More on Fan Mail

I’m actually starting to like it.

Way back in May 2006, I wrote a blog post about Fan Mail. In it, I voiced my embarrassment about getting it from readers.

201003160814.jpgThings seem different lately, and I’m not sure why. I’ve begun getting fan mail from readers of my articles in Aircraft Owner Online (AOO), an online magazine for aircraft owners (duh). The articles are mostly recycled and refreshed blog posts and, to date, are all at least five years old. The folks at AOO do a great job of laying out my text with the high resolution photos I provide, making a slick presentation of my work. (They do the same for the rest of the magazine, of course.) I enjoy preparing and submitting the pieces, mostly because it gives me an excuse to dig back into my archives and relive the flying experiences I’ve written about. The AOO editors barely touch my prose, so I don’t have any reason to complain about heavy-handed editing. It’s a truly positive experience all around.

But what’s most rewarding to me (beyond payment for my work) is the fan mail my monthly “Adventure Flight” column articles have garnered. I’ve been writing for the magazine since November 2009 and, to date, have received at least four e-mailed “fan mail” letters. The most recent came just this morning:

Just a quick note to tell you how entertaining your articles have been in Aircraft Owner online Magazine. You have a very descriptive way of writing that makes one feel (and wish) that they were there flying with you. My wife is from Nogales, Arizona and has a sister in Scottsdale presently. I looked over the map of the various places that you mentioned in your latest article and felt like I had made the flight with you. Keep up the great articles and from one pilot (SEL) to another, I wish the best to you in your various endeavors.

I just felt you should know how much your writing is appreciated.

I didn’t expect any note from a reader to make me feel as good as this one did. In the past, much of my “fan mail” has been glowing praise about my achievements in general, most of which included some kind of envy or “I wish I could do that” statement. That kind of stuff embarrasses me and makes me feel bad for the writer. Most of us have the power to achieve what we want, if only we set our minds to it and do what’s necessary to make it happen.

But a note like this is so different. It complements me on my writing skills rather than on the volume of my published work. (Isn’t acknowledgement of quality better than acknowledgement of quantity?) It let’s me know that I’ve made an impact in someone’s life — even if it’s just a small impact. After all, the note writer read my article about flying with my friend Jim and took the time to dig out a map to follow my progress. The places we flew on that trip aren’t easy to find on a map, but this reader succeeded. And it prompted him to take the time to track down my contact info and send me a very nice note.

A note that pretty much made my day.

So despite what I wrote four years ago, I think I might actually like getting fan mail.

Another Scammer Looking for Free Content

Business opportunity? Is that what you call it?

A few weeks ago, I received the following e-mail message from someone I didn’t know, with the subject line: “I like your work- Business Opportunity”:

Hi Maria,

My name is [redacted] and I got your contact info from Lynda.com and really like your work especially your blogging content.

I am involved in a start up company that is wanting to change the way entrepreneurs use and get content. We are composing information/articles in a platform for marketing, legal and financing and we are looking for great business content to provide our entrepreneurs. We are looking at several options to pay authors for their content.

One of the reasons I emailed you was because I really like your work and I wanted to engage you in your level of expertise and wondered if you would be willing to answer some brief questions about your work. If you are interested in learning more about this opportunity please email me at [redacted]@gmail.com or call me at [redacted].

Looking forward to hearing from you,

[redacted]

http://www.linkedin.com/in/[redacted]

A few things struck me about this:

  • Apparently the folks at Lynda.com had given this person my contact info. That meant this initial contact had an element of networking to it instead of being just a “cold call” e-mail. (More on this in a moment.)
  • This could be a lead on another good publishing opportunity. As print publishing declines and the beginner-to-intermediate user base I write for shrivels, I’m always looking for new opportunities to write or create content for paying markets.
  • There was no mention of a company name or a Web site name. The person contacted me from a Gmail account. That raised a red flag.

But heck, it was worth a shot. I e-mailed back:

What do you need to know?

Maria

The Questionnaire

The response came quickly:

Maria,

Thanks for the quick reply!

I have prepared these questions for you. If you would rather I called please let me know when you are available or if you would rather feel free to respond to these questions via email.

I know your time is very important so please feel free to be as vague or detailed as you want on the questions. I really appreciate your feedback and I hope when we launch, you will be apart of our expert authors. Any feedback you have regarding these topic would be great. We hope to be able to provide additional revenue streams for authors by breaking down content.

