WRITING ADVICE

FEWER blue-pencilled strokes improve your chances of acceptance. That may sound trite but it true, especially when it comes to newspaper and magazine articles. Most contributors to journals know that sentences and paragraphs are shorter than those in novels. Unfortunately, many novices overlook the difference between book and newspaper styles, thinking they are interchangeable. They are not, although more books are moving towards the style of popular publications. Is style that important? It is if you want your articles to be accepted by national or regional journals. Those editors will notice immediately whether you are a trained journalist or if you have at least taken the trouble to learn how to write like a professional. If your article does not conform to their style, meaning that time and money has to be spent editing out trivial errors& then unless your piece is a national, regional or local exclusive - it will be rejected.

A few hints on style:

The ise have it. Examples: realise, recognise, emphasise, harmonise, socialise, sympathise. Capsize is one of the rare exceptions. Some dictionaries and Americans preferize but most UK publications use ise. A Capital letter starts the decades. The Seventies, the Eighties, the Nineties. And its he was in his nineties or 90s”. Centuries are numbered. It’s 19th Century or 19th century. Note: They lived in a house built in the 19th century”, but “They lived in a 19th-century house’ When it’s lower case (“in the 19th century”) add a hyphen when it acts as an adjective (“a 19th-century house”). Numbers. One to ten are written out, then it’s 11, 12, 13... But a number at the beginning of a sentence must be written out. Delete apostrophes. Flu, phone, plane and 1990s need no apostrophes; nor do any abbreviated plurals: CVs, CDs, TVs, MPs, DJs, IRCs, GCSEs, l000s or ���s. Some writers still pepper these examples with needless apostrophes.

• DELETE STOPS. In abbreviations for BBC, ITV, SAE or sae, RAF, Rev, Prof, Mr and Mrs. And most journals don�t use a full stop after info, intro, ad or mag although these are better spelled out.
  
  
• ADD HYPHENS. Sub-editors find it tedious having to replace misplaced hyphens. Remember: old-fashioned, heavy-handed, heavy-hearted, grim-faced, thought-provoking, camera-ready copy; a Grisham-like thriller, a turn-of-the-century event, a labour-saving device, a double-barrelled shotgun, a down-at-heel person, a well-written book.
  
  
• REDUNDANT HYPHENS. Editors despair at copy containing too many of these inexcusable blunders: �now-a-days� for nowadays; �re-vamp� for revamp; �pre-occupa�tion� for preoccupation; �counter�parts� for counterparts; �work-loads� for workloads; �show-bizz� for showbiz (only one z); �thirty-some�thing� for thirty something.
  
  
• HOWLERS TO AVOID: �elusion� for illusion; �knit-picking� for nit-picking; �throws� for throes (as in �He was in the throws of passion with the girl� - was he throwing her against a wall?); �rain� for rein (as in �Rain in your emotions�- chuck a bucket of water on �em?); �send a SAE or a sae� for send an SAE or an sae (you would�n�t write �a RAF officer� for an RAF officer).
  
  
• COMMON USAGE. Proper and popular publications write TV~ not �tv�; per cent, not �percent� (US); while, not �whilst�; among, not �amongst�; amid, not �amidst�.
  
  
• FEEL FREE. To begin sentences with an and or a but, end sentences with a preposition and, if it makes a sentence read smoothly, split the infinitive. In their eagerness to show that they know when and how to break the rules many writers litter their copy with Ands and Buts, which are superfluous.
  
  
• COMMA SENSE. Don�t put a comma before parenthesis or before a post-code. An address should read �London EC1� not �London, EC1� Hardly any national or regional journals use a comma to introduce a direct quote. It�s �he/she said:� not �He/she said,�
  
