by Jemi Fraser
In my last post, I talked about 3 hashtags I enjoy using on Twitter. I asked what other hashtags you were using and got some terrific suggestions!
1. #10queriesin10tweets
Sara Megibow runs this one. Sara is an agent at Nelson Literary Agency and she is fabulous! Usually on Thursdays, Sara goes through 10 queries in her slushpile and tweets the genre and whether she's passing or requesting pages. She also includes her reason for her decision. It's amazing how many people query her with genres she doesn't represent. I don't think I've ever seen her have less than 2 or 3 in the 10 - sometimes as many as 5. Crazy. Not researching agents is a waste of everyone's time!
2. #1k1hr
I hadn't heard about this one before (thanks Viklit!). I've used word sprinting hashtags during NaNo before, but I hadn't used them elsewhere. I will from now on. Word sprints are a great way to get a boost in your word count. If you haven't used them before, you send out a tweet asking if anyone wants to sprint (use the hashtag!). When someone else is sprinting with you, it's great motivation to get those words down.
3. specific chats for genres and age categories and one for self pubbers
I think these were my first introduction to chats and hashtags. They are Awesome!
#yalitchat
#kidlitchat
#mglitchat
#nalitchat
#chicklitchat
#indiechat - this one is great to meet writers who have chosen to self pub. They cover all kinds of great information and you get to meet all kinds of interesting people!
I don't know all of the writing chats (obviously!) but try a search with your genre combined with chat and see what pops up. I've learned a lot by participating in and lurking at these chats. These chats often move QUICKLY!! Using TweetChat is very helpful as it stays on the chat only. It also inserts the hashtag for you so you don't have to remember!
I've got one more post on hashtags up my sleeve. What would you like to see on it? Do you use any of the ones I've mentioned today?
Jemi Fraser is an aspiring author of romantic mysteries. She blogs and tweets while searching
for those HEAs.
Monday, October 22, 2012
Friday, October 19, 2012
5 Ways to Silence Your Internal Editor
by Jean Oram
Have you ever had a nasty gremlin sitting on your shoulder telling you that you can't do it when you write? He's that little guy who wheezes in your ear, sharing not-so-sweet nothings like, "That's an adverb, followed by too many adjectives." Or "That makes no sense. Do you even know who this character is? You must SHOW their motivation." Or "That paragraph is too long." Or "A comma doesn't go there." Or "Spelled that wrong!" Or "Get a thesaurus, you've used that word three times."
Yeah, that internal editor can be a nasty little you-know-what when you are trying to get down a first draft. But he can also be worth his weight during edits.
So, what do you do when he keeps butting in while you are writing your first draft? What can you do? And you have to do something otherwise that nasty little gremlin will smother your muse in vile tar in five seconds flat, leaving you sobbing on your keyboard.
1. Write.
Just keep writing. You have to show that gremlin who's boss--and that would be you, the writer. So keep writing. Eventually he'll get tired and drift off.
Learn to be okay with the fact that some of what you write is going to be garbage. If you keep writing, eventually you run out of garbage--plus oddly enough, over time it becomes less smelly. (Nice!) You can always edit it later, recycling some items, landfilling others, polishing hidden gems, etc., but if you don't have it down... what have you got to edit and polish? Nothin', darlin'.
2. Rules.
If it is a long list of writing rules that keeps you from doing well when putting down a draft, turn off your grammar and spell checker and write. You will have plenty of time to worry about commas and grammar later. Right now you need to get in the zone, stay there, and write. Plus, the more you write, write, write, the sooner all those rules will become second nature.
If you decide to focus on learning the rules while you write, consider focusing on one thing at a time--we don't want any exploded heads... brains are very difficult to clean off the upholstery.
3. Distraction.
Some writers find that if their gremlin doesn't have a day job, is a bit of an insomniac, and is always on snoopervision no matter what they do, they distract him. Try music. Talk radio so he doesn't get lonely. Or the TV so he picks up useful tidbits he can feed into your subconscious to be placed here and there in your story.
4. Play.
Let your Gremlin play. He's playful. He's bored. He's not going anywhere, so use him. Channel his energy into your internal Ways-I-Can-Improve drive. Challenge yourself in healthy ways. But remember, when he gets to be too much tell him to shut it. And be firm. Spank him if necessary. (I won't call social services, I promise.)
5. Research.
Send your internal editor gremlin out to do research. If he keeps harping on you about sensory information, let him loose on someone else's work. Let him soak up knowledge and apply it to your work--in edits. (Try and keep that nasty little guy out of your first draft.)
Good luck young grasshoppers. And whatever you do, keep your gremlin dry.
Now that you've looked at your internal editor/gremlin from the write angle, do you have any handy gremlin elimination tips? Share them in the comments section.
Jean Oram once kept her gremlin up late and let it have a bath. Things turned rather nasty. Her short story, which is about love and not about gremlins, will be published in The Fall: Tales from the Apocalypse where she also served as a gremlin on the contributing author's shoulders (i.e. editor). You can find more writing tips from Jean on her blog. (Today's post is: 7 Words that Weaken Your Writing--don't miss it!).
Have you ever had a nasty gremlin sitting on your shoulder telling you that you can't do it when you write? He's that little guy who wheezes in your ear, sharing not-so-sweet nothings like, "That's an adverb, followed by too many adjectives." Or "That makes no sense. Do you even know who this character is? You must SHOW their motivation." Or "That paragraph is too long." Or "A comma doesn't go there." Or "Spelled that wrong!" Or "Get a thesaurus, you've used that word three times."
Yeah, that internal editor can be a nasty little you-know-what when you are trying to get down a first draft. But he can also be worth his weight during edits.
So, what do you do when he keeps butting in while you are writing your first draft? What can you do? And you have to do something otherwise that nasty little gremlin will smother your muse in vile tar in five seconds flat, leaving you sobbing on your keyboard.
5 Ways to Silence Your Internal Editor
(Until You Need Him/Her)
1. Write.
Just keep writing. You have to show that gremlin who's boss--and that would be you, the writer. So keep writing. Eventually he'll get tired and drift off.
Learn to be okay with the fact that some of what you write is going to be garbage. If you keep writing, eventually you run out of garbage--plus oddly enough, over time it becomes less smelly. (Nice!) You can always edit it later, recycling some items, landfilling others, polishing hidden gems, etc., but if you don't have it down... what have you got to edit and polish? Nothin', darlin'.
2. Rules.
If it is a long list of writing rules that keeps you from doing well when putting down a draft, turn off your grammar and spell checker and write. You will have plenty of time to worry about commas and grammar later. Right now you need to get in the zone, stay there, and write. Plus, the more you write, write, write, the sooner all those rules will become second nature.
If you decide to focus on learning the rules while you write, consider focusing on one thing at a time--we don't want any exploded heads... brains are very difficult to clean off the upholstery.
3. Distraction.
Some writers find that if their gremlin doesn't have a day job, is a bit of an insomniac, and is always on snoopervision no matter what they do, they distract him. Try music. Talk radio so he doesn't get lonely. Or the TV so he picks up useful tidbits he can feed into your subconscious to be placed here and there in your story.
4. Play.
Let your Gremlin play. He's playful. He's bored. He's not going anywhere, so use him. Channel his energy into your internal Ways-I-Can-Improve drive. Challenge yourself in healthy ways. But remember, when he gets to be too much tell him to shut it. And be firm. Spank him if necessary. (I won't call social services, I promise.)
5. Research.
Send your internal editor gremlin out to do research. If he keeps harping on you about sensory information, let him loose on someone else's work. Let him soak up knowledge and apply it to your work--in edits. (Try and keep that nasty little guy out of your first draft.)
Good luck young grasshoppers. And whatever you do, keep your gremlin dry.
Now that you've looked at your internal editor/gremlin from the write angle, do you have any handy gremlin elimination tips? Share them in the comments section.
Jean Oram once kept her gremlin up late and let it have a bath. Things turned rather nasty. Her short story, which is about love and not about gremlins, will be published in The Fall: Tales from the Apocalypse where she also served as a gremlin on the contributing author's shoulders (i.e. editor). You can find more writing tips from Jean on her blog. (Today's post is: 7 Words that Weaken Your Writing--don't miss it!).
Wednesday, October 17, 2012
How's Social Media Working for You?
by Matt Sinclair
This past weekend, I attended a nonfiction agent panel conducted by the New York Writers’ Workshop. These panels are done in coordination with the organization’s pitch weekends, where writers learn how to and then pitch their manuscripts directly to editors, which sounds like a great program, though I’ve not done it myself.
I've attended these panels before-- both for nonfiction and fiction-- and met several different agents, many of whom are household names in the households of aspiring authors. This time, the agents on the panel were Peter Rubie, CEO of Fine Print Literary Management; Katherine Fausset, an agent with Curtis Brown; Rita Rosenkranz head of the Rita Rosenkranz Literary Agency; and Richard Florest, an agent with Rob Weisbach Creative Management.
The panels are great opportunities for writers in the NY area to get a sense of what these agents are looking for, and as Fausset said, you can slide mention of these workshops in your query letter as a small demonstration of your dedication to the craft and to answer the question about why you’re pitching your manuscript or proposal to the specific agent.
To be honest, this particular panel reiterated a lot of the basics that most of us have heard before, and I’m not going to go over them point-by-point. The good news is nonfiction is currently a strong market for writers, especially if you have built a strong platform. One tidbit I found particularly interesting that I wanted to share here: If you can show that your self-published book -- fiction or nonfiction -- sold at least 5,000 copies, your ability to succeed in an agent’s eyes goes up significantly. Of course, 10,000 is better, and they’re not saying that they’re going to rep that specific book that you self-pubbed, but they’d be willing to hear your pitch for the next book. But if your first book still had an audience to meet, then maybe they would pick it up. It’s not common, but it happens.
I also enjoyed the discussion of “community,” in other words, your reach on social media such as Facebook and Twitter. But, as Rubie said, “No one knows yet how social media translates to sales.”
I spoke with Rubie after the panel and he explained that there really are no metrics to determine what a strong community means in terms of sales. Part of the problem is that things are changing so quickly that the value of something as a measuring tool is ephemeral. Basically, what worked last summer might have run its course by Thanksgiving. Moreover, followers don't translate to product moving out the door. You might have 1500 Twitter followers, for example, but it’s entirely possible that fewer than ten of them will buy your book.