1. Would you be willing to resubmit your articles/book content in a 5 step format or less? And would this be doable for you?

2. What kind of opportunities are out there for you in regards to getting your work out?

3. Who are you currently partnered with right now?

4. How do you typically get your content published?

5. Is this your full time job?

6. What outlets do you seek to get your work published or do they come to you?

7. What products do you have? Do you have any content in any other format? Audio? Video?

8. How do you typically get paid?Is it a flat fee? Would you be interested in getting paid pay per click?

9. Would you be interested in getting an identity in our community and would it be useful for to you have a website on our site that allowed you to sell your work, that could connect to your Facebook and additional products? It would also have a fan reading for you too.

Thank you for your help in advance Maria!

[redacted]

By this time, the red flag was flying high. The questions proved that she knew little or nothing about me or what she was doing. After all, questions 3, 4, 5, and 7 could be answered by a visit to my Bio page. Question 1 clearly indicated that she had no knowledge of copyright and non-compete clauses that appear in standard book and other publishing contracts. Questions 2 and 6 certainly shouldn’t matter to her if she’s really offering me an opportunity. Question 8 told me she was going to try to pay me per click — which is something I’m not interested in, especially from a “startup.” And Question 9 told me (1) she had no idea that I already had two very well-trafficked Web sites, (2) that my publishers sold my work, leaving me to actually create content, (3) that she would attempt to tie me to a Web site her organization operated, and (4) that she’d likely try to sell me products.

But I played along to see where I could take it and whether I could get her to dig herself in any deeper:

I’m a freelance writer and have been since 1990. I’ve written 70+ books and hundreds of articles for dozens of legitimate print publishers (think McGraw-Hill, Macmillan, Random House, and Peachpit Press). My Mac OS X books for Peachpit have been bestsellers since 1999. I also produce audio and video — you’ve seen the video on Lynda.com; I’m working on another title for another publisher now.

You can get all this information and more about me on my Bio page: https://aneclecticmind.com/bio/
You can see a list of all my published work using links on my site, https://aneclecticmind.com/

I don’t have a “full time job.” That’s one of the benefits of being freelance.

I’m definitely NOT interested in getting an “identity” in any “community.” I have an identity and certainly don’t need another one. I’m not the least bit interested in being tied to another Web site. My publishers are doing a pretty good job of selling my work, so I don’t see the need to use another Web site to sell it, too.

If you’re looking for a low-cost content creator, don’t look at me. I get paid very well for my work.

That said, let’s cut to the chase. What did you have in mind?

And maybe you can tell me who YOU are and why you are contacting me through a Gmail account. Doesn’t your company have e-mail?

Maria

As you might imagine, I didn’t get a response.

I contacted the folks at Lynda.com to see if they knew anything about this person. I forwarded them the initial e-mail. They all confirmed what I had begun to suspect: they hadn’t given this person my contact information at all.

So I sent [redacted] a final e-mail message:

It turns out that no one at Lynda.com gave you my contact info. I’ve warned them about you and what appears to me to be some sort of scam. Don’t contact me again.

What Writers Should Take Away from This

There’s a lesson here for writers, including bloggers and other content creators.

There are many “startups” out there in desperate need of fresh content. They’ll make all kinds of promises to get you to submit content to them. They’ll promise ad revenue from the pages on which your content appears, they’ll promise you payment per click on your content, they’ll promise to give you an “identity” and make it easy for your “fans” to find you. They’ll flatter you and tell you they love your work — without even knowing what your work is. Meanwhile, you’ll be required to upload and format your content on their site. You’ll be required to moderate or respond to comments on your content — perhaps even give technical support or answer other questions. Your “business partner” will also likely keep all rights to your work and republish it elsewhere without paying you a dime.

But you think it’s a good idea — they’ve hinted at thousands of hits a day! — so you give it a try. Your work appears on a slick-looking Web site that’s just jam-packed with advertising. But you soon discover that the majority of people visiting the site are the suckers like you — and their clicks don’t count. Your work appears among the drivel spewed out by other writers trying to cash in on a “business opportunity.” You’ve lost the rights to republish your work elsewhere and you’re not making enough to buy lunch once a month.

