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Your Literary Estate, Part One: Assigning a Literary Executor

No one likes to think about wills or insurance policies. It’s the stuff that reminds us of our mortality, yet helps define our legacy. Legacy planning requires thoughtful reflection and the selection of the correct, living people to manage it. When you’re gone, you’ll have little control over what happens next. You can either prepare for the best outcome while you walk the Earth or leave your heirs with chaos, feuding, and probate courts. Your heirs will have varying degrees of concern for your legacy, ranging from not-at-all through avarice to sincere compassion for your work. Get control of the process now.

As an author, you have a special addendum to your legacy known as your literary estate. This involves the administration of your published and unpublished work, letters, papers, royalties, and contracts. You’ll need someone you can trust to manage your literary estate who will look after both your interests and integrity as an author. The reason why you don’t see the Ernest Hemingway Big Game Rifle or the Jack Kerouac Touring Tires is because they have the correct person managing their legacies. The person who will manage your literary estate is known as a Literary Executor.

Most people are familiar with an Estate Executor—the appointed person who manages the affairs of a dearly departed. State laws moderate what an estate executor can do and how much he/she can be paid for doing it. This person is often an attorney who knows how to navigate the law and has experience dealing with heirs. Unfortunately, this person has general experience for estates and often little to no experience with the literary world and all of its pitfalls and trap doors. For that, you’ll want to appoint a Literary Executor to administrate your literary estate apart from your general estate concerns.

Your literary executor would optimally be someone who is both involved in the business of publishing and is familiar with you and your heirs. It could be an editor, agent, or fellow writer. He/She should understand both your work and intentions. This is uncovered through knowing you and maintaining an ongoing dialogue about your work. After your death, your literary executor will act in your place, even appointing the next literary executor to succeed him/her.

In the years leading up to his death, bestselling author Robert Gover asked me to become his literary executor. I was the natural choice. He was my writing mentor before I was published. I admired and understood his work. Over the years, we became peers in the industry, and in addition to being published on my own, I edited his latter novels. We were friends, and I came to know his wife and children (i.e. his eventual heirs). This is the optimal of all situations. While you’ll benefit from assigning someone who knows your heirs, aim for a literary executor who understands the business first, and then your work next.

Gover knew that his heirs would trust me and my eventual decisions, but I was powerless in managing his literary estate unless it was official. However, I learned that almost no one had information on this topic. I am a member of the Author’s Guild, which defends authors on various copyright and literary concerns, but even their legal council had no advice other than a general disclaimer that they would not be advising me on this matter. Furthermore, Gover had limited funds near the time of this death, and so hiring the correct yet expensive attorney to draw up paperwork was out of the question. If you own a wealthy literary estate or you possess the financial means, you should hire a publishing-experienced attorney to establish your literary legacy. Unfortunately for most authors, the cost of this attorney would erase any hope of profit and thereby eliminate a primary factor of managing a literary estate in perpetuity.

In the case of Gover’s literary estate, I sought a document that assigned my position. The answer was a simple letter from Gover, declaring me as his literary executor to manage all of the aforementioned factors that go with those duties in the event of his death. In his advanced age, I typed it up for him and had a professional notarize the document. A Notary Public can be found at a nearby bank, post office, shipper, or even an attorney’s office. You might have one in the family. The point was to have Gover assign me as his literary executor (and my appointed duties) in clear language on a document with a witnessed signature. Having secured that, I was a literary executor for the first time. Without that document, all control of his literary estate would be left in the hands of his heirs.

If your literary estate is significant—that which will generate an inheritance tax for example—consider having your literary executor specified in your will. This will require a visit to an experienced attorney. It’s also a good idea to sit down with your heirs in advance and explain to them who will be managing your literary estate if it will not be your heirs directly. You want no surprises. Your death will be an emotional time, and surprises will create unnecessary contentions with or among your heirs. Keep in mind that after your death, your literary executor conceptually will be the steward of your work, but in reality will be working on behalf of your heirs.

In the second installment, we’ll discuss the functions of a Literary Executor and the factors involved in managing a literary estate. (see Your Literary Estate, Part Two: Managing Your Work)

The above article is practical advice for authors, not legal advice for individuals setting up a will. Probate laws and requirements vary from state to state. Seek professional advice where necessary.

Christopher Klim is the author of several books including and the novel, Idiot!, and the short collection, True Surrealism. He is currently working on a novel trilogy about the space program past, present, and future.

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Eric Hoffer Book Award Success Stories

In 2007, The US Review of Books began publishing the results of the Eric Hoffer Book Award. While the US Review is blind to the actual judging process, recently the Hoffer Award opened a window in The Authority of Book Awards. Years earlier, its chairman talked about the popular award’s humble beginnings in The Eric Hoffer Award: Righting the Wrongs.

