Permission to Suck

I'm deep in the throes of drafting book two in my erotic romance series. The hero in this book is one of the secondary characters from my first book and, according to those who have read book one, someone that readers have really connected with/fallen for. He's been one of my favorite characters to write as well.

 

However, knowing this has added another layer of pressure to this process because I feel like if people are really going to be looking forward to hearing his story, I don't want to let them down. I want this story to not just be as good as the first, but better. Add in that I'm on a deadline with this one and all that anxiety can be suffocating--at least for my neurotic self.

Part of the problem is my process. I write linearly (is that a word?) and I edit as I go. So if I decide to change a motivation or a thread, I go back to the beginning and change it before I move forward. Part of this is because I'm a perfectionist by nature--a B was never acceptable to me in school. It's how I'm built. On top of that, I'm also unable to jump ahead of a tough scene to write later parts of the book because I need to know where I've been in order to know where I'm going.

I'm working on all these things. I'm trying to convince my pantser self to learn how to do a rough plot ahead of time. (More on that in another post.) But I'm also giving myself a new mantra: You have permission to suck.

The conference I went to this past weekend had a class given by author Anna DeStefano. She talked about how every time she draft, she's in a constant state of anxiety. That she prefers revising. It's the first time I've heard another writer voice how I always feel. Most of my writer friends are the ones (yes, I'm looking at you Julie Cross and Tiffany Reisz) who can bust through a first draft at a crazy fast pace. Their joy is in the drafting then they worry about editing or rewrites later. It's an opposite process from mine. I'm always happier once words are already on a page.

Then today I came across Kiersten White's post on drafting and realized I'm definitely not alone, there are lots of us out there. I'll use her quote because this is exactly how I feel when I'm drafting:

Every book feels impossible.  Every single time, when I start a book and have that huge weight and balance of words pending, I think, how the CRAP do I do this?  And every single time, when I am in the middle, I think, I am never going to finish.  This will be the story I can't do.  I'm done.  How on earth did I ever manage to finish those other books?  I literally can't remember.  Maybe I didn't.  Because I'm sure as heck not going to be able to finish this one.
And then, somehow, word by word, impossibly, the book gets written.


That pretty much sums it up for me. But what Anna DeStefano said gets her through that anxiety is to give herself permission to write junk during the first draft. She said she put a sign above her computer saying "You are allowed to write crap." So basically, giving herself permission to suck.

 

This is what I'm going to try to do. The first draft doesn't have to be great. It just has to have bones to work with. Once I have those bones I can hone this bad boy into the story I want it to be. Letting go of the perfectionism won't be easy for me to do--my internal editor tends to use a bullhorn to get my attention--but I'm going to give it my best shot. I'm at 52k words now. I want to get to 90k in the next 6 weeks. The only way I'm going to be able to do that is to give myself the permission to suck. I'll keep you posted.

So what's your style? Are you a fast drafter and hate revising? Are you like me? What is your mantra when you're writing the first draft?

What Will Make an Agent "Gong" Your Query

 

gong

This weekend I had the privilege of attending the DFW Writer's conference. It was a lot of fun and I even got to meet some bloggy/twitter friends who I hadn't had the chance to meet before. Below is a pic of me with the lovely Genevieve Wilson and Dawn Alexander.

 

 


I went to a lot of different workshops, but one of the most entertaining and informative sessions of the conference were the two agent "Gong" shows. The setup was simple. Each agent had a gong, anonymous queries were read aloud, and agents would hit their gong when they would've stopped reading. It was quite hilarious, but I also learned a lot of things about what they are and are NOT looking for in a query letter. So I thought I'd pass some of those along.

 

 

WHAT COULD GET YOU "GONGED" BY AN AGENT

1. Opening with a question. 
Most of us have heard this, but there was still a query in the bunch that did this. It got instantly gonged.

 

2. Vampires
You have to be REALLY REALLY different to get them to even consider another vampire novel.

3. Cancer
In and of itself, it may be an important issue in a book, but there were at least four queries where cancer seemed thrown in to up the dramatic effect. "There's this and this and this! Plus, someone has cancer!"

4. Too many things/issues/characters/plotlines.
This was one that the agents said a lot. Stories that seemed to have too many different things going on, too many characters, or too many plotlines listed in the query lost their interest. Stick to the hook!

5. Describing your own writing.
Don't tell them in your query that your story is fascinating, fast-paced, touching, whatever. Show them the story, not what you think of your own writing. One agent gonged out when the first sentence said "This is a fascinating story of..."

6. Cliches and tropes
Overused and tired phrases in the query got you gonged. If you're using them in the query, the agents suspect they'll be in your book. "Her life will be forever changed"..."The last thing she expected was"..."love is blind"...etc. Plus, cliched storylines as well--girl finding a diary with secrets, person finding a portal, romantic suspense where the wife suspects husband is up no good, the woman who loses her husband and goes  a small town to rebuild her life, etc.

7. Inauthentic voice
There was a YA one that used "awesome" "buttload" and "stupid" all in the first two sentences. It sounded like an adult trying to do teenspeak. Didn't work at all.

8. Stuff Happens
Queries where there was a lists of events but no hook or central conflict described.

9. Teens and the elderly
This is a bit random, but there were a few queries that were pitched at YA where the story is the teen gaining wisdom from an older person. They shot these down. Teens don't want to read about old people. They don't care what older people have to say when they are that age and so they aren't going to want to read about that.

10. September 11th plotline
All the agents literally groaned. Some said it was still too close of a topic for them to personally work with. Remember, most of these agents live in NYC, 9/11 was a national tragedy but for those on the front lines realize that it's got to be even more traumatic to relive.

11. Going on and on and on....(kind of like this post :p )
They want to hook, the main character(s), and what's at stake. That's really about it. Do not give a synopsis posing as a query.

12. If you do the "it's this meets this" kind of hook, don't use two movies. Use at least one book in the comparison to show that you are well-read in your own genre.
And don't compare to the GIANT books. Twilight, Harry Potter, Percy Jackson, Hunger Games--they're used so much that the comparisons don't meant anything anymore.

13. And finally, MAKE EVERY WORD SERVE  A PURPOSE and BE SPECIFIC.
So many queries had a whole lot of words but said nothing. It's a tale of love and loss and redemption. Of good and evil. Of whatever other completely vague abstract concepts you can think of. That may be a theme in your story but that is not what it's about. The agents want to know what your story is specifically about. Do not waste words talking about abstract things. Every word must give them something that you haven't already said and that speaks to the uniqueness of your story.