You think I’m making this up? I’m not. I was suckered in by one of these about five years ago. Sadly, I didn’t blog about it so I can’t remember the name of the company. But I did blog about eZineArticles.com, which is probably the biggest ripoff out there for serious writers. (Publish with them and you never know where your work will end up; mine appeared on porn sites.)

What do they get? Advertising revenue. Or maybe they repackage and sell your content to someone else.

My advice is to avoid any operation like this — even if you’re just starting out. It’s rare that any relationship like this can benefit your career.

A legitimate publisher will pay you for the content you create. Up front, before or at publication. They will accept First Rights or reprint rights or negotiate with you for rights — they won’t take all rights unless they’re paying big bucks for them. Although they might offer bonuses based on content popularity (hits), the revenue will not be completely tied into that. And, for Pete’s sake, they won’t compensate you based solely on clicks or ad revenue.

The Three Tiers of Writing

Some thoughts from a top tier player.

Other posts that explore why writers write:
Why Write?
Why Writers Write
BE a Writer

A few weeks ago, I had lunch with my friend and editor — and yes, it is possible to be friends with an editor — Esther. Like me, Esther also writes about computers and computing for a living. But while my audience tends to be end users, hers are of a more technical or managerial nature. In other words, she writes stuff I probably couldn’t understand.

We got to talking about writing and why people do it. During the conversation she (or we?) said something that was so profound to me at the time that I wrote it down on a notepad I’d brought along. It was the only note I’d jotted down during our lunch:

Notes

Why People WriteI see these reasons for writing as three separate but overlapping groups that a writer might be part of.

Do you remember set theory back in high school math? You can have multiple groups of people, some of which belong to more than one group while a limited number belong to just one group. I’ve created this image to visualize what I mean. Keep this image in mind as you read the next three sections.

Write

One group of people write to fulfill a desire or need to write.

If you’re one of these people, you know it. You’ve likely been writing or at least telling stories since you were a child. Perhaps you were the queen of the campfire with your original and frightening ghost stories. Perhaps you told yourself stories to get to sleep. Perhaps you always had at least one notebook filled with the never-ending saga of some characters you’d dreamed up to populate your made up world.

There are many thousands of people worldwide who belong to this tier. They write primarily because they need to. There’s something in their head and they need to get it out.

Some of these people share their work with others, but I’m willing to bet that a good percentage of them — perhaps even half or more — don’t. They don’t need to share. They just need to create, to get the words out.

But some of these people also belong to one or more of the other groups.

Get Published

A large (but not as large) group of writers write because they want to get published. Creating isn’t enough for them. They want to see their work in print. They want to have a book or magazine they can hold in their hand and show off to friends and family.

Although they might not realize it, having a published work is a lot like getting a trophy. It’s a symbol of an accomplishment.

Esther and I talked at length about how easy it is to get published these days. Yes, I did say easy. While vanity presses have been around for a long time, blogging and print on demand publishers make getting published cheaper and easier than ever before. Now anyone who wants to get published can get published — no matter how good or bad his work is.

This just reinforces my trophy analogy. After all, you can get a trophy two ways: by having it given to you by someone else who believes you’ve earned it or by going to the trophy store and buying it for yourself. That’s the difference between being published by an established publisher who is publishing your work because he thinks it deserves to be published and self publishing your work because you think it deserves to be published.

Some people write solely because they want to get published. They have no desire to be writers at all; they just want the end product — a published work — in hand. Who might be in this group? How about a professional in a non-publishing field who wants to look like an expert in that field? A doctoral candidate? A college professor?

While just being published is enough of a motivation for the people in this group, some want to take it the next step and are part of the last group.

Earn a Living

An even smaller group of writers write because they want to earn a living as a writer. Perhaps they are interested in the perceived lifestyle or the ability to earn a living from their creative efforts. They imagine working in their pajamas whenever they feel like it, doing book signings where they’re surrounded by adoring fans, and raking in enough dough to buy homes and cars and perhaps even helicopters.

(Ah, if only it were that easy!)

Some people write soley for this reason. They don’t care about the writing itself and the idea of having a published book is meaningless without the cash. They just think it might be an easy way to earn a living and heck, who wouldn’t want that?

But most really do want to write and do have a desire to be published.

The Reality

Unfortunately, motivation doesn’t always match reality.

You might write because you want to get published, but can you achieve this? Although it’s easier now than ever before, it’s still beyond the ability of many writers.

And what if you want to earn a living as a writer? A very small percentage of writers do.

