by Pat Stoltey
I'm a little crazy, I guess, because I enjoy the revision phase of novel writing even more than I like the creative phase. Here's how I go about it.
Step One: Sort all the critique pages from my critique group. I have feedback for all but the last three chapters. I put them in page order within chapters, discarding the pages that have no comments on them. Step One is done. The pages now sit to the left of my desktop computer keyboard.
Step Two: Work my way through the novel, page by page, making changes and corrections based on the critique comments that I think will improve the novel while retaining my voice and style.
Step Three: Read the novel from beginning to end from the computer monitor. During this process, I make notes when I see problems with the story arc, back story, characters, or descriptions.
Step Four: Using the notes from Step Three: Fix the problems.
Step Five: Print out the novel and read it again. Make notes and corrections on the pages. Add needed scenes (handwritten) and mark where the insertions go.
Step Six: Enter all of the changes into the manuscript file on the computer.
Step Seven: Read the manuscript aloud from the monitor, making additional changes and corrections as I go.
Step Eight: Do all of the self-editing steps I have as part of my personal routine (and all the new ones I'm learning from Kirt Hickman's Revising Fiction: Making Sense of the Madness). There are ten of my own, including searches for the words I tend to repeat (really, pretty, and back among others), excessive use of adverbs (-ly), and passive verbs (was, were).
Step Nine: Print the novel again and read it aloud from the hard copy. I'm always amazed at how many small errors and typos I find during this process. What I see on my monitor looks very different on paper.
Step Ten: Stop fiddling with the manuscript and get on with queries and submissions (and agent or editor pitches at conferences).
Of course, there's more than one way to skin a cat...or revise a manuscript. If you missed Kirt Hickman's day-long workshop on the process (which I'm told was an outstanding program), check out his book. I would also like to recommend Chris Roerden's Don't Sabotage Your Submission: Save Your Manuscript from Turning Up D.O.A.
Tuesday, May 31, 2011
Monday, May 30, 2011
"We have paid the full price with lives, pre-aged youth, and great sorrow."
By Janet FoggIn observance of Memorial Day, the day we honor Americans who have died while in military service to the United States, an excerpt from Fogg in the Cockpit, Howard Fogg – Master Railroad Artist, World War II Fighter Pilot, by Richard and Janet Fogg.
From the June 1944 Informal Report of Morale for the 359th Fighter Group, submitted by Wilbur C. “Chappie” Ziegler, to Captain Maurice F. X. Donahue, Headquarters.
“The month of June 1944 is one that will never be forgotten by any man in the group. The one big memory we will have of this month is D-Day. For weeks, rumors had been flying thick and fast as to when the invasion would start and what part we would play in it. These rumors kept morale high for a time, but then as the days dragged on a new and more persistent rumor crept into the picture. You heard it on the line, in the messes, in the Red Cross Club, wherever men gathered. So much good weather had been ignored that many were thinking that the invasion had been put off for another year. A man’s morale went pretty low as he thought of another year away from home without any substantial gain toward victory. Things went along in that vein until midnight of June 5th, when everybody seemed to sense that “this was it!” Something electric went through the air with the news that the invasion was about to start. As in America, there was no great hilarity or celebration. Everyone knew this was going to cost many lives, but it was as if a load had been lifted. As a group we were like a fighter who had trained for his big fight. He had fought his way up through the ranks and earned a shot at the championship. He is nervous and tense as he awaits the bell for the first round. Then suddenly it rings and the tenseness leaves him. He’s relaxed and confident. He knows he’ll take some pretty stiff punches, but more than that he knows he can win. Well, I think that’s the way we all felt. We didn’t relish, in fact we hated the thought of the losses we would suffer. However, we knew if we were to win this fight we had to take it some time and the sooner we got in there the sooner we’d win and get out again.
“Briefing for the first invasion mission was called at about 0200 hours on 6 June. Naturally it was a very secret briefing, so I cannot report on the reaction of our pilots when they heard the news. When they came out they were full of life, buoyed up with the nervous excitement of the realization that the greatest invasion in history was about to start and they were an integral part of it. I remember when they went into the briefing it was pitch dark outside and if I remember correctly it was even drizzling. In all, it looked like a poor send-off as far as weather was concerned. Then, just as the pilots came out to their trucks, the clouds parted and a bright cold moon lit up the whole field. The men stood gathered around the trucks for the regular post-briefing prayer. It was a moment that I for one will never forget. There wasn’t a sound anywhere on the field or in the air. It was one of the holiest moments I have ever felt as I led those men in prayer. I remember Howie Fogg remarked about the same thing later on in the day. That was group “A”. An hour later group “B” met for briefing and again we had that same experience of a holy moment. I’m a chaplain and yet I can’t explain it. Perhaps it was the knowledge of the invasion, or the sudden clearing of the sky, or the knowledge that some of these men wouldn’t live through the week, whatever it was in those two early morning briefings, we were at a holy moment in the history of our individual lives, our group, and our nation.
“Most of my time was spent with the pilots this month, but I can’t close this report without recording the effect of D-Day on our ground personnel. It was a “shot-in-the-arm” to us all. All gripes, beefs, ill feeling seemed to have been momentarily forgotten, and they worked together as a team more successfully than ever before. They couldn’t fly. They couldn’t share the danger and risk their lives, but what they could do they did, and did it well. Our ground crews went without sleep hours on end. They stayed up night after night, stayed on the job hour after hour, to keep those planes in the air. Working with eyes red from lack of sleep, stomachs upset from irregular eating periods, bodies fatigued from lack of rest, the number of planes they kept in the air and the small number of abortions due to mechanical failure is proof of the magnificent job they did.
“It has been an expensive month. It has been referred to as a magnificent gamble. This is no gamble. If it is we had better quit now. This must be a transaction. We have paid the full price with lives, pre-aged youth, and great sorrow. We who live on must now carry on and finish the task that they so magnificently have started. We must obtain full value for their sacrifice in peace, security, justice, and freedom.”
Thursday, May 26, 2011
Networking: How to Connect with Critique Partners, Agents & Editors
From Tamela Buhrke
There is nothing like connecting with a fellow writer when you are stuck or need someone to bounce an idea off. Yet, as your career progresses, you will need more than just a pat on the back. You will need guides and experts who can help you put your writing career into the fast track. When networking to build your writing career, there are several areas you will want to explore. First, find critique groups and writing coaches. Second, network with agents, editors and published authors.
The Benefits of Critique Groups
If you’ve been showcasing your work to friends and family, then you may not be getting the most accurate assessment of your work. Critique groups can be a healthy reality check, offering feedback from more experienced writers.
If you are nervous about meeting with people, or just don’t have the time for an ongoing critique group, then an online critique site is the way to go. The nice thing about starting with an online site is that it’s impersonal. You won't be worried about hurting a friend’s feelings and they won’t worry about hurting yours. The critique of your work will be unbiased. Here are a few online critique sites:
Each of these sites offers different styles for critiques. Some are offered by fellow writers and some by regular readers. Each will offer a different perspective so use your judgement to see which site is right for you.
If you need something more consistent and personal, that’s when a real world critique group might be better for you. One of the benefits of a critique group that meets in person is that you get more than just the feedback on your own work. You get friendship and camaraderie. You also have the benefit of learning each other’s style. The critiques can become more relevant and personalized.
How do you find a local critique group? Sometimes writing organizations have critique groups you can join—Rocky Mountain Fiction Writers does here. You can also build one yourself. Start by pulling from the friendships you have built in your writing communities. Once you have a base, you can build your group by posting membership openings on sites like Craig’s List, Meetup and even Twitter.
Networking with Agents & Editors
Once you have your critique groups, now it’s time to find people who can give you insider industry information. There is no better place to get to know and learn from agents and editors than Facebook and Twitter.
I heard that collective groan. I have no sympathy for you.
With these two social media sites, you can tap directly into the minds and hearts of the most sought after people in the publishing industry; agents, editors and successful authors. Every day, I follow agents and editors on Twitter. I read agent’s complaints about industry issues and query letters mishaps. I see their requests for certain genres or styles of work. Reading their tweets regularly is a great way to get to know the style and interests of specific agents.
Best of all, you can often ask them questions about your genre and get tips on everything from the best time of the year to query to how to market your book and more. Just please, please don’t try to pitch or query an agent or editor on Twitter or Facebook. That is considered rude. Instead, use the opportunity to learn from and about them.
Be professional. These social networking sites provide an opportunity for getting information and starting intelligent conversations. Earn respect from these people by being interested in them and learning from them. Build a relationship with them and it can only benefit you as you go into pitch sessions or send query letters.
Networking this way works. My experience is a perfect example. Last summer I was on Facebook, searching for writing groups. I ran across the RMFW Facebook page. On that page, I chatted with a someone named Dave. I didn't know him, but he knew a lot about the upcoming Gold conference. We agreed to connect at the Conference. After our meeting, I offered to help him with this blog. After some time to consider it, he agreed. Now I blog with this great group of writers and have had the opportunity to interview agents and editors. If I hadn’t started that conversation with Dave on Facebook, I wouldn’t have had this wonderful opportunity.
That is the power of networking.
Next week we'll take networking to a whole other level. I'll go over how to use your connections to build a marketing team and grow your readership.
See you next week!
Wednesday, May 25, 2011
Just Released This Week...
The hook up does indeed turn steamy and voilà, the sparks reignite. Only one problem. Renee becomes very attached to the young charmer. Sensing that Jessica and Adrian still have feelings for each other, Renee can’t allow herself to be totally swept away by her BFF’s former lover. That is unless another young hunk sweetens the game.
Shameless plug.
Besides reading another one of my installments of the "stupid" series below, rush to your local Kindle and get your copy of Another Cougar in Town as well. A click on the book cover in the side margin will take you directly to my publisher Total E Bound.
E.C. Stacy
Stupid Writing Rules : It's All Been Done
By the ever opinionated E.C. StacyI hate Hate HATE hearing those apathetic words. Out of all the misconceptions that a writer will encounter, this one, I think, is the most damaging. And to fully illustrate how horrible this phrase is, I’ll begin by giving you this picture: what if a teacher said that to an artistic student?
As my cartoon segued, in 1980, a film about an archaeologist racing against Nazis to find the Ark of the Covenant hit the theaters to become a smash hit and beloved classic. Yes, George Lucas based Indy on the rugged heroes from 1930s matinee serials, but no one had ever used an artifact hunter and a religious treasure. It had NOT been done. Maybe that’s one of the reasons it was so successful…and copied.
Need something more recent? How about a wrongfully imprisoned journalist and a young tattooed and pierced detective with an attitude committed to finding the truth? Lisbeth Salander was a new kind of character, perfect for our growing counterculture in The Girl with the Dragon Tattoo.
