The bedroom is a place of Zen for every individual in a family home. It is a place where one can just be himself and let go of the worries and stress of the outside world. Aside from activities that you commonly hold in your room, the furniture that you equip it with will accentuate its overall feel and beauty.
This is the case if you are living in Miami, Florida. The homes in the city can only be described as elegant, as it is convenient. The beauty of the neighborhood is reflected by the luxurious homes that dots the area -- not only on the outside, but on the inside as well.
Miami Bedroom Furniture -- Style And Design
If you take a look around Miami, Florida; you might notice that the city is selling modern bedroom furnishing that incorporates different themes and styles that will suit an individual's taste. Aside from the beauty that it can give to your room, Miami bedroom furniture addresses the concern of the individual in terms of convenience and comfort.
Let's first discuss the concept of modern bedroom furniture and how it can add beauty to a room. For starters, you can purchase styles that fit the age that you want your room to exude, such as Victorian, contemporary or modern, archaic, vintage, or just plain futuristic. There are practically hundreds of styles to choose from with assorted colors, materials used, design, and so on. Pick a concept that will fit your bedroom preference perfectly.
Convenience Of Use
Another method to pick out modern bedroom furniture for your Miami home is to choose one according to your use for it. For example, some Miami homes do not have that much space for a family's comfort.
In fact, many of these residential units in Miami lack the necessary space for bulky furniture, much less for every individual in a single household. To address this concern, creative minds have come up with methods of incorporating different features in bedroom furniture, or assimilating it perfectly into the architectural designs of your home to maximize space; once such example is the combination of a platform bed and an entertainment system.
Furniture developers have come up with a way to incorporate an entertainment system into a modern platform bed. The screen can be integrated into the foot area of the platform bed, or uses contraptions to slide it under. Other designs use a flat screen television unit in place of a headboard, like having a movie theater in the convenience of your own bed.
Some platform beds are incorporated into walls and ceiling to free much needed space in a family bedroom. Ceiling-type platform beds use an elevator-like design where the bed can be pulled down from the ceiling, either manually or through a push of a button, if needed and pushed back up if not. The same concept also applies with wall-type beds.
Friday, August 22, 2008
Literary Fiction - Is it in Danger of Dying Out?
If Ernest Hemingway were alive today and publishing his first novel at the infancy of the 21st century, would anyone care? I’d have to say, probably not. This is of course, unfortunate. Whether you like his work or consider it overly macho and sexist, there is one undeniable fact: Hemingway redefined the way early 20th century American literature was written. In his simple, yet amazingly realistic style, he was able to relate more to the common man, rather than appealing to ultra-elite society as the countless Victorian authors did before him. Not to say he was the first to write about average everyday people, but it was the way he wrote his fiction that made the average everyday people want to read it. By scrapping the pretentious Victorian-style narrative and sticking to the actual guts of the story, his novels became the everyman’s novels, and this is what made him an international superstar in his day.
But today this would not be enough to get old Ernie that kind of attention. In fact, it may not even be enough to get him published. Today it takes a brand-able or franchise-able idea that has the potential to branch out into spin-off products and mega-movie deals to garner that kind of worldwide attention from a novel. Examples include The Da Vinci Code and the Harry Potter series. They have that mega-million dollar potential that drives authors to the top of the bestseller lists for months at a time. But why is it that the bestseller lists are so often dominated by genre novels? What happened to the literary novels that used to rule the book world?
I don’t want to offend anyone here, but I would like to take one moment to explain the difference between “literary” fiction and “genre” fiction (genre meaning Mystery, Sci-Fi, Romance, etc.) Many people actually have no idea that there is a difference. In fact, when someone asked me once what genre I wrote in, I said, “I don’t write in a genre. I write literary fiction.” They laughed and said, “Isn’t all fiction literary?” Well maybe they were confusing the word “literary” with “literature,” but at any rate I will now explain the difference for those of you who don’t know. I do want to say upfront that I am in no way putting down genre fiction, since it too has its merits and value. And many times genre fiction may even take on some aspects of literary, and vice versa. However, the focus here is on whether or not literary fiction has completely fallen off the general public’s proverbial radar screen . . . So, I continue.
The main difference between genre and literary fiction is one thing: conflict. Conflict is that all-important element in fiction, so important that without it you have no story to tell. Conflict is the problem the characters must solve, the obstacle they must overcome, the foe they must defeat, etc. And, there are two types of conflict: External and Internal. External is the type of conflict utilized by genre writers. For example, in a murder mystery the conflict would be the murder that the detective is trying to solve. In science fiction it might be that the alien hoards have just landed in Jersey and the Air Force is faced with destroying them. Whatever it is, in genre, the conflict is always external, i.e. aliens are an external force the Air Force pilots must defeat, the murder is an external problem the detective must solve. So the conflict depends more on these external forces, rather than the characters.
In literary fiction, the conflict is much different, it’s internal, which means it is character driven. It focuses less on the external forces the characters must overcome, and more on the internal forces the characters must face within themselves. For example, it may be a story about a man who has cheated on his wife and his conflict is whether or not he should tell her. Or (and this is where the mixing of genre and literary comes in) the alien hoards have landed in Jersey, once again, and the Air Force pilots must decide if they believe it morally correct to blow them to kingdom come. That’s the beauty of literary fiction, there is a much deeper revealing of the characters in that it explores what we as human beings would do in these situations, rather than what an idealized character may do. Like us all, they are not purely black or white. They are instead gray characters, sharing both good and bad qualities. This is what literary fiction does; it explores the true nature of, well, human nature.
So, is literary fiction falling through the cracks of mainstream society? If so it’s not because it isn’t being written. On the contrary, there are plenty of contemporary literary writers in America today who are all worth the accolades and awards they have received. But have you ever heard of Marilynne Robinson or Jeffrey Eugenides, two fairly recent and award winning literary novelists? You may have, but how about Richard Bausch? He was once called “one of our greatest short story writers” whose literary stories “deserve inclusion among the best American stories of the past 20 years.” It could be said that Bausch is near the top of the modern literary strata as far as talent goes, but have you ever heard of him? Is his name as recognizable as Dan Brown or J.K. Rowling? Indeed, not. So why is that? In 2004, genre fiction made up about 75% of all fiction sold, while “general fiction” made up about 25% (this is according to Romance Writers of America, Inc., who of course noted that the genre of Romance had the largest share at over 33%).
In general, sales for all books have been declining in recent years. This may be attributed to many factors, one in particular I like to call, the MTV factor. I mean, why waste your time reading a book about twenty-year-olds having sex in a hot tub when you can watch it on cable television, right? MTV, however, is not the cause of this problem, but just another symptom of what has been coined by the talking head as, “the dumbing down of America.” If this phenomenon exists it is something we must all live with, but is it the reason less literary novels are being read today? After all, it doesn’t take a genius to enjoy literary fiction. I enjoy literary fiction, and I am certainly no genius. So could it be the publishers? Are they to blame for the slow demise of this once sought-after art form? Well, they certainly contribute to it, since a book about a teenage wizard does mean a bigger profit margin than say, a novel about a dieing preacher writing an account of his life for his seven-year-old son (Gilead, Marilynne Robinson). But whether or not the mega-conglomerate publishers bare the bulk of the responsibility for the impending death of literary fiction is unclear. What does seem to be painfully clear is, whatever the reason, literary fiction is no longer craved and devoured by the masses as it once was. In fact, most Americans will only read literary fiction in grade school. But what turns out to be an even scarier statistic is that after high school, the majority of them will never pick up a book, of any kind, for the rest of their natural lives; a sad sign that we are doomed as a literary society. So I suppose in the end, we should be happy that those that do read are
But today this would not be enough to get old Ernie that kind of attention. In fact, it may not even be enough to get him published. Today it takes a brand-able or franchise-able idea that has the potential to branch out into spin-off products and mega-movie deals to garner that kind of worldwide attention from a novel. Examples include The Da Vinci Code and the Harry Potter series. They have that mega-million dollar potential that drives authors to the top of the bestseller lists for months at a time. But why is it that the bestseller lists are so often dominated by genre novels? What happened to the literary novels that used to rule the book world?
I don’t want to offend anyone here, but I would like to take one moment to explain the difference between “literary” fiction and “genre” fiction (genre meaning Mystery, Sci-Fi, Romance, etc.) Many people actually have no idea that there is a difference. In fact, when someone asked me once what genre I wrote in, I said, “I don’t write in a genre. I write literary fiction.” They laughed and said, “Isn’t all fiction literary?” Well maybe they were confusing the word “literary” with “literature,” but at any rate I will now explain the difference for those of you who don’t know. I do want to say upfront that I am in no way putting down genre fiction, since it too has its merits and value. And many times genre fiction may even take on some aspects of literary, and vice versa. However, the focus here is on whether or not literary fiction has completely fallen off the general public’s proverbial radar screen . . . So, I continue.
The main difference between genre and literary fiction is one thing: conflict. Conflict is that all-important element in fiction, so important that without it you have no story to tell. Conflict is the problem the characters must solve, the obstacle they must overcome, the foe they must defeat, etc. And, there are two types of conflict: External and Internal. External is the type of conflict utilized by genre writers. For example, in a murder mystery the conflict would be the murder that the detective is trying to solve. In science fiction it might be that the alien hoards have just landed in Jersey and the Air Force is faced with destroying them. Whatever it is, in genre, the conflict is always external, i.e. aliens are an external force the Air Force pilots must defeat, the murder is an external problem the detective must solve. So the conflict depends more on these external forces, rather than the characters.
In literary fiction, the conflict is much different, it’s internal, which means it is character driven. It focuses less on the external forces the characters must overcome, and more on the internal forces the characters must face within themselves. For example, it may be a story about a man who has cheated on his wife and his conflict is whether or not he should tell her. Or (and this is where the mixing of genre and literary comes in) the alien hoards have landed in Jersey, once again, and the Air Force pilots must decide if they believe it morally correct to blow them to kingdom come. That’s the beauty of literary fiction, there is a much deeper revealing of the characters in that it explores what we as human beings would do in these situations, rather than what an idealized character may do. Like us all, they are not purely black or white. They are instead gray characters, sharing both good and bad qualities. This is what literary fiction does; it explores the true nature of, well, human nature.
So, is literary fiction falling through the cracks of mainstream society? If so it’s not because it isn’t being written. On the contrary, there are plenty of contemporary literary writers in America today who are all worth the accolades and awards they have received. But have you ever heard of Marilynne Robinson or Jeffrey Eugenides, two fairly recent and award winning literary novelists? You may have, but how about Richard Bausch? He was once called “one of our greatest short story writers” whose literary stories “deserve inclusion among the best American stories of the past 20 years.” It could be said that Bausch is near the top of the modern literary strata as far as talent goes, but have you ever heard of him? Is his name as recognizable as Dan Brown or J.K. Rowling? Indeed, not. So why is that? In 2004, genre fiction made up about 75% of all fiction sold, while “general fiction” made up about 25% (this is according to Romance Writers of America, Inc., who of course noted that the genre of Romance had the largest share at over 33%).
In general, sales for all books have been declining in recent years. This may be attributed to many factors, one in particular I like to call, the MTV factor. I mean, why waste your time reading a book about twenty-year-olds having sex in a hot tub when you can watch it on cable television, right? MTV, however, is not the cause of this problem, but just another symptom of what has been coined by the talking head as, “the dumbing down of America.” If this phenomenon exists it is something we must all live with, but is it the reason less literary novels are being read today? After all, it doesn’t take a genius to enjoy literary fiction. I enjoy literary fiction, and I am certainly no genius. So could it be the publishers? Are they to blame for the slow demise of this once sought-after art form? Well, they certainly contribute to it, since a book about a teenage wizard does mean a bigger profit margin than say, a novel about a dieing preacher writing an account of his life for his seven-year-old son (Gilead, Marilynne Robinson). But whether or not the mega-conglomerate publishers bare the bulk of the responsibility for the impending death of literary fiction is unclear. What does seem to be painfully clear is, whatever the reason, literary fiction is no longer craved and devoured by the masses as it once was. In fact, most Americans will only read literary fiction in grade school. But what turns out to be an even scarier statistic is that after high school, the majority of them will never pick up a book, of any kind, for the rest of their natural lives; a sad sign that we are doomed as a literary society. So I suppose in the end, we should be happy that those that do read are
Where to Look for a Literary Agent
Why spend time and money looking for a literary agent if your agent isn’t going to be able to help you get your book published for a good advance and with a good publisher? This article will explain the biggest mistake beginning writers make when it comes to literary agents: not knowing where to look for an agent.
WHERE SHOULD YOUR LITERARY AGENT HAVE AN OFFICE?
A literary agent in New York City has the best chance of landing you a good publishing deal with a good publisher who will pay a decent advance. Sure, there are agents in other cities, and many of them are wonderful. But New York City is the publishing capital of the world. There are more bookstores and publishers here than anywhere. When I was in high school I used to travel from the Bronx into Manhattan by subway just to visit the great bookstores: Brentano’s, Scribner’s, the Strand, and Barnes and Noble.
Now that I’m a published writer, I still travel to New York for its bookstores, but these days I also visit my literary agents.
The reason that there are so many literary agents in New York City is simple. They want to be close to the action. They need to be able to have lunch with editors. It’s at lunch that many deals are made and many friendships and business associations are forged.
WHAT DOES A LITERARY AGENT DO AT LUNCH BESIDES EAT?
The primary purpose of a publisher’s lunch is not to eat. That is incidental to business. The primary purpose is to discuss books, writers, editors, agents, and book proposals. The first thing an editor and a literary agent will do is exchange business cards. Then they’ll order drinks (non-alcoholic usually) and they’ll talk about the latest projects they’re working on. The editor will ask about the various new writers the agent is representing.
After ordering the meal, they’ll have another opportunity to talk business. This time they may focus on a specific project the literary agent is trying to sell. Editors are eager to hear new ideas from agents they trust.
Once the food arrives, the literary agent is likely to become a little more relaxed and casual, but business is not far from her mind. She’ll probably ask the editor what she’s working on and try to get a sense of what the editor wants to see in terms of new manuscripts. A literary agent can then communicate these interests to the writers she represents during the course of the next few weeks or months.
Looking for a literary agent in New York City should be at the top of the list of priorities of any beginning writer. The simple fact of the matter is that New York literary agents have the contacts that could turn a publisher’s lunch into a book contract for you.
WHERE SHOULD YOUR LITERARY AGENT HAVE AN OFFICE?
A literary agent in New York City has the best chance of landing you a good publishing deal with a good publisher who will pay a decent advance. Sure, there are agents in other cities, and many of them are wonderful. But New York City is the publishing capital of the world. There are more bookstores and publishers here than anywhere. When I was in high school I used to travel from the Bronx into Manhattan by subway just to visit the great bookstores: Brentano’s, Scribner’s, the Strand, and Barnes and Noble.
Now that I’m a published writer, I still travel to New York for its bookstores, but these days I also visit my literary agents.
The reason that there are so many literary agents in New York City is simple. They want to be close to the action. They need to be able to have lunch with editors. It’s at lunch that many deals are made and many friendships and business associations are forged.
WHAT DOES A LITERARY AGENT DO AT LUNCH BESIDES EAT?
The primary purpose of a publisher’s lunch is not to eat. That is incidental to business. The primary purpose is to discuss books, writers, editors, agents, and book proposals. The first thing an editor and a literary agent will do is exchange business cards. Then they’ll order drinks (non-alcoholic usually) and they’ll talk about the latest projects they’re working on. The editor will ask about the various new writers the agent is representing.
After ordering the meal, they’ll have another opportunity to talk business. This time they may focus on a specific project the literary agent is trying to sell. Editors are eager to hear new ideas from agents they trust.
Once the food arrives, the literary agent is likely to become a little more relaxed and casual, but business is not far from her mind. She’ll probably ask the editor what she’s working on and try to get a sense of what the editor wants to see in terms of new manuscripts. A literary agent can then communicate these interests to the writers she represents during the course of the next few weeks or months.
Looking for a literary agent in New York City should be at the top of the list of priorities of any beginning writer. The simple fact of the matter is that New York literary agents have the contacts that could turn a publisher’s lunch into a book contract for you.
Why Use A Direct Marketing List Broker?
There are thousands of different lists in the marketplace today. There are business lists and consumer lists.
There are postal, phone, and opt-in email lists. There are hundreds of different companies who manage, compile, and represent these lists. How would you know where to start? How would you know where to look? How would you know what to pay? How would you know how much time it should take? How would you know if you are being realistic with your timeline and budget? A List Broker can answer all of these questions for you, and will typically only charge you for the actual list.
For consumer lists, there are hundreds of different criteria that you can utilize when searching for a list. How would know what criteria to use? How would you know which list company to turn to based on your criteria? How would you know what a reasonable price is that you should be paying for these criteria? A List Broker can help you to determine which criteria will deliver the quantity of records you are seeking and the optimal outcome.
For business lists, there are not as many criteria, however, there are many different types of business lists, and it is very easy to become confused if you are not supported by someone who knows what to look for. A List Broker has worked with many different business list companies, and can therefore determine, based on your criteria, which company(s) to turn to.
There are also different rules in place that govern how lists can be used, and there are different list companies that do and do not follow these rules. For instance, consumer phone numbers in the USA are tightly regulated under the Do Not Call legislation. Not only are there national regulations, each state has their own policies around calling consumers. It is very important to work with legitimate list companies who follow these rules.
The same approach is in place for email lists. This is why there are referred to as opt-in email lists because they are permission based. There are companies out there that will sell you an email list. We highly recommend that you do not work with these companies because the list is probably old and it is most definitely not permission based, and is therefore illegal. Please review the CAN-SPAM Act to learn more about email list policy.