Why People WriteSo rather than using set theory to illustrate the realities of writing, it might be better to use a pyramid shape with multiple tiers, as shown here.

At the bottom are the people who are writing but have not yet achieved publication.

Next up is a smaller group of writers who have achieved publication but have not yet written or published to the point where they can earn a living as writers.

And at the top is a much smaller group of writers who can actually earn a living as writers.

If you’re a writer, it should be pretty easy to figure our which tier you’re part of.

What this Means

What does this mean to the folks whose circle doesn’t match their tier level? For many folks, it just means you need to keep trying or try harder.

Let’s look at the folks in the Get Published or Earn a Living circle who are in the bottom tier of the pyramid. Have you tried to get your work published? It’s quite difficult to go any further until you do. If you have, but haven’t succeeded, why? Putting self-publishing aside for a moment, are you being rejected because you aren’t meeting the needs of publishers? Is the quality of your work sufficient for publication? Are you being reasonable and understand that an established publisher knows more about the industry and what will sell than you do? Or, if you have a niche market for your work, have you considered self-publishing?

How about the folks in the Earn a Living circle who are in the middle tier of the pyramid. Why isn’t your work selling well enough to earn you a living? Is the target audience too small? The book too expensive? Has the publisher — who may be you! — dropped the ball as far as marketing and promotion is concerned? Is there too much competition? Not enough interest? If a published work doesn’t sell, there won’t be enough money coming in to earn a living.

It all comes down to you. You need to write what people want to read. You need to get it published and marketed in a way that’ll sell it. It’s not an easy task and the work never ends. Unless you’re talented and fortunate enough to write and publish a best-seller, the work never ends.

The View from Near the Top

I’m sitting in the middle of the top tier right now, but I could slip down within my tier — or even to a lower tier — at any time. I have to keep working, keep writing, keep getting my work published by organizations that can sell it. I’m a cog in a wheel and that wheel is changing its shape as the publishing industry evolves.

Yes, I come to work in my pajamas sometimes and yes, I’ve even bought helicopter. But I also work harder than 95% of the people I know — people who whine and complain about their bosses as they stand chatting around the water cooler. People who know at the beginning of the year exactly how much they’ll make by year-end. People who have health benefits and weekends off.

It’s skill and hard work that got me where I am. And it’ll be skill and hard work that keeps me here.

And there’s room up here for anyone who’s not afraid of the climb.

Why I Just Signed the Worst Publishing Contract I Ever Got

And why I probably won’t regret it.

Moments ago, I put my signature on a contract to create a series of videos based on one of my books. Details beyond that are neither prudent nor required for this blog post. Let’s just say that the book is one of my better-selling efforts and the publisher is one that I’ve enjoyed a good relationship with for a while.

The contract, however, sucked.

My main concerns with the contract fall into two areas:

  • The language of the contract makes it nearly impossible to understand without drawing a flowchart or having a lawyer at my elbow to translate the legalese. We’ve come a long way since 1995, when the owner/publisher of the company signed the contracts and all checks and I, the author, was referred to throughout as “Maria.” Instead, it’s “we” and “you” and the single-spaced monstrosity stretches for six full pages, with numerous cross-references to other paragraphs. Whoever wrote this thing could easily get work writing government documents in legalese, such as FARs for the FAA or the latest version of the health care bill. It’s a shame they’re wasting their talents on publishing contracts, where contract recipients actually have a chance of understanding what they’ve written. They could be confusing a much larger audience.
  • The rights clause(s) in the contract require me to give away all rights to the work. All of them. For every possible means of publication and market, existing now or in the future. Forever and ever. It even says that if they need me to sign some other document to give them rights, I’m required to sign it. (Have you ever heard of such a thing?) I get it. I’m writing something for them and I should never expect to have any right in it ever again.

You might be asking why I would sign such a thing. After all, why should I give away all rights in a work I create? After 20 years in the business of writing technical books, don’t I have enough of a track record or reputation or following or whatever to successfully push back and keep some of those rights?

My response: Why would I want to?

Let’s face it — what is the life of a computer book these days? I feel fortunate when I see sales on a book that’s a year old. What good is having the rights revert back to me on a book that’s too stale to sell? Especially when I’ve already written and published the revision?

And do I really think I can sell something better than the marketing machine that my publisher controls? While I don’t think they do as well as they could, they certainly do better than I could.

