The 10 Commandments of Successful Authors

As I go through this whole writing journey, I spend a lot of time observing other authors--be it in person or, more likely, on the internet. I want to know what makes one so successful and the other not as much. What makes one likable and another unapproachable. In other words, what separates the good from the great. And so, based on my very unscientific observations, I've come up with my own Ten Commandments. These are the things I've seen successful authors do and the things I strive to emulate.  So here we go...

The Ten Commandments of a Successful Author

1. I will always strive to make the next book better than the last.

This is one that keeps me awake at night sometimes. The desire to make this next book better than the first one, to improve on every new project. We put so much effort into THAT book, you know the one to get the agent and the book deal. It's the best we have to give on a page. Then the dream happens and you're faced with book two and oh, you have a time limit this time, and oh if this one tanks, there may not be another book deal. *breathes into paper bag* The best authors out there manage to do this, even on tight deadlines, even when the check is already in the bank. They keep topping their own work.

2. I will not fear risk.

It's tempting to be safe, to stick to what you know and what you know works. But the best authors don't just put out book after book that follow the same formula. They take risks, they push boundaries, hell, some of them even test out different genre waters. With no risk, there's no challenge. Write the stories you want to write. If some don't work out, that's okay.

3. I will never believe "I'm the sh*t." Well, at least not for an extended period of time.

We've all seen it. The author that hits whatever level and now seems to wear the "I'm the sh*t" tiara. Don't do it. No matter if you top every bestseller list. It's okay when you get a good review or hit a list or write a passage that rocks to think to yourself--yep, I'm kind of rocking it right now. But don't let it go to your head. No one's that awesome. 

4. I shall not wallow in a pool of self-pity and doubt when someone doesn't like me or my writing.

Someone, probably many someones, will absolutely hate your writing. It's inevitable. You can't please everyone. If you let negative feedback get in your head, it will eat away at your confidence like cancer. This goes for rejections too. Feel the sting, eat a piece of chocolate or take a shot of whiskey--whatever you're preference--and move on. 

5. I will never respond to a bad review. 

I said never. You hear? Never. I'm sure most of you saw the brouhaha on Twitter/Facebook/message boards the other day over a writer who lashed out at a reviewer online. At some point in your career, you will want to do this. It's human. You will want to yell, scream, insult, bestow your wrath upon someone who said something bad about your book. 

Don't do it. This is what friends and spouses are for--call them, let it out, cuss. But never lash out publicly or at the reviewer. This will only serve to make you look petty and childish, which will make people not want to deal with you or buy your books. Reviews are for readers, not you. If you can't help reacting, stop reading them. (And remember, the internet is viral. One untoward comment can make the rounds faster than a case of croup at a daycare.)

6. Covet your neighbor's success. A dose of envy does a writer good.

There are all these posts out there about writer envy and jealousy telling you how you shouldn't waste time being envious of other writers and what they have, their level of success, etc.  Yes, that's true. If you spend all your time burning green, you won't get anything else done. BUT, a little bit of this can be helpful. So and so got an agent and you haven't yet? Your crit partner hit the bestseller list but you can't seem to? Feel that envy and USE it. Use it as kindling under your butt and light a fire to keep going, to get what you want, to grab that success too. Envy with motivation can be very productive. Envy with whining and no action is what you need to avoid.

7. "Good enough" will never be good enough.

The best authors don't settle for good enough. If you've sold a bazillion books and you already have a deal for the next and everyone is lining up just for the privilege of sharing your air, it could be tempting to just write something that's "good enough". But the best authors don't. They put as much heart and guts into every book they put out every time.

8. I will not apologize for what I write.

Do not apologize for your passion. There are stigmas against all kinds of genres, not just romance like I talked about last week. But this is your writing, your story, and your blood on the page. Playing down what you write is playing down who you are. I know this one will be tough for me because once my book comes out, people in my life will know exactly what I write. I know some will judge me for it. I won't apologize for it. I'm proud of it.

9. I shall pay it forward.

The best writers give back. No we can't help others all the time. If Stephen King answered every email from a newbie on how to be a writer, he'd never get anything done. But he did write On Writing, which is a way of giving back what he's learned (even though, granted, he did make money writing that book.) So no matter how busy you get, try to find time to help others out. Maybe it's to offer a query crit to someone who hasn't queried before, maybe it's having a blog that gives information that everyone can benefit from, maybe it's volunteering your time at conferences or judging a contest. Whatever it is, find something. Think of those who've helped you in your journey. Don't you want to be one of those people another writer can think of?

10. Don't forget to have fun--you love this, dumbass. (Even when it's hard.)

It's easy to get caught up in the day to day--this chapter is so hard, I  have a saggy middle, why won't these agents answer my queries--rut. But never forget, this is your dream. Enjoy the act of writing. And good Lord, if you do become published, don't spend your time whining about the minutiae. It's okay for authors to tweet if they're struggling with an edit or whatever, but too much of that sounds like a whole bunch of whine. This is what your private group of writer friends are for. That's where you can whine because it CAN be hard sometimes and it can be overwhelming. But it's still a dream job. So many people want this. If you get to be successful at it, be thankful and for heaven's sake, enjoy it! You get to make stuff up for a living and pants are optional.

So those are the ten writing commandments I'm working toward, what are some of yours? Which would you add? And which authors do you think emulate these things?

Creating Strong Female Characters by Sierra Godfrey

 

Welcome again to genre Monday! Today I have the funny and talented Sierra Godfrey who will be sharing posts every 5th Monday of the month on topics related to women's fiction and/or marketing and promotion. Though today her post can definitely be helpful across all genres because none of us want to create a wimpy heroine. Ick.

So over to you Sierra...

Creating Strong Female Characters by Sierra Godfrey

In April, I had a baby boy. I also have a four year old son, which means I’ve become very much outnumbered by males in my house. Sometimes I have to work to understand them, I admit. My four year old is at the stage where he’s exploring and playing with his parts almost nonstop, and my infant son uncannily pees on me at diaper changing time with an arc of urine that boggles the mind in its reach. (In fact, right after I birthed him, he celebrated our post-utero bond by soaking me with pee. Kind of the same way you break a champagne bottle on a newly commissioned boat.)

Anyway, with all that male in my house, I found myself recently pondering strong female characters. Well, to be honest, I’ve always been interested in them. Some of the greats that come to mind:

• Katniss Everdeen from The Hunger Games


• Lisbeth Salander from The Girl With the Dragon Tattoo


• Elizabeth Bennett from Pride and Prejudice


• Claire from the Outlander series by Diana Gabaldon

Because I write women’s fiction, creating a strong female character is of particular interest to me. Strong leading ladies are independent, smart, and plucky. But there are some other key elements to strong female characters:

She’s got it hard
Create sympathy with your character, but don’t overdo it. Put her harm’s way, trot her through hardship, or dump a heap of bad circumstances on her. She’ll come through it swimmingly and without feeling sorry for herself if she’s strong.

She’s relatable
Strong women are also normal ones--and we want to see that we can identify with her. Then when she doesn’t cave under pressure, or she takes high road, it’s particularly satisfying because we know that could be us, too.

She’s witty
Funny ladies are also usually smart ones. We like a sense of humor and a good attitude. There are notable exceptions to this rule--Scarlett O’Hara is one. She’s got a terrible attitude and is super selfish, but she also nails the sympathy vote.

She has great inner conflict
She’s fearless, she’s sure, and she takes action. Great! Strong character, right? Well, no. We want some inner conflict that shows she’s also human, that she struggles with the same doubts that we do, that she works her way through life figuring things out as she does, just like us. But she does these things with grace and with ultimate success. She doesn’t hurt people on the way toward solving her conflict, either. She’s a fighter--and we love her because we know she’ll fight her way to solve her conflict.

The above traits don’t just apply for strong female characters, but serve as a good blueprint for all characters.

What are some of your favorite strong female characters? What are some of the things you've done to make your ladies strong?

