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.

Creating a Photo Calendar with InDesign

An overview of how I did it and the results.

This year, I decided that I needed an affordable yet memorable holiday gift to send out to all my customers and the folks I do business with. I wanted this gift to be an in-your-face-all-year-long item. That means it had to be something the recipients would want to keep and refer to.

A calendar seemed to fit the bill.

Now every year, I get sample calendars with my company name on it from various printers who print promotional items. They’re usually pretty boring; certainly not the kind of calendar you’d want to use all year long. Clearly, I had to do better than that.

The solution was a custom calendar using the photos I’ve taken over the years to show off the places I fly to and my helicopter. The challenge was to make a professional-looking, attractive calendar that was cost-effective to print.

iPhoto’s calendar printing option was the obvious choice for creating the calendar. It offers several different formats, many of which would meet my needs. What did not meet my needs, however, was the price: $19.99 per calendar. Since I figured I’d need at least 50 of them, that was far more than I wanted to spend.

My husband suggested MagCloud, which I’ve been using for other print-on-demand needs. At first, I didn’t think it would work out. After all, MagCloud produces stapled magazines sized just under 8-1/2 x 11. But then I held a sheet of paper up to the Robinson Helicopter calendar on my wall. And guess what? It was the same size.

So I decided to go with MagCloud for printing.

At that point, it looked as if I’d be creating a 28-page calendar from scratch. Not something I looked forward to. But I did a Google search for 2010 InDesign Calendar Template, which directed me to the 2010 InDesign Calendar Template by Juliana Halvorson on the Adobe Web site.

I downloaded it and discovered that it was almost what I needed. The template assumed a landscape orientation. I wasn’t sure if MagCloud would accept the document created that way. So I modified the template to make it portrait orientation and rotated all the calendar grids. A few adjustments to the margins and bleeds (which I initially got wrong) and it was a good starting point for my own project.

First up was reviewing the holidays. Juliana had included several extra religious and “Hallmark” holidays that just weren’t appropriate for a general use calendar. I removed them. I also changed the wording of some holidays — for example, changing Thanksgiving Day to just plain Thanksgiving.

Then I needed to redo the thumbnail calendars for the previous and next month that appear on each calendar page. The type was just too small. That turned out to be a time-consuming chore, as I had to basically reformat each little calendar individually. But it was worth the effort; the numbers are now far more readable.

Here’s a little movie of the calendar’s pages. You’ll need QuickTime to view it.

Then the big task: finding the images I needed in my calendar — 12 full-page images and about 16 smaller ones — cropping them for the right proportions, saving them as TIFFs, and dragging them into my working file. It took me two full days to get the job done. In the end, it was very tedious and I just couldn’t wait to finish it.

Since the calendar’s pages had to be in multiples of 4, I had to stretch my 26 page document to 28 pages. That also meant filling in 2 more pages with something. I decided to put information about Flying M Air’s services, along with thumbnail images from the big pictures.

Once completed, I created the PDF MagCloud needed to print my calendar. The first upload (which took 4 tries on my miserably slow Internet connection here in Wickenburg) resulted in an error. I’d gotten the bleed measurements wrong. I fixed them and (fortunately) did not need to adjust the layout. Two hours later, after about 8 upload attempts, the file was online. The preview looked good.

I ordered the free proof and am now waiting for it to arrive. If it passes muster — and I’m about 95% sure it will — I’ll order about 50 copies to give as holiday gifts to clients and friends.

In the meantime, I’ve “published” the calendar so others can preview and (hopefully) buy their own copies. There is one caveat, however. Because MagCloud publishes magazines and not calendars, if you buy from MagCloud, you’ll have to punch your own hole in the top of the calendar.

I’ll be doing a lot of hole-punching next week.

MagCloud

On-demand magazine publishing.

I need to start this blog post by thanking RickHap for his comment on my blog post, “Marketing Madness.” My post whined a bit about the chore of putting together a 12-page package of information about Flying M Air‘s helicopter tours and day trips for Phoenix area concierges. Rick told me about MagCloud, an HP service that can turn a PDF into a slick, bound, full-color magazine.

The deal seemed too good to be true: only 20¢ per page for full color printouts with no minimum purchase. Just create the PDF, upload it to the site, and get a free proof. If it looks good, click the Publish button. Or, if you’re confident about your PDF production skills, simply publish it without waiting for the proof.