How do you know which list is right for you? Unless you have worked with many of these vendors, and know what their quality is, you don't know which list is right for you. That is where a List Broker can really make a difference in the outcome of your direct marketing campaign. A Broker knows which companies to turn to depending on what your specific targeted needs are. A Broker can locate specific data for you depending on what your budget and time line is. A Broker knows which company to turn to depending on whether you are looking for a postal, phone, or opt-in email list.
A good Broker will provide you with choices. In other words, instead of being told that this is the data you need, they will provide you with several choices to review and will point out which one they believe will deliver the optimal results for your campaign. What is great for you is that you can choose the data that you think will work best for you.
A Broker will do all the research for you in order to ensure that the best data is located. Therefore, a List Broker will save you time, money, and aggravation in your acquisition of a Direct Marketing List. What are you waiting for? Let a List Broker support your targeted marketing needs now!
There are postal, phone, and opt-in email lists. There are hundreds of different companies who manage, compile, and represent these lists. How would you know where to start? How would you know where to look? How would you know what to pay? How would you know how much time it should take? How would you know if you are being realistic with your timeline and budget? A List Broker can answer all of these questions for you, and will typically only charge you for the actual list.
For consumer lists, there are hundreds of different criteria that you can utilize when searching for a list. How would know what criteria to use? How would you know which list company to turn to based on your criteria? How would you know what a reasonable price is that you should be paying for these criteria? A List Broker can help you to determine which criteria will deliver the quantity of records you are seeking and the optimal outcome.
For business lists, there are not as many criteria, however, there are many different types of business lists, and it is very easy to become confused if you are not supported by someone who knows what to look for. A List Broker has worked with many different business list companies, and can therefore determine, based on your criteria, which company(s) to turn to.
There are also different rules in place that govern how lists can be used, and there are different list companies that do and do not follow these rules. For instance, consumer phone numbers in the USA are tightly regulated under the Do Not Call legislation. Not only are there national regulations, each state has their own policies around calling consumers. It is very important to work with legitimate list companies who follow these rules.
The same approach is in place for email lists. This is why there are referred to as opt-in email lists because they are permission based. There are companies out there that will sell you an email list. We highly recommend that you do not work with these companies because the list is probably old and it is most definitely not permission based, and is therefore illegal. Please review the CAN-SPAM Act to learn more about email list policy.
How do you know which list is right for you? Unless you have worked with many of these vendors, and know what their quality is, you don't know which list is right for you. That is where a List Broker can really make a difference in the outcome of your direct marketing campaign. A Broker knows which companies to turn to depending on what your specific targeted needs are. A Broker can locate specific data for you depending on what your budget and time line is. A Broker knows which company to turn to depending on whether you are looking for a postal, phone, or opt-in email list.
A good Broker will provide you with choices. In other words, instead of being told that this is the data you need, they will provide you with several choices to review and will point out which one they believe will deliver the optimal results for your campaign. What is great for you is that you can choose the data that you think will work best for you.
A Broker will do all the research for you in order to ensure that the best data is located. Therefore, a List Broker will save you time, money, and aggravation in your acquisition of a Direct Marketing List. What are you waiting for? Let a List Broker support your targeted marketing needs now!
Why Use A Direct Marketing List Broker?
There are thousands of different lists in the marketplace today. There are business lists and consumer lists.
There are postal, phone, and opt-in email lists. There are hundreds of different companies who manage, compile, and represent these lists. How would you know where to start? How would you know where to look? How would you know what to pay? How would you know how much time it should take? How would you know if you are being realistic with your timeline and budget? A List Broker can answer all of these questions for you, and will typically only charge you for the actual list.
For consumer lists, there are hundreds of different criteria that you can utilize when searching for a list. How would know what criteria to use? How would you know which list company to turn to based on your criteria? How would you know what a reasonable price is that you should be paying for these criteria? A List Broker can help you to determine which criteria will deliver the quantity of records you are seeking and the optimal outcome.
For business lists, there are not as many criteria, however, there are many different types of business lists, and it is very easy to become confused if you are not supported by someone who knows what to look for. A List Broker has worked with many different business list companies, and can therefore determine, based on your criteria, which company(s) to turn to.
There are also different rules in place that govern how lists can be used, and there are different list companies that do and do not follow these rules. For instance, consumer phone numbers in the USA are tightly regulated under the Do Not Call legislation. Not only are there national regulations, each state has their own policies around calling consumers. It is very important to work with legitimate list companies who follow these rules.
The same approach is in place for email lists. This is why there are referred to as opt-in email lists because they are permission based. There are companies out there that will sell you an email list. We highly recommend that you do not work with these companies because the list is probably old and it is most definitely not permission based, and is therefore illegal. Please review the CAN-SPAM Act to learn more about email list policy.
How do you know which list is right for you? Unless you have worked with many of these vendors, and know what their quality is, you don't know which list is right for you. That is where a List Broker can really make a difference in the outcome of your direct marketing campaign. A Broker knows which companies to turn to depending on what your specific targeted needs are. A Broker can locate specific data for you depending on what your budget and time line is. A Broker knows which company to turn to depending on whether you are looking for a postal, phone, or opt-in email list.
A good Broker will provide you with choices. In other words, instead of being told that this is the data you need, they will provide you with several choices to review and will point out which one they believe will deliver the optimal results for your campaign. What is great for you is that you can choose the data that you think will work best for you.
A Broker will do all the research for you in order to ensure that the best data is located. Therefore, a List Broker will save you time, money, and aggravation in your acquisition of a Direct Marketing List. What are you waiting for? Let a List Broker support your targeted marketing needs now!
There are postal, phone, and opt-in email lists. There are hundreds of different companies who manage, compile, and represent these lists. How would you know where to start? How would you know where to look? How would you know what to pay? How would you know how much time it should take? How would you know if you are being realistic with your timeline and budget? A List Broker can answer all of these questions for you, and will typically only charge you for the actual list.
For consumer lists, there are hundreds of different criteria that you can utilize when searching for a list. How would know what criteria to use? How would you know which list company to turn to based on your criteria? How would you know what a reasonable price is that you should be paying for these criteria? A List Broker can help you to determine which criteria will deliver the quantity of records you are seeking and the optimal outcome.
For business lists, there are not as many criteria, however, there are many different types of business lists, and it is very easy to become confused if you are not supported by someone who knows what to look for. A List Broker has worked with many different business list companies, and can therefore determine, based on your criteria, which company(s) to turn to.
There are also different rules in place that govern how lists can be used, and there are different list companies that do and do not follow these rules. For instance, consumer phone numbers in the USA are tightly regulated under the Do Not Call legislation. Not only are there national regulations, each state has their own policies around calling consumers. It is very important to work with legitimate list companies who follow these rules.
The same approach is in place for email lists. This is why there are referred to as opt-in email lists because they are permission based. There are companies out there that will sell you an email list. We highly recommend that you do not work with these companies because the list is probably old and it is most definitely not permission based, and is therefore illegal. Please review the CAN-SPAM Act to learn more about email list policy.
How do you know which list is right for you? Unless you have worked with many of these vendors, and know what their quality is, you don't know which list is right for you. That is where a List Broker can really make a difference in the outcome of your direct marketing campaign. A Broker knows which companies to turn to depending on what your specific targeted needs are. A Broker can locate specific data for you depending on what your budget and time line is. A Broker knows which company to turn to depending on whether you are looking for a postal, phone, or opt-in email list.
A good Broker will provide you with choices. In other words, instead of being told that this is the data you need, they will provide you with several choices to review and will point out which one they believe will deliver the optimal results for your campaign. What is great for you is that you can choose the data that you think will work best for you.
A Broker will do all the research for you in order to ensure that the best data is located. Therefore, a List Broker will save you time, money, and aggravation in your acquisition of a Direct Marketing List. What are you waiting for? Let a List Broker support your targeted marketing needs now!
When Do You Need an Agent for Your Book?
Not always. And agents can be challenging to obtain, sometimes almost as challenging as selling your book to a publisher.
You need an agent when you have a book for the general public that you want published by a large mainstream publisher.
The agent will have established relationships with the editors who obtain books for these big publishers. They will know which publishers are likely to be in the market for your kind of book. And they will know how much royalty advance your book will be likely to get.
They will also negotiate the complex terms of your book contract for you. This alone will be worth the 15% commission most charge.
You don't need an agent for a book that is for professional audiences or that will be published by smaller presses. These presses will not give you much of an advance and the contracts they offer will be pretty standard and boilerplate (and since there is not that much money involved in the book ultimately, negotiating that contract is less crucial).
There are also some "trade" publishers (industry jargon for publishers that sell books to the general public) that are small enough not to always require an agent to submit books to them. These are University Presses, and publishers like HCI (who published the Chicken Soup For the Soul Books), New Harbinger (who publish self-help books by psychotherapists mainly) and some others. But even with them, it might be worth your while to get an agent, as they will know what your book is worth and will help decipher and negotiate the complex boilerplate contracts publishers will offer.
How do you find and get an agent? That is a more complex topic and one I will take up in another article.
Hope this helps in getting your book written and published.
P.S. There is a rule of thumb we authors use with agents: The money always flows from agents and publishers to authors. If any agent asks you for money (usually reading fees), run the other way holding on to your wallet. Then search for a real agent.
You need an agent when you have a book for the general public that you want published by a large mainstream publisher.
The agent will have established relationships with the editors who obtain books for these big publishers. They will know which publishers are likely to be in the market for your kind of book. And they will know how much royalty advance your book will be likely to get.
They will also negotiate the complex terms of your book contract for you. This alone will be worth the 15% commission most charge.
You don't need an agent for a book that is for professional audiences or that will be published by smaller presses. These presses will not give you much of an advance and the contracts they offer will be pretty standard and boilerplate (and since there is not that much money involved in the book ultimately, negotiating that contract is less crucial).
There are also some "trade" publishers (industry jargon for publishers that sell books to the general public) that are small enough not to always require an agent to submit books to them. These are University Presses, and publishers like HCI (who published the Chicken Soup For the Soul Books), New Harbinger (who publish self-help books by psychotherapists mainly) and some others. But even with them, it might be worth your while to get an agent, as they will know what your book is worth and will help decipher and negotiate the complex boilerplate contracts publishers will offer.
How do you find and get an agent? That is a more complex topic and one I will take up in another article.
Hope this helps in getting your book written and published.
P.S. There is a rule of thumb we authors use with agents: The money always flows from agents and publishers to authors. If any agent asks you for money (usually reading fees), run the other way holding on to your wallet. Then search for a real agent.
Book Proposal Secrets for Writers
There are four things you need to keep in mind when writing your book proposal. Very few people will explain this to you, yet it’s well known in the industry. In a nutshell this is the secret: Your book proposal is going to be your calling card first to your literary agent, second to your acquiring editor, third to the sales department, and fourth to the marketing people. Knowing this little fact can help you write convincing book proposals that hook everyone all down the line - from agent to editor to those on the in-house team.
Of course the first person to read your book proposal is going to be your literary agent. If you don’t have a literary agent yet, your book proposal is going to be your introduction to this individual. Remember that agents look first and foremost for saleable ideas. If an idea can’t be sold, it won’t appeal to your agent. This is because your literary agent gets a commission only on material she sells. So the first thing you want to do is make sure that your idea is one that will appeal to a literary agent’s view of the publishing world. Can you imagine your book on the shelves of bookstores? You have to see it in your mind’s eye, and you have to make your agent see it - and believe it.
The second person who will read your book proposal - assuming it gets past the literary agent stage - is the acquiring editor. Although acquiring editors have somewhat similar concerns insofar as they also want something that will sell, they differ from literary agents in that they often have more literary or artistic aspirations. Editors are a funny breed of people. They go into the business of publishing with the ideal of becoming another Maxwell Perkins. But then they get barraged with little mundane matters that are the result of being in a highly competitive business, and before long they learn to deal with the commercial side of art. They know they have to answer to the higher-ups in the organization, the CEO, the sales force, and the marketing department. It’s your editor’s vision that will bring a book into a publishing house, but this is only one step in a process that will involve many other departments and people. Editors usually have two diverging interests which they must keep in balance.
On the one hand, they want literary quality and good writing; but on the other hand, they must bend to the commercial interests of getting a book to succeed in today’s marketplace where more books than ever are flooding bookstore shelves. Make sure that you put something into your proposal that goes beyond the crass and the commercial.
Your acquiring editor will latch onto that and shepherd the book through the process of getting it published. This is your chance to do some of your best work because an editor will respond to it.
The third person in the line of command is the sales manager. Do you realize that a sales force will go out into stores and try to talk book buyers at independents and the big chains into buying your book? In order to give them ammunition to do this, you’ve got to have some evidence in your proposal that indicates your book will sell. Who will buy your book? Why will they buy it? Explain all this in your book proposal and the sales manager will greenlight your idea.
The fourth person who has a say in your book proposal’s fate is the marketing manager. This is the person who will be getting the book into the hands of the press, on radio and TV (hopefully!), and into other media outlets. If you have a platform, if you lecture, if you give seminars - all of this is relevant and helpful because it will show the marketing and publicity department that they can get press interest in your book.
Once you understand that your book proposal must pass four tests, you’ll feel more confident about writing it. Each section of the book proposal will be important, but the marketing people will be most interested in the MARKETING and PROMOTION sections.
The sales force will be interested in the COMPETING BOOKS section. The acquiring editor will be most concerned with the OVERVIEW, the LIST OF CHAPTERS, and the SAMPLE CHAPTERS. And hopefully your literary agent will be able to take all this into consideration and coach you through the process of making sure each section is appropriately tailored for all the people who will read it down the line.
Of course the first person to read your book proposal is going to be your literary agent. If you don’t have a literary agent yet, your book proposal is going to be your introduction to this individual. Remember that agents look first and foremost for saleable ideas. If an idea can’t be sold, it won’t appeal to your agent. This is because your literary agent gets a commission only on material she sells. So the first thing you want to do is make sure that your idea is one that will appeal to a literary agent’s view of the publishing world. Can you imagine your book on the shelves of bookstores? You have to see it in your mind’s eye, and you have to make your agent see it - and believe it.
The second person who will read your book proposal - assuming it gets past the literary agent stage - is the acquiring editor. Although acquiring editors have somewhat similar concerns insofar as they also want something that will sell, they differ from literary agents in that they often have more literary or artistic aspirations. Editors are a funny breed of people. They go into the business of publishing with the ideal of becoming another Maxwell Perkins. But then they get barraged with little mundane matters that are the result of being in a highly competitive business, and before long they learn to deal with the commercial side of art. They know they have to answer to the higher-ups in the organization, the CEO, the sales force, and the marketing department. It’s your editor’s vision that will bring a book into a publishing house, but this is only one step in a process that will involve many other departments and people. Editors usually have two diverging interests which they must keep in balance.
On the one hand, they want literary quality and good writing; but on the other hand, they must bend to the commercial interests of getting a book to succeed in today’s marketplace where more books than ever are flooding bookstore shelves. Make sure that you put something into your proposal that goes beyond the crass and the commercial.
Your acquiring editor will latch onto that and shepherd the book through the process of getting it published. This is your chance to do some of your best work because an editor will respond to it.
The third person in the line of command is the sales manager. Do you realize that a sales force will go out into stores and try to talk book buyers at independents and the big chains into buying your book? In order to give them ammunition to do this, you’ve got to have some evidence in your proposal that indicates your book will sell. Who will buy your book? Why will they buy it? Explain all this in your book proposal and the sales manager will greenlight your idea.
The fourth person who has a say in your book proposal’s fate is the marketing manager. This is the person who will be getting the book into the hands of the press, on radio and TV (hopefully!), and into other media outlets. If you have a platform, if you lecture, if you give seminars - all of this is relevant and helpful because it will show the marketing and publicity department that they can get press interest in your book.
Once you understand that your book proposal must pass four tests, you’ll feel more confident about writing it. Each section of the book proposal will be important, but the marketing people will be most interested in the MARKETING and PROMOTION sections.
The sales force will be interested in the COMPETING BOOKS section. The acquiring editor will be most concerned with the OVERVIEW, the LIST OF CHAPTERS, and the SAMPLE CHAPTERS. And hopefully your literary agent will be able to take all this into consideration and coach you through the process of making sure each section is appropriately tailored for all the people who will read it down the line.
Relocate Your Important Classics From VHS To DVD
Memories and vhs tapes are not eternal. Dvds can live longer. If your large collection of family movies and home videos is on vhs, you should consider converting it to dvd. If you leave it on vhs, it can soon die because the quality of vhs recordings gets poor over time. Additionally, if you play your vhs movies frequently, this wears them out additionally. So, if you want to save your vhs memories hurry up and convert them to dvd. There are plenty of ways to do it. The process of converting vhs to dvd is not as easy as with most other formats because most vhs videos are recorded only on tapes and not on other media.
If you own a small portable video friendly storage device you can watch movies basically anywhere. This could be your iPod, Zune video, Palm or many other devices. If you have a dvd and want to use a video converter to make the video friendly for your little device, this is completely understandable as many different formats can be used from dvds to little devices. There are many programs that will allow you to watch a dvd on your little device. Videora is a straightforward video converter program that will get your dvds running quickly and smoothly on your iPod.
The easiest way to convert vhs to dvd is to get an outside company to do it for you; of course, this will not be the cheapest way. If you choose to get an outside company to do it, they will convert all your vhs tapes and you will get them back in the form of dvds. This makes it a more permanent memory and is easier to store.
If you want to deal with the conversion personally, there are many options. As a rule, these options require a lot of time. One of the most time consuming steps is to capture the vhs video via an analog-to-dv converter. You need to encode the video in mpeg-2 format and author a dvd. If you would like to edit your videos, analog-to-dv conversion is the way to go. However, you should know in advance, that finishing just one hour of video will take you hours or even days!