Sierra's recommended read for August:

Major Pettigrew's Last Stand by Helen Simonson
In the small village of Edgecombe St. Mary in  the English countryside lives Major Ernest Pettigrew (retired), the  unlikely hero of Helen Simonson’s wondrous debut. Wry, courtly,  opinionated, and completely endearing, the Major leads a quiet life  valuing the proper things that Englishmen have lived by for generations:  honor, duty, decorum, and a properly brewed cup of tea. But then his  brother’s death sparks an unexpected friendship with Mrs. Jasmina Ali,  the Pakistani shopkeeper from the village. Drawn together by their  shared love of literature and the loss of their spouses, the Major and  Mrs. Ali soon find their friendship blossoming into something more. But  village society insists on embracing him as the quintessential local and  regarding her as the permanent foreigner. Can their relationship  survive the risks one takes when pursuing happiness in the face of  culture and tradition?

The character of Mrs. Jasmina Ali is a fantastic example of a strong woman. She has a wonderful dignity, she's resolved, she's smart and funny, and she has great inner conflict.

Sierra  has enjoyed crafting stories for as long as she can remember. She  especially likes stories that feature women who grow from the choices  they face—and get the guy at the end. She's a member of RWA and RWA-WF, the women's fiction special interest  chapter, and lives in the San Francisco Bay Area with her husband, two  little boys, and two annoying cats. She is always working on a story. When she's not writing stories, she works as a freelance technical writer and designer.

Find Sierra at her blog or on Twitter.

Thanks, Sierra! And remember that all of our guest contributors have their own blogs, so if you like what they have to say here, be sure to check them out on their own blogs as well. :)

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    All content copyright of the author. Please ask permission before re-printing or re-posting. Fair use quotations and links do no require prior consent of the author. ©Roni Loren 2009-2011 |Copyright Statement|

Guest Blogging Etiquette: Let's Make a Deal

So if you've been blogging for any amount of time, you've probably had some experience with guest blogging--either inviting people onto your own site or doing a post on someone else's site. It's a great thing to do to cross promote and once you've got a book coming out, it's often a big piece of your marketing. Blog tours are all the rage because the internet is a great place to find readers and build word of mouth.

I get requests on a pretty regular basis both to be a guest on other sites and from people wanting to do a post here. It seems once you get past 500 or so followers, a good number of people want to hang out on your site. :) That's awesome. I love doing guests posts and I certainly love having people stop by here.

However, there is some etiquette that goes along with this process. Some people follow it and others fail miserably. So I figured I would give some quick tips I've gathered from my experience that may help you navigate the guest blogging waters.

If you are going to ask someone to be on your site...

1. Be polite when asking and give them a clear out so you don't put them on the spot. (i.e. if you're too busy, I completely understand.)

2. Give them an ample amount of time to get back to you, but it is best to give them a deadline
Don't say, "Hey, I'd love you to be a guest, can you get me a post by next week?" Give them a few weeks minimum. And you can give them an open-ended--whenever you can--kind of deadline. BUT, be warned--this may result in less success of getting that post. I am an epic failure at saying "yes" to open-ended, can you guest post for me sometime and then I never get to it. (To those of you waiting for a post from me, I'm sorry. I plan to go on a guest blogging marathon after I get done with this draft.)

3. Provide options.
A guest post takes a lot of time. I can whip out a daily post over here in under an hour, but when I know I'm going to be on someone else's site, I feel more pressure to get it perfect, for it to be epic. So, it takes more effort and time. Therefore, if you really want someone on your site, maybe offer to interview them instead of a guest post. This makes it easier for the person to just answer questions and not have to come up with a topic, etc.

4. If you are going to ask for a post (not an interview), provide suggestions for topics you might like to see from them (while also leaving it open for them to choose whatever topic they want.)
It is SO helpful when someone approaches me for a guest post when they say--hey, maybe you could do something on yadda yadda yadda. I may not know what topics they've already covered on their own blog, so this saves me from having to research what's already been covered on that site.

5. Once you get their post and schedule it, email the person on the day (or day before) the post is going to go live.
This a) reminds the person and b) gives them a the chance to do some promotion for you and send people there.

If you want to approach someone to be on their blog...

1. Do your research and know that blog/blogger (at least a little bit).
I have a pet peeve about people emailing me wanting to post here (to promote their book) and I've NEVER had any interaction with them. They don't follow the blog, have never left a comment, have never talked to me on Twitter, etc. They're a complete and total stranger. I feel like they stumbled across my blog, saw I have 1200 followers and said--ooh, ooh, let me hawk my wares here! I love promoting other authors, but my blog isn't here as an advertisement board for anyone who wants to stick a flyer up.

2. Offer the blogger a number of options--an interview, guest blog, contest/giveaway.
Show them that you can provide whatever type of post they need. And just like the reverse of the above, an interview is more work for the host blogger, so don't just offer that. It's also a lot of work to ask someone to review your book. That means they have to have time to read it, like your genre, etc. When people email me asking if I can interview them or review their book, I usually respond with--can you do a guest post instead? I just don't have time lately to come up with interview questions specific to you and your book.

3. If you get the go ahead to do the guest blog, make sure you send something with quality content, no typos, and include your bio and pic.
Don't make the blogger have to correct your work.

4. Get the post to the person on time. And do not ask them to send you a reminder. 
If they give you a deadline, keep it. And it's your job to remember when it's due--they are doing you a favor.

5. Promote that post on your own blog when it goes live. This helps you and the host blogger.

6. Always offer to reciprocate. If they let you on their blog, let them know they are welcome to stop by yours.

Overall: The key to remember with all of this is to know who is holding the power in the exchange (can you tell I write BDSM romance?) The person who benefits more from what the other person has to offer has to go out of their way to make it as convenient as possible for the other.

For instance, if I want my book reviewed on some big book blogger site--the power is in their hands. I'm the one who has to go out of my way. But if a brand new author who just self-published wants me to do a feature on their book here where I have a big following of potential readers, then I'm the one holding more cards. Sounds kind of snotty, but it is what it is. You'll be on both sides of the equation at some point.

So what do you think? Have you had any negative guest blogging experiences? How do you like to be approached for a guest blog?

Query Writing: How Brief is Brief?

More Briefs by Alberto Alonso G

I've never been known for brevity. If you read this blog regularly, you know that I almost always break that "keep you blog posts under 500 words" rule. Pfft! Five-hundred words? I laugh in the face of that rule.

However, where the lack of brevity can really kill you is in that query letter. I recently posted about the Reasons Agents Gonged Queries at the writer's conference I attended, and by far, the biggest reason people got gonged is because they went on TOO LONG and tried to include TOO MUCH. The query is not a synopsis. It is a hook and a catchy paragraph to make the agent or publisher want to flip to the manuscript.

In essence, it is a back cover copy or a blurb for your manuscript. Pick up any book you have, that stuff on the back has one purpose--to make you want to buy and read the book. It is a marketing tool. And that's what you need to keep in mind when you query. You are SELLING your book, not explaining every person, plot line, subplot, theme, etc. Pick the things that are most important and hooky in your story and focus on that.

I thought I was pretty decent at this whole query writing thing. Every novel I've queried (even the REALLY bad one) got a good number of full requests. However, when I got my draft of my back cover copy this week, it was glaringly obvious that I could've made my query a lot shorter with a lot more punch. So I'm going to use mine as the example.

The summary section of my original query:
Since her mother’s murder, social worker Brynn LeBreck has dedicated her career to helping women in crisis. But when Brynn’s sister goes missing and is rumored to be at The Ranch, a secretive BDSM retreat for Dallas’ elite, Brynn must tackle her own traumatic past and go undercover as a sexual submissive to find her.  Unfortunately, she can’t get an invitation to the exclusive resort without the help of the one guy she never wanted to share air with again—Reid Jamison, the lawyer who recently defended her mother’s killer and the man who, ten years earlier, opened her heart and shredded her defenses, only to crush her trust when she was most vulnerable.