So I tried it. I threw together a quick PDF of the files I’d been printing at my local print shop for 80¢ per page and painstakingly slipping into special binders. I went away on a trip — have you noticed how much I’m traveling lately? — and when I got home, the proof was there.

And it was pretty damn good.

The print quality was better than I’d been getting from the local print shop’s fancy printer. It was smartly bound with staples, so it wouldn’t fall apart. And on the back page was an address area to make it easy to mail the materials out.

Not only was I hooked, but I began to see the possibilities in using this service to meet my own publishing needs.

Exploring Arizona by HelicopterFirst up (after the concierge package was properly done) was a newsletter for Flying M Air that I’m calling Exploring Arizona by Helicopter. I had to come up with a new design that utilized my company colors. The resulting PDF looks pretty good for a first effort, if I do say so myself. I can’t wait to see the printed version.

Although this first issue is a bit heavy on the marketing content, some comments from Miraz will help me focus on content with more universal appeal in the next issue. This issue does feature a few of my better photos, though, many of which can be found in my photo gallery. (Hey, a girl has to pay for this photo equipment, doesn’t she?)

I’ve ordered 20 copies to send out to former clients and hopefully entice some of them to submit photos and first-person accounts of their experiences flying with me. I’ll also be dropping off copies with some of the concierges I’ve been visiting to get them interested in what’s new.

If you have a newsletter or magazine you’d like to get printed on demand, I highly recommend MagCloud. And again, I’d like to thank Rick for sharing this info with me. I think it’ll really help me get the word out about all kinds of things in the future.

What Editors [Are Supposed to] Do

And what they’re not supposed to do.

As I travel across northern Arizona by helicopter, escorting two paying passengers among Arizona’s natural and semi-natural wonders, I find myself working remotely on a book project I started before I left and will finish when I return. I promised to keep the ball moving while away and that means reviewing edits of chapters I’ve completed.

It does not mean getting angry about editors overstepping their bounds and making manuscript changes they have no business making.

In an effort to educate writers and editors about the various editing jobs out there, I decided to put together this list of editor job types and duties. I’m hoping that my project editor and the miscellaneous editors she’s managing will read this and learn.

Rather than discuss all kinds of editors, I’ll concentrate on just two: technical editor and copy editor. These are the ones I work with directly most often — and the ones that give me the most headaches.

Technical Editor

A technical editor’s job is to ensure that a book’s content is accurate and instructions are easy to follow. Technical editors are widely used in the computer books I write, although for many of my titles, I’m responsible for my own technical accuracy. When a technical editor is put on a job, his duties include the following:

  • Reading the entire manuscript.
  • Reviewing all statements of fact to ensure they’re correct.
  • Trying all instructions to make sure they work.
  • Reviewing all screenshots to ensure that they’re correct.
  • Asking the author for clarification on something that’s not clear.
  • Informing the author of inaccuracies in text or screenshots.
  • Suggesting additional information that the author may have missed that’s within the scope of the book and may be useful to readers.

A technical editor should not — I repeat, not — do the following:

  • Make changes to information or instructions. That’s the author’s job on reviewing the technical edits. An exception would be to fix an obvious typo.
  • Add information or instructions. That’s the author’s job on reviewing the technical edits.
  • Ask the author questions about how the program works. The technical editor should know how the program works. If the author got something wrong, it’s the technical editor’s job to tell him — not to ask him if it’s right or wrong.

Under no circumstances should the technical editor make changes to the manuscript to introduce information or instructions that he has not verified. The author should never be required to perform technical editing chores on text introduced by the technical editor. It must be assumed by the author that the technical editor’s comments and suggestions are accurate and correct. Otherwise, why have a technical editor?

Copy Editor

A copy editor’s job is to review the manuscript and make sure the text is grammatically correct and conforms to the style guidelines established for the publication. The copy editor’s job is to improve the book, not change it. Specifically, his responsibilities include:

  • Reading the entire manuscript, or, for a revision, the portions that have changed since the previously published edition.
  • Identifying and fixing typos and spelling errors. If there are a lot of these, the author is simply not doing his job.
  • Identifying and fixing grammatical errors. One could argue that if there are a lot of these, the author probably shouldn’t be writing. I’ll agree with that. But every author is prone to making a few grammatical errors and should probably be forgiven. The copy editor needs to fix it.
  • Identifying and fixing style errors. I’m talking about usage like e-mail vs. email, Web site vs. website, and press the OK button vs. click OK. Style should be established in advance and adhered to by the author, so there shouldn’t be many of these problems, either.
  • Point out sentence constructions that aren’t clear. If a rewrite is necessary to clarify, the author should be allowed to do it. If it’s an easy fix like adding punctuation or a few words, the editor should be able to do it.

