Categories
Magazine, Freelance, and Copywriting

From Consumption to Contribution: Libraries as Centers of the Circular Economy

There’s little doubt that excessive consumption is harming communities and the environment. For one, the manufacturing processes produce vast amounts of waste and emissions to transport products to customers. For another, many companies have elected to use cheaper materials to save on production costs, which eventually causes these same products to degrade earlier in their life cycle. As a result, consumers have to spend more money finding replacements rather than repairing a well-made item. It’s a difficult issue. But you may be surprised to learn that libraries can be part of the solution.

This is because libraries now and in the future are tending toward being more dynamic community spaces. They offer multiple resources, give people areas to congregate, and are sources of diverse expertise. As a result, they are central to activities related to building a genuinely sustainable circular economy.

Sharing Green Knowledge and Resources

Libraries across the world play a pivotal role as forts of knowledge. This is no different when it comes to maintaining community sustainability. Generally speaking, climate change continues to worsen because many people don’t have the skills or understanding to make meaningful green changes in their lives. Therefore, librarians can contribute to a sustainable future as guides to setting and achieving Sustainable Development Goals (SDGs) in their everyday activities and businesses.

First, individual librarians or groups can help the public to understand what key SDGs are. Within the context of a circular economy — a system that prioritizes reusing, repairing, and recycling products — librarians can coach on sustainable consumption and production patterns, including sustainable publishing. Libraries can host public discussions about what this means and practical approaches to achieving it. To become approachable, these discussions can direct locals to organizations in the community where they can purchase old items or who may accept old materials for recycling.

Growing a Sustainable Writing Community

Libraries can also serve as ecosystems for budding writers while promoting sustainability. While buying books as individuals is a great way to support authors financially, libraries can purchase books which allows multiple people to enjoy the book. This makes the author’s work more accessible, more sustainable and reduces over consumption.

In addition, libraries can be an ideal place to harbor writing conferences, writers-in-residence, and writing workshops to introduce local authors to the community.

Hosting Maker Spaces

Among the key tenets of a sustainable circular economy is to reduce the potential for both over consumption and to minimize unnecessary waste. Community members need to be able to make items from scratch and repair their current items. Libraries can contribute to these efforts by hosting maker spaces.

This is something that more libraries could practically implement. Many maker activities, such as 3D printing, don’t need specialist spaces, like workshops or ateliers. Indeed, the increasing accessibility of equipment can make libraries a good location for such projects. Local experts and librarians can also teach or host learning sessions about how to go about using 3D printing for the first time. They can also further encourage eco-friendly behavior by recommending more sustainable materials that we’ll see in the future. For example, materials such as polylactic acid (PLA) filaments are made from biodegradable products such as corn starch and can help anyone interested in building practical items.

Creating Libraries of Things

For some time now, libraries around the world haven’t simply been book repositories. They’re host to a wide range of resources, from movies and music to eBooks. Yet, there’s also a growing movement for libraries of things. Essentially, this is about lending practical and in-need objects. This potentially boosts the circular economy by minimizing unnecessary production demand while making items more accessible to those on lower incomes.

Nevertheless, a truly impactful library of things addresses the needs of the community. It may be practical to lend board games and tabletop roleplaying games so that families can minimize their screen time. Cookware and bakeware lending might engage library users in more creative culinary and nutrition activities. Exercise equipment can boost community wellness. Some libraries are increasing access to museums, planetariums and science education centers by offering passes to these organizations for the whole community to access.

Conclusion

Libraries are becoming circular economy hubs. They’re increasingly offering access to practical knowledge, repair workshops, and lendable tools, among other resources. There’s still more they can do, though. However, this is dependent on greater community engagement and finding sources of funding. The public needs to show that there’s a demand for these services in library spaces alongside seeking support from philanthropic organizations, private businesses, and government agencies.

Amanda Winstead is a writer from the Portland area with a background in communications and a passion for telling stories. Along with writing she enjoys traveling, reading, working out, and going to concerts. If you want to follow her writing journey, or even just say hi you can find her on Twitter.

Categories
Book Proposals

Create a Winning Competetive Analysis

“Can I really compare my book with a bestselling author’s book?”

“Why do I need this? Won’t I shine the light on their book and not mine?”

“How many books do I need to compare and contrast?”

“What is a competitive analysis, anyway?”

These are just some of the questions I get while assisting my clients with the Competetive Analysis portion of their book proposal.

