s publications provide writers with a unique opportunity to stretch their creativity, offer education, and captivate readers in a fresh and exciting way. In part two of our Children’s Markets series, read about how to pitch powerhouses like National Geographic Kids and Sports Illustrated for Kids. You need to do your homework, read the magazine, and query like a pro. Developing the right voice to speak to a young reader is a challenging task, and essential to landing an assignment.

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1. National Geographic Kids

This monthly from the National Geographic Society publishes general nonfiction for 6- to 14-year-olds. Like many established magazines, each editor has a list of go-to writers, so make your pitch solid and concise, and be sure to include clips and a resume. For the complete writer’s guidelines, email MKRAUSS at NGS dot ORG.
Pay: $1/word on average
Advice: Managing editor Rachel Buchholz advises writers to study “at least three years’ worth” of issues before querying. And don’t assume every story has to be about kids. “Instead, pitch us something that reflects what we do — for instance, a fun Amazing Animal story, a query with a wacky twist, or an Animal Rescue idea — anything that shows you have an understanding of what will work for our audience. A fun, energetic query letter is also key.”
Direct all pitches to: Rachel Buchholz, managing editor, for queries about human interest, archaeology, history, pets, and entertainment stories to; or to Catherine Hughes, science editor, for queries about science, space, technology, wildlife, and geography. Editors can be pitched by mail, at NG Kids, 1145 17th Street NW, Washington, D.C. 20036. Include clips with your submission.

2. Sports Illustrated for Kids

This monthly magazine for kids and young teens has been published since 1989, and reaches readers through subscriptions, online at SIKids.com, at live events, and in schools.
Pay: Varies.
Advice: “Our stories need to be interesting, fun, well-reported and well-written,” says Der. “The biggest mistake some people make is thinking they can submit a ‘dumbed down’ version of a story that they have previously written for a publication aimed at adults.”
Direct all pitches to: Bob Der, managing editor, at BOB_DER at SIKIDS dot COM, or Justin Tejada, assistant managing editor, at JUSTIN_TEJADA at SIKIDS dot COM, or via snail mail to Sports Illustrated Kids, 1271 Avenue of the Americas, New York, NY 10020. Editors don’t recommend sending completed manuscripts.

3. Boys’ Life

The Boy Scouts of America began publishing this monthly magazine in 1911, and it now has a circulation of 1.3 million. The magazine is for boys ages 6 to 18.
Pay: $400 to $1,500 for major nonfiction articles. $750 and up for fiction short stories. $150 to $600 for departments.
Advice: “It’s best for a writer to start with queries for departments briefs in our Heads Up! section,” says Paula Murphey, senior editor. “These columns run from 150 to 300 words and cover subject categories that include science, nature, health, pets, sports, outdoors, history, cars and space and aviation.”
Direct all pitches to: For fiction, send queries or manuscripts with a cover letter to senior editor Paula Murphey; For departments, send queries to associate editor Brad Riddell. All submissions should be sent by regular mail to Boys’ Life, 1325 West Walnut Lane, P.O. Box 152079, Irving, TX 75015.

4. AppleSeeds

This Cobblestone magazine by Carus Publishing focuses on social studies for readers ages 6 to 9, or a third-grade reading level. Visit CobblestonePub.com for writer’s guidelines and themes for the year’s nine issues.
Pay: $50/page
Advice: “Especially if a writer is new to AppleSeeds, I look for a well-developed query that goes into some detail about the particular approach the writer will take to the subject. A query that says: ‘An article on Thomas Edison and his invention of the light bulb’ doesn’t tell me much, as opposed to a query that describes the way the writer plans to tell the story, important details to be included, etc.,” says Susan Buckley, editor.
Direct all pitches to: SUSANBUCKLEYNYC at GMAIL dot COM

5. Calliope

This Cobblestone magazine by Carus Publishing focuses on world history and is geared for readers ages 9 to 14. Visit CobblestonePub.com for writer’s guidelines and themes for the year’s nine issues.
Pay: $0.20 to $0.25/word for features, supplemental nonfiction, and fiction. Rates vary for activities, puzzles, and projects.
Advice: “A query should also be accompanied by a writing sample and a reason why the prospective writer chose the query topic and the qualifications the writer has to write on the topic,” says Rosalie Baker, editor.
Direct all pitches to: Rosalie Baker, Cobblestone Publishing, 30 Grove Street, Suite C, Peterborough, NH 03458. Send hard copies only. For queries submitted well ahead of deadline, you may wait several months before your query is answered.