The copy editor should not do the following:

  • Change the author’s voice. It is the author’s book, not the copy editor’s. The only exception should be in the event that the author’s voice is so far off established standards that it needs changing. That’s a problem that needs to be resolved by the editor in charge of the project, though.
  • Change the author’s common usage to something the copy editor prefers. If the author likes to use a phase such as “If desired, you can…,” the copy editor should not change the phrase to “If you want to, you can….”
  • Create awkward sentence reconstructions to remove prepositions from the end of a sentence. While old-time grammar rules say you shouldn’t end a sentence with a preposition, it’s commonly done in casual voice writing. An author should try to avoid this, but should not be required to make his sentences sound like those in a college text book to do so.

There are good copy editors, bad copy editors, and copy editors who should not be copy editors at all. I love having a good copy editor; I love feeling that a revised sentence remains in my own voice but is improved. I love to learn from that. A bad copy editor, on the other hand, won’t find the errors he’s supposed to find. It’s embarrassing when they’re found in the printed book. A copy editor who makes changes for the sake of changes — as if to justify his own importance to the project — should not be editing. He should be either writing his own books or doing something that has nothing to do with writing. These copy editors create bad feelings for experienced authors and make their work a real chore.

What Do You Think?

What are your thoughts on this? Are you a writer with some editor stories to share? Or an editor with some author stories to share? Please share your comments on this post. I’d like to get a discussion going about this. I think I’m on track with this assessment, but maybe you have other ideas?

In the meantime, I’ve got to make a phone call. One of my editors needs to be reminded of her responsibilities and their limitations.

Writing in the 21st Century

A look back at the evolution of writing for publication.

Yesterday, my 72nd printed book went to the printer. For the first time ever, not a single sheet of paper was printed, mailed, or marked up during the writing and editing process for one of my books.

I’ve been a freelance writer since 1990. Most of my work — all of my books and 95% of my articles — has been about using computers. Yet for the first few years I wrote books about using computers, the manuscript files I created weren’t even used for the production of the book.

In the “Old Days”…

Back in the old days, my manuscripts had to be submitted in standard manuscript format. That means I wrote them in Microsoft Works (in the beginning) or Word using a plain font like Courier with double-spacing. What came out of my [$2,000] laser printer printer was a document that looked as if it had been typed on a typewriter by a very careful typist. Hundreds of pages. I was required to submit two printed copies of the manuscript to my editor.

In those days, Staples sold “manuscript boxes.” These were cardboard boxes designed to hold stacks of paper that were 8-1/2 x 11 inches. I’d print two copies of the manuscript, stack them one atop the other in this manuscript box, and mail them to my editor.

One time, in order to make a deadline, I sent the manuscript copies to Manhattan with my next door neighbor, who worked there. She then called a courier company to deliver the manuscript to the publisher’s offices in the Columbus Circle area.

In all honesty, I can’t remember how edits were handled. I don’t even recall getting any marked up copies of that early work. I think I got the galleys, though. They were printed (of course) and I wasn’t allowed to make many changes to them.

The Rise of E-Mail

Around the time of my fourth book (third solo book) in 1992 or 1993, e-mail was starting to get big. I still recall my shock and surprise when I sent an e-mail message to someone and got a response within an hour. Whoa!

That’s the book I started sending manuscript chapters via e-mail to my editor. The idea was that she’d review the chapters as they came in. This really saved my ass when my hard disk crashed and I lost everything on it. I was able to recover all those files from my editor and keep working. But when it came time to final submission, it had to be printed and mailed in: 2 copies, double-spaced.

Database Publishing with FileMaker Pro on the Web

This is one of the few books I wrote and laid out using FrameMaker. Its cross-referencing tools couldn’t be beat back in 1998.

When I started writing Visual QuickStart Guides for Peachpit Press in 1995, I also began doing layout. In the beginning, I used QuarkXPress, but I soon switched to PageMaker and finally to InDesign. I did a number of other books for Peachpit and for AP Professional (Claris Press, FileMaker Press) using FrameMaker, which I still think was the best layout tool out there. (InDesign is getting closer; thank heaven it finally added cross-referencing tools in CS4.)