Another option for vhs to dvd conversion that is a little quicker is if you capture the vhs video using a hardware capture device that will convert the vhs to mpeg-2. This limits the options you have for edit-ing, but one hour of video is one hour of work. Once you have it on your computer as mpeg-2, you can burn it to a dvd.
If you have your home video on your camcorder then you can simply attach the device to a standalone dvd recorder. This vhs to dvd conversion is simple and straightforward and will copy your vhs and create dvds for you. This version works best if you want your video exactly as it is, with no cuts or edits.
The options to convert your memories from vhs to dvd are many. Depending on your time, budget and the need to make edits, you will choose one way or the other.
If you own a small portable video friendly storage device you can watch movies basically anywhere. This could be your iPod, Zune video, Palm or many other devices. If you have a dvd and want to use a video converter to make the video friendly for your little device, this is completely understandable as many different formats can be used from dvds to little devices. There are many programs that will allow you to watch a dvd on your little device. Videora is a straightforward video converter program that will get your dvds running quickly and smoothly on your iPod.
The easiest way to convert vhs to dvd is to get an outside company to do it for you; of course, this will not be the cheapest way. If you choose to get an outside company to do it, they will convert all your vhs tapes and you will get them back in the form of dvds. This makes it a more permanent memory and is easier to store.
If you want to deal with the conversion personally, there are many options. As a rule, these options require a lot of time. One of the most time consuming steps is to capture the vhs video via an analog-to-dv converter. You need to encode the video in mpeg-2 format and author a dvd. If you would like to edit your videos, analog-to-dv conversion is the way to go. However, you should know in advance, that finishing just one hour of video will take you hours or even days!
Another option for vhs to dvd conversion that is a little quicker is if you capture the vhs video using a hardware capture device that will convert the vhs to mpeg-2. This limits the options you have for edit-ing, but one hour of video is one hour of work. Once you have it on your computer as mpeg-2, you can burn it to a dvd.
If you have your home video on your camcorder then you can simply attach the device to a standalone dvd recorder. This vhs to dvd conversion is simple and straightforward and will copy your vhs and create dvds for you. This version works best if you want your video exactly as it is, with no cuts or edits.
The options to convert your memories from vhs to dvd are many. Depending on your time, budget and the need to make edits, you will choose one way or the other.
Modern Bedroom Furniture For Your Miami Home
INTRODUCTION
In this age of information explosion, the Librarian is supposed to be an opener of blocked pathways in the maze of knowledge, a blazer of trails in the encompassing dark forest of ignorance and a leader in keeping the human mind free. To censor is to act so as to change or suppress speech or writing that is condemned as subversive of the common good. Literary censorship goes back to the office of censor established in Rome in 443 B.C. but however honourable the origins of its name, it is today generally regarded as a relic of an unenlightened and much more oppressive age. It is an infringement of human rights and affects the Librarian in many ways. It also affects the Universal Availability of Publications (UAP), a programme developed within the International Federation of Library Associations and Institutions (IFLA) and supported by United Nations Educational Scientific and Cultural Organization (UNESCO).
UNIVERSAL DECLARATION OF HUMAN RIGHTS
Prohibition of the production, distribution, circulation or sale of material considered being objectionable for reasons of politics, religion, obscenity or blasphemy is an infringement of the individual's right. It contradicts the most powerful statement of the global aspiration of respect for human rights, the Universal Declaration of Human Rights proclaimed by the United Nations General Assembly. Article 19 is an independent and impartial human rights legislation established in 1986 to promote freedom of expression to combat censorship worldwide. It reads: "every one has the right to freedom of opinion and expression; this right includes freedom to hold opinions without interference and to seek, receive and impart information and ideas through any media and regardless of frontiers" (Shawcross 1991, p.409). The African Charter on Human Rights, European Convention on Human Rights, the Arab Charter on Human Rights and the Helsinki Final Acts - to mention a few- all stress that everyone should have the right to freedom of expression; a right that includes freedom to seek, receive and impart information and ideas of all kinds, regardless of frontiers, either orally, in writing or in print, in the form of art, or through any other media of his/her choice.
HUMAN RIGHTS IN 'DEMOCRATIC' SOCIETIES
In practice one sees the opposite. Even the quite open society of Athens had limits, as indicated by the trial and conviction of youth and acknowledgement of unorthodox divinities. In the ancient Greek communities, it was assumed that the character of a people would and should be shaped by that of the government. In the ancient Chinese system, control of the information was retained - not by the information worker - but by the authorities who also determined the contents of the authoritative texts. Perhaps the most dramatic form of literary censorship in Christendom was the Index Librorum Prohibitorum, a list of books Roman Catholics were prohibited by ecclesiastical authority from reading or keeping without permission. Such books could not be imported into countries where Roman Catholic control was considerable. The Roman Catholic Church used this index to police the literature available to its followers.
THE ROLE OF THE LIBRARIAN IN SOCIETY
The Librarian serves the precious liberties of the nation; freedom of inquiry, freedom of the spoken or written word and freedom of the exchange of ideas. A democracy smugly disdainful of new ideas could be dismissed as a sick democracy and a democracy chronically fearful of new ideas would be a dying democracy. The last person to be a censor should be the Librarian whose responsibility is to provide materials which stimulate growth in factual knowledge, literary appreciation, aesthetic values and ethical standards. S/he provides a background of information which will enable citizens to make intelligent judgements in their daily lives. By providing materials on opposing sides of controversial issues, citizens develop the intellectual practice of critical reading and thinking.
IFLA AND THE UNIVERSAL AVAILABILITY OF PUBLICATIONS
It would not be farfetched to state that IFLA is aware of the roles and responsibilities of the Librarian. In addition to its basic functions carried out by the divisions, sections and round tables, a number of core programmes have been established to meet the requirements of the information community. These include the Universal Availability of Publications, Universal Bibliographic Control International MARC, Preservation and Conservation, Universal Dataflow of Telecommunications and the Advancement of Librarianship in the Third World. The Universal Availability of Publications, a programme developed within IFLA and supported by UNESCO could be seen as a battle against literary censorship. It is concerned with promoting the availability of publications all over the world. It covers not only libraries but publishing and bookselling, not only books and journals but audiovisual and electronic media, not only research libraries but school and public libraries. The ultimate objective is that "all publications, wherever and whenever published should be available to anyone, wherever and whenever they are wanted" (Membrey 1990, p.35). This is the ideal position in which IFLA stations the Librarian. The existence of a free and democratic society and an honestly administered government depends upon recognition of the concept that justice is based upon the rule of law grounded in respect for the dignity of the individual and his capacity - through reason - for enlightened government. Each individual has the right to a self-actuated existence to life, liberty and the pursuit of happiness. It is therefore the right of each to have uncensored access to unaltered information of both a serious and frivolous nature. The librarian (an Information Professional) provides access to accumulated knowledge and information and plays a vital role in the preservation of society and the freedom of the individual. The statement of the professionals on Code of Ethics of the California Library Association and the California Society of Librarians aptly noted that the librarian has an obligation "to make the widest diversity of views and expressions, including those which are unorthodox and unpopular with the majority, available to any individual and has a further obligation to make known to each individual the breath of information extant" (Taylor 1976, p.800).
THE LIBRARIAN AND LITERARY CENSORSHIP
Literary censorship is a giant cankerworm in every society. Governments invoke a wide range or variety of reasons for justifying literary censorship, for justifying secrecy and for taking actions against individuals because of their opinions. The claim that freedom should be limited in order to protect the rights of others is one of the most common reasons given for literary censorship. This includes privacy, defamation and protection of reputation. National and state security, sedition, public interest, public health, public morals, public order, violence, racism, sexism, religious intolerance (heresy and blasphemy), linguistic and cultural hegemony, propaganda (government propaganda and disinformation), special situations (state of emergency, election periods and war), media bias, copyright and intellectual property, corruption) are other reasons cited. In response, a variety of methods - direct and indirect- are employed to suppress the rights and freedom of expression and information. Press laws, licensing, attacks and restrictions on information workers (illicit killings, death threats and beatings, kidnappings and disappearances, arrests, detention and imprisonment, restrictions on movements and expulsions, dismissals and harassment) are some of these methods. A close study or examination of these reasons reveals that many lack justification in the sense that they are not recognized as permissible restrictions under international law, and in fact many have illegitimate aims, such as the suppression of criticism and unorthodox ideas. It is against such a background that the Librarian is supposed to disseminate information. Denying the individual the right to information because of age, race, religion, national origins or social or political views is a clear infringement of human rights. Over many years, librarians and other information workers have "fought many shades of opinion to defend the principle of the free dissemination of information. Librarians recognize the need for an appropriate balance to be maintained within the materials which they make available to reflect differing extremes or shade of opinion on matters which they might think to be contentious" (Haight 1978, p.124).
Literary censorship ought to be challenged by the Librarian in the maintenance of his responsibility to provide public information and enlightenment. How can he present vital problems and issues of our times because of partisan or doctrinal disapproval? Why was the British novelist Salman Rushdie condemned to death in February 1989 by Iran's Ayatollah Khomeni because his novel The Satanic Verses was viewed as blasphemous and insulting to Islam? Why did Dr. Omar Abdel Rahman, leader of an illegal political group, declare a 'fatwa' against the Nobel Prize-Winning Egyptian author, Naguib Mahfouz for his book Children of Gabalawy in April 1989? This was why Thomas Jefferson caustically noted that "I have sworn upon the altar of God eternal hostility against every form of tyranny over the mind of man" ((Haight 1978, p.124).
The evil which results from literary censorship is almost impossible to measure by the Librarian because it is very difficult to tell where it ends. It is nothing less than the danger of stopping the whole progress of the human mind in all its paths. The Librarian bases his/her profession as much on the freedom of the mind as the profession of medicine is based on the responsibility for the care of the body or the profession of law for equitable determination of the relative rights of individuals, or of the individual and society. S/he believes in "the absolute freedom of the mind as an ideal; if not a practical goal" (Eli 1980, p.230).
CONCLUSION
Controlling the individual through literary censorship is therefore nothing but an infringement of fundamental human rights. The Librarian does not foster education by imposing as mentor of the pattern of his/her own thought. The people should have the freedom to read and consider a broad range of ideas. It is wrong that what one man can read should be confined to what another thinks proper. Free communication is essential in the preservation of a free society and a creative culture. Librarian should therefore continue to challenge censorship in maintaining their role and responsibility of providing public information and enlightenment. They should also co-operate with all persons and groups concerned with resisting abridgement of free expression and free access to ideas.
In this age of information explosion, the Librarian is supposed to be an opener of blocked pathways in the maze of knowledge, a blazer of trails in the encompassing dark forest of ignorance and a leader in keeping the human mind free. To censor is to act so as to change or suppress speech or writing that is condemned as subversive of the common good. Literary censorship goes back to the office of censor established in Rome in 443 B.C. but however honourable the origins of its name, it is today generally regarded as a relic of an unenlightened and much more oppressive age. It is an infringement of human rights and affects the Librarian in many ways. It also affects the Universal Availability of Publications (UAP), a programme developed within the International Federation of Library Associations and Institutions (IFLA) and supported by United Nations Educational Scientific and Cultural Organization (UNESCO).
UNIVERSAL DECLARATION OF HUMAN RIGHTS
Prohibition of the production, distribution, circulation or sale of material considered being objectionable for reasons of politics, religion, obscenity or blasphemy is an infringement of the individual's right. It contradicts the most powerful statement of the global aspiration of respect for human rights, the Universal Declaration of Human Rights proclaimed by the United Nations General Assembly. Article 19 is an independent and impartial human rights legislation established in 1986 to promote freedom of expression to combat censorship worldwide. It reads: "every one has the right to freedom of opinion and expression; this right includes freedom to hold opinions without interference and to seek, receive and impart information and ideas through any media and regardless of frontiers" (Shawcross 1991, p.409). The African Charter on Human Rights, European Convention on Human Rights, the Arab Charter on Human Rights and the Helsinki Final Acts - to mention a few- all stress that everyone should have the right to freedom of expression; a right that includes freedom to seek, receive and impart information and ideas of all kinds, regardless of frontiers, either orally, in writing or in print, in the form of art, or through any other media of his/her choice.
HUMAN RIGHTS IN 'DEMOCRATIC' SOCIETIES
In practice one sees the opposite. Even the quite open society of Athens had limits, as indicated by the trial and conviction of youth and acknowledgement of unorthodox divinities. In the ancient Greek communities, it was assumed that the character of a people would and should be shaped by that of the government. In the ancient Chinese system, control of the information was retained - not by the information worker - but by the authorities who also determined the contents of the authoritative texts. Perhaps the most dramatic form of literary censorship in Christendom was the Index Librorum Prohibitorum, a list of books Roman Catholics were prohibited by ecclesiastical authority from reading or keeping without permission. Such books could not be imported into countries where Roman Catholic control was considerable. The Roman Catholic Church used this index to police the literature available to its followers.
THE ROLE OF THE LIBRARIAN IN SOCIETY
The Librarian serves the precious liberties of the nation; freedom of inquiry, freedom of the spoken or written word and freedom of the exchange of ideas. A democracy smugly disdainful of new ideas could be dismissed as a sick democracy and a democracy chronically fearful of new ideas would be a dying democracy. The last person to be a censor should be the Librarian whose responsibility is to provide materials which stimulate growth in factual knowledge, literary appreciation, aesthetic values and ethical standards. S/he provides a background of information which will enable citizens to make intelligent judgements in their daily lives. By providing materials on opposing sides of controversial issues, citizens develop the intellectual practice of critical reading and thinking.
IFLA AND THE UNIVERSAL AVAILABILITY OF PUBLICATIONS
It would not be farfetched to state that IFLA is aware of the roles and responsibilities of the Librarian. In addition to its basic functions carried out by the divisions, sections and round tables, a number of core programmes have been established to meet the requirements of the information community. These include the Universal Availability of Publications, Universal Bibliographic Control International MARC, Preservation and Conservation, Universal Dataflow of Telecommunications and the Advancement of Librarianship in the Third World. The Universal Availability of Publications, a programme developed within IFLA and supported by UNESCO could be seen as a battle against literary censorship. It is concerned with promoting the availability of publications all over the world. It covers not only libraries but publishing and bookselling, not only books and journals but audiovisual and electronic media, not only research libraries but school and public libraries. The ultimate objective is that "all publications, wherever and whenever published should be available to anyone, wherever and whenever they are wanted" (Membrey 1990, p.35). This is the ideal position in which IFLA stations the Librarian. The existence of a free and democratic society and an honestly administered government depends upon recognition of the concept that justice is based upon the rule of law grounded in respect for the dignity of the individual and his capacity - through reason - for enlightened government. Each individual has the right to a self-actuated existence to life, liberty and the pursuit of happiness. It is therefore the right of each to have uncensored access to unaltered information of both a serious and frivolous nature. The librarian (an Information Professional) provides access to accumulated knowledge and information and plays a vital role in the preservation of society and the freedom of the individual. The statement of the professionals on Code of Ethics of the California Library Association and the California Society of Librarians aptly noted that the librarian has an obligation "to make the widest diversity of views and expressions, including those which are unorthodox and unpopular with the majority, available to any individual and has a further obligation to make known to each individual the breath of information extant" (Taylor 1976, p.800).
THE LIBRARIAN AND LITERARY CENSORSHIP
Literary censorship is a giant cankerworm in every society. Governments invoke a wide range or variety of reasons for justifying literary censorship, for justifying secrecy and for taking actions against individuals because of their opinions. The claim that freedom should be limited in order to protect the rights of others is one of the most common reasons given for literary censorship. This includes privacy, defamation and protection of reputation. National and state security, sedition, public interest, public health, public morals, public order, violence, racism, sexism, religious intolerance (heresy and blasphemy), linguistic and cultural hegemony, propaganda (government propaganda and disinformation), special situations (state of emergency, election periods and war), media bias, copyright and intellectual property, corruption) are other reasons cited. In response, a variety of methods - direct and indirect- are employed to suppress the rights and freedom of expression and information. Press laws, licensing, attacks and restrictions on information workers (illicit killings, death threats and beatings, kidnappings and disappearances, arrests, detention and imprisonment, restrictions on movements and expulsions, dismissals and harassment) are some of these methods. A close study or examination of these reasons reveals that many lack justification in the sense that they are not recognized as permissible restrictions under international law, and in fact many have illegitimate aims, such as the suppression of criticism and unorthodox ideas. It is against such a background that the Librarian is supposed to disseminate information. Denying the individual the right to information because of age, race, religion, national origins or social or political views is a clear infringement of human rights. Over many years, librarians and other information workers have "fought many shades of opinion to defend the principle of the free dissemination of information. Librarians recognize the need for an appropriate balance to be maintained within the materials which they make available to reflect differing extremes or shade of opinion on matters which they might think to be contentious" (Haight 1978, p.124).
Literary censorship ought to be challenged by the Librarian in the maintenance of his responsibility to provide public information and enlightenment. How can he present vital problems and issues of our times because of partisan or doctrinal disapproval? Why was the British novelist Salman Rushdie condemned to death in February 1989 by Iran's Ayatollah Khomeni because his novel The Satanic Verses was viewed as blasphemous and insulting to Islam? Why did Dr. Omar Abdel Rahman, leader of an illegal political group, declare a 'fatwa' against the Nobel Prize-Winning Egyptian author, Naguib Mahfouz for his book Children of Gabalawy in April 1989? This was why Thomas Jefferson caustically noted that "I have sworn upon the altar of God eternal hostility against every form of tyranny over the mind of man" ((Haight 1978, p.124).
