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Sources

3/28/2024

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When you are writing a nonfiction book, doing research is indispensable, and research requires sources. So, where do you find the information that you need?

The gold standard is first-person information, and this generally means conducting interviews if your subject is still within living memory. This in turn means tracking down people connected to your subject and reasonably likely to have relevant information. The best way to do this? Make use of the friend/acquaintance networks you already have. Let your friends/followers in normal life and on social media know who you're trying to contact and why. Chances are, a friend or acquaintance who shares your interests will be able to help you link up. Also, don't overlook personal websites. Not everyone has one, but if one is available, you may be able to make direct contact. If the person you want to interview is an owner or breeder, you may also be able to get access through their farm's website.

For active trainers and jockeys, if you can find out where they are currently plying their trade, you can write to them directly, addressing your letter "care of" the track. (Tracks' mailing addresses are usually provided on their websites.) Be sure your letter is courteous and to the point about the reason you would like to make contact, and provide multiple means of contact for the person's convenience (email, text, phone). Not everyone will respond to such a request, but a surprising number will.

Still stumped? If you have information regarding a possible third-party contact---perhaps a publisher or a professional/social organization that your hoped-for interviewee belongs to---you can try contacting the third party via letter or email. Don't expect the third party to give out the person's contact information; instead, ask politely if they can pass on your request. As always, be sure that your own contact information is clearly stated.

Personal letters, journals, and original photographs are also valuable first-person sources, especially when your subject is too far back in time for an interview to be possible. If you are able to contact family members or close friends of the person whose input you're interested in, they may be able to allow you access to such mementos, as well as possibly providing interesting secondary-source material. Other possible repositories for this type of material include museums, libraries, historical societies, and genealogical societies.

Newspapers and periodicals are the most popular secondary-source material, and fortunately, many web-based articles and a number of large Internet archives are available today, making it possible to do a lot of research from the comfort of your home. (My own favorite for digging beyond what Google or Bing will come up with is Newspapers.com, which is rapidly approaching the 1-billion mark on the total number of newspaper pages it has in its digital archives.) Some of these databases are free-access, but the largest ones require subscription fees. Still, compared to the hours and money you'd spend trying to track down the sheer volume of information they have available, they're for the most part quite reasonably priced. If a particular newspaper seems especially likely to have information on your subject and isn't in one of these broad-spectrum archives, you may want to contact the newspaper directly if it's still in existence and see if it has digital archives that can be accessed for a subscription fee.

Books, which represent information that has already been compiled from multiple sources and organized with a particular slant or target audience in mind, are a bit trickier as resources, but they can provide interesting information and their bibliographies may provide clues to further sources that you can use. Even if you live in Tinytown, USA, books may be more available than you might think. Interlibrary loan (check at your library's information desk) can help you access quite a few volumes that are out of your immediate reach, but be warned: if the book you want is old or rare, you may get only limited access (like being required to do your reading and note-taking in the library rather than being allowed to check the book out), or it may not be available at all because no library in the network will allow its copy to leave its own premises.

Finally, there are those sources that will require some legwork on your part but are invaluable. Tops among them for Thoroughbred lovers is the Keeneland Library in Lexington, which is an absolute treasure trove. While they're working on getting more of their holdings digitized and are very helpful in responding to long-distance requests, to get the best from them will require an actual site visit. It's well worth it. Among the treasures here are complete or nearly complete collections of the Daily Racing Form (both daily issues and chart books), the Blood-Horse, the Thoroughbred Record (later Thoroughbred Times), and the American Racing Manual series. Keeneland also has large picture collections by many noted equine photographers and copies of a large percentage of the books that have been published related to the Thoroughbred industry. The National Sporting Library and Museum in Middleburg, Virginia, is another one I've seen mentioned often as an extremely helpful resource, though I've never been able to visit it. Other possible sources? Consider state or regional breeding associations, museums related to the time period your subject lived in, historical societies, genealogical societies, and morgue files at a newspaper or periodical that hasn't gone digital. You may have to make arrangements in advance to be allowed access to some of these, but the results can be well worth it.

​Happy hunting!



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When the Muse Is on Vacation

3/21/2024

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No matter how disciplined you push yourself to be as a writer, there are days when your level of inspiration is absolutely nil. These are the days in which you either can't force yourself to the keyboard at all or in which you delete everything you write the instant you pause long enough to reread it. So, what do you do when you can scrape up neither inspiration nor any desire to write?