I'm sure there were more, but those were the ones that stuck out most in my mind. So do any of these surprise you? What do you think of this feedback?

Pitch It! Pitch It Good!*

This weekend I get the privilege of going to one of my favorite things--a writer's conference! : ) This will be my third DFW Writer's conference. For those of you anywhere close to this area, you should look into this one each year. I've been the last two years and I always walk away with a great experience and information. And for you guys, I'll be sure to take great notes for blogs and will try to tweet some from the conference  itself. :)

But today, in honor of the conference, I'm re-running Heather Long's guest post on pitching. I'm not pitching this weekend but I know many are, so hope everyone finds this helpful! Have a great weekend!
Pitching
Photo by Will Folsom
Today, I have the pleasure of introducing you to author Heather Long. She and I "met" as bloggers first (she has a terrific blog right over here), and then found out we were in the same local RWA group. :) Heather also attended RWA nationals and she had a great experience pitching in person.

I am such a huge chicken about in-person pitching that I could sprout feathers just thinking about it, so this is a topic I thought best covered by someone who has had the guts to actually do it. So Heather, take it away...
Pitch it!  Pitch it Good!
Good morning and thank you Roni for allowing me this opportunity to drop by and chat!  Pitching is never fun. For some people, pitching means a racing heartbeat, sweaty palms and the fear that their breath will smell of coffee, garlic and onions even if they haven’t been near any of those items.  For others, pitching isn’t something to sweat or worry about. You just show up, say your piece and go home. You probably aren’t going to get anywhere with the pitch session, but you say you’re doing it so others will consider you as serious about your craft as they are about theirs.
Well, honestly – while I have found attitudes that cover all ranges of the above, the truth is – a good pitch session can really change the direction of your career. It can also be the litmus test for how serious you are and how much you think of your own work.
Professional Litmus Test
Pitching takes practice. I’ve walked into pitch sessions and gibbered like a gibbon before. I’m not proud of it. But it’s happened.  For example, not all that long ago, I went to a writer’s conference where we spent the majority of the day in a workshop. It was a terrific workshop. I learned so much that I thought my head would split open from the details.
But when it came time to pitch, just after lunch, I realized that the story I was pitching was crap.  And yes, that’s exactly how the thought occurred to me. I said, “This is crap. Total crap. I could make it so much better.”  I walked into that pitch session without an ounce of confidence about my own work because the workshop showed me so many ways I could be better.
The agent listened with half an ear, a faintly bemused smile on her face and I could tell that my half-halting descriptions flavored by my own disbelief weren’t selling her on the story anymore than I was.  I walked out of the pitch session feeling like an idiot.
Why had I even bothered?
Don’t Stop Believing
I bothered because I had a good story idea.  I bothered because I had great characters.  I bothered because before that workshop, I really believed in that story.  The problem was, I learned so much that I began to over think the process. Sure that story could be improved, but the heart of it – the meat of the story – that remains essentially the same.
By failing to believe in myself, I failed that pitch. I also ended up shoving the book on the backburner where it sits to this day. I’ve added back into my rotation as a book I will tackle after Christmas. But that’s a tale for another day.
Now that’s the bad side of pitching. The side everyone has experienced at one point in time or another. It’s a miserable feeling, but shake it off. Because good pitches do happen and I want to tell you how you can make it happen for you.
I Do Believe in My Story, I Do! I Do!
Do you remember the Peter Pan movie from a few years ago: the scene where Peter is trying to save Tink and everyone in the film begins chanting “I do believe in fairies! I do! I do!” – this is what you need to remember when it comes to pitching.  In July, I was attending the RWA National Conference in Orlando, Florida. I wasn’t going to pitch because all the sessions with editors and agents were taken in May while I was on a road trip.
Several people encouraged me to go for the walk in, because so many weren’t showing up for their pitch sessions.  I hesitated, because while I had finished a book and I really liked it, I hadn’t “prepared” for pitching.
Saturday morning, I woke up early and decided that after looking at the workshop schedule and not seeing one I absolutely had to get to, that maybe I’d go take a look at the pitch room. I walked in, I talked to the registration folks and I said, I wanted to sign up to wait – when they asked me who I wanted to see, I said anyone would be fine.
I lucked out. One of the Harlequin editors had some cancellations, so I was able to book a very specific time.  I thanked the registrar, darted out of the hall and back up to my room. I changed into a smart skirt, a fun shirt and dressed up my smile with a touch of makeup and then darted back downstairs.
I had just a few minutes before it would be my turn.  I waited patiently as we lined up and when they called time, I walked down to where the editor was waiting. 
Here it was, the crucial moment – would I bomb it? Would I stutter? Would I forget everything I’d written?
I held out my hand, introduced myself and grinned.  My nerves weren’t there.  Maybe it was the combination of a great conference experience where I was meeting new people every hour, discussing writing, love for books, romance and sharing those experiences with other writers who “got it.”  Maybe it was Nora Roberts’ terrifically inspiring bullsh*t keynote address about how hard it was to break into the business 30 years ago and that sweating for the job was part of it.  Maybe it was Jayne Ann Krentz’ highly anecdotal and hilarious tale of blowing up her own career because she wanted to tell her stories her way.
Who knows how much all of that contributed to my sense of inner calm, but I knew that I believed in my book. I loved the story that I told. I loved the characters. I loved the fun, sexy, twisty humor and I loved the fact that it was so utterly different from anything I’d ever written before.
So I pitched it.   Can I remember the words I used, exactly? Nope. But I do know it was conversational, I said “Imagine this…” and I told her what my hero and heroine were doing when they met, how they were drawn together and why they needed each other. I described the misunderstandings and added the element of suspense.  The more I warmed to the topic, the more engaged the editor became.
She asked me two questions.
I answered them without hesitation because I knew how I’d handled it in the book and then she smiled.
She smiled and said it sounded like a great story and that it gave her chills.  I think my heart started playing a drum line in my ears then, but she told me to send in the partial, the synopsis and the query, to pitch it exactly as I hard to her and to mention that she’d told me to do it in the letter.
I thanked her.  Said I would get right on it when I went home and I floated out of the hall.
I wasn’t floating just because she asked for the partial (but that was part of it), I wasn’t floating just because I hadn’t managed to flub the pitch (but that was part of it too), and I was floating because my faith in this story was there. I was confident in it even after all the workshops and all the great writers I met.  I didn’t feel small. I didn’t feel like I had to rewrite it.
Do I think it will need editing? Absolutely.
Am I confident that it will sell? Yes.
Am I happy that I pitched?  Hell yes.
Believe in yourself. Believe in yourself to share your story with the editors and agents out there that want to hear it.  If you are engaged by the book you wrote, by the story you told, then you can bring that level of investment to the editors and agents.
Don’t stop believing and you’ll find them believing right alongside you.
Have you ever pitched a story in person? What was your experience like? If not, what's holding you back from doing so?
About Heather
Heather Long lives in North Texas with her husband, daughter and their menagerie of animals. As a child, Heather skipped picture books and enjoyed the Harlequin romance novels by Penny Jordan and Nora Roberts that her grandmother read to her. Heather believes that laughter is as important to life as breathing and that the Easter Bunny, the Tooth Fairy and Santa Claus are very real. In the meanwhile, she is hard at work on her next novel.
Contact Info:
Facebook: http://www.facebook.com/HVLong
**Today's Theme Song**
"Hey Man, Nice Shot" - Filter