The evil which results from literary censorship is almost impossible to measure by the Librarian because it is very difficult to tell where it ends. It is nothing less than the danger of stopping the whole progress of the human mind in all its paths. The Librarian bases his/her profession as much on the freedom of the mind as the profession of medicine is based on the responsibility for the care of the body or the profession of law for equitable determination of the relative rights of individuals, or of the individual and society. S/he believes in "the absolute freedom of the mind as an ideal; if not a practical goal" (Eli 1980, p.230).
CONCLUSION
Controlling the individual through literary censorship is therefore nothing but an infringement of fundamental human rights. The Librarian does not foster education by imposing as mentor of the pattern of his/her own thought. The people should have the freedom to read and consider a broad range of ideas. It is wrong that what one man can read should be confined to what another thinks proper. Free communication is essential in the preservation of a free society and a creative culture. Librarian should therefore continue to challenge censorship in maintaining their role and responsibility of providing public information and enlightenment. They should also co-operate with all persons and groups concerned with resisting abridgement of free expression and free access to ideas.
How to Find a Literary Agent - Without Getting Scammed
How to find a literary agency without getting scammed is a challenge for any new writer. Anyone can call themselves a literary agent or a publisher. The listings in the literary agency directories are not necessarily vetted, or checked by the publisher.
Literary agents vary widely in ethics, dedication and competence.
Here's what to watch out for with literary agents:
• Charging the author a fee up front, to be accepted as a client. This fee can be called a reading fee, or a monthly “office expenses” charge. The best agents, and most successful ones, only charge a percentage fee of royalties the author earns, typically 15%. Suppose a realtor charged you a fee to come over and tour your house before getting the listing? How quickly would you show that realtor the door. . .
• Charging back unusually large “postage and copying fees” to send out an authors’ work. One crooked agency accepts almost every client that contacts them, but in the fine print of the contract they charge “postage and handling” of up to $10 per submission they send out on your behalf. It doesn’t cost $10 to send a letter and a sample chapter of a book to a publisher. This company makes a fortune from these fees whether or not they successfully market any of their clients work.
• Directing authors toward specific editing services or giving authors’ names to these services. Sometimes they even own the editing service. Some agents make a significant portion of their income from referral fees from these services.
• Demanding that a critique be completed before the agency decides to offer representation. The fee for the critique may be minimal, perhaps even less than $100. But if the average agency is contacted by 90 writers a week that fee can add up.
• Terms in agency contracts with writers vary widely. The contract must be read carefully.
• The agent contacts publishers pretty much at random. The agent’s value to you is in the relationships they have with publishers, so that if the publisher hears from them, they know the book is worth taking a look at. Ask to see copies of rejection letters that come back from publishers. If it looks like just a form letter response, rather than a letter you would send to an acquaintance, you can bet the agent may be just picking names out of a directory of publishers.
• The agent refuses to provide the names of clients or titles sold. Sales are an agent’s life blood and reputation. If an agent won’t name names it could be because there aren’t any sales.
• Puts forth a weak effort or gives up on the client’s project after a few months. You have a right to ask how active the agent is going to be. How many publishers are they going to contact, how will they follow up? You have a right to periodic reports as to whom they have contacted and the results. You must determine how much time and attention they are really going to give you.
A critical reason it is imperative to have a reputable agent is that the publishing house typically pays the agent, who deducts their “cut” and sends the remainder to the author. It’s a frightening thought that a less than honest person gets their hands on the money you’ve earned from sweat, blood, and even tears.
Now you know how to find a literary agent without getting scammed. And remember:
Literary agents vary widely in ethics, dedication and competence.
Here's what to watch out for with literary agents:
• Charging the author a fee up front, to be accepted as a client. This fee can be called a reading fee, or a monthly “office expenses” charge. The best agents, and most successful ones, only charge a percentage fee of royalties the author earns, typically 15%. Suppose a realtor charged you a fee to come over and tour your house before getting the listing? How quickly would you show that realtor the door. . .
• Charging back unusually large “postage and copying fees” to send out an authors’ work. One crooked agency accepts almost every client that contacts them, but in the fine print of the contract they charge “postage and handling” of up to $10 per submission they send out on your behalf. It doesn’t cost $10 to send a letter and a sample chapter of a book to a publisher. This company makes a fortune from these fees whether or not they successfully market any of their clients work.
• Directing authors toward specific editing services or giving authors’ names to these services. Sometimes they even own the editing service. Some agents make a significant portion of their income from referral fees from these services.
• Demanding that a critique be completed before the agency decides to offer representation. The fee for the critique may be minimal, perhaps even less than $100. But if the average agency is contacted by 90 writers a week that fee can add up.
• Terms in agency contracts with writers vary widely. The contract must be read carefully.
• The agent contacts publishers pretty much at random. The agent’s value to you is in the relationships they have with publishers, so that if the publisher hears from them, they know the book is worth taking a look at. Ask to see copies of rejection letters that come back from publishers. If it looks like just a form letter response, rather than a letter you would send to an acquaintance, you can bet the agent may be just picking names out of a directory of publishers.
• The agent refuses to provide the names of clients or titles sold. Sales are an agent’s life blood and reputation. If an agent won’t name names it could be because there aren’t any sales.
• Puts forth a weak effort or gives up on the client’s project after a few months. You have a right to ask how active the agent is going to be. How many publishers are they going to contact, how will they follow up? You have a right to periodic reports as to whom they have contacted and the results. You must determine how much time and attention they are really going to give you.
A critical reason it is imperative to have a reputable agent is that the publishing house typically pays the agent, who deducts their “cut” and sends the remainder to the author. It’s a frightening thought that a less than honest person gets their hands on the money you’ve earned from sweat, blood, and even tears.
Now you know how to find a literary agent without getting scammed. And remember:
Literary Censorship And Infringement Of Human Rights - Role Of The Librarian
INTRODUCTION
In this age of information explosion, the Librarian is supposed to be an opener of blocked pathways in the maze of knowledge, a blazer of trails in the encompassing dark forest of ignorance and a leader in keeping the human mind free. To censor is to act so as to change or suppress speech or writing that is condemned as subversive of the common good. Literary censorship goes back to the office of censor established in Rome in 443 B.C. but however honourable the origins of its name, it is today generally regarded as a relic of an unenlightened and much more oppressive age. It is an infringement of human rights and affects the Librarian in many ways. It also affects the Universal Availability of Publications (UAP), a programme developed within the International Federation of Library Associations and Institutions (IFLA) and supported by United Nations Educational Scientific and Cultural Organization (UNESCO).
UNIVERSAL DECLARATION OF HUMAN RIGHTS
Prohibition of the production, distribution, circulation or sale of material considered being objectionable for reasons of politics, religion, obscenity or blasphemy is an infringement of the individual's right. It contradicts the most powerful statement of the global aspiration of respect for human rights, the Universal Declaration of Human Rights proclaimed by the United Nations General Assembly. Article 19 is an independent and impartial human rights legislation established in 1986 to promote freedom of expression to combat censorship worldwide. It reads: "every one has the right to freedom of opinion and expression; this right includes freedom to hold opinions without interference and to seek, receive and impart information and ideas through any media and regardless of frontiers" (Shawcross 1991, p.409). The African Charter on Human Rights, European Convention on Human Rights, the Arab Charter on Human Rights and the Helsinki Final Acts - to mention a few- all stress that everyone should have the right to freedom of expression; a right that includes freedom to seek, receive and impart information and ideas of all kinds, regardless of frontiers, either orally, in writing or in print, in the form of art, or through any other media of his/her choice.
HUMAN RIGHTS IN 'DEMOCRATIC' SOCIETIES
In practice one sees the opposite. Even the quite open society of Athens had limits, as indicated by the trial and conviction of youth and acknowledgement of unorthodox divinities. In the ancient Greek communities, it was assumed that the character of a people would and should be shaped by that of the government. In the ancient Chinese system, control of the information was retained - not by the information worker - but by the authorities who also determined the contents of the authoritative texts. Perhaps the most dramatic form of literary censorship in Christendom was the Index Librorum Prohibitorum, a list of books Roman Catholics were prohibited by ecclesiastical authority from reading or keeping without permission. Such books could not be imported into countries where Roman Catholic control was considerable. The Roman Catholic Church used this index to police the literature available to its followers.
THE ROLE OF THE LIBRARIAN IN SOCIETY
The Librarian serves the precious liberties of the nation; freedom of inquiry, freedom of the spoken or written word and freedom of the exchange of ideas. A democracy smugly disdainful of new ideas could be dismissed as a sick democracy and a democracy chronically fearful of new ideas would be a dying democracy. The last person to be a censor should be the Librarian whose responsibility is to provide materials which stimulate growth in factual knowledge, literary appreciation, aesthetic values and ethical standards. S/he provides a background of information which will enable citizens to make intelligent judgements in their daily lives. By providing materials on opposing sides of controversial issues, citizens develop the intellectual practice of critical reading and thinking.
IFLA AND THE UNIVERSAL AVAILABILITY OF PUBLICATIONS
It would not be farfetched to state that IFLA is aware of the roles and responsibilities of the Librarian. In addition to its basic functions carried out by the divisions, sections and round tables, a number of core programmes have been established to meet the requirements of the information community. These include the Universal Availability of Publications, Universal Bibliographic Control International MARC, Preservation and Conservation, Universal Dataflow of Telecommunications and the Advancement of Librarianship in the Third World. The Universal Availability of Publications, a programme developed within IFLA and supported by UNESCO could be seen as a battle against literary censorship. It is concerned with promoting the availability of publications all over the world. It covers not only libraries but publishing and bookselling, not only books and journals but audiovisual and electronic media, not only research libraries but school and public libraries. The ultimate objective is that "all publications, wherever and whenever published should be available to anyone, wherever and whenever they are wanted" (Membrey 1990, p.35). This is the ideal position in which IFLA stations the Librarian. The existence of a free and democratic society and an honestly administered government depends upon recognition of the concept that justice is based upon the rule of law grounded in respect for the dignity of the individual and his capacity - through reason - for enlightened government. Each individual has the right to a self-actuated existence to life, liberty and the pursuit of happiness. It is therefore the right of each to have uncensored access to unaltered information of both a serious and frivolous nature. The librarian (an Information Professional) provides access to accumulated knowledge and information and plays a vital role in the preservation of society and the freedom of the individual. The statement of the professionals on Code of Ethics of the California Library Association and the California Society of Librarians aptly noted that the librarian has an obligation "to make the widest diversity of views and expressions, including those which are unorthodox and unpopular with the majority, available to any individual and has a further obligation to make known to each individual the breath of information extant" (Taylor 1976, p.800).
THE LIBRARIAN AND LITERARY CENSORSHIP
Literary censorship is a giant cankerworm in every society. Governments invoke a wide range or variety of reasons for justifying literary censorship, for justifying secrecy and for taking actions against individuals because of their opinions. The claim that freedom should be limited in order to protect the rights of others is one of the most common reasons given for literary censorship. This includes privacy, defamation and protection of reputation. National and state security, sedition, public interest, public health, public morals, public order, violence, racism, sexism, religious intolerance (heresy and blasphemy), linguistic and cultural hegemony, propaganda (government propaganda and disinformation), special situations (state of emergency, election periods and war), media bias, copyright and intellectual property, corruption) are other reasons cited. In response, a variety of methods - direct and indirect- are employed to suppress the rights and freedom of expression and information. Press laws, licensing, attacks and restrictions on information workers (illicit killings, death threats and beatings, kidnappings and disappearances, arrests, detention and imprisonment, restrictions on movements and expulsions, dismissals and harassment) are some of these methods. A close study or examination of these reasons reveals that many lack justification in the sense that they are not recognized as permissible restrictions under international law, and in fact many have illegitimate aims, such as the suppression of criticism and unorthodox ideas. It is against such a background that the Librarian is supposed to disseminate information. Denying the individual the right to information because of age, race, religion, national origins or social or political views is a clear infringement of human rights. Over many years, librarians and other information workers have "fought many shades of opinion to defend the principle of the free dissemination of information. Librarians recognize the need for an appropriate balance to be maintained within the materials which they make available to reflect differing extremes or shade of opinion on matters which they might think to be contentious" (Haight 1978, p.124).
Literary censorship ought to be challenged by the Librarian in the maintenance of his responsibility to provide public information and enlightenment. How can he present vital problems and issues of our times because of partisan or doctrinal disapproval? Why was the British novelist Salman Rushdie condemned to death in February 1989 by Iran's Ayatollah Khomeni because his novel The Satanic Verses was viewed as blasphemous and insulting to Islam? Why did Dr. Omar Abdel Rahman, leader of an illegal political group, declare a 'fatwa' against the Nobel Prize-Winning Egyptian author, Naguib Mahfouz for his book Children of Gabalawy in April 1989? This was why Thomas Jefferson caustically noted that "I have sworn upon the altar of God eternal hostility against every form of tyranny over the mind of man" ((Haight 1978, p.124).
The evil which results from literary censorship is almost impossible to measure by the Librarian because it is very difficult to tell where it ends. It is nothing less than the danger of stopping the whole progress of the human mind in all its paths. The Librarian bases his/her profession as much on the freedom of the mind as the profession of medicine is based on the responsibility for the care of the body or the profession of law for equitable determination of the relative rights of individuals, or of the individual and society. S/he believes in "the absolute freedom of the mind as an ideal; if not a practical goal" (Eli 1980, p.230).
CONCLUSION
Controlling the individual through literary censorship is therefore nothing but an infringement of fundamental human rights. The Librarian does not foster education by imposing as mentor of the pattern of his/her own thought. The people should have the freedom to read and consider a broad range of ideas. It is wrong that what one man can read should be confined to what another thinks proper. Free communication is essential in the preservation of a free society and a creative culture. Librarian should therefore continue to challenge censorship in maintaining their role and responsibility of providing public information and enlightenment. They should also co-operate with all persons and groups concerned with resisting abridgement of free expression and free access to ideas.
In this age of information explosion, the Librarian is supposed to be an opener of blocked pathways in the maze of knowledge, a blazer of trails in the encompassing dark forest of ignorance and a leader in keeping the human mind free. To censor is to act so as to change or suppress speech or writing that is condemned as subversive of the common good. Literary censorship goes back to the office of censor established in Rome in 443 B.C. but however honourable the origins of its name, it is today generally regarded as a relic of an unenlightened and much more oppressive age. It is an infringement of human rights and affects the Librarian in many ways. It also affects the Universal Availability of Publications (UAP), a programme developed within the International Federation of Library Associations and Institutions (IFLA) and supported by United Nations Educational Scientific and Cultural Organization (UNESCO).
UNIVERSAL DECLARATION OF HUMAN RIGHTS
Prohibition of the production, distribution, circulation or sale of material considered being objectionable for reasons of politics, religion, obscenity or blasphemy is an infringement of the individual's right. It contradicts the most powerful statement of the global aspiration of respect for human rights, the Universal Declaration of Human Rights proclaimed by the United Nations General Assembly. Article 19 is an independent and impartial human rights legislation established in 1986 to promote freedom of expression to combat censorship worldwide. It reads: "every one has the right to freedom of opinion and expression; this right includes freedom to hold opinions without interference and to seek, receive and impart information and ideas through any media and regardless of frontiers" (Shawcross 1991, p.409). The African Charter on Human Rights, European Convention on Human Rights, the Arab Charter on Human Rights and the Helsinki Final Acts - to mention a few- all stress that everyone should have the right to freedom of expression; a right that includes freedom to seek, receive and impart information and ideas of all kinds, regardless of frontiers, either orally, in writing or in print, in the form of art, or through any other media of his/her choice.
HUMAN RIGHTS IN 'DEMOCRATIC' SOCIETIES
In practice one sees the opposite. Even the quite open society of Athens had limits, as indicated by the trial and conviction of youth and acknowledgement of unorthodox divinities. In the ancient Greek communities, it was assumed that the character of a people would and should be shaped by that of the government. In the ancient Chinese system, control of the information was retained - not by the information worker - but by the authorities who also determined the contents of the authoritative texts. Perhaps the most dramatic form of literary censorship in Christendom was the Index Librorum Prohibitorum, a list of books Roman Catholics were prohibited by ecclesiastical authority from reading or keeping without permission. Such books could not be imported into countries where Roman Catholic control was considerable. The Roman Catholic Church used this index to police the literature available to its followers.
THE ROLE OF THE LIBRARIAN IN SOCIETY
The Librarian serves the precious liberties of the nation; freedom of inquiry, freedom of the spoken or written word and freedom of the exchange of ideas. A democracy smugly disdainful of new ideas could be dismissed as a sick democracy and a democracy chronically fearful of new ideas would be a dying democracy. The last person to be a censor should be the Librarian whose responsibility is to provide materials which stimulate growth in factual knowledge, literary appreciation, aesthetic values and ethical standards. S/he provides a background of information which will enable citizens to make intelligent judgements in their daily lives. By providing materials on opposing sides of controversial issues, citizens develop the intellectual practice of critical reading and thinking.