True, common elements can be found between two masterpieces. Stories rely on formulas to heighten tension and pique our interest. But saying it’s all been done is like giving up on humanity. And one cannot be in the arts or even associated with it and surrender the creative frontier.
Tuesday, May 24, 2011
A Little Bit You Always Wanted to Know About Queries
By Pat Stoltey
The truth is, you can't learn everything there is to know about queries. Agents have their own ideas about what makes a great query letter, and those ideas vary according to the agent's personal and literary preferences. Published authors give conflicting advice because what worked for one didn't necessarily work for the next.
One thing I spotted last week made great sense, however. Don't advertise your query process in articles, blog posts, or newsletters. I first spotted Janet Reid, Literary Agent's post on "what she said" and followed Janet's link to Jessica Faust's "Thought for the Day" on the Bookends, LLC blog. These two posts are very short and worth your attention.
Here is a list of great resources, most of them from Chuck Sambuchino's Guide to Literary Agents Blog (and if you don't already subscribe to Chuck's GLA newsletter, you're missing a lot of good information because that's where I spotted the links listed below).
10/6/09 Guide to Literary Agents blog What Should You Write in the Bio Paragraph of a Query Letter?
1/22/10 Chuck Sambuchino at Joyce Hart's blog, From the Heart: Hartline Literary Agency 10 Smart Questions About the Query Process
2/3/10 Guide to Literary Agents blog How to Trim Your Query to 250 Words (or Fewer): Advice from Agent Janet Reid
3/19/10 Guide to Literary Agents blog 5 Query Letter Tips
6/22/10 Anne Gallagher at Guide to Literary Agents blog The 5 Stages of Querying
11/11/10 Guide to Literary Agents blog Agent Mollie Glick Talks: 7 Things Agents Want to See in a Query, and 9 Things They Don't
5/6/11 Ted Fox at Guide to Literary Agents blog The Art of the Query, Humor Style
If anyone else has a link to an outstanding article or blog post on the query process, let us know.
The truth is, you can't learn everything there is to know about queries. Agents have their own ideas about what makes a great query letter, and those ideas vary according to the agent's personal and literary preferences. Published authors give conflicting advice because what worked for one didn't necessarily work for the next.
One thing I spotted last week made great sense, however. Don't advertise your query process in articles, blog posts, or newsletters. I first spotted Janet Reid, Literary Agent's post on "what she said" and followed Janet's link to Jessica Faust's "Thought for the Day" on the Bookends, LLC blog. These two posts are very short and worth your attention.
Here is a list of great resources, most of them from Chuck Sambuchino's Guide to Literary Agents Blog (and if you don't already subscribe to Chuck's GLA newsletter, you're missing a lot of good information because that's where I spotted the links listed below).
10/6/09 Guide to Literary Agents blog What Should You Write in the Bio Paragraph of a Query Letter?
1/22/10 Chuck Sambuchino at Joyce Hart's blog, From the Heart: Hartline Literary Agency 10 Smart Questions About the Query Process
2/3/10 Guide to Literary Agents blog How to Trim Your Query to 250 Words (or Fewer): Advice from Agent Janet Reid
3/19/10 Guide to Literary Agents blog 5 Query Letter Tips
6/22/10 Anne Gallagher at Guide to Literary Agents blog The 5 Stages of Querying
11/11/10 Guide to Literary Agents blog Agent Mollie Glick Talks: 7 Things Agents Want to See in a Query, and 9 Things They Don't
5/6/11 Ted Fox at Guide to Literary Agents blog The Art of the Query, Humor Style
If anyone else has a link to an outstanding article or blog post on the query process, let us know.
Monday, May 23, 2011
Caption Crazy Strikes Again!
Time for some silliness! Or creative seriousness!It is often said that a picture is worth a thousand words, so we'll provide the picture if you'll provide the words!
What came to mind when you saw this picture?
Write a caption, log line, or flash fiction. Write the first paragraph of a short story or novel.
Please share as a comment!
Janet Fogg
Wednesday, May 18, 2011
Your Writer Board of Directors—Creating Connections
A guide to networking by Tamela Buhrke
If you’ve been reading my series on building Your Writer Board of Directors, then you are probably wondering where you can
meet these mythical guides to your writing career. How will you connect with people who are willing to provide support and give advice on writing, getting published and the business of being a writer?
By joining a writer community, that’s how.
No I’m not talking about that sweet little ladies group that meets in the local church basement (though, they’re nice too). I’m talking about an organized group of writers who live, eat and breathe writing.
These communities come in two flavors: online and real world.
You can join one or several. Plus, you can find groups that deal with specific topics, such as young adult or women's subjects. Here is a sample of the types online communities that connect writers:
- WritersCafe.org is, according to their website, an online writing community where writers can post their work, get reviews, befriend other writers, and much more.
- Protagonize.com boasts over 16,000 authors from around the world. It too let’s you post your work and get review, connect with authors and ask questions.
- Mibba.com is a site for teens and early twenties. You can connect with other young writers, upload stories and poetry then get feedback.
- BookCountry.com is a new social network created by Penguin. You can post part or all of your manuscript and let the community give you reviews and feedback. They also plan to add self-publishing services.
- SheWrites.com Offers the largest community of women writers online. They approach the topics of writing from a woman's perspective. However, men are free to join.
These free social networks provide you with the best of all possible worlds. You can meet and mingle, get inspiration and share your writing frustrations without the commitment of regular meetings. Best of all, you can do it on your own time and it’s always there when you need it. Have a busy week? Don’t log in. Need advice or a pat on the back? Hop into a forum or chat room and find a friend.
These sites are a low maintenance way of learning, growing and networking in our field. You may even pick up a few local friends and be able to set up local meetups, write-ins and coffee talks.
Once you’ve gotten your feet wet online, getting involved with local writing groups and organizations can help you build your connections within the publishing world. There are so many organizations; it would be hard to list them all here. Fortunately, I found a link to a site that has the most comprehensive list I’ve seen:
http://www.forwriters.com/groups.html
From the Alamo Writers group in San Antonio to our own Rocky Mountain Fiction Writers, the list will help you to find a group near you or a group that represents your genre or other connections.
Now that you are mixing and mingling with writers, the next step is to build friendships. You don’t need to build your board yet. Right now, just get to know people. Listen and learn. People who attend these meetings regularly often have a world of experience and understanding about the business of being a writer.
Start by getting comfortable with your fellow writers and finding information, friendship and support. As your career grows, you will need critique, publishing and marketing partners. Next time, I will show you where to find groups for more specific purposes.
See you next week.
Tuesday, May 17, 2011
Editor with Tekno/Five Star Books Denise Dietz
Interview conducted via e-mail by Pat Stoltey. An earlier version of this interview was published at The Blood-Red Pencil blog in January 2010.
Today I’d like to introduce professional editor Denise (Deni) Dietz. Responsible for using her fine-tooth comb on many of the mystery manuscripts (including both of mine) submitted to Five Star Publishing, a Division of Cengage, Deni is an experienced professional who teaches her clients as she edits their work.
In December, 2009, Deni accepted a position with Tekno/Five Star and is now the Associate Editor in charge of all mystery and romantic suspense authors who are submitting to Five Star for the first time. Deni says she isn’t looking for a “good book.” She’s looking for a “good voice.” Authors should look for her as the Five Star representative at writers’ conferences although she won't be joining us at the Colorado Gold Conference this September. We'll keep our fingers crossed for 2012.
Also an author of mystery fiction as well as romance, Deni’s books include Eye of Newt and the Ellie Bernstein “diet club” mystery series. Deni’s backlist is at Kindle and other e-venues. The latest offerings: a paranormal romance, Hallie’s Comet, and her short fiction, "The Last Great American Beauty Pageant" (a horror/ suspense about a male beauty contest). Writing as Mary Ellen Dennis, Deni received starred reviews for The Landlord’s Black-Eyed Daughter, a novel based on "The Highwayman" by Alfred Noyes. “Landlord” will be out in paperback this August, along with an 1875 circus historical, The Greatest Love on Earth. Mary Ellen’s Heaven’s Thunder: a Colorado Saga, published May, 2011, encompasses the Cripple Creek gold rush and the Ludlow Massacre, with an emphasis on Colorado’s silent film industry.
-------------------------
AKA Mary Ellen Dennis
CIR (Pat): Would you tell our readers a little about your background and how you became a freelance editor?
Deni: Writing came first. But I found I had a knack for editing once I became a member of Rocky Mountain Fiction Writers and joined a critique group. A fellow RMFW member, Emily Carmichael, asked if I’d consider editing one of her historical romances. I said yes and she received her first-ever revision letter that didn’t have any revisions or corrections. In fact, her editor complimented Emily on a “clean manuscript.” Emily spread the word and I established my free-lance editing service: Stray Cat Productions.
I’ve never had any formal training but I did take a creative writing course in college (the University of Wisconsin). I wrote the first 3 chapters of a racy woman’s fiction novel for a class project. However, I kept using the word “thing” for penis (I was very young!). My professor gave me a 2-page list of euphemisms, my first introduction to “editing.” :)
CIR: What does the publisher expect of you as editor and how does that compare to the author’s expectations?
Deni: I line edit for both. However, the publisher usually gives me a realistic deadline while my freelance clients inevitably ask, “How long will it take?”—a question I can’t answer. Authors are often surprised by how much editing I do. When the author refers to a person, I change “that” to “who” every time, and I like a character’s eyes to stay on his/her head, not drop to the floor—where they can be stepped on—or sweep the room. So I’ll often edit “my eyes landed on his face” to “I stared at his face.” And be careful about a character tossing her head. Unless there’s someone there who can catch it.
CIR: How many manuscripts have you edited since you’ve been freelancing and what genre(s) is your specialty?
Deni: I’ve been free-lancing since the 1990s and in that time I’ve have had 15 books published, starting with the first two books in my “diet club” mystery series, so it’s difficult to guestimate. Plus, there’s a difference between editing and book-doctoring (I’ve done both). I even accepted an assignment to ghost-write a book, though I’d never do that again…unless it was for James Patterson.
CIR: Based on your own observations, what are the top three mistakes made by beginning writers?
Deni: It sounds like a cliché, but telling rather than showing is number one. If a writer simply tells me about a character, I feel no emotional connection. Number two would be books that start with a “weather report.” There are always exceptions, but if you tell me it’s snowing, there had better be a [dead] body part sticking out of the snow. Third would be overuse of a word. Check your manuscripts for the words “just” and “well” and “that.”
Tied with overuse of a word would be dialogue tags, like “You’re so funny,” he laughed. You cannot laugh and talk at the same time. Try it. Nor can you smile, grin or (my favorite) explode your words. (“I swear I didn’t do it,” she exploded.) Nor do I like animal tags: growled, brayed, chirped, etc.