To be honest, I'm starting to wonder if I, and most writers without major marketing teams behind them, are approaching social media the right way. I know Twitter is a great way to develop conversations with your audience, but I'm not sure it sells books. Facebook? I've found it invaluable to rebuilding friendships with those I went to school with. And I've met writers I wouldn't have met otherwise. I might even have sold a book or two, but probably not a lot of them. My blog? Let's just say it is in the midst of a rethink.
Although the panel didn’t discuss this, it reminded me of the concept of “influencers,” which is a term used in advertising about the specific word-of-mouth folks who can really change people’s minds (Oprah being the most often-cited example, back when she still had a ratings-dominant television show.) Not everyone’s Oprah. But you probably have an influencer or two in your lists of followers. If you are the type of person who understands how to drill down into your twitter and Facebook following data, if you can quantify your audience that way, you might be able to drive home the potential audience for your book to an agent. More power to you. In fact, if you know how to do that well, I might want to chat with you…
Indeed, I'd like to hear from you on a few things. How is social media working for you? Do you have any real metrics for how it's helping you build your audience? Or do you use it for other purposes?
Matt Sinclair, a New York City-based journalist and fiction writer, is also president and chief elephant officer of Elephant's Bookshelf Press, which earlier this year published a short story anthology called Spring Fevers, available through Smashwords, Amazon, and in print via CreateSpace. EBP's latest anthology, The Fall, will be released in late October. Both anthologies include stories by fellow FTWA writers, including Cat Woods, J. Lea Lopez, Mindy McGinnis, and R.S. Mellette; R.C. Lewis and Jean Oram also have stories that will be in The Fall. Matt blogs at the Elephant's Bookshelf and is on Twitter @elephantguy68
This past weekend, I attended a nonfiction agent panel conducted by the New York Writers’ Workshop. These panels are done in coordination with the organization’s pitch weekends, where writers learn how to and then pitch their manuscripts directly to editors, which sounds like a great program, though I’ve not done it myself.
I've attended these panels before-- both for nonfiction and fiction-- and met several different agents, many of whom are household names in the households of aspiring authors. This time, the agents on the panel were Peter Rubie, CEO of Fine Print Literary Management; Katherine Fausset, an agent with Curtis Brown; Rita Rosenkranz head of the Rita Rosenkranz Literary Agency; and Richard Florest, an agent with Rob Weisbach Creative Management.
The panels are great opportunities for writers in the NY area to get a sense of what these agents are looking for, and as Fausset said, you can slide mention of these workshops in your query letter as a small demonstration of your dedication to the craft and to answer the question about why you’re pitching your manuscript or proposal to the specific agent.
To be honest, this particular panel reiterated a lot of the basics that most of us have heard before, and I’m not going to go over them point-by-point. The good news is nonfiction is currently a strong market for writers, especially if you have built a strong platform. One tidbit I found particularly interesting that I wanted to share here: If you can show that your self-published book -- fiction or nonfiction -- sold at least 5,000 copies, your ability to succeed in an agent’s eyes goes up significantly. Of course, 10,000 is better, and they’re not saying that they’re going to rep that specific book that you self-pubbed, but they’d be willing to hear your pitch for the next book. But if your first book still had an audience to meet, then maybe they would pick it up. It’s not common, but it happens.
I also enjoyed the discussion of “community,” in other words, your reach on social media such as Facebook and Twitter. But, as Rubie said, “No one knows yet how social media translates to sales.”
I spoke with Rubie after the panel and he explained that there really are no metrics to determine what a strong community means in terms of sales. Part of the problem is that things are changing so quickly that the value of something as a measuring tool is ephemeral. Basically, what worked last summer might have run its course by Thanksgiving. Moreover, followers don't translate to product moving out the door. You might have 1500 Twitter followers, for example, but it’s entirely possible that fewer than ten of them will buy your book.
To be honest, I'm starting to wonder if I, and most writers without major marketing teams behind them, are approaching social media the right way. I know Twitter is a great way to develop conversations with your audience, but I'm not sure it sells books. Facebook? I've found it invaluable to rebuilding friendships with those I went to school with. And I've met writers I wouldn't have met otherwise. I might even have sold a book or two, but probably not a lot of them. My blog? Let's just say it is in the midst of a rethink.
Although the panel didn’t discuss this, it reminded me of the concept of “influencers,” which is a term used in advertising about the specific word-of-mouth folks who can really change people’s minds (Oprah being the most often-cited example, back when she still had a ratings-dominant television show.) Not everyone’s Oprah. But you probably have an influencer or two in your lists of followers. If you are the type of person who understands how to drill down into your twitter and Facebook following data, if you can quantify your audience that way, you might be able to drive home the potential audience for your book to an agent. More power to you. In fact, if you know how to do that well, I might want to chat with you…
Indeed, I'd like to hear from you on a few things. How is social media working for you? Do you have any real metrics for how it's helping you build your audience? Or do you use it for other purposes?
Matt Sinclair, a New York City-based journalist and fiction writer, is also president and chief elephant officer of Elephant's Bookshelf Press, which earlier this year published a short story anthology called Spring Fevers, available through Smashwords, Amazon, and in print via CreateSpace. EBP's latest anthology, The Fall, will be released in late October. Both anthologies include stories by fellow FTWA writers, including Cat Woods, J. Lea Lopez, Mindy McGinnis, and R.S. Mellette; R.C. Lewis and Jean Oram also have stories that will be in The Fall. Matt blogs at the Elephant's Bookshelf and is on Twitter @elephantguy68
Monday, October 15, 2012
S(*)#$it You Don't Want—And S@#*it That You Do
by Mindy McGinnis
Too many authors think of self-promotion as the equivalent of a used car salesman. I can't tell you how often I've heard writers say they just don't feel comfortable pushing themselves—or their book—at people.
There's a neat little trick to get around that feeling of icky—give people something they already want and make the fact that it has your book, your links, or even your face on it just a useful sidebar. They get something free, you're giving away yourself without feeling pushy.
That sounds totally easy, right?
Ugh.
Not a Drop to Drink is fast approaching, which is exciting and intimidating at the same time. I need to start thinking about innovative ways to get my book out there, without rehashing the same stuff that everyone has seen a thousand times over.
There are options, sure. Pens, pencils, band-aid dispensers, t-shirts, personalized mints, postcards, bookmarks ... and everything else you've seen a dozen times and conditioned your mind to stop noticing. Drink is a genre-buster; I want something new and fresh.
Unfortunately the rest of the world has already discovered what I had originally wanted to do for DRINK—customized water bottle labels. How perfect is that for a book built around the idea that the world has run out of fresh water? However, I recently took an author branding class that addressed swag. One of the big rules for swag is that in order for it to be cost-effective it should be something that the recipient will use more than once, not toss away.
I don't know many people that use a water bottle more than once, but I think the simple idea of tying my book to the idea of a water bottle could have a heck of an impact. The obvious water message is an easy association, and even if they throw away the bottle I put my cover on, the next time they take a drink out of a bottle they might think ... "Oh hey! That book looked pretty cool. Too bad I threw the bottle away..." But with a name like Not a Drop to Drink they might be able to remember it in connection with water, and a Goodreads or Amazon search might just land them in my lap.
I don't see this working for bookmarks in the same way. Someone might think, upon seeing another bookmark, "Gee I wish I hadn't thrown away that other bookmark..." but unless the name of the advertised book was Not a Bookmark Remains I doubt their brain will be able to make the association leap for a good Google result.
And giving away water would hardly make me feel smarmy. Everyone needs it. Most people like it. It's very useful, and I have yet to meet someone allergic to it.
What do my fellow readers and writers think? Is there a magic swag item out there that you've always wished someone would put your brand on or that you've wanted to see handed out?
Mindy McGinnis is a YA author and librarian. Her debut Not a Drop to Drink—a post-apocalyptic survival tale—will be available from Katherine Tegen / Harper Collins Fall 2013. She blogs at Writer, Writer, Pants on Fire. You can also find her on Twitter and Facebook.
Too many authors think of self-promotion as the equivalent of a used car salesman. I can't tell you how often I've heard writers say they just don't feel comfortable pushing themselves—or their book—at people.
There's a neat little trick to get around that feeling of icky—give people something they already want and make the fact that it has your book, your links, or even your face on it just a useful sidebar. They get something free, you're giving away yourself without feeling pushy.
That sounds totally easy, right?
Ugh.
Not a Drop to Drink is fast approaching, which is exciting and intimidating at the same time. I need to start thinking about innovative ways to get my book out there, without rehashing the same stuff that everyone has seen a thousand times over.
There are options, sure. Pens, pencils, band-aid dispensers, t-shirts, personalized mints, postcards, bookmarks ... and everything else you've seen a dozen times and conditioned your mind to stop noticing. Drink is a genre-buster; I want something new and fresh.
Unfortunately the rest of the world has already discovered what I had originally wanted to do for DRINK—customized water bottle labels. How perfect is that for a book built around the idea that the world has run out of fresh water? However, I recently took an author branding class that addressed swag. One of the big rules for swag is that in order for it to be cost-effective it should be something that the recipient will use more than once, not toss away.
I don't know many people that use a water bottle more than once, but I think the simple idea of tying my book to the idea of a water bottle could have a heck of an impact. The obvious water message is an easy association, and even if they throw away the bottle I put my cover on, the next time they take a drink out of a bottle they might think ... "Oh hey! That book looked pretty cool. Too bad I threw the bottle away..." But with a name like Not a Drop to Drink they might be able to remember it in connection with water, and a Goodreads or Amazon search might just land them in my lap.
I don't see this working for bookmarks in the same way. Someone might think, upon seeing another bookmark, "Gee I wish I hadn't thrown away that other bookmark..." but unless the name of the advertised book was Not a Bookmark Remains I doubt their brain will be able to make the association leap for a good Google result.
And giving away water would hardly make me feel smarmy. Everyone needs it. Most people like it. It's very useful, and I have yet to meet someone allergic to it.
What do my fellow readers and writers think? Is there a magic swag item out there that you've always wished someone would put your brand on or that you've wanted to see handed out?
Mindy McGinnis is a YA author and librarian. Her debut Not a Drop to Drink—a post-apocalyptic survival tale—will be available from Katherine Tegen / Harper Collins Fall 2013. She blogs at Writer, Writer, Pants on Fire. You can also find her on Twitter and Facebook.