IFLA AND THE UNIVERSAL AVAILABILITY OF PUBLICATIONS
It would not be farfetched to state that IFLA is aware of the roles and responsibilities of the Librarian. In addition to its basic functions carried out by the divisions, sections and round tables, a number of core programmes have been established to meet the requirements of the information community. These include the Universal Availability of Publications, Universal Bibliographic Control International MARC, Preservation and Conservation, Universal Dataflow of Telecommunications and the Advancement of Librarianship in the Third World. The Universal Availability of Publications, a programme developed within IFLA and supported by UNESCO could be seen as a battle against literary censorship. It is concerned with promoting the availability of publications all over the world. It covers not only libraries but publishing and bookselling, not only books and journals but audiovisual and electronic media, not only research libraries but school and public libraries. The ultimate objective is that "all publications, wherever and whenever published should be available to anyone, wherever and whenever they are wanted" (Membrey 1990, p.35). This is the ideal position in which IFLA stations the Librarian. The existence of a free and democratic society and an honestly administered government depends upon recognition of the concept that justice is based upon the rule of law grounded in respect for the dignity of the individual and his capacity - through reason - for enlightened government. Each individual has the right to a self-actuated existence to life, liberty and the pursuit of happiness. It is therefore the right of each to have uncensored access to unaltered information of both a serious and frivolous nature. The librarian (an Information Professional) provides access to accumulated knowledge and information and plays a vital role in the preservation of society and the freedom of the individual. The statement of the professionals on Code of Ethics of the California Library Association and the California Society of Librarians aptly noted that the librarian has an obligation "to make the widest diversity of views and expressions, including those which are unorthodox and unpopular with the majority, available to any individual and has a further obligation to make known to each individual the breath of information extant" (Taylor 1976, p.800).
THE LIBRARIAN AND LITERARY CENSORSHIP
Literary censorship is a giant cankerworm in every society. Governments invoke a wide range or variety of reasons for justifying literary censorship, for justifying secrecy and for taking actions against individuals because of their opinions. The claim that freedom should be limited in order to protect the rights of others is one of the most common reasons given for literary censorship. This includes privacy, defamation and protection of reputation. National and state security, sedition, public interest, public health, public morals, public order, violence, racism, sexism, religious intolerance (heresy and blasphemy), linguistic and cultural hegemony, propaganda (government propaganda and disinformation), special situations (state of emergency, election periods and war), media bias, copyright and intellectual property, corruption) are other reasons cited. In response, a variety of methods - direct and indirect- are employed to suppress the rights and freedom of expression and information. Press laws, licensing, attacks and restrictions on information workers (illicit killings, death threats and beatings, kidnappings and disappearances, arrests, detention and imprisonment, restrictions on movements and expulsions, dismissals and harassment) are some of these methods. A close study or examination of these reasons reveals that many lack justification in the sense that they are not recognized as permissible restrictions under international law, and in fact many have illegitimate aims, such as the suppression of criticism and unorthodox ideas. It is against such a background that the Librarian is supposed to disseminate information. Denying the individual the right to information because of age, race, religion, national origins or social or political views is a clear infringement of human rights. Over many years, librarians and other information workers have "fought many shades of opinion to defend the principle of the free dissemination of information. Librarians recognize the need for an appropriate balance to be maintained within the materials which they make available to reflect differing extremes or shade of opinion on matters which they might think to be contentious" (Haight 1978, p.124).
Literary censorship ought to be challenged by the Librarian in the maintenance of his responsibility to provide public information and enlightenment. How can he present vital problems and issues of our times because of partisan or doctrinal disapproval? Why was the British novelist Salman Rushdie condemned to death in February 1989 by Iran's Ayatollah Khomeni because his novel The Satanic Verses was viewed as blasphemous and insulting to Islam? Why did Dr. Omar Abdel Rahman, leader of an illegal political group, declare a 'fatwa' against the Nobel Prize-Winning Egyptian author, Naguib Mahfouz for his book Children of Gabalawy in April 1989? This was why Thomas Jefferson caustically noted that "I have sworn upon the altar of God eternal hostility against every form of tyranny over the mind of man" ((Haight 1978, p.124).
The evil which results from literary censorship is almost impossible to measure by the Librarian because it is very difficult to tell where it ends. It is nothing less than the danger of stopping the whole progress of the human mind in all its paths. The Librarian bases his/her profession as much on the freedom of the mind as the profession of medicine is based on the responsibility for the care of the body or the profession of law for equitable determination of the relative rights of individuals, or of the individual and society. S/he believes in "the absolute freedom of the mind as an ideal; if not a practical goal" (Eli 1980, p.230).
CONCLUSION
Controlling the individual through literary censorship is therefore nothing but an infringement of fundamental human rights. The Librarian does not foster education by imposing as mentor of the pattern of his/her own thought. The people should have the freedom to read and consider a broad range of ideas. It is wrong that what one man can read should be confined to what another thinks proper. Free communication is essential in the preservation of a free society and a creative culture. Librarian should therefore continue to challenge censorship in maintaining their role and responsibility of providing public information and enlightenment. They should also co-operate with all persons and groups concerned with resisting abridgement of free expression and free access to ideas.
An Ageless Austenian Work of Literary Pride
Jane Austen’s "Pride and Prejudice" is a supremely timeless study of how a free-spirited woman in the 19th century Britain countryside begins to accept herself for who she is. No matter how many times it has been adapted for the stage and screen, several generations of both men and women alike have come to treasure the novel’s universal quintessence of what it means to be human.
Almost every female who lived during the famed author’s era, and those living in today’s trend-setting society, can, no doubt, clearly identify with Elizabeth Bennett’s drive towards independence and mature self-righteousness. In fact, you might as well say that both Elizabeth and the author herself were vast years ahead of their time.
Austen’s literary prodigy doesn’t see herself as “pretty,” but we can almost immediately start to believe that her perceptive emotional intelligence is what ultimately makes her tick. Although she is too trustworthy of herself because of Darcy’s defective judgments against her, she soon realizes that her seeming superiority over others can make her change and grow for the better, even if her rational decision-making is far from the reaches of true flawlessness.
Another unforgettable moral code in this irresistible story of individualistic love and integrity is one that’s particularly inspiring. In a world where the gap between the rich and the poor is ever more apparent, almost every avid reader can certainly come to grips with their social injustices and hopefully transform themselves out of respect for others not necessarily “like” them. Early on in the story, Lady Catherine demands that Elizabeth not marry Fitzwilliam Darcy, a tremendously affluent and stridently reserved aristocrat. Catherine is so arrogant about his proposal to wed Elizabeth that once she begins to embarrass him, she begins to have a sudden change of heart.
Elizabeth, knowing that she requires an open, honest aptitude towards her partner, finally ties the knot, and all, including the once-cynical Lady Catherine, live happily thereafter.
There are a vast majority of young women nowadays who want to marry or have a serious, committed relationship with a man not because of his charming personality, but because of his socioeconomic prestige and movie-starish looks. Love doesn’t necessarily conquer all in this increasingly complex world, but life in overtly materialistic 21st century America can still pick up on Elizabeth’s peerless self-determination to make things as best as they make it to be. As we should all know by now, money isn’t everything. The true aspect of life that does matter, on the other hand, is something that, regardless of social and cultural change, remains to be cherished: It is what we know on the inside rather than the outside that can make us come together. And that, as you can see, is what we can call sheer, Lady Catherine-like redemption.
Almost every female who lived during the famed author’s era, and those living in today’s trend-setting society, can, no doubt, clearly identify with Elizabeth Bennett’s drive towards independence and mature self-righteousness. In fact, you might as well say that both Elizabeth and the author herself were vast years ahead of their time.
Austen’s literary prodigy doesn’t see herself as “pretty,” but we can almost immediately start to believe that her perceptive emotional intelligence is what ultimately makes her tick. Although she is too trustworthy of herself because of Darcy’s defective judgments against her, she soon realizes that her seeming superiority over others can make her change and grow for the better, even if her rational decision-making is far from the reaches of true flawlessness.
Another unforgettable moral code in this irresistible story of individualistic love and integrity is one that’s particularly inspiring. In a world where the gap between the rich and the poor is ever more apparent, almost every avid reader can certainly come to grips with their social injustices and hopefully transform themselves out of respect for others not necessarily “like” them. Early on in the story, Lady Catherine demands that Elizabeth not marry Fitzwilliam Darcy, a tremendously affluent and stridently reserved aristocrat. Catherine is so arrogant about his proposal to wed Elizabeth that once she begins to embarrass him, she begins to have a sudden change of heart.
Elizabeth, knowing that she requires an open, honest aptitude towards her partner, finally ties the knot, and all, including the once-cynical Lady Catherine, live happily thereafter.
There are a vast majority of young women nowadays who want to marry or have a serious, committed relationship with a man not because of his charming personality, but because of his socioeconomic prestige and movie-starish looks. Love doesn’t necessarily conquer all in this increasingly complex world, but life in overtly materialistic 21st century America can still pick up on Elizabeth’s peerless self-determination to make things as best as they make it to be. As we should all know by now, money isn’t everything. The true aspect of life that does matter, on the other hand, is something that, regardless of social and cultural change, remains to be cherished: It is what we know on the inside rather than the outside that can make us come together. And that, as you can see, is what we can call sheer, Lady Catherine-like redemption.
Indian English Literature
Indian English literature (IEL) refers to the body of work English writers in India. It all started in the summers of 1608 when Emperor Jahangir, in the courts of Moguls, welcomed Captain William Hawkins, Commander of British Naval Expedition Hector. It was India's first tryst with an Englishman and English. Jahangir later allowed Britain to open a permanent port and factory on the special request of King James IV that was conveyed by his ambassador Sir Thomas Roe. English people stay there.
The native and co-native language of these writers could be one of the numerous languages of India. Indian English literature is an endeavor of showcasing the rare gems of Indian writing in English. From being a curious native explosion, English in India has become a new form of Indian culture, and voice in which India can speak.
The Indian authors such as poets, novelists, essayists, dramatists have now been making significant contributions to world literature since the pre-Independence era, the past few years have seen a massive flourishing of Indian English writing in the international market. After writing in English Indian authors soaring on the best seller's list and also receiving critical acclaim.
There are many names that contribute in the Indian literature to move it on the top. Some of the important names are Mulakh Raj Anand, R. K. Narayan, Anita Desai, Toru Dutt, Salman Rushdie, Vikram Seth, Allan Sealy, Amitav Ghosh, Jhumpa Lahiri, Chitra Banerjee, Divakaruni, Arundhati Roy, Vikram Chandra all of these came in the parade of fine Indian writers.
India was under the British rule but English was adopted by the Indians as a language of knowledge, education and literary expression behind with an important means of communication among various people of different religions.
The native and co-native language of these writers could be one of the numerous languages of India. Indian English literature is an endeavor of showcasing the rare gems of Indian writing in English. From being a curious native explosion, English in India has become a new form of Indian culture, and voice in which India can speak.
The Indian authors such as poets, novelists, essayists, dramatists have now been making significant contributions to world literature since the pre-Independence era, the past few years have seen a massive flourishing of Indian English writing in the international market. After writing in English Indian authors soaring on the best seller's list and also receiving critical acclaim.
There are many names that contribute in the Indian literature to move it on the top. Some of the important names are Mulakh Raj Anand, R. K. Narayan, Anita Desai, Toru Dutt, Salman Rushdie, Vikram Seth, Allan Sealy, Amitav Ghosh, Jhumpa Lahiri, Chitra Banerjee, Divakaruni, Arundhati Roy, Vikram Chandra all of these came in the parade of fine Indian writers.
India was under the British rule but English was adopted by the Indians as a language of knowledge, education and literary expression behind with an important means of communication among various people of different religions.
American English: Listen and Learn Essential Differences
The voiced and unvoiced consonants
In this section we will try to clarify the difference between the voiced consonants and the unvoiced consonants.
If you want to master English pronunciation you have to able to distinguish between these two types of consonants. This is necessary for you to learn the proper pronunciation when you learn new vocabulary. And more importantly you need to know the difference between voiced and unvoiced consonants to be able to pronounce the words of English correctly. What makes one consonant be voiced and another not?
A consonant is voiced when it makes the vocal cords vibrate. It is voiceless when it is pronounced without vibrating the vocal cords.
The sound of the letters "p" and "b"
For example, the sounds indicated by the letters "b" and "p" differ only in their vocalization (voicing). The are both "bilabials", that is, they are produced by closing both lips. But the "b" is voiced and the "p" is unvoiced. In this article, we will follow common practice and indicate the letters of the alphabet with quotes (“b” and “p”) and the sounds with slashes (/b/ and /p/)
You can appreciate the difference by lightly touching with the tips of your fingers your "Adam's Apple" (the voice box that you can see in the front of your throat) as you pronounce the word bowl . You can feel the vibration with the tips of our fingers. Concentrate on the first sound, the consonant /b/ before passing to the vowel represented by the "o". Notice that you can lengthen the sound (something is heard!) without the "o". This is because /b/ is a voiced consonant.
Now pronounce the word pole. Do you feel the vibration in the vocal cords? No. The reason is that /p/ is an unvoiced consonant. Notice that you you can't lengthen the sound or hear anything.
When you pronounce these sounds, don't forget the advice we already gave you in other articles: exaggerate the value of the vowel "o" with a strong English accent!
Listen to the following exercise until you can distinguish betwen the two sounds and produce them yourself.
You should be able to telll the difference between the /p/ and the /b/ in the sentence The doctor said: "Bill, take your pill!
Try it now!
The sounds of the English letters /k/ (sometimes "c") and /g/
It is not only the sounds /p/ and /b/ that are voiced or unvoiced. The same distinction holds for the sounds represented by the letters "k" y "g" in the International Phonetic Alphabet. By the way, do you see that it will not be hard for you to learn the symbols of the IPA? Many of the symbols, like the k and the g are already familiar to you. They are the normal letters of the alphabet.
The IPA symbol k interests us now. It is the "hard" sound of the letter "c", the sound that the letter "c" usually takes before the letters "a", "o", and "u", for example in the words car, coat, cube.
Now can you see how the IPA system makes it easy for you to learn the pronunciation of new words? Now, we don't have to worry that sometimes the letter "c" has the sound of the IPA symbol k (as in the word cold) or that sometimes the same letter "c" of the English alphabet is pronounced as the IPA s (as in the words cell ).
Now try to feel in your voice box the vibration in the word coal! You can't because it is the unvoiced partner in the pair. If you touch your voice box while you pronounce the word goal, you do feel the vibration because the sound g is voiced.
Practice the two words coal and goal. But keep on pronouncing the the English vowel with its lengthening. Exaggerate the English language character of the vowel. Don't pronounce it as if it were col or gol in your language. And also remember the explosive nature of the consonant represented by the "c" in English when it is pronounced as the IPA k. Blow out the candle when you say coal.
Pero… ¡Qué no suene como si hablaras del repollo (la col en el Perú) o del fútbol (el gol)! ¡Cuidado con tu acento hispano!
Did you notice that we review various important things about the English sounds as we move along in this book. From now on, in your listening and in your practice, you must remember the explosive consonants, the special English vowels, and the voiced or unvoiced consonants.
Listen and practice all these essential elements of English pronunciation.
The sound of the letters "t" and "d"
Consider the pair of words tear and dear. Do the same with these words as you did above with the pairs of words coal and goal, and pole and bowl. Can you distinguish which of the initial sounds is voiced and which is unvoiced? Both are pronounced in almost the same place in the mouth but the initial sound of these two words is different in that the letter "t" is usually voiceless and the "d" is usually voiced. However, do NOT think that the letter "d" in English is always voiced. You will see that sometimes this letter "d" represents a voiceless sound. This is a VERY important lesson in the pronunciation of English and when you learn how and when the "d" is unvoiced it will be a valuable tool for you in your mastery of English.
This difference between the letters "d" and "t" in English is very important in the matter of the past tense of verbs. We will treat this elsewhere.
Also there is another pair of voiced and unvoiced consonants, the sounds represented in English by the letters "s" and "z". We will study them in their most important contexts, that of the third person singular of the present of verbs, and that of the plural of nouns.
But for now, concentrate on the consonants we just looked at.
Now listen and practice! Listen wherever you can (or listen in our book) to the different pairs of voiced and unvoiced consonants. Then make them yourself.
P and B
K and G
T and D
This lesson is taken from the book, “Word Power” which contains sound files that let you hear the vowels and consonants and practice their pronunciation.
In this section we will try to clarify the difference between the voiced consonants and the unvoiced consonants.
If you want to master English pronunciation you have to able to distinguish between these two types of consonants. This is necessary for you to learn the proper pronunciation when you learn new vocabulary. And more importantly you need to know the difference between voiced and unvoiced consonants to be able to pronounce the words of English correctly. What makes one consonant be voiced and another not?
A consonant is voiced when it makes the vocal cords vibrate. It is voiceless when it is pronounced without vibrating the vocal cords.
The sound of the letters "p" and "b"
For example, the sounds indicated by the letters "b" and "p" differ only in their vocalization (voicing). The are both "bilabials", that is, they are produced by closing both lips. But the "b" is voiced and the "p" is unvoiced. In this article, we will follow common practice and indicate the letters of the alphabet with quotes (“b” and “p”) and the sounds with slashes (/b/ and /p/)
You can appreciate the difference by lightly touching with the tips of your fingers your "Adam's Apple" (the voice box that you can see in the front of your throat) as you pronounce the word bowl . You can feel the vibration with the tips of our fingers. Concentrate on the first sound, the consonant /b/ before passing to the vowel represented by the "o". Notice that you can lengthen the sound (something is heard!) without the "o". This is because /b/ is a voiced consonant.
Now pronounce the word pole. Do you feel the vibration in the vocal cords? No. The reason is that /p/ is an unvoiced consonant. Notice that you you can't lengthen the sound or hear anything.
When you pronounce these sounds, don't forget the advice we already gave you in other articles: exaggerate the value of the vowel "o" with a strong English accent!
Listen to the following exercise until you can distinguish betwen the two sounds and produce them yourself.
You should be able to telll the difference between the /p/ and the /b/ in the sentence The doctor said: "Bill, take your pill!
Try it now!
The sounds of the English letters /k/ (sometimes "c") and /g/
It is not only the sounds /p/ and /b/ that are voiced or unvoiced. The same distinction holds for the sounds represented by the letters "k" y "g" in the International Phonetic Alphabet. By the way, do you see that it will not be hard for you to learn the symbols of the IPA? Many of the symbols, like the k and the g are already familiar to you. They are the normal letters of the alphabet.