The CA is vital because it is used to prove to the agent or publisher that your book is similar enough to already published books that have an audience,
yet different enough to grab those established reader’s attention. It provides information on how well your book might sell in the same genre or market.
Publishers and agents love to see numbers, so the facts from a well developed, well researched CA can be used in your marketing plan which in turn gives you a better chance to get a contract.
Before you create you CA ALWAYS read the agent or publisher’s submission guidelines.

Here are a few tips to creating your Competitive Analysis

Research
Make a list of 7-10 books that tell the same type of story or give the same kind of information as your book.
Look for competing books on Amazon, Barnes & Noble, Goodreads, BookDepository.com and other online booksellers.
Take a trip to a brick and mortar store or library to investigate what books are on the shelf where your book would
be once it’s published.  Yes, add a few bestsellers to the list. Note that traditionally published books by a larger publisher are preferred.
Stay away from self-published books unless they’ve sold thousands in the first year. Make sure the book was published within the last 5-7 years.

Obtain the following information from the books you chose to compare and contrast.
Title and subtitle
Author
Publisher
Copyright year
Number of pages
Format (paperback, hardcover, etc)
Price
ISBN
Answer these questions when you write the compare and contrast portion of each book.
How is my book similar?
How is my book different?
What promise does the author make to readers?
What promise does my book make that is different/similar from the other book?
How are my credentials similar/different from the other author?

Never criticize the other book or author.

Creating a professional book proposal takes time and effort. Many agents and publishers look at the Competitive Analysis and Marketing Plan first.

They want to know that the author is informed and ready to promote their book.

Yes, the proposal seems harder than writing the book, but I have total confidence that you can do it.

Stay the course, my friend. I’m here if you need me.

For more writing tips, check out www.seriouswriter.com/blog

Cherrilynn Bisbano is an award-winning writer.  She founded The Write Proposal after reading hundreds of book proposals with avoidable errors. These errors cost the author a contract or representation. As a former submission reader and junior literary agent, Cherrilynn wants you to succeed.  Her desire is to help you present a professional and memorable proposal.  She has written proposals for Paws for Effect, a Hollywood movie company, and helped edit many proposals.  As the previous managing editor of Almost an Author, she helped the website earn the #6 spot on the Top 100 best writing websites for 2018 by The Write Life and Top 101 Websites for writers with Writers Digest.

Cherrilynn hosted Genre Chat where she was privileged to interview expert writers like Jerry B. Jenkins, Cecil Murphy, Michelle Adams, Liz Curtiz Higgs, and Steven James.

She earned her associate’s degree in communications and continues to study business management.

She is a two-time winner of Flash Fiction Weekly. She’s published in many online magazines and blogs. Cherrilynn contributed to Chicken Soup for the Soul- MiraclesBreaking the Chains, and Heart Reno books.

Cherrilynn proudly served in the military for twenty years, earning the John Levitow Military leadership award.

Categories
Guest post archive

Becoming a Reader-Centric Writer By Cathy Fyock

 

Have you ever picked up a book and after a few pages, put it down saying, “This isn’t for me.” Have you ever listened to a speaker and found yourself turning away, thinking, “This guy doesn’t get it.” Or have you met with someone offering professional services—perhaps a consultant or coach—and walked away, saying “We just aren’t on the same page.”

As writers, we want to connect with our readers. We want our readers to say, “Yes, I get it.” We want to receive reviews that say, “This writer knows what it’s like” or “This author is my kind of people.” In the words of Seth Godin, author of Tribes, we want to develop tribes—followers who get us, understand us, and perhaps most important, believe that we “get” them.

When we connect with our readers, we develop loyal and faithful followers. When we speak the language of our readers, we grow our tribe. And we sell our books, along with our products and services. So how do we as writers become more reader-centric?

I believe that it starts with the strategic plan for your book—before you write the first word. Who is it that will benefit from your book? Who needs this book? What groups of people are hungry for the ideas and solutions that you offer? By first starting with your targeted reader as the central point for your writing, you begin to write in a reader-centric manner.

And remember the Native American proverb: if you chase two rabbits, you will lose both. Don’t think your book is for everyone. It is for someone. And once you identify that someone your writing will improve.

[bctt tweet=”Don’t think your book is for everyone.” username=”@A3writers”]

Are you a reader-centric writer? One way to test that answer is to examine your writing. While your stories and experiences are indeed about you the writer, do you include the reader? How many times do you use the word “you” versus the words “I” or “me”?