Friday, October 12, 2012
PSA: Don't Fancy Up Your Manuscript Formatting
by R.C. Lewis
Have you been to a restaurant or fast-food place with one of those Coca-Cola Freestyle machines yet? If you haven't, here's the basic idea:
You walk up to a soda dispenser that looks about one step removed from a replicator on Star Trek, complete with touch screen. You select your basic soda choice—say, Sprite—and are taken to a submenu where you can choose a flavor of Sprite—strawberry, peach, vanilla, and so on. Then you press the button, and your soda choice comes out of the machine's singular nozzle.
Pretty fancy, and the result is apparently over one hundred drink choices from one machine. Amazing what technology can do now, right?
Technology has done a lot for us as writers as well. Think back to the days when typewriters—maybe even one that incorporated corrective tape—was as fancy as it got. Think back to the early days of word processing software. Multiple fonts at our fingertips!
Now think of all the bells and whistles that come with a word processing program today. Do you even know what half the options in your latest version do? I sure don't.
While those soda machines are great for carbonation junkies, there are times when all you want is a Coke, plain and simple, and everything else is overkill. Likewise, as slick as some software features can be, they can actually make life more complicated if you're not careful.
I can't say what every agent or every editor or every book formatter will want. How you set up your manuscript depends largely on what you're going to do with it. However, in my own formatting efforts, a few things stood out that I think might be common headache-inducers. Some stem from using advanced options too much, others from too little.
Take these tips for what they're worth, but as always, specific submission guidelines trump all.
Do not use the TAB key or SPACEBAR to indent your paragraphs. Instead, use your word processor's automatic indent feature to create a first-line indent. (0.5" seems to be the standard.) This can usually be done either using the ruler toolbar above your document, or under the Format menu.
Why bother? Whether I'm creating a layout for a print-on-demand book or formatting an eBook, I want to set the indents myself. Also, when going straight from Word document to e-reader, I've found tabs don't make it across, leaving paragraphs difficult to discern. And remember, many/most agents read manuscripts on e-readers.
Do not use any predefined Styles such as Heading 1, etc. Stick with the simplest formatting options to distinguish text: bold, italics, change the font size if you must.
Why not? This really depends on your manuscript's destination. If you're doing your own eBook formatting, disregard. Styles can be useful, and I'll assume you know what you're doing. However, if you're sending it to someone else to format, or submitting a short story to a magazine, etc., someone may have to clear ALL formatting and reapply the necessary parts (like italics) themselves in order to clear out hidden formatting codes that throw things off. And that leads to ...
Start the way you want to finish. Sure, you could write your whole story in 16-point Comic Sans, single-spaced with an extra space after each paragraph, and then go through and change it to standard manuscript format when you're ready to submit. I'm sure plenty of people do that and don't have any problems. But I don't recommend it. Type it in Times New Roman (okay, a few places like Courier, but most seem to agree with me that it's evil), 12-point, double-spaced with 1-inch margins from the get-go.
Why so fussy? Because just like that fancy soda machine, there are a lot of complicated inner workings hidden beneath the sleek exterior. You may think you changed everything, but in-between the line-break of one paragraph and the first letter of the next, there may still be a hidden formatting code. Maybe it won't cause any problems. But maybe when someone down the line has to transfer your text into a final product, that little hidden code will burst free from its invisible cage and devour all intended formatting in the story from that point on, insisting that its font is the right font or randomly bolding various sections of text, refusing the formatter's commands to adhere to the styles dictated in the final document.
Uh, yeah ... that may have happened to me recently.
I'll be honest. If you don't do these things, it's not the end of the world. Plenty of people don't, and people on the other end manage to fix it. But hey, we could all use fewer headaches, right?
Do you have any manuscript-formatting tips, tricks, or pet peeves?
R.C. Lewis teaches math by day and writes YA fiction by every other time. Her YA sci-fi novel Stitching Snow will be published by Disney-Hyperion in Summer 2014. Meanwhile, you can find her at Crossing the Helix and on Twitter (@RC_Lewis), where she may or may not be ranting about missing WordPerfect.
Have you been to a restaurant or fast-food place with one of those Coca-Cola Freestyle machines yet? If you haven't, here's the basic idea:
You walk up to a soda dispenser that looks about one step removed from a replicator on Star Trek, complete with touch screen. You select your basic soda choice—say, Sprite—and are taken to a submenu where you can choose a flavor of Sprite—strawberry, peach, vanilla, and so on. Then you press the button, and your soda choice comes out of the machine's singular nozzle.
Pretty fancy, and the result is apparently over one hundred drink choices from one machine. Amazing what technology can do now, right?
Technology has done a lot for us as writers as well. Think back to the days when typewriters—maybe even one that incorporated corrective tape—was as fancy as it got. Think back to the early days of word processing software. Multiple fonts at our fingertips!
Now think of all the bells and whistles that come with a word processing program today. Do you even know what half the options in your latest version do? I sure don't.
While those soda machines are great for carbonation junkies, there are times when all you want is a Coke, plain and simple, and everything else is overkill. Likewise, as slick as some software features can be, they can actually make life more complicated if you're not careful.
I can't say what every agent or every editor or every book formatter will want. How you set up your manuscript depends largely on what you're going to do with it. However, in my own formatting efforts, a few things stood out that I think might be common headache-inducers. Some stem from using advanced options too much, others from too little.
Take these tips for what they're worth, but as always, specific submission guidelines trump all.
Do not use the TAB key or SPACEBAR to indent your paragraphs. Instead, use your word processor's automatic indent feature to create a first-line indent. (0.5" seems to be the standard.) This can usually be done either using the ruler toolbar above your document, or under the Format menu.
Why bother? Whether I'm creating a layout for a print-on-demand book or formatting an eBook, I want to set the indents myself. Also, when going straight from Word document to e-reader, I've found tabs don't make it across, leaving paragraphs difficult to discern. And remember, many/most agents read manuscripts on e-readers.
Do not use any predefined Styles such as Heading 1, etc. Stick with the simplest formatting options to distinguish text: bold, italics, change the font size if you must.
Why not? This really depends on your manuscript's destination. If you're doing your own eBook formatting, disregard. Styles can be useful, and I'll assume you know what you're doing. However, if you're sending it to someone else to format, or submitting a short story to a magazine, etc., someone may have to clear ALL formatting and reapply the necessary parts (like italics) themselves in order to clear out hidden formatting codes that throw things off. And that leads to ...
Start the way you want to finish. Sure, you could write your whole story in 16-point Comic Sans, single-spaced with an extra space after each paragraph, and then go through and change it to standard manuscript format when you're ready to submit. I'm sure plenty of people do that and don't have any problems. But I don't recommend it. Type it in Times New Roman (okay, a few places like Courier, but most seem to agree with me that it's evil), 12-point, double-spaced with 1-inch margins from the get-go.
Why so fussy? Because just like that fancy soda machine, there are a lot of complicated inner workings hidden beneath the sleek exterior. You may think you changed everything, but in-between the line-break of one paragraph and the first letter of the next, there may still be a hidden formatting code. Maybe it won't cause any problems. But maybe when someone down the line has to transfer your text into a final product, that little hidden code will burst free from its invisible cage and devour all intended formatting in the story from that point on, insisting that its font is the right font or randomly bolding various sections of text, refusing the formatter's commands to adhere to the styles dictated in the final document.
Uh, yeah ... that may have happened to me recently.
I'll be honest. If you don't do these things, it's not the end of the world. Plenty of people don't, and people on the other end manage to fix it. But hey, we could all use fewer headaches, right?
Do you have any manuscript-formatting tips, tricks, or pet peeves?
R.C. Lewis teaches math by day and writes YA fiction by every other time. Her YA sci-fi novel Stitching Snow will be published by Disney-Hyperion in Summer 2014. Meanwhile, you can find her at Crossing the Helix and on Twitter (@RC_Lewis), where she may or may not be ranting about missing WordPerfect.
Wednesday, October 10, 2012
Shelves? We Don't Need No Stinking Shelves
by R.S. Mellette
A lot of people are guessing about what the digital revolution will bring to the publishing industry, so why should I be any different?
One of the current catch phrases we hear in the industry is "What shelf would this book go on?" This forces an author who might have a mystery series, set in the future, with a teenaged hero in an adult world to have to state not only a single genre (mystery or sci-fi), but also an age group (YA or Adult).
But in the digital world, there are no shelves. This book can be listed as a Mystery AND Sci-Fi; YA AND Adult. It can be labled as simply Fiction and show up on a list based on sales.
How soon will it be before agents and editors stop saying, "I don't know what shelf this goes on," and start saying, "I only see one category for this MS." How many writers will be arguing that a certain sub-plot makes their book qualify as a Romance?
And what will this multi-labeling do to writing styles? If self-publishers begin to attach so many categories to their books in order to cross-promote, will the labels lose their meaning? How valuable then will independent bookstore owners be, when someone asks, "Can you help me find a good book?"
R.S. Mellette is an experienced screenwriter, actor, director, and novelist. You can find him at the Dances With Films festival blog, and on Twitter, or read him in the Spring Fevers anthology.
A lot of people are guessing about what the digital revolution will bring to the publishing industry, so why should I be any different?
One of the current catch phrases we hear in the industry is "What shelf would this book go on?" This forces an author who might have a mystery series, set in the future, with a teenaged hero in an adult world to have to state not only a single genre (mystery or sci-fi), but also an age group (YA or Adult).
But in the digital world, there are no shelves. This book can be listed as a Mystery AND Sci-Fi; YA AND Adult. It can be labled as simply Fiction and show up on a list based on sales.
How soon will it be before agents and editors stop saying, "I don't know what shelf this goes on," and start saying, "I only see one category for this MS." How many writers will be arguing that a certain sub-plot makes their book qualify as a Romance?
And what will this multi-labeling do to writing styles? If self-publishers begin to attach so many categories to their books in order to cross-promote, will the labels lose their meaning? How valuable then will independent bookstore owners be, when someone asks, "Can you help me find a good book?"
R.S. Mellette is an experienced screenwriter, actor, director, and novelist. You can find him at the Dances With Films festival blog, and on Twitter, or read him in the Spring Fevers anthology.
Monday, October 8, 2012
Plot Like Christopher Columbus
by Stephen L. Duncan
In 1453, the Ottomans finally conquered Constantinople (not
Istanbul) and so fell the safe land trade route that was the Silk Road from
Europe to China and Southeast Asia.
Thus arose a need to reestablish the stream of commerce by
nautical means.