If you've been plugging away for days on end, you may need to just give yourself a break. Whether you are religious or not, there is great wisdom in the biblical injunction to rest one day in seven. We are human beings, not human doings, and we need time to just be---to worship, to spend time with loved ones, to take a walk, to feel the wind in our hair, to stop and smell the flowers. It's wiser to take time to come apart into a space outside your work than to push yourself to the point that you just plain come apart.

Let's say, though, that you have built some sensible space into your schedule, you're giving yourself a reasonable amount of R&R, and the Muse still refuses to come back to work with you. What then?

Only you know yourself, and for some folks, pushing through to write even though you don't feel particularly inspired may be best. Otherwise, this may be a good day to take care of other writing-related tasks so that you still feel as though you've made some progress in your writing life if not on your manuscript. That may mean sending or answering emails related to your writing work, doing some research on your topic, or taking some time to review materials or media related to the craft of writing. It might even mean putting your current manuscript aside and writing down some ideas for future projects. Sometimes it helps to be able to swap back and forth between different manuscripts so that when you're stalled on one, you can work on the other for a bit; a strategy that isn't always the most efficient but does keep you in the habit of writing.

Don't overlook taking time to read, either. Most writers have at least at some point been voracious readers, but it's easy to put reading new things aside when you're up to your eyeballs with trying to get a piece of your own writing completed. Nonetheless, setting aside time---even a few minutes a day---to read something new exposes you to new ideas, writing styles, and ways of presenting material. And you never know when your reading may provide a spark that relights your own flame. If you've got someone in your life with whom you can discuss your writing freely, count yourself blessed and take time to be with that person or persons as well; you and your friends may not be the equivalent of C. S. Lewis, J. R. R. Tolkien, and the Inklings, but you all may well be better for your times together nonetheless.

Sooner or later, if all else fails, you will simply have to sit down and write, however you may feel about it; when you're in danger of letting days away from writing slip into weeks and months, it's either sit down and work or risk losing any taste for writing at all. All disciplines have times when they just aren't fun, and the will to push ahead in the absence of immediate satisfaction is often the difference between mediocrity and the level of mastery that brings fresh joy to its craft. Nonetheless, knowing when and how to give yourself some space is also part of the art of writing.
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Reviews

3/14/2024

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If you write for publication, sooner or later, you will experience two things: being the subject of a review, and being asked to write a review. Proper responses to both are part of the business.

Unless you have just received a five-star panegyric that proclaims your work to be the best ever of its kind, receiving a review is seldom an unmixed pleasure---and sometimes there is very little pleasure involved. Your response should depend at least in part on what type of review it is. If it is an editorial review or a pre-publishing review specifically requested by your publishing house, pay attention. These reviews are there to deliver constructive criticism with the intent of helping you produce a better product. Even if they sting, you need to give these kinds of reviews careful consideration.

Fan reviews---and I am using the term "fan" loosely---are something else. Obviously, you do want to please your readers, and getting a lot of four- and five-star reviews is a solid indication that you are succeeding in doing so. The question is what to do with those painful one- or two-star reviews, particularly when the reviewer has taken the occasion to spew venom that would put a king cobra's to shame.

Some authors never read their reviews on Amazon, Goodreads, or whatever--they just note the aggregate rating and move on. This is a perfectly legitimate way to handle things. Only you know just how thick your skin is; if you suspect that reading a negative review would do your mental state and your writing more harm than good, even if there might be a nugget of something worthwhile to be mined, then don't bother reading individual comments.

If you do decide to read on, put things in perspective. You may get lucky and find a "panning" review that actually contains valuable insights, but most will not be that thoughtful or thought-provoking. Many will have more to do with the commenter's own positions and biases than with your writing, especially if you are covering a controversial figure or subject. (I have seen one-star reviews of some of Marguerite Henry's beloved horse books for children that were based on the commenter's position that "horse racing is cruel and should be banned," with nary a word about the quality of the story or the writing.) And no matter how wonderfully you write or how acclaimed your reputation, some people just won't like your work and will be happy to tell the world about it. A quick survey on Amazon revealed that 3 percent of readers gave one-star reviews to Tolstoy's classic Anna Karenina, 1 percent gave one-star reviews to the complete plays of Shakespeare, and 2 percent gave one-star reviews to Pearl S. Buck's The Good Earth---a novel that won the Pulitzer Prize and contributed to Buck's becoming the first woman to win the Nobel Prize for Literature. If writers of this quality and stature haven't been able to gain 100 percent approval, chances are you won't either. 