Here’s a “trick” I use for my own books. If your character is named “Mary,” do a search-and-replace and change it to “Ethel" or "Hermione" or any name that will catch your attention. When you reread your manuscript, the unfamiliar name should stand out, and at least 50% of the time it can be deleted or changed to “she” or “her.”
CIR: What is the best piece of advice you give most writers?
Deni: I give them the best piece of advice I’ve ever received. I wrote a scene set in an opulent apartment for my women’s fiction novel, Soap Bubbles (now at Kindle). I described the living room in detail, including the eclectic collection of paintings on the wall. It was written from the POV of my protagonist, an actress. An author I admired read the chapter and complimented me on my narrative, said she felt like she was there. Then she said, “But how does Delly FEEL when she looks at the room?” I rewrote the scene, keeping all my details. Except, when Delly looks at the wall she wishes she could step into a painting. Here’s the rewrite:
"Delly stepped into an enormous living room and blinked at the brightness. The walls and ceilings were pure yellow, the floor a highly-glossed parquet. An eclectic mixture of paintings crowded the walls. Delly recognized Andy Warhol, Peter Max, and Renoir. Her gaze lingered on the Renoir, and she wished she could step into the painting. In a Renoir there were no cameras panning for a close-up, no directors screaming for another take, no rejection. Renoir’s flowers have no smell, but they don’t die. Renoir’s people have no smell, but they live forever. Once she had believed that actors lived forever."
Note that I managed to get some of her backstory into a couple of brief paragraphs! This is also an example of what I was talking about before: showing vs. telling. I could have said: “Andy Warhol’s Marilyn Monroe print reminded her of her last acting role,” and that wouldn’t be wrong. But it doesn’t really tell you how Delly FEELS. Can you see the difference?
CIR: What advice would you give someone who is interested in becoming an editor?
Deni: Don’t give up your day job. I once received an email from a lawyer who asked me to ghost-write his John Grisham clone. The lawyer outlined the plot, which could have been taken straight from a review of a Grisham novel, and said movie producers were very interested but would only consider a published book. If I wrote the book, he said, he’d give me 50% of the royalties. A woman wanted me to edit her husband’s adventure novel. But she’d only pay $100, she said, because—are you ready?—her husband used spell-check.
Editing requires a lot more expertise than simply correcting typos. For example, I cover punctuation, grammar, syntax, transitions, anachronisms, historical/ethnic accuracy, characterization, conflict (internal and external), motivation, secondary players, backstory, POV, narrative voice, dialogue, exposition, sensory details, and descriptions of people, places and situations. Warning: If you plan to go into free-lance editing, realize that the competition is fierce. Many retired pub house editors are now free-lance editors. However, with the advent of [self-published] ebooks, I’ve added 2 editors to my service. Both have been traditionally published with 10 or more books and both have 10 or more years of editing experience.
CIR: Is there anything I haven’t asked that you’d like to tell the writers and readers who follow Chiseled in Rock blog?
Deni: When you submit your manuscript to an editor, it should be as error-free as you can possibly make it, and be sure to follow any formatting instructions. Too often I’ve heard: “If it’s a good book, the editor will fix it; that’s what they’re paid to do.” Aside from that incredible misconception, why have one strike against you from the get-go? Look at it this way. An editor has one open slot and two books competing for that slot. Book A is “clean” and formatted but Book B isn’t. Which book do you think the editor will acquire? When someone queries me, I respond with formatting guidelines. And yet I recently received a 90,000 word manuscript that was written like a 90,000 word email. Not a real email—as a plot device—but every single paragraph was flush left and there were two double-spaces between paragraphs. Did the submitter even bother to glance at my guidelines? Or did someone tell her "the editor will fix it"? There’s a terrific essay on self-editing at Gordon Aalborg: Author & Editor
I’ve been asked if, as an acquiring editor, I choose the kind of authors I read, or if I cater to the market? My answer is that my reading tastes are too eclectic to choose the kind of authors I read. I devour everything, from historical romances to generational sagas to "cozies" to thrillers. And it's virtually impossible to cater to the market. By the time a book goes through the publication process, the market could be glutted with vampire serial-killer books, somebody-or-other's diary, paint-by-numbers craft mysteries, cowboys with illegitimate babies they didn't know about, amateur women sleuths with male nicknames, and/or Dan Brown clones.
-------------------------
My thanks to Deni for being kind enough to answer my questions.
You can find out more about authors Denise Dietz and Mary Ellen Dennis and their novels at Deni's website.
Today I’d like to introduce professional editor Denise (Deni) Dietz. Responsible for using her fine-tooth comb on many of the mystery manuscripts (including both of mine) submitted to Five Star Publishing, a Division of Cengage, Deni is an experienced professional who teaches her clients as she edits their work.
In December, 2009, Deni accepted a position with Tekno/Five Star and is now the Associate Editor in charge of all mystery and romantic suspense authors who are submitting to Five Star for the first time. Deni says she isn’t looking for a “good book.” She’s looking for a “good voice.” Authors should look for her as the Five Star representative at writers’ conferences although she won't be joining us at the Colorado Gold Conference this September. We'll keep our fingers crossed for 2012.Also an author of mystery fiction as well as romance, Deni’s books include Eye of Newt and the Ellie Bernstein “diet club” mystery series. Deni’s backlist is at Kindle and other e-venues. The latest offerings: a paranormal romance, Hallie’s Comet, and her short fiction, "The Last Great American Beauty Pageant" (a horror/ suspense about a male beauty contest). Writing as Mary Ellen Dennis, Deni received starred reviews for The Landlord’s Black-Eyed Daughter, a novel based on "The Highwayman" by Alfred Noyes. “Landlord” will be out in paperback this August, along with an 1875 circus historical, The Greatest Love on Earth. Mary Ellen’s Heaven’s Thunder: a Colorado Saga, published May, 2011, encompasses the Cripple Creek gold rush and the Ludlow Massacre, with an emphasis on Colorado’s silent film industry.
-------------------------
AKA Mary Ellen Dennis
CIR (Pat): Would you tell our readers a little about your background and how you became a freelance editor?Deni: Writing came first. But I found I had a knack for editing once I became a member of Rocky Mountain Fiction Writers and joined a critique group. A fellow RMFW member, Emily Carmichael, asked if I’d consider editing one of her historical romances. I said yes and she received her first-ever revision letter that didn’t have any revisions or corrections. In fact, her editor complimented Emily on a “clean manuscript.” Emily spread the word and I established my free-lance editing service: Stray Cat Productions.
I’ve never had any formal training but I did take a creative writing course in college (the University of Wisconsin). I wrote the first 3 chapters of a racy woman’s fiction novel for a class project. However, I kept using the word “thing” for penis (I was very young!). My professor gave me a 2-page list of euphemisms, my first introduction to “editing.” :)
CIR: What does the publisher expect of you as editor and how does that compare to the author’s expectations?
Deni: I line edit for both. However, the publisher usually gives me a realistic deadline while my freelance clients inevitably ask, “How long will it take?”—a question I can’t answer. Authors are often surprised by how much editing I do. When the author refers to a person, I change “that” to “who” every time, and I like a character’s eyes to stay on his/her head, not drop to the floor—where they can be stepped on—or sweep the room. So I’ll often edit “my eyes landed on his face” to “I stared at his face.” And be careful about a character tossing her head. Unless there’s someone there who can catch it.
CIR: How many manuscripts have you edited since you’ve been freelancing and what genre(s) is your specialty?
Deni: I’ve been free-lancing since the 1990s and in that time I’ve have had 15 books published, starting with the first two books in my “diet club” mystery series, so it’s difficult to guestimate. Plus, there’s a difference between editing and book-doctoring (I’ve done both). I even accepted an assignment to ghost-write a book, though I’d never do that again…unless it was for James Patterson.
CIR: Based on your own observations, what are the top three mistakes made by beginning writers?Deni: It sounds like a cliché, but telling rather than showing is number one. If a writer simply tells me about a character, I feel no emotional connection. Number two would be books that start with a “weather report.” There are always exceptions, but if you tell me it’s snowing, there had better be a [dead] body part sticking out of the snow. Third would be overuse of a word. Check your manuscripts for the words “just” and “well” and “that.”
Tied with overuse of a word would be dialogue tags, like “You’re so funny,” he laughed. You cannot laugh and talk at the same time. Try it. Nor can you smile, grin or (my favorite) explode your words. (“I swear I didn’t do it,” she exploded.) Nor do I like animal tags: growled, brayed, chirped, etc.
Here’s a “trick” I use for my own books. If your character is named “Mary,” do a search-and-replace and change it to “Ethel" or "Hermione" or any name that will catch your attention. When you reread your manuscript, the unfamiliar name should stand out, and at least 50% of the time it can be deleted or changed to “she” or “her.”
CIR: What is the best piece of advice you give most writers?
Deni: I give them the best piece of advice I’ve ever received. I wrote a scene set in an opulent apartment for my women’s fiction novel, Soap Bubbles (now at Kindle). I described the living room in detail, including the eclectic collection of paintings on the wall. It was written from the POV of my protagonist, an actress. An author I admired read the chapter and complimented me on my narrative, said she felt like she was there. Then she said, “But how does Delly FEEL when she looks at the room?” I rewrote the scene, keeping all my details. Except, when Delly looks at the wall she wishes she could step into a painting. Here’s the rewrite:
"Delly stepped into an enormous living room and blinked at the brightness. The walls and ceilings were pure yellow, the floor a highly-glossed parquet. An eclectic mixture of paintings crowded the walls. Delly recognized Andy Warhol, Peter Max, and Renoir. Her gaze lingered on the Renoir, and she wished she could step into the painting. In a Renoir there were no cameras panning for a close-up, no directors screaming for another take, no rejection. Renoir’s flowers have no smell, but they don’t die. Renoir’s people have no smell, but they live forever. Once she had believed that actors lived forever."
Note that I managed to get some of her backstory into a couple of brief paragraphs! This is also an example of what I was talking about before: showing vs. telling. I could have said: “Andy Warhol’s Marilyn Monroe print reminded her of her last acting role,” and that wouldn’t be wrong. But it doesn’t really tell you how Delly FEELS. Can you see the difference?
CIR: What advice would you give someone who is interested in becoming an editor?
Deni: Don’t give up your day job. I once received an email from a lawyer who asked me to ghost-write his John Grisham clone. The lawyer outlined the plot, which could have been taken straight from a review of a Grisham novel, and said movie producers were very interested but would only consider a published book. If I wrote the book, he said, he’d give me 50% of the royalties. A woman wanted me to edit her husband’s adventure novel. But she’d only pay $100, she said, because—are you ready?—her husband used spell-check.