While The US Review of Books boasts over 15,000 monthly subscribers, tens of thousands of additional readers visit its on-line publication to view the results of the Eric Hoffer Book Award each spring. Let’s take a look at how the excitement and the Hoffer Award in general has enhanced the success of the authors and publishers who registered their books with one of the most popular international competitions for small, academic, and independent books.

“Educators look for credibility, professionalism, and quality when choosing a novel to use in their classrooms, and they’ve been known to balk at choosing self-published titles. But that bright gold Montaigne Award sticker tells the world that my book is a well-written, compelling story middle-grade readers will never forget. As a result, my sales to school systems have sky-rocketed, and my calendar is chock full of classroom visits. Entering my book in the Eric Hoffer Awards was one of the best marketing decisions I could have made.” Holly Moulder, A Time to Be Brave

“In 2009, Barnes and Noble chose my debut historical novel to feature on its New Hardbacks shelves in stores nationwide. This was rare for an indie-published author at that time, and continues to be. It went on to win several more awards, and the Eric Hoffer Book Award committee’s belief in the book was instrumental in its success. Since receiving the Eric Hoffer recognition, I have published four more honored books… I’m very grateful to the Eric Hoffer Award committee for helping me to launch my publishing career.” Glen Craney, The Fire and the Light

“Recognition like the Hoffer award is a strong credibility builder when customers are searching through what has become a blizzard of information. The recognition was much appreciated.” Christine Kent, RN, Save Your Hips

“We’ve seen a 28% increase in sales since the Eric Hoffer Book Award announced the award. My publisher displays the Eric Hoffer Award gold seal on the third edition of my book. When I speak at writer’s seminars, many participants are familiar with the award and that helps sales.” Jamie Dodson, Flying Boats & Spies, A Nick Grant Adventure

“After my book’s Eric Hoffer Award I received more reviews on Amazon and GoodReads.” João Cerqueira, The Tragedy of Fidel Castro

These success stories form the core reason why the Eric Award was created. The US Review of Books to be a sponsor of the Eric Hoffer Book Award.

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Three Things to Consider When Purchasing a Book Review

With hundreds of thousands of books published annually, marketing your book can be a daunting task. One of your choices will inevitably come down to whether or not to purchase a book review. Here are three major factors to consider:

Professional Writing – A number of aspects go into a professionally written review. First, is the staff populated by professionals? This seems obvious, but many review sites are writer mills, allowing virtually anyone who is interested to pen a review. Other review sites barely compose a staff. These are mom and pop shops that tend to hang an Internet shingle for business, purport authority, and write reviews on their own. These are not professionals at work, no matter how slick or jazzy their websites appear. Look at the publication’s staff page, if it even has one. Are there more than a handful of writers? Be suspicious of a publication that refuses to reveal its reviewers’ names. The byline credit is a basic courtesy given to a professional freelancer, and virtually none would work without obtaining a byline for their portfolio. Second, is the review publication consistent across the masthead? A professional review publication has guidelines and an editor who keeps its staff and articles in line. Each review should have consistency, generating both authority and confidence in the publication. Third, does the reviewer address both the book content and the writing? Any sixth-grader can write a book summary, but a professional will critique a book through informed commentary that also addresses the writing itself. If the review narratives appear summary-driven, conversational, or employ a first-person tense, these are not professional writers at work.

Authentic Readership – Are there dedicated subscribers, visitors, and followers of the review publication? A professional review means nothing if no one reads the publication. Weekly, monthly, and annual visitors are metrics that can be easily measured (and provided to the author). Does the publication have a subscriber base? If not (or if it’s insignificant), the publication cannot assert relevance for its work. And if the publication merely dumps its reviews on an on-line aggregator (that next to no one reads), it will not be of any service to the author. Next, validate the publication’s social media following with one of the free analytical tools, such as TwitterAudit for Twitter followers and LikeAnalyzer for Facebook likes. Here’s a dirty little secret about the industry: Many review publications are purchasing Twitter and Facebook followers to create the illusion of having a large audience, when in fact it is only a fraction of what it appears to be. This is useless to the author, as well as unethical on the part of the publication. See our article on this subject: Fake Social Media: More Common Than You Think.

Cost-Effectiveness – Most authors’ budgets are limited, and spending hundreds of dollars for a book review is not acceptable. Often these reviews are no better than that which you can obtain from a free book review site like The Midwest Book Review, which ranges from good, semi-professional coverage to amateur reviews. A professional book review can be obtained for less than one hundred dollars, but be certain to closely examine the publication’s writing and readership in advance.

Warning: If the publication or its editors are up-selling manuscript editing services or the like, you have to ask: What business are they really in? Are they a review publication, or are they a money-milking operation? The work of an editor and the work of a reviewer should never cross paths. An editor ensures quality, and a reviewer measures it. When the reviewer and editor become one entity, integrity flies out the window. (Hmmm… let us review the wonderful manuscript we just helped you edit… hmmm… not very trustworthy.)

