Monday Madness/Tardy Tuesday

June 30, 2009 at 7:56 pm (Monday Madness, Tardy Tuesday)
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At the RT conference, I went to one presentation where a charming southern-belle-of-a-writer ended her presentation with pulling out an empty suitcase and laying it open on the floor.  Then she grabbed a large manila envelope—full to busting—and removed a single sheet of paper.

 

The writer asked, “When should a writer give up?  When they receive one rejection letter?”

 

She dropped a single rejected letter from that envelope into the suitcase and asked, “Two?”

 

Two more went into the suitcase.

 

“Ten?  Twelve?”

 

An even dozen floated down like feathers.

 

“How about fifty?  A hundred?  Two hundred?”

 

By the time she was finished, over 500 rejection letters littered the floor.

 

She is now a multi-published novelist with deals for at least three more books and rumors of a Lifetime TV series based off of one of her series.

 

Think we can learn something from this woman?

 

Oh, yeah.

 

 

 

Handling Rejection Panel

 

  • Rejection comes all throughout a writer’s career, even once you’re published, even if you’re in the middle of a series.

 

  • Rejection can be a friend—you have to wade through the No’s to get to the Yes’s.

 

  • Don’t give time or energy to rejections.  File it away and keep looking for new markets.

 

  • If you see a trend in your rejection letters, look at what they’re saying and review your work.  Ex: if editors keep telling you your main character is unlikable, then look back through your manuscript for places where he/she might be floundering in the characterization-pool.

 

  • Editors come and go between publishing houses, and have very LONG memories.  If they rejected you once, don’t send the same manuscript to them.

 

  • There are three different types of rejections:
    • Doesn’t fit their market; not what that editor/agent likes to read.  Might not be the right time (ex: vampire fiction popularity ebbs and flows)
    • Suggested changes to your characters (not sassy enough, someone should have amnesia, etc).  May be an invitation to resubmit, either that story or a different one (because they might not have been able to sell the one you sent them, but liked your voice enough to want to see something else from you).
    • “Just not working.”  After a repeated stream of these, it might be time to either shelve the book for now, or have a professional editor look at it.

 

  • You must always be willing to make suggested changes to your work.

 

  • Being professional counts in your favor.  Keep in mind that both writing and publishing are businesses.

 

  • As soon as you finish a project and start sending it out, begin working on a new story.  Remember—you’re only as good as your last sell-through.

 

  • Form rejection letters might mean your first page isn’t hooking enough.

 

  • Mention in query letters that this is a resubmission if resending to someone you queried before who suggested revisions.  (If they send you a business card back in your SASE, staple it to the query letter when resubmitting.)

 

  • Send Thank You’s to the editors who take the time to send you a personalized rejection letter.  Add this function to your submission tracking tool.

 

  • Mention, “It was a pleasure to meet you at _____.”  Then, include their business card to prove that you did actually meet them.  (Obviously doesn’t work well for e-queries, so remind that agent/editor of where you were when you spoke to them, and perhaps mention a non-pitching aspect of the conversation—if you bonded over a favorite book or movie, for example.)

 

  • Mention if you’ve won a contest (ONLY if you won) in the query.

 

  • Some editors from larger houses will search small presses and epublishers for emerging authors with great voices.

 

  • Always keep copies of your original versions.  You never know when someone wants to see it.

 

  • If you’ve completely rewritten your manuscript since your first round of submissions and want to resubmit to the same agent/publishing house, change the title of the novel and resubmit.

 

 

 Here are some links to websites listing alternate ways  to view and use your rejection letters:

 

 

http://www.ehow.com/how_2138241_use-rejection-letters.html?ref=fuel&utm_source=yahoo&utm_medium=ssp&utm_campaign=yssp_art

A nice “this is what you do now” list for garnering gems from rejection letters.

 

 

http://www.right-writing.com/published-rejection.html

The rejection process from an editor’s point of view.

 

 

http://www.myamericanartist.com/2008/07/putting-a-posit.html

The rejection process from the point of view of artists.

 

 

http://www.prweb.com/releases/2005/09/prweb290039.htm

This one just makes me laugh!

 

 

 

Hope this helps ease the sting of rejection a bit.

 

 

Happy Writing!

Lori

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WiP Wednesday

June 24, 2009 at 6:38 pm (Work in Progress Wednesday)
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Sometimes, things happen that just completely make my day:

 

 

Dear Lori,

Thank you for sending me such an excellent story [sic…Ruby Slippers]. I would love to hold onto this for final cuts in the Anthology, to be made over the Summer. At this time I might also request some edits, if they are necessary. If this is acceptable to you please let me know.

 

As an aside, I wanted to tell you I thought your characters were beautifully written, in particular the relationship between Scarecrow and Dorothy, it shows a sensitivity rarely seen in horror fiction. Brilliant.