In working with an author’s manuscript, she often discussed “my” clients and talked about what “I” did. We took another look at her writing, and decided that it was possible to make these into “you” statements, by merely changing the statement from, “This is what I have done,” to, “Are these situations that you have experienced?” By refocusing the writing we were able to create language that was inclusive.

Next, develop ongoing strategies to keep in touch with your readers and your market. Outlined here are several ways to strengthen your radar and keep your readers’ ideas, challenges, and needs in the foreground.

Invite feedback from your reader. When you write a blog post, do you end with a question? Have you invited the readers of your book to interact with you on your website? Have you given your reader a reason to visit your website by providing some incentive, like a white paper, template, or checklist that would be of value? Do you provide your email, website, or social media contact information in your writing? It was by doing some “letter to my reader” and “FAQ” writing prompts with my clients that I learned about the need for coaching about becoming reader-centric writers.

Interview your reader. My readers are my clients, and I ask them lots of questions when we meet one on one, in our group coaching sessions, and when we meet for coffee or lunch. I candidly ask for their feedback so that I can continue to make my coaching services more effective.

Ask probing questions of your readers (and clients). What are your biggest challenges? What’s working for you? What isn’t working? Where have you made mistakes? What information have I as the writer shared that has been most helpful or most confusing? Do you agree with my advice?

Hang out with your reader. I’m always looking for ways to be in community with my readers. What conferences do they attend? What publications do they read? What organizations are they members? By attending the National Speakers Association convention last summer I was able to learn that many speakers were writing blogs and had plenty of content, yet had no idea about how to turn that content into a book. By attending that convention, I learned about a need that became my new service offering and my newest book, Blog2Book!

Your writing will be stronger, your content more applicable, and your readers more faithful when you develop strong skills that keep you in touch with your reader. As I share with my authors in The Writers’ Pledge, we exist as writers to serve our readers:

I pledge that I will continue to work so that I gain clarity and focus for my readers, audiences, and clients. Then I can continue to make the world a better place, one word at a time.

[bctt tweet=”Become a reader centric writer.” username=””]

Cathy Fyock is The Business Book Strategist, and works with professionals and thought leaders who want to write a book as a business development strategy. She is the author of Blog2Book: Repurposing Content to Discover the Book You’ve Already Written. She can be reached at Cathy@CathyFyock.com.

 

 

 

Categories
Dear Young Scribes

Balancing the Elements of Fiction – Part 1

Have you ever noticed how some authors tend to focus too much on writing certain fiction elements, yet ignore the others? Maybe their writing sounds a little like this…

Dialogue
Action beat
Dialogue
Action beat
Dialogue
Action beat

And on and on. Or perhaps the author writes far too much description and internal monologue and not enough dialogue or action. This becomes easily distracting, don’t you think? This is why we need to be careful that we aren’t making the same mistake in our own writing.

The elements of fiction include the following: description, dialogue, exposition, action beats, & interior monologue. Fiction writers should study and master each of these elements separately if they wish to deliver a story in novel format. However, the placement of these elements is vital. The elements need to be braided together throughout each scene and flow naturally so the scene becomes 4D to the reader. It’s a writer’s job to understand how to balance these elements in a way that keeps the pace of the story moving along.

Let’s think about this in movie format. Pretend as though you’re watching a film. If the camera focused on the scenery of the setting rather than the dialogue, I doubt you’d be intrigued enough to continue watching the movie. On the other hand, if the scenes focused on back-and-forth dialogue, don’t you think that’d feel restricting? Each element of the story must work together in order to portray the full spectrum.

If we can establish this in our fiction novels, then we will master the art of crafting a story that immerses our readers and brings them into a “fictive dream”. They’ll feel almost as though the story is happening to themselves rather than to the characters.

This is a balancing act, one that every fiction writer must strive to achieve in their stories. If we give too much emphasis on exposition and description, then dialogue, interior monologue, and beats will be neglected. So how can we balance the elements of fiction?

First, we must understand the definition and role of each element. We’ll discuss this in the next post of this series.

Which of these elements do you tend to give too much attention to in your own writing?

[bctt tweet=”Balancing the Elements of Fiction – Part 1 #writingtips @TessaEmilyHall” username=””]

Image Credit: My Gre Exam Preparation

Categories
Publishing Perspectives

The Big Five Family Tree: Book Publishers

file0001447723702Welcome to Publishing Perspectives!