After a failed marriage and a crippling defeat in the LeBreck case, Reid needs a fresh start.  The first steps—move out of his family’s high-profile practice and construct his client’s appeal. But when he discovers he’ll be sharing an office with the woman he’s never been able to shake from his bones, the one who taught him how to embrace his dominant nature in the first place, the fresh start gains new meaning.  Being near Brynn stirs up the primal desires he hasn’t indulged in years, and he’s not going to let her “I-loathe-you” attitude stand in the way when he finds out she’s in search of a master. Only one man will get the privilege of calling her his, and that man is going to be him. 

The two can't find a future without facing the demons of the past, however, and some of those demons want to make sure Brynn and Reid are never together—even if it means one of them may not make it through their erotic weekend alive. 

See how long that is? It worked for me, but look at the difference between that and what we've come up with for the back cover copy...

CRASH INTO YOU back cover copy:

 

Sometimes the past can bring you to your knees...

Brynn LeBreck has dedicated herself to helping women in crisis, but she never imagined how personal her work would get, or where it would take her. Her younger sister is missing, suspected to be hiding from cops and criminals alike at a highly secretive BDSM retreat—a place where the elite escape to play out their most extreme sexual fantasies. There’s only one way to find her: go undercover as a sexual submissive. Unfortunately, The Ranch is invitation only. And the only Master who can get her in is from the darkest corner of Brynn’s past.

 

Only Brynn knows what attorney Reid Jamison is like once stripped of his conservative suit and tie. Years ago she left herself vulnerable only to have him crush her heart. Now she needs him again. Back on top. And he’s all too willing to engage. But as their primal desires and old wounds are exposed, the sexual games escalate—and so does the danger.  Their hearts aren’t the only things at risk. Someone else is watching, playing by his own rules. And his game could be murder.

Here's what I see as the differences:

1. Significantly shorter

2. Focuses on the two major plot threads
There is a romance between old lovers and there's a murderer out there. (romance and suspense, done.)

3. Backstory, just like in the book, doesn't have to be fleshed out in the query.
No mention of my MC's traumatic past, which is vital to the story, but not necessarily to the summary. No mention of my hero's backstory--his failed marriage, his job troubles, etc. We don't need to know that to want to read the book.

4. The hook is clear
Woman is in danger and has to find her sister, but the only way to do it is to give up control to the only guy who ever broke her heart.

5. Makes you want to read more (hopefully!) 
Neither my query or the cover copy tells you what happens, or who the villain is, or why someone wants someone dead. That's synopsis stuff. The query should leave you with the urge to find out what happens next. It's the appetizer.

QUERY HOMEWORK: So when you start to craft your query, go to the store or your bookshelves and pick out ten or so books in your genre and read the back cover copy. It should be books you've already read so that you can see what was included and WHAT WAS LEFT OUT. Train yourself to recognize what are the most important points in your story and what is vital to include in your query. And focus on hooking, not just explaining.

So what do you think? Do you struggle with brevity like I do? Does my back cover copy do a better job at hooking you than the query? Why or why not? Pick up a few of you favorite books, what are surprised was left out in the back cover copy?


AND A QUICK PSA for an AMAZING opportunity...


Author Ashely March is offering a FULL critique to an aspiring romance author! But you must enter by noon MST today. Go! Hurry! Full crit by a pubbed author people!

Does a Blog Sell Books? Survey Results!

Photo by Jesslee Cuizon

If you missed it, Monday I put up a survey evaluating the question: Does a Blog Sell Books? So many of you answered and I am so excited to share the interesting results. Lots to be learned from what you guys had to say. :)

So here are the results...

1. Do you read erotic romance?


Yes 29%

No, it will never be my thing 39%

No, but willing to give it a try 32%

So here's the part you can't change as a blogger (for the most part). Those 39% who are absolutely not interested in reading my genre are not going to buy my book no matter how much they like my blog or me personally or how much they may get out of my posts. It's not their thing.

However, there's that open-minded 32% of you that could possible be swayed. And I know this is where I actually fall for a lot of genres. For instance, I'm not one to read literary fiction. However, I'm not categorically against it, so if I knew someone who I wanted to support who had written it, I might be tempted to pick it up. And my guess is that for other genres, there would be less of "it will never be my thing" percentage because erotic romance can be a bit more polarizing than other genres. :)

Lesson: You don't HAVE to gear your blog to cater only to those who read your specific genre. In fact, you may be missing out on friends and potential readers who read/write something completely different but who may be open to trying something new.

2. Do you plan to buy my book?

No way 6%

Probably not 32%

Yes definitely 26%

Probably so 37%

I found this interesting. Above, 39% of you said you'd never read erotic romance, but then only 6% said absolutely no way they'd buy my book. Hmm... So perhaps this is because "no way" seems like a harsh answer and you kind people don't want to send me crying in my beer. Or maybe it means that a) you could be convinced or b) you may be willing to buy it for someone else? or c) you may make an exception for some other reason. I'm not sure. Interesting nonetheless.

To you yes definitely's and probably so's, I send you a big cyber hug. Thank you.

Lesson: Even people who like your blog AND read your genre may still need something else to get them to purchase. 37% of you are probably so's, which means there are other factors that will determine if you buy or not. Perhaps you need to make sure you like the blurb, if you have money to spend on it at the time, if reviewers give the book high ratings, etc.

3. If you DON'T plan to buy it, why not?

I don't read the genre. 74%

The story doesn't sound like my thing. 9%

Other 17%

Most of the comments people left on this question talked about how they just don't read the genre or love scenes make them uncomfortable. A few others noted no money to spend on books, too many books to read already, etc. However, there were also some very nice comments saying that though they don't read the genre, they will be more than happy to tweet and share info about my release. :)

Lesson: Even if someone does not plan to buy your book for whatever reason, if they like you or your blog, they still may be willing to support you by helping spread the word to those who may be interested in it. How awesome is that? Bloggy friends are the best.

4. If you DO plan to buy it, why?

I like you or your blog and want to help support your career  71%

Other 16%

I like the story blurb 7%

I'm already an erotic romance reader 6%

Aww, you guys got me all warm and toasty on this one. I feel like Sally Field--they like me! *group hug* This is a whopping statistic, peeps, and makes a huge case for blogging/social networking. This thing is about connecting with other people and this is why those authors who tweet every other freaking tweet "Check out my book!" "Buy my book!" "Ten percent off today!" don't get it. Most of you are saying you're not going out to buy my book because you've been exposed to the story and it's awesome (though, I hope it is), it's because you've connected with me on some level and want to be supportive. That's an amazing, beautiful thing.

Lesson: It's not about the book. That's only part of it. It's about who you are. (I go into detail about this in my post on Author Brand over at Sierra's joint if you want to hear me rant on this some more.) :)

Here are some of the anonymous comments left on the question above:

• Can I explain even if I answered I plan to buy your book? I've only been following your blog for about a year, but during that time I've been entertained, I've been informed, and I've learned. I figure if your blog is this good, you book should be great. I don't read a lot of erotica, but like good writing wherever I can find it. I plan to buy Nathan Bransford's book this summer when it's released for the same reason and Authoress' dystopian when she finally reveals her true name and title. Like your blog, those are two that have made me a better writer and I think the least I can do is help support their careers. Maybe someday, someone will think the same thing about me.
• I totally love ya and you gave me a five page critique.
• You are nice and crazy cool! You engage in discussion and don't just hawk your wares. Of course I'm buying your book!
• You serve me with your blog. The least I can do is part with a few dollars to repay you for what I have gained for free
• I like authors who "give back" to the community in some way. I am willing to try out the book.
• I want to see what kind of filthy mind I'm hanging around with. ;)
• I've wanted to know more of what's happening from the excerpts you've posted.
• As a writer I like to show support for other writers. It's a two way street-- I have found. I usually make a good review and if I don't like it I will tell the author in private what I found about it that I didn't like.
• I also help in the hopes that I might find support is reciprocal. I know my work is good and of course I know that some people won't vare for it just because of the genre. I read all types of books. Even more so now that I am connecting with other writers.
• Because I love your blog/writing advice - and - you came right out and asked - so yes. I will.
• Actually there were a few answers that applied to me. I read erotic romance, but you're partly responsible for that. I like your story blurb. And because I want to support your career. Would I have bought it if it weren't for the blur? Probably not. I never buy books I'm not interested in
• I tend to buy the books of people who I interact with on a regular basis online, or even those whose blogs I read, because I ALWAYS buy the books of people who I am friends with in person and the online world just feels like an extension of that. I believe in supporting good people.
• I do like you and your blog and your helpful personality goes a long way in gaining my readership.
• To support your career although I don't read erotic romance. I would just skip over the sex.