Enter Christopher Columbus. With a comprehensive knowledge
of trade winds and a negligent understanding of the size of the Earth, he blundered
into the Bahamas on October 12th, 1492 and changed the world.
I like to think that, as writers, we all sometimes set out
with expectations of where our words will take us and what we expect to find at
the end of our journey, only to arrive at a completely different – and often better –
destination. The Columbus connection is a natural and obvious notion, first because it's Columbus Day and I'm trying to be timely here, and second because writing a story is at its core simply about discovery. After all, are authors
not also explorers?
Scenes, and even sometimes characters, often arrive because
of a need in our story structure, much like the need of a route to the Indies
set the Santa Maria, the Pinta, and the Santa Clara on their journey west. And
surely like Columbus must have also prepared, we may plot and outline
meticulously, detail every character and setting, and order scene after scene,
trying to keep the story within our tightest limits of control. But how often
does it seem that, while on our journey, the winds fill our sails and take us
into unfamiliar waters and lead us to land not found on any of our maps?
Don’t be afraid of making these mistakes. I say let go and
embrace the unpredictable whenever you feel the story steering away from you. Flesh
them out and see where they take you. You might be surprised by what you discover.
Who knows? You might find gold. Happy Columbus Day!
Stephen L. Duncan writes young adult fiction,
including his debut, the first book in The Revelation Saga, due in
2014 from Medallion Press. You can find him blogging on INKROCK.com and on Twitter.
Friday, October 5, 2012
Editors Are Exactly Like Parents, Not Besties
by Cat Woods
Give me an E! Give me a D! Give me an I-T-O-R!
What's that spell?
Help. Yeah, that's right. Help of the most amazing kind.
Last week, Matt Sinclair talked about the partnership between writers and editors. He stated that solid communication was the key to a successful project. As a writer who has recently worked with several editors on three shorts stories and one novel, I'll expound on this idea from the writer's perspective.
Here's the deal about editors: a good editor who shares your vision for a piece can strengthen your story in ways you never dreamed possible. As long as we understand that editors are not our friends.
Rather, editors are exactly like parents.
And just like parents, editors have a job to do. Namely, help us grow up and make something of ourselves. They cannot achieve this by sitting around youtube every night, eating pizza, painting toenails and gossiping about who wore what that day at school. Instead, they provide a set of rules to guide us toward our literary success. They are task masters, not besties.
And that, my friends, is the question I pose to you.
Can beta readers provide the same quality of feedback that professional editors can? Is there a beta-reading threshold that can take a piece "only so far"? If you're a published--or soon to be published--author who has worked with both critique partners and professional editors, can you speak to us on the difference between the two?
Curious minds want to know.
Cat Woods has been editing her heart out this past year. Her short story, Annabelle, was published in SPRING FEVERS in February. Little League, another short, is due out on October 29th in the upcoming anthology THE FALL. When she's not editing, Cat parents her four kids (in the non-friend kind of way) and blogs at Words from the Woods.
Give me an E! Give me a D! Give me an I-T-O-R!
What's that spell?
Help. Yeah, that's right. Help of the most amazing kind.
Last week, Matt Sinclair talked about the partnership between writers and editors. He stated that solid communication was the key to a successful project. As a writer who has recently worked with several editors on three shorts stories and one novel, I'll expound on this idea from the writer's perspective.
Here's the deal about editors: a good editor who shares your vision for a piece can strengthen your story in ways you never dreamed possible. As long as we understand that editors are not our friends.
Rather, editors are exactly like parents.
And just like parents, editors have a job to do. Namely, help us grow up and make something of ourselves. They cannot achieve this by sitting around youtube every night, eating pizza, painting toenails and gossiping about who wore what that day at school. Instead, they provide a set of rules to guide us toward our literary success. They are task masters, not besties.
Editors (like parents):
- Withhold dessert until we've eaten all our veggies. It's all about a healthy balance. Do we use all five senses? Do we have too many or too few characters? Is the front end of our story too action-packed with the back end fizzling out? A best friend would likely sneak us a cookie when our parents weren't looking instead of making us suffer through canned asparagus.
- Make us brush our teeth and shower. Editors force us to be presentable. Do people actually like our characters? Is the MC the strongest person in our novels, or does the fun-loving side-kick garner far more sympathy? Does our MC whine? Is he brute? Are they sensitive and strong and flawed and fun? In short, are they likable enough to carry reader interest through an entire story? Besties don't pay our dental bills. And as long as we don't stink too badly, they'll let us hang.
- Demand that we speak respectfully. Oh yes, because even in writing, our dialogue can be off-putting. Editors will provide an unbiased reaction to our character interactions and demand that we don't abuse the power of language. They'll make sure that what our characters say is believable and pertinent. They'll also help us pinpoint where we might get a bit preachy. This is not something a bestie would do. As you probably remember, best friends can smack talk nearly as well as we can.
- Dictate that we clean our rooms. Editors will point out our piles of dirty laundry in the middle of the floor and will scavenge for those stray legos under the bed. They want our manuscripts clean and devoid of garbage that detracts from the writing itself: anything from typos to grammar to content and beyond. Not so, the besties. Because they like you and want you to like them, they may be more prone to shoving a toy behind the dresser than making us pick up every last marble off the floor.
And that, my friends, is the question I pose to you.
Can beta readers provide the same quality of feedback that professional editors can? Is there a beta-reading threshold that can take a piece "only so far"? If you're a published--or soon to be published--author who has worked with both critique partners and professional editors, can you speak to us on the difference between the two?
Curious minds want to know.
Cat Woods has been editing her heart out this past year. Her short story, Annabelle, was published in SPRING FEVERS in February. Little League, another short, is due out on October 29th in the upcoming anthology THE FALL. When she's not editing, Cat parents her four kids (in the non-friend kind of way) and blogs at Words from the Woods.
Wednesday, October 3, 2012
Many Paths to Publication... And Sex? Baltimore Book Festival Recap
by J. Lea López
I had the pleasure of
attending the 2012 Baltimore Book Festival this past weekend. I
learned about the festival after our own Sophie Perinot announced she
would be attending and speaking on a few panels there. After checking
out the website, I knew I had to be there. It was part book sale,
part street fair, and part writing conference that took place over
three days. I was only able to attend Saturday and part of Sunday,
but it was more than enough to know I'll likely attend again in
future years. Today I'll be sharing with you some of my thoughts on two excellent panels.
There were a lot of
great things going on at once, so I didn't make it to Sophie's
women's fiction panel, but if you all know me, you'll know I couldn't
possibly miss her panel about SEX! Okay, it was about sex and the
historical fiction writer, but really.... it was about sex. I don't
even write historical fiction, and I honestly don't read much of it,
either. But this was a fun and informative panel. (Let me take a second to point something out: Sophie is such a sweetheart! And so funny!)
One of the panelists
mentioned that there is a misconception that women's rights and
women's roles in society have progressed in a linear manner
throughout history, which isn't true. I admit I had the same
impression until the panelists pointed out some of the aspects of
ancient civilizations that show how women often had greater roles
than we give them credit for. A few examples:
- There's a theory that the royal bloodline passed through the females in ancient Egypt. So if you wanted to be Pharaoh one day, you'd better marry Pharaoh’s daughter.
- In some societies/cultures, divorce was commonplace and not frowned upon. The wife could often take part or all of her dowry back if the couple split.
- Women could own property, and ownership of it did not (always) immediately transfer to her husband when they married, or after her death if she died first.
- Best of all, even though a husband may have practically owned his wife's body, there was this little thing called the marriage debt. Sex was a husband's duty and something he OWED his wife.
Yeah, you hear that,
ladies? Bring that up next time your husband wants a sandwich! By
which I obviously mean, Take that historically accurate information
to heart next time you're writing some old-timey sex!
 |
| Look, it's Sophie! And her book! |
The last panel I
attended was on Sunday afternoon, about the many paths to publication. There were six authors on this panel, speaking about their
experience with everything from self-publishing to ebook-only
publishers and small presses, to the traditional agent route to
publishing. Most of them had hands in two or all three publishing
processes. It was refreshing to see a group of authors in agreement
that there isn't one “right” path to publication and that one
isn't necessarily better or worse than another. There are two main
points that I took away from this panel that I think are useful.
Edit, edit, edit
All of the panelists
mentioned quality editing several times in the hour-long discussion,
expressing that it is very difficult to get the quality you want all
on your own.
Kate Dolan said
“Regardless of the path you take to publication, the editing is so
important.” She stressed that you really need to get your book into
the hands of someone who “can tell you what you don't want to
hear.” She also mentioned that the quality of editing will vary,
even between editors from the same house.
Christi Barth shared
that she had one editor who made her remove all semi-colons from her
manuscript because it was a “house rule” despite the fact that
semi-colons are a perfectly legitimate form of punctuation.
Amy Villalba, who is
self-publishing her novel, said that the editor she uses initially
charged her $2.25/page. Six months later, due to increased demand,
her rates had increased to $6/page. Because she was a repeat
customer, she was able to get her down to less than $4/page. She
estimated that you should budget $2,500 to $3,000 per book to get a
good product out there. (That amount included editing and paid
advertising on sites such as Kindle Nation Daily.)
Other panelists also
mentioned bartering your own skills with other writers for editing
(and other) services. Networking and simply being around other
writerly types in order to learn and ask questions was another theme
during the discussion.
There are reasons...
To self-publish. To
seek an agent and a traditional book deal. Or a small press. Or an
ebook-only publisher. In other words, there are reasons which
validate each path. Self-publishing just because you don't want to
deal with the “hassle” or process of querying an agent is not a
good reason. And quite frankly, if you don't want to deal with that
hassle, you likely won't enjoy the hassle of going it alone, either.
The biggest pro to
self-publishing is also the biggest con: you have complete control
over your project from beginning to end. Complete control means
complete responsibility, even for the aspects you may not be
comfortable doing yourself. So you pay someone to do it for you.
Publicity support
varies. Eliza pointed out that while some small presses do
have at least a little bit of publicity support, such as a publisher
blog where authors can write posts, not all of them do. One small
press she was with had no advertising or publicity at all.
Traditional publishing often has more marketing and publicity support
because they have the money to do so.
However, no one was
suggesting that traditional publishing means the author can sit back
and relax on the publicity front. I think we all know what the
panelists stated: even with traditional publishing, authors are still
expected to do as much as they can to get their name out there.
Marketing and publicity will vary across big and small presses and is
something else to take into consideration when blazing your path to
publication.