Editing requires a lot more expertise than simply correcting typos. For example, I cover punctuation, grammar, syntax, transitions, anachronisms, historical/ethnic accuracy, characterization, conflict (internal and external), motivation, secondary players, backstory, POV, narrative voice, dialogue, exposition, sensory details, and descriptions of people, places and situations. Warning: If you plan to go into free-lance editing, realize that the competition is fierce. Many retired pub house editors are now free-lance editors. However, with the advent of [self-published] ebooks, I’ve added 2 editors to my service. Both have been traditionally published with 10 or more books and both have 10 or more years of editing experience.
CIR: Is there anything I haven’t asked that you’d like to tell the writers and readers who follow Chiseled in Rock blog?Deni: When you submit your manuscript to an editor, it should be as error-free as you can possibly make it, and be sure to follow any formatting instructions. Too often I’ve heard: “If it’s a good book, the editor will fix it; that’s what they’re paid to do.” Aside from that incredible misconception, why have one strike against you from the get-go? Look at it this way. An editor has one open slot and two books competing for that slot. Book A is “clean” and formatted but Book B isn’t. Which book do you think the editor will acquire? When someone queries me, I respond with formatting guidelines. And yet I recently received a 90,000 word manuscript that was written like a 90,000 word email. Not a real email—as a plot device—but every single paragraph was flush left and there were two double-spaces between paragraphs. Did the submitter even bother to glance at my guidelines? Or did someone tell her "the editor will fix it"? There’s a terrific essay on self-editing at Gordon Aalborg: Author & Editor
I’ve been asked if, as an acquiring editor, I choose the kind of authors I read, or if I cater to the market? My answer is that my reading tastes are too eclectic to choose the kind of authors I read. I devour everything, from historical romances to generational sagas to "cozies" to thrillers. And it's virtually impossible to cater to the market. By the time a book goes through the publication process, the market could be glutted with vampire serial-killer books, somebody-or-other's diary, paint-by-numbers craft mysteries, cowboys with illegitimate babies they didn't know about, amateur women sleuths with male nicknames, and/or Dan Brown clones.
-------------------------
My thanks to Deni for being kind enough to answer my questions.
You can find out more about authors Denise Dietz and Mary Ellen Dennis and their novels at Deni's website.
Monday, May 16, 2011
There Can Be Only One
By Janet Fogg“There can be only one.” One what? One immortal who will wield a prize that gives him supreme power over all of mankind? Supreme power? Frightening, really. But appropriate, since that tag line is from The Highlander, where Immortals fight and kill one another by decapitation.
Aren’t words immortal? Don’t they wield great power?
It is said that the pen is mightier than the sword, and certain passages of my favorite books resonate like a blade. Passages that slice deep, stay put. When I consider such books, I think of old friends squatting patiently on the shelf, books that I fall back on when I’m in a foul mood or when I’m exhausted. Books I’ve read so many times that I can begin to read mid-chapter and not miss a beat. These books aren’t Pulitzer Prize winners, not one. But they quicken my soul. These books are soft from handling, from too many reads, and the corners bend out, just a little. Yet no matter how supple the pages, the words adorning them are resilient, retain power and strength.
I want to write a book such as that. A book cherished by someone, someday. That’s one vision I strive for, that lurks in the dark edges of my mind. Only one…
Thursday, May 12, 2011
Stupid Writing Rules : Watch Adverbs
By the ever opinionated E.C. Stacy
It happened a few weeks ago, causing me to retrieve my previously disregarded idea of writing a post about adverbs and their usage. I sat in on a critique group. One of the members commented on an adverb used by another writer, saying “watch those.” It was the only adverb on the page. Just one in a throng of about 300 words! A concise modifier obviously chosen to project an image. This critique member had no business cautioning the writer. What tipped me off to the lack of expertise was the person’s failure to detect adverbs on later pages that did not end in ly. For example the italicized words in the following sentences are adverbs. Jack laughed so hard he choked. Don’t be late.
Before I deconstruct this, it’s fair to let you know my rant today is not intended to attack the adverb police officer. It’s just that I’m reminded—as with the pseudo rules show don’t tell now to be called show when you can, tell when you have to, and discarding was which now shouldn’t be acknowledged at all—that newcomers to this writing game need clear guidance rather than indiscriminate rules. I can only speculate that the judge of the adverb usage, although intending to be helpful, offered the comment as a result of improper brainwashing. Lest we forget, adverbs shine as part of our grammar just like adjectives. They can be exclamatory, explanatory, and just plain old good fun. Example: it was a pants-wettingly hilarious show! Not only should a writer be able to use one adverb out of 300 words, they should show off with adverbs whenever they’re the right term for getting the message across. Don’t believe me? Crack open a J.K. Rowling epic and your Crap Meter will peg.
Agreed, some new writers fail to use the sharper alternatives for adverbs (such as: walked quietly as opposed to crept) resulting in an evaluator to utter the dreadfully misguided rule. But anyone who is really getting into the thick of writing will praise adverbs. For instance, every writer runs into this blasé statement: he smiled. That sentence is fine if it’s a plain smile. What if he doesn’t want to smile, though? What if he’s worried? He smiled sheepishly provides the reader with a succinct picture. See? Adverbs work exceptionally well for showing and should have never gotten a warning label tacked on to them.
Wednesday, May 11, 2011
An Interview with Sara Megibow of the Nelson Agency
Interviewed by Tamela Buhrke
Okay kiddies, we have a very special treat for you today. The vivacious Sara Megibow of the Nelson Agency is here to give us her insights into the business of writing.
For those who are in the mood to publish, Sara is enthusiastically accepting new clients. She represents young adult and middle grade fiction, romance, science fiction, and fantasy, commercial and women's fiction (including chick lit) and high concept literary fiction.
If you plan to attend the Rocky Mountain Fiction Writers Gold Conference on September 9, 10 and 11th, Sara will be available for pitch sessions; be sure to sign up early to snag a spot in front of her.
CIR (Tamela): Most people stumble over my first and last name, so my first question is meant to help all those people who may want to introduce themselves to you at the RMFW Gold Conference this September; how do you pronounce your last name?
Sara: MEG-uh-bow (MEG like Meg Ryan - UH like duh - BOW like the bow in a little girl's hair) :) It's Russian (we think)
CIR: As the Associate Agent at Nelson Literary Agency, you represent commercial fiction, women’s fiction, romance, young adult and middle grade, as well as science fiction and fantasy. On your bio, you mention that you’d personally love to work on more science fiction and fantasy. What kind of scifi/fantasy manuscript would you like to see come across your desk?
Sara: OOOoooo - all kinds of science fiction or fantasy! I love futuristic, space opera, dystopian, epic fantasy, urban fantasy, paranormal - you name it, I love it. In fact, I love sf/f for adult books AND young adult books, so I am particularly greedy.
I'd say that the number one reason I end up passing on an sf/f submission is because a writer hasn't mastered the art (yet) of showing a unique world to the reader in an organic way. A shorter way of saying that? World building. World building is, to me, the most important aspect of sf/f - I am hunting for books that are unique and spectacularly well-written (like HUNDRED THOUSAND KINGDOMS by NK Jemisin, ASH by Malinda Lo, THE IRON DUKE by Meljean Brook and DIVERGENT by Veronica Roth).
I'd like to see more gorgeous epic heroic fantasy (like, of course, NAME OF THE WIND by Patrick Rothfuss or THE WAY OF KINGS by Brandon Sanderson) or high energy blockbuster fantasy (like THE LIES OF LOCKE LAMORA by Scott Lynch). I'd like to see science fiction novels that really tackle moral as well as physical issues - so not just overpopulation and martial law, but also fertility, first contact and terraforming (like SONG OF SCARABAEUS by Sara Creasy). I'd also love to see some really off the wall characters - pirates, scientists, Indiana-Jones-esque adventure heroes and heroines. I don't want to see just gun-toting alpha males and alpha females, but characters with complexity and irony.
CIR: With those genres being in a bit of slump, what do you think would revitalize them?
Sara: I don't think sf/f is in a slump. I think books like Patrick Rothfuss's THE WISE MAN'S FEAR, Gail Carriger's SOULLESS, Paolo Bacagalupi's THE WINDUP GIRL, Cherie Priest's BONESHAKER, Joe Abercrombie's THE HEROES etc. prove that sf/f is vibrant and exciting.
Also, if someone says "slump" - what does that mean? Are sales numbers down? (no) Are units sold down? (no) Is visibility down? (no) Or, is this just a reaction to the feeling that breaking in to sf/f as a debut author is hard (yes)? There are fewer sf/f novels on the shelves than, say, romance novels, but that's always been true. There are, perhaps, fewer imprints to submit to as a debut sf/f author, but that's always been true too. So, slump? no. Hard? yes.
Sara: MEG-uh-bow (MEG like Meg Ryan - UH like duh - BOW like the bow in a little girl's hair) :) It's Russian (we think)
CIR: As the Associate Agent at Nelson Literary Agency, you represent commercial fiction, women’s fiction, romance, young adult and middle grade, as well as science fiction and fantasy. On your bio, you mention that you’d personally love to work on more science fiction and fantasy. What kind of scifi/fantasy manuscript would you like to see come across your desk?
Sara: OOOoooo - all kinds of science fiction or fantasy! I love futuristic, space opera, dystopian, epic fantasy, urban fantasy, paranormal - you name it, I love it. In fact, I love sf/f for adult books AND young adult books, so I am particularly greedy.
I'd say that the number one reason I end up passing on an sf/f submission is because a writer hasn't mastered the art (yet) of showing a unique world to the reader in an organic way. A shorter way of saying that? World building. World building is, to me, the most important aspect of sf/f - I am hunting for books that are unique and spectacularly well-written (like HUNDRED THOUSAND KINGDOMS by NK Jemisin, ASH by Malinda Lo, THE IRON DUKE by Meljean Brook and DIVERGENT by Veronica Roth).
I'd like to see more gorgeous epic heroic fantasy (like, of course, NAME OF THE WIND by Patrick Rothfuss or THE WAY OF KINGS by Brandon Sanderson) or high energy blockbuster fantasy (like THE LIES OF LOCKE LAMORA by Scott Lynch). I'd like to see science fiction novels that really tackle moral as well as physical issues - so not just overpopulation and martial law, but also fertility, first contact and terraforming (like SONG OF SCARABAEUS by Sara Creasy). I'd also love to see some really off the wall characters - pirates, scientists, Indiana-Jones-esque adventure heroes and heroines. I don't want to see just gun-toting alpha males and alpha females, but characters with complexity and irony.
CIR: With those genres being in a bit of slump, what do you think would revitalize them?
