Saturday, March 20, 2010

Song Lyrics in Fiction

Authors sometimes find it really tempting to use song lyrics in a novel or story. The words of the song are just so powerful and so right that... well, they need to be there.

If you're considering using song lyrics in your work of fiction, you may want to come up with a back-up plan. Here are some things you should know:

  • you or your publisher may be able to get rights to use the lyrics--or maybe not

  • it's probably going to cost you (typically a small fee per copy you make, but that can add up)

  • your publisher may decide the lyrics aren't worth the time/effort/money required to use them.



What about 'fair use'?


Fair Use principles weren't put in place to cover fiction.

You could claim fair use if you were writing, say, a nonfiction piece looking at U.S. cultural shifts over the last fifty years through the lens of Top-10 lyrics. To write such a work, you'd clearly need to reference some lyrics. But if you tried to get permission and pay for every single song, those barriers would jeopardize your ability to produce the work. Fair use would allow you to quote a few lines from each song to help make your point as you presented your analysis.

Putting lyrics into your fiction is something else altogether.

You'll read a lot of pages online that talk about lyric printing as 'fair use', etc., but that's a stretch of the fair use doctrine and completely unreliable when it comes to novels and other works of fiction.

What's the worst that could happen?


I'm not a lawyer. Personally, I think the worst that would probably happen is that someone would see you used the lyrics and sue to make you pay. You'd have to pay the usage fees, plus maybe some punitive damages and court fees. All that could add up to a great deal more than it would have cost to get the rights in the first place.

I further think rights-holders' attorneys' time would be better spent going after web sites that publish lyrics and musical arrangements in their entirety.

If you have a bestseller on your hands and make millions, though, you're going to be putting yourself into a whole other class of rights violators.

Shouldn't the artist or songwriter be pleased I love their work enough to include it?


Don't take it personally; it's business. Artists, unless they wrote their own songs or bought the rights, don't really have a claim to the lyrics. The songwriter does unless he or she sold them all. But the person you need to worry about most in this equation is typically a music publishing company. That company probably paid money for the rights to control publication of those lyrics you want. They're highly unlikely to get warm fuzzies because you want to use lyrics under their control. Even if they do, they have to pay people (such as the songwriter) for that usage.

Bottom line: Lyrics are intellectual property. They're worth money.

But isn't this like free advertising for them?


In a way... maybe... if your story causes a bunch of people to rush out and buy the sheet music. But that's not likely. At best, it might cause readers to buy the song. That's covered under altogether different rights--performance and recording rights, etc. Someone, somewhere might be pleased. Depending on how things are set up, a little of that money might even trickle to the music publishing company. That prospect, however, is not likely to cause that company to let you use the lyrics for free.

So how much does it cost?


Basically, to use the song, you'll need to enter into a contract with the rights-holder. That company will tell you how much it wants for the usage you've described. A lot of factors go into the cost, including the portion of the song that you're intending to use. If you're only using a line or two, you may be looking at only a few cents per copy you make. Or it could be a lot higher. There generally are different fee schedules for hard-copy vice online use. You won't really be able to gauge the potential cost until you ask.

If all you want is a few lines from a single song, it's probably affordable. If you want to start each of thirty chapters with a line from a song, your cost and hassle will multiply. You're going to have to pay for each of those lines. Getting permission may entail going to not one, but several, different companies.


How do I get started?


Basically, you start the process by writing to the entity that manages the rights.

If you're an author in search of a traditional publisher, it won't do you much good to ask early. If, however, you plan to disseminate copies of the work while you're on your way to publication, the safest thing to do is to request permission from the rights-holder. Often, the company is willing to let you use the lyrics in this way for free. For example, I've been able to get permission to use sets of lyrics in online writing workshops for free because I wasn't making any money from the work and because only a few hundred people would visit the location where it was posted.

If you don't intend to share the work with others prior to publication, it's best to wait until you're a little closer to publication to request permission. In considering your request for rights, the company is going to want to know how many copies will be published and what format, as well as other things you can't tell them. You and your publisher can decide how to handle the request--if your publisher's even willing to deal with the issue at all. Some small publishers just don't have the resources to deal with the usage requests and the required follow-up. Your publisher may just tell you to scrap the lyrics.