For the early books, I’d create the chapter files, print them out, and mail them to my editor. Marked up copies would be FedExed back. I’d make the changes in the files. When the project was done, I’d send them a Zip disk or, later, burn a CD on my [$700] CD burner with all the files. That disk would travel by mail or FedEx on top of a stack of printed pages. In the beginning, they wanted 2 copies, but later they began using their own copier to make the copies they needed.

Word Files from Templates

Quicken 99: The Official Guide

This was the first book I wrote that made extensive use of Word templates.

Time went on. For the books I didn’t lay out, Microsoft Word became the standard. At first, I submitted files with the usual double-spaced, plain vanilla formatting. But some of my publishers got fancy and started sending templates with styles and macros and buttons built in. Although these files were always created on a Windows PC, they worked fine on my Mac. They usually came with detailed instructions for use; by applying the styles and submitting the files, my formatting would ease the task of getting it typeset on their system. Some of my publishers had terribly antiquated systems that required a lot of effort on the part of the production staff.

The use of Microsoft Word meant that my manuscript could go through a series of editors — copy, technical, and proofreader — with all edits clearly identified using the revision feature. I’d get edits back, review them, and either accept or reject them. Then I’d send them on to the next editor. The process was long and tedious, with lots of editing and a manuscript file that looked like a colorful mess of type. Often one editor’s changes would be changed back by another editor. Whatever.

I was required to send printed manuscript pages for most of the 1990s, but the files were transferred by e-mail, with a backup copy of all files on CD sent along with the printouts. I also got all galleys printed. That was often a lot of paper — hundreds of pages. In the mid 2000s, I started bringing the one-sided pages to my local copy shop to have them cut and padded; I’d use the back side of each page as scratch paper.

The Rise of PDFs

In the mid 2000s, I started seeing galleys as PDFs. I’d review them onscreen — no easy task when you have a smallish monitor and can’t read an entire page at once — then print out the pages with problems, mark them up, and send them into my editor. One of the reasons I bought a 20″ monitor a while back was to be able to proofread page by page.

Around the same time, Peachpit wanted to send me markups of my laid out book pages as PDFs. I resisted for quite a while because reviewing edits and making changes to the laid out page files with just one monitor was such a pain in the ass. My office now has a pair of 24″ monitors connected to one computer so I can review corrections on one screen while making corrections to manuscript pages on the other.

The End of Paper

200907212014.jpg

My most recent book was written and edited without an exchange of paper.

The book I finished yesterday (Mac OS X 10.6 Snow Leopard: Visual QuickStart Guide) was the first one that had absolutely no exchange of paper. I’d create book pages using InDesign and turn chapters into PDFs. I’d upload the PDFs and a zipped folder full of chapter files to Peachpit’s secure and private FTP server. The chapter files were my offsite backup — I did all of my work on this book from a camper or hotel and did not have a spare hard drive to back up to. My production and tech/copy editor would review the PDFs, mark them up with Acrobat — they use the full version, which I don’t have — and put them in a different folder on the FTP site. I’d download them, review them, and make manuscript page changes. Then I’d upload new PDFs to yet another folder and send fresh zipped files. My indexer got her own set of PDFs with accurate page numbers as we finalized pagination from one chapter to the next. When all editing was done, I updated the InDesign book file and its individual chapter files to finalize cross-references. (This is also the first Visual QuickStart Guide I’ve written that has cross-references to actual book pages rather than chapters.) I generated my table of contents and laid out the index when it arrived from my Indexer yesterday morning. Although I was still handling edits on Wednesday morning, by 10 AM yesterday (the next day), my editors at Peachpit had all the final files. By 5 PM the same day, the printer had those files.

I expect to see printed books within 3 weeks.

There are a lot of folks who see printed books as a terrible waste of paper. Although print publishing is definitely on the decline, there are many people — myself included — who prefer reference work in printed format. I don’t think print publishing will ever completely die.

I’m very pleased, however, that the production process didn’t add any more paper waste to landfills or recycling centers. I, for one, don’t need any more scratchpads.

Anyway, I thought some writers out there might be interested in the evolution of the writing/production process as seen by an “old timer” like me.

I’m just glad I never had to use a typewriter for my writing work. Using one in college was bad enough.