4. Have you ever bought a book solely because you liked the author, their blog, or whatever they had to say on Twitter?

Yes 74%

No 26%

Final  lesson... 


Yes, write a fantastic book. That's your best marketing tool. But when it comes to your online presence and social networking--it's all about being genuine and helpful and connecting with others. And that, my friends, is 100% free.


Thanks to everyone who participated in the survey! I heart you guys. :)


So do any of these results surprise you? What do you take away from these results? 

Oh no! Melodrama! -- Avoiding the Reader Eye Roll

Photo by Joe Green

There are a lot of fine lines in writing: creating a sense of place v. bogging down reader with description, creating a new spin on an old idea v. being derivative, creating characters with depth v. backstory overload, etc. Another one that I've had trouble defining the line between is drama and melodrama.

Our stories are supposed to have conflict and drama. What's the point otherwise? However, when that story inches into melodrama we risk losing our reader. Instead of connecting with the characters and feeling part of the story, our readers start rolling their eyes. So how can we tell the difference?

This is especially difficult to determine if we're writing a teen story. I'm not going to stereotype, but looking back at myself as a teen, I was quite melodramatic. My high school was my whole world and every event and emotion was amplified. When my crush didn't like me, it was cause for tears and incessant listening of depressing and sappy music. When a good friend gave me the silent treatment for a week, I thought we would never be able to overcome such a terrible turn of events. So how do we make sure our characters and plot are authentic and believable and interesting without sending it into the realm the soap opera?

First my quick definition...

Melodrama is when emotions, plot, or actions are too over the top. My litmus test is if a scene that is intended to be emotional/heartfelt/painful would tempt readers to groan, roll their eyes, or laugh, then I've crossed over the line.

I'll use Twilight as an example since most of you have probably read it or seen the movie. In the scene at the hospital in the first movie, Edward tells Bella she needs to stay away from him for her own safety. Bella sits up, panicked, stuttering "No, you can't leave me! We can't be apart." The line in and of itself is fine, but this scene made me giggle in the theatre. Also, in the book New Moon, Bella's reaction to Edward leaving is um, intense, to say the least. Months of depression and becoming an adrenaline junkie seem a tad melodramatic to me. (Disclaimer: I have admitted to enjoying Twilight, so please no hate comments from devoted fans.)

So what can we do to avoid crossing this line?

• Beware the exclamation point! It's rarely needed and is usually a beacon of melodrama!

 

 

• Watch words like screamed, shouted, sobbed, cried, etc. Use them sparingly.

• Put yourself inside your characters. If A, B, or C happened to you, how would you react? Of course, your character hasn't a different backstory than you, but this will give you a start to find an authentic reaction. I mean, really, how many of us are actually swooning or drooling when we see a hot guy?

• Don't have your characters act contrived just to fit a plot need. They're actions must be based on realistic/logical motivations that you've developed in the story. i.e. If a character is mild-mannered throughout, but you need an emotional scene so all of a sudden she flies off the handle with no logical motivation to do so or previous behavior to back it up.

• No TSTL (too stupid to live) characters. i.e. running up that stairs when a serial killer breaks into the house, heroine believing something the bad guy tells her when she KNOWS he's the bad guy. Your readers won't buy it.

• Avoid stereotyped characters--the wise old man/woman, the evil ex-wife/other woman, the naive virgin, the bitchy popular girl, the hooker with the heart of gold, the perfect/infallible male love interest. If you use any of these, you need to make sure there is a twist on it. For example, in PC Cast's Marked series, Aphrodite starts as the stereotypical blonde mean girl, but develops into something much different as the series goes on.

• Watch out for huge coincidences. Yes, when writing, we're playing God, but that doesn't mean we can twist fate to create unbelievable coincidences. Your reader will give a big "yeah right" or "my, isn't that convenient?"

• This is related to the coincidence thing, but be careful of creating conflict after conflict after conflict to where there is no way to believe that all that would happen to one person. The best example I can think of is the first seasons of 24. Jack's daughter's Kim couldn't keep herself out of trouble. How many times can one girl get herself kidnapped or put in mortal danger? It became a joke in our house--how will Kim try to get herself killed this week?

 

And if in doubt, picture a scene through the eyes of a Saturday Night Live writer. How much rewriting would you have to do on that scene to recreate it for comedy/satire on the show? If the answer is "not much", you may have jumped into the melodrama hot tub.

So am I the only one who struggles with this line? How do you determine if you've gone too far? And what are some of your favorite melodramatic books/movies/tv shows?

*repost from 2009

 

 

**Today's Theme Song**

"Selling the Drama" - Live

(player below--go ahead, take a listen)

Guest Post: Author Miranda Kenneally - Querying Isn't Algebra

Today I have a special treat for you guys. Soon-to-debut YA author Miranda Kenneally! She's sticking with your theme this week and giving us the low down on queries and her own querying experience. AND, if that wasn't awesome enough, she's giving away query critiques to THREE lucky winners. So make sure you enter the contest AND LEAVE A COMMENT! :)

Now over to Miranda...

 

Thanks to Roni for having me today! I’ll be up front with you all. I’m a TERRIBLE blogger. Seriously. I only blog if I have something semi-important to say or if I need to rant about something. I can’t just sit down and blog. Unless y’all want to hear about Star Trek or Mexican food or wine or The Beatles. Or want me to write a long list of books I think you should read.

So, naturally, I had a hard time coming up with something to discuss today. Therefore I’m going to expand on a post I did several months ago about queries. My agent (Like Roni, I’m also repped by Sara Megibow) said she agrees with my thoughts 100%. I hope most of you haven’t read it. And even if you have, I have a surprise at the end of the post after some other random thoughts.

Querying Isn’t Algebra: There’s No Set Formula

Recently I participated in an online chat about queries. Everyone was throwing their ideas out, so I decided to give some opinions, based on what worked for me.

First, some stats. I sent out 17 query letters. Based on my letter and sample pages, I received 9 requests for a full. Also, I broke just about EVERY query letter “rule” there is: I wrote in first person; I used more than 500 words; I used a freaking split infinitive; and I wrote a long paragraph about myself.

So during this chat, I said:

“I think it’s a good idea to compare your book to other books. It will show that you read in your genre and that you understand the market. For instance, if you’ve written a book about angels, you should say, ‘My book is different from HUSH, HUSH and FALLEN because _____.’ Why? Because everyone already has their angel book, so yours really needs to stick out if you want to get pulled out of the slush.”

This piece of advice, which worked for me when I queried, just set people off. Other chatters said, “You should never compare yourself to other writers!” and “Comparisons like that make agents mad!” and “You should never say you’ve written the next HARRY POTTER or TWILIGHT!”

That’s not what I said.

I’m not trying to tell you what’s right or wrong in terms of querying, but what MATTERS. All that matters is that you’ve written a crazy awesome good book that people will want to read. Who cares what you write in your query letter as long as you show:

1) A powerful hook
2) Originality
3) Voice
4) A command of English grammar
5) A link to your website/blog/Twitter feed
6) You aren’t a complete nutjob

** Of course, follow the agent’s/agency’s guidelines.

This is just my opinion, but I’ve seen other people who’ve broken all the “querying rules,” and have ended up getting agents and book deals.