If you're going the self-publishing route (hard-copy or e-book), then you should be in a position to give the rights-holder the details it wants.

How do I request permission?


Generally, you write to the music publisher. Try Googling the song name and the term "sheet music". There are lots of places that sell sheet music online for a few dollars, and you can download it right away. I often find the answers I need for this at sheetmusicplus.

Check the details for the song to make sure you've got the right one. Sometimes the same song will end up in different arrangements, published by different companies. And sometimes multiple songs will share a title.

The sheet music will reveal the publisher and its address information and, in some cases, will even tell where to go for additional permissions. If it doesn't, the publishing company's webpage probably will.

If you're unable to determine the music publisher, you might find some hints by checking the songs in the databases of the entities that handle performance rights.

Once you get the music publisher's contact information, you can write to the company (some even have online forms) and tell what you want to do and what lyrics you want to use. Make sure you tell them what you want is a *print license*. Most of the publishing houses have guidelines on their sites for what they expect in a license request. After that, they'll probably write you back and/or send you a proposal contract with their terms. It's probably going to include a lot of details that make no sense to you, unless you're a lawyer; if you're not, you might want to talk to one about that contract so you understand what it is you're signing.

By the way, there are companies online who make all this easier, if you're willing to pay them to do it for you. They'll track down the info., handle the paperwork, etc., but most authors I've talked to don't think those companies are worth what you'd pay.

What are my alternatives?


Ditch the poetry.

Write your own poem.

Find a poet or songwriter who's fighting to make a name for himself; he might be willing to let you use his material for free, if you give him proper credit.

If it's really, really got to be that song, then consider just giving its title (surrounded by double quote marks) and don't use the lyrics. Because there are only so many words that can be used, song titles can't be copyrighted except under really stringent conditions in which they can be treated as entities unto themselves -- like if the song title comprises a whole line from the song or if it's a made-up word that the writer himself created or something like that. Usually, it's not so much copyright as trademark protection that comes into play there. But that's a really rare situation and so for general use, song titles are thought of as fair game--sort of like book titles. Still, the safest thing is to double-check (either through checking on the web or contacting the lyrics' rights-holder) to make sure your song name isn't one of the few exceptions.

If you're just posting your writing on the web, without charging for it, then you have another option. Include the song name and a link to the song at a music-sharing site. I personally like IMEEM because it's reported to have contracts with the big recording labels so that all the appropriate people get paid when the songs are played. Plus the player has a link that your reader can follow to buy the song, so this really is a way for you to give free advertising to the song you love.

Imeem is free and ultra-easy to use. The page for a song gives you code that you can just drop onto your blog or webpage to play the music. Some of those are limited to a 30-second play, but that's usually enough to convey the essence of the music, remind the reader of the song, etc., and if the reader wants to hear the whole thing, he can always follow the link to Imeem.

A word of caution: I've only looked into IMEEM for noncommercial usage. I assume they mave different rules when it comes to works for which you're actually charging. If your readers have to pay to access your work, you'll need to contact IMEEM to find out whether your usage falls within their license terms.

Where can I get more information?


Check out the Intellectual Property Law Server. The forums -- you can search them -- are really helpful. The worldwide intellectual property link at the bottom of the page is especially useful.

Writer's Digest published an excellent article on this topic.

The University of Texas compiled some great information on this topic.

Today's Woman published an interesting article on this topic.

Writers at AbsoluteWrite had a lively discussion on the use of lyrics in manuscripts.

-Originally posted on October 24, 2008, at rascaleriter.com.

-

Below are comments imported from the original location:

JeanB
on Nov 15th, 2008 at 2:34 am [edit]
I am glad I found your article when I searched this subject. I am in the midst of writing what I hope will be my first novel and alot ot the story is driven by song lyrics that have special meaning to the characters. I may have to rethink as it seems even quoting a few lines can lead to legal issues.
I won’t stop writing, though, even it it is ultimately for my own creative exercise.
I plan to bookmark your blog & will check back often.

#2 Dora McAlpin
on Nov 19th, 2008 at 8:51 am [edit]
Jean, I’m glad you found the article helpful. Thanks for taking the time to let me know.

I know what you mean about the characters and certain songs. It’s exactly the same for me.