 

Again, thank you for sending me this story. It was a pleasure to read.

 

 Squee!!!!!

 

 

The editor for this anthology is a well-published horror writer in his own right, so reading this completely made my day.  The story was so much fun to write, and even freaked me out at points, that hearing this from another author is just such a major ego boost.  And knowing that someone enjoyed it just reinforced Why I Do What I Do.

 

 

:)

 

I’ve made more progress on Bite Me, including a decision to shoot Julian.  Hey, I wouldn’t be me without someone ending up bleeding, right?

 

But the comedy still comes:

 

 

            He pointed at the deceased rodent.  Julian narrowed his eyes, not certain he wasn’t hallucinating.  The rotting gray fur seemed to move, knitting back over the exposed bone and muscle.  Like watching one of those reverse-action videos, the squirrel went from asphalt-pizza to alive…and very, very pissed off.  It shrieked and launched itself off the desk.  Varley covered his face and ducked, but not quickly enough.  The zombie-squirrel clawed and bit and screamed as loud as the wizard fighting it off.

            Julian took a step backwards.  He didn’t want any part of this.

            Talbot seemed to feel the same as he also retreated several steps.

            He heard a pop beside him.  A ferret crouched where Brennan had stood.  The little white rodent ran up Varley’s leg and attacked the squirrel.  The reanimated rodent fought back.  All Julian could make out were flashes of fur and teeth and specks of red, which he suspected belonged to the screeching wizard.

            With a final howl, the zombie-rodent bit Varley one last time—on his posterior—then shot itself out the window.

            Julian watched as squirrel landed on the pavement several stories down and lay still on the sidewalk.  A pigeon bobbled over and started pecking at it. 

            The zombie-squirrel revived and bit the bird.

            Julian turned around to face roommates apparently stunned as much as he.  The sleeves of Fletcher’s shirt were shredded into green and brown ribbons.  A thin river of red ran down his raw arms and a several scratches marred his face.

            Brennan was the first to break the silence.  “In the immortal words of famous author Maya Whatthefuck, what the fuck?”

 

 

 

I may have picked up a new freelancing client, too.  But more details on that once things get finalized.

 

 

Hope you’re all having a great, productive week.

 

 

Happy Writing!

Lori

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Monday Madness

June 22, 2009 at 9:32 pm (Monday Madness)
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So, apparently this weekend saw my unbirthday celebration occur–without my prior knowledge.  In the mail, I received two different birthday cards with gift certificates in them, and then when I arrived at work, there was an email from an acquaintance of mine, wishing me many happy returns of the day.

 

 

Which is all fine and good…until it’s mentioned by birthday was back in April.

 

 

Uhh…

 

 

In other news, I took my dad out for a fun Father’s Day–ice cream at Coldstone’s (and if you’ve never been to one, I highly recommend you remedy that ASAP), a stroll through a bookstore (because we’re both hopeless bibliophiles), and then to see the new Stark Trek movie.

 

 

 

Now, the only Trek I really ever got into was Voyager, and I’ve enjoyed the handful of Next Generation that I’ve seen when my dad used to watch them when I was a kid.  But the new movie?

 

 

 

OhMyGodItWasFrickinAmazing!!!!!  Action, great characterizations, humor, awesome special effects…WOW.  Just WOW.   There were no slow parts at all, even when the characters were just speaking/arguing with each other.  There’s a lot writers can learn from this movie about how to keep a plot moving forward, how to keep upping the stakes for your protagonists, how to write a villain who is believable and not over-the-top, and how to successfully utilize a romantic subplot without forcing it down an audiences’ throat or allowing it to take the spotlight over the real plot. 

 

 

 

Anywho, here’s today’s post, all about staying inspired.

 

 

Staying Inspired with Tracy Garrett and Diana Groe

  • Find people you trust to be your critique group. 

 

  • Deadlines are good motivators, even if they’re only personal ones.  Set yourself reasonable goals, and work to meet them.

 

  • You should be able to complete at least the first draft of a book a year.
  • Art and travel are good inspiration for your stories and characters.  Music too, like making a soundtrack for your characters. 

 

  • Read.  Helps to refill the well of words and ideas in your head.

 

  • Take time for yourself.  Take a walk, go out with friends, take a day trip.  Inspiration can be found all around you, but take care not to use these moments as excuses not to write.

 

  • Give yourself rewards to motivate yourself through difficult scenes or to finish a certain number of pages or words in a set time period.  Even if it’s junk you’ll never use, you’re still getting in the habit of writing.

 

  • The Muse should not be an excuse for not writing.  If it won’t work for you, Make It Work.

 

  • Writing is like a muscle—if you don’t use it, you’ll loose it.  You must do it everyday.

