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What It Takes

What It Takes

Write Your Bio (a.k.a. an answer for Michael Beverly)

By Callie Oettinger
Published: June 10, 2016

What was her first bio?

What was her first bio?

In addition to ripping off chunks off Shawn’s work last week, I’ve stolen his spot this week to answer a question from Michael Beverly (See Michael’s full question in last Friday’s comments section.)

Do I think an author bio is necessary for a fiction author?

Necessary? No.

A good idea? Yes.

When I started writing tip-sheet (one-pagers about a book) copy for sales conferences, I learned how much bios play into sales.

The sales reps used these tip sheets to help sell the new season to book buyers.

Without having read the books, the reps would make decisions on which books to emphasize most during sales calls, based on two things: marketing/PR plans and author bios. The reps wanted the first bit because they knew it would grab the buyers’ attention — to confirm sales would be fueled. They wanted the second bit — the bio — to confirm the author had the chops and/or to fuel local sales.

Let’s break down the local and the chops.


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ADDITIONAL READING » ON WRITING

Additional Reading: On Writing

Bambi versus Godzilla: On the Nature, Purpose and Practice of the Movie Business

by Mamet, David

Technically this isn’t a book about writing. It’s about Tinseltown and David Mamet’s love-hate relationship with it. But, along with Mamet’s witty and cantankerous evisceration of show biz, Bambi vs. Godzilla delivers masterly and extremely useful insights on getting movies made, surviving criticism, paying the rent and in general surviving Hollywood while retaining some scrap of sanity and integrity. Mamet is not just any writer. When he takes on a subject, you get it in context succeeding context—commercial, aesthetic, moral, ethical, legal, Talmudic, Tantric and Vedic. It’s like reading Thucydides if he’d loaded his stuff into a ’65 Mustang and split for the Coast.

Ernest Hemingway on Writing

by Phillips, Larry W.

Papa never actually sat down and wrote a book about writing. Rather, editor Larry Phillips has compiled 140 pages of hard-core Hemingwayisms from the author’s books, stories, and letters. Great material, particularly the fragments of correspondence to Scott Fitzgerald.

First Five Pages, The

by Lukeman, Noah

As an agent and editor, Noah Lukeman read thousands of manuscripts from aspiring writers. He got to where he could tell in the first five pages if a submission was worth his time. In this gem of a book, he tells you the most common mistakes writers make—and how to eradicate them from your manuscript.

How To Be Inspired

by Williams, Nick

A no-nonsense how-to manual and psych-yourself-up kit, for those of us who sometimes need a swift kick in the butt to get us going.

Journal of a Novel

by Steinbeck, John

When he was writing East of Eden, Steinbeck kept a journal—just a few pages each morning, which he’d scribble as a kind of warm-up before turning to the actual manuscript. Fascinating insights into the writer’s life, inside and outside the covers of a book.

Robert McKee’s Story Seminar

by McKee, Robert

I always say that McKee is not only the best teacher of writing I’ve ever seen, but the best teacher of anything. I’ve taken this three-day intensive course twice—and I’ll take it again. Yes, McKee has been spoofed (in the movie Adaptation) and lionized (in a New Yorker profile.) But that’s because he’s the best. Full disclosure: McKee and I are friends. McKee wrote the foreword for The War of Art. McKee teaches this class in cities all over the U.S. and Europe, even as far away as Israel and Singapore.

Story

by McKee, Robert

This is the book that goes with Robert McKee’s Story Seminar. Terrific for writers in all media, but take the “live” McKee first. You’ll get more out of the book if you’ve heard the man deliver his stuff in-person.

Three Uses of the Knife

by Mamet, David

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