Simon WhaleyWriting is a bit like speed-dating, isn’t it? If we’re notflirting with publishers and agents, then we’re seducingeditors with our ideas and readers with our passion forwords. The trouble is, we really should take the moreprofessional approach. After all, corny chat-up linescould have editors and publishers remembering us forall of the wrong reasons. Making a good impressionrequires a decent photo, a suitable biography and, insome cases, an up to date writing CV.If we sell an article or a short story to a magazine theeditor might ask us for a head-and-shoulders photo anda brief 50-word biography. Approach an agent or apublisher with a book idea, or a novel, and they mayask to see a full writing curriculum vitae with all of ourwriting achievements listed. Prepare these in advanceand we’ll come across as cool, calm and someone to dobusiness with, rather than the tongue-tied twit who’sgone all coy because someone’s suddenly taken a fancyto us.Camera ConundrumMany magazines include snapshots of their contributors.These may all appear on one page together or beplaced on the page where their article or story is used.Authors frequently need a photo to go on their book’scover. I, like many, hate having my photo taken, butrather than grin and bear it (because that producesimages more suited to police Wanted posters) weshould invest some time and effort into producingsomething suitable. The right photograph creates abrand image, but it should also convey our character.So what would you like your photograph to say aboutyou and your writing? Is one photo sufficient, or do youneed several: each representing a different market youwrite for?Suzanne Ruthven, whose latest book is Creating MeaningfulDialogue (Compass Points), has writing intereststhat include the occult, horror, and MBS (mind, body &spirit) titles. She was looking for an image that encapsulatedall of these elements, but also reflected herown character. It was a professional photographer whohelped her achieve this image. ‘My photograph wasone of a make-over series and my favourite. I also happento be a ‘hat’ person so it wasn’t something out ofcharacter. The all-black image is another echo of myGothic Society days, and the professional photographersuggested the pose, but it was one I was comfortablewith. In other words, it didn’t feel as if I were posing.’It’s called a head and shoulders pose because that’s allreaders need to see. Frequently, the image is used at asmall size, so our faces need to fill the frame. Don’t gothrough holiday snaps and use a photo with the EiffelTower sticking out of the top of your head, and someunknown person’s arm draped around your neck. Remember,this is a business. You need to convey a professionalimage.Judith Cranswick, author of the Fiona Mason mysteries,agrees. ‘Your photograph is your first selling point. Itneeds to look professional. The one on my website welcomepage with a black background is quite old now,but the reason I haven’t yet replaced it is that I’ve decidedthe dark background is essential.’If you visit her website,www.judithcranswick.co.uk,the dark background of her author photo echoes thebackground image of her website, designed to create adark and moody atmosphere to reflect the edginess ofher psychological stand-alone novels. However, Judithuses other photos too. ‘My preference would be to useone photo for everything, but there may be times whenas a writer you need something different. It really dependsupon the circumstances.’Someone who understands the benefits of having morethan one publicity photo is Marvin Close. His televisioncredits include Emmerdale, Coronation Street, andTracey Beaker. He’s written eight plays for the professionalstage, been a writer-in-residence and is the authorof More Than Just A Game: Football vs Apartheid(Harper Collins). With all these different writing hats hehas a range of publicity shots, yet none of them wastaken by a professional photographer. Today’s cameraequipment means you don’t need a professional photographerto get a high quality image, but it’s importantthe photographer knows how to take a professionalphotograph and understands composition. ‘Ihave half a dozen or so different head and shoulderspublicity shots, all taken by either my 16-year-old son,Eddie or 15-year-old daughter, Tilly, who are bothheavily into photography and website design, so I trustthem to take what is most effective. My writing life issplit between writing TV and radio scripts, stage plays,non-fiction books and going into schools to foster creativeself-confidence amongst children. Sometimes onephoto feels more appropriate than another. If I’m send-14