 

  • For times when you’re absolutely stumped:
    • Keep a notebook by your bed and every morning, write three pages before you begin your day.  Doesn’t need to be book-related, just stream of consciousness stuff.  Get the clutter out.
    • Random creativity—grab a random thought and write 2-3 paragraphs on it just to get the randomness out of your brain and help you focus.
    • Write a letter to your characters when they’re not cooperating.
    • Write only dialogue for a timed period—no tags, just back-and-forth just to get into the characters’ heads.

 

  • This is the only profession where it’s okay to hear voices.

 

  • Just like you can’t not go to work because you don’t feel like it, you can’t not write just because you don’t feel like it.

 

  • When multiple stories bombard your brain, write notes about your new idea, save it in a file, then go back and finish the current thing you’re working on.  This will prevent you from having 25 incomplete works and nothing to submit.

 

  • Revel in the spark of creativity and drive within you.

 

  • Don’t do email, blogging, social networking, research, etc. during your writing time.  Set separate time aside for these, and other distracting things.  Writing time = writing!  Likewise, set time limits on the amount of time you do these other things—ex: only 30 minutes on email, one hour on blogging, etc.  Do not let these things detract from your core writing time, even though they are important for building your platform and getting your name known.

 

  • Readers inspire writers.  Authors really do love hearing from their fans, ditto from hearing from aspiring writers.  “An author’s applause is silent.”

 

 

 

 

And here are some websites to jump start your creative processes:

 

 

http://www.writerswrite.com/journal/mar98/banks.htm

An article about getting ideas for articles, which may then spark fictional slants you can work into novels and short stories.

 

 

http://www.wikihow.com/Category:Ideas-and-Inspiration

There’s a couple interesting articles about “Get Inspired” further down the page, as well as some other useful articles about other aspects of writing.

 

 

 

http://www.thewriterssite.com/direct_pages/inspiration.html

Some GREAT inspiration-joggers on this site, plus tips to overcome writers block.

 

 

 

For me personally, I have certain playlists that I’ll listen to that will put me in certain moods.  For the Cuhulaiin Chronicles, anything celtic-y.  For Bite Me (the urban fantasy), rock music (LOVE Bon Jovi!!!) does it for me.  Short stories sometimes put me in a showtunes kinda mood.

 

 

What are some inspiration generators that you’ve found?  Go ahead and share in the comments box.

 

 

 

Happy Writing!

Lori

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WiP Wednesday

June 17, 2009 at 3:15 pm (Work in Progress Wednesday)
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So, anyone reading this blog, or those poor souls who even know me in real life, probably know that I “think” on the avant garde side of life.  Most of you also know I’ve been working on a humorous urban fantasy novel.  Let me share with you a bit of the crazy that goes on in my brain that just kinda popped out there when I was working on my latest chapter:

            Sitting there on the table in front of a slightly-charred Fletcher was one of those marshmallow birds the stores sold around Easter time.  It sat on a miniature broomstick.  The yellow bird made a cheeping-squawking sound, bounced in place, then took off.  It flew around the kitchen like a demented chicken, dodging the stove and pantry and walls with hairpin turns.  The thing pecked the back of Brennan’s head, then swerved out of the way before any of them could catch it.  It dove toward the ground and pulled up at the last minute before it became a marshmallow pancake.

            “I’d like to see those capitalist cereal companies come up with a better toy than that!” Fletcher cheered.

Yeah, it’s official.  I need professional psychiatric help.

 

In other news, I’ve started shopping the Dead Men novella.  I got a hit back from the synopsis and sample chapters I’d sent, asking for the full novella.  Thrilled, I promptly responded with the manuscript attached and a brief note of thanks.

Apparently, I addressed it to “DEAD Ms. XXX,”

 

Nice, right?

 

At least the editor had a sense of humor about it when she mentioned it in her confirmation email.  So I did the only thing I could in that situation and responded with, “My humblest apologies for addressing you as a zombie.  I assure you it will never happen again.  Please enjoy Dead Men in a non-dead manner.”

 

The Impotence of Spell-Check, people.
http://www.youtube.com/watch?v=p_rwB5_3PQc

 

Anywho, I made my self-imposed monthly deadline of submitting work to at least three places–I actually subbed to 15 places thus far (different pieces, btw).  One of those included an awesome agent, who although she didn’t think she could sell Morretain as a YA (because of the too-young age of the MC), she wanted to see the next book in the series (where the MCs are 19 and 11 years old).  Here’s hoping!

 

Question for anyone reading the blog–I’ve thus-far tried to keep most of my posts related to the business and practice of writing.  And I’m totally okay keeping it that way, but would anyone like the occasional update from my “real life?”  No posts about what I had for breakfast or how I feel about sitting in gridlock traffic or how cute my cat is (even though he’s frickin’ adorable!).  But if something interesting comes up, like I take a fun day trip, or read a great book, or something really unusual happens in my life, would anyone be interested in reading about it?