#3 Steven D. Bennett
on Feb 17th, 2010 at 3:33 am [edit]
I wanted permission to use the first two lines of a song for a page introducing my novel, Trace the Dead Eye. Found the publisher, emailed them, and they responded with an email form to fill out.

Which I did and am now waiting for their permission which will take three weeks. There will no doubt be a fee as they asked for the print run, but if it’s too much then I won’t use the lyrics at all.

TWINE Goes Public



For the last few months, I've participated in the beta testing of a site called TWINE. As of today, it's open to the public. If you get a chance, check it out.

TWINE's a great way to pull together research material from various sources. It's both a social networking and a web content bookmarking capability. Even better, it's powered by semantic (relating to the meaning of words) technologies, which makes it great for discovering information you might miss in a standard Google search.

Below's some more information, taken from the TWINE "About Us" page.
People use Twine to keep track of their interests. Twine is a new way for you to collect online content – videos, photos, articles, Web pages, products - and bring it all together by topic, so you can have it in one place and share it with anyone you want.

That is the beauty of Twine. It helps you collect information in a new, highly personalized, convenient way. You can use Twine alone, with friends, groups and communities, or even in your company.

And Twine is smart. It’s powered by semantic understanding, which means Twine gets to know you. It automatically learns about your interests and makes connections and recommendations tailored to you. The best part: The more you use Twine, the more useful it becomes.

I've had fun with TWINE and I've learned some things along the way. Whatever your interests, you're bound to connect with others who share them.



-Originally posted October 23, 2008, at rascaleriter.com.

Those All-Important First Chapters

In addition to doing full edits on my works now and then, I periodically make a pass through all my works, focusing primarily on the first three chapters. I try to read them as if I've never seen them before.

They get a little better each time I revisit them because I know more about writing than I did the last time I was there.

Taking this approach works for me and probably for a lot of other writers. I'm in a different mindset when I'm in first-chapters, surgical-precision mode than I am when settling in for a long-haul, full edit. I see things differently. I find things that need changing and can't believe I didn't see them before.

One way I try to improve my first-chapters skills is by studying the opening chapters of my favorite books, trying to enhance my understanding of what it was those authors did that kept me reading. This type of learning by example is a great supplement to all the how-to material on this topic.

I pull out books on my shelves or I look online.

There's a great page at NovelPro (thanks, J R Lankford!) that lists sites you can visit to get links to published books' first chapters. It's fun to browse them.

Now and then, a writer manages to hook me, and I end up ordering the book so I can find out what happens to the characters that the writer, in just those few pages, made me love.

That's the kind of characters I want to create. That's the kind of writer I want to be.

-Originally posted on October 22, 2008, at rascaleriter.com.

Online Critique Groups for Writers

Why join a critique group?


Joining a critique group can be a great thing for a writer. A good critique group can:

  • help you develop your skills as a writer;

  • help you fine-tune works in progress;

  • provide a support network of other writers; and

  • expand your network of contacts within the publishing industry.


Joining the wrong critique group, though, can waste your time and possibly your money. It might even corrupt your work, resulting in an inferior piece.

Take your time deciding which group's right for you.

Which critique group is right for me?


Do you feel welcome within the group?

Are there other writers in the group who write the same types of works you do? (Novels? Novellas? Nonfiction articles or books? Memoirs? Anthologies? Graphic novels? Web books? Short stories? Songs? Poems?)

Are there other writers in the group who write in your genre(s)?

Do some of them know more than you do about some aspect(s) of writing, so you can learn from them?

Are there members within the community who already are succeeding in achieving goals you've set for yourself? For example, if you want to be traditionally published, you'll want to find other authors who've done it. If you want to build an e-book empire, you'll benefit from knowing others who've gone that route. If you want to create a free-fiction-on-the-web phenomenon, look for people who are already doing that.

I'm not saying you shouldn't engage with writers from other genres who have different goals. You can benefit from those relationships, too. But generally you'll get the most benefit from engaging with other writers who can relate to where you are and where you're going.

There's no reason you can't be a member of more than one group. Some writers are able to handle two or three. Only you can decide whether you can get what you need from one or whether you'd be better off with more. Don't spread yourself too thin. You won't get much benefit from any critique group if you're rarely there.

How can I find critique groups?