 

5 Surprising Things I've Learned Since I've Sold

 


So I've been on this post-book deal journey for the last few months and I'm definitely learning as I go along. I don't know if there is really anyway to fully prepare for this, but I thought I'd share some things that have surprised me along the way. Some of these you CAN get a jump on before that book contract is in your hands.

 

1. Publishers and agents really are respectful that the story is your work. 

You hear all the horror stories--the tenet that publishing is a business (it is) and that once you get into it, you lose a lot of your control (you don't). That has not been my experience. No changes have been taken out of my hands thus far. Both agent and editor edit suggestions, were just that--suggestions. If something didn't resonate with me, we could discuss it. It wasn't do this or we're done. When the editor suggested I change the title, she didn't tell me what to change it to. It was up to me to come up with titles I felt comfortable with.


2. If you're an introvert while you're "pre-published", it will bite you in the butt once you have that book contract.

Editors expect you to be building connections with other authors. They will ask you what authors YOU can approach for blurbs. Yes you. I've been lucky. The lovely and talented (and best-selling) Shayla Black, who I met through my local RWA group, very generously read my book and gave me a cover blurb (you can see it on my books page). I also received one recently from my friend and agency-mate Tiffany Reisz who will debut before me. But I'm still having to approach some authors that I admire but have never met, which is much harder (especially for an introvert like me) to do. Yes, your agent can help with some of this, but you are more likely to get yeses from people that you have already built a connection with. Start now!


3. Writing does not get any easier even when you know the book you're writing is already sold. In fact, writing on deadline just makes it all that more intense.

This is not shocking, but there it is. Writing is ALWAYS hard. Luckily, the fun always outweighs the pain in the end. : )


4. You can deduct BOOKS on your taxes when you're a writer.

Yep, among a lot of other things, because reading is part of your job as a writer. And guess what? You don't have to be published or have a book deal to do so. You can claim writer as your profession and only have make income in three out of the next five years. So that means you have two years to claim it and give yourself time to get a deal. I'm not a tax professional, but go look up the rules.


5. It really is that awesome.

Despite the stress of learning everything on the fly and writing under a deadline and all the other things that go along with the journey to debut authorhood, it still feels amazing. Every day I still have that moment where I'm like, "Holy $#!+! My books are going to be on the shelves." Nothing beats that feeling. :) So all the hard work is definitely worth it.


Okay and before I forget, the winner of the book from Ashley March's guest blog is....

 

THE COZY READER!!!
(Ashley will email you.)

So what have you learned in your journey so far? What has surprised you the most? Do any of the above things surprise you?

Guest Blog: Author Ashley March on Character Emotions (and contest!)


Today I have an extra special treat for you. Historical Romance author Ashley March is here to talk to us about character emotions. And believe me, this chica knows what she's talking about. Her characters are vivid and spunky and full of attitude. Seriously, if you haven't picked up Ashley's debut yet, Seducing the Duchess, you are missing out. Such a fun and heartfelt read. 


Now I hand it over to Ashely. And make sure your read all the way to the bottom. There's a prize up for grabs! :)

Building Reader Rapport through Characters’ Emotions

When I started thinking about a topic to write about for my guest blog on Fiction Groupie, I knew that picking the right one would be difficult. After all, Roni is phenomenal with all the information she shares with us (yes, I’m a reader of the blog, too!), and I know that a lot of you could probably teach me how to write better. J In the end, I decided to blog about something that has helped me the most on my journey as a writer.

First, if you haven’t read Characters & Viewpoint, a Writer’s Digest book by Orson Scott Card, go buy your copy right now.

If you’re like me, you’ve probably read dozens of books about writing a novel. And just like me, you probably haven’t read most of them. But trust me, Characters & Viewpoint is one that you definitely want to read with your highlighter out and ready to go. I’ve heard a lot about how to create great characters, but the idea that was suggested by Orson Scott Card and has stuck with me since is this:

If you want readers to care about your characters, give them something to care about.

Sounds simple, and honestly, it is. But this idea isn’t talking about making your characters miserable just for the sake of entertaining your readers. It’s about getting your readers invested in your story and getting their emotions engaged. And the best way to build this kind of reader rapport is through the showing of your characters’ emotions.

We’ve all heard how important it is to show and not tell when writing description. Instead of “It was a windy day”, try “The leaves scattered across the yard, a frenzied kaleidoscope of autumn colors harkening another Halloween to be spent splashing through the rain.”

The same idea carries over for character emotions. Don’t say, “Adam felt angry.” Don’t even say “Adam’s blood boiled”; this is only a cliché way of saying the same thing. Instead, try to show Adam’s physical response to the correlating emotion. Does he punch his fist through a wall, slam it on a desk? If he can’t respond physically, maybe internally he swears, is sarcastic, or daydreams about physically injuring Peter while Peter gloats about the new promotion he received.

But there’s more. Why should we feel upset that Adam isn’t getting the promotion? We care because from the very beginning of the story, you’ve been building sympathy in us by showing his emotional stakes in other aspects of his life. Maybe he needs the promotion because he’s screwed up in so many other ways that his wife no longer has any respect for him. Maybe his child is sick with leukemia and he needs the better salary to pay for unexpected medical bills. Maybe Peter stole Adam’s fiancée and Adam thought he could show her that he was a better man by getting the promotion over Peter.