Query what feels natural and forget the formula.

Spend the time you use looking for the formula to edit and make your book even more awesome.

Here are some random thoughts on writing, querying, the publishing world, etc:

·         I don’t critique queries very often (NO TIME), but nearly every time that I have read one my first impression was that the book itself wasn’t ready to go to an agent. For instance, someone will have written a 50,000 word mainstream novel for adults and I have to say, “I think you need to double your word count. Add more themes or subplots or something.”  Not only should you know your audience, you need to know what books in that genre read like.

·         Another problem I’m seen is too much voice. I know you’re wondering how too much voice can be a bad thing. I struggle with this myself, so I like to point it out when I can. This is using three or more sentences to tell something that you could show in one. Example:

“And then he kissed me. I didn’t like it. He didn’t know what he was doing. I wish we hadn’t kissed in the first place, because he’s obviously never kissed anyone before. Ugh. Gross.”

“And then he kissed me. I might as well have been making out with an eel, and it was that particular eel’s first kiss ever.” (Terrible example, I know, but I hope you get what I’m saying.)

·         Know the market. Read, read, read. I read a ton. At this point, I actually read more than I write. For enjoyment, and to study. I study plot arcs. I study character development. I study plot twists and upping the stakes. This is going to sound ridiculous, and it might lessen your enjoyment of reading, but you need to get to the point where you can basically tell what is going to happen in a book. You need to know how to pick up on clues and how they fit in with the overall plot and the author’s themes. There are only a few authors who can pull a fast one on me (e.g. Courtney Summers, and geez, Beth Revis just totally threw me for a loop with her new book ACROSS THE UNIVERSE.)

·         Social networking is a must. However, working toward perfecting your craft is the most important thing you can do. I spent a long time writing and writing and writing before I ever got involved in Twitter and the writing blogosphere. If you want to break into publishing and you can’t write, none of the blogging/social networking matters. So write, write, write.

·         It does not get “easier” once you have an agent. Sure, your access to the publishing world is a whole hell of a lot better, but that doesn’t mean you can slack off or stop being original. If anything, I’ve had to work a lot – a LOT – harder since I signed with an agent.

Anyway, if you’re interested, I’m giving away a query critique to three people. But you have to fill out the form AND in the comments, recommend a good young adult book to read, and tell me why you loved it and what sets it apart from the rest of the market. Roni will pick the three winners at random.

Thanks for having me today! J

 Miranda Kenneally is the author of SCORE, a contemporary YA novel about football, femininity, and hot boys, coming from Sourcebooks Fire in late 2011. She enjoys reading and writing young adult literature, and loves Star Trek, music, sports, Mexican food, Twitter, coffee, and her husband. Follow her on Twitter or Facebook. Miranda is represented by Sara Megibow at Nelson Literary Agency.

CONTEST CLOSES AT MIDNIGHT CENTRAL ON SUNDAY! Winners announced next Wednesday.

A Space for Writing (and why IKEA loves me)

I apologize that I'm late getting my post up today, but I've been taking care of the finishing touches on my newly organized, re-decorated writing room! (And I use the term re-decorated very loosely because that would imply that this thing was decorated in the first place.)

So in my new year's get-it-together-mode, one of the things I wanted to do was get my house back in order and add some finishing touches. We're famous for buying things like curtains and pictures then never hanging them. And top on the list was revamping our office space. For about a year, this room has been that catch-all room where everything goes to die. You know like a junk drawer but room-sized. And every time I walked into it, I just felt weighted down--by papers, by clutter, by the daunting task of going through it all.

Well this week I decided no more. My husband and I have sorted and trashed and moved and lifted. We've been to IKEA more times than I care to count (especially when it's an hour drive each way--bleh). We've built bookcases and hung curtains and art. We are very sore. But I am very happy.

I think this is a step in me saying, "Yes, I'm a professional writer. I have a real space dedicated to it. And look I even have files for like taxes and craft articles and stuff." *nods and smiles proudly*

So, behold the pictures. I would give you a before picture, but a) I forgot to do that and b) it'd be too embarrassing anyway. Just picture one of those Oprah shows where the Got Junk? trucks show up.

You can click on the pics to see bigger views if you'd like.

My kidlet's "writing" desk

Bookcase one

Bookcase two (and Guitar Hero drums)

*deep breath* So glad it's all done. Now I need a massage and a drink.

So what's your writing space like? Do you have a catch-all room/space? And am I the only one who gets lost in IKEA no matter how many times I've been there?


**Don't forget to stop by next week. I'm doing a series on queries and have some great guest posters and prizes!**

Guest Blogging and Giveaway!

Today I'm guest blogging over at historical romance author Ashley March's blog!  Be sure to stop by because there's a giveaway! You can win an online consultation (from moi) evaluating your social networking strategy/presence OR a ten page critique!

With A Little Help From My Friends

–How Blogging Helped Me Land An Agent–

How to Dish Out Backstory in Digestible Bites

It's that time of the year again--contest judging. I've talked about it one here before, but I think volunteering to judge contests is (beyond being a nice thing to do) one of the greatest exercises a writer can go through. Looking for specific things in other works often helps us develop a more critical eye for our own work. I know it's definitely helped me.

Now when I'm judging, I usually see a little bit of everything--some spectacular things, some really beginner efforts, and everything in between. But as I go through the entries this year for my local RWA's chapter contest, one of the trends I'm seeing is the dreaded backstory dump.

We've probably all made this mistake at one time or another. This is why a lot of people suggest writing your book, then cutting the first three chapters because it's probably all backstory. Now, that's a little drastic, but I think there is a nugget of truth in that.

So today I'm going to cover how to share that history and backstory with the reader without choking them.  Think of backstory like a big steak--you can't swallow the whole thing at once, it must be cut up and devoured in small, juicy bites.  Ideally, these bites will blend so well with the rest of the story, that the reader will barely notice that you've slipped it in on them.

So first let's look at some choking hazards:

Prologue--These are notorious for being solely backstory, which is probably why they've developed a bit of a bad reputation.  Make sure what you have in your prologue (if you have one) can't be sprinkled in somewhere  else instead.

First Chapters--This is where it's most tempting to put in big blocks of backstory.  Resist!  Your story should start in the middle of things.  Readers don't have to know all the background yet, get them to the action so you can hook them.  Pay particular attention to chapters 1-3 in your first draft.  Many times it's where we as writers are working out the story for ourselves (which is fine as long as you go back and cut them during revision).

Alright, now for some ways to blend in that backstory...

Dialogue

This is an easy and obvious way to reveal information to your reader.  However, watch out for the traps with this.

--Make sure that the conversation is realistic and that there is a reason for it to be happening besides slipping in backstory to the reader.

   NOT "I can't believe you cheated on me six months ago with someone half my age." (the guy would already know that)

   INSTEAD "How's your new bimbo? Has she graduated high school yet?"

--Make sure the conversation comes up naturally and not out of the blue.  Something needs to trigger that discussion.

--Use action to break up the dialogue so it doesn't start sounding like an info dump.

Flashback

Where your character relives in their head a past event as it happened.  Unlike a memory, they don't filter the events through their current point of view.

--Be very careful with this one.  Many people advise against flashbacks.  But I think if used correctly and sparingly they can work.

--Something has to trigger the flashback. That memory needs to be brought to mind by some object, situation, person, etc.

--Make it clear that it is a flashback so your reader doesn't get confused.  Some people use italics to help with this.

Memory

Similar to flashback, but the memory is seen through the person's current POV.

--Sprinkle this in.  Like everything else, large chunks of prose on a memory will get tedious.

--Just like the others, the memory must be triggered by something.  Don't have your MC vacuuming and just suddenly think of how her father died (unless it was death by vacuum).