I've spent time on quite a few critique sites. I've heard good things about some others. I don't want to try to give a list of recommendations here because new ones are popping up all the time. Further, the quality can shift as members come and go.

I've got a short list of writing workshops posted here.

For more, just Google: online critique writers workshop. You'll get a ton of results and can decide which are worthy of a closer look.

If you don't want to take the Google route, here are a few good ones you can check out to get you started:

Critique Circle

Critters (for SciFi, Fantasy, and Horror)

InternetWritingWorkshop

Authonomy (run by HarperCollins; this is better suited to works that are almost ready for publication rather than early drafts)

Those are just a few with which I've had some experience. It's up to you to find the one that's right for you.

To pay or not to pay?


There are some excellent free sites out there, typically run by people who genuinely want to help writers succeed.

Be forewarned, though: Free sites often attract dabblers.

You'll need to spend some time on a site to get a feel for the member community.

There also are some great fee-supported sites. Some people advise against joining any critique group that requires payment, but I'm not one of them. If you're serious about your writing, it's worth a small investment now and then.

Joining a critique site with a fee can mean surrounding yourself with others who are as serious about writing as you are. In addition, sites often turn around part of the membership fees and reinvest in the community, through continuing development of the site and/or providing resources for their writers. In some cases, this can mean enabling community members to engage with experts to whom they otherwise might not have access.

In some cases, you really do get what you pay for.

Most of these sites offer free trial memberships. Join a few and post a couple items on each. You'll soon get a feel for which one(s) are worth your time and money. My two personal favorites are TheNextBigWriter and the Online Writing Workshop for Science Fiction, Fantasy, and Horror. Both are strong, well-established communities of writers.

If you're interested in something structured more like a class, you might want to check out Gotham Writers' Workshop. They offer a lot of free information on the web so you can get a feel for what's available there. I haven't used Gotham (yet--so many wonderful options, so little time), but I've heard great things about it from people who have.

What can I expect when I join a group?


As with many things in life, what you get out of an online critique group is largely commensurate with what you put into it.

Most of them are set up so that you are required to critique other people's work in order to gain points to post your own. Don't join, expecting to throw your masterpiece out to the masses and then sit back waiting for accolades. It just doesn't work that way.

When critiquing, do so honestly and fairly. Always point out some good things in what you've just read. Don't talk in generalities. Provide the writer some concrete things he or she can do to make the piece better.

The best structure for a critique is:

  • A nice opening, pointing out some good things;

  • A middle that gets into the things that might be improved; and

  • A nice closing that makes the writer feel appreciated for the things you think he or she did right. Ideally, it will give him or her encouragement to keep writing. Be careful here, though. If you're not, your wording might come across as patronizing. Be genuine.


When it comes to receiving critiques of your own work, you're going to need a thick skin. People generally assume that if you've posted your work to a critique group, you want to hear the truth (as they see it). They are going to tell you. Some will do this diplomatically and gently. Others will not. Most of them, though, really are trying to help you.

Thank everyone who critiques you. That person has just spent time on your work when he or she could have been doing countless other things with that time.

Now and then, you may suspect that someone wrote an obnoxious critique out of jealousy. It happens. Maybe he or she is jealous of your descriptions, your dialogue, whatever. Maybe he or she is jealous because you are a big fish in the small pond of a critique site, and he or she wants to be. Don't let it get to you. Be the bigger person. Just shake it off and move on. Continue to give your own critiques as fairly and honestly as you can.

Unfortunately, critique sites--like just about every other place on the internet--attract real jerks now and then. Eventually, one of them is probably going to find your work. Don't waste your time justifying yourself or your work. Shake it off and move on.

Writing is both an art and a science. If you want to make money from it, then it's also a business.

You, as the writer, need to decide what's worthwhile in any feedback you receive--the good, the bad, and the ugly--and you need to do that from within the framework of your own expectations for that particular piece of writing and your overall goals as a writer.

If you're not willing to take suggestions, you really don't need to be on a critique site.

If you're too willing to take suggestions, you just may end up destroying your work.

Imagine a painter at the easel, trying to capture a landscape as he sees it. Now imagine he has fifty people behind him, all commenting and suggesting as he tries to paint. One thinks the blue in the upper right corner is a little too dark, given the blue in the lower left corner. Another is sure the pine tree is taller than it looks on the painting. Yet another says the painting will never sell unless the painter adds some people because the current market demands people in paintings.