Make the reader care by giving them a reason to care. Show your characters’ emotions to invoke a similar, sympathetic response in your readers. Up your characters’ emotional stakes by revealing what’s at stake in the plot. If you’re able to do this and get your reader invested in your character, they’ll become invested in the story. They’ll turn page after page not because you’ve written the next episode of Jack Bauer’s 24 and the entire world is going to end, but because they care about the characters.

This kind of reader rapport is the kind where you actually get a physical ache in your chest when Rhett leaves Scarlett at the end of Gone with the Wind.  It’s what makes you cry for Robert when his pet pig is butchered in A Day No Pigs Would Die. (Seriously—I remember my entire 8th grade English class sobbing at the scene when Pinky dies.) That’s the sort of emotional investment you want to create; that’s what will make your characters and your story memorable.

Although I wish I could give many more ways to build this rapport, this post is only meant as an overview. I really encourage you to read Characters & Viewpoint by Orson Scott Card. It is a book that entirely changed the way I wrote and the type of characters that I created. Because I think Characters & Viewpoint is so awesome, I’m going to give away a copy to a random commenter. Just comment below and tell us about a book or scene that really elicited an emotional response from you because of the way the author wrote the characters and their emotions.


Ashley March (www.ashleymarch.com) is an historical romance author of Victorian romances that are sometimes sexy, sometimes funny, and always emotional. While you’re reading this, Ashley’s sitting at home on a couch trying to brainstorm her next book while she watches her 20-month-old daughter throw a tantrum and tries to keep her 3-month-old from spitting up on Ashley’s third shirt of the day.





Thanks so much to Ashley for stopping by! Feel free to ask her any questions in the comments. And don't forget to follow her instructions above to enter the contest!

Making Your Book Memorable: Creating Moments

What separates a novel from being just good to being great? We can talk about plot points and characterizations and originality. All of those things, of course, count for a lot. However, what seems to really define the difference for me is if I remember parts of the book (or movie) for years to come. I could enjoy a book, feel drawn in, feel satisfied when I'm done, but if you ask me in a year or two and I can't remember much about it, then maybe the book wasn't great (or maybe I'm my long term memory is just getting worse--always a possibility.)

So that got me to thinking about what makes a novel particularly memorable. In Ann Rittenberg and Laura Whitcomb's Your First Novel​ (a great resource, btw), they argue that a novel is memorable because of the moments an author creates. They define five main types of moments that make a story stick with us for long after we've closed the book.

The 5 Types of Main Moments

1. Opening Hearts

These are the moments that are either filled with joy or sorrow. These are often the heartbreaking moments that make us cry.

ex.) In Titanic when Rose has to let go of Jack's hand in the water. In Romeo and Juliet, when Juliet awakes to find Romeo dead.

2. Instilling Fear

These are the moments that scare the bejesus out of us. These scenes are the ones that make us get up to check and make sure that we've locked the front door.

ex.) In the movie The Ring when the little girl steps out of the tv. In Stephen King's (who is the master at this type of moment) The Shining when the wife finds the stacks of typed pages that say "All work and no play makes Jack a dull boy."

3. Raising the Temperature

These moments, for lack of a more delicate way of putting it, turn us on. This doesn't necessarily mean sex; it could be a simple kiss, but it hits a hot button.

Ex.) In the Mortal Instruments series, the scene with Jace and Clary in the fairy court. In Charlaine Harris' Sookie books, (hmm, there are so many, where to start), I'll say in the fourth one Dead to the World, the shower scene with Sookie and Eric.

4. Getting a Laugh

These are the moments that make us laugh out loud while we're reading, even though we're in the middle of the airport and everyone turns to look at us. My husband gets particularly annoyed with me when I hit these in a book because he feels left out on the joke.

ex.) In Knocked Up when the friend walks into the delivery room and she screams in her most demonic voice for him to get out.

5. Winning Victories

This is the part of the book that we're all waiting for. The hero gets the girl/guy, the murder is solved, the bad guy is caught/killed, the war is won, etc.

Ex.) The final dance in Dirty Dancing. The scene in Sixteen Candles where the car pulls away from the church and Molly Ringwald's character sees Jake Ryan leaning against his car waiting for her. The examples are all over the place. Every book and movie has one of these, it's the climax. But the key is to make the reader really care about getting there. We have to feel personally invested in the outcome. If not, we're left cold.

So what do you think? Do you have these in your own book? Are these types of moments what make you remember a story? Also, what are some of your favorite moments that stayed with you long after the end of the book or movie?

Oh, and what do you think of my freshened up blog template? Love/hate/somewhere in between?

**This is an updated post from 2009**

 

New Title Revealed!

 

As most of you know, I recently found out that I was going to have to change the title of the book formerly known as Exposure Therapy. So I was tasked with the job of coming up with something that was more romantic but that was still sexy and that had series expanding potential. Easy peasy, right?

 

Ugh. Wrong!

I went through a few days of brainstorming both alone, with agent, and with other writers on Twitter. I then submitted five or six possibilities. Well, this week my editor came back and said that though she liked one suggestion, she really was hoping for something more romantic. And we needed the info stat because her meeting with the art and sales department for my cover was yesterday. Eek!

So back to the drawing board (and to Twitter) I went on Valentine's night. My poor husband was totally ignored, lol, while I came up with another list to send the editor. By the way, thanks so much to Jamie Wesley, Julie Cross, Tiffany Reisz, Teri Anne Stanley, Dawn Alexander, and Alyssa Palmer for all the brainstorming help. : )

Anyhoo, I sent off the list to Kate (my editor) late Monday night. Then lo and behold, I had a wonderful email first thing Tuesday morning.

We have a title!!!! Woot! Kate loved a few different ones on my list, but after checking in with the marketing department, they decided on the two that would be best for book one AND book two.

 

So *drumroll please* my debut book will be titled...
CRASH INTO YOU


:D  I heart it. I suggested it because the song Crash Into Me really does fit my book, but that title is already taken by a YA. (Lyrics for the song are at the bottom of the post if you're interested). So yay! I have a title. And so does the second book. Book two will be called MELT INTO YOU. I love that one too. So I'm super pleased and beyond excited. It's starting to feel real!