Royalties. It's no
secret that you can get the biggest royalty percentage with
self-publishing, and the least with traditional publishing. But
traditional publishing gives you a bigger amount up front, which can
be great. Self-publishing pays you smaller increments, but more
often. Small presses are somewhere in the middle. Different
situations will work for different people.
The market. Megan Hart,
who admittedly likes “a lot of people to take care of a lot of
things for me” had an idea for a 10-part horror serial. She wanted
to put a new one out each month. There isn't really a traditional
place to go with that, but it's perfect for self-publishing. Christi
talked about how, after not having much luck shopping a particular
manuscript, she realized that it was a good book, just not for that
market. “Sometimes publishers stick with tropes,” she said, and
if your book doesn't fit into a particular trope at that time, you're
out of luck. Not because you aren't a good writer, but because that
publisher wants more vampires when you're querying zombies.
I have even more
thoughts to share about the 2012 Baltimore Book Festival, including
my experience at the erotica discussion and reading, so if you'd like
to hear more, please join me at my personal blog.
Have you ever been to
the Baltimore Book Festival or similar event near you? What was your
experience?
J. Lea López is a writer with a penchant for jello and a loathing for writing bios. Find her on Twitter or her blog, Jello World. She has had some short stories published, most recently in the Spring Fevers anthology.
Monday, October 1, 2012
Not "Just" a Hobby
by R.S. Mellette
When I graduated from college with a BFA in Theatre I learned a new term, "Theatre Jock." I had spent four years inside of a theatre. With a BFA, I didn't even have to take a foreign language, a science, math, or anything outside of my major. Not only that, but all of my peers were in the same boat. None of us knew this, of course, because we spent most of our time with each other.
After graduation I was at a family reunion telling a story and found that my dad had to translate for me.
"Oh, it was terrible production," I said to some relatives about a play I'd been in. "They finished the set just before strike."
Everyone looked at me funny. Wouldn't it be a good thing to finish the set before going on strike? My dad stepped in. "'Strike' is when they tear the set down after the play is over."
Realization came to everyone. My relatives figured out what I was talking about, and I realized I was a Theatre Jock. Having learned all there is to know about the great and noble art of performance, I would now have to re-learn what it is to be a functioning member of society.
And as time went by, and I slaved away at my career, I realized that I had turned my hobby into my job. This left me with nowhere to turn when I needed to escape work. I found that I had to go out hobby hunting.
And, of course, finding a life outside of the Arts gave me a new angle to view my work. Instead of being an Artist trained to do Art, I became a person with an ability to observe and report on the human condition—of which I was an active member.
For some here, writing is a hobby. For others, published or not, it is a career track. Either way, a writer who only experiences writing doesn't have a lot to say. What gets you out from behind your computer? What opens your eyes? What excites that narrator in your head? What non-writing activity do you have in your life that makes your writing better?
R.S. Mellette is an experienced screenwriter, actor, director, and novelist. You can find him at the Dances With Films festival blog, and on Twitter, or read him in the Spring Fevers anthology.
When I graduated from college with a BFA in Theatre I learned a new term, "Theatre Jock." I had spent four years inside of a theatre. With a BFA, I didn't even have to take a foreign language, a science, math, or anything outside of my major. Not only that, but all of my peers were in the same boat. None of us knew this, of course, because we spent most of our time with each other.
After graduation I was at a family reunion telling a story and found that my dad had to translate for me.
"Oh, it was terrible production," I said to some relatives about a play I'd been in. "They finished the set just before strike."
Everyone looked at me funny. Wouldn't it be a good thing to finish the set before going on strike? My dad stepped in. "'Strike' is when they tear the set down after the play is over."
Realization came to everyone. My relatives figured out what I was talking about, and I realized I was a Theatre Jock. Having learned all there is to know about the great and noble art of performance, I would now have to re-learn what it is to be a functioning member of society.
And as time went by, and I slaved away at my career, I realized that I had turned my hobby into my job. This left me with nowhere to turn when I needed to escape work. I found that I had to go out hobby hunting.
And, of course, finding a life outside of the Arts gave me a new angle to view my work. Instead of being an Artist trained to do Art, I became a person with an ability to observe and report on the human condition—of which I was an active member.
For some here, writing is a hobby. For others, published or not, it is a career track. Either way, a writer who only experiences writing doesn't have a lot to say. What gets you out from behind your computer? What opens your eyes? What excites that narrator in your head? What non-writing activity do you have in your life that makes your writing better?
R.S. Mellette is an experienced screenwriter, actor, director, and novelist. You can find him at the Dances With Films festival blog, and on Twitter, or read him in the Spring Fevers anthology.
Friday, September 28, 2012
Communicating With Your Editor
by Matt Sinclair
As some of you know, I not only write, I also work as an editor. It's how I make my living. My professional life deals with staff writers and the occasional freelancer--all nonfiction. Plus, as president and chief elephant officer of my publishing company, Elephant's Bookshelf Press, I am responsible for all the editorial and publishing of our (so far) anthologies.
Suffice it to say, I've been dealing with both sides of the editing desk for a long time. I remember an informational interview years ago with a friend's sister who was working at a magazine. This was back when email was new-fangled, the Internet was only making its presence known to the masses, and the World Wide Web didn't exist. The answer to one of the questions I asked during the interview remains in my mind to this day. Although how I phrased the exact question has faded over time, I basically asked what was the most important part of the editorial process. "Communication," she said, without batting an eye.
This summer, I had a few reminders of how important communication is to the partnership of writing. In one of my freelance jobs, I used to deal with a couple editors. This worked out well for me as it often enabled me to have multiples jobs spread out over several weeks. I was in the midst of revising a piece when I received an email from one of the editors, who let me know she was leaving to take another job. In the intervening transition, it turned out some information was lost. One of the pieces I'd been assigned was supposed to be longer than the original assignment. While it wasn't too hard to boost up the word count (and increase the amount on the invoice), it still translated to a bit of wasted time on my part and the editor who took over for the departing editor.
On another project, I was shocked to find what appeared to be a writer who was reluctant to make basic changes to the manuscript. Grammatical basics were emerging as a problem, leading me to wonder if it was a communication problem or something deeper. The copy editor on that assignment kept in regular contact with me about the progress, and things were eventually resolved, but it injected a bit of uncertainty to the editorial process.
The key message I want to convey is that, as solitary as writing might seem, it takes a partnership between writer and editor to deliver the best final product. To be honest, I think the new freedom of self- and independent publishing has left many writers forgetting or disregarding the value of that partnership. What is the most common criticism of Fifty Shades of Grey, for example? It could have used a good editor.
No matter how simple and carefree a scene might appear to the writer, it might confuse the editor, which means it probably would confuse most readers, too. Confusion can creep in from many directions. Whether the issue is about the essence of a story, the editorial process, or even whether your agent likes or dislikes your current manuscript, speak or email with your partner. Try not to assume someone is questioning your abilities as a writer, and if you're confused by the feedback you receive from an editor or agent or other member of your team (again, even self-publishers shouldn't be doing everything "alone"), ask questions.
You'll be glad you did.
Matt Sinclair, a New York City-based journalist and fiction writer, is also president and chief elephant officer of Elephant's Bookshelf Press, which earlier this year published a short story anthology called Spring Fevers, available through Smashwords, Amazon, and in print via CreateSpace. EBP's latest anthology, The Fall, will be released in late October. Both anthologies include stories by fellow FTWA writers, including Cat Woods, J. Lea Lopez, Mindy McGinnis, and R.S. Mellette; R.C. Lewis and Jean Oram also have stories that will be in The Fall. Matt blogs at the Elephant's Bookshelf and is on Twitter @elephantguy68
As some of you know, I not only write, I also work as an editor. It's how I make my living. My professional life deals with staff writers and the occasional freelancer--all nonfiction. Plus, as president and chief elephant officer of my publishing company, Elephant's Bookshelf Press, I am responsible for all the editorial and publishing of our (so far) anthologies.
Suffice it to say, I've been dealing with both sides of the editing desk for a long time. I remember an informational interview years ago with a friend's sister who was working at a magazine. This was back when email was new-fangled, the Internet was only making its presence known to the masses, and the World Wide Web didn't exist. The answer to one of the questions I asked during the interview remains in my mind to this day. Although how I phrased the exact question has faded over time, I basically asked what was the most important part of the editorial process. "Communication," she said, without batting an eye.
This summer, I had a few reminders of how important communication is to the partnership of writing. In one of my freelance jobs, I used to deal with a couple editors. This worked out well for me as it often enabled me to have multiples jobs spread out over several weeks. I was in the midst of revising a piece when I received an email from one of the editors, who let me know she was leaving to take another job. In the intervening transition, it turned out some information was lost. One of the pieces I'd been assigned was supposed to be longer than the original assignment. While it wasn't too hard to boost up the word count (and increase the amount on the invoice), it still translated to a bit of wasted time on my part and the editor who took over for the departing editor.
On another project, I was shocked to find what appeared to be a writer who was reluctant to make basic changes to the manuscript. Grammatical basics were emerging as a problem, leading me to wonder if it was a communication problem or something deeper. The copy editor on that assignment kept in regular contact with me about the progress, and things were eventually resolved, but it injected a bit of uncertainty to the editorial process.
The key message I want to convey is that, as solitary as writing might seem, it takes a partnership between writer and editor to deliver the best final product. To be honest, I think the new freedom of self- and independent publishing has left many writers forgetting or disregarding the value of that partnership. What is the most common criticism of Fifty Shades of Grey, for example? It could have used a good editor.
No matter how simple and carefree a scene might appear to the writer, it might confuse the editor, which means it probably would confuse most readers, too. Confusion can creep in from many directions. Whether the issue is about the essence of a story, the editorial process, or even whether your agent likes or dislikes your current manuscript, speak or email with your partner. Try not to assume someone is questioning your abilities as a writer, and if you're confused by the feedback you receive from an editor or agent or other member of your team (again, even self-publishers shouldn't be doing everything "alone"), ask questions.
You'll be glad you did.