ing out a CV that’s specifically to do with televisionscripts, it seems dumb to include a photo of me holdingup my latest book.’Remember, if you’re an expert in a particular subjectmatter you should look like an expert. Dress accordingly.Someone writing for the mountain biking magazinesmight wear their cycle helmet in their photo, whereas atravel writer might want a photo that shows them travellingthe world (but that’s still no excuse for having theEiffel Tower sticking out of the top of your head). Yourphoto should show you looking relaxed and knowledgeablein your field of expertise.Brief BiographyWe’re often asked for a short biography to accompanythese photos, and short could mean 100 words or fewerthan 40. Just like our photos, these should be tailored tothe audience. It’s worth spending some time preparinga selection in advance for different markets.‘I have two stock biographies,’ says Suzanne, ‘dependingupon whether it’s for a how-to book or an MB&S title.These should always reflect that the author is qualified,either by degree or experience, to write on a given subject.’Here’s Suzanne’s biography showing her writingcredentials: Suzanne Ruthven is the former editor of thepopular monthly creative writing magazine, The NewWriter, and now commissioning editor for CompassBooks - the writer’s resource imprint for the internationalJohn Hunt Publishing company. She is the author ofover 30 titles in the metaphysical, country and folkloregenre.Marvin draws upon a collection of four or five differentbiographies, which he tweaks according to the markethe’s approaching. ‘I visit a lot of schools,’ he says, ‘and ifI’m looking to promote my work in that area I start withdetails of the writer-in-residences I’ve undertaken inschools, schools that I’ve visited and the range of workshopsand talks that I offer. If I was looking to promotemyself with TV/production companies, I would startwith a more detailed overview of my TV credits, like so:Marvin has written and story-lined over 100 hours ofbroadcast TV drama, including penning over 70 scriptsfor Emmerdale, story-lining over 100 Coronation Streetepisodes and writing scripts for everyone from TraceyBeaker and The House of Anubis to Doctors and 24/7.’Summer <strong>2015</strong>Judith also tailors her biography, including its style aswell as its content, and begins by asking a question:‘Does it need to be formal, as for a publisher, or muchlighter for a magazine/newspaper interview?’ To ensureshe includes the relevant information she recommendsmaintaining a list of key achievements to draw upon. ‘Astock biography, or at least a list of bullet points, foryour own use is a good idea. That way you are not likelyto miss anything that might be relevant. Only pull outwhat is essential. What you include in it depends entirelyon the purpose it is being put to.’Some magazines like an injection of humour in a biography,because, just like your photo, it helps to conveycharacter. One of my biographies for walking magazinesis: Simon has been exploring the Welsh Borders on footfor over 15 years, clocking up several thousand miles, aregular walking column in a local county magazine, andtwo walking books. His feet now ache considerably.CV CredentialsWhen approaching publishers and agents a fuller biographymay be required in the form of a 'writing' curriculumvitae. This is not the place to list all the jobs you didto keep you in booze money at university, unless they’reimportant to your writing subject matter. Instead, listwriting successes. Mention publications your articlesand short stories have appeared in. Include any competitionsyou’ve won, or been placed in. Refer to notablecompetitions you’ve been shortlisted in. These stilldemonstrate skill and potential. If you’ve had bookspublished, state the title, publisher and year of publication.If you’ve self-published a book and sold thousandsof copies, include this information. Publishers andagents are interested to see the results of your writingbusiness so far.‘I maintain a full writing CV that lists all my books publishedto date, even those out of print,’ says Suzanne,although she no longer lists every article published, becausethere have been so many.Don’t consider a writing CV as something you createonly when approaching publishers and agents. Create adocument that evolves. Marvin makes a point of updatinghis CV regularly. ‘I review and, if needs be,change my CVs every couple of months to ensurethey’re fresh and include details of any new work.’Don’t think of all of this as a one-off business exercise.Remember the dating analogy: to make a good impressionwe need to look our best. These three steps are allabout sprucing ourselves up and making ourselves lookand feel good. Listing all of our writing achievements isa great way to boost our esteem and self-confidence.And, who knows? All this pampering could lead to a longand fulfilling business relationship.Simon Whaley – BiographySimon Whaley is the author of over a dozen writingbooks, including three for writers: The PositivelyProductive Writer, Photography for <strong>Writers</strong>, andThe Complete Article Writer. He’s also writtenover 600 articles for publications as diverse as BBCCountryfile, The People’s Friend, Outdoor Photography,and The Simple Things. His short storieshave appeared in Take a Break, The People’sFriend, Ireland’s Own and Woman’s Weekly FictionSpecial.simon@simonwhaley.co.ukwww.simonwhaley.co.uk15
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