 

If not, no worries!  It’s certainly not like I live the celebrity-lifestyle!  :)   I just wanted to get some feedback on your opinions.

 

Please and Thank you!

 

Happy Writing!
Lori

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Monday Madness

June 17, 2009 at 3:57 am (Monday Madness, Tardy Tuesday)
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And now for some info about the end result of all that editing and drafting—the query and synopsis process:

 

 

 

Submitting with Jade Lee, Debra Parmley, and Bobbi Smith

 

  • The query and synopsis directly represent your book. 

 

  • Not everything can, or should, be included in your query and synopsis.  Choose the proper points to represent your book. 
    • The fact that your characters are trapped by a fire en route to the villain’s lair, but the comment that the main character’s favorite color is blue is not.

 

  • Have to decide how much time to spend on a “No” or a “Maybe” in a response letter.  No means No, so move on.  Don’t spend time or energy on the No rejections and keep submitting.  “Maybes” mean there’s a chance the editor might look at the work again (or another book) after some editing.

 

  • Attitude is everything, so you have to remain positive, even in the face of rejection.  This applies to meeting agents at conferences, communicating via email, and on forums and social networking sites like Twitter and Facebook.

 

 

  • Target marketing—do your research and find the correct submission avenues.  You waste your time and money submitting the wrong way (i.e., not following the proper submission guidelines) and submitting to the wrong agencies/publishers. 
    • I can guarantee you that publishing houses looking for cookbooks are not interested in your 50,000 page manifesto about the secret lives of squirrels.

 

  • The minute you “perfect” your manuscript, stop editing it, submit it, and then move on to the next project.  After a set number of rejections (like 25 or so), look at any feedback you may have gotten and see if there are any common threads that may indicate a need to rewrite parts or characters or fill in plot holes, etc.

 

  • Know the career path of an editor:
    • They start as assistants.  Opens mail and sort it, based on how important the assistant thinks it is. 
    • They will scan the query for requested material and/or something interesting. 
    • If the assistant likes what she’s reading, she’ll bump it up in the editor’s pile (because she’ll get a promotion if she does this often enough successfully). 
    • The assistant will talk it up to the editor, and then the editor, if impressed with what the assistant is saying, will request materials.
    • The assistant will usually delete/trash response notes from rejected authors, even if it’s just a thank you note.

 

  • In e-queries, in the body of the email, it’s okay to include the query letter and the first five pages of the manuscript.

 

  • Your Selling synopsis should only be 2-3 pages, double-spaced, and highlight the major events of the novel.  Writing this should also help you figure out what the selling point of your novel is (i.e., its marketability).

 

  • A “larger than life” character is the one who wants something to the ends of the earth, even knowing it might be an unrealistic goal, and still strives towards that goal regardless of others’ advice and/or attempts to thwart her.  This is the character who should be highlighted in your query, synopsis, and elevator/conference pitches.

 

  • In a query, some agents recommend including a reference tying you to other authors, ex: “Readers of Christopher Paoli would enjoy this story.”  Others prefer not to be reminded of your competition, and want you to focus on what makes your work unique.

 

  • Also in the query, include your Hook, Conflict, Character Goals, and Resolution.  Be specific, and avoid vague, cliché phrasing. 

 

  • What’s Hot in the Publishing World Right Now:
    • Clever Mystery Series
    • Coffee Shop Mysteries
    • Amateur Sleuths with a Fresh Hook/Gimmick
    • Thrillers (ancient artifacts, secret societies, world-in-danger)
    • Scary Romantic Suspense/Unique Serial Killers
    • Quirky (like Ya-Ya Sisterhood)
    • Historicals (but not Civil War era)—hard for new authors to break into
    • Paranormal and Fantasy and Urban Fantasy, but not SciFi or straight Horror
    • Japanese Manga
    • YA  (even adults are reading this now)
    • African American fiction—all genres.
    • Inspirational

 

  • Write what you read.  If you keep reading, your writing will get better.

 

  • Double check e-publishers for authenticity before submitting.  Make note that you most likely will not get distribution assistance with these houses.

 

  • It is the author’s job to help publishers figure out what their target market is in their queries.  Some agents say that, after reading the query, if they don’t have five acquisition editors in mind that might be interested in the book, they won’t ask for the full manuscript.
    • Readers “vote” with their dollars, and that’s what the publisher sees.

 

  • You don’t need to please every agent, editor, and publisher.  Just One.  The One that will publish you.