The painter can ignore them all and get his painting done to his own personal satisfaction, accepting that no one besides him might ever love it. Alternatively, he can scramble over the canvas, trying to make them all happy. He might never finish that painting (because it's unlikely they'll ever all be happy) and, even if he does, it's going to be a very different painting than what he wanted to make.

The best approach for this painter is to take the advice that best suits his goals and disregard the rest.

Of course, this assumes the painter knows his goals and also has a good understanding of how they might be achieved. There's a learning process involved in all that. Over time, as his knowledge of painting and the market evolves, along with his concept of his own goals, he'll make smart decisions.

It's the same for writers. Consider all feedback carefully. Don't be in too big a rush to implement any suggestions you're not absolutely certain will make your work better (in terms of your own goals).

Don't let anyone else tell you what you are or what you're supposed to be as a writer.

At various points, I've been told that one of my works: was the greatest thing someone had ever read; was the most worthless heap of trash someone had ever encountered; was wholly uplifting; was utterly depressing; revealed me as a hack; was too cerebral; was too literary and not commercial enough; was too commercial and not literary enough; was too short; was too long. The list goes on and on.

Be grateful to those people who take the time to let you know they like your work as well as to those who help you see what you need to do to make things better--but don't feel obligated to take their advice.

Keep in mind that most of the people in critique groups are fellow writers. Though some do allow non-writing members, it's mostly the writers who provide the critiques.

Writers constitute a subset of readers. In addition to getting their feedback, you may want to share your work with non-writers whose opinions you value. They can provide a whole other perspective.

Be yourself. In all the world, you are the only person who can write the story you've got in your mind.

What else do I need to know?


Many writers become so caught up in the experience of getting and giving feedback, plus the social aspects of critique groups, that they don't have time to write anymore. It can happen to anyone. It happened to me.

This is especially a risk for novelists. In order to post chapters, they read and critique other people's works. It can take a lot of reading and critiquing to earn sufficient points to post a full novel on a critique site. I don't do that anymore. Now, I post the chapters on which I most need feedback (usually the first five, and sometimes internal ones that are giving me trouble).

An additional risk of the chapter-by-chapter approach taken by many critique groups is that the focus on small parts of the overall piece doesn't give you what you most need--an answer to the question, "Is my novel any good?" Your chapters can be brilliant but still not form a cohesive novel.

Don't rely on chapter-by-chapter readings alone.

To get feedback on the whole of a novel, I send it to a few trusted peers--some of whom I met through the online critique groups. In exchange, they send me theirs when they want full reads.

Find the solution that works for you, but go into the online critique group with a plan to set boundaries so you have a good balance of critique and writing time.

Closing thoughts?


Joining an online critique group is one of the best things you can do for yourself as a writer. Ultimately, only you can make it work for you instead of against you.

-Originally posted on October 22, 2008, at rascaleriter.com.

Owning Your Identity

What's in a name?


As a writer, your name is among your most precious resources.

Once you've made the decision to become a writer, it's important to claim your name early and to begin building a reputation with that name.

Remember always that what happens on the web stays on the web--potentially forever. It also might spill over into the real world as well but, either way, it's likely not going to quietly disappear. Sure, you can delete it from the place you put it. But that doesn't mean it's gone. Anyone who has access to content can find a way to promulgate it. Further, Google and other services store and make available caches, which enable web users to 'go back in time' to see what various webpages used to look like. Check out the Wayback Machine.

I'm not trying to make you paranoid. There are good and noble reasons why various entities have identified a need to retain a history of the web. The point here is simply this: Before you commit anything to the web, consider that:

  • it may be seen by people far beyond your originally intended audience; and

  • it may stick around a lot longer than you want it to.


If you believe you may someday hope to be taken seriously as a writer, determine what name(s) that writer is going to use and act accordingly.

What's the best name for me?


Preferably, one that no one else has already made famous. You want to be the first person someone thinks of when he or she hears your name.

For many writers, the real name is the obvious first choice. It usually 'feels right.' Further, depending on the writer's achievements (degrees, job history, etc.), using the real name can add credibility. This is especially true in the case of nonfiction.