But the real reason I signed without dwelling on it was the money. There. I said it.

The contract did not offer an advance against royalties. It offered a grant to compensate me for production expenses. The difference between the two is huge:

  • An advance against royalties is applied against royalties as they’re earned. So if you earn $8K in royalties in a quarter and they paid you $5K in advances, your first royalty check would be for just $3K.
  • A grant isn’t applied against any royalties. That means you start earning money on the very first unit sold. Using the same example, if you earned $8K in royalties in a quarter and they paid you a $5K grant, your first royalty check would be for $8K.

The royalty rates in this particular contract weren’t the greatest, but they weren’t bad. If this works out well and they want me to do another one, I think I can push a bit harder for better royalties or perhaps a larger grant. But not this first time.

You see, this is the first project of this kind at this particular publisher. We’re all sailing uncharted waters here.

And that’s probably the third reason I signed. I wanted an opportunity to try this.

Publishing is changing.

I remember the day about 10 years ago when I received six book contracts in the mail. All on the same day. The total advances for those books exceeded what a lot of people I knew earned in a year. And that year, I wrote ten books.

Things are different today. Titles that I thought would last forever — Microsoft Word for Windows Visual QuickStart Guide comes to mind — have died. Too much competition, not enough novice users needing a book, too much online reference material. The Internet’s free access to information is cutting into the royalties of the writers who used to get paid to write the same material. Paper and shipping is expensive. Ebooks have a lower perceived value than their printed counterparts. Brick and mortar bookstores have limited shelf space and a fading customer base. All this spells hard times for the folks who do the kind of writing I do: computer how-to books for the beginning to intermediate user.

When opportunity knocks, I answer the door. If the deal looks good, I shake hands, accept the offered check, and get to work. Even if the deal isn’t as good as I’d like it to be, I’m more likely to take it than I was 10 years ago.

After all, who knows when I’ll hear another knock on my door?

Writing Tips: Writing Accurate Descriptions

A response to a blog comment, and more.

I need to say that I really can’t thank blog commenters enough for taking the time to write. Not only do they often add useful information beyond what I know — thus adding incredible value to this blog — but they sometimes post questions or comments that get my mind going and give me fodder for new blog posts.

I received such a comment this morning and it prompted me to write a new article for my Writing Tips series.

The Importance of Accurate Descriptions

I touched upon the topic of accurate descriptions in fiction in a post I wrote last month: “Facts in Fiction.” In it, I explained why I thought it was important to get the facts about the “real” parts in fiction correct. I talked about the depth of a fictional world and how it would determine what facts and descriptions needed to be accurate.

My goal in that piece was to urge fiction writers to get the facts straight. Errors, when noticed by readers, can seriously detract from the work. For example, I believe I cited the example of a bestselling author who claimed that when a helicopter was low on fuel, it would be safer to fly lower than higher. This is downright wrong, no matter how you look at it. The author’s reasoning proved he knew nothing about the thought he was putting in a character’s head — a character that should have known better. This absolutely ruined the book for me, making me wonder what else he’d gotten wrong.

You can argue that fiction is fiction and that the writer can make up facts as he goes along. I disagree. My “Facts in Fiction” post explains why, so I won’t repeat it here.

Today’s Question

Today’s question comes from a comment on my recent blog post, “Dan Brown Doesn’t Know Much about Helicopters,” in which I painstakingly (and perhaps nitpickingly) point out a bunch of errors in Brown’s latest literary masterpiece (and yes, that is sarcasm), The Lost Symbol. The errors revolve around the inclusion of a helicopter as a repeating plot component throughout the book. Brown used his descriptive skills to make several claims about helicopters that simply were too far fetched to be believable. (But then again, isn’t that what Dan Brown’s work is all about?) I detailed them for blog readers.

One reader found the post useful. She wrote:

I just wanted to let you know I found this blog immensely helpful as I am writing a chapter in my book that involves a helicopter ride. I must say that I am striving to find new ways to describe the sound a helicopter makes. It’s rather unmistakable when you actually hear it, but to describe it to a reader is much more difficult. I recently wrote… “the deafening drill of the helicopter’s rotors made conversation impossible…” and one of my proof readers balked at the use of the word “drill.” I’d love to hear your comment on that one!

I started to respond in a comment, but the length of the comment soon bloomed into blog post length. So here’s the response.