  
• AMATEUR FAULTS. Don�t indent the first paragraph of an article; don�t use capital letters or underlining to emphasise a word or a sentence (that�s like screaming at the reader -and underlining means that the word or sentence underlined should appear in italics); don�t use bullet points - � and numbers - 1 (that�s overkill). Don�t use slang or clich�s and then bracket them with self-conscious quotation marks. This is patronising. Either use slang unadorned or rewrite what you wish to communicate in plain English. Don�t start too many sentences or paragraphs with the same letter or word. It�s a chore having to wade through dozens of sentences or paragraphs beginning with, typically, I or The. Of course, repetition in any form can be used sparingly as an emphatic device in prose or poetry. The last few sentences and paragraphs intentionally hammered home the word doesn�t. Study. Don�t merely skim your newspaper or magazine. Studying any national publication will teach you much about current usage. Too many potential writers fail because of an amateur approach to professional writing. If they applied the same approach to becoming a doctor, let alone a brick�layer, they would also fail. Sadly, many can type, few can write. At least master the style basics before concentrating on other aspects of your article. Editors will appreciate that. All national newspapers and most leading magazines adhere to the style points outlined in this article. It may not be great literature, but it�s good journalism.
  

SELLING YOUR STORY

WRITERSWORLD is a tool to help get your story told, so you're probably wondering, "Why on Earth do I need to know about business to tell a story?" Well, stories come in many different shapes and forms, from screenplays and stage plays, to books, magazines, and the news. Entertainment is big business worldwide, creating an enormous demand for captivating stories. That demand puts a strain on the pipeline that supplies them. As any first year economics student will tell you, when demand exceeds supply, the price goes up. And once money enters the picture, you need to become business savvy! We will provide you with some guidelines to help you develop your business acumen, but by no means should you let this be your final stop. Ask questions, read books, research, and seek advice from those who have been there.

Hopefully, it won't be long before you have a need to apply some of the business principles to your story telling career. Just keep in mind that it's really not complicated. Like so many other professions, you merely need to familiarise yourself with the fancy terms and customary procedures. Also remember that you don't need to do it all on your own. There are many skilled people who can help, like an agent or an attorney. It is good practice, however, to understand what is being negotiated. In the long run, no one will have a greater interest in the success of your career than you. And ultimately, you are the one who must live with the terms of the deal. So take the time to educate yourself and feel free to send us any questions you have. If we can't answer them, we'll try to find someone who can.

SELLING YOUR STORY

Once you've taken the steps to protect your work, you should know about ways in which stories are acquired. The two most common are to purchase it outright, or to option it. An option essentially allows a buyer to 'rent' your story for a fixed period of time (typically one year), with the option to buy it for a predetermined amount during the option period. This is most often encountered in the movie and television business, where a producer will option a story in order to 'shop it' to the various TV networks and/or film studios in hopes of getting a commitment, at which time the producer will exercise the option and purchase the rights to the story. If the producer is unable to generate interest, then he or she will either pay to extend the option, or let the option expire. If they choose to let it expire, the copyright reverts to you, and everything is back to the way it was prior to the option.

OPTIONING VS. SELLING

An option is simply an agreement that grants to someone the right to buy the story at a previously agreed-upon price within a predetermined time period. It is really a means by which the buyer can control the story for a limited amount of time, and, if the buyer decides that it is worthwhile before the end of that period, purchase it without competition from other buyers. The option gives the buyer time to ponder the decision to buy the story without the danger of someone else making a competitive offer and taking it from under his or her feet. It is common especially with screenplays and true stories.

When a buyer options material, they will typically pay a fraction of the purchase price to control the story for this limited period. The payment can range from 5% to 20% of the purchase price, to no payment at all. In the case where a buyer options material for no upfront money, the consideration or "payment" the seller receives is the buyer's good faith effort to obtain a development commitment from a third party (a network, studio, or other buyer/licensee). In reality, many good stories still need additional development to make them saleable. Buyers will spend their resources embellishing material in hopes of obtaining that sale. While this may seem to be of no value, in the hands of the right buyer this could be a promising deal. It's better to option your material for no upfront money to a buyer who is likely to get it produced or published, than to take a small option amount from a buyer whose chances of success are slimmer. In the long run, your "real" money and credibility come from getting your stories made.

KNOWING THE VALUE OF YOUR STORY

There can be a broad range and configuration of fees based on the intended use of a story. Very few newspapers will pay for stories. Tabloids are the exception to this industry rule. Magazines will pay for articles and short stories, but don't expect to purchase that shiny sports car with the fees paid by magazines. In both of these cases, the prestige of being published and the wide exposure of your work will more than offset your small monetary gain. Film and television, on the other hand, can pay significantly higher rates for a great story. There are numerous factors that determine a story's value, the primary being "how well known is the story." The more visible a story, the higher its value will be. A best-selling novel or a story making national headlines will typically sell for more than a small, obscure story.