--Can build and foreshadow throughout the story, not revealing everything up front.  For instance, in my category romance, my MC goes to a concert and for a moment she's reminded of a tragic night years ago.  But all I show is that she has a sick feeling and that she remembers to the day how long it's been since she's seen a concert--which lets us know something important happened back then, but I don't say anything about what it is specifically, just foreshadow.

--Ex.) He smiled at her, and for a moment, she was reminded of the boy he used to be, the one she used to love.  (See, that tells us they had a previous relationship and that something changed along the way.  Just enough to whet the reader's appetite.)

Thoughts

Using direct thoughts instead of narrative.

--This doesn't have to be a specific memory, but can let us know that there is something there behind the thought.

--i.e. "Don't you just let go and have fun sometimes?" he asked.  She shook her head and averted her eyes.  "No." Not anymore.

Action

Sometimes you can use some event in your story to relay past events.

--i.e.  A news story comes on TV talking about a cold case murder that relates to your MC.

The easiest way for me to figure out how to put in backstory is to think like a screenwriter.  They cannot tell you things in a movie, they have to show it all.  So how would I convey this information if it were a movie?

Alright, so those are my tips, what are some of yours?  How do you sneak in your backstory?  And do you put down a book if it's pages and pages of backstory to start?

*This is an updated re-post from Dec. 2009

 

**Today's Theme Song**

"The Story" - 30 Seconds to Mars

 

(player in sidebar if you'd like a listen.  I ♥ this song.)

Why Is My Muse Hiding in the Shower?

Ah, that elusive muse. It's the writer's blessing and curse. It can be the source of wildly exciting inspiration or it can be the bane of our existence when the ideas stop flowing. So how do we learn to work with this fickle part of the writing process?

Well, first there is the "butt in chair" philosophy, which means even if your muse is on a bender to the Bahamas, you still sit in front of your computer and write. The idea is that eventually the inspiration will return. This is an important method to consider because once you have a contract and are on a deadline, you won't have the luxury of taking a few weeks/months off to let your muse return to you.

However, forcing the creative process sometimes shuts your mind down even further because you're using the logical part of your brain ("I need to get this down because x, y, z."), which can choke the free-flowing creative side.

So how do we free up that creative side?

Well, different things work for different people, but the goal is to get your mind into a relaxed state where the logical part can rest and the other side can take over.  For instance, I was watching an interview on The View with Aaron Sorkin. He was talking about writing the movie The Social Network (saw it yesterday, btw. FAB-U-LOUS. Seriously. Go see it.) But anyway, he said when he was writing it, he was taking like six showers a day. The ladies of The View looked at him like he was crazy, but I was like--Oh, I so get that.

He said the reason he was taking so many showers was because that's when the scenes would come to him. So when he got stuck, he'd either get back in the shower or would go for a long drive.

And those are two of my favorite places for inspiration too. Anywhere my mind zones out and goes on autopilot--the shower, a monotonous car ride, lying in bed at night before I go to sleep, listening to music. When I'm stuck, those are the times that the words finally come.

So, if you're doing BIC (butt-in-chair) but it's just not working. Get up, go for a long walk, a drive, or hell, jump in the shower like Aaron Sorkin. Give yourself permission to relax your mind so that you can hear the muse when he/she whispers to you.

So I'm curious, when does the inspiration usually hit you? What are some activities you do to let the creativity flow? Are you a believer of butt-in chair?

**Today's Theme Song**
"You're the Inspiration" - Chicago

(player in sidebar, take a listen)

Four Levels of Plotter/Pantsers

 

On Wednesday we talked about if a plotter/pantser can change their stripes.  First, thanks for all the comments, it's given me a lot to think about. (Although some of you guys scared me with the I-tried-to-plot-and-it-killed-the-novel-for-good stories, lol.) I think what seems to be important is to figure out what your process is like and then use the methods that play to that.

 For instance, one of the things to consider is where does the novel-writing process start for you.  When you're working on a new idea--what comes to you first? What do you need to have sorted out in your brain before you start writing? I think the answers to those questions defines what type of pantser or plotter you are.

So here are some types I've come up with (feel free to add more in the comments!):

The "True" Pantsers--The Writing Equivalent to Sky-Diving

What they start with: Hardly anything. A first sentence. A hook. A setting.

What they do: Jump into the unknown enthusiastically for the thrill of discovery, hoping the parachute will engage when needed. 

Benefits: Tend to be the people that can bust out a draft at lightning speed. You get to write as soon as the inspiration strikes. Can jump around the story and just write scenes that inspire you at the moment.

Drawbacks: No pre-planning could mean plot holes. Writing and then realizing the story is inherently flawed. Losing inspiration. Having a pile of words that need MAJOR editing at the end of it.

The Clark Griswold Pantser (I talked about this here. This is what I am.)

What they start with: They have some kind of plan starting out (going to Wally World), though inevitably they go off course and end up enjoying the scenery better in the uncharted territory.

What they do: Have something in their back pocket before setting fingers to keys. For instance, for me, I start with characters because I'm a character-driven writer. So, I need to fully flesh out the characters backstories before getting started. I also like to have the inciting incident (or as I like to refer to it--the "oh sh*t" moment) and the major conflict figured out before I start writing. Then I fly into the mist.

Benefits: You feel somewhat prepared going in. You know enough about your characters that when you throw them into situations, you know how they should react. 

Drawbacks: You will inevitably hit blocks where you're not sure where to go next. This can lead to wandering, pointless scenes. This can also mean you go down the wrong path for a while and will have big cuts. 

The Combo Meal or Plotsers

What they start with: A skeleton of a plot and some knowledge of the characters.

What they do: These are people who probably work well with something like the 3-Act structure or the screenplay method. They know the hook, the conflict, the major turning points, the black moment, and where they want to end up. All the individual scenes are discovered as they write.

Benefits: You know where you're going, but still get the excitement of not knowing what's around every little corner.

Drawbacks: Even knowing this much could kill the creativity of a true pantser and not knowing enough could stress out the hard-core plotter. Also, sometimes the big points don't string together like you hoped and then you have to go back to the drawing board.

The Military Precision Plotter

What they start with: They KNOW what happens in the whole story. Every chapter has been outlined, characters have been interviewed, post-it notes have been aligned and color-coded. Scenes are numbered. Corkboards or Scrivener have been utilized.  (Oh, how I envy this type!)

What they do: They outline, plan, brainstorm problems before they even start the story.

Benefits: Less fear of the unknown. Fix problems before they pop up. You know where you're going and how you're going to get there.

Drawbacks: If this isn't your natural way, this can make the process feel clinical and dry and ruin the fun of writing. This takes time, so it may mean less edits on the back-end but you have to be patient on the front end. All the planning doesn't guarantee a great story--until you put words to page, you don't know if it's really going to sing.

So, I'm sure there are endless variations in between all those, but what I think  is important is to figure out where your writing thrives. And my guess is that if you want to be more one way or the other, you probably don't want to venture more than one level either way. For instance, a true plotter will probably never be able to become a true pantser (and vice versa.)  As much as I envy the plotter, I know my best shot is probably shooting for working within the screenplay structure. I'll never be a plot-every-scene-ahead-of-time person.

But I also think it's important to experiment with the different ways in the beginning because you may think you're one thing and are something completely different.

So where do you fall on the scale? Where do you want to be? What other levels/labels do you think would fit in here?


**Also, I'm guest blogging today at Heather Long's Daily Dose. My post is on Blondism: The Bias Against Blond Heroes in Romance.  Check it out here and leave some comment love (there are hot pictures of guys involved)!

**Today's Theme Song**

"Who Are You" - The Who

(player in sidebar, take a listen)

 

Finding the Funny in Your Writing

I met today's guest blogger recently at RWA Nationals when Jamie Wesley and I were waiting to get into a restaurant. The place was crowded and they had a table for four available so we invited two other ladies who were waiting to sit with us. Take this as a lesson: when you go to conferences and such--reach out--you never know who you might meet. Murphy and her crit partner Jami (who will be guest posting next week) were so much fun. We had a great lunch and now have two new writerly friends.  