The IPA symbol k interests us now. It is the "hard" sound of the letter "c", the sound that the letter "c" usually takes before the letters "a", "o", and "u", for example in the words car, coat, cube.
Now can you see how the IPA system makes it easy for you to learn the pronunciation of new words? Now, we don't have to worry that sometimes the letter "c" has the sound of the IPA symbol k (as in the word cold) or that sometimes the same letter "c" of the English alphabet is pronounced as the IPA s (as in the words cell ).
Now try to feel in your voice box the vibration in the word coal! You can't because it is the unvoiced partner in the pair. If you touch your voice box while you pronounce the word goal, you do feel the vibration because the sound g is voiced.
Practice the two words coal and goal. But keep on pronouncing the the English vowel with its lengthening. Exaggerate the English language character of the vowel. Don't pronounce it as if it were col or gol in your language. And also remember the explosive nature of the consonant represented by the "c" in English when it is pronounced as the IPA k. Blow out the candle when you say coal.
Pero… ¡Qué no suene como si hablaras del repollo (la col en el Perú) o del fútbol (el gol)! ¡Cuidado con tu acento hispano!
Did you notice that we review various important things about the English sounds as we move along in this book. From now on, in your listening and in your practice, you must remember the explosive consonants, the special English vowels, and the voiced or unvoiced consonants.
Listen and practice all these essential elements of English pronunciation.
The sound of the letters "t" and "d"
Consider the pair of words tear and dear. Do the same with these words as you did above with the pairs of words coal and goal, and pole and bowl. Can you distinguish which of the initial sounds is voiced and which is unvoiced? Both are pronounced in almost the same place in the mouth but the initial sound of these two words is different in that the letter "t" is usually voiceless and the "d" is usually voiced. However, do NOT think that the letter "d" in English is always voiced. You will see that sometimes this letter "d" represents a voiceless sound. This is a VERY important lesson in the pronunciation of English and when you learn how and when the "d" is unvoiced it will be a valuable tool for you in your mastery of English.
This difference between the letters "d" and "t" in English is very important in the matter of the past tense of verbs. We will treat this elsewhere.
Also there is another pair of voiced and unvoiced consonants, the sounds represented in English by the letters "s" and "z". We will study them in their most important contexts, that of the third person singular of the present of verbs, and that of the plural of nouns.
But for now, concentrate on the consonants we just looked at.
Now listen and practice! Listen wherever you can (or listen in our book) to the different pairs of voiced and unvoiced consonants. Then make them yourself.
P and B
K and G
T and D
This lesson is taken from the book, “Word Power” which contains sound files that let you hear the vowels and consonants and practice their pronunciation.
Bangla (Bengali) literature: Some reflections
The most tragic thing about Bangla (Bengali) literature today is the absence of information about it in Internet. Internet is the biggest place for information and millions of people are browsing for information and entertainment everyday. If you do a search in Google about Bangla (Bengali) literature you will have to feel frustrated.
Except Wikipedia and Bangla (Bengali)pedia there are not a lot of information about Bangla (Bengali) literature. This is ia tragic matter because Bangla (Bengali) literature is one of the richest literatures in the world. Rabindranath Tagore, the greatest figure in Bangla (Bengali) literature got Nobel Prize in 1913 and he was the first writer from outside of Europe and America to get this prestigious prize.
Tagore's achievement did not take place all of a sudden. Rather it came after 100 years of modernization and reformation process in Bangla (Bengali) literature that started with Rammohan Roy, the father of Indian reformation movement. It was Ram Mohan Roy who realized the need to reform the Indian society and embracing the liberal and positive aspects of the western civilization. A little later Michael Madhusudan Dutt turned this concept into reality in to Bangla (Bengali) literature by introducing sonnet and blank verse. Thus social reformation and modernization in literature occurred hand by hand in Bengal. The ground was prepared for Tagore to come and shine in the world literature.
It is true that Tagore almost single-handedly elevated Bangla (Bengali) literature to become one of the richest literatures in the contemporary world. Tagore's achievement made every Bengali writer proud and it created a new enthusiasm for them. After Tagore got Nobel Prize in 1913 the golden age of Bangla (Bengali) literature started and for the next 30 years it continued with a handful of writers in every genre. Kazi Nazrul Islam excelled in writing poems about social justice and he also successfully used both Hindu and Muslim heritage in his poems. It was in his poems that the idea of unity between Muslims and Hindus was echoed again and again. Sharatchandra emerged as the most popular novelist in Bangla (Bengali) literature. His novels touched people from every background in the society and still today his novels are most widely read in Bangla (Bengali) literature. Jibananda Das caught the attention of the readers for writing poems about nature and Bibhutibhushon Banerje did the same in prose in Bangla (Bengali) literature.
History of Bangla (Bengali) literature is more than 1200 years old and among the modern Indian languages (belonging to the Indic branch of Indo-Eurpean language Familiy) Bangla (Bengali) literature is among the earliest literatures. The first text of Bangla (Bengali) literature Charyapada was written perhaps in 9th or 8th century. This book is a collection of songs and poems written by a number poets (mainly Budhists). The poems contained description of everyday social life instead of praise to gods or goddesses.
The most fascinating aspect of Bangla (Bengali) literature is that poets and writers from 4 religions have contributed in its development. Hindu, Buddhist, Muslim and Christian writers have their contributions in Bangla (Bengali) literature and Bangla (Bengali) literature has been enriched from these religions too. The presence and interaction among the poets of different religions have made Bangla (Bengali) literature a literature of liberal humanism. Bangla (Bengali) literature influenced its speakers so much that in 1952 Bangla (Bengali)deshi people sacrificed their blood against the Pakistani rulers to uphold the status of Bangla (Bengali).
Except Wikipedia and Bangla (Bengali)pedia there are not a lot of information about Bangla (Bengali) literature. This is ia tragic matter because Bangla (Bengali) literature is one of the richest literatures in the world. Rabindranath Tagore, the greatest figure in Bangla (Bengali) literature got Nobel Prize in 1913 and he was the first writer from outside of Europe and America to get this prestigious prize.
Tagore's achievement did not take place all of a sudden. Rather it came after 100 years of modernization and reformation process in Bangla (Bengali) literature that started with Rammohan Roy, the father of Indian reformation movement. It was Ram Mohan Roy who realized the need to reform the Indian society and embracing the liberal and positive aspects of the western civilization. A little later Michael Madhusudan Dutt turned this concept into reality in to Bangla (Bengali) literature by introducing sonnet and blank verse. Thus social reformation and modernization in literature occurred hand by hand in Bengal. The ground was prepared for Tagore to come and shine in the world literature.
It is true that Tagore almost single-handedly elevated Bangla (Bengali) literature to become one of the richest literatures in the contemporary world. Tagore's achievement made every Bengali writer proud and it created a new enthusiasm for them. After Tagore got Nobel Prize in 1913 the golden age of Bangla (Bengali) literature started and for the next 30 years it continued with a handful of writers in every genre. Kazi Nazrul Islam excelled in writing poems about social justice and he also successfully used both Hindu and Muslim heritage in his poems. It was in his poems that the idea of unity between Muslims and Hindus was echoed again and again. Sharatchandra emerged as the most popular novelist in Bangla (Bengali) literature. His novels touched people from every background in the society and still today his novels are most widely read in Bangla (Bengali) literature. Jibananda Das caught the attention of the readers for writing poems about nature and Bibhutibhushon Banerje did the same in prose in Bangla (Bengali) literature.
History of Bangla (Bengali) literature is more than 1200 years old and among the modern Indian languages (belonging to the Indic branch of Indo-Eurpean language Familiy) Bangla (Bengali) literature is among the earliest literatures. The first text of Bangla (Bengali) literature Charyapada was written perhaps in 9th or 8th century. This book is a collection of songs and poems written by a number poets (mainly Budhists). The poems contained description of everyday social life instead of praise to gods or goddesses.
The most fascinating aspect of Bangla (Bengali) literature is that poets and writers from 4 religions have contributed in its development. Hindu, Buddhist, Muslim and Christian writers have their contributions in Bangla (Bengali) literature and Bangla (Bengali) literature has been enriched from these religions too. The presence and interaction among the poets of different religions have made Bangla (Bengali) literature a literature of liberal humanism. Bangla (Bengali) literature influenced its speakers so much that in 1952 Bangla (Bengali)deshi people sacrificed their blood against the Pakistani rulers to uphold the status of Bangla (Bengali).
The Romantic Idealization of American Indians in Early American Literature
One of the major controversies in the acquisition and development of America as an independent nation was the dilemma concerning the people who were already here. As a Christian people, it would have been sinful for our founders to just 'take' the land from other peoples. Therefore, the settlers and the succeeding generations began romanticizing the Indians, depicting them as either noble children of nature in need of civilization and Christianity or as ferocious, demonic savages in need of extermination. Neither view exhibited the reality of the Native Americans. From the earliest American writings, this image of the Indian, either as inherently noble or inherently evil, has persisted in our culture to the present.
In Columbus' letter regarding his first voyage to the Americas, he describes a virtual Garden of Eden. While he does not describe the natives he encounters in great detail, it is safe to assume that he did not find them to be menacing or ferocious savages based on the content of his letter. Columbus states that he "sent two men inland to learn if there were a king or great cities" and that the men traveled for three days and "found an infinity of small hamlets and people without number" (Norton 26). Surely Columbus would not have sent two men among the Indians if he had any indication that the Indians would not be peaceful and welcoming.
However in his letter to Ferdinand and Isabella, Columbus' view of the natives has changed. In pleading his plight to his sovereigns, Columbus says he is in "daily expectation of death" and "encompassed about by a million savages, full of cruelty" (Norton 28). These contrary and romanticized depictions of the Native Americans would be picked up and even expanded on by later American writers.
William Bradford carried on peaceful and friendly relations with the Indians that lived where they set up Plymouth Plantation. The Pilgrims made a treaty with the chief Massasoit which continued "24 years" (Norton 86). Additionally, Bradford transfers romantic qualities to Squanto, an Indian who had been captured and taken to England. Bradford says of Squanto that there are "scarce any left alive besides himself" which instigates the "vanishing Indian" myth that Cooper later uses for his narrative (Norton 87). Bradford also idealizes Squanto by referring to him as a "special instrument sent of God for [the Pilgrims] good" (Norton 87).
The writings of John Smith further emphasize the ambiguous feelings of the Europeans towards the Indians. When he and his men were in danger of starving to death, Smith describes how God "changed the hearts of the savages" so as to provide food for the Europeans (Norton 45). The indication here is clear: that the Indians are 'savage' by nature but all that is needed to make them good people is Christianity.
When Smith is later taken hostage by Powhatan and his tribe, he narrates how he was "kindly feasted and well used" (Norton 49). But despite this, Smith remains fearful of the Indians, no matter how much he tries to make himself sound bold and unafraid. The fact that he is afraid of the Indians and their personal nature is seen through Smith's description of the Indians in language and imagery that is horrifying. He depicts them as "devils," "fiends," having a "hellish voice" and entertaining him with "strange and fearful conjurations" (Norton 50). Smith is definitely romanticizing the Indians by making them seem as if they are demons from Hell.
These three romantic idealizations of the Indian (noble warrior, bloodthirsty savage, and vanishing Indian) converge in James Fenimore Cooper's The Last of the Mohicans. As the title suggests, the tribe of the Mohicans has been so very diminished that only two remain, Chingachgook and his son Uncas. This exhibits the "vanishing Indian" mythology.
The tribes of Indians that are the central focus in Cooper's narrative are the Mohicans (Delawares) and the Iroquois (Mohawks). These tribes are depicted in the characters of Chingachgook and Uncas (Mohicans), and Magua, who even though was born a Huron, has became a member of the Iroquois federation. According to Cooper, both of these tribes are vanishing due to the "inroads of civilization" (Cooper 6). Chingachgook tells Hawkeye when his son Uncas dies "there will no longer be any of the blood of the Sagamores" because Uncas is the last of the pure blood Mohicans (Cooper33).
As for the Six Nations of the Iroquois, Cooper tells the reader in a footnote that:
There are remnants of all these people still living on lands secured to them by the state; but they are daily disappearing, either by deaths or by removals to scenes more congenial to their habits. In a short time there will be no remains of these extraordinary people, in those regions in which they dwelt for centuries. (Cooper 20)
Thus does Cooper romanticize the idea of the "vanishing Indian myth."
In his introduction to the first edition of his novel, Cooper describes the "native warriors of America" in the following manner:
In war, he is daring, boastful, cunning, ruthless, self-denying, and self-devoted; in peace, just, generous, hospitable, revengeful, superstitious, modest, and commonly chaste. (Cooper 5)
This type of description of Indians denies their individuality in human emotions and characteristics. As such, it romanticizes them by assigning them inviolable personality traits. Of the narrative's three main Indian characters, Chingachgook and Uncas are idealized as the "noble warriors" and Magua is romanticized as the "bloodthirsty savage." None of these characters are presented in a realistic, humanistic fashion.
They are spoken of in language that portrays them as highly exalted or irretrievably degraded.
In his first appearance in the novel, Chingachgook is seen seated on a log, engaged in a debate with Hawkeye. Chingachgook uses "calm and expressive gestures" and the posture of his body to "heighten" the effect of his "earnest language" (Cooper 29). He has reached middle age, but has no "symptoms of decay" that would suggest a lessening of "his manhood" (Cooper 29). Furthermore, even though Chingachgook is habitually suspicious, he is "not only without guile" but is possessed of "sturdy honesty" (Cooper 30). These physical and mental traits provide us with the classic image of the strong and stoic Indian warrior, one who is brave and fearless when necessary but kind and calm also. Chingachgook's son Uncas is idealized even more than his father is.
Uncas is "fearless", "dignified," "noble," "proud," "determined," "brave," and "constant" (Cooper 53). Even Alice, who is fearful of all Indians, says of Uncas that she "could sleep in peace with such a fearless and generous looking youth for her sentinel" (Cooper 53). And Duncan allows that Uncas is a "rare and brilliant instance of those natural qualities" existing in Indians (Cooper 53). This portrayal of Uncas suggests that he is not like others of his tribe or race; that he is somehow exalted above the rest. Cooper plays up this exaltation of Uncas by revealing that he is descended from a noble chief (implying that Uncas' blood is 'royal') later in the novel when Uncas is about to be burned at the stake (Cooper 309).
When Uncas is sentenced to death, his friends react in various ways: Duncan struggles to get free, Hawkeye anxiously looks around for a way to escape, and Cora throws herself at Tamenund's feet to plead for mercy for Uncas (Cooper 309). Only Uncas remains calm and serene. He watches the preparations for the fire with a "steady eye" and does not resist when the other Indians come to seize him (Cooper 309). One gets the impression that if Uncas had not been spared by the discovery of his tortoise tattoo, he would have went to his death calmly without saying one word to save himself. This is a highly idealized portrait of a person, not so would we expect someone to act in this particular circumstance no matter how brave the person was.
At the opposite side of human nature, Cooper romanticizes the character of Magua as intrinsically evil and depraved. Other than being brave and fearless, Magua has no qualities that would be considered good as possessing. Magua is described as having the "characteristic stoicism" of his race, but his countenance exhibits a "sullen fierceness" (Cooper 17). Further Magua's expression is "cunning," "savage," "repulsive," and having an eye "which [glistens] like a fiery star" (Cooper 18). Alice is afraid of Magua, based on his physical appearance, and refers to him as a "spectre" inhabiting the woods (Cooper 20). Cora tends to give Magua the benefit of the doubt, even though she first looks upon him with "pity, admiration, and horror" (Cooper 19). Even Duncan, who says he knows Magua well and trusts him, tells Alice not to show any distrust or fear to Magua, or she may "invite the danger [she] appears to apprehend" (Cooper 21). This admonition to Alice displays Duncan's tendency to equate Magua with some species of wild animal, which will attack when sensing fear.
The idealization of Indians in Last of the Mohicans exhibits the period's ambivalence towards the first inhabitants of the Americas. The colonists tended to either romanticize them as children of God or nature, or as savage, brutal heathens. This attitude towards the Indians began with Columbus and, in some degree, still exists today.
In Columbus' letter regarding his first voyage to the Americas, he describes a virtual Garden of Eden. While he does not describe the natives he encounters in great detail, it is safe to assume that he did not find them to be menacing or ferocious savages based on the content of his letter. Columbus states that he "sent two men inland to learn if there were a king or great cities" and that the men traveled for three days and "found an infinity of small hamlets and people without number" (Norton 26). Surely Columbus would not have sent two men among the Indians if he had any indication that the Indians would not be peaceful and welcoming.
However in his letter to Ferdinand and Isabella, Columbus' view of the natives has changed. In pleading his plight to his sovereigns, Columbus says he is in "daily expectation of death" and "encompassed about by a million savages, full of cruelty" (Norton 28). These contrary and romanticized depictions of the Native Americans would be picked up and even expanded on by later American writers.
William Bradford carried on peaceful and friendly relations with the Indians that lived where they set up Plymouth Plantation. The Pilgrims made a treaty with the chief Massasoit which continued "24 years" (Norton 86). Additionally, Bradford transfers romantic qualities to Squanto, an Indian who had been captured and taken to England. Bradford says of Squanto that there are "scarce any left alive besides himself" which instigates the "vanishing Indian" myth that Cooper later uses for his narrative (Norton 87). Bradford also idealizes Squanto by referring to him as a "special instrument sent of God for [the Pilgrims] good" (Norton 87).
The writings of John Smith further emphasize the ambiguous feelings of the Europeans towards the Indians. When he and his men were in danger of starving to death, Smith describes how God "changed the hearts of the savages" so as to provide food for the Europeans (Norton 45). The indication here is clear: that the Indians are 'savage' by nature but all that is needed to make them good people is Christianity.