Some writers were blessed (cursed?) at birth with names very few other people would want. It's easy for us. Do a Google search and we're right there at the top of the hit list. It's not necessarily an indication that we're popular... it could just mean that our names aren't.

Others have to be a little more creative. Substituting initials for either or both of the first and middle names is an option. Sometimes people use nicknames instead. That works, too.

What's that? You don't want to use your real name or a variant thereof?

Well, that can work, too. Remember, the point is to find a name that feels comfortable to you and that hasn't already been claimed by someone more famous.

Pseudonyms are an established tradition in the literary world. Would anyone want to read a romance novel by someone with a hideous name?

I have a pen name. It's Ivey Banks. I use that for my contemporary fiction. The reason is because I write across genres. Readers who like contemporary fiction don't necessarily like fantasy and vice versa. By associating a different author name with works of different types, I hope to avoid a situation in which a reader who loved one of my stories picks up another, only to be disappointed.

How about a pseudonym?


Before you decide to use a pseudonym, it's important to understand what pen names can and can't do for you. The most important thing to know is that a pen name is not a secret identity. Once upon a time, a fake name could largely serve that purpose. In the Twenty-First Century, though, you're better off accepting that, regardless of the name you put on your writing, people are going to know who you are. Gone are the days when writers could take on fanciful names and populate their bios with interesting but false bits of personal history.

The public is willing to accept authors' pen names in the same way it accepts musicians' and actors' stage names. If you want to use a pen name, though, your safest approach is to let it be a name and not much else.

I loved reading Nancy Drew when I was young. For one of our assignments in grade school, we had to write a letter of appreciation to our favorite author. I wrote Carolyn Keene a five-page letter and received a lovely note in response. Had no idea the woman didn't exist. And when I later found out (ahh, the wonders of the internet), I wasn't upset. The name might not be real, but someone--in this case a bunch of someones--had written those stories I loved. The reason I didn't feel cheated was because it was, after all, just a name to me. I hadn't made a personal connection with the nonexistent author.

The internet has made the world much smaller than it used to be. Things are personal now.

Here's the problem with pen names: An author needs a bio. A pen name has no bio; after all, it is just a name. What to do, what to do?

There are some who believe that the creation of a pen name and a persona to go with it is simply an extension of the creative process. I won't argue with that. In fact, I think it'd be cool to be able to recreate myself. At the very least, I could make myself tall and thin instead of... well, you get the picture. But in the Twenty-First Century, there are no secrets. You may feel you have a right to privacy but that doesn't mean you'll get it.

Once upon a time, the vast majority of Americans had no idea their president, Franklin D. Roosevelt, was confined to a wheelchair. Members of the press back then operated under different principles than their modern-day counterparts. There was no World Wide Web where people could gather to exchange speculation and evidence. It was a different world.

Ours is a world in which true secrets are an increasingly rare phenomenon.

It's also a world in which the public--or at least the media outlets claiming to represent its interests--has increasingly claimed the right to know all kinds of very private things about people in the public eye.

If you want to claim a pen name and try to keep your secrets, you just might succeed. The more famous you get, the less likely it'll be that you can maintain that mystique.

If you go that route then, when it comes to the bio, it seems it'd be best to either give your true bio or say nothing at all. Trying to keep secrets is one thing. Creating a fabricated persona to go with the pen name is something else altogether.

Why shouldn't I create an author persona?


If you need a cautionary tale, you need look no further than the case of Laura Albert. Using the name JT LeRoy, she wrote some books. A lot of people read and liked them. But JT was more than a name. He was a whole persona, complete with a troubled past, a difficult present and an uncertain future. People didn't just fall in love with the books; they fell in love with the idea of the wunderkind known as JT LeRoy. Evidently Laura communicated with people as JT through letters, e-mails and phone calls.

It wasn't enough just to talk to JT; people wanted to see him. Laura produced JT, evidently in the person of her partner's half-sister.

Eventually, the truth came out.

Laura was labeled a hoax, a fraud. A film company sued her. She was subsequently found guilty of fraud. The Authors Guild has come out in her support. Still, it remains unclear how all this will be resolved.

Even if Laura prevails in court, her future prospects as an author are unknown. Many of her fans have turned against her.