Now a few months ago I did a post asking if you can learn to be funny in your writing. I honestly didn't know if it was something that could be learned, but Margeanne Mitchell (who goes by Murphy) is here to tell us it can be.  So without further adieu, take it away Murphy.

FINDING FUNNY!

  

First off, I’d like to thank Roni for inviting me to hang with you guys today.  She’s awesome, isn’t she?  Not only generous, but gracious as well.  Thanks, Roni!

Hmm..finding funny?  As you can see by the Little Red Devil's picture above, I don't have to look too far to find it - she's usually right there at my feet! :)  But enough about her.

So, what the heck is humor?  


Well, it’s an unlikely pairing of contrasts that reverses the reader's anticipated expectations.  It requires a certain structure and pace, and these things are dependent on one another.  Think of it like this: structure is the building humor resides in, and pace is the speed at which you walk through that building.  If you do it right, you can seamlessly put a clever twist on a commonly held notion.  That’s all there is to being funny.  The reader is surprised in the end. 

Hey, it sounds good, doesn’t it? Easy.  So why can’t a writer, who doesn’t traditionally write funny, make that universal concept -- contrasts vs. expectations -- work for them? 

I believe they can.  I think even if a writer isn't funny in person, she can write a funny scene with the proper tools if she applies herself.  Maybe she won't be able to do it as easily or frequently as someone who has the knack for it, but regardless, she still has an advantage.  She has time on her side to convince the reader that her character or situation is funny. Unlike the stand-up comic or witty individual in a bar, a writer has the opportunity to edit/cut/paste and be critiqued before introducing her version of funny to the world.  Stop and think about that -- it’s pretty powerful, isn’t it?

So, how do you begin to write that funny scene?  


Well, first things first, you need to decide what you want the funny to be.  I tend to write outrageous situations, where it’s not only the situation that gets the laugh, but also the way the characters react to the situation that can make the reader smile.  This way? I figure I’ve got two chances to amuse the reader.  Better than one, right?

My motto?  Start simple: find the reader’s expectation and exploit it.  By exploit, I mean take their expectation and apply unexpected layers to it.  Let's see, in romance, if you have a heroine who’s doing something she shouldn’t be doing, you gotta know the reader is thinking: Uh oh, the hero’s going to catch her.  This is an opportunity, folks. You have the reader anticipating your next move, so use it as your jumping off point toward a funny scene. 

If I were going to write a scene like the one I mentioned above?  Number one.  I’d have the heroine face all kinds of hilarious obstacles.  She’d manage to do what she needed to do, but not without incident.  And number two.  It would be that lingering incident that eventually comes between her, the hero, and her satisfaction with the job she set out to do in the scene.

My scene?  I’d have her do something specific for her hopeful meeting with the hero.  Maybe she has to sneak back to the stables and get the vial of coveted perfume she’s been packing for such an occasion (meeting the hero). It’s his favorite scent and she’s thinking, this will do the trick, as it will separate her from the other women vying for his attention tonight. So, she faces all kinds of difficult, but funny, challenges to retrieve the perfume she figures will cement the deal with her and the hero.  After all, she’s been told that lavender is his favorite scent, and once he gets a whiff of her precious concoction, he’ll no doubt fall on bended knee and propose to her.  That’s why she nearly breaks her neck, ruins her shoes, and thinks she may have swallowed a fly, all to get back to the stables - to her saddle bag with the coveted bottle of heaven.  Hey, in the end, it’ll all be worth it if her lifelong dream to be married to this perfect guy is realized. 

So here she is, successful in her goal.  She has the perfume in hand.  She’s dealt with all manner of obstacles to get it, she hasn’t been caught, and she still looks great despite everything she’s been through.  She uncorks the vial and takes a huge sniff to reassure herself that she’s done the right thing.  Oh yeah.  But then, just as she’s ready to head back to the party (after re-corking her vial), an odor assails her.  And it’s not so much that (she was in a stable, remember), but the noise she hears that has her curious.  She walks to the middle stall and hesitantly opens the gate. This is where she finds the lavender-loving hero rolling around in the hay with a woman.  When the woman realizes they’ve been caught, she gets up and bolts.  She pushes past the heroine so hard that it causes our heroine to fall to one side in the stall.  Stunned, the heroine catches her breath for a second and then sits up.

Scene example (Click full screen to view):

 Untitled  

Okay:

Number one.  Heroine faces all kinds of hilarious obstacles.  She manages to do what she needs to do, but not without incident.  I'd say we accomplished that.

Number two.  The lingering incident is what eventually comes between her, the hero, and her satisfaction with the job she set out to do in the scene.  We definitely accomplished that.  And what does pairing these two things together create?  Irony.

So, the next time you want to try humor, or punch-up an already funny scene, imagine you're the reader.  Ask yourself, what am I expecting?  Then take that answer and look for the opposite.  In our scene, we guessed the reader would assume that after the heroine faced all kinds of messy/hilarious/trying obstacles to get to that vial. She'd be elbow deep, digging through the saddle bags, when the hero stumbled upon her.  


So, that's what we chose to switch up.  We identified that the saddlebag pilfering was a major issue in the reader’s expectation.  Therefore, that became a minor issue in our scene.  We also recognized that the heroine being caught by the hero was something the reader may count on, so why not have her catch him doing something he wasn't supposed to be doing, and hey, while we’re switching things up, why not make the whole reason for her stealing into the stables in the first place end up being a complete bust.  You see?  Layers.  It's all about layers. :D

Do any of you have problems finding the funny?  Making your version of funny shine?  What about other types of techniques that can be used to insert humor? Has anyone found a successful way to write physical comedy?  That's a toughie! I have a couple of theories on that one, but I'd rather hear yours first. :)

Murphy   


Thanks so much Murphy! And everyone remember to stop by her blog (Bad Boys Can Be Fun) and say hi!

**Today's Theme Song**

"Shut Up and Smile" - Bowling for Soup

(player in sidebar, take a listen)

How I Got My Agent and How Blogging Played a Role

Okay, so first I have to say I'm overwhelmed by all the congratulations, well wishes, and warm comments from everyone yesterday.  Thank so much, y'all!  My news was that much sweeter because I had so many fabulous people to celebrate with.  I've never come across such a supportive and genuine community of people as I have with writers.  I'm regularly amazed at how kind-hearted and giving everyone is to each other.

In fact, that online writerly support played a big role in getting the ball rolling with my agent.  At the beginning of June, I got an email from the lovely and fabulous Natalie Bahm.  (Btw, if you're not following her awesome blog, get on it.)  Natalie said that Sara, her agent, was going to RWA Nationals and was looking to sign a few more romance writers before the conference.

Natalie knew what I wrote because we were blog friends and she'd read a few excerpts I'd posted here and saw my contest wins, so she offered to give me a referral.  I also got a message from a Twitter friend (and another of Sara's clients) Miranda Kenneally offering to read some of my stuff and possibly offer a referral as well.  (See how wonderful and generous writers are?)

Unfortunately, my book (Exposure Therapy - the erotic romantic suspense) wasn't quite ready.  I had a few chapters to finish and then needed to put it through beta readers, revisions, etc.  As much as it pained me to pass up the chance with such a great agent, I didn't want to send something that wasn't polished.  Natalie (because she's awesome like that) assured me that she'd give me a referral whenever I was ready to query.

So I went to RWA Nationals, my book ready to go (thanks to my uber fast, super helpful beta reader J. Leigh Bailey), and set about learning any last details I could before I queried.  Sara spoke at the PRO Retreat on an agent panel and I really liked what she had to say.  She seemed friendly and approachable, and she was one of the few that talked about the importance of an author having an online presence while they are trying to get an agent.