Sara: I don't think sf/f is in a slump. I think books like Patrick Rothfuss's THE WISE MAN'S FEAR, Gail Carriger's SOULLESS, Paolo Bacagalupi's THE WINDUP GIRL, Cherie Priest's BONESHAKER, Joe Abercrombie's THE HEROES etc. prove that sf/f is vibrant and exciting.
Also, if someone says "slump" - what does that mean? Are sales numbers down? (no) Are units sold down? (no) Is visibility down? (no) Or, is this just a reaction to the feeling that breaking in to sf/f as a debut author is hard (yes)? There are fewer sf/f novels on the shelves than, say, romance novels, but that's always been true. There are, perhaps, fewer imprints to submit to as a debut sf/f author, but that's always been true too. So, slump? no. Hard? yes.
CIR: You recently taught writing classes and offered agent critiques as part of a charity drive. When working with new writers, what do you find are the most common misconceptions about becoming an author? What traits should new writers cultivate to help them become publish-worthy.
Sara: There is a difference between writing and publishing. Creating literature is an art and people who write should enjoy the writing. It's a WONDERFUL skill - one that I envy very much!
Publishing, however, is a business - filled with contracts, royalties, lawyers, deadlines, profit and loss statements, etc. If a writer finds him/herself in a position of being interested in publishing, then there are three major traits to adopt in order to take that step towards publication:
1) The writer must have a completed, professional, superior and unique book.
2) The writer should then invest time in learning about the business. Our website (www.nelsonagency.com) has a link called "submit manuscript" loaded with resources, FAQs, sample query letters, etc. If one were to spend an hour a week reading everything we post there, then that person would be lightyears ahead, in terms of knowledge
3) The writer should invest NOW in a professional author website - short bio, a headshot, a bit about what you write, a link to your blog or other social media
Finally, there are a ton of common misconceptions about publishing. It would be super nice if everyone understood the process before signing the agent-client agreement. But, that's ok - we all learn as we go. I try to help my clients acclimate to this weird new world. :)
First of all - it's a job. There are expectations (like deadlines), rules of the game (like contracts), time commitments (like writing and marketing). Our agency believes that publishing should make you money not cost you money, so we try to encourage authors to save. Still, there are some financial investments (like conferences, website and perhaps some marketing materials). Also, a NY publishing contract is a serious legal document - there is an element of "losing control" of your work if you decide/agree to publish - the publishing house has the final say on content, cover, back cover copy, release date, your next book, positioning your book, etc etc etc. We hope for "meaningful consultation" but, like I said, a publishing contract is a serious legal document and some of the most common, unfortunate, misconceptions come from misunderstanding legal rights. An agent helps a writer navigate these waters but all new authors go through a bit of a culture shock.
CIR: No agent interview would be complete without touching on the dreaded query letter. Do you have a process for filtering the query letters you receive? Do experience and references help or is it primarily the story that interests you?
Sara: *big smile* I totally understand the strain and worry that writers feel when they compose that query letter. If it makes you all feel any better, I compose a query letter when I submit a book to an editor!
Let's see - the process? We read 150-200 query letters a day. To be honest, a writer has seconds to stand out in the slush pile. Yes, we read carefully (we have to, right? If I pick the wrong clients and can't sell books then I have no job). But really and truly what I am looking for in a query letter is superior writing. Concept is important, although I will still pass on a great concept is the writing isn't strong enough. Listing contest wins, publishing history, experience, etc. catches my eye. Ultimately it's always the quality of the writing though.
I will say that meeting me at a conference, especially if you have a pitch session with me, is usually a good way to convince me to read a work!.
CIR: Most agent interviews focus on how new writers can get their big break. Here’s a bit of a twist. What advice would you give published authors who are trying to break through to the best seller’s list?
Sara: If there were a formula for getting on a bestsellers list, I would be a rich woman. :)
However, I will say that writing breath-taking books is the first place to start. Yes, make soul-scorchingly good books! That's step one.
Then the next step is platform. The question, of course, becomes "should I spend my time marketing or spend my time writing?" Another question to which I don't have the crystal-ball answer. Self promotions does affect book sales, though, so if you're serious, serious, serious about your career I would recommend finding time to write and market. Have a blog (Roni Loren whose debut contemporary erotic romance comes out in January was running her blog long before she signed with me. It's GENIUS! http://fictiongroupie.blogspot.com.)
Have a professional author website - clean, interesting, updated (Ashley March has been running guest blogs, giveaways, contests and interviews on her website with tremendous results! Her books are selling very well and her active website has driven incredible brand name recognition. (http://www.ashleymarch.com). A writer may also twitter or Facebook or speak at conferences or at libraries. All of these things help recognition and sales.
Third, don't burn bridges. Publishing is changing so rapidly right now - if you want to grow a career it's impossible to say who your best friend will be in 5 years. Also, publishing is a small business - we all know each other, so if you make unprofessional choices - we'll know about it!
Finally, yes - look at your options. Anything I write here today may be 100% different even tomorrow. As of today, a writer can publish a book using the traditional method of distribution (traditional publishing which, as of today, includes print books and ebooks) or by self publishing (which is typically just ebooks, but likely will be changing also). Both methods are legitimate forms of distribution - the savvy author asks "how can I leverage the strengths of traditional publishing AND the strengths of self-publishing within the legal bounds of each. In these "gold rush" times where self publishing ebooks can feel like the ticket out of the slush pile, it will be important for authors to make good business decisions and NOT emotional decisions. Research, evaluate, listen to experienced people from all sides of the business and be smart. "But I could make more money in self-publishing" is not a good reason to self-publish. "self publishing ebooks is a legitimate form of distribution" is a good reason. Conversely "but I want to hold a print book in my hand" is not a good reason to traditionally publish. But "traditional publishing is a legitimate form of distribution" is a good reason. See the difference?
So - my final answer? To break out in your career - write amazing books, build platform, don't burn bridges and make educated distribution decisions.
CIR: A few months ago, when Amanda Hocking’s success at self-publishing was announced, you tweeted that someone sent you statements suggesting that agents had become irrelevant. Now that Ms. Hocking has signed a deal with a major publisher, I suspect they may be regretting that. With the publishing industry changing so unpredictably, how do you see your role as an agent transforming?
Sara: My role as an agent is changing fundamentally. To be honest, it's 100% true that authors do not need agents. A savvy author can hire an entertainment lawyer to negotiate their contract, hire a publicity company to market their book, pay a professional editor (with all the layoffs in NY, there are plenty of great editors looking for work) and find a truly spectacular cover artist. Many writers don't want those responsibilities (plus auditing the royalty statements, tracking sales, selling foreign rights, selling audio rights, pursuing film options, etc etc etc). But, there exists another large segment of the population who DO want complete control over their career. Those authors likely will go on their own.
For the authors that still want a business partner, I'll still be here, and still tackling all the rights/contracts/marketing/publicity/editing that I always have! Incidentally, I am a marketing maniac! I'm a walking billboard for my clients. That's for sure one of my strengths as an agent. :)
CIR: Finally, we at CIR like to throw in at least one unexpected question into our interviews. A little bird told me that you are a Browncoat (a fan of the show Firefly). Browncoats (like me!) have been trying to find a way to bring the show back for years. If it were to be resurrected, what storyline would you like to see explored?
Sara: Oh geez - that is a tricky one! I loved the whole series and wanted more more more more! Of everything! I have a lucky coffee mug that says "My Firefly can beat up your Federation Starship" and I have a lucky hat that says "Shiny, Let's Be Bad Guys." :)
Sara: There is a difference between writing and publishing. Creating literature is an art and people who write should enjoy the writing. It's a WONDERFUL skill - one that I envy very much!
Publishing, however, is a business - filled with contracts, royalties, lawyers, deadlines, profit and loss statements, etc. If a writer finds him/herself in a position of being interested in publishing, then there are three major traits to adopt in order to take that step towards publication:
1) The writer must have a completed, professional, superior and unique book.
2) The writer should then invest time in learning about the business. Our website (www.nelsonagency.com) has a link called "submit manuscript" loaded with resources, FAQs, sample query letters, etc. If one were to spend an hour a week reading everything we post there, then that person would be lightyears ahead, in terms of knowledge
3) The writer should invest NOW in a professional author website - short bio, a headshot, a bit about what you write, a link to your blog or other social media
Finally, there are a ton of common misconceptions about publishing. It would be super nice if everyone understood the process before signing the agent-client agreement. But, that's ok - we all learn as we go. I try to help my clients acclimate to this weird new world. :)
First of all - it's a job. There are expectations (like deadlines), rules of the game (like contracts), time commitments (like writing and marketing). Our agency believes that publishing should make you money not cost you money, so we try to encourage authors to save. Still, there are some financial investments (like conferences, website and perhaps some marketing materials). Also, a NY publishing contract is a serious legal document - there is an element of "losing control" of your work if you decide/agree to publish - the publishing house has the final say on content, cover, back cover copy, release date, your next book, positioning your book, etc etc etc. We hope for "meaningful consultation" but, like I said, a publishing contract is a serious legal document and some of the most common, unfortunate, misconceptions come from misunderstanding legal rights. An agent helps a writer navigate these waters but all new authors go through a bit of a culture shock.
CIR: No agent interview would be complete without touching on the dreaded query letter. Do you have a process for filtering the query letters you receive? Do experience and references help or is it primarily the story that interests you?
Sara: *big smile* I totally understand the strain and worry that writers feel when they compose that query letter. If it makes you all feel any better, I compose a query letter when I submit a book to an editor!
Let's see - the process? We read 150-200 query letters a day. To be honest, a writer has seconds to stand out in the slush pile. Yes, we read carefully (we have to, right? If I pick the wrong clients and can't sell books then I have no job). But really and truly what I am looking for in a query letter is superior writing. Concept is important, although I will still pass on a great concept is the writing isn't strong enough. Listing contest wins, publishing history, experience, etc. catches my eye. Ultimately it's always the quality of the writing though.
I will say that meeting me at a conference, especially if you have a pitch session with me, is usually a good way to convince me to read a work!.
CIR: Most agent interviews focus on how new writers can get their big break. Here’s a bit of a twist. What advice would you give published authors who are trying to break through to the best seller’s list?
Sara: If there were a formula for getting on a bestsellers list, I would be a rich woman. :)
However, I will say that writing breath-taking books is the first place to start. Yes, make soul-scorchingly good books! That's step one.
Then the next step is platform. The question, of course, becomes "should I spend my time marketing or spend my time writing?" Another question to which I don't have the crystal-ball answer. Self promotions does affect book sales, though, so if you're serious, serious, serious about your career I would recommend finding time to write and market. Have a blog (Roni Loren whose debut contemporary erotic romance comes out in January was running her blog long before she signed with me. It's GENIUS! http://fictiongroupie.blogspot.com.)