 

So what do you think? Like it, love it, hate it? You can be honest. :) And what are some of your favorite titles you've come across recently?





Questions Answered: Tense, Balance, and Where to Put the Lovin'

 


First, Happy Valentines Day to everyone! : ) I hope you all have a fun day full of love, chocolate, or whatever makes you happy.

 

Now, last week I opened up the comments to any question you guys may have. So I thought today would be a good day to answer those. And if these questions spark any other questions, feel free to ask them in the comments.

Alright, first, Jessica asked  "there have recently been a few discussions on tense past/present . Do you have a preference when writing?"

I think this is truly a personal preference question. There is nothing wrong with using either, though I have heard a few agents/editors lament about present tense on occasion. I personally have no desire to write in present tense. My thoughts naturally happen in past tense, so I'd have to fight that to write any other way. However, I have read a number of present tense YA books that I enjoyed.

 

The warning I will give is that present tense is much harder to pull off than past tense, so if you go that route, know that you'll have to pull it off flawlessly. I've critiqued a number of different people via contests and such that have tried the present tense thing and it just didn't work. And very often, those manuscripts are the ones with the most mistakes in tense switching (slipping into past tense by accident every few paragraphs.) So I would say if you choose to do present tense, make sure you have a good reason why and not just because you want to be "different". Yes, it can feel more immediate and intense in present tense, but be aware of some of the problems you could face as well (some outlined here.)

Kayleen asked: "How do you juggle all the things you have to do in a day? That seems to be a consistent battle at my house."

You're not alone, it's a constant battle for me too. We just moved my kiddo to 5 half days a week of preschool so that I could find more uninterrupted writing time. All I can say is that the only thing that works for me is squeezing in writing time (whether it be computer time or thinking through the story time) wherever I can. The thinking part happens in the shower or while I'm supervising kidlet's bath or when I'm laying in bed before I fall asleep. I make a conscious point to think on the story, work out problems I'm having in a scene, planning the next scene, etc. so that when I do get that time in front of the laptop I'm ready to get actual words on the page.

 

I also am in the ongoing battle of learning how to say "no" sometimes. I get asked to critique or guest blog or judge a contest pretty regularly and I always want to say yes. I like doing those things. But I'm realizing that sometimes I'm going to have to say no because if I say yes to it all, my writing time goes to that instead of to writing and that's not good.

So I know that's probably not an overly helpful answer, but the truth of the matter is...something will always get pushed to the side. I just try to make sure it's not my husband, my kidlet, or my writing. If laundry isn't always caught up or there are dishes in the sink when I go to bed at night, I'm okay with that. Those things can wait (for a little while at least.) : )

Karla asked "Since you write and read erotic romance, I'd love to hear your opinion/thoughts on this: How early in the book do you think the first erotic scene should fall -- and/or -- how long is too long to make the reader wait for that first blazing hot encounter? "

Okay, so this is a question near and dear to me because I struggled with this exact thing in my book. Many erotic romances you read--especially the ebooks--have a sexy scene or full out love scene VERY early, like first chapter early. The thought I guess is that--this is erotic, let's set that tone immediately. I'm okay with that structure. I've seen it pulled off beautifully many times. However, I don't agree that it HAS to happen that early. My first sexy scene in my book isn't until the end of chapter four and even then it's a flashback scene and no actual sex happens.

 

I actually got points off when I entered a contest because I didn't have a love scene in that first thirty pages. But lo and behold, the book got me the agent and book deal. Why? Because I apparently did what was right for the story. I couldn't have my couple get together that early. They were past lovers and had some MAJOR issues between them to deal with before they could even be in the same room with one another, much less the same bed. It wouldn't have worked.

So Karla told me not to tell her "it depends on the story" lol, so I'm going to say--do what is right for your characters. If you have enough sexual tension building, readers will hang with you for that love scene and then just think how delicious it will be after all that build up? However, don't forget that key--if you have no sexual tension and you go on and on with narrative in an erotic romance (or any romance) then people are going to be checking the spine thinking--wait, this is a romance, right? Plant the seeds, the sexy thoughts, clue us in to how viscerally the hero and heroine are affected by each other--promise us the hot love scene that way then make sure you deliver what you promise.

Alright, so those are my answers. Thanks for the questions! What do you guys think? Agree/disagree on these issues? And any other questions pop up while reading this?

The Top 5 Things A Writer Should NOT Do

 

I had planned to answer the questions from Wednesday's post today, but this morning my car wouldn't start. So I've spent the morning getting a jump and then hanging out at the repair shop. All is well now, but it means I'm not going to have time to do the blog I planned.

 

However, I am the guest over at Julie Cross's blog today listing my Top 5 Things a Writer Should Not Do (in my opinion, of course). This is a new series Julie has started and a few others have already listed their "don'ts" earlier in the week--including her agent, Suzie Townsend's, top five. So hop over and check and out and leave me a comment if the spirit moves you. :)

Have a great weekend!

WIP Wed. - Dear Teen Me, Updates, and Questions

 

Okay, I haven't done one of these in a while, but there are a lot of different things going on, so I figured a WIP Wednesday was in order. :)

 

First things first, yesterday was my turn on the Dear Teen Me blog. If you're not familiar with it, it's an awesome site put together by authors E. Kristin Anderson and Miranda Kenneally where authors write letters to their teenage selves. I would describe it, but I think they do a better job on the website, so here's the description:

 

Teenagers of the world, Dear Teen Me is for you.
For everyone who wishes they were on the football team. For everyone who would rather be in the glee club than ever run another lap. For the teens who dream of being far, far away from the small town or big city where they go to school. The prom queens, the theater kids, the band geeks, the bad boys, the good girls, the loners, the stoners, the class presidents, the juvenile delinquents, the jocks and the nerds.
The teens who have good days and bad days and sometimes really really really bad days.
This is for you.


Pretty awesome idea, right? So yesterday was my letter. If you'd like to a) go chuckle at my truly horrid picture from 8th grade, complete with flannel shirt and b) confirm that in fact that I've always been a dork, I encourage you to click  here and do so. And if you're feeling generous, I'd love for you to leave a comment as well. :) Then of course, go through and read the archives because there are truly some amazing letters on the site.