When Smith is later taken hostage by Powhatan and his tribe, he narrates how he was "kindly feasted and well used" (Norton 49). But despite this, Smith remains fearful of the Indians, no matter how much he tries to make himself sound bold and unafraid. The fact that he is afraid of the Indians and their personal nature is seen through Smith's description of the Indians in language and imagery that is horrifying. He depicts them as "devils," "fiends," having a "hellish voice" and entertaining him with "strange and fearful conjurations" (Norton 50). Smith is definitely romanticizing the Indians by making them seem as if they are demons from Hell.
These three romantic idealizations of the Indian (noble warrior, bloodthirsty savage, and vanishing Indian) converge in James Fenimore Cooper's The Last of the Mohicans. As the title suggests, the tribe of the Mohicans has been so very diminished that only two remain, Chingachgook and his son Uncas. This exhibits the "vanishing Indian" mythology.
The tribes of Indians that are the central focus in Cooper's narrative are the Mohicans (Delawares) and the Iroquois (Mohawks). These tribes are depicted in the characters of Chingachgook and Uncas (Mohicans), and Magua, who even though was born a Huron, has became a member of the Iroquois federation. According to Cooper, both of these tribes are vanishing due to the "inroads of civilization" (Cooper 6). Chingachgook tells Hawkeye when his son Uncas dies "there will no longer be any of the blood of the Sagamores" because Uncas is the last of the pure blood Mohicans (Cooper33).
As for the Six Nations of the Iroquois, Cooper tells the reader in a footnote that:
There are remnants of all these people still living on lands secured to them by the state; but they are daily disappearing, either by deaths or by removals to scenes more congenial to their habits. In a short time there will be no remains of these extraordinary people, in those regions in which they dwelt for centuries. (Cooper 20)
Thus does Cooper romanticize the idea of the "vanishing Indian myth."
In his introduction to the first edition of his novel, Cooper describes the "native warriors of America" in the following manner:
In war, he is daring, boastful, cunning, ruthless, self-denying, and self-devoted; in peace, just, generous, hospitable, revengeful, superstitious, modest, and commonly chaste. (Cooper 5)
This type of description of Indians denies their individuality in human emotions and characteristics. As such, it romanticizes them by assigning them inviolable personality traits. Of the narrative's three main Indian characters, Chingachgook and Uncas are idealized as the "noble warriors" and Magua is romanticized as the "bloodthirsty savage." None of these characters are presented in a realistic, humanistic fashion.
They are spoken of in language that portrays them as highly exalted or irretrievably degraded.
In his first appearance in the novel, Chingachgook is seen seated on a log, engaged in a debate with Hawkeye. Chingachgook uses "calm and expressive gestures" and the posture of his body to "heighten" the effect of his "earnest language" (Cooper 29). He has reached middle age, but has no "symptoms of decay" that would suggest a lessening of "his manhood" (Cooper 29). Furthermore, even though Chingachgook is habitually suspicious, he is "not only without guile" but is possessed of "sturdy honesty" (Cooper 30). These physical and mental traits provide us with the classic image of the strong and stoic Indian warrior, one who is brave and fearless when necessary but kind and calm also. Chingachgook's son Uncas is idealized even more than his father is.
Uncas is "fearless", "dignified," "noble," "proud," "determined," "brave," and "constant" (Cooper 53). Even Alice, who is fearful of all Indians, says of Uncas that she "could sleep in peace with such a fearless and generous looking youth for her sentinel" (Cooper 53). And Duncan allows that Uncas is a "rare and brilliant instance of those natural qualities" existing in Indians (Cooper 53). This portrayal of Uncas suggests that he is not like others of his tribe or race; that he is somehow exalted above the rest. Cooper plays up this exaltation of Uncas by revealing that he is descended from a noble chief (implying that Uncas' blood is 'royal') later in the novel when Uncas is about to be burned at the stake (Cooper 309).
When Uncas is sentenced to death, his friends react in various ways: Duncan struggles to get free, Hawkeye anxiously looks around for a way to escape, and Cora throws herself at Tamenund's feet to plead for mercy for Uncas (Cooper 309). Only Uncas remains calm and serene. He watches the preparations for the fire with a "steady eye" and does not resist when the other Indians come to seize him (Cooper 309). One gets the impression that if Uncas had not been spared by the discovery of his tortoise tattoo, he would have went to his death calmly without saying one word to save himself. This is a highly idealized portrait of a person, not so would we expect someone to act in this particular circumstance no matter how brave the person was.
At the opposite side of human nature, Cooper romanticizes the character of Magua as intrinsically evil and depraved. Other than being brave and fearless, Magua has no qualities that would be considered good as possessing. Magua is described as having the "characteristic stoicism" of his race, but his countenance exhibits a "sullen fierceness" (Cooper 17). Further Magua's expression is "cunning," "savage," "repulsive," and having an eye "which [glistens] like a fiery star" (Cooper 18). Alice is afraid of Magua, based on his physical appearance, and refers to him as a "spectre" inhabiting the woods (Cooper 20). Cora tends to give Magua the benefit of the doubt, even though she first looks upon him with "pity, admiration, and horror" (Cooper 19). Even Duncan, who says he knows Magua well and trusts him, tells Alice not to show any distrust or fear to Magua, or she may "invite the danger [she] appears to apprehend" (Cooper 21). This admonition to Alice displays Duncan's tendency to equate Magua with some species of wild animal, which will attack when sensing fear.
The idealization of Indians in Last of the Mohicans exhibits the period's ambivalence towards the first inhabitants of the Americas. The colonists tended to either romanticize them as children of God or nature, or as savage, brutal heathens. This attitude towards the Indians began with Columbus and, in some degree, still exists today.
American Writers
vAmerica was first settled in the 15th century by the English who went to America to colonise it and set up permanent residence there. It was already inhabited by Native Indians and the colonists fought with them to gain ownership of the land. From the time of those first settlers there have been American writers who have documented life in America and written some classic books. Early authors who wrote mainly about life in the colonies are John Smith of Jamestown who wrote one of the most famous books entitled “A True Relation of…Virginia” in 1608. Other authors of the time include Daniel Denton, William Strachey and John Lawson.
From these early books came more religious books written which documented the various religious disputes of the time and writers of importance from this period are John Winthrop and William Bradford. Some poetry also existed and early American writers who wrote poetry were Anne Bradstreet and Edward Taylor are two famous examples of American writers of poetry. Micheal Wigglesworth also wrote a best selling poem entitled “The Day of Doom” which describes the time of judgement, and Nicolas Noyes was well known for his doggerel verse. From these books and American writers the themes of books moved on to more political ideas and notions. Benjamin Franklin wrote a book called “The Autobiography of Benjamin Franklin” which was an esteemed work of wit and influence.
As time progressed so did the work of American writers and in the post-war period many writers such as Alexander Hamilton, James Madison and John Jay wrote in the The Federalist which were a group of essays that were a political and historical discussion of government organisation and republican values.
The writer who is sometimes thought of as writing the first great American novel is William Hill Brown and his book “The Power of Sympathy” (1789) is thought of as a classic. As time went on more and more writers emerged and wrote about the American Civil war and other events that were of key importance in American life of that era. In the 19th Century two poets emerged that were to influence American writers for years.
These two people were Walt Whitman who was a travelling, working man who’s greatest work was “Leaves of Grass” which used free flowing verse and lines of irregular length to depict the all-inclusiveness of American democracy.
The next influential poet is Emily Dickinson who lived a very sheltered life and never married. She lived in a small town in Massachusetts yet her work was very unconventional for the time. She incorporated wit, ingenuity into psychologically penetrating works or poetry. Many of her poems for example tend to dwell on death with a witty and mischievous twist. Then along came Mark Twain who wrote “The Adventures of Huckleberry Finn” and he set the standard for some time for American writers as he wrote with passion and honesty about the slave trade.
Then came the writers of the 1950s with authors such as William Boroughs and Jack Kerouac whos novel “On the Road” was and still is a best seller. For many people this book is the definitive “Road book” and has influenced many other writers since its publication. As shown America has produced some great writers all of whom have their own style and individual flair.
From these early books came more religious books written which documented the various religious disputes of the time and writers of importance from this period are John Winthrop and William Bradford. Some poetry also existed and early American writers who wrote poetry were Anne Bradstreet and Edward Taylor are two famous examples of American writers of poetry. Micheal Wigglesworth also wrote a best selling poem entitled “The Day of Doom” which describes the time of judgement, and Nicolas Noyes was well known for his doggerel verse. From these books and American writers the themes of books moved on to more political ideas and notions. Benjamin Franklin wrote a book called “The Autobiography of Benjamin Franklin” which was an esteemed work of wit and influence.
As time progressed so did the work of American writers and in the post-war period many writers such as Alexander Hamilton, James Madison and John Jay wrote in the The Federalist which were a group of essays that were a political and historical discussion of government organisation and republican values.
The writer who is sometimes thought of as writing the first great American novel is William Hill Brown and his book “The Power of Sympathy” (1789) is thought of as a classic. As time went on more and more writers emerged and wrote about the American Civil war and other events that were of key importance in American life of that era. In the 19th Century two poets emerged that were to influence American writers for years.
These two people were Walt Whitman who was a travelling, working man who’s greatest work was “Leaves of Grass” which used free flowing verse and lines of irregular length to depict the all-inclusiveness of American democracy.
The next influential poet is Emily Dickinson who lived a very sheltered life and never married. She lived in a small town in Massachusetts yet her work was very unconventional for the time. She incorporated wit, ingenuity into psychologically penetrating works or poetry. Many of her poems for example tend to dwell on death with a witty and mischievous twist. Then along came Mark Twain who wrote “The Adventures of Huckleberry Finn” and he set the standard for some time for American writers as he wrote with passion and honesty about the slave trade.
Then came the writers of the 1950s with authors such as William Boroughs and Jack Kerouac whos novel “On the Road” was and still is a best seller. For many people this book is the definitive “Road book” and has influenced many other writers since its publication. As shown America has produced some great writers all of whom have their own style and individual flair.
How To Find a Literary Agent -- Or How They Find You
How to find a literary agent is the first lesson new authors must learn. Is is hopeless? Do you have to be published to find a literary agent? Fortunately the answer is no.
We asked over 60 successful literary agents:
Where Do Agents Find Clients?
Referral from one of their other clients 39%
Direct contact by the writer 33%
Referral from editors and publishers 9%
Referral from other authors not their clients 8%
Referrals from other agents 5%
Attendance at writers’ conferences 3%
Other 3%
It comes as no surprise that referrals from their current clients were the top method cited. Publishing is a relationship based industry. Contacts are extremely important. A recommendation from someone whose opinion an agent trusts always is valued and receives prompt attention. Several careers of top selling
authors were launched when another bestselling author took them under their wing and introduced them to agents or publishers.
What might be surprising is that as many as one-third of the agents said direct contact from the writer was the most common way they found new clients. There is most definitely hope for the budding authors out there, sweating over the last draft of that perfect query letter to send out to agents.
Attending writer's conference is often recommended as a way to get some face time with a literary agent and make some contacts in the publishing world. The survey shows that only 3% of agents overall find a new client as a result of a writer's conference. But, and it's a big but, the agents that attend are there for that very purpose. Don't wait for the pitch sessions, talk to the agents during the break sessions and informal networking.
You can find literary agents interested in your book. Polish your query letter and pitch to those agents who represent the type of books you write.
We asked over 60 successful literary agents:
Where Do Agents Find Clients?
Referral from one of their other clients 39%
Direct contact by the writer 33%
Referral from editors and publishers 9%
Referral from other authors not their clients 8%
Referrals from other agents 5%
Attendance at writers’ conferences 3%
Other 3%
It comes as no surprise that referrals from their current clients were the top method cited. Publishing is a relationship based industry. Contacts are extremely important. A recommendation from someone whose opinion an agent trusts always is valued and receives prompt attention. Several careers of top selling
authors were launched when another bestselling author took them under their wing and introduced them to agents or publishers.
What might be surprising is that as many as one-third of the agents said direct contact from the writer was the most common way they found new clients. There is most definitely hope for the budding authors out there, sweating over the last draft of that perfect query letter to send out to agents.
Attending writer's conference is often recommended as a way to get some face time with a literary agent and make some contacts in the publishing world. The survey shows that only 3% of agents overall find a new client as a result of a writer's conference. But, and it's a big but, the agents that attend are there for that very purpose. Don't wait for the pitch sessions, talk to the agents during the break sessions and informal networking.
You can find literary agents interested in your book. Polish your query letter and pitch to those agents who represent the type of books you write.
Query Letters to Literary Agents about Book Proposals - Three Warnings
Query letters from first-time writers to literary agents usually contain numerous mistakes, mistakes that are easy to avoid. This tip sheet can save you the embarrassment of making these blunders, especially in a query letter, which is the most important letter you’ll ever write.
In case you’re not sure why it’s the most important letter you’ll ever write, just stop and think about it. If you don’t send a query letter, how will you ever get a literary agent? And without an agent you’ll almost never get a book into print with a good publisher.
Before we get to the blunders, you have to understand that we’re talking about query letters to literary agents about book proposals. We’re not talking about query letters to editors or publishers. And we’re not talking about query letters to literary agents about completed manuscripts. Although in fiction you’ll need a completed manuscript, the fiction query letter is so different we’ll talk about that another day. Right now we’re only addressing query letters to literary agents about book proposals for nonfiction. This is the number one type of query letter agents receive, it is the most important query letter in a writer’s career, and it is the query letter that you will probably want to send first in your publishing career.
It’s also the query letter that contains the most mistakes.
QUERY LETTERS MUST HAVE FOUR PARTS
The number one error is failing to include all four required parts of the query letter. These are standard, and leaving one out will end the story right there -- the agent will not read further. The four parts of the query letter are the opening paragraph in which you state why you are writing to that particular literary agent, the second paragraph in which you describe your book, the third paragraph in which you describe your credentials, and the closing paragraph in which you ask the agent to request your book proposal.
The first mistake you’ll probably make is failing to tell the agent why you are addressing him or her. It is a mistake because it puts you in the amateur category right away. The agent is thinking, “This writer just picked my name out of a book. Maybe this writer has struck out with fifteen other agents and I’m on the tail end of the list.”
Avoid this blunder. The first sentence of your query letter should be a very simple statement indicating why you are writing to that agent. For example: “I’m writing to you because you represented The Da Vinci Code.” End of paragraph. Enough said.
With this opening paragraph you’ve established that you know who this agent is, you know this agent’s work, you respect this agent’s work, and you are not just picking this agent out of a hat. Hopefully, your book will also be somewhat like The Da Vinci Code. But you get the point, right? You’re sending queries only to literary agents who represent books similar to yours. That makes sense, doesn’t it? An agent who
only handles mystery fiction isn’t going to care about your cookbook.
Select the right agent, and start with my suggested opening one-sentence paragraph, and you are getting an A+ grade so far. I guarantee the agent will continue reading, and that’s more than I can say for most query letters they receive.
QUERY LETTERS MUST DESCRIBE YOUR BOOK SUCCINCTLY
Succinctly means concisely. It means you don’t ramble on. It means you don’t say, “This book will be a best seller.” It means you don’t list all your chapters. It means you get right to the heart of the matter and, in as few words as possible, tell the title, genre, and subject of your book.
What does this paragraph look like? I’ll give you an example. Say you’re writing a cookbook about New Orleans. Your paragraph might look like this:
“Informative and topical, like a cross between Julia Child and Martha Stewart, NEW ORLEANS COOKING is the first post-Katrina recipe book to cover the entire spectrum of New Orleans cooking. Filled with Creole and Cajun recipes, it explains how these cooking styles have changed after Katrina. More complete than other books about New Orleans cooking, and more timely, it is the only book to investigate what has changed in New Orleans cooking after the hurricane, and because of this it will appeal to millions of people who are interested in contemporary Creole and Cajun cooking.”
The first sentence of this example paragraph contains the all-important phrase “the first...” It’s important to include this phrase in the first sentence of paragraph two, if you can, because it signals to the literary agent that this book might have a real chance of selling. Anything that is “the first” or new and unique in some way will be of interest to people in publishing.
The second point to note is that the book is described succinctly in the first sentence. You must make this sentence concise and also comprehensive. That means this sentence should be able to stand alone. Imagine the agent sees nothing more than that one sentence. To get an idea how to do this, look at the back covers of similar books. You could get great ideas from the advertising copy you’ll read there. Notice also that this short paragraph compares your book with its competition, suggesting that yours will be better in some way. If you can fit that in, it goes a long way toward selling your book to an agent.
QUERY LETTERS MUST LIST YOUR CREDENTIALS OBJECTIVELY
Your third paragraph is all about you and your credentials. This is the place to list previous publications, if you have them. If you have work experience, that goes into this paragraph, provided it is relevant. For example, you could say:
“I have been cooking New Orleans style food for the past twenty years in a Louisiana restaurant that was partially destroyed by Katrina. After the hurricane, our food supply changed, and as a consequence our cooking style changed. I also work as a restaurant reviewer for the magazine New Orleans Food, and in that capacity I have seen how the restaurants in this area have modified their menus after the hurricane. My work has been syndicated in four newspapers. I have also appeared before the local Supper Club, giving lectures about cooking.”
In this paragraph, the writer establishes the credentials that will convince a literary agent that she can write the book. While this writer did not have many prior publications, the fact that she worked as a reviewer is in her favor. Put anything that is relevant into the paragraph, but also leave out what is irrelevant. For example, if you’re an expert in scuba diving, omit that as it’s not going to help sell this cookbook.