Matt Sinclair, a New York City-based journalist and fiction writer, is also president and chief elephant officer of Elephant's Bookshelf Press, which earlier this year published a short story anthology called Spring Fevers, available through Smashwords, Amazon, and in print via CreateSpace. EBP's latest anthology, The Fall, will be released in late October. Both anthologies include stories by fellow FTWA writers, including Cat Woods, J. Lea Lopez, Mindy McGinnis, and R.S. Mellette; R.C. Lewis and Jean Oram also have stories that will be in The Fall. Matt blogs at the Elephant's Bookshelf and is on Twitter @elephantguy68
Wednesday, September 26, 2012
The Business Side of the Business Card
by Mindy McGinnis
I've been thinking a lot about swag lately. In fact I have so many thoughts on swag they overflowed out of this post onto another group blog I'm a part of - Book Pregnant. Check out my marketing post over there today and see what I came up with for my neat-o swag item for my debut. NOT A DROP TO DRINK is nearly ready for a cover, so I need to ask myself where I want to put it and what I want to put it on - along with any pertinent links and maybe a picture of my face. And yeah, I totally admit that when it comes time to put my Irish mug on something and ask people to love it, I do start to feel a bit... promotion-y.
But it's not an ugly face, so that helps. From a marketing standpoint, anyway.
Every conference I've ever been to involves the "swag bag." Literally. It's a tote (with author / store / publishing house names printed all over it) that's jam-packed with business cards, bookmarks, postcards, pens, keychains, band-aid dispensers (yes), mints with personalized wrapping, and any other thing the author / pub house could think of to get the average person's attention.
And when it's all in a big fat pile like that, you learn fast what works and what doesn't. Poor quality printing and pixelated jpegs stand out like a sixth finger when we all know there's only supposed to be five.
Yes, business cards are fast, easy and cheap. Yes, pretty much everyone has them. So why do they continue to prevail? Exactly because they are fast, easy and cheap. When I want to direct someone to my blog do I want to just say the name of my blog and hope they remember it? Or take out a pen and scribble writerwriterpantsonfire.blogspot.com on a napkin and hope that 1) my writing is legible and 2) they don't mistake it for trash and throw it away later?
No, I really don't want to do that.
I want to hand them my card with the site on it and my other pertinent social media contacts (Twitter, Facebook, etc). Later they can find the site, bookmark it (or hey - follow me!) and then toss the card. Not a loss to me - I spent .08 on it and I already got my return if they visited the site. And if they couldn't give less of a crap about me or my blog? They throw it away, and that's .08 I'll never see again. Not a huge loss.
Big swag items are fun - printed shirts, hats, totes, teddy bears, underwear (you know I want that for Writer,Writer Pants on Fire, right?), but in the end they're serving the same purpose as the card - drawing attention to me or my blog. And after the person has gone to the blog, they might be thinking, "Well, that's great and all, but now I've got this shirt / hat / underwear I'm never going to wear again..." Yet because they've met you, or perhaps because they are keenly aware that you went that extra mile and spent real money on your swag they feel guilty throwing it away... so they keep it.
And if they're anything like me, they kinda resent the teddy bear with your name on it that they can't quite bring themselves to pitch. I don't really want my name associated with resentment, or even guilt if they do indeed go ahead and toss the stuffed critter.
What are some of the most effective forms of swag you've seen? Do you think swag can have impact without being expensive?
__________________________________________
Mindy McGinnis is a YA author and librarian. Her debut, a post-apocalyptic survival tale, NOT A DROP TO DRINK, will be available from Katherine Tegen / Harper Collins in Fall 2013. She blogs at Writer, Writer Pants on Fire and contributes to the group blogs Book Pregnant, Friday the Thirteeners and The Lucky 13s. You can also find her on Twitter & Facebook.
I've been thinking a lot about swag lately. In fact I have so many thoughts on swag they overflowed out of this post onto another group blog I'm a part of - Book Pregnant. Check out my marketing post over there today and see what I came up with for my neat-o swag item for my debut. NOT A DROP TO DRINK is nearly ready for a cover, so I need to ask myself where I want to put it and what I want to put it on - along with any pertinent links and maybe a picture of my face. And yeah, I totally admit that when it comes time to put my Irish mug on something and ask people to love it, I do start to feel a bit... promotion-y.
But it's not an ugly face, so that helps. From a marketing standpoint, anyway.
Every conference I've ever been to involves the "swag bag." Literally. It's a tote (with author / store / publishing house names printed all over it) that's jam-packed with business cards, bookmarks, postcards, pens, keychains, band-aid dispensers (yes), mints with personalized wrapping, and any other thing the author / pub house could think of to get the average person's attention.
And when it's all in a big fat pile like that, you learn fast what works and what doesn't. Poor quality printing and pixelated jpegs stand out like a sixth finger when we all know there's only supposed to be five.
Yes, business cards are fast, easy and cheap. Yes, pretty much everyone has them. So why do they continue to prevail? Exactly because they are fast, easy and cheap. When I want to direct someone to my blog do I want to just say the name of my blog and hope they remember it? Or take out a pen and scribble writerwriterpantsonfire.blogspot.com on a napkin and hope that 1) my writing is legible and 2) they don't mistake it for trash and throw it away later?
No, I really don't want to do that.
I want to hand them my card with the site on it and my other pertinent social media contacts (Twitter, Facebook, etc). Later they can find the site, bookmark it (or hey - follow me!) and then toss the card. Not a loss to me - I spent .08 on it and I already got my return if they visited the site. And if they couldn't give less of a crap about me or my blog? They throw it away, and that's .08 I'll never see again. Not a huge loss.
Big swag items are fun - printed shirts, hats, totes, teddy bears, underwear (you know I want that for Writer,Writer Pants on Fire, right?), but in the end they're serving the same purpose as the card - drawing attention to me or my blog. And after the person has gone to the blog, they might be thinking, "Well, that's great and all, but now I've got this shirt / hat / underwear I'm never going to wear again..." Yet because they've met you, or perhaps because they are keenly aware that you went that extra mile and spent real money on your swag they feel guilty throwing it away... so they keep it.
And if they're anything like me, they kinda resent the teddy bear with your name on it that they can't quite bring themselves to pitch. I don't really want my name associated with resentment, or even guilt if they do indeed go ahead and toss the stuffed critter.
What are some of the most effective forms of swag you've seen? Do you think swag can have impact without being expensive?
__________________________________________
Mindy McGinnis is a YA author and librarian. Her debut, a post-apocalyptic survival tale, NOT A DROP TO DRINK, will be available from Katherine Tegen / Harper Collins in Fall 2013. She blogs at Writer, Writer Pants on Fire and contributes to the group blogs Book Pregnant, Friday the Thirteeners and The Lucky 13s. You can also find her on Twitter & Facebook.
Monday, September 24, 2012
New Visions Writers Award
by J. Lea López
Here at FTWA we don't endorse or promote products, contests, services, etc. because... well, we just don't. We share resources and info that we personally find valuable, and that's generally the only reason we pass along links. However, we were recently contacted by our friends at Lee & Low Books, publishers of children's literature focusing on diversity, about a new award. Since we know they're legit and have such a great reputation in the kid lit world, we felt it was our duty to pass this info along to our readers. About
And by all means, if you enter and win, let us know!
J. Lea López is a writer with a penchant for jello and a loathing for writing bios. Find her on Twitter or her blog, Jello World. She has had some short stories published, most recently in the Spring Fevers anthology.
Here at FTWA we don't endorse or promote products, contests, services, etc. because... well, we just don't. We share resources and info that we personally find valuable, and that's generally the only reason we pass along links. However, we were recently contacted by our friends at Lee & Low Books, publishers of children's literature focusing on diversity, about a new award. Since we know they're legit and have such a great reputation in the kid lit world, we felt it was our duty to pass this info along to our readers. About
The New Visions Award, established this year, will be given for a middle grade or young adult fantasy, science fiction, or mystery novel by an author of color. The Award winner will receive a cash grant of $1,000 and our standard publication contract, including our basic advance and royalties for a first time author. The deadline this year to submit manuscripts will be October 30, 2012.The award is for unpublished, unagented manuscripts in the genres listed above. For complete eligibility requirements and submission guidelines, please visit their web page.
We strive to give authors of color the chance to have their voices heard, so we are very excited to share this amazing opportunity for aspiring YA authors to break into publishing. The New Visions Award is modeled after our New Voices Award for picture books, which was established in 2000 and has led to the publication of many respected authors including Zetta Elliott, Don Tate, and Paula Yoo.
And by all means, if you enter and win, let us know!
J. Lea López is a writer with a penchant for jello and a loathing for writing bios. Find her on Twitter or her blog, Jello World. She has had some short stories published, most recently in the Spring Fevers anthology.
Friday, September 21, 2012
5 Easy Ways to Increase Your Blog's SEO for Writers
by Jean Oram
You may have heard the inspiring story behind our very own Calista Taylor's recently released Steampunk Your Wardrobe book. If not, the short version is she landed an agent because of her niche-focused blog about steampunk. Her agent, in turn, landed her a book deal within weeks.
When you read something like that you may have that completely natural reaction of "Why not me?"
I agree. Why not you as well?
Today I'm going to share some of the SEO tips I've learned in past few months so when folks Google brilliance it isn't someone else's that hits that first page of results--it'll be yours. But before we do, I need to you to pull out your honking, snorting laugh and pull your pants up a little higher. And if you wear glasses, you're going to need to tape them. That's right, we're getting our geek on.
First of all…
A lot of good questions in that heading. SEO stands for Search Engine Optimization. In other words, the little things you do when you blog or create a website so search engines can easily recognize your site and what it is about. This then helps increase your visibility and allows you to slowly work your way up to the first page of search results. Because honestly, how often does the average Joe sift deeper than the first page of results? (Not that often.)
Well said, Wikipedia.
Here are five easy tips that you can start using right away. Do note that if you are starting a brand new blog (or website) these things will reap you immediate rewards if used well and you remain consistent. (I’ve tested it.) If you have a long-standing blog that hasn't made the best use of SEO in the past, you may find it takes longer for this stuff to create an impact. (You have a pile of non-SEOized content diluting the SEOized stuff. And yeah, I tested that as well.)
The more you post on your blog, the more Google and other search engines crawl your site. The more they crawl, the more likely they are to find all your content and horde it in their little brains, bumping you up in their rankings, and bringing you closer to the first page of search engine results. There is a diminishing rate of returns though—and if you make use of the next few tips, fresh content isn’t going to make or break your blog.
So quit hyperventilating already. I promised easy.
Niche content has typically less competition. Usually, there are fewer searches conducted because it is a niche topic, however, the folks who do search out your niche are those who are interested. And interested readers typically spend longer on your site which leads to another bump up in your rankings.