Have a professional author website - clean, interesting, updated (Ashley March has been running guest blogs, giveaways, contests and interviews on her website with tremendous results! Her books are selling very well and her active website has driven incredible brand name recognition. (http://www.ashleymarch.com). A writer may also twitter or Facebook or speak at conferences or at libraries. All of these things help recognition and sales.
Third, don't burn bridges. Publishing is changing so rapidly right now - if you want to grow a career it's impossible to say who your best friend will be in 5 years. Also, publishing is a small business - we all know each other, so if you make unprofessional choices - we'll know about it!
Finally, yes - look at your options. Anything I write here today may be 100% different even tomorrow. As of today, a writer can publish a book using the traditional method of distribution (traditional publishing which, as of today, includes print books and ebooks) or by self publishing (which is typically just ebooks, but likely will be changing also). Both methods are legitimate forms of distribution - the savvy author asks "how can I leverage the strengths of traditional publishing AND the strengths of self-publishing within the legal bounds of each. In these "gold rush" times where self publishing ebooks can feel like the ticket out of the slush pile, it will be important for authors to make good business decisions and NOT emotional decisions. Research, evaluate, listen to experienced people from all sides of the business and be smart. "But I could make more money in self-publishing" is not a good reason to self-publish. "self publishing ebooks is a legitimate form of distribution" is a good reason. Conversely "but I want to hold a print book in my hand" is not a good reason to traditionally publish. But "traditional publishing is a legitimate form of distribution" is a good reason. See the difference?
So - my final answer? To break out in your career - write amazing books, build platform, don't burn bridges and make educated distribution decisions.
CIR: A few months ago, when Amanda Hocking’s success at self-publishing was announced, you tweeted that someone sent you statements suggesting that agents had become irrelevant. Now that Ms. Hocking has signed a deal with a major publisher, I suspect they may be regretting that. With the publishing industry changing so unpredictably, how do you see your role as an agent transforming?
Sara: My role as an agent is changing fundamentally. To be honest, it's 100% true that authors do not need agents. A savvy author can hire an entertainment lawyer to negotiate their contract, hire a publicity company to market their book, pay a professional editor (with all the layoffs in NY, there are plenty of great editors looking for work) and find a truly spectacular cover artist. Many writers don't want those responsibilities (plus auditing the royalty statements, tracking sales, selling foreign rights, selling audio rights, pursuing film options, etc etc etc). But, there exists another large segment of the population who DO want complete control over their career. Those authors likely will go on their own.
For the authors that still want a business partner, I'll still be here, and still tackling all the rights/contracts/marketing/publicity/editing that I always have! Incidentally, I am a marketing maniac! I'm a walking billboard for my clients. That's for sure one of my strengths as an agent. :)
CIR: Finally, we at CIR like to throw in at least one unexpected question into our interviews. A little bird told me that you are a Browncoat (a fan of the show Firefly). Browncoats (like me!) have been trying to find a way to bring the show back for years. If it were to be resurrected, what storyline would you like to see explored?
Sara: Oh geez - that is a tricky one! I loved the whole series and wanted more more more more! Of everything! I have a lucky coffee mug that says "My Firefly can beat up your Federation Starship" and I have a lucky hat that says "Shiny, Let's Be Bad Guys." :)
CIR: Thank you so much for sharing your time with us. We look forward to seeing you in the fall.
Note to self: Find out where Sara gets her Firefly paraphernalia.
To learn more about Nelson Agency and Sara Megibow, you can find her lurking at these fine internet establishments:
www.publishersmarketplace.com/members/SaraMegibow/
www.nelsonagency.com
To learn more about Nelson Agency and Sara Megibow, you can find her lurking at these fine internet establishments:
www.publishersmarketplace.com/members/SaraMegibow/
www.nelsonagency.com
Twitter: @SaraMegibowTuesday, May 10, 2011
What's New from Rocky Mountain Fiction Writers?
Rocky Mountain Fiction Writers rocks and so do its members! Here are a few recent and upcoming releases:
"No Soy Loco" -- a short story by Mario Acevedo
You Don't Have a Clue: Latino Mystery Stories for Teens
Cortez, Sarah (Editor)
Arte Publico/Pinata, paperback, $16.95
Apr 2011. 336 p. (978-1558856929)
Excerpt from Book List starred review:
"A police whisperer, a girl with no memory, a boy who hears voices in his head—welcome to this generous collection of 18 mystery stories written by and featuring Latino authors and characters. Notable for the diversity of their vividly realized settings that range from Southern California’s Venice Beach to the mean streets of the Bronx, and for the authenticity of their Spanish-studded language (a glossary is included), the stories range from noirish to whimsical but all have in common teenage protagonists who find themselves in danger and often desperate trouble.
Several of the stories are as mysterious as they are mysteries, featuring paranormal elements like a boy who hears strange voices in Mario Acevedo’s “No Soy Loco” and the amazing results of a henna tattoo in Alicia Gaspar de Alba’s “The Tattoo.” ... This excellent collection—enriched by a thoughtful foreward by YA scholar James Blasingame—gives faces to Latino teens in a most original way."
— Michael Cart
-------------------------
Tea Leaf Reading for Beginners: Your Fortune in a Teacup by Caroline Dow
Llewellyn Publications, March 2011
Paperback $12.44 (978-0738723297)
From Caroline's website:
"Tea Leaf Reading for Beginners is an eclectic work that also discusses related pastimes, including how to host a tea party to show off your newly acquired teacup divination skills and where to enjoy taking Afternoon Tea around the world. Facts about tea as a health drink, herbal teas, and tea as a culinary ingredient add to the reader’s stockpot of data. Customs, superstitions and legends connected with these diversions add spice to the blend."
"Caroline Dow learned to read tea leaves at her Great Aunt’s knee (well, actually, her skirt), and has been practicing this alluring art ever since. She has delivered tea leaf reading workshops around the world, and has been featured on Consumer Advantage Network TV and at The Rocky Mountain Tea Festival for the last ten years."
-------------------------
"Fatal Fish Flop" by Beth Groundwater
Fish Tales: The Guppy Anthology
From the Guppy Chapter of Sisters in Crime
Wildside Press, March 23, 2011
Paperback $14.99 (978-1434430809)
"Fish Tales, The Guppy Anthology, casts a wide net across the mystery genre, delivering thrills, chills, and gills. This water-themed collection features locked room puzzles, police procedurals, cozy characters and hardboiled detectives.
With a pool of motivations ranging from greed and revenge to loyalty and justice, these stories will lure you in with killer hooks and fishy characters. Come on in, the water’s fine. But be careful, or you might find yourself sleeping with the fishes."
-------------------------
Rogue Patriot: A Clay Holt Thriller by Gerald Meunier
Praxis imprint of Wyatt-MacKenzie Publishing Inc., May 10, 2011
Hardcover 396 pages $28.95 (978-1936214358)
Jacket flap copy:
"Washington, DC FBI agent, Clay Holt, thinks he has a normal life--a loving wife, two beautiful children, a great career, and a nice home--until the night his wife wakes him up with fear in her eyes. She worries that terrorists will cross the Mexico border to attack DC and insists that they move elsewhere for their children’s safety. The next day, she is killed by an illegal. Blaming politicians for her death, Clay tells his partner that he can no longer 'live a lie' working for the government.
His wife’s fears prove to be well-founded. Iran sends Islamic extremist, Assim Badaseri, to America via Mexico with a plan to detonate a dirty bomb in Washington. Badaseri is sworn to kill any infidel who discovers his presence here.
Clay is determined to fulfill the deathbed promise made to his wife to protect their children. But, while visiting his parents in Colorado for Christmas, fate steers him into the path of Badaseri. The Iranian thinks he’s been discovered. He tries but fails to kill Clay, who escapes and returns to Washington unaware of what he’s up against. After another failed attempt, this time at Clay’s house, Badaseri kidnaps his children to keep him quiet.
Haunted by his wife’s death and facing the loss of his children, Clay overcomes his contempt for the government and asks his former boss for help. If he does not find Badaseri before he attacks Washington, his children will die."
-------------------------
Where Danger Hides by Terry Odell
Five Star, June 8, 2011
Hardcover $25.95 (978-1432825126)
From Terry's newsletter:
"Hiding behind the public façade of a private investigation firm--Blackthorne, Incorporated--are a band of elite covert operatives.
Dalton (just Dalton—nobody dares call him Ambrose), is one of Blackthorne's best. A charming Texan, he prides himself on blending in, and there's no one he can't scam. But his obsession with putting a Colombian drug lord out of the picture threatens to endanger his life and the lives of his team. When Dalton nearly blows a simple undercover assignment at a fundraising gala, it convinces his boss to tether him to a dog-and-pony-show case at a halfway house. Instead, Dalton finds death, drugs, and danger.
Street-smart Miri Chambers wants nothing more than to help everyone at the Galloway House shelter lead new and productive lives, but residents are disappearing without a trace. An unexpected meeting with Dalton at a gala turns into an assignment for him, but Miri doesn't think he’s taking the job seriously. Trust doesn't come easy to Miri. When the situation escalates into a combat zone, can she trust Dalton with her life … and her heart?"
-------------------------
The Magic of Windlier Woods by N. R. Williams
Heidi Thomas, Editor
Short Story -- Kindle edition at $.99
"Newert, an erbit of Windlier Woods, is concerned. The magic of his world is seeping away. He struggles to open a portal to another world, believing that this will restore the magic of Windlier Woods.
Assuming the big red truck is magical he returns to his world with the truck and its driver. Thus begins Newert's misadventure. What will happen next?"
This story is also available free from Smashwords.
-------------------------
Compiled by Pat Stoltey
"No Soy Loco" -- a short story by Mario AcevedoYou Don't Have a Clue: Latino Mystery Stories for Teens
Cortez, Sarah (Editor)
Arte Publico/Pinata, paperback, $16.95
Apr 2011. 336 p. (978-1558856929)
Excerpt from Book List starred review:
"A police whisperer, a girl with no memory, a boy who hears voices in his head—welcome to this generous collection of 18 mystery stories written by and featuring Latino authors and characters. Notable for the diversity of their vividly realized settings that range from Southern California’s Venice Beach to the mean streets of the Bronx, and for the authenticity of their Spanish-studded language (a glossary is included), the stories range from noirish to whimsical but all have in common teenage protagonists who find themselves in danger and often desperate trouble.
Several of the stories are as mysterious as they are mysteries, featuring paranormal elements like a boy who hears strange voices in Mario Acevedo’s “No Soy Loco” and the amazing results of a henna tattoo in Alicia Gaspar de Alba’s “The Tattoo.” ... This excellent collection—enriched by a thoughtful foreward by YA scholar James Blasingame—gives faces to Latino teens in a most original way."