 

 

 

Here are some helpful sites to help you craft effective queries and synopses:

 

 

http://www.poewar.com/how-to-write-a-query-letter/

 

http://www.pammc.com/Synopsis.htm

 

 

http://www.agentquery.com/writer_hq.aspx

 

 

http://www.unnamedwriters.org/synopsis-notes.htm

 

 

http://www.guidetoliteraryagents.com/blog/10+Query+Letter+Tips.aspx

 

 

http://www.kathycarmichael.com/synopsis.handouts.RWA.html

 

 

http://www.nelsonagency.com/faq.html

Scroll down 3/4 of the page for links to a great online pitch and query assistance, including a break down of successful queries per genre.

 

 

 

Good luck and happy writing!

Lori

6 Comments

Monday Madness

June 8, 2009 at 2:31 pm (Monday Madness)
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Research.  As writers, we ALL have to do it, whether writing fantasy or historicals, contemporaries or SciFi.  Saying that a character looked at their wristwatch in a story set in 1620 Wales, or writing that your character’s spaceship is out of fuel, so they can just raise the sails, are some sure fire ways to lose creditability in the eyes of your editor and your readers.

 

A few hours spent researching your imagined world will save you weeks of rewriting later.  Trust me.

 

 Research with Tracy Garrett and Jade Lee

 

  • You need to know EVERYTHING about a time period or place when writing—regardless if it’s a contemporary work or a historical.  However, you won’t use all the facts you discover, but you need to know them in the back of your head and in your notes.

 

  • When researching on the internet, double/triple check your facts for accuracy.

 

  • If you get your facts wrong in a published book, it’s likely readers and experts will contact you to correct you.
    • Many fans of historical fiction will sit with the novel in one hand and an encyclopedia in the other and check all the facts an author mentions, including holidays, clothing, dialogue/slang appropriate to the period, etc.

 

  • Fiction is one thing, but know that when you take license with your research, it needs to be believable. 

 

  • Try reading historical novels set in your time/era/place to see how other authors portray that time/era/place.  Also, authentic costume contests/organizations/reenactment societies are a good place to do research.

 

  • You have to both read and love the genre you’re writing in.

 

  • If you don’t know a certain fact at the time you’re writing, put a placeholder in the scene and keep writing.  If it’s not a vital plot point, fudge it and move on.

 

  • Physics and science do come into play in scifi/fantasy—certain core facts cannot be violated (like gravity).

 

  • Visiting a place you’re writing about is a great way to get accurate facts as well as inspiration from the locals and the setting.  Ask lots of questions.  Visit a local coffee shop and ask the locals about museums, historical centers, ask about good local places to visit, etc.
    • Talking to security personnel can also be a good source, but they may refuse to answer certain questions to prevent security breeches.

 

  • Librarians also have a LOT of knowledge about a ton of different things, and can also help you find additional research sources.

 

  • For anyone who helps with your research, it’s nice to thank them in your acknowledgements.

 

  • Google Images is also a good place to get pictures of the places your writing about.

 

  • Have a curious mind, and know what to do with the ideas/notions/observations that occur around you.

 

  • Some colleges publish historical papers and dissertations right on their websites.  This also goes for the Fashion Department, who write about historical fashions, materials, styles, shoes, etc.

 

  • Make sure the facts you’re researching are integral for the novel, and not just a way to procrastinate actually sitting down and writing.
    • Ex: it’s important to know if buckle shoes existed in 1701, but not if the leather was made from an English cow or French one.

 

  • Period language—sometimes, even if the word existed in the time period, it just may sound/feel too modern.  Webster’s 9th Dictionary and http://www.etymology.com/  are good places to search for word origins and when the word was first recorded in use. 
    • With accents and dialects, mention the character has a thick accent and maybe use ONE word per sentence to establish that.  Or use one accented word consistently, like “dinna” or “donna” or “Hermano,” or “Si.”  Avoid full paragraphs written in a foreign language.

 

  • Remember: the more work a reader has to do to understand what your characters are talking about, the more distant they’ll be from the story and less like to be engaged.

 

  • Chambers of Commerce can help with research, too—tourism & business brochures, housing info, etc.  Also historians or history majors.

  

 Here’s a list of helpful sites I’ve found when researching facts for my novels and short stories:

 

Society for Creative Anachronism, Inc.
http://www.sca.org/

 

The Best of British – The American’s guide to speaking British
http://www.effingpot.com/

 

Fifties Web – Everything you ever needed to know about the 1950s in the USA
http://www.fiftiesweb.com/

 

Seventh Sanctum – Not only some great name generators, but concept springboards for all types of fiction
http://www.seventhsanctum.com/

 

Blue Book of Grammar
http://www.grammarbook.com/

 
Common Errors in English
http://www.wsu.edu/~brians/errors/index.html

 

Guide for Postal Addresses
http://www.columbiaedu/kermit/postal.html

 

Grammar Bytes
http://www.chompchomp.com

 

A great online dictionary and thesaurus
http://www.thefreedictionary.com/

 
Preditors & Editors – a MUST have in all writer’s Favorites menu
http://www.anotherealm.com/prededitors/

  

A great place to debunk false facts and get inspired for your stories
http://www.snopes.com/

 
U.S. Copyright Office
http://www.copyright.gov/

 

 

 Any sites you guys use so much you’ve got the web address memorized?  Go ahead and share!