First, I definitely agree about the word “drill.” Now here are some points to consider:

  • Have you actually heard a helicopter close up? Or at the distances you’re trying to write about? First piece of advice is to go someplace where you’re likely to hear helicopters and listen to them. Then describe what you hear.
  • Does the word “deafening” really apply? I think Dan Brown used that one, too. Deafening is a strong word. Unless the listeners were standing/sitting right outside the helicopter or inside with a door open/off, I don’t think deafening would be accurate. Helicopters are not as loud as people think — unless you’re right up next to them.
  • Lots of folks think it’s the rotors making all that noise. Close up, it’s the engine you mostly hear. Piston engine helicopters sound like airplanes; turbine engine helicopters sound like jet planes. Are you trying to describe the sound of the helicopter’s engine or spinning blades?
  • The tail rotor on many helicopters actually makes more noise than the main rotors. Why? The tail rotor blade tips are sometimes traveling near the speed of sound. Maybe it’s the sound of the tail rotor you want to describe.
  • How fast are the blades spinning? Is the helicopter just winding up? Is it at idle RPM (usually around 70%)? Is it fully spun up to 100% but still sitting on the ground? Preparing to lift off? In flight? There are differences — significant or subtle — in the sound depending on the blade speed and what the helicopter is actually doing.
  • How many blades does the helicopter have? You’re more likely to hear a rhythmic “wop-wop” sound coming out of a large helicopter with a two-bladed system — like an old Huey — than a smaller helicopter with four or five blades — like a Hughes 500C or D.

As you can see, it’s not as easy as asking someone if you can use the phrase “deafening drill” to describe a helicopter’s sound. There are too many variables. And at least three components are making that noise: engine, main rotor, and tail rotor. You need to hear the sound to describe it.

Do Your Homework

As I writer, I’m more bothered by the introduction of stereotypical descriptions — even if they’re not actually cliches — than inaccurate descriptions. Yes, it’s easy to ask a pilot whether a description you’ve written about flying rings true. But it’s lazy (for lack of a better word) to use a stereotype or cliche to describe a sound when you have the ability to hear it for yourself. And its irresponsible, as a writer, to expect a pilot or proofreader to come up with a better descriptive word for you. That’s your job.

If you want to write about the sound of a helicopter, for example, get your butt down to an airport or police helicopter base or medevac base. If you’re writing about a helicopter ride, as this commenter is, go for a helicopter ride.

Talk to the folks at the helicopter base about flying. Be straight with them — tell them you’re a writer and are doing research. (That is what you’re doing, isn’t it?) Let them read a passage or two from your manuscript if you think they can check it for authenticity. Then wait around until a helicopter operates in the area and listen. Get the permission (and possibly an escort) to stand or sit where you need to be to hear the sound as you need to hear it. Record it if you think it’ll help. Make sure you get the right sound for the right phase of flight. After experiencing this, you should be able to accurately describe it.

Do not rely on what you see/hear on television or in the movies. Many sounds are usually added after the fact. I’ve seen clips where the sound of an aircraft didn’t match the type of aircraft being shown. Movies also show helicopters departing almost straight up or landing almost straight down — a pilot will only do this if he must. (Read “The Deadman’s Curve” to learn why.)

Authenticity is Worth the Effort

There’s an added benefit to doing your homework: authenticity now and in the future.

For example, a visit to a helicopter base or ride in a helicopter will give you all kinds of additional details about the helicopter or flight operation. Do people really need to duck when getting out of/into a running helicopter? How is downwash different between an idling helicopter and a helicopter that’s just lifting off or arriving? How strong is the downwash from a hovering helicopter? What does it feel like? How does it smell? What does a turbine helicopter’s engine sound like when first starting up? (Think of your gas barbeque grill and you won’t be far off.) What are the pavement markings like on the helipad or helispot? What’s the pilot wearing? What’s he holding?

These little details will not only add authenticity to what you’re writing now, but they’ll give you plenty of useful material for the next time you need to write about helicopters.

It’s Not Just Helicopters

I’ve used the example of helicopters throughout this post because that’s one of the things I know from experience — and that’s what the question that prompted this post was all about.

But the advice in this post applies to anything that’s outside your realm of knowledge.

You know the age-old advice about writing: Write what you know. Well, you know what you experience. The more research you do — the more things you experience firsthand — the more you know. And the more you can write about accurately and authentically when you need to.