Deciding to purchase a book review can be an effective tool when marketing a book. It can provide pull-quotes for marketing and stock materials for a media kit and press releases. It can even seed eventual sales. Remember, a book review is only the beginning of the conversation about the book. Read this article on creating a feedback loop to help kick-start your marketing efforts.

The US Review of Books is a professional review publication sent to more than 15,000 monthly subscribers, including thousands of additional followers on GoodReads, Facebook, and Twitter. The US Review is staffed by professionals and is highly praised by authors.

Writing

Know What You Write

Every once in a while the following advice pops up in blogs and at writers’ conferences like a bad rash.

Write what you know.

What uninspired genius devised this rule? It wasn’t a writer of fiction. If authors heeded those words, the balance of modern literature might encompass little more than travel logs, odes to typewriters and keyboards, and tours of every gin mill in the country. Let’s face it. We don’t do much else. Tom Clancy was an insurance salesman. That would make a gripping action-packed thriller: Broker Bob Jones is hot on the trail of client Donna Smith. Can he get her to sign a life insurance policy before the monthly quota statements?

Consider the authors of great novels. Was Tom Clancy a Russian submarine commander? Was Thomas Harris a genius cannibal? Was Ralph Ellison an invisible man? I don’t think so, but they did the research and wrote from those viewpoints with confidence and style. It is better to say ‘know what you write.’ That makes more sense.

When it comes to choosing your story details, you are only limited by research and the depth of your determination to uncover the details. What interests you? Go after it. Submerse yourself if necessary. We live in the Information Age with access to people and data like never before. It’s so easy that you can become lazy if you aren’t careful.

And how do you research being an invisible man? Observe anyone handing out flyers on a street corner.

Christopher Klim is the author of several books including and the novel, Idiot!, and the short collection, True Surrealism. He is currently working on a novel trilogy about the space program past, present, and future—and his control system for each will be firmly established.

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When Writing, Know Your Control System

Like the cockpit of the space shuttle or even the thermostat in your residence, a written piece has specific parameters to guide it successfully. If a cockpit needs airspeed and attitude controls to maintain flight, then a written piece requires unique methodology to garner truth. Not only does the terminology need to be established, it also needs to be consistent and replete throughout the piece. Careless, mixed, or wandering terminology undermines the entire work.

The concept of a control system in writing inevitably drills down to word choice. A writer must be aware of the words, phrasing, and cadence associated with a specific passage, as well as the entire piece. If the passage involves quick action or comedy, the sentence structure tends to be short, even blunt. If the scene takes place inside a military installation, acronyms will flow through both the dialogue and exposition. If the scene takes place in history, the words selected will match the time period.

Consider the following passage from a prehistoric age genre novel: The clan leader leapt from the bushes and came down upon the beast like a bus at rush hour. This type of metaphor happens more often than one might imagine and in subtle, less obvious ways. When digesting the aforementioned sentence, the reader understands that the clan leader was moving quickly and heavily upon the beast, but the reader is also jarred from the time period by the writer’s unfortunate out-of-time-period metaphor. If the clan leader were waiting for a bus at rush hour, he’d be waiting a very long time.

The control system selected for a piece will be pervasive, extending beyond the obvious passages. One of the joys of reading is to enter the mind of the characters on the page. If that character is a professional diver, his/her actions and viewpoint on life will be reflective of the sea and perhaps the constant dangers he’s exposed to. Even in relationships with others, that character will measure people against what he knows—brooding dark waters, a relentless shark, or the fanciful circus of a coral reef—otherwise that character will be acting out of his/her own control system. Even if that character is a mad, unpredictable genius, he will be guided, and therefore described, by a specific set of parameters using the precise words to delineate his actions or speech. And all of this will be moderated by the overarching terminology of the entire work.

Establishing and employing the proper control system establishes both authenticity and confidence in writing, and it requires a level of detail that many journeyman writers either overlook or fail to do the research and editing required. Study any master writer—a real master writer, not a self-proclaimed master bestseller on the Internet—and uncover the details of the control system established for a specific work. Once you’ve put in the effort, you’ll find yourself reaching for the correct dialogue and descriptions that fit the piece.

Christopher Klim is the author of several books including and the novel, Idiot!, and the short collection, True Surrealism. He is currently working on a novel trilogy about the space program past, present, and future—and his control system for each will be firmly established.

 

 

Obsession

The Writing Passion… Obsession

We are told that obsession is wrong. However for any artist, their craft is an obsession. We split our thoughts between the task at hand and our projects in waiting. We search for channels of inspiration even within the mundane. We passionately revise and rework. Time spent working can be absorbing and rewarding, while time spent away from our art can be breathless. Long droughts away from work transform life into a spiritual desert. For most artists, everyday life forms the gaps between creating the new.