  

Happy Writing!

Lori

5 Comments

Flamethrower Friday

June 5, 2009 at 8:44 pm (Flamethrower Friday)
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Woot!  Got a post up on the day it’s supposed to be up!

 

Anywho, I mentioned on Wednesday that today’s topic would be if it’s possible to learn to be a writer or not.

 

I’ve heard lots of arguments for both camps.

 

Pro says that if an aspiring author works as hard as they possibly can to improve their craft, takes writing classes (or even gets an MFA), goes to conferences, gets personally tutored by published authors, etc., then yes, it is possible for that person to become a writer.

 

Con says that being a writer is a talent–a gift–that not just anyone can pick up.  It’s voice–how an author puts words on the page and crafts worlds and plots and characters with finesse and an inherent pulse that just shows the writer how to do it.

 

I used to be in the pro camp.  That if a person did everything they could to improve their skills and technique, learn about the industry, and gracefully accept lessons from writing critiques, then why couldn’t that individual learn to be a writer?  I mean, all writers start of knowing nothing more than a love of the written word, and all of us have to learn the basics before we can craft anything remotely resembling a great story.

 

But the more I’ve learned about writing in the past few years, the more I’m starting to think otherwise.

 

Speaking with a friend of mine on Wednesday, she said, “I think anyone can learn to be ‘a writer.   You can learn to write.   Will you be a bestseller?  No. But not every violinist is going to be Perlman.”

 

Just like every child who colors on their parents’ walls won’t be the next Da Vinci, not everyone who puts pen to paper will be an author.  Another writer friend of mine said that thinking anyone can be a writer degrades what authors are–that the talent is internal; it exists within us as an art form and cannot be learned or bought or faked.

 

I can see both sides to the argument, but recently have been leaning towards the con camp.    Here’s why:

 

There are several writers I’ve been following/critiquing for a while now (a year, two years, and some even longer).  There are several I remember reading/critting when they were brand new to the writing world.  Their work was rough, their technique a little shaky, and lots of plot holes or unrealistic characterizations (just as mine was–and sometimes continues to be). 

 

But here’s the difference as I see it:

 

Authors are the ones that started off rough, but took the advice given and not only applied it to their current chapter/short story, but continued using those lessons in everything they wrote.  They were the ones that tapped into their inner voice and talent by using those new lessons to go from good to fantastic.  Comparing work from three years ago to today, you almost wouldn’t know it’s the same author.

 

But some writers I’ve followed for the same length of time don’t show that growth.  One I was personally acquainted with kept working on the same story for years, never internalizing any of the repeated comments given on their critiques.  When they submitted their work, they got the exact same comments my writers group provided, but still didn’t understand why it was unpublishable.

 

Was this individual lazy?  No.  They worked just as hard–or maybe even harder–than some other writers I know.

 

It was the talent.  The internal fire that helps us seen worlds, and plots, and characters, and language.  The heartbeat that takes us beyond the superficial and beyond the structural work that anyone can do, and make it cohesive.  Make it flow.  Make it good.

 

So here’s my final take on the subject.  Yes, anyone can learn to write, and be a writer.  But not everyone can be an author.

 

 

What do you guys think about the debate?  Pros?  Cons?  Happily enjoying the middle ground?

 

 

Have a great weekend folks.  Me, I’ve got crits to work through!

 

 

Happy Writing!
Lori

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Work in Progress Wednesday

June 4, 2009 at 1:18 pm (Work in Progress Wednesday)
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Some updates for this week, though not as much writing as I wanted to get done.

 

  • Nearly finished working on Ruby Slippers.  I still have a few more crits left to read through, but I think most of the weak parts have been fixed.  I’m at about 11,500 words.  The website for the anthology asks for 10,000 words, but also says they’ll look at something that’s 11,000 if it’s really good.  If I can find a place to kill 500 words, here’s hoping it’s good enough to get their attention!  (I might have to kill the flesh-and-bone-eating slugs in the scarecrow scene to do it, though.  Sadness.)

 

  • Work on my vampire-werewolf project (called Bite Me) continues.  I really do love these stupid boys.  Thanks to the folks on CC, I bumped up the first stalker scene (also the chapter we first meet Julian).  Now chapter 1 is divided into two, and the Julian-centric chapter is closer to the front.  I also added an additional stalker scene to the first time the characters go to the Strip Mine.  I definitely think it works much better this way!

 

  • One promise I made to myself as a writer is to submit something, somewhere, three times a month.  I usually do this around the first week, and have been doing this for over two years.  It’s worked out really well because, let’s face it, if you’re not submitting anyplace, you’ll never be published.