I'm pretty sure Laura never set out to mislead or disappoint her fans. What I think happened is that JT exists for her. Many of us, as writers, have inner children screaming to tell their stories. Laura let hers tell his.

I think what happened is that the initial adoption of the pen name snowballed into larger fabrications and, for a time, the tide carried Laura. The externalization of JT Leroy was an extension of the creative process of writing, a branching into performance art. The problem was, the audience didn't know it was a performance.

Having gone this far, how could she undo it? No, she felt pressure to go a little further and then a little further to maintain the facade, and eventually it all came crashing down.

I don't want to engage in debate about whether she was right or wrong to do as she did. I respect the right of others to form their opinions.

The whole reason I've written about Laura and JT is that I'd hate to see other authors unwittingly find themselves in a situation similar to Laura's. She's been villified. Her work's been ripped apart, not because of what it is, but because of who wrote it.

I'm a firm believer in chasing dreams. On this topic, though, it seems to me maybe it's better safe than sorry. Of course, you'll have to make your own call on that. I just wanted to share the story because, before making that decision, you'll need a good understanding of the potential ramifications.

If you're not already living the life that you someday want to use on your author bio, now would be a really good time to start.

How can I claim my name?


So... now you've got your name(s) all chosen and you're going to live accordingly. What next?

Register your identity on the web as a domain name.

A lot of authors don't see the need to register their names online. They think they can do it after they get an agent or publisher. I think this is a mistake.

First, many agents and publishers report on their blogs and in other writing that they do web searches on authors whose queries intrigue them. If you have a web presence, it shows them that you're going to help market yourself. I'll deal more with that subject in future posts.

Even if you're not ready to set up your website, it's still worthwhile to get your name.

Every day, domain names disappear into other people's collections. Believe it or not, there are people who buy up domain names they have no intention of really using, just because they hope to sell the rights to those names for profit at some point in the future.

What if you spend five years building your name as a future author, only to find that the name's already been taken when you get there? And what if the person who registered it wants $5,000 to part with it?

Some writers think it's hard and/or expensive to register a domain name. They're wrong.

To register a domain name, you just type a few things into an online form, pay your fee, and you're done. It's as easy as any other online transaction you've made. Once you've registered the domain name, you don't have to do anything with it (build a website, etc.) until you're ready.

It costs little to register a domain name (you're going to be looking for a price range of $15 and down per year). Some services will even let you do it for free. Do your research before going with one of those because some of them make their money by using the domain names they've registered to run ads. There's no telling what kind of stuff people might see if they search on your name. Better to go with a company you trust. Yahoo offers domain registration services. So does Google, through a partnership with GoDaddy. So do a multitude of other trustworthy companies.

Don't hold off, thinking you want to wait until you're more web-savvy. You don't have to be web-savvy to register a domain. Register it now. If you later know more about the web and want to actually develop a site using a hosting company that's different from the one where you registered the domain, you can do that. You can also transfer the domain so it's registered through your hosting provider.

Why stop with just your author name? If you've got a great name for a book or series, consider registering that, too.

If you don't register your names, then anyone else who recognizes you as a future bestselling author is free to buy the names you want. And someone just might do it, in hopes you'll pay thousands of dollars tomorrow for what you could have had today for pennies. Your worst enemy could even take your desired name just so you can't have it.

Are you serious?


Seriously. This is one of the most important things you can ever do for yourself as a writer.

Get your name before somebody else does.

-Originally posted on October 20, 2008 at rascaleriter.com.

What's This Blog About?

Over the last few years, I've compiled a huge collection of information on both the craft and business of writing.

I collected some of this to make my own life easier. I wanted quick access to important information. I wanted to avoid having to rediscover things I'd already learned.

I compiled additional parts of this catalogue of information for the benefit of other writers, my peers in writing groups and related forums.

Rascal E. Riter exists as a means to allow me to put this information as well as new discoveries together in one place and share it with those who might benefit.

It's my hope that visitors will be willing to share their own insights.

We can all learn from each other.

Note: This blog was moved to BLOGGER on March 20, 2010. Some posts from the original site, along with some related comments, have been transferred from the original site.

-Originally posted October 19, 2008 at rascaleriter.com.