Now for the other side of the coin; you've decided to do a review. Perhaps you've been asked to review a manuscript by the publishing house you've been working with, or you've decided to leave a posted review or blog post on a book you've read.

Before dashing off your opinion and hitting the "send" key, it's worth taking a minute to think things through, especially if you're doing a paid review. This is serious business, because your opinion is being solicited because of your presumed expertise as a writer. Which leads to an obvious point: if you don't feel reasonably comfortable with the subject matter at hand---either because of the topic or because of the author's take on it---it's better and more honorable to decline the opportunity to do the review than to turn in a review based mostly on how you feel about the issue. Neither a polemic nor an attempt to push the author to agree with your position constitute constructive criticism. This admittedly is a delicate area, because sometimes it is both necessary and helpful to take a devil's advocate position if you believe that a point is being oversold or under-supported, but if you feel that you honestly cannot respect what the author is saying, you'd best leave the review to someone else. On the other side, if you cannot bring yourself to say something critical even when it is well warranted---for instance, pointing out a significant structural or factual flaw---then your review will not provide much help in improving the work.

Posting a review that has not been expressly solicited on a website or blog is a bit less weighty; you're likely to be one reader among many, with no more emphasis attached to your opinion than to anyone else's. Still, you should owe it to your own conscience if nothing else to be both as kind and as honest as you are able to be. Even if you can't honestly give a work a positive review, it may mean more to the author than you know if you can find something positive that you can say honestly. And if you find that you can be neither kind nor honest, consider whether you should post a review at all. There are enough trolls on the Internet without becoming one of their number.
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Contracts

3/7/2024

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Now that I'm under contract for another book, this seems as good a time as any to deal with the subject of contracts. If you're self-publishing, you won't have to worry about this aspect, at least not initially. If you're looking for a contract from a traditional publisher, here's at least some of what you should be aware of.

A contract is a formal agreement between you and the publisher, generally in writing as oral contracts, while legally valid, are difficult to enforce. It will generally cover the following points:

1) The topic and general scope of the work that is to be published and what you, as the author, are responsible for supplying to the publisher. At a minimum, you will be held responsible for providing a manuscript that is within the specified word count and is properly formatted for editing according to the specifications of the publishing house by the specified deadline. Your publisher should provide an author's guide detailing its formatting requirements; ignore this at your peril. The contract will also specify any additional tasks you may be required to do in order to prepare the manuscript for publication and release; generally, those will be participating in the copy editing process, doing a review of the final proof text, and (for nonfiction books) constructing an index.

2) If you are required to provide your own illustrations/photos, the number to be provided will also be specified. Unless stated otherwise, assume that, except for the cover photo, the illustrations will be in black and white. The publishing house will probably include information on what constitutes an acceptable illustration in its author's guide. Expect to be required to supply any illustrations at your own expense.

3) The contract will cover who will hold the copyright and what additional rights are being assigned to the publisher.

4) The contract will cover royalty rates for books sold and will tell you when royalties will be paid. Depending on the publisher, you may be offered a flat rate per book, or you may have an escalator clause for increasing rates depending on sales. If rights such as movie/TV rights, audiobook rights, and other uses are being assigned to the publisher, the contract should also cover royalty rates related to exercise of these rights. If you are looking at a work-for-hire agreement, the contract will name the sum to which you are agreeing in exchange for your manuscript and all rights to it.

5) If there is to be an advance (don't hold your breath), the contract will specify the amount and under what conditions it must be returned to the publisher.

6) The contract will outline deal breakers on your part and the publisher's, breach of which will render the contract null and void. Basically, your part of the contract is to deliver a suitable manuscript within the required timeline and to participate in copy editing, index construction (for a nonfiction book), and proof review in a timely manner as requested by the publisher. If you don't do this, the publisher is no longer under obligation to publish your book. If you do your part, the rest is on the publisher's head.

I've only dealt with smaller publishers myself, but generally I've found publishing contracts to be reasonably straightforward; just read them through carefully and discuss anything you are uncertain of with the acquisitions editor before signing. If changes need to be made, be sure they are incorporated in writing before you sign. The larger the house you are working with, the more likely it is that they will expect you to have an agent, and the more benefit a good agent can derive for you, but that's a topic for someone who has experience as an agented author.

Happy writing! 
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    I'm Avalyn Hunter, an author with a passion for Thoroughbreds and a passion for writing and storytelling.

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