 

Alright, now for some updates:

Exposure Therapy's title change -- No news yet. I've offered my suggestions and my editor will take a look at those. I hope to hear something soon. And I'll be sure to let everyone know as soon as I have it because I am SO EXCITED to hear what it's going to be. :)

Berkley Book 2 Draft -- I hit a rough two months where I've struggled with which direction to go. Over the last two weeks, I've work backwards, changed some plot elements, and started threading the suspense portion in. The word count is now climbing again. Phew. I'm now at the halfway point in the draft.

Wanderlust -- If you're a new follower, you may not know about this one, but this is a category-length romance I wrote before Exposure Therapy. Good news--it's still alive. :) Can't go into details but I'll be tackling some revisions after I finish drafting my current book and may have a shot to get this one on the shelves one day too! *fingers crossed*

Questions...


Alright, in addition to the updates, I thought this would be a good post to open up for questions. I've been getting emails from some of you asking me things about blogging, writing, balancing writing with motherhood, etc. I love getting those emails, but I thought today it would be fun if anyone wants to throw out questions here on the blog. That way everyone can see the questions and answers. :)  I will either answer the questions in the comments or if we get enough, I'll do a separate post with the questions and answers.

So ask away, I'm an open book (mostly). :) And also, let me know how your WIP is going? Am I the only one who's been beating her head against the keyboard lately?

Building Writer Karma

 

Karma-02-17-2011-008
Photo by Elmo H. Love

I'm a big believer in karma, always have been. Call it a psychological concept, a religious one, a spiritual thing. Whatever works for you. But I think that if you want to have positive things in your life, you need to put positive thoughts and actions out into the world. And in your writing career, I think the concept applies as well.

 

Writers are a large but very supportive and tight community. You can see it online, at conferences, at critique groups. Most of us are there cheering each other on and truly rooting for everyone's success. It's a wonderful thing and I'm proud to be a part of that community. And I think it's important that if you're a member of that community (and all of you reading this mostly likely are) that you give back and fill up your bank with good writer karma points. You'd be amazed at how a) good it makes you and others feel and b) what a positive effect it can have on your career.

So what are some things you can to do put deposits in the karma bank?

1. Offer to critique for someone without the expectation of them having to give you a crit back.
This doesn't always have to be a two way street.

2. Mentor someone who may not be as far along in their writing journey. 
We all were beginners once. Even if you know someone is very green and it may be painful to read some of their work, offer to take them time and give them some feedback.

3. Judge for writing contests.
Almost all of the RWA chapters around the country do contests and are always in need of judges. You don't have to be published to volunteer.

4. Don't post bad reviews on your blog (unless your point is to be a book blogger/review site and not a writer)
I'm all for honesty, but this can bite you in the butt faster than anything. True story: I reviewed a book on here when I first started blogging (thankfully I loved it so the review was very positive), but that author is now the person who is giving me a cover quote for my book. (squee!) Imagine what would have happened if I had not liked her book and posted a bad review. I doubt she would've been willing to even look at my book.

5. On the flipside, if you love a book, TELL people. Blog it or tweet it or give a review on Amazon.
 Word of mouth is sometimes all an author has, so don't be afraid to share if you loved something. It's a powerful tool. I recommended a book last week and already heard from three people who bought and loved it.

6. Don't play the jealousy game.
It's an ugly side we all fight internally with. Just remember there will always be someone with a better deal, a bigger blog, a more kickass cover, better sales, more luck, whatever. It's a game you can't win. So learn to be happy with your own victories--don't water them down by comparing it to others.

7. If you're doing the social networking thing, give shout outs to people or link to them when you loved their post or their tweet. 


8. Never get too big for your britches.
I don't care how awesome your books are, none of us are THAT important. Don't ever pull the diva routine. Always be thankful and humble and friendly. No one likes an a**hole. :p

Alright, so those are the things I try to stick to, how about you? What do you do to give back? What are some other things that could be put on the list? Do you believe in writer karma? :)

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)

 

Giving Up My Title: Why Writers Can't Have Too Many Sacred Cows

 

They are here — Sacred cows (Peltilehmät)
Photo by Sami Keinanan

Writing can often feel like a solitary project. For months and months you write in your cave--you create, you slave, you edit, you cut and paste and hit delete. You curse your uncooperative characters and then you fall in love with them. You put everything you've got into those pages.

 

So when it's finished, it feels like YOUR baby--a book you've lovingly created with your own twisted imagination. It's an amazing feeling.

But then the next step can determine how successful you're going to be at this whole writing thing. Because the next step is letting others in. To use Stephen King's analogy, you draft with the office door shut, then throw open the windows when you're done to let others in. What does that mean?

Get beta readers/critique partners AND actually listen to their feedback with an open mind.
I don't care how good of a writer you are. No one writes the best possible version of a book all on their own. Outside insight is a part of the process--unless the only person who is ever going to read the book is you. And please don't get beta readers just so you can stick your fingers in your ears when they come back--and instead of telling you how perfect everything is--they give you some tough feedback. It's your right to pick and choose which feedback you use and discard--but listen to every comment with an open mind first and look for WHY the person may have said that.

If you start querying and an agent/editor rejects you but gives you feedback, REALLY HEAR IT. 
 Agents/editors do this for a living. It is their job to figure out what works and what won't. If they took the time to give you personalized feedback, then this wasn't some offhanded comment. They are trying to help. It doesn't mean you HAVE to take the advice, but I would strongly consider what they say. I can't tell you how many times I see people tweet or blog about--well, I got a personalized rejection, but I don't really agree with what they said, so I'll just find an agent who agrees with me.

Don't get too attached to anything in or about your book. Have very few sacred cows.
We all have dealbreakers--parts of our story or characters or setting or whatever that feel like the heart of the book to us--that if we took that out or changed it, our story wouldn't be the story we want to tell. That's okay. That's your right as an author. BUT, choose those sacred cows wisely. Don't hold so tightly to everything that you can't see the bigger picture. My dealbreakers? I wouldn't have been willing to get rid of my happy ending or to make the book erotica and not erotic romance or to get rid of my dual timeline structure. That's it.

And why should you do these things?

Because once you get an agent and then a book deal--it becomes a team effort and a business. Your agent and editor have the same goals as you do--to make your book as awesome and successful as possible. But that often means you're going to have to make some changes that are hard.