YOUR QUERY LETTER MUST CLOSE CORRECTLY
The final paragraph simply asks the agent to request your proposal. It can be as simple as: “Please let me know whether I can email my book proposal to you. I’ll look forward to your response. Thank you for your consideration.”
By avoiding the three biggest blunders of beginning writers, you can be sure your query will get serious attention. Remember to state why you’re writing to this particular agent, describe your book succinctly, and give your relevant credentials. Your professionalism will be evident from your query letter, and if the agent is looking for new clients, you’ll get a call or email asking for the book proposal.
In case you’re not sure why it’s the most important letter you’ll ever write, just stop and think about it. If you don’t send a query letter, how will you ever get a literary agent? And without an agent you’ll almost never get a book into print with a good publisher.
Before we get to the blunders, you have to understand that we’re talking about query letters to literary agents about book proposals. We’re not talking about query letters to editors or publishers. And we’re not talking about query letters to literary agents about completed manuscripts. Although in fiction you’ll need a completed manuscript, the fiction query letter is so different we’ll talk about that another day. Right now we’re only addressing query letters to literary agents about book proposals for nonfiction. This is the number one type of query letter agents receive, it is the most important query letter in a writer’s career, and it is the query letter that you will probably want to send first in your publishing career.
It’s also the query letter that contains the most mistakes.
QUERY LETTERS MUST HAVE FOUR PARTS
The number one error is failing to include all four required parts of the query letter. These are standard, and leaving one out will end the story right there -- the agent will not read further. The four parts of the query letter are the opening paragraph in which you state why you are writing to that particular literary agent, the second paragraph in which you describe your book, the third paragraph in which you describe your credentials, and the closing paragraph in which you ask the agent to request your book proposal.
The first mistake you’ll probably make is failing to tell the agent why you are addressing him or her. It is a mistake because it puts you in the amateur category right away. The agent is thinking, “This writer just picked my name out of a book. Maybe this writer has struck out with fifteen other agents and I’m on the tail end of the list.”
Avoid this blunder. The first sentence of your query letter should be a very simple statement indicating why you are writing to that agent. For example: “I’m writing to you because you represented The Da Vinci Code.” End of paragraph. Enough said.
With this opening paragraph you’ve established that you know who this agent is, you know this agent’s work, you respect this agent’s work, and you are not just picking this agent out of a hat. Hopefully, your book will also be somewhat like The Da Vinci Code. But you get the point, right? You’re sending queries only to literary agents who represent books similar to yours. That makes sense, doesn’t it? An agent who
only handles mystery fiction isn’t going to care about your cookbook.
Select the right agent, and start with my suggested opening one-sentence paragraph, and you are getting an A+ grade so far. I guarantee the agent will continue reading, and that’s more than I can say for most query letters they receive.
QUERY LETTERS MUST DESCRIBE YOUR BOOK SUCCINCTLY
Succinctly means concisely. It means you don’t ramble on. It means you don’t say, “This book will be a best seller.” It means you don’t list all your chapters. It means you get right to the heart of the matter and, in as few words as possible, tell the title, genre, and subject of your book.
What does this paragraph look like? I’ll give you an example. Say you’re writing a cookbook about New Orleans. Your paragraph might look like this:
“Informative and topical, like a cross between Julia Child and Martha Stewart, NEW ORLEANS COOKING is the first post-Katrina recipe book to cover the entire spectrum of New Orleans cooking. Filled with Creole and Cajun recipes, it explains how these cooking styles have changed after Katrina. More complete than other books about New Orleans cooking, and more timely, it is the only book to investigate what has changed in New Orleans cooking after the hurricane, and because of this it will appeal to millions of people who are interested in contemporary Creole and Cajun cooking.”
The first sentence of this example paragraph contains the all-important phrase “the first...” It’s important to include this phrase in the first sentence of paragraph two, if you can, because it signals to the literary agent that this book might have a real chance of selling. Anything that is “the first” or new and unique in some way will be of interest to people in publishing.
The second point to note is that the book is described succinctly in the first sentence. You must make this sentence concise and also comprehensive. That means this sentence should be able to stand alone. Imagine the agent sees nothing more than that one sentence. To get an idea how to do this, look at the back covers of similar books. You could get great ideas from the advertising copy you’ll read there. Notice also that this short paragraph compares your book with its competition, suggesting that yours will be better in some way. If you can fit that in, it goes a long way toward selling your book to an agent.
QUERY LETTERS MUST LIST YOUR CREDENTIALS OBJECTIVELY
Your third paragraph is all about you and your credentials. This is the place to list previous publications, if you have them. If you have work experience, that goes into this paragraph, provided it is relevant. For example, you could say:
“I have been cooking New Orleans style food for the past twenty years in a Louisiana restaurant that was partially destroyed by Katrina. After the hurricane, our food supply changed, and as a consequence our cooking style changed. I also work as a restaurant reviewer for the magazine New Orleans Food, and in that capacity I have seen how the restaurants in this area have modified their menus after the hurricane. My work has been syndicated in four newspapers. I have also appeared before the local Supper Club, giving lectures about cooking.”
In this paragraph, the writer establishes the credentials that will convince a literary agent that she can write the book. While this writer did not have many prior publications, the fact that she worked as a reviewer is in her favor. Put anything that is relevant into the paragraph, but also leave out what is irrelevant. For example, if you’re an expert in scuba diving, omit that as it’s not going to help sell this cookbook.
YOUR QUERY LETTER MUST CLOSE CORRECTLY
The final paragraph simply asks the agent to request your proposal. It can be as simple as: “Please let me know whether I can email my book proposal to you. I’ll look forward to your response. Thank you for your consideration.”
By avoiding the three biggest blunders of beginning writers, you can be sure your query will get serious attention. Remember to state why you’re writing to this particular agent, describe your book succinctly, and give your relevant credentials. Your professionalism will be evident from your query letter, and if the agent is looking for new clients, you’ll get a call or email asking for the book proposal.
All You Need to Know About Agents
The agent issue is such an emotional one for writers. Having one is a huge
validation. I was fortunate to sign with an agent while still writing my first novel and it was wonderful being able to work and know that someone was waiting for what I was writing.
But the eagerness to have that feeling often pushes writers to make poor decisions
when it comes to the hunt for an agent. With some thinking, solid preparation and
research it is possible to hook up with an agent and have a satisfying relationship
with him or her. Here are five crucial points to help you with the process.
The agent issue is such an emotional one for writers. Having one is a huge
validation. I was fortunate to sign with an agent while still writing my first novel and it was wonderful being able to work and know that someone was waiting for what I was writing.
But the eagerness to have that feeling often pushes writers to make poor decisions
when it comes to the hunt for an agent. With some thinking, solid preparation and
research it is possible to hook up with an agent and have a satisfying relationship
with him or her. Here are five crucial points to help you with the process.
1. Do You Need An Agent?
You've probably heard the oft-cited fact that most publishers these days don't read
unsolicited manuscripts. But that only means that the editor hasn't been contacted
beforehand. If you send a query letter and the editor asks to see your book or book
proposal, you can send it without going through an agent.
However, if the editor does want to make an offer, they will suggest that you get an
agent. An agent will help you get the best deal possible and, in the best of worlds,
an agent will also be interested in helping you develop your career as a writer. If you
can get an agent before the submission process, I think that's even better because
the agent can help you put your manuscript in the best shape possible before it gets
submitted. As they say, you only get one chance to make a first impression. With
that in mind...
2. Be Ready.
You have to be writing at a top level to grab an agent's attention. Unfortunately, a
number of writers tend to skip that part. You may be eager to get an agent, but if
you're continually sending out subpar material, you'll be seen as a writer with poor
skills and poor judgment and someone not to be taken seriously.
Granted, I know you want to know that you're not writing for nothing and an agent
would provide that validation, but at some point you have to make the decision that
you're writing for the long haul and working on your craft. If you can do that,
getting an agent will not be a problem.
3. Find the Right Agent.
When you're ready to make the search, DO NOT get a bunch of names and do a
mass mailing to anyone with the title "agent". You'll only get a bunch of rejections
from agents who don't handle your material or aren't looking for new clients. If you
do a little work, you can find out what kind of writers an agent represents and the
type of material they favor. Writer's Digest publishes the Guide to Literary Agents
(see below) where you'll find complete listings.
Here's another great tip: if you join Publishers Marketplace (http://www.publishersmarketplace.com), you can get a daily e-mail listing of what deals
have taken place in the book industry. You'll see what kind of book sold, what editor
bought it and the agent who represented the author. This is good information
because you'll see immediately who is representing your type of writing and--more
importantly--who is buying it!
4. No, You Don't Have to Pay an Agent!
I get asked about this a lot, usually by writers who have already been taken
advantage of by agents who charge expensive "reading fees". A good agent makes
money when you make money (usually a 15 percent commission). You'll want to ask
some questions. If an agent makes most of his money from writer fees and not from
actual sales, you'll want to move on. A good way to weed out this group is by
checking out members of the Association of Author's Representatives (AAR).
Members of AAR are forbidden from charging fees.
5. Network!
An agent is much more likely to pay attention to a manuscript from someone they
have met personally. I know networking and meeting agents can be hard if you live
in the mountains of Arizona or on an island in Puget Sound. But consider it part of
your work as a writer to get out to a conference at lease once or twice a year to
meet agents, editors and, of course, other writers! I'll let you know when good ones
are coming up.
One last note.
You've probably heard the oft-cited fact that most publishers these days don't read
unsolicited manuscripts. But that only means that the editor hasn't been contacted
beforehand. If you send a query letter and the editor asks to see your book or book
proposal, you can send it without going through an agent.
However, if the editor does want to make an offer, they will suggest that you get an
agent. An agent will help you get the best deal possible and, in the best of worlds,
an agent will also be interested in helping you develop your career as a writer. If you
can get an agent before the submission process, I think that's even better because
the agent can help you put your manuscript in the best shape possible before it gets
submitted. As they say, you only get one chance to make a first impression. With
that in mind...
2. Be Ready.
You have to be writing at a top level to grab an agent's attention. Unfortunately, a
number of writers tend to skip that part. You may be eager to get an agent, but if
you're continually sending out subpar material, you'll be seen as a writer with poor
skills and poor judgment and someone not to be taken seriously.
Granted, I know you want to know that you're not writing for nothing and an agent
would provide that validation, but at some point you have to make the decision that
you're writing for the long haul and working on your craft. If you can do that,
getting an agent will not be a problem.
3. Find the Right Agent.
When you're ready to make the search, DO NOT get a bunch of names and do a
mass mailing to anyone with the title "agent". You'll only get a bunch of rejections
from agents who don't handle your material or aren't looking for new clients. If you
do a little work, you can find out what kind of writers an agent represents and the
type of material they favor. Writer's Digest publishes the Guide to Literary Agents
(see below) where you'll find complete listings.
Here's another great tip: if you join Publishers Marketplace (http://www.publishersmarketplace.com), you can get a daily e-mail listing of what deals
have taken place in the book industry. You'll see what kind of book sold, what editor
bought it and the agent who represented the author. This is good information
because you'll see immediately who is representing your type of writing and--more
importantly--who is buying it!
4. No, You Don't Have to Pay an Agent!
I get asked about this a lot, usually by writers who have already been taken
advantage of by agents who charge expensive "reading fees". A good agent makes
money when you make money (usually a 15 percent commission). You'll want to ask
some questions. If an agent makes most of his money from writer fees and not from
actual sales, you'll want to move on. A good way to weed out this group is by
checking out members of the Association of Author's Representatives (AAR).
Members of AAR are forbidden from charging fees.
5. Network!
An agent is much more likely to pay attention to a manuscript
from someone they
have met personally. I know networking and meeting agents can be hard if you live
in the mountains of Arizona or on an island in Puget Sound. But consider it part of
your work as a writer to get out to a conference at lease once or twice a year to
meet agents, editors and, of course, other writers! I'll let you know when good ones
are coming up.
One last note.
validation. I was fortunate to sign with an agent while still writing my first novel and it was wonderful being able to work and know that someone was waiting for what I was writing.
But the eagerness to have that feeling often pushes writers to make poor decisions
when it comes to the hunt for an agent. With some thinking, solid preparation and
research it is possible to hook up with an agent and have a satisfying relationship
with him or her. Here are five crucial points to help you with the process.
The agent issue is such an emotional one for writers. Having one is a huge
validation. I was fortunate to sign with an agent while still writing my first novel and it was wonderful being able to work and know that someone was waiting for what I was writing.
But the eagerness to have that feeling often pushes writers to make poor decisions
when it comes to the hunt for an agent. With some thinking, solid preparation and
research it is possible to hook up with an agent and have a satisfying relationship
with him or her. Here are five crucial points to help you with the process.
1. Do You Need An Agent?
You've probably heard the oft-cited fact that most publishers these days don't read
unsolicited manuscripts. But that only means that the editor hasn't been contacted
beforehand. If you send a query letter and the editor asks to see your book or book
proposal, you can send it without going through an agent.
However, if the editor does want to make an offer, they will suggest that you get an
agent. An agent will help you get the best deal possible and, in the best of worlds,
an agent will also be interested in helping you develop your career as a writer. If you
can get an agent before the submission process, I think that's even better because
the agent can help you put your manuscript in the best shape possible before it gets
submitted. As they say, you only get one chance to make a first impression. With
that in mind...
2. Be Ready.
You have to be writing at a top level to grab an agent's attention. Unfortunately, a
number of writers tend to skip that part. You may be eager to get an agent, but if
you're continually sending out subpar material, you'll be seen as a writer with poor
skills and poor judgment and someone not to be taken seriously.
Granted, I know you want to know that you're not writing for nothing and an agent
would provide that validation, but at some point you have to make the decision that
you're writing for the long haul and working on your craft. If you can do that,
getting an agent will not be a problem.
3. Find the Right Agent.
When you're ready to make the search, DO NOT get a bunch of names and do a
mass mailing to anyone with the title "agent". You'll only get a bunch of rejections
from agents who don't handle your material or aren't looking for new clients. If you
do a little work, you can find out what kind of writers an agent represents and the
type of material they favor. Writer's Digest publishes the Guide to Literary Agents
(see below) where you'll find complete listings.
Here's another great tip: if you join Publishers Marketplace (http://www.publishersmarketplace.com), you can get a daily e-mail listing of what deals
have taken place in the book industry. You'll see what kind of book sold, what editor
bought it and the agent who represented the author. This is good information
because you'll see immediately who is representing your type of writing and--more
importantly--who is buying it!
4. No, You Don't Have to Pay an Agent!
I get asked about this a lot, usually by writers who have already been taken
advantage of by agents who charge expensive "reading fees". A good agent makes
money when you make money (usually a 15 percent commission). You'll want to ask
some questions. If an agent makes most of his money from writer fees and not from
actual sales, you'll want to move on. A good way to weed out this group is by
checking out members of the Association of Author's Representatives (AAR).
Members of AAR are forbidden from charging fees.
5. Network!
An agent is much more likely to pay attention to a manuscript from someone they
have met personally. I know networking and meeting agents can be hard if you live
in the mountains of Arizona or on an island in Puget Sound. But consider it part of
your work as a writer to get out to a conference at lease once or twice a year to
meet agents, editors and, of course, other writers! I'll let you know when good ones
are coming up.
One last note.
You've probably heard the oft-cited fact that most publishers these days don't read
unsolicited manuscripts. But that only means that the editor hasn't been contacted
beforehand. If you send a query letter and the editor asks to see your book or book
proposal, you can send it without going through an agent.
However, if the editor does want to make an offer, they will suggest that you get an
agent. An agent will help you get the best deal possible and, in the best of worlds,
an agent will also be interested in helping you develop your career as a writer. If you
can get an agent before the submission process, I think that's even better because
the agent can help you put your manuscript in the best shape possible before it gets
submitted. As they say, you only get one chance to make a first impression. With
that in mind...
2. Be Ready.
You have to be writing at a top level to grab an agent's attention. Unfortunately, a
number of writers tend to skip that part. You may be eager to get an agent, but if
you're continually sending out subpar material, you'll be seen as a writer with poor
skills and poor judgment and someone not to be taken seriously.
Granted, I know you want to know that you're not writing for nothing and an agent
would provide that validation, but at some point you have to make the decision that
you're writing for the long haul and working on your craft. If you can do that,
getting an agent will not be a problem.
3. Find the Right Agent.
When you're ready to make the search, DO NOT get a bunch of names and do a
mass mailing to anyone with the title "agent". You'll only get a bunch of rejections
from agents who don't handle your material or aren't looking for new clients. If you
do a little work, you can find out what kind of writers an agent represents and the
type of material they favor. Writer's Digest publishes the Guide to Literary Agents
(see below) where you'll find complete listings.
Here's another great tip: if you join Publishers Marketplace (http://www.publishersmarketplace.com), you can get a daily e-mail listing of what deals
have taken place in the book industry. You'll see what kind of book sold, what editor
bought it and the agent who represented the author. This is good information
because you'll see immediately who is representing your type of writing and--more
importantly--who is buying it!
4. No, You Don't Have to Pay an Agent!
I get asked about this a lot, usually by writers who have already been taken
advantage of by agents who charge expensive "reading fees". A good agent makes
money when you make money (usually a 15 percent commission). You'll want to ask
some questions. If an agent makes most of his money from writer fees and not from
actual sales, you'll want to move on. A good way to weed out this group is by
checking out members of the Association of Author's Representatives (AAR).
Members of AAR are forbidden from charging fees.
5. Network!
An agent is much more likely to pay attention to a manuscript
from someone they
have met personally. I know networking and meeting agents can be hard if you live
in the mountains of Arizona or on an island in Puget Sound. But consider it part of
your work as a writer to get out to a conference at lease once or twice a year to
meet agents, editors and, of course, other writers! I'll let you know when good ones
are coming up.
One last note.
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