April/May 2005

"I have written a great many stories and I still don't know how to go about it except to write it and take my chances."

- John Steinbeck

Working with Your Freelance Editor
Writer's Break

When You're Trying to Scare Up Publicity for Your Book, The Media Wants to Know Just One Thing
Writer's Digest

What Point of View? Absolute Write




From Publisher's Weekly: "Beginning with plenty of realistic words of caution, veteran freelancer Glatzer provides a practical guide for aspiring writers who want to earn a living doing what they love...

Crime Scene Investigation
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Guide to Grammar and Style
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An Interview with Bestselling Novelist Michael Connelly



 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


Featured Interview | Advertisements | Featured Article

Becoming the Total Package

My mother and soon-to-be mother-in-law paid us a visit this past weekend. It was their first trip to L.A., and I think they enjoyed it. We introduced them to all of the local neighborhoods, a couple of glitzy restaurants and a not-so-glitzy beach. I really enjoyed having them here, but the place feels incredibly empty now. That's the problem with visits. They always end.

On a much happier note, the month of May brought us a wonderful surprise. I'm thrilled to announce that WritersBreak.com made Writer Digest's 2004 list as one of the best web sites for writers! Thank you so much for your nominations!

It's such an honor to be included on the list--I hope that this is the first year of many. There's much more to come in 2005. We have some terrific interviews lined up, and many, many great articles!

I'm also happy to announce that, beginning in June, I'm publishing a monthly column on my adventures with trying to find an agent (then, hopefully publisher...) for my novel, and any misadventures I have trying to segue my nonfiction writing experience into the commercial magazine market. Hopefully it'll be a good read, and that some of you can learn from my experiences. If not, you can always skip my column and go straight to the articles and interviews!

In this issue, we bring you an interview with Hal Ackerman, UCLA Screenwriting professor and author of Write Screenplays That Sell: The Ackerman Way. If you're struggling with a screenplay, or have entertained thoughts of writing one, you won't want to miss this interview.

Jenna Glatzer also explains why--when trying to score a big publishing deal--it's important to not only be a good writer, but to be the total package. In our feature article, Glatzer explains what she means and how to become one.

Enjoy the issue. And have a great Memorial Day weekend!

See you at the end of June.

Jennifer Minar
Managing Editor
WritersBreak.com & Writer's Break Monthly
www.WritersBreak.com


Interview with UCLA Screenwriting Professor and Author, Hal Ackerman

Over the last decade, a dozen screenplays written in Hal Ackerman’s UCLA Screenwriting classes have been sold. His teachings have been highly praised by many, including those who have found success with films such as A Walk on the Moon, The Big Tease, and Terminal.

For years, Ackerman's students encouraged him to write a book on the craft. The result? The esteemed Write Screenplays That Sell: The Ackerman Way (Tallfellow Press), which has been called an intuitive, inspirational “must have” on screenwriting and has been adopted as a new text by university film studies departments around the U.S.

Recently, we asked Ackerman what he feels are the most common mistakes aspiring screenwriters make when pursuing the craft of screenwriting, and what it takes to increase the odds of making it in this difficult industry.

Here's what he told us.


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Becoming the Total Package
by Jenna Glatzer

Being a great writer is no longer enough if you plan to score a big publishing deal, especially as a nonfiction author.

Particularly if your book idea falls into the “how-to” or “self-help” categories, you not only have to sell your terrific writing, but you also have to sell yourself as the book's conduit to the world.

Publishers want to minimize their risks, so they don't haphazardly award big book contracts to unknown writers—unless, that is, the writer is the total package. What constitutes this “package?”

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