When I first signed with Sara, she asked me to cut my very favorite scene in my book. I loved that scene. But when she explained why it didn't work--it totally made sense. So after a moment of mourning, I moved forward and did it. I was able to save my favorite parts of the scene and rework them into a new setting with new motivations. And you know what? It was so much better the new way! I would have never ever on my own cut that scene because I was too attached, too close to the book. And the book would have suffered for it.

Then when I got my edit letter last week from Kate, there was another scene I never would've thought of changing, but wow, it was a great suggestion. The change made the whole scene much stronger and upped the conflict with just a simple switch of action.

In addition to that and some other changes, she wanted me to change my title. *moment of silence to say goodbye to Exposure Therapy*

She wanted me to think of something that wasn't just sexy but that was romantic as well because Exposure Therapy doesn't speak to the romance part. Now at first, I was like--oh noes! I heart my title. But after a few minutes of thinking on it, I could see her point. The heart of my book is the romance and relationship and I need to make sure the reader feels that in the title. So, I've given her my suggestions and we'll see what happens, but it was just another example of how you can't be too attached to anything.

And I know most of you are probably saying--as long as I get an agent or editor, I don't care what they tell me, I'll do whatever they want me to! But when you're actually faced with it, it's a lot harder to do than you think. So prepare yourself now. Be open to feedback and think about what your sacred cows are. What are you willing to go to the mats for?

And remember, it is your right to say no to something. It is still your book. I didn't change everything that Sara suggested and she was fine with that when I explained my reasoning. But just make sure that you're willing to listen and consider everything before going with that knee jerk "no way!" reaction.

So what are some of your sacred cows? How would you feel if asked to change your title? And on the flipside, if someone does go after a sacred cow, would you have the guts to say no to representation or a book deal over it? 


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.




 

Guest Post: Literary Assistant Anita Mumm on Queries

 

Today I have a terrific guest for you guys. Nelson Lit's Literary Assistant Anita Mumm! There have been some posts lately about the dire numbers of clients signed from cold querying. In response to some of those reports, author/blogger Jody Hedlund recently asked: is the query system dying?

Well, I didn't really know the answer to that question. I did get to Sara via a client referral, so this made me wonder. But I figured instead of just pondering, I'd go straight to a source that could give us some insight. Anita is on the front lines of the slushpile at Nelson Lit, so I posed the question to her. Is there hope for a new writer to get an agent via a cold query? And now I'll turn it over to Anita for her answer.
IS THERE HOPE FOR YOUR QUERY?
There’s a rumor floating around cyberspace that agents don’t read blind queries anymore. That unless you’re already published, or recommended by Famous Author X, you might as well stuff your letter in a bottle and pitch it out to sea. The slush pile is dead.
Well, let me start by saying that if the slush pile is dead, I sure feel silly spending so much time wading through ours every day. *grin* On average, we get just over a hundred queries a day, and yes, we read them all. What we’re NOT looking for is an excuse to reject a query because it doesn’t contain enough name-dropping or publishing credits. Don’t get me wrong—those can definitely help, but they are not essential. When I read a query, I’m looking for a combination of the following: unique story, hot topic, strong voice (one that, we hope, mirrors what we’ll see in the manuscript), compelling characters, and an ability to be both thorough and concise—capturing the essence of the story in a couple of paragraphs is no small feat.
Here is an interesting statistic for you: 75% of our clients were cold queries (i.e. non-referrals). Yep, that means they were sifted out of the slush pile based solely on the strength of their writing in a one-page letter. Next, their 30-page sample made the cut, and we requested a full manuscript. Kristin or Sara fell in love, and the rest is history.
I can’t offer numbers from other agencies, but the fact that we frequently compete for the same hot manuscripts—from the slush pile—shows that we are not an anomaly here.
That said, I’d hate to mislead anyone by implying this is an easy process. Remember those 100 queries a day? So that means in a year we see…merciful heavens, that number is too scary for me to even think about writing! Makes my eyes bleed! And out of that scary number, our agents sign a tiny handful of new clients.  The odds are not in your favor.
But when have the odds ever been favor of wild, unrealistic dreams? Good thing JK Rowling and Suzanne Collins and Paul Harding didn’t waste time worrying about their chances. And neither did our clients, who have become NYT bestsellers, among many other honors. It started with a query letter.
Believe in your writing. Let it speak for itself. And by all means, learn how to perfect your pitch—that part doesn’t have to come naturally. Kristin’s query workshop on her blog (http://pubrants.blogspot.com/) is a great tutorial if you need a kick-start, and here is the link to some great examples of our clients’ original query letters: http://nelsonagency.com/faq.html#7
Happy writing.

 

Anita recently joined the NLA team as literary assistant. A compulsive book collector whose interests span the genres, she chose her current neighborhood based on the number of bookstores within walking distance. She received a B.A. in linguistics and French from the University of Kansas and an M.A. in Teaching English as a Second Language from the University of Illinois. She has taught English and creative writing to international students in the U.S., France, and China. Anita is thrilled to bring her love of language, writing, and other cultures to her new position at the Nelson Agency. She shares a cozy apartment near downtown Denver with a curvy kitty named Francine.









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Now Anita is generously donating a query critique for a prize, so don't forget to enter the contest. You'll also be included to win the other query crits up for grabs as well. But remember, you need to comment on both this post and friday's, and fill out this form to enter. :)

Thanks again, Anita!


 

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!**

A Litmus Test for Your Opening Scene

 

 

So as I mentioned last week, I've been judging for my local RWA's chapter contest. And the thing about contests is that, as a contestant, you're only submitting a limited number of pages--usually around 25-35 pages--simulating the partial submission to an agent/editor. Therefore, as a judge I'm giving feedback not just on mechanics and craft stuff, but on the overall BIG DEAL question--am I hooked? When I hit page thirty and it ends, do I want to read more?
Well, what I'm finding is that many times someone may be really strong in mechanics and craft and even voice, but the first chapters are either all backstory (which I talked about last week) or are too much showing of every day life. Let's meet the MC's friends, their family, let's describe what everyone looks like and what his or her house is like, etc. Then maybe by chapter three, let's get to the "good stuff".
Now I'm a proponent of getting a glimpse into the ordinary life. It can work really well and in movies that's a very important component. Almost always, the opening images of a movie are the MC's ordinary life. We see how this person's life is right now so we can feel the impact of the big change/turning point/etc. However, here's the key: it's a glimpse. Meaning VERY brief.   
No one else is going to make it to chapter three's "good stuff" if nothing has really happened up until then. I'm reading it all because I'm a judge, but the agent or editor has already moved on. You have to get the story moving now. 
So what does that opening scene need?
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.
Make a Scene: Crafting a Powerful Story One Scene at a Time
Litmus Test for an Opening Scene

I'll put my novel to the test as well as an example.
1. A challenge to your protagonist's status quo.
My MC finds out she's going to have to work with her ex-boyfriend--the only guy to ever really break her heart.

