In the past few days, I’ve encountered two completely diverse situations that speak to the lack of commonality of this enormous, diverse community and how we perceive ourselves within that loose fellowship.

The first came up during my talk with a wonderful novelist. She sold  her first book to an online/POD publisher and subsequently joined its author community via blogging and blog commenting. Problem is, she feels isolated within this group, which she specifically joined to enjoy that wonderful sense of connection we all seek with our fellow writers and authors. Their writing goals and process seem so  different from hers.  The only common ground she can find is their mutual affection for the publisher and desire to get their stories down in writing.

I noticed the second situation in a LinkedIn group discussion as I read over the various answers to a question about the writing industry and thought about my own perspective on the topic. I admit it: I’m ever the optimist. I look at a problem and, like a Ferengi, I suppose, see opportunities and possibilities, not gloom and doom. Yes, the writing and book worlds have changed, enormously. But they haven’t ceased to exist–they’ve merely become different, and I don’t think the answer to “better pay for better writing” is in legislation, but in our individual selves.

So what is the point of this blog? I guess just to point out that writers come in all flavors. That our vast conglomerate of folk never has been and never will be a one-size-fits-all. Writing is so darn individualistic, it cannot and should never try to be stuffed into round holes. We are the last, great independents in a world hellbent on conformity.

Few will remember Gary Cooper or Alice Cooper in 100 years, but they’ll still know Dickens, Austin, and Rowling. And maybe, just maybe, you and me.

And, with nods to Dr. Who, Agatha Christie.

There are only two absolutes in the book industry: 1) all publishers edit according to Chicago Manual of Style (except those that don’t) and 2) all publishers expect authors to use MS Word (except those that don’t).

The Pirates of the Caribbean movies said it best: all those “rules” are really just guidelines. When it comes to writing, editing, submitting, and publishing,  there are really no absolutes, no hard-and-fast rules, no by-the-book regulations. Instead, the business is very firmly based on what this person wants, what that person remembers has sometimes worked in the past, or what some guy in marketing believes will work next quarter. It’s quite hit-or-miss, very trial-and error, extremely whatever works for a particular individual at a given moment on their one, specific project.

So if it works, you did it right. If it doesn’t, you didn’t. If it worked last time, you did. If it doesn’t work now even though it worked last time, you did then but not this time. If it works again next time, you did. If it works for you but not for him, you did, he didn’t.

Have I made myself fairly clear?

Egads, I’m a “What!”

I started life as Claudia Suzanne, a professional ghostwriter, editor, and literary consultant with a personal quest to raise the literacy bar of the book industry, one author at a time. (Okay, I started life as Claudia Suzanne, infant, toddler, etc., but jump ahead and stay with me, will ya?)

Then I became Claudia Suzanne, speaker, teacher, and guest lecturer with the same quest but a broader scope: to also raise the literacy bar for college students by helping them get better grades on their papers.

Then I became “Boss Lady” (a.k.a. BL) OF Claudia Suzanne, a division of Wambtac and the manifestation of Wambtac Communications with a small staff of writers and techs along with assorted ghostwriting and editing interns.

Ergo, Claudia Suzanne is both me, a person, and her, BL of “It,” a company that bears my name.

And yet, my quest remains the same: to raise the literacy bar for writers of all ilk– student, corporate, freelance, newcomer, and everyone in-between–only now a bunch of other people are helping me toward that goal.

My/Our methodology is as simple and complex as my/our mission:

• Teach substantive and line editing, which can make or break a paper or a manuscript
• Ghostwrite well-crafted manuscripts for non-writing authors in their voice
• Train experienced writers in the specific skills, theory, and politics of ghostwriting

That’s what Claudia Suzanne the person does, and that’s what Claudia Suzanne, the Communications division of Wambtac does, too. I/We also:

• Write and edit web content
• Write and edit white papers, business documents, complaint letters, promotional materials, submission materials and all other written communications
• Mentor new writers
• Consult for transitioning professionals and new authors
• Give presentations and talks on writing, editing, “expert” books, and the 21st Century book industry

So the next time someone asks “What on earth is a Claudia Suzanne” — a question that probably comes up in conversation too often to be ignored — you can say:

“Ghostwriter. Read a whole long thing that rambled on forever but all I remember is the word “ghostwriter.”

And if that’s all you remember, then my fingers have not typed in vain.

• How to do an A&R
• How to find the “gold” in any manuscript
• How to determine BISAC selection
• How to advise the three types of authors on publishing options
• The scope of responsibility for the various ESPs
• The variances between the author’s writing process and the ghostwriting process
• How to chart nonfiction
• How to apply a content template (not MS Word formatting)
• How to maintain the author’s voice
• How to do multiple “spins” (while maintaining the author’s voice)
• The variances between passive, static, and active voice; when and how to convert; and when to not
• The variances between and basic principles of line and copy editing
• How to build a nonfiction proposal and query letter and research a submission list
• The variances between plot and character driven novels
• PMA+A
• The elements of fiction writing
• The parameters of fiction A&Rs
• How to map a plot w/characters
• Meet-in-the-Middle
• How to ghostwrite supplemental scenes while maintaining the author’s voice
• How to ghostwrite full novels while maintaining the author’s story, characters, vision, premise, theme, intent and “tells”
• The variances between “show” and “tell”; when and how to convert; and when to not
• How to create a compelling submission synopsis and query letter and research a submission list
• How to create a personal resume and credit list while maintaining client confidentiality
• How to set reasonable fees, bid projects, and write equitable contracts
• How to assess clients and control the initial contact to land the gig
• How to establish and maintain authority and avoid or handle problems as they arise

This is just a bare-bones list, of course. There’s a lot more beneath every one of those points. And there’s only one way to acquire all of the above in one place: in the Ghostwriter Training, or Secrets of Making $$ as a Writer, or whatever-I-finally-end-up-calling-it class.

It’s a single semester, it’s a lot of intense work, it’s extremely hands-on, and it’s serious fun. What you’ll learn will affect the way you write, the way you read, and the way to view your family, your friends, and the people you meet on the street. Classes are very, very small, so Register Now for the Winter/Spring semester as 2009 Classes