So while it may seem smart to plaster your chick lit blog with “romance” and "fiction" and "book" keywords, be sure you keep honing down to your niche as well. Focus, focus, focus. It's okay if you spread out and talk about other things, but always bring it back to your niche. In other words, make every post about your niche--somehow. (And your niche can't simply be "writing" if you want to be anywhere near the first 20 pages in a search result.)
Probably the biggest thing you can do for your blog or site relates to niche keywords. Find them. Use them. But don't abuse them. Your posts will read funny if you overuse keywords AND search engines will penalize you. 3-4 times in the body of a post for one keyword or keyword phrase is generally plenty. (If you want more info on where to use keywords for the best use of search engine optimization, I’ll run a post on my personal writing blog today as this post is already getting pretty long.)
Tip on finding the right keywords: Use Google's Keyword Tool (and if you use WordPress, use it in combination with Yoast’s SEO plugin—it rocks). Using Google’s Keyword Tool you can find the variations of keywords (and keyword phrases) people use when searching online as well as what the competition level is along with the number of searches conducted on Google per month.
If you look at the screen shots, both "romance fiction" and "chick lit fiction" are low in terms of competition. That's good.
If you pop "SEO optimization" (redundant on the ‘optimization’, I know—but this is actually a very common search (Important tip: Use the keywords people actually use--not ones you think they should use)) into the tool you will find you have the same number of global monthly searches as "romance novels." (Not shown here.) However the competition is HIGH, not LOW for those 550,000 monthly searches. Low competition is GOOD. Good thing we aren't in the sharing SEO optimization tips business, eh?
Note: You’ll probably notice that there are fewer searches for your niche (eg: chick lit) than your main topic (eg. romance). This is good. Remember: These are the specific readers you want. And, of course, try to use both keywords to hit both bases!
Both Blogger and WordPress allow you to tweak your post’s slug (permalink). A slug is that unique bit of URL tacked on at the end of your site’s URL that correlates to a specific post or page. This is where you can cut extraneous words (such as: the, and, for) that mess up your SEO. Search engines look everywhere!
Example: You will notice this post's title is: 5 Easy Ways to Increase Your Blog's SEO for Writers. The slug/permalink is: tips-to-increase-blog-seo.html Notice the different keyword phrases I hit: "Increase your blog's SEO" and "SEO for writers" and "tips to increase blog SEO" as well as "increase blog SEO." I won't kid myself about hitting the first page of search results, but this will increase the likelihood that maybe it will pop up in someone's results. Someday. Maybe. (Remember the competition is high for this topic.)
The more people linking to your blog whether on Twitter, Facebook, Google+, their own blog, blog rolls, or even in blog comments, the better. The more places that link to you, the more search engines say, "This stuff must be good, bump up their ranking." (Especially if the sites linking to you have high rankings.) So get your blog out there. When you leave comments on other people's blog, use the URL feature when you can. And try to link to the same URL every time--don't vary it.
Wow. That was a lot of info on SEO tips for you, my writing, blogging friends. I hope they help you out--and don't stress out about tip #1, okay? If you follow 2-5 you'll do just fine. And if you are looking for more ways to use keywords as well as find out what photos and videos can do for your blog’s SEO, be sure to pop over to my blog where I’ll share more SEO tips today.
So now that you've looked at your blog and its SEO from the write angle, what do you think? Are there some things you can do to increase your SEO? Have questions? Pop them in the comment section.
Jean Oram is a bit of a geek and has spent the week debating the payoffs of market share vs. SEO with her father--seriously one of the first guys to blog--ever. She likes to blog on her poorly optimized writing blog (she may work on that when she has time) as well as tweet, facebook, and some other stuff. If you aren't following her, you should. She shares good stuff you could easily use.
You may have heard the inspiring story behind our very own Calista Taylor's recently released Steampunk Your Wardrobe book. If not, the short version is she landed an agent because of her niche-focused blog about steampunk. Her agent, in turn, landed her a book deal within weeks.
When you read something like that you may have that completely natural reaction of "Why not me?"
I agree. Why not you as well?
Today I'm going to share some of the SEO tips I've learned in past few months so when folks Google brilliance it isn't someone else's that hits that first page of results--it'll be yours. But before we do, I need to you to pull out your honking, snorting laugh and pull your pants up a little higher. And if you wear glasses, you're going to need to tape them. That's right, we're getting our geek on.
First of all…
What Does SEO Stand For, What is SEO, and Why Does SEO Matter?
A lot of good questions in that heading. SEO stands for Search Engine Optimization. In other words, the little things you do when you blog or create a website so search engines can easily recognize your site and what it is about. This then helps increase your visibility and allows you to slowly work your way up to the first page of search results. Because honestly, how often does the average Joe sift deeper than the first page of results? (Not that often.)
Wikipedia:
SEO considers how search engines work, what people search for, the actual search terms or keywords typed into search engines and which search engines are preferred by their targeted audience.
Well said, Wikipedia.
Here are five easy tips that you can start using right away. Do note that if you are starting a brand new blog (or website) these things will reap you immediate rewards if used well and you remain consistent. (I’ve tested it.) If you have a long-standing blog that hasn't made the best use of SEO in the past, you may find it takes longer for this stuff to create an impact. (You have a pile of non-SEOized content diluting the SEOized stuff. And yeah, I tested that as well.)
1. Search Engines Love Fresh Content
The more you post on your blog, the more Google and other search engines crawl your site. The more they crawl, the more likely they are to find all your content and horde it in their little brains, bumping you up in their rankings, and bringing you closer to the first page of search engine results. There is a diminishing rate of returns though—and if you make use of the next few tips, fresh content isn’t going to make or break your blog.
So quit hyperventilating already. I promised easy.
2. Niche Content and SEO
Niche content has typically less competition. Usually, there are fewer searches conducted because it is a niche topic, however, the folks who do search out your niche are those who are interested. And interested readers typically spend longer on your site which leads to another bump up in your rankings.
So while it may seem smart to plaster your chick lit blog with “romance” and "fiction" and "book" keywords, be sure you keep honing down to your niche as well. Focus, focus, focus. It's okay if you spread out and talk about other things, but always bring it back to your niche. In other words, make every post about your niche--somehow. (And your niche can't simply be "writing" if you want to be anywhere near the first 20 pages in a search result.)
3. Keywords Increase Your SEO
Probably the biggest thing you can do for your blog or site relates to niche keywords. Find them. Use them. But don't abuse them. Your posts will read funny if you overuse keywords AND search engines will penalize you. 3-4 times in the body of a post for one keyword or keyword phrase is generally plenty. (If you want more info on where to use keywords for the best use of search engine optimization, I’ll run a post on my personal writing blog today as this post is already getting pretty long.)
Tip on finding the right keywords: Use Google's Keyword Tool (and if you use WordPress, use it in combination with Yoast’s SEO plugin—it rocks). Using Google’s Keyword Tool you can find the variations of keywords (and keyword phrases) people use when searching online as well as what the competition level is along with the number of searches conducted on Google per month.
 |
| "Chick Lit Fiction" has low competition, but you know if folks are searching for this they are that audience. The number of monthly searches is rather low so this is a keyword phrase that you would want to use in conjunction with others. |
 |
| With this search you can see that "romance fiction"--a slightly larger niche than "chick lit fiction" still scores low for competition but has significantly more monthly searches on Google. |
If you look at the screen shots, both "romance fiction" and "chick lit fiction" are low in terms of competition. That's good.
If you pop "SEO optimization" (redundant on the ‘optimization’, I know—but this is actually a very common search (Important tip: Use the keywords people actually use--not ones you think they should use)) into the tool you will find you have the same number of global monthly searches as "romance novels." (Not shown here.) However the competition is HIGH, not LOW for those 550,000 monthly searches. Low competition is GOOD. Good thing we aren't in the sharing SEO optimization tips business, eh?
Note: You’ll probably notice that there are fewer searches for your niche (eg: chick lit) than your main topic (eg. romance). This is good. Remember: These are the specific readers you want. And, of course, try to use both keywords to hit both bases!
4. Keywords in your URL for Greater SEO
Both Blogger and WordPress allow you to tweak your post’s slug (permalink). A slug is that unique bit of URL tacked on at the end of your site’s URL that correlates to a specific post or page. This is where you can cut extraneous words (such as: the, and, for) that mess up your SEO. Search engines look everywhere!
Example: You will notice this post's title is: 5 Easy Ways to Increase Your Blog's SEO for Writers. The slug/permalink is: tips-to-increase-blog-seo.html Notice the different keyword phrases I hit: "Increase your blog's SEO" and "SEO for writers" and "tips to increase blog SEO" as well as "increase blog SEO." I won't kid myself about hitting the first page of search results, but this will increase the likelihood that maybe it will pop up in someone's results. Someday. Maybe. (Remember the competition is high for this topic.)
5. Links In Increase Your SEO
The more people linking to your blog whether on Twitter, Facebook, Google+, their own blog, blog rolls, or even in blog comments, the better. The more places that link to you, the more search engines say, "This stuff must be good, bump up their ranking." (Especially if the sites linking to you have high rankings.) So get your blog out there. When you leave comments on other people's blog, use the URL feature when you can. And try to link to the same URL every time--don't vary it.
Wow. That was a lot of info on SEO tips for you, my writing, blogging friends. I hope they help you out--and don't stress out about tip #1, okay? If you follow 2-5 you'll do just fine. And if you are looking for more ways to use keywords as well as find out what photos and videos can do for your blog’s SEO, be sure to pop over to my blog where I’ll share more SEO tips today.
So now that you've looked at your blog and its SEO from the write angle, what do you think? Are there some things you can do to increase your SEO? Have questions? Pop them in the comment section.
Jean Oram is a bit of a geek and has spent the week debating the payoffs of market share vs. SEO with her father--seriously one of the first guys to blog--ever. She likes to blog on her poorly optimized writing blog (she may work on that when she has time) as well as tweet, facebook, and some other stuff. If you aren't following her, you should. She shares good stuff you could easily use.
Wednesday, September 19, 2012
Mind the Gap
by Stephen L. Duncan
One of the nice things about landing a book deal is that you’ll
be afforded some time to bask in all the glory and excitement that
has built up during the grudge of getting the darn thing published. Usually, it's enough time to foster a healthy and inevitably debilitating fear of your book being ‘Out There.' But it's also a good time to prepare for the madness of your book's release and your debut as an Author.
For me, that stretch of time is two years from contract to publication.