 

 

2. An antagonist for your character to encounter. (Doesn't have to be THE antagonist.)
My hero is the antagonist in the first chapter, but then my heroine finds out her sister has gone missing in the next scene. Therefore, the true antagonist is the person behind her sister's disappearance.

 

 

3. Introduce your protagonist's immediate intentions.
My heroine intends to ignore the ex-boyfriend and their history and just treat him like a stranger.

 

 

4. A glimpse into your MC's history/personality/motivation.
I open with a "glimpse into ordinary life" with my MC at the end of a really bad date. It's very brief and I don't even name the guy she's having dinner with, but we get a feel for her current life and her voice during the two paragraph encounter.

 

 

5. The protagonist makes a decision that leads immediately to more complications.
The person who makes a decision in my first chapter is actually the hero (my romance has two protagonists--hero and heroine have equal POV time). So my hero decides to follow my  heroine after she gets a frantic call from her sister and leaves the party. This of course leads to the main suspense thread of the plot because they both show up and find the sister missing. Oh, and guess who is the only person who can help the heroine find the sister? Yep, the hero. :)

 

 

Therefore, even though my opening scene is only one layer of the story and doesn't introduce the suspense plot and the big turning point until the next chapter, all these basic points have been hit. It's enough conflict and action to whet the appetite to keep turning the page (hopefully!) and see how much more complicated things are going to get. 

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 or movies, do they follow these guidelines? Can you think of any other "must haves" in an opening?

 

*This is a revamped post from 2009

Want to Get High (Concept)?

Go to any writer's conference and you'll hear the following two words ad nauseum: High Concept.  Agents, publishers, your Uncle Bernard--everybody wants your story to be high concept. And as I judge contest entries, I can tell you the high concept can be quite elusive. So what exactly does that mean?

High concept is an intriguing idea that can be stated in a few words and is easily understood by all. --James Bonnet

Okay, great. Sounds easy enough. Movies and tv shows use this all the time. It's just a log line, right? Well, not really. Let's look at a few log lines from today's tvguide.

Swingers--Warmly amusing story about the do's and don'ts of dating, centering on six friends who go looking for love at hip LA hotspots.
Definitely, Maybe--On the eve of his divorce, a jaded Manhattan ad exec tells his ten year old daughter how he met her mother.

*Shrug* Both good movies, but based on those descriptions I could take 'em or leave 'em. They tell you in general what it's about but there's no real intrigue. That's not to say they don't have high concept, but these loglines don't speak to it.

Now let's look at a few examples that are considered "high concept.

Speed--A cocky cop must find a way to save people stranded on a city bus that will
explode if is slows below 55 mph. (source)
Double Jeopardy--When a young wife discovers the husband she’s convicted of murdering isn’t dead, she escapes custody to track him down and kill him. (source)
The Hangover--After a wild bachelor party in Vegas, three friends wake up to find the groom missing, and no one has any memory of the previous night.
Back to the Future--In 1985, Doc Brown invents time travel; in 1955, Marty McFly accidentally prevents his parents from meeting, putting his own existence at stake. (imdb)

Ooh, now I don't know about you, but those grab me. Why? What are the differences between a straight logline and a high concept.

High concept stories have...

1. A unique premise

This doesn't mean you have to do something that's NEVER been done before. Let's face it, that's hard. But put a twist on it. In Speed, we've seen bomb/terrorist plotlines before, but wait, let's put it on a bus, oh and let's make sure that the bus can't slow down. In New Moon, we basically have Romeo and Juliet with vampires and werewolves.

2. Universal appeal

If your idea is unique (#1) but so bizarre that no one can relate to the premise, then you've lost your high concept. In Double Jeopardy, being betrayed by a spouse is something most people can connect with. No, maybe not everyone has been betrayed by their husband/wife, but we can imagine what that would be like. And certainly everyone has been betrayed at least once in their life by a friend, family member, etc.

3. Instant emotional connection

If we don't connect emotionally with a story, then what's the point of reading it? In Speed, we can connect with the idea of being an innocent bystander on the bus caught in that life or death situation. Or the cop whose trying to save everyone. In The Hangover, we can imagine the panic we would feel if we woke up and had no memory of the previous night and our friend was missing.

4. Obvious Potential (Can be visualized immediately)

When you hear a high concept pitch, you instantly start imagining what could occur. This doesn't mean a predictable story necessarily, but it gets our mind working. In Twilight, we can imagine what problems might arise when a vampire falls in love with a girl whose blood is absolutely irresistible to him. Clueless goes to Harvard Law (guess the movie). We can imagine the funny antics that will ensue.

5. Only one to three sentences (preferably one)

If you can't cover it in this amount of time, your concept made need a shot of heroine--sorry, I can't resist making lame puns--your concept needs to get high.

A few things to help you create your high concept...

  • Create a compelling character with a desperate desire
  • Give the character a flaw related to their job or situation
  • Have a life-altering, inciting event
  • Insert a quirk of fate or irony

--source

Alright, so I hope that helps. I know that we all want to be able to do that "elevator pitch" if ever given the right opportunity. And we certainly want that one liner in our query that is going to get an agent or publisher excited. I'm terrible at this, so this post is as much for my benefit as everyone else's. I'm bound and determined to have my high concept pitch before I jump into my next novel.

Here are the sources I quoted from, check them out for more info:

Conquering the High Concept

High Concept Defined

Got High Concept (from RWA)

What's all this talk about high concept? (from the Knight agency)

If you want to see examples of loglines (some high concept, some not) and taglines (i.e. hooks), go to imdb.com and enter any movie. They offer one line plot summaries and the hook for every movie. It's awesome.

So have you done this? What's your logline or high concept pitch? Do you think your current WIP fits these guidelines? What are some great high concept books that you've read or movies that you've scene lately? What would be there logline?

*Repost from October 2009