So I came back home, chose my top five agents I wanted to query, then contacted Natalie to see if she was still cool with the referral.  She definitely was and had me send a query and partial to Sara (allowing me to skip the query only first step--yay!).  Sara contacted me a few days later and asked for the full.  I was beside myself, but knew not to get too excited yet.  Back when I queried my YA, I had a number of full requests that didn't pan out.  Not to mention, I follow Kristin Nelson's blog, so I know their stats:  Last year==38,000 queries, 55 fulls requested, 6 offers of representation.  Um, yeah.  A little daunting.

But then, four (yes, four) days later, Sara emailed me.  She said my book "spoke" to her (yes, now THAT is why I write.  I can't tell you how thrilling those words were to hear--makes me a little misty-eyed just thinking about it.)  However, she had a lot of thoughts on the changes she would want me to make to strengthen the story and wanted to see if I was on the same page with that.  The changes she wanted were pretty big things, but I really could see how those elements would deepen the book, darken it, and up the suspense.  So I sent her my thoughts on those changes and we scheduled THE CALL!  The rest you can figure out.  :)

Now, I'm embarking on rewrites.  Wish me luck!

Feel free to ask me any questions I might have not covered!  :)  And are you as amazed as I am by how awesome the writing community is?

**Today's Theme Song**

"A Little Help From My Friends" - Joe Cocker

(player in sidebar, take a listen)

Question of the Day: Do You Tell Others You're a Writer?

Do you tell other people you are a writer?

Why or why not?  If you do tell, do you tell everyone who asks what you do or just a select few?  If you don't tell, what do you think will have to happen before you feel comfortable saying it out loud to others?  What are people's reactions when you do tell them?  What's the most annoying response you've received from someone when you told them?  What was the best?


**This week I'm am on a cruise, so I apologize for the short posts and the lack of responses to comments.  I look forward to reading all of your answers when I return!  See you on Monday!**

People Read That? The About Me Section

MySpace background: CoolSpaceTricks.com

As she usually does, Sierra Godfrey got me thinking with a post she did a while back on the About Me section of a website. She argued that bloggers and writers should really give this section some thought because it could make or break someone's interest in you or your site.

I honestly had never considered that. I figured no one really reads that anyway. And I absolutely hate writing about myself. Plus, if you write a big long paragraph about yourself, it pushes all the rest of the information further down on the page on your Blogger profile page and can move your blog link (the most important component) "below the fold"--meaning the person would have to scroll down to see it.

However, Sierra made some good points that made me question my stance. She said that if she goes to a site and can get no sense of who the person is, she's less inclined to stick around. Also, agents and editors you're querying could stop by (it's been known to happen). If they are truly interested in you, then they most likely will want to click on that About Me or profile section. And if that happened to me, what would they find out about me? That I'm a "mom, book junkie, and writer of romantic fiction." Wow, that's real enlightening. It can apply to just about any blogging writer out there.

So, I have given in and followed Sierra's advice. Using one of her examples from a published author's website, I used a fun history style format. And instead of filling up my blogger profile page, I made a separate page (and reserved the site for my name at the same time) then included the link in my About Me section called the TMI (too much information) file. So here's the link: The TMI File. Click over and let me know what you think. It's long, but well, it is supposed to be TMI. And then when you're done with that, go visit Sierra's post where she gives more detailed info about the About Me section.

So have you given your About Me section a lot of thought? Do you think agents/editors/readers will pay attention to that part? When you go to a new blogger's site, do you read that section? Does it sway your decision whether or not to follow them?

**Today's Theme Song**
"About A Girl" - Nirvana

(player in sidebar if you'd like a listen)

The Opening Scene: A Litmus Test

 

Friday I blogged about opening lines and pages and their importance. (Thanks for those who gave feedback on my lines, btw!) Based on the comments I received, I am clearly not the only one who freaks out over openings. This, of course, sent me to my piles of writing books to see what the pros had to say about the opening scene.

One of my favorite writing books Make a Scene: Crafting a Powerful Story One Scene at a Time by Jordan Rosenfeld (If you don't have it, get it. The book breaks down the elements of a scene and also goes over types of scenes--dramatic/contemplative/action/flashback etc.) Anyway, the book also has a great litmus test for what needs to be present in an opening scene.

Below are the basic components. I'll put my completed novel to the test as an example and see how it goes.

1. A challenge to your protagonist's status quo.

Ex.) My MC (Willow) finds out that she's received a scholarship to a stuck-up private school out of state. She doesn't want to go. She's found her safe niche at her current school and doesn't want to mess things up.

Thoughts: I think this works. A new school and state would threaten any teen's status quo.

2. An antagonist for your character to encounter. (Doesn't have to be THE antagonist.)

Ex.) Willow's mother wants her to take the scholarship and argues with her.

Thoughts: Perhaps my antagonist and conflict could be stronger. She loves her mother, so although they argue, Willow holds back a lot.

3. Introduce your protagonist's immediate intentions.

ex.) Willow likes to blend in, to play things low key. She has to figure out a way to talk her mom out of moving her to a new school.

Thoughts: I think her intentions are pretty obvious, so this probably works.

4. A glimpse into your MC's history/personality/motivation.

ex.) Willow responses to her mother show her to be sarcastic, smart, and self-deprecating. But also loving and concerned about making her mother happy. In many ways, we see that she has taken on an adult role to offset her mother's flightiness.

Thoughts: I could probably add more heft in my opening for this component to clarify my MC's motivation

5. The protagonist makes a decision that leads immediately to more complications.

ex.) Willow decides to accept the scholarship, which of course leads to the whole rest of the story.

Thoughts: This decision changes everything in her life, so I think this works.

Okay, so putting my scene to these standards definitely shows me some holes I could work on.

What do you think? Are these components a good summary of what you like to read/write in an opening scene? Think back to your favorite books, do they follow these guidelines? Can you think of any other "must haves" in an opening?

Mourning the Death of the First Novel

So I finished my first novel, Shadow Falls (paranormal YA) a few months ago. (Well, my first one that counts. The one in high school, well, a novel it was not.) I toiled and tweaked and edited and obsessed. I wrote and rewrote my query, frantically checking query shark to make sure I didn't make any well-known mistakes. I went through a crisis of self-esteem before hitting send on my first agent query--the oh so attractive, sweaty, shaky, I-obviously-can't-put-two-words-together-so-why-am-I-even-bothering stage. This stage was quickly followed by the "is my email working? is my spam filter too strong? why is it not dinging with new emails from agents?" phase. Yes, I know they say to expect a response no sooner than a few weeks or months, but I plugged my ears and sang show tunes to avoid accepting that knowledge.

To my surprise, many responded within two weeks, which made the immediate gratification monster inside me very happy indeed. Unfortunately, most of those responses were form rejections. However, to my great delight (and surprise), I received two request for partials and two requests for fulls pretty quickly from biggie, dream agents. Of course, I was already picturing my book on the shelf despite knowing my chances were still slim. After a few weeks (two months was the longest), I received three form rejections. Total bummer. Looped back to low self-esteem phase.

Then, this week, I received my rejection on the final full I had out. However, this time the agent personalized it. The lovely note contained the words "you are clearly a very talented writer" (woo-hoo) and that my story "had lots of teen appeal" (kickass). However, the story wasn't different enough from what was out there in a now saturated teen paranormal market. (sigh) Then, she asked that if I didn't find an agent this time around, she hoped I would query her on my next project. (Backing away from the ledge).

So, I'm considering the rejection a victory. I still have a few queries floating around, but my hope meter for this first book is definitely on low. I am mourning it's gentle death and will be burying it in the drawer soon. Perhaps it can be resurrected another day with some rewrites. In the meantime, onward and upward. I'm halfway through writing the first draft of a romance novel.

Lessons learned from novel #1: a) I don't totally suck b) I can write a query letter and c) I can handle rejection (mostly)