6. Cobblestone

For this flagship publication at Carus Publishing, read lots of sample issues before developing a pitch and be sure to include a detailed and complete bibliography.
Pay: $0.20 to $0.25/word for features, fiction, and supplemental nonfiction

Rates vary for activities, poetry, and games.
Advice: “If an author is new to Cobblestone, a lot rides on the query. I read an average of 50 queries for each issue, so I need something to jump out at me… A creative title suggestion is always a good hook for me. It is easy to tell, too, when an author is passionate about a subject, and I like to see that,” says editor Meg Chorlian. “[Also], we break a subject down into specific aspects or events so that we can go into greater detail — for example, the debates between Lincoln and Stephen Douglas deserve their own article rather than being lumped in with a general article about Lincoln’s political career.”
Direct all pitches to: Meg Chorlian, Cobblestone Publishing, 30 Grove Street, Suite C, Peterborough, NH 03458. Send hard copies only.

7. Dig

This Cobblestone magazine by Carus Publishing focuses on archaeology and is geared for readers ages 9 to 14. Visit CobblestonePub.com for writer’s guidelines and themes for the year’s nine issues.
Pay: $0.20 to $0.25/word for features, supplemental nonfiction, and fiction

Rates vary for activities, puzzles, and games.
Advice: As always, study up on the publication before pitching. “The query should focus on a specific topic related to an upcoming theme, with a bibliography of resources (not just websites and encyclopedia-type information, but current analysis as well),” says Rosalie Baker, editor of Calliope and Dig.
Direct all pitches to: Rosalie Baker, Cobblestone Publishing, 30 Grove Street, Suite C, Peterborough, NH 03458. Send hard copies only.

8. Faces

This Cobblestone magazine by Carus Publishing focuses on world cultures and geography and is geared for readers ages 9 to 14.
Pay: $0.20 to $0.25/word for features, supplemental nonfiction, and fiction

Rates vary for activities, puzzles, and games.
Advice: Visit CobblestonePub.com for writer’s guidelines and themes for the year’s nine issues.
Direct all pitches to: Elizabeth Crooker Carpentiere, Cobblestone Publishing, 30 Grove Street, Suite C, Peterborough, NH 03458 or email queries to FACESMAG at YAHOO dot COM

9. Odyssey

This science magazine from Carus Publications is for readers ages 9 to 14. While the standard approach for getting published in Odyssey is to send a query relating to a particular issue theme, this magazine’s senior editor says she likes completed manuscripts, but only if they are well-executed.
Pay: $0.20 to $0.25/word for all content.
Advice: “I would recommend reading about science on a regular basis — journals, magazines, and good websites. Then you’re likely to have ideas for articles that relate to Odyssey‘s theme list,” says Elizabeth Lindstrom, senior editor. “Follow the guidelines and make sure your query includes a lead that shows you have a lively writing style, a bibliography that includes recent research and interviews with scientists, and an outline that shows that you have a good grasp of the subject matter.”
Direct all pitches to: Mail hard copy queries to Elizabeth Lindstrom, Cobblestone Publishing, 30 Grove Street, Suite C, Peterborough, NH 03458 or email them to BLINDSTROM at CARUSPUB dot COM