— Michael Cart
-------------------------
Tea Leaf Reading for Beginners: Your Fortune in a Teacup by Caroline DowLlewellyn Publications, March 2011
Paperback $12.44 (978-0738723297)
From Caroline's website:
"Tea Leaf Reading for Beginners is an eclectic work that also discusses related pastimes, including how to host a tea party to show off your newly acquired teacup divination skills and where to enjoy taking Afternoon Tea around the world. Facts about tea as a health drink, herbal teas, and tea as a culinary ingredient add to the reader’s stockpot of data. Customs, superstitions and legends connected with these diversions add spice to the blend."
"Caroline Dow learned to read tea leaves at her Great Aunt’s knee (well, actually, her skirt), and has been practicing this alluring art ever since. She has delivered tea leaf reading workshops around the world, and has been featured on Consumer Advantage Network TV and at The Rocky Mountain Tea Festival for the last ten years."
-------------------------
"Fatal Fish Flop" by Beth GroundwaterFish Tales: The Guppy Anthology
From the Guppy Chapter of Sisters in Crime
Wildside Press, March 23, 2011
Paperback $14.99 (978-1434430809)
"Fish Tales, The Guppy Anthology, casts a wide net across the mystery genre, delivering thrills, chills, and gills. This water-themed collection features locked room puzzles, police procedurals, cozy characters and hardboiled detectives.
With a pool of motivations ranging from greed and revenge to loyalty and justice, these stories will lure you in with killer hooks and fishy characters. Come on in, the water’s fine. But be careful, or you might find yourself sleeping with the fishes."
-------------------------
Rogue Patriot: A Clay Holt Thriller by Gerald MeunierPraxis imprint of Wyatt-MacKenzie Publishing Inc., May 10, 2011
Hardcover 396 pages $28.95 (978-1936214358)
Jacket flap copy:
"Washington, DC FBI agent, Clay Holt, thinks he has a normal life--a loving wife, two beautiful children, a great career, and a nice home--until the night his wife wakes him up with fear in her eyes. She worries that terrorists will cross the Mexico border to attack DC and insists that they move elsewhere for their children’s safety. The next day, she is killed by an illegal. Blaming politicians for her death, Clay tells his partner that he can no longer 'live a lie' working for the government.
His wife’s fears prove to be well-founded. Iran sends Islamic extremist, Assim Badaseri, to America via Mexico with a plan to detonate a dirty bomb in Washington. Badaseri is sworn to kill any infidel who discovers his presence here.
Clay is determined to fulfill the deathbed promise made to his wife to protect their children. But, while visiting his parents in Colorado for Christmas, fate steers him into the path of Badaseri. The Iranian thinks he’s been discovered. He tries but fails to kill Clay, who escapes and returns to Washington unaware of what he’s up against. After another failed attempt, this time at Clay’s house, Badaseri kidnaps his children to keep him quiet.
Haunted by his wife’s death and facing the loss of his children, Clay overcomes his contempt for the government and asks his former boss for help. If he does not find Badaseri before he attacks Washington, his children will die."
-------------------------
Where Danger Hides by Terry OdellFive Star, June 8, 2011
Hardcover $25.95 (978-1432825126)
From Terry's newsletter:
"Hiding behind the public façade of a private investigation firm--Blackthorne, Incorporated--are a band of elite covert operatives.
Dalton (just Dalton—nobody dares call him Ambrose), is one of Blackthorne's best. A charming Texan, he prides himself on blending in, and there's no one he can't scam. But his obsession with putting a Colombian drug lord out of the picture threatens to endanger his life and the lives of his team. When Dalton nearly blows a simple undercover assignment at a fundraising gala, it convinces his boss to tether him to a dog-and-pony-show case at a halfway house. Instead, Dalton finds death, drugs, and danger.
Street-smart Miri Chambers wants nothing more than to help everyone at the Galloway House shelter lead new and productive lives, but residents are disappearing without a trace. An unexpected meeting with Dalton at a gala turns into an assignment for him, but Miri doesn't think he’s taking the job seriously. Trust doesn't come easy to Miri. When the situation escalates into a combat zone, can she trust Dalton with her life … and her heart?"
-------------------------
The Magic of Windlier Woods by N. R. WilliamsHeidi Thomas, Editor
Short Story -- Kindle edition at $.99
"Newert, an erbit of Windlier Woods, is concerned. The magic of his world is seeping away. He struggles to open a portal to another world, believing that this will restore the magic of Windlier Woods.
Assuming the big red truck is magical he returns to his world with the truck and its driver. Thus begins Newert's misadventure. What will happen next?"
This story is also available free from Smashwords.
-------------------------
Compiled by Pat Stoltey
Monday, May 9, 2011
Terrible Twos!
By Janet FoggAh, yes, the terrible twos, when you’re negative, fearful, frequently unpredictable, and often overactive. But these are simply signs of a greater awareness combined with a lack of communication skills. One key to dealing with the terrible twos is structure, setting a schedule, reinforcing your own self-discipline. You have to put aside your frustration or you may exacerbate the situation. But what happens before you’re two?
Am I talking about human development or what happens when we write our first manuscripts? Both!
At 1-4 months movements are large and jerky, skin is easily irritated. Rooting and sucking reflexes are well developed.
At 4-8 months your sucking reflex becomes voluntary. You don’t understand “no” or “danger.” Drooling, chewing, and biting increases. And you’re finally able to hold a bottle.
At 8-12 months you can see distant objects and point at them. You begin to stand alone. You’ll reach for toys that are visible but out of reach, yet you’ll intentionally drop toys just to watch them fall.
At 12-24 months you take on a more adult-like appearance. You’ll fall often even though you can stand alone. You’ll put words and sounds together, but often use one word to convey an entire thought. (Me! Mine! Want!) And you’re exceedingly curious but many have a temper-tantrum when frustrated.
And then you’re two and your vocabulary is increasing though temper tantrums will likely peak. You’re impatient as you grasp that large crayon in your fist and scribble. You show signs of empathy and caring, understand that language is effective, yet it’s difficult to make choices and you want it both ways.
I had a thin skin while writing my first manuscript. Frustration claimed me and I did want to bite. At the time I didn't think my writing sucked, but in retrospect I know better.
I yearned for that publication toy, though it was completely out of reach.
My second manuscript was better, more adult-like. My voice started to appear. I could almost stand alone, though not quite. I continued to learn and grow.
It took manuscript number three before my language and voice became effective. My skills increased as I scribbled. And after countless revisions, including a complete overhaul of my plot, I finally sold that book.
During John Hart’s keynote speech at the Pikes Peak Writers Conference, I was reminded again of my first two manuscripts and the steep learning curve that accompanied them. John’s first two manuscripts are boxed and on the shelf. His agent asked to see them and John declined, said they’re not good enough.
John survived the terrible twos. He flourished. He didn’t get stuck in that crazy loop of repeatedly re-writing the same manuscript. Instead he wrote his second, learned from it, and then wrote his third, which sold. Boy, did it sell! The King of Lies spent multiple weeks on the New York Times bestseller List. And John won the Edgar Award for Best Novel for his next manuscript, Down River.
So if you feel the need to bite, or if you think your writing sucks, remember that it might just be the terrible twos. Everyone develops at a different pace and this is an important period. You have to be disciplined to transition from sippy cups to coffee mugs, from cradles to a bed. It’s a challenge to keep your balance when you’re learning to run, and to stop without falling. But doesn’t that big red crayon feel just right in your fist?
Next week join me for: There Can Be Only One.
Thursday, May 5, 2011
The Newly Weds
Dear Diary
It’s been a while since I brought you up to date on my relationship. In my last entry, I was engaged to Pike’s Peak Writers. Pike is still a rugged, gorgeous specimen! His conference swept me off my feet! But alas, his love for the literary and ironic clashed so with my love of fantasy and comedy. We parted the best of friends.
Then Northern Colorado Writers came along. I’ve always had a twinkle in my eye for him. And we just knew we were meant for each other. We eloped this week. I know, right? Can you believe it? Just a couple of crazy kids, head over heels in love!
Anyway, we’re working on putting together a reception. Nothing fancy. Just our close bookworm friends. More details to come.
RMFW
Wednesday, May 4, 2011
Writer Board of Directors - Overcoming Loner Mentality
From the lap desk of Tamela Buhrke
Poke. Poke. Hey, you. Yes, you. The one who doesn’t need anybody. The writer who can do it all. Write. Publish. Market. How’s that working for you? Are you where you want to be? Published. Wealthy. Worshiped. Conquering the Best Seller’s List?
Yeah. That’s what I thought.
So let’s take a look at this loner mentality. We know it's not working, but why? According to popular author and speaker on achieving your dreams, Barbara Sher, there is one consistent reason why people fail. She says over and over that isolation is the dream killer. Isolation. The very thing most writers crave, is the thing that will take us down.
The reason?
Isolation limits you. There’s no one to bounce ideas off, and no one to give you advice. You are cut off from resources, ideas and situations that can help you build your dream. After awhile, becoming a successful author sounds too difficult. You get disillusioned and give up. That leads to the final reason for why isolation kills dreams... there is no one there to kick you in the butt and get you back on track.
However, if you have a board of directors, then they will motivate you to succeed. According to Sher, they will also provide a key ingredient to success: guilt. Imagine telling a team of people who are dedicated to your success that you will have a book finished by the end of the month. You don't. The disappointed looks on their faces will guilt you into getting it done.
All of this means that you have a choice. You can be the hermit who never gets the job done, or the hero of your own story. For those smart asses who don’t want to be a hero, feel free to be the villain who dominates the world. Either way, it is time to get out, meet people and build your own personal board of directors. Consider me your temporary butt kicker.
Where do you start? Look for people in your life who can act as your cheer leaders, your critique partners, or your butt-kickers. The people you choose should have writing experience and their own writing goals. Put them on a tentative list. If you don’t know any people who would fit the job, then it’s time to join some writing classes, organizations or social networks.
For the time being, just look around your associates for potential board members. Don’t approach them yet. Don't go crazy trying to find new people. Next week we’ll go over specific positions you will need to fill on the board and how to entice great people to be part of the team.
Poke. Poke. Hey, you. Yes, you. The one who doesn’t need anybody. The writer who can do it all. Write. Publish. Market. How’s that working for you? Are you where you want to be? Published. Wealthy. Worshiped. Conquering the Best Seller’s List?
Yeah. That’s what I thought.
So let’s take a look at this loner mentality. We know it's not working, but why? According to popular author and speaker on achieving your dreams, Barbara Sher, there is one consistent reason why people fail. She says over and over that isolation is the dream killer. Isolation. The very thing most writers crave, is the thing that will take us down.
The reason?
Isolation limits you. There’s no one to bounce ideas off, and no one to give you advice. You are cut off from resources, ideas and situations that can help you build your dream. After awhile, becoming a successful author sounds too difficult. You get disillusioned and give up. That leads to the final reason for why isolation kills dreams... there is no one there to kick you in the butt and get you back on track.