 

  • I’ve been helping a friend of mine go through the submissions pile for an online lit journal she runs.  Can I tell you how much I’ve learned from this process?! 

 

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    • First off: query letters DO matter.  I was blown away by the number of letters that addressed them to “Sir/Madame” or “Editor” or “To Whom it May Concern.”  Umm, her name is right above the email address on her submissions page.  It’s beyond me why people don’t take the 2.1 seconds to copy and paste her name into their queries. 

 

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    • Second thing, I’ve learned that you can kinda almost tell by the query letter whether the writing is going to be any good.  If there are spelling errors, no grammar or punctuation, or even the (apparently frequent) beg-a-thon going on in the letter, there’s a 90% chance the story is not going to be publishable. 

 

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    • Third thing I’ve learned is that an MFA does NOT mean you can write.

 

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    • Fourth, what you’ve heard it true: if you can’t impress the editor within the first three pages, you’re going to the slush pile.  I can’t tell you how many submissions started off with the main character, not doing anything, and just staring off into space as they contemplated the state of their pity-party lives.  When you’re told to start your story off with action or tension, there’s a reason for it.  It could be the difference between getting published or having to trunk everything you’ve worked so hard on.

 

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    • Fifth and final learning: the business really is subjective.  There were some stories I read where, although the writing was good and it had elements of plot and characterization, nothing really jumped out at me and said, “Publish me! Publish me!”  It kinda made me feel better, seeing the other side of the submissions process with the eyes of the gatekeeper.

 

So that’s my writing week in a nutshell.  And I think I already have my Friday Flamethrower topic in mind: can anyone learn to be a writer?

 

Any thoughts on the subject before I make a rant about it?

 

 

 

Happy Writing!
Lori

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Monday Madness–a day late

June 2, 2009 at 2:15 pm (Monday Madness, Tardy Tuesday)
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You guys must be so sick of my “why I’m tardy” excuses by now.  But…here’s another one.

 

25 critiques….

 

Over 15,000 words…

 

Oh. 

My. 

God.

 

People need to stop writing and let me catch up!!!!!!

 

Anywho, here’s this week’s Tips and Tricks article: a bunch of facts you probably didn’t know about the publishing industry.

 

 

Getting Started in Publishing

  • You’re only as good as your last sell-through.  Many of today’s publishers look to publish two books per year from newbie authors.

 

 

  • Royalties usually only come once a year.  On a 50,000 first print, royalties usually only come to 6-8% of total sales, though some contracts will adjust to a higher royalty rate based on a higher number of predicted sales.

 

 

  • Never sign a contract without getting a share of the royalties.

 

 

  • Publishing houses typically pay their printers/staff $4.00 per page for editing, $5,000 for cover art/photography, $5.00 per page for typesetting, $3,000 for embossing the title on the cover, $0.75 to produce a book, $3,000 promo covers, $5.05 for shipping, and $0.55 per book for warehouse storage.  And don’t forget about marketing costs, if there’s any involved (never guaranteed).

 

 

  • Authors have little to no control over their covers, titles, or book blurb.  Authors can correct inaccuracies, but not much else.  These blurb bios come directly from the synopsis (though some acquisition editors only give their in-house writers blurb writers their own summary of the book).  Authors do write their own bios and must send a picture of themselves for the back flap.

 

  • The marketing team decides the final title of a book, as well as the final word on publishing it.  No matter how much an editor loves a book, if the marketing team doesn’t feel they can sell it, then it probably will not be published.

 

 

  • Authors need to be consistent with what you give your readers/agent.  If you start with YA, establish yourself in the YA market before branching out.  You brand your writing and your name.  (This can be where having a pseudonym helps, since you can create two distinct brands for yourself and your writing.)

 

 

  • Some publishers only want one type of book (ex: historicals).  So, if an author wants to break out of their brand, they may need to (and be encouraged to) seek a new publisher.

 

 

  • If you don’t have an agent to help you understand a contract, then get a literary lawyer.  NEVER sign a contract if you don’t understand what the terms are.
    • If you manage to land an interested publisher and want a literary agent to help you through the process, feel free to query agents with a letter that tells them you have a contract from a publishing house and are seeking representation through the process.

 

  • 40,000 copies is a typical first book run, which equals approx. $0.46 per book for royalties.

 

 

  • NY Times Bestseller Lists are based on the number of sales reported from their “Nielsen” rated bookstores.