10. Jack and Jill

The U.S. Kids magazines Humpty Dumpty, Turtle, and Jack and Jill are published by the Children’s Better Health Institute, was established in 1976 and is a part of The Saturday Evening Post Society. The Institute aims to educate parents, teachers, and professionals about good health. This U.S. Kids publication is for 8- to 12-year-old readers and focuses on education and healthy living, promoting activity and nutrition.
Pay: $0.25/word for fiction and nonfiction, $25 to $50 for poetry, $25 minimum for puzzles and games.
Advice: “We’re looking for things that encourage a fun, healthy lifestyle and encourage kids to live well,” says Julia Goodman, editor of Jack and Jill. “Don’t preach [to kids] — show, or demonstrate, instead. And encourage kids to live well and broaden their horizons.”
Direct all pitches to: Editor Julia Goodman: J dot GOODMAN at CBHI dot ORG

11. Humpty Dumpty
Humpty Dumpty is geared at readers ages 5 to 7 and features puzzles, crafts, and content that promotes health and nutrition.
Pay: $0.35/word for fiction and nonfiction, $25 to $50 for poetry, $25 minimum for puzzles and games.
Direct all pitches to: Editor Terry Harshman: THARSHMAN at CBHI dot ORG

12. Turtle

This U.S. Kids publication is a bi-monthly read-aloud magazine for preschool kids ages 3-5.
Pay: $0.35/word maximum for fiction, $25 to $50 for poetry, $25 minimum for puzzles and games.
Direct all pitches to: Editor Terry Harshman: THARSHMAN at CBHI dot ORG

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Katie Bunker is an associate editor at Diabetes Forecast magazine and a freelance writer in Washington, D.C.

The famous African proverb says it takes a village to raise a child. Well, to market a bestseller it also takes a village of another sort, a self-made coalition of authors.

Just take it from Daylle Deanna Schwartz, author of several books including Nice Girls Can Finish First (McGraw-Hill, 2009). “When I meet a writer I like, I reach out and offer what I know about promoting a book. Others do that for me. I’ll invite someone to be a guest on my blog, ‘Lessons from a Recovering DoorMat,’ if their topic is suitable. Sometimes writers email me for advice and I can do the same… I’ve also gotten online contacts for sites that I can syndicate my blog to. These contacts are hard to find on your own.”

Although publishing houses typically assign in-house publicists to promote their titles, those budgets are quickly being slashed. The result? Authors are taking it upon themselves to build their own buzz. Since there’s only so much you can do yourself, the latest DIY option is to pool resources with fellow authors to help build a bestseller. And although book sales are the ultimate goal of any promotion, there are countless other rewards waiting for you.

Referrals, Last-Minute Support___ and Edits

For instance, Schwartz is a member of the American Society of Journalists and Authors (ASJA), and got one of her literary agents from a recommendation from a writer friend at an ASJA holiday party. “I got lots of suggestions on the [online] forum when I had to leave another one… I believe that helping others attracts support in return, though not necessarily from the person I helped. So I try to help other writers when I can and meet writers who feel the same way that help me.”

Alexandra Owens, executive director of the ASJA, mentions one of the first places to start building your network is a professional organization. “Find places where writers interact. Then you can come to a conference, see people in person, join the Facebook group.” Plus, she mentions once you get the word out that you need sources, seeking information about book promotion and joining a professional organization “gives you a huge leg up compared to colleagues who don’t.”

One of the several colleagues Schwartz frequently shares information with is Tina B. Tessina, Ph.D., author of Money, Sex and Kids: Stop Fighting about the Three Things That Can Ruin Your Marriage (Adams Media, 2008). They met on the ASJA forum about 10 years ago, liked each other from reading their posts, and according to Schwartz, “recognized each other as supportive chicks. She always offered her support to me and vice versa. She lives in California and I live in New York. I only just met her in April when she attended the ASJA conference. We were like old friends, reuniting instead of meeting face to face for the first time.”

In addition to sharing blog posts, book reviews, agents, editors, book store information, and more, Tessina knows she can count on her writer friends for a last-minute lift when needed. “In 2008, when my book was about to come out, the editor blindsided me with a last-minute (24 hour notice) need for book blurbs. I was on a cruise, and had to do everything via the ship’s imperfect email system. My ASJA friends came through like troopers, giving me a huge list of powerful blurbs for the book. Again, I’m more grateful than I can express.”