However, if you have a board of directors, then they will motivate you to succeed. According to Sher, they will also provide a key ingredient to success: guilt. Imagine telling a team of people who are dedicated to your success that you will have a book finished by the end of the month. You don't. The disappointed looks on their faces will guilt you into getting it done.
All of this means that you have a choice. You can be the hermit who never gets the job done, or the hero of your own story. For those smart asses who don’t want to be a hero, feel free to be the villain who dominates the world. Either way, it is time to get out, meet people and build your own personal board of directors. Consider me your temporary butt kicker.
Where do you start? Look for people in your life who can act as your cheer leaders, your critique partners, or your butt-kickers. The people you choose should have writing experience and their own writing goals. Put them on a tentative list. If you don’t know any people who would fit the job, then it’s time to join some writing classes, organizations or social networks.
For the time being, just look around your associates for potential board members. Don’t approach them yet. Don't go crazy trying to find new people. Next week we’ll go over specific positions you will need to fill on the board and how to entice great people to be part of the team.
Tuesday, May 3, 2011
An Interview with Rachelle Gardner, Literary Agent
Interview conducted via e-mail by Pat Stoltey
CIR: One of the agent's who will take pitch appointments at Rocky Mountain Fiction Writers Colorado Gold 2011 scheduled for September 9, 10, and 11 in Denver is Rachelle Gardner, an agent with WordServe Literary Group, representing both fiction and non-fiction.
She’s looking for mainstream commercial projects for both the Christian and general markets. In non-fiction and memoirs, she looks for authors with established platforms, strong marketing hooks and an understanding of how to use social media. Non-fiction authors must have a book proposal and three sample chapters to be considered. She’s also seeking all kinds of fiction, and authors must have a completed manuscript to be considered.
CIR: Rachelle, thank you for agreeing to this interview on Chiseled in Rock blog. Since CIR is closely related to Rocky Mountain Fiction Writers, and since you’ll be a guest agent at this year’s Colorado Gold Conference in Denver in September, we’re interested in learning more about you. I’ll begin with an off-track question: When you were a kid, what did you want to be when you grew up?
RG: At times I wanted to be a psychologist; other times I wanted to be a screenwriter or movie director.
CIR: How and when did you decide to become a literary agent?
RG: I decided in October of 2007 after several years of being an editor. I felt like being an agent would give me more opportunity to engage with writers on a more long-term basis, helping them not only with their books but with their entire careers.
CIR: Tell us a little about WordServe Literary Group.
RG: We have two agents (Greg Johnson, the founder, and me) along with an administrative assistant (Cathy) and our fiction specialist, Sarah, who reviews incoming submissions and helps me with other fiction-related projects.
CIR: Does your group’s Denver base cause you any problems with access to the New York publishing houses?
RG: Well, we don’t have lunch with editors every day. But we get a great response from editors, whether they’re in New York or not. I think the main thing that matters is if we’re bringing them quality projects or not, and of course that’s what we always try to do.
CIR: How and where do you find most of your clients?
RG: Mainly through referrals from current clients and others in the business; conferences; queries.
CIR: What are your personal and professional expectations when you attend a writers’ conference?
RG: I always hope to be able to help as many writers as possible through both advice and encouragement. I hope to have a good time networking with writers, editors and agents. And if I find a writer I really want to represent, I consider it a bonus.
CIR: What do you find most aggravating at a conference?
RG: I am generally pretty easygoing at conferences and don’t get bugged easily. I know it’s hard for writers sometimes—they may feel nervous and uncomfortable around agents and editors. So I try to go easy on them!
CIR: Do you have any advice for authors who have 8 to 10 minutes during a pitch session to sell you on reading their manuscripts?
RG: Treat it as a conversation, not as a “pitch.” Remember, the agent sitting across from you is a person. Begin as you would any conversation—with an introduction and by putting your project in context. You’ll want to say hi, give your name, etc., and say something like, “I’m writing a paranormal romance targeted at the teen market. It’s about…”
CIR: When you invite an author to send a partial or full manuscript after a query or pitch session, what do you want to see on that first page? What turns you off?
RG: I want to see your best work. What turns me off is obviously bad grammar or typos, or entry level writing craft mistakes.
CIR: As a rule, do you inform an author when you reject a query or submission?
RG: On queries, I try to always respond, but it’s not always possible. Our agency policy states that if you don’t hear from us in 60 days, you can consider it a pass.
CIR: If you’re interested in an author’s manuscript but feel the work needs additional editing, do you provide that service?
RG: I can’t answer that question in a global way; it’s entirely dependent on the situation. There are cases where I believe someone is a really great writer and just needs some help polishing a book before submission, and in many cases, I’ll offer to rep them and then do the necessary editing.
CIR: It was pretty hard to find questions to ask that you haven’t already answered on your excellent blog at Rants & Ramblings: On Life as a Literary Agent. You also have a presence on Twitter and Facebook, and perhaps other social media venues as well. What is the minimum amount of social media exposure you recommend for authors who are ready to submit their work to agents and editors?
RG: For a fiction author, I hope that they at least are familiar with Twitter and Facebook, and maybe have started a blog, even if they haven’t gotten it going yet. Fiction authors need to realize that their platform won’t sell their book, but once they’re repped and especially once they get a contract, they’re going to have to work to help sell their work, so they need to know what this means.
For non-fiction authors, a pretty good sized platform is required. Either they’re well-known in their field, or they are a speaker who speaks in front of large audiences once a month or more, or they’ve got a blog with 50,000 hits a month (this is an arbitrary number).
CIR: Thanks again to Rachelle Gardner for answering our questions today. In addition to accepting pitches at the conference on Saturday morning and participating in an agent panel on Sunday morning, Rachelle will also conduct a three-hour workshop on Saturday afternoon (September 10th): From Proposal to Publication (and Everything in Between) "An overview of the publishing process, including how agents work, what publishing contracts look like, and what to expect when working with a publisher."
CIR: One of the agent's who will take pitch appointments at Rocky Mountain Fiction Writers Colorado Gold 2011 scheduled for September 9, 10, and 11 in Denver is Rachelle Gardner, an agent with WordServe Literary Group, representing both fiction and non-fiction.She’s looking for mainstream commercial projects for both the Christian and general markets. In non-fiction and memoirs, she looks for authors with established platforms, strong marketing hooks and an understanding of how to use social media. Non-fiction authors must have a book proposal and three sample chapters to be considered. She’s also seeking all kinds of fiction, and authors must have a completed manuscript to be considered.
CIR: Rachelle, thank you for agreeing to this interview on Chiseled in Rock blog. Since CIR is closely related to Rocky Mountain Fiction Writers, and since you’ll be a guest agent at this year’s Colorado Gold Conference in Denver in September, we’re interested in learning more about you. I’ll begin with an off-track question: When you were a kid, what did you want to be when you grew up?
RG: At times I wanted to be a psychologist; other times I wanted to be a screenwriter or movie director.
CIR: How and when did you decide to become a literary agent?
RG: I decided in October of 2007 after several years of being an editor. I felt like being an agent would give me more opportunity to engage with writers on a more long-term basis, helping them not only with their books but with their entire careers.
CIR: Tell us a little about WordServe Literary Group.
RG: We have two agents (Greg Johnson, the founder, and me) along with an administrative assistant (Cathy) and our fiction specialist, Sarah, who reviews incoming submissions and helps me with other fiction-related projects.
CIR: Does your group’s Denver base cause you any problems with access to the New York publishing houses?
RG: Well, we don’t have lunch with editors every day. But we get a great response from editors, whether they’re in New York or not. I think the main thing that matters is if we’re bringing them quality projects or not, and of course that’s what we always try to do.
CIR: How and where do you find most of your clients?
RG: Mainly through referrals from current clients and others in the business; conferences; queries.
CIR: What are your personal and professional expectations when you attend a writers’ conference?
RG: I always hope to be able to help as many writers as possible through both advice and encouragement. I hope to have a good time networking with writers, editors and agents. And if I find a writer I really want to represent, I consider it a bonus.
CIR: What do you find most aggravating at a conference?
RG: I am generally pretty easygoing at conferences and don’t get bugged easily. I know it’s hard for writers sometimes—they may feel nervous and uncomfortable around agents and editors. So I try to go easy on them!
CIR: Do you have any advice for authors who have 8 to 10 minutes during a pitch session to sell you on reading their manuscripts?
RG: Treat it as a conversation, not as a “pitch.” Remember, the agent sitting across from you is a person. Begin as you would any conversation—with an introduction and by putting your project in context. You’ll want to say hi, give your name, etc., and say something like, “I’m writing a paranormal romance targeted at the teen market. It’s about…”
CIR: When you invite an author to send a partial or full manuscript after a query or pitch session, what do you want to see on that first page? What turns you off?
RG: I want to see your best work. What turns me off is obviously bad grammar or typos, or entry level writing craft mistakes.
CIR: As a rule, do you inform an author when you reject a query or submission?
RG: On queries, I try to always respond, but it’s not always possible. Our agency policy states that if you don’t hear from us in 60 days, you can consider it a pass.
CIR: If you’re interested in an author’s manuscript but feel the work needs additional editing, do you provide that service?
RG: I can’t answer that question in a global way; it’s entirely dependent on the situation. There are cases where I believe someone is a really great writer and just needs some help polishing a book before submission, and in many cases, I’ll offer to rep them and then do the necessary editing.
CIR: It was pretty hard to find questions to ask that you haven’t already answered on your excellent blog at Rants & Ramblings: On Life as a Literary Agent. You also have a presence on Twitter and Facebook, and perhaps other social media venues as well. What is the minimum amount of social media exposure you recommend for authors who are ready to submit their work to agents and editors?
RG: For a fiction author, I hope that they at least are familiar with Twitter and Facebook, and maybe have started a blog, even if they haven’t gotten it going yet. Fiction authors need to realize that their platform won’t sell their book, but once they’re repped and especially once they get a contract, they’re going to have to work to help sell their work, so they need to know what this means.
For non-fiction authors, a pretty good sized platform is required. Either they’re well-known in their field, or they are a speaker who speaks in front of large audiences once a month or more, or they’ve got a blog with 50,000 hits a month (this is an arbitrary number).
CIR: Thanks again to Rachelle Gardner for answering our questions today. In addition to accepting pitches at the conference on Saturday morning and participating in an agent panel on Sunday morning, Rachelle will also conduct a three-hour workshop on Saturday afternoon (September 10th): From Proposal to Publication (and Everything in Between) "An overview of the publishing process, including how agents work, what publishing contracts look like, and what to expect when working with a publisher."
Subscribe to:
Posts (Atom)