Did I hear a penny hit the floor somewhere out there? (BTW -
where did that phrase come from? The penny dropped? Well, then, pick it up.)
So after you tell all the people that two years ago you
drunkenly let in on your dirty, little book-writing secret (the same ones who, every day since, have been asking with only the hint of Schadenfreude, “Hey – what’s going on
with your book?”) and once you’ve had a moment to reflect on what any of it means in the metaphorical sense, you might find that the days between contract and
publication dwindle down both at a molasses creep and faster than
Mario Andretti in a cocaine-powered Ferrari.
Slow because, TWO YEARS! And quick because if you’re like
me, you’ll procrastinate during all of them, wake up on the eve of publication
and realize you haven’t done squadoosh to prepare yourself for authordom.
A Lesson: Don’t be like me. There is a lot to do.
So what all needs to get done? I’ll throw out a little
of what I know. My agency, Dystel & Goderich, sent me a nice little ‘How
To’ booklet on things that are helpful. Let’s discuss some of what I’ve ventured
into.
SOCIAL MEDIA
Right. So, Facebook, Twitter, that Google thingy, Pinterest
and tumblr. Those are the main ones, right? Am I missing any? I’ve opted into
Facebook and Twitter with personal accounts. One of the stupid things I’ve
managed to do is not open author accounts for both earlier in my quest for
publication. Now, most of my friends and followers are following the wrong
account. Another idiot move? I’m on the fence with my author name. I’m thinking
about using S. L. Duncan to separate my legal career from my author career.
Some more advice: think ahead.
Pinterest and tumlr are both media-oriented social
platforms. Lot’s of pictures, see? Videos, too! I haven’t figured out a decent
way to incorporate either in a way that would draw attention to my books (Read:
The Whole Point), but I can see them being very effective if my stories were
more subject matter oriented. Like, if I had a book that was about pretzels, I
might showcase the different knot styles. Like a Windsor. I think they do that.
Or whatever. You get the point.
BLOG
I started a blog and have failed miserably at keeping it up.
But – TWO YEARS, right? I’ve got plenty of time. Still, it’s never too early to
get a following. But what to write about? The old stand-by is the process of
getting published. That’s cool, I suppose. The thing is, there are loads of
authors with really good publishing blogs. What if I blogged about me?
Boooooring. I’m not interesting for another two years. And even then…snooze.
Industry stuff? This is good, too, but again – lot’s of
people are out there doing it and doing it well. L.L. Cool J style, I guess. And
really, unless you’re in a position to be an actual journalist, you’re kinda
just reposting stories from Galley Cat and Publishers Weekly.
Have you got any good ideas? I’m hovering somewhere around a
behind-the-scenes blog and the author’s life.
If you can, jump into one of these Author Commune type
blogs, like From the Write Angle. It’s a great way to connect with other
writers (and their followers) and the Kool-Aid is FANTASTIC! Matching Nikes,
too! Another popular trend is to start is a debut blog with authors who are
releasing their book in the same year. Because everyone knows 2014 authors are better
than 2013 authors. Oh, snap. Come at me, bro!
WEBSITE
If you’ve got nerd skills, use ‘em. I, on the other hand (and
being a mere lowly dork), have trouble plugging electronic things into power
sockets. A website, for me, is going to cost. Luckily, publishing houses like
to shower their new authors with some spare scratch to pay for it all. Oh,
wait. They don’t .
What I have done, while waiting to win a website from an
unsuspecting digitally competent friend in a hand of Texas Cheat’em, is minimal
but important. I’ve reserved website names. INKROCK.com. StephenLDuncan.com.
SLDuncan.com. See what I did there? All
bags covered. As for character names - I’ll leave that to the publishing
house’s prerogative.
OTHER STUFF
Conferences. Writer conferences are good for meeting people
and glad-handing. You might even grab a few readers. If your genre allows for
it, comic book or fantasy conventions are very good ways to get your name out
there. There are big conferences and
little ones. I’ve managed to squeeze into a panel or two at a local regional.
You’d be surprised at the popularity of the literature tracks.
Right. So, what am I missing to get done during the gap
years? (TWO YEARS!!!) Any ideas?
Stephen L. Duncan writes young adult fiction,
including his debut, the first book in The Revelation Saga, due in
2014 from Medallion Press. You can find him blogging on INKROCK.com
and on Twitter.
Monday, September 17, 2012
My Book Has Issues
by Riley Redgate
Once upon a time, there was an author who cared immensely about the world around her. She spent massive amounts of time studying societal problems and potential solutions for those problems.
One day, she thought to herself, Ah-ha! I've got it! I will write a book based on the damaging nature of the patriarchy! It will be set in high school, and every high schooler who finishes it will be five times more knowledgeable about feminism than they were when they started. It will be perfect.
The book was terrible.
The end.
Sorry, that was a bit tongue-in-cheek. Really, though - I feel like everyone I've spoken to has read That One Book that feels like this, has read That One Novel that seems crafted only to Teach The Reader a Lesson about Life and Educate Them about Problems of Which They May Previously Have Been Unaware. (Dear God, that capitalization went on far longer than intended. Oops.)
There's a good reason for this, obviously. Issues Books, in my opinion, are infinitely harder to pull off than books that don't involve anything large and societal. After all, unless the readers are completely buried in the character's head, their natural inclination will be to attribute facts set forth in a novel to the author's knowledge, not to the character. If there is a character who's a clear Voice of Wisdom in the book, for example, the reader will see through that character as if they were transparent; the reader will assume the author's using that Voice as a mouthpiece - unless the character is well-crafted enough to be completely opaque.
In other words, Issues Books have to be even more ingrained in their own worlds than regular books. The characters have to be even more set in stone and clearly defined, so that a transgendered or gay character doesn't turn into The Transgendered Character or The Gay Character. The dialogue, above all else, must remain natural and delve only rarely into the realm of sheer explanation. Otherwise it will feel like two people parroting facts at each other. It might even feel like non-fiction, or simply a flimsy attempt at fiction.
Don't get me wrong: I love reading about social issues, and I love that authors are trying to combat ignorance through fiction. I'll be the first to advocate an increase in published works that tackle problems like racism in the modern world, sexism, rape culture, oppression of the underprivileged, etc. - the idea of raising awareness of these problems via a novel is admirable.
But building a novel around an issue rather than plots and characters has only one way to go: downhill. When it comes to fiction, I'm always looking for someone to attach to, rather than something. When we as readers lose the perspective of the individual, with his/her individual motives and problems and objectives, we lose any reason to keep reading the novel as opposed to, say, an article about the issue in question.
Also, I don't know why someone would want to reduce a character to a mouthpiece. Because one of the most powerful abilities of a novel is to personalize large-scale matters. It draws the reader into a state of empathy. Reading about the life of one specific drug addict helps explain drug addiction in general because it provides a vivid example of the lifestyle; reading about one bullied gay teenager shows in one story the cruelty happening in a million instances. Character-based as it is, fiction humanizes what we've never witnessed, or what we don't understand, and to ignore that capability is to disregard the strength and power of fiction itself.
In the end, I don't want to read an Issues Book. I want to read a book, and if it happens to involve Issues, so be it. But first make me care for the characters that populate the world, and for what happens to them. That's where the real strength in the story will lie.
Riley Redgate, enthusiast of all things YA, is a bookstore-and-Starbucks-dweller from North Carolina attending college in Ohio. She blogs here and speaks with considerably more brevity here.
Once upon a time, there was an author who cared immensely about the world around her. She spent massive amounts of time studying societal problems and potential solutions for those problems.
One day, she thought to herself, Ah-ha! I've got it! I will write a book based on the damaging nature of the patriarchy! It will be set in high school, and every high schooler who finishes it will be five times more knowledgeable about feminism than they were when they started. It will be perfect.
The book was terrible.
The end.
Sorry, that was a bit tongue-in-cheek. Really, though - I feel like everyone I've spoken to has read That One Book that feels like this, has read That One Novel that seems crafted only to Teach The Reader a Lesson about Life and Educate Them about Problems of Which They May Previously Have Been Unaware. (Dear God, that capitalization went on far longer than intended. Oops.)
There's a good reason for this, obviously. Issues Books, in my opinion, are infinitely harder to pull off than books that don't involve anything large and societal. After all, unless the readers are completely buried in the character's head, their natural inclination will be to attribute facts set forth in a novel to the author's knowledge, not to the character. If there is a character who's a clear Voice of Wisdom in the book, for example, the reader will see through that character as if they were transparent; the reader will assume the author's using that Voice as a mouthpiece - unless the character is well-crafted enough to be completely opaque.
In other words, Issues Books have to be even more ingrained in their own worlds than regular books. The characters have to be even more set in stone and clearly defined, so that a transgendered or gay character doesn't turn into The Transgendered Character or The Gay Character. The dialogue, above all else, must remain natural and delve only rarely into the realm of sheer explanation. Otherwise it will feel like two people parroting facts at each other. It might even feel like non-fiction, or simply a flimsy attempt at fiction.
Don't get me wrong: I love reading about social issues, and I love that authors are trying to combat ignorance through fiction. I'll be the first to advocate an increase in published works that tackle problems like racism in the modern world, sexism, rape culture, oppression of the underprivileged, etc. - the idea of raising awareness of these problems via a novel is admirable.
But building a novel around an issue rather than plots and characters has only one way to go: downhill. When it comes to fiction, I'm always looking for someone to attach to, rather than something. When we as readers lose the perspective of the individual, with his/her individual motives and problems and objectives, we lose any reason to keep reading the novel as opposed to, say, an article about the issue in question.
Also, I don't know why someone would want to reduce a character to a mouthpiece. Because one of the most powerful abilities of a novel is to personalize large-scale matters. It draws the reader into a state of empathy. Reading about the life of one specific drug addict helps explain drug addiction in general because it provides a vivid example of the lifestyle; reading about one bullied gay teenager shows in one story the cruelty happening in a million instances. Character-based as it is, fiction humanizes what we've never witnessed, or what we don't understand, and to ignore that capability is to disregard the strength and power of fiction itself.
In the end, I don't want to read an Issues Book. I want to read a book, and if it happens to involve Issues, so be it. But first make me care for the characters that populate the world, and for what happens to them. That's where the real strength in the story will lie.
Riley Redgate, enthusiast of all things YA, is a bookstore-and-Starbucks-dweller from North Carolina attending college in Ohio. She blogs here and speaks with considerably more brevity here.
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