“We’re all aiming for the same thing — more readers, more sales — so I think a lot of us are happy to collaborate.”

Another way to share resources is joining or even starting a writer’s group for valuable face time. Gretchen Rubin, New York Times bestselling author of The Happiness Project: Or, Why I Spent a Year Trying to Sing in the Morning, Clean My Closets, Fight Right, Read Aristotle, and Generally Have More Fun (Harper, 2009), says authors know how to write but there’s more to learn in terms of marketing; her groups serve as networking/strategy sessions. “I remember when I did my first book signing and I didn’t know what to write! I didn’t know where to sign it, I was like what do I do? Writers can help you. I’m in another group where it’s just four of us, and we have different careers and we talk about strategies like, “I’m thinking that I need to do more with video, but I can’t decide.”

Two Book Tours are Better Than One

Although bouncing ideas off each other can occur within any genre, some nonfiction writers choose to cross the border and build alliances with fiction authors, too. Essentially, the art of book promotion is different for nonfiction and fiction authors. Although nonfiction authors may frequently share media contacts to be quoted as an expert on a radio show or news program, fiction authors are somewhat limited in their exposure. That said, both nonfiction and fiction authors have an audience which may overlap and find common ground. For instance, a woman reading chick lit may also be interested in reading a nonfiction book about friendship.

Irene Levine, Ph.D. and author of Best Friends Forever: Surviving a Breakup with Your Best Friend (Overlook Press, 2009), met Joanne Rendell, author of The Professors’ Wives’ Club (NAL Trade, 2008), a scholar in residence at NYU. “She hosted a lecture and invited me and it was a wonderful audience, perfect for my book,” says Levine. Plus, they swapped information about the publishing process. “It’s informal knowledge that you learn along the way. No one has more of a vested interest in the marketing of your book than the author.” In another example, Levine forged a blogging alliance with four women who write about friendship from a slightly different perspective. They frequently cross-promote on each others’ blogs.

For Allison Winn Scotch, author of New York Times bestseller The One That I Want (Shaye Areheart Books, 2010), appearing at an upcoming book signing with a fellow author will bolster the size of the crowd and bring in new readers. “I’m doing one of these next month with Jonathan Tropper, whose books I have been a fan of before I was a fiction writer, and I’m almost more excited about it than my solo signings. Again, we’re all aiming for the same thing — more readers, more sales — so I think a lot of us are happy to collaborate in any way possible.”

Crystal Patriarche, founder and publicist for BookSparksPR, notes that joint book signings are a way to build buzz as publishers scale back book tours. Her advice? “Team up with similar authors or debut authors or well-known authors and share an event and introduce each other to your fans.”

We’re All in the (Twitter) Trenches Together

Since the very essence of social media is just that — social — authors have reached out to colleagues online. Winn Scotch has contacted a lot of authors she admires via email, Twitter or Facebook and many have become close friends. “One of my closest friends is an author, Laura Dave, whom I emailed many years ago when I read her first book. We went out to coffee shortly thereafter and now, she is one of my closest confidantes both in the industry and outside of it. We read each others’ drafts, offer counsel on the publishing industry and are just there offering general support… Authors really do enjoy connecting with other authors: we’re all in the trenches together.”

Rubin says authors using social media effectively are promoting others instead of themselves. “It’s a way to shine the spotlight on the things you think are valuable. It’s a fantastic way to help other writers and support other work you think is good.” Kevin Daum, author of Roar! Get Heard in the Sales and Marketing Jungle: A Business Fable (Wiley, 2010), shares media contacts with members of his author’s group which result in media appearances and adds, “It’s better to have someone else talking about your book than you talking about it yourself. You must work every angle.”

The Bottom Line

And as for how the village helps with book sales? “You know, there’s no way to really know — it’s cumulative, especially online,” notes Tessina. “I’m quoted in so many articles, books and blogs that it accumulates. It gets me better Google ratings, I’m more findable online, and that leads to more sales. In this way, I’ve managed to keep my books in print and alive online for many more years than most books last.”