“You become what you think about all day long.” -Ralph Waldo Emerson

The question of whether or not you will write is not one of “if” but a question of “when.” Dedicated writers offer their best hours to their craft. For many, this is the morning hours after the soul of the artist emerges from its nighttime meditation. Throughout the centuries, great minds have cultivated a habit of pondering questions prior to sleep, often awaking with viable solutions. Sculptures, songs, and stories can be structured in this way. Rare connections can be achieved with the constant mulling through the woods of disparate ideas.

“Even when I’m dead, I’ll swim through the Earth, like a mermaid of the soil, just to be next to your bones.”  -Jeffrey McDaniel

When these connections are made, they are not only unique; they are universal. They strike a person’s soul in the way truth satisfies the mind. It resolves. It lingers. It is the most an artist can ask for, and it calls upon all of the writer’s best energies.

“I would like to be the air that inhabits you for a moment only. I would like to be that unnoticed and that necessary.” -­Margaret Atwood

Being obsessed with your writing is not only good; it is required. A half-hearted effort can get an artist through the laundry, dinner, and most tasks at their day job, but writing requires every resource at optimum speed.

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The Book Killers: Unfocused Openings

In this ongoing series, Christopher Klim, author and senior editor of the US Review of Books, takes a look at common errors that undermine books.

Whether you are a commercial mystery writer or a high-art literary prose specialist, very few people will stay with a book if the opening chapter does not deliver a clear message. With the growing availability of media venues, the competition for people’s attention has never been greater. Even with books, the most successful entertainment or information offerings seize our attention from the outset. Here are some factors to consider when planning, drafting, and revising your opening:

Engagement

As emerging writers, we are told to create action or drama at the opening of our stories. Nonfiction writers, especially biographers, often foreshadow a significant event in their subject’s life, while fiction writers do the same by cherry-picking a critical point on the timeline, but this is not always practical. In general, reader engagement arises by presenting an aspect of the story that generates keen interest. For example, it could be humor or tension that is exemplary of the entire book. The biggest mistake is presenting large amounts of backstory or introductory information at the start. Another version of this misstep is beginning too soon on the timeline. Both of these approaches throw water on the spark of the story. This set up information can be folded into the story at a later time or even removed altogether. In modern times, think about eliminating chapters that begin with the words Foreword, Introduction, Prologue, and Preface—or even Epilogue for that matter because they sap energy from the book. Many readers receive these appendages like homework and skip them to get to the meat of the book.

Mission

A book should have a clearly defined purpose, otherwise it’s just a long and wandering diatribe. A nonfiction book has a thesis, while a work of fiction has a story question. Don’t let any fine writing teacher talk you out of this essential element of a book. All art from poetry to painting has a point. When it’s focused—because its creator knows precisely what it is—the reader or viewer becomes involved with the piece. The writer who says “I write to discover what the story’s about” should be pushed down a flight of stairs. This statement is disingenuous and impractical. While writers discover aspects of and hone down a story during its development, there comes a time when the writer makes a firm commitment to the mission of the book and then goes about amplifying it. A smart writer makes it clear in the opening pages and sometimes even the title.

Presentation

Book openings are like a first date. The writer features what he does well and goes to it often during the course of his relationship with the reader. If the opening is phony, disorganized, or confusing, the reader will never get to the next chapter, and a match made in heaven has been squandered. Quickly establish as many of the following items as possible: the predominant point of view used, the main character(s), the typical setting, and the sequencing. While these aspects help authenticate the story, the latter involves the structure of the book. If the book darts back and forth through time, events, and/or characters, it’s critical to present a pattern from the start. As a result, your story organization will become a silent rhythm in the reader’s mind.

Tone

The tone of the story involves everything from word choice, to sentence structure, to the overall attitude of the narrative and characters. Most stories form a conundrum that ranges from solving a mystery to battling the internal complexities of the human spirit. This can be presented on a scale from terrifying to hilarious. Even if the story tone shifts for dramatic effect, the main tone should be delivered at the start. If the story is a romance, then it’s the longing of the heart. If it’s an intense mystery, then it’s a mangled corpse. If it’s an enduring quest, then the journey’s gauntlet must be cast down.

Epilogue

It’s a self-indulgent or inexperienced writer who does not recognize the trend to immediately engage the reader. In fact, it isn’t a trend, but a well-established precept of successful writing. If you are currently writing to figure out what the story is about or where the story begins, then stop! Park your pen and take a moment to do some sketching and outlining before you draft another word. Ask your characters why they’ve entered the room and what they want from the story. If they can’t tell you, then they either need to leave or you need to get to know them better before pushing them along their story line. Once you know their stories and what they want, find the first worst moment on their timeline and begin the story right there.

Previously in The Book Killers series: Stilted Writing