Below is a table that will give you some guidelines to the average range of fees paid for stories based on the industry that is exploiting them. They are all in United States dollars.

NEGOTIATION ADVISE

Ah, negotiation... how much did you pay for your last car? Too much? The art of negotiation is a fine one, indeed. It helps if you've had practice, whether it was for a higher allowance in elementary school or an executive pay raise. We negotiate all the time, and it's no different here. First and foremost, you should know as much as you can about the fees typically paid in your particular field before entering a negotiation. The worst thing is to be caught off-guard. But remember, if you ever are, do not be afraid to say, "I'll have to get back to you on that." And if you need further clarification on a specific point, just ask for it. Better to ask and risk looking foolish, than to be ignorant and lose a great deal of money. When you're ready to start the negotiation, know your bottom line, and add an acceptable buffer to establish a starting point. In most cases, the buyer will make you an opening offer, but be prepared to give an answer if asked. For example, if you are hoping to sell your life rights to a television producer for $25,000, your initial offer should be in the area of $40,000. Don't forget it's almost impossible to go up from you're starting point, so it's better to ask for too much than for too little. It's rare that a buyer will walk away from a deal without negotiating if they're truly interested. In the end, you must ask yourself this question before you close any deal: "Did I leave any money on the table?" In other words, have you gotten everything you can out of this deal? Negotiation is a game of chicken. At what point will one party walk away from a deal? When you feel your buyer has reached that point, then you should close the deal. Get what you can, and be done with it. Should you need help with your negotiation, you can enlist the aid of an agent or attorney. In return for a percentage of the fees you receive, or a flat hourly rate, they can negotiate and service the deal for you.

AGENT MANAGER, OR LAWYER?

In nearly every case, an agent or manager will take a percentage of any monies earned by a client. Logic dictates that an agent or manager doesn't make money unless you do, so there's built-in motivation for them to sell your work. They can also be a much shrewder negotiator with a better sense of the marketplace. A good agent is well worth the 10% you will pay. Most agents and managers guide careers and won't sign a client on a job-by-job basis. You'll need to show long-term potential as a writer for a reputable agent or manager to take you as a client. In general, agents are interested in a finished product to sell rather than the development and nurturing process of their clients' talents. Although a few spend time with their clients on developing their craft, most focus more on the business side of the game. Managers tend to be hand-holders. They're involved in the day-to-day development and guidance of their clients, making sure the material is the best it can be prior to the selling stage. Agents will solicit, procure, and negotiate work for you, either by selling completed work or filling open writing assignments. Managers, on the other hand, are not allowed to solicit or negotiate on your behalf. In recent years, however, the lines between agents and managers have become blurred and many managers now act as agents.

Agents are restricted to a commission of 10%, while managers are not subject to any limitations. Typically, writers will have either an agent or a manager, not both. Only those who require added attention, to either pacify their insecurities or handle the workload of a successful career, have both. But, in almost every case, an attorney is also part of the team. Attorneys are an essential piece of the puzzle. Because most manager and agents aren't lawyers, and every contract has its legal pitfalls, your first team member should really be an attorney. He or she can review not only your writing and/or life rights contracts, they can also ensure that your agent and/or managers' contracts are proper and fair. They provide a unique and valuable service. Many attorneys will work on a "per-case" basis, charging you a percentage of the deal or a straight fee. Make sure you find an attorney versed in entertainment law - you don't want a personal injury attorney working on your book publishing deal! The decision to sign with an agent, manager, or attorney is a big one. New ways of selling stories without the need of an agent continue to materialise (like the web site you are currently reading). However, agents do provide a presence for your story in the marketplace, and increase the chances that your material will get read. They can call upon long-term relationships, and are great for setting-up meetings, which is extremely important for new writers. You must remember that the final decision of a buyer will come down to you and your work. You can't blame an agent if you give them material that not up-to-par.

So, use your gut instinct. Interview anyone looking to join your team, not the other way around. Make sure they genuinely respond positively to your material, as well as your style of writing. They should have a clear focus on how to develop your career. A good resource for finding an agent or manager is The Hollywood Agents and Managers Directory, which has a full list of agents and managers and their respective firms.

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