Although Schwartz has seen her numbers on Amazon improve after an appearance, she explains, “Each media hit is like planting a seed that can generate sales. Every seed has potential, which is why it’s always good to get them.”

Building your own seeds through alliances result in a win-win all around in a profession that is otherwise isolated by nature. Schwartz adds, “There’s room for all good writing. If you’re threatened, work on becoming a better writer. A confident one isn’t scared of sharing or losing a sale to someone you help.”

---

Vicki Salemi is a freelance writer based in New York City. She is the author of Big Career in the Big City: Land a Job and Get a Life in New York. Follow her on Twitter @VickiSalemi.

The famous African proverb says it takes a village to raise a child. Well, to market a bestseller it also takes a village of another sort, a self-made coalition of authors.

Just take it from Daylle Deanna Schwartz, author of several books including Nice Girls Can Finish First (McGraw-Hill, 2009). “When I meet a writer I like, I reach out and offer what I know about promoting a book. Others do that for me. I’ll invite someone to be a guest on my blog, ‘Lessons from a Recovering DoorMat,’ if their topic is suitable. Sometimes writers email me for advice and I can do the same… I’ve also gotten online contacts for sites that I can syndicate my blog to. These contacts are hard to find on your own.”

Although publishing houses typically assign in-house publicists to promote their titles, those budgets are quickly being slashed. The result? Authors are taking it upon themselves to build their own buzz. Since there’s only so much you can do yourself, the latest DIY option is to pool resources with fellow authors to help build a bestseller. And although book sales are the ultimate goal of any promotion, there are countless other rewards waiting for you.

Referrals, Last-Minute Support___ and Edits

For instance, Schwartz is a member of the American Society of Journalists and Authors (ASJA), and got one of her literary agents from a recommendation from a writer friend at an ASJA holiday party. “I got lots of suggestions on the [online] forum when I had to leave another one… I believe that helping others attracts support in return, though not necessarily from the person I helped. So I try to help other writers when I can and meet writers who feel the same way that help me.”

Alexandra Owens, executive director of the ASJA, mentions one of the first places to start building your network is a professional organization. “Find places where writers interact. Then you can come to a conference, see people in person, join the Facebook group.” Plus, she mentions once you get the word out that you need sources, seeking information about book promotion and joining a professional organization “gives you a huge leg up compared to colleagues who don’t.”

One of the several colleagues Schwartz frequently shares information with is Tina B. Tessina, Ph.D., author of Money, Sex and Kids: Stop Fighting about the Three Things That Can Ruin Your Marriage (Adams Media, 2008). They met on the ASJA forum about 10 years ago, liked each other from reading their posts, and according to Schwartz, “recognized each other as supportive chicks. She always offered her support to me and vice versa. She lives in California and I live in New York. I only just met her in April when she attended the ASJA conference. We were like old friends, reuniting instead of meeting face to face for the first time.”

In addition to sharing blog posts, book reviews, agents, editors, book store information, and more, Tessina knows she can count on her writer friends for a last-minute lift when needed. “In 2008, when my book was about to come out, the editor blindsided me with a last-minute (24 hour notice) need for book blurbs. I was on a cruise, and had to do everything via the ship’s imperfect email system. My ASJA friends came through like troopers, giving me a huge list of powerful blurbs for the book. Again, I’m more grateful than I can express.”

“We’re all aiming for the same thing — more readers, more sales — so I think a lot of us are happy to collaborate.”

Another way to share resources is joining or even starting a writer’s group for valuable face time. Gretchen Rubin, New York Times bestselling author of The Happiness Project: Or, Why I Spent a Year Trying to Sing in the Morning, Clean My Closets, Fight Right, Read Aristotle, and Generally Have More Fun (Harper, 2009), says authors know how to write but there’s more to learn in terms of marketing; her groups serve as networking/strategy sessions. “I remember when I did my first book signing and I didn’t know what to write! I didn’t know where to sign it, I was like what do I do? Writers can help you. I’m in another group where it’s just four of us, and we have different careers and we talk about strategies like, “I’m thinking that I need to do more with video, but I can’t decide.”