I’ll be talking about all things publishing. Let’s start with an overview of the publishing world. It may seem like there are a zillion big publishing houses out there, but many are owned by the same mega corporations. Many authors desire to be signed with a ‘major publisher’… who are the really really really big guys?

The Big Five traditional publishers consist of Penguin Random House, Macmillan, HarperCollins, Hachette, and Simon &Schuster. Each of these companies own multiple brands. Let’s take a look at the family tree, or at least some of it. These guys are really big and changing all the time so it’s impossible for this list to be comprehensive and accurate for the lifetime of the internet. But here’s a bit of what it looks like today.

[bctt tweet=”There are a zillion big publishing houses out there. #bookpub #publishers” via=”no”]

Hachette Book Group is a division of Hachette Livre (based in France), which is a subsidiary of the French media company Lagardere. Hachette owns:

  • Little, Brown and Company
    • Mulholland Books
    • Back Bay Books
    • Lee Boudreaux Books
  • Little, Brown and Company Books for Young Readers
    • Poppy
    • LB Kids
  • Grand Central Publishing
    • Twelve
    • Live & Style
    • Forever
    • Forever Yours
    • Vision
  • Hachette Nashville
    • Faith Words
    • Center Street
    • Jericho Books
  • Orbit
    • Yen Press
    • Redhook
  • Hachette Audio
  • Hachette Digital

HarperCollins Publishers is a subsidiary of News Corp. They own:

  • Amistad
  • Anthony Bourdain Books
  • Avon
    • Avon Impulse
    • Avon Inspire
    • Avon Red
  • Balzer + Bray
  • Bible Gateway
  • Bourbon Street Books
  • Broadside Books
  • Dey Street
  • Ecco Books
  • FaithGateway
  • Greenwillow Books
  • Harlequin
    • Carina Press
    • Harlequin Books
    • Harlequin TEEN
    • HQN Books
    • Kimani Press
    • Love Inspired
    • MIRA Books
    • Worldwide Mystery
  • Harper Books
    • Harper Business
    • Harper Design
    • HarperFestival
    • Harper Luxe
    • Harper Paperbacks
    • Harper Perennial
    • HarperTeen
    • HarperTeen Impulse
    • Harper Voyager
    • HarperAudio
    • HarperCollins 360
    • HarperElixir
    • HarperOne
    • HarperWave
    • HarperCollins Children’s Books
  • Katherine Tegen Books
  • Olive Tree
  • Walden Pond Press
  • William Morrow
    • William Morrow Cookbooks
    • William Morrow Paperbacks
  • Witness
  • Thomas Nelson
    • Nelson Books
    • Grupo Nelson
    • Tommy Nelson
    • W Publishing Group
    • WestBow Press
  • Zondervan
    • Blink
    • Editorial Vida
    • Zonderkidz
    • Zondervan Academic

Macmillan Publishers is owned by the German company Verlagsgruppe Georg von Holtzbrinck. They own:

  • Bedford / St. Martin’s
  • Bloomsbury USA
  • The College Board
  • Drawn and Quarterly
  • Entangled Publishing
  • Farrar, Straus &Giroux
    • North Point Press
    • Hill and Wang
    • Faber and Faber Inc.
  • Fiewel & Friends
  • First Second
  • Flatiron Books
  • Graywolf Press
  • Guinness World Records
  • Hayden-McNeil
  • Henry Holt and Company
    • Metropolitan Books
    • Times Books
    • Holt Paperbacks
    • Henry Holt Books for Young Readers
  • Imprint
  • Kingfisher
  • Macmillan Higher Education
  • Page Street Publishing Co.
  • Palgrave Macmillan
  • Papercutz
  • Picador
  • Priddy Books
  • Roaring Brook Press
  • Rodale
  • Martin’s Press
    • Griffin
    • Minotaur
    • Martin’s Press Paperbacks
    • Let’s Go
    • Thomas Dunne Books
    • Truman Tally Books
    • Palgrave Macmillan
  • Square Fish
  • Tor / Forge
    • Starscape
    • Tor Teen Books
    • Tor Children’s
  • Macmillan Audio
  • Macmillan Children’s Publishing Group
  • Walker & Company
  • H. Freeman
  • Worth Publishers

Penguin Random House is owned by German media conglomerate Bertelsmann and has nearly 250 imprints and publishing houses so I won’t list them all here! They own:

  • Random House Publishing Group
    • Ballantine Books
    • Bantam
    • Delacorte
    • Del Ray
    • Del Ray / Lucas Books
    • Dell
    • The Dial Press
    • The Modern Library
    • One World
    • Presido Press
    • Random House Trade Group
    • Random House Trade Paperbacks
    • Spectra
    • Spiegel & Grau
    • Villard Books
  • Random House Value Publishing
    • Children’s Classics
    • Crescent Books
    • Derrydale
    • Gramercy Books
    • Testament Books
    • Wings BOoks
  • Knopf Doubleday Publishing Group
    • Alfred A. Knopf
    • Anchor Books
    • Doubleday
    • Everyman’s Library
    • Nan A. Talese
    • Pantheon Books
    • Schocken Books
    • Vintage
  • Crown Publishing Group
    • Amphoto Books
    • Back Stage Books
    • Billboard Books
    • Broadway
    • Broadway Business
    • Clarkson Potter
    • Convergent
    • Crown
    • Crown Business
    • Crown Forum
    • Doubleday Religion
    • Harmony Books
    • Hogarth Press
    • Potter Craft
    • Potter Style
    • Ten Speed Press
    • Three Rivers Press
    • Tricycle Press
    • Shaye Areheart Books
    • Waterbook Multnomah
    • Watson – Guptill
  • Penguin Group US
  • Dorling Kindersley
  • Mass Market Paperbacks
  • Digital Publishing Group
    • Alibib
    • Flirt
    • Fodor’s Travel
    • Hydra
    • Listening Library
    • Living Language
    • Loveswept
    • Princeton Review
    • Random House Audio
    • Randon House Large Print
  • Random House Children’s Books
    • Kids@Random
    • Beginner Books
    • David Fickling Books
    • Nickeldeon Books
    • Delacorte Press
    • Golden Books
    • Prima Games
    • Step Into Reading
    • Schwartz & Wade
    • Stepping Stone Books
    • Sylvan Learning
    • Wendy Lamb Books
  • Penguin Young Readers Group, U.S.

Simon and Schuster is owned by the media company CBS Corporation. They own:

  • Aladdin
  • Altheneum Books for Young Readers
  • Atria
  • Beach Lane Books
  • Chicken Soup for the Soul
  • Folger Shakespeare Library
  • Free Press
  • Gallery Books
  • Hooked on Phonics
  • Howard Books
  • Kaplan Publishing
  • Little Simon
  • Margaret K. McElderry Books
  • Merck
  • Paula Wiseman Books
  • Pocket Books
  • Reader’s Digest
  • Ripley Publishing
  • Scribner
  • Simon & Schuster
  • Simon & Schuster Books for Young Readers
  • Simon Pulse
  • Simon Spotlight
  • Threshold Editions
  • Touchstone

How many of these names are you familiar with? Were you surprised at who owns what?

Categories
The Writer's PenCase

Storytelling – What Makes a Story Great?

ben-hurWhat is it about a story that makes it compelling? Is it the characters? Is it the plot? Is it the element of surprise? Is it the challenges? Is it danger? I submit, it’s all of them, skillfully put together, woven like a tapestry to make an impression on our minds and in our hearts.

Categories
Grammar and Grace

Book List for Editing

Punctuation and grammar come easily to me. I remember rules from elementary school, can recite a whole list of prepositions, and can use a semi-colon with confidence. For those times that I’m stumped about comma placement or which word to choose, I have a few go-to reference books that help me out every time.

Strunk and White’s, The Elements of Style, is a small book packed with information. Chapters include Elementary Rules of Usage, Elementary Principles of Composition, A Few Matters of Form, Words and Expressions Commonly Misused, and my edition, the third, has a chapter called An Approach To Style. This potent little package should sit on every writer’s desk within easy reach.

edit 3

I also use The McGraw-Hill College Handbook. It lists prepositions and conjunctive adverbs, shows how to fix dangling modifiers, and explains parallelism and subjunctive tense. This book isn’t the only one that can help with problems, but it’s the one I have. You probably have an English handbook left over from your college days. Check your book shelves.

eidt 2

Three other books that I’d recommend as references are Renni Browne and Dave King’s, Self-Editing for Fiction Writers, Revision and Self-Editing for Publication by James Scott Bell, and Gary Provost’s, 100 Ways to Improve Your Writing. These are helpful books writers should read and reread as often as possible.

edit 1png

All these books are good references, but I’ll be here to help, too. In each post, I’ll show the correct usage of a punctuation or grammar rule and try to explain the reason behind it.

Let me know if you have a question you want to see addressed. Thanks for your imput!