 

 

  • Most contracts are for seven years—paperback rights, foreign rights, and ebook rights.  Audiobooks are sold separately and are listed under a different contract.
    • Some publishing contracts require that the author’s next book be given to the publisher as soon as it’s finished, meaning you cannot query another publisher if you were unhappy with the way the first publisher handled your print run.  One way to get out of this is to write two books at the same time.  Give the first one to the existing publisher, and then query other houses with the second book.
    • Make sure you understand what rights you’re signing over in a contract.  Some houses have even asked for merchandise rights and claim future use rights of your characters, regardless if you are still publishing with that house.
    • If you are given a contract you are uncomfortable with, you can ask your editor about negotiating a different contract with different terms.  Sometimes it works, sometimes not.  In the end, you have to make the best decision for your work, and if that involves turning down the contract, so be it.

 

 

 

I had to do that, once—turn down a contract with a publishing house because they wouldn’t negotiate the rights they wanted.  Their terms were for all future merchandising rights, and all rights to my characters forever.  That, um, seemed a little steep to me.  It absolutely broke my heart to do so (since it was the first book contract I’d ever been offered), but since they wouldn’t negotiate, I declined the contract.

 

 

Here are some handy links with more little-known information about the publishing industry as well as some publishing statistics on book sales:

 

 

http://www.indie-publishing-revolution.com/realities-of-the-publishing-industry.html

 

 

http://www.parapublishing.com/sites/para/resources/statistics.cfm

 

 

http://www.ehow.com/about_4740870_publishing-facts.html

 

 

 

 

But, we do need to keep in mind that the publishing industry is changing way faster than we can keep up with it.  It’s a living entity.  And it’s evolving.  Example: all but one of the Big Seven houses have an electronic book line, opposed to five years ago when the reverse was true.

 

 

Up for discussion: do you think traditional print books will go away in lieu of electronic publishing?  And what about magazines and newspapers?

 

Happy writing!

Lori

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Work in Progress Wednesday

May 27, 2009 at 12:30 pm (Work in Progress Wednesday)
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Holiday Weekend = extra writing time!  YAY!!!!!

So, I was wicked productive this past weekend:

 

Ruby Slippers

I finished the story!  It weighs in at about 11,700 words, which is a bit over the requested length from the publisher, but their website said that they’d still look at slightly longer pieces.  Fingers crossed! 

 

The basic premise is that Dorothy, trapped in Oz after her first adventure there, has become a bitter, jaded strip dancer.  One day Scarecrow shows up and gives Dorothy hope that she can make things right again.  They seek the Time Dragon and will ask him to turn back the clocks of Oz to before Dorothy killed the Witch of the West.  However, Oz is a very different place these days.

 

This story is dark, even for me.    There are themes of rape, child abuse, dismemberment, cannibalism, self-mutilation, addiction, and corpse desecration.

 

And it turns out (SPOLIER ALERT for anyone reading it on CC!!!) that Dorothy’s self-loathing and otehr negative emotions are what changed Oz.  It makes sense in a way to me–if her dreams created the original Oz, then why couldn’t her depression and other negative emotions effect Oz the same way?  Because of her, scarecrows have scalped the munchkins, the ten men are mindless killing machines, and the animals are all cannibals.  In a way, she is Oz.

 

Sweet!

 

Here’s a teaser from the third part:

A flickering movement in the corner of the chamber caught her eye.  It skittered away, scuttling across her own shadow and sliding underneath the door on the far wall. 

Whether it was there to help her or hurt her, she didn’t know.  But that was the only exit to the chamber, and no shadow was going to stop her.

Her hand on the handle, one last voice taunted her.  “You have a sad life.”

Ruby laughed, cold and humorless.  “I don’t deny it.”

 

It may be dark and twisted, but boy, did I have fun writing it!

 

Bite Me

The commedic urban fantasy is going well.  I worry that the main plot line of the novel is introduced a bit late (Chapter 3), but the sub plot lines had to come first.  The main line is that a stalker is after the vegetarian vampire, Julian.  The sub plots are the other characters (Talbot and company) having to find a place to live, getting a job, and starting summer classes (where their paths intersect with Julian’s.

 

Maybe I have to bump up the first stalking scene to chapter two, but the reader hasn’t really met Julian yet (or Nora), so I’m conflicted.  Maybe I’ll just finish the first draft and then see.

 

But here’s a little teaser from this week’s crit submission:

            The club owner looked surprised.  “Where are my manners?  You need drinks.”  He repeated the same complex hand movements that one of the girls had made before. 

            “Well sir, I did drink most of that first thing, and got in a few good swallows of the second.”

            “Ah, but most is not all.  So, by my count, you are practically parched!”

            Julian felt like sighing.  He glared at the annoying lycanthrope.  “You can’t just change how many drinks someone’s had because you don’t like the number.  Reality doesn’t work that way.”

            The wolf shrugged.  “Mine does.”

            “Indeed.” 

 

 

Work on the novella is nearly finished, too.  Just doing some last minute tweaks on one of my cahracters to make him more authentic, and then off to the submissions round we go!

 

Did you guys have a productive weekend, or did the BBQ call your name?

 

Happy Writing!
Lori

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