Two Book Tours are Better Than One

Although bouncing ideas off each other can occur within any genre, some nonfiction writers choose to cross the border and build alliances with fiction authors, too. Essentially, the art of book promotion is different for nonfiction and fiction authors. Although nonfiction authors may frequently share media contacts to be quoted as an expert on a radio show or news program, fiction authors are somewhat limited in their exposure. That said, both nonfiction and fiction authors have an audience which may overlap and find common ground. For instance, a woman reading chick lit may also be interested in reading a nonfiction book about friendship.

Irene Levine, Ph.D. and author of Best Friends Forever: Surviving a Breakup with Your Best Friend (Overlook Press, 2009), met Joanne Rendell, author of The Professors’ Wives’ Club (NAL Trade, 2008), a scholar in residence at NYU. “She hosted a lecture and invited me and it was a wonderful audience, perfect for my book,” says Levine. Plus, they swapped information about the publishing process. “It’s informal knowledge that you learn along the way. No one has more of a vested interest in the marketing of your book than the author.” In another example, Levine forged a blogging alliance with four women who write about friendship from a slightly different perspective. They frequently cross-promote on each others’ blogs.

For Allison Winn Scotch, author of New York Times bestseller The One That I Want (Shaye Areheart Books, 2010), appearing at an upcoming book signing with a fellow author will bolster the size of the crowd and bring in new readers. “I’m doing one of these next month with Jonathan Tropper, whose books I have been a fan of before I was a fiction writer, and I’m almost more excited about it than my solo signings. Again, we’re all aiming for the same thing — more readers, more sales — so I think a lot of us are happy to collaborate in any way possible.”

Crystal Patriarche, founder and publicist for BookSparksPR, notes that joint book signings are a way to build buzz as publishers scale back book tours. Her advice? “Team up with similar authors or debut authors or well-known authors and share an event and introduce each other to your fans.”

We’re All in the (Twitter) Trenches Together

Since the very essence of social media is just that — social — authors have reached out to colleagues online. Winn Scotch has contacted a lot of authors she admires via email, Twitter or Facebook and many have become close friends. “One of my closest friends is an author, Laura Dave, whom I emailed many years ago when I read her first book. We went out to coffee shortly thereafter and now, she is one of my closest confidantes both in the industry and outside of it. We read each others’ drafts, offer counsel on the publishing industry and are just there offering general support… Authors really do enjoy connecting with other authors: we’re all in the trenches together.”

Rubin says authors using social media effectively are promoting others instead of themselves. “It’s a way to shine the spotlight on the things you think are valuable. It’s a fantastic way to help other writers and support other work you think is good.” Kevin Daum, author of Roar! Get Heard in the Sales and Marketing Jungle: A Business Fable (Wiley, 2010), shares media contacts with members of his author’s group which result in media appearances and adds, “It’s better to have someone else talking about your book than you talking about it yourself. You must work every angle.”

The Bottom Line

And as for how the village helps with book sales? “You know, there’s no way to really know — it’s cumulative, especially online,” notes Tessina. “I’m quoted in so many articles, books and blogs that it accumulates. It gets me better Google ratings, I’m more findable online, and that leads to more sales. In this way, I’ve managed to keep my books in print and alive online for many more years than most books last.”

Although Schwartz has seen her numbers on Amazon improve after an appearance, she explains, “Each media hit is like planting a seed that can generate sales. Every seed has potential, which is why it’s always good to get them.”

Building your own seeds through alliances result in a win-win all around in a profession that is otherwise isolated by nature. Schwartz adds, “There’s room for all good writing. If you’re threatened, work on becoming a better writer. A confident one isn’t scared of sharing or losing a sale to someone you help.”

---

Vicki Salemi is a freelance writer based in New York City. She is the author of Big Career in the Big City: Land a Job and Get a Life in New York. Follow her on Twitter @VickiSalemi.