Thursday, March 31, 2011

FIRST 500 CRITIQUE #4 - "Reconstruction"

This is the fourth in a series of critiques of first 500 words from complete novels. Each submission has been made voluntarily by the author. A chance to win a first chapter critique goes to anyone who comments on this, or other First 500 posts.

Authors critiqued in this series will be offered the chance to send revised material for critique in a follow-up series.

Reader comments and impressions are welcome, but please ensure you're offering constructive (i.e. practical, useful) advice. Troll comments will be deleted.



Reconstruction
By Amber Slattery
Lauren drove through the gate at the job site, following red-lettered warning signs to the visitor’s parking lot beside the construction trailer.

RUN ON SENTENCE. TRY “Lauren FOLLOWED red-lettered warning signs to the visitor’s parking lot. SHE PULLED UP beside the construction trailer.” OR SIMILAR.



She knew her dad saw her when he smiled across the flat stretch of mud and concrete.

PHRASES LIKE ‘SHE KNEW’, ‘SHE FELT’, ‘SHE HEARD’ ARE TELLING AND SEPARATE THE READER FROM THE ACTION. SHOWING WOULD BE ALONG THE LINES OF ‘HER DAD LOOKED UP AT THE SOUND OF HER CAR. HE SMILED WHEN HE CAUGHT HER EYE."



He stuck his arm out the window and flexed his bicep, then turned his fist out and flexed again. For Big Jim Webb that gesture was like saying aloha. He did it coming and going.

I’M SURE THIS IS MEANT TO BE CHARACTERIZATION, BUT INSTEAD IT’S JUST COMPLICATED AND HARD TO IMAGINE, SO PULLS THE READER OUT OF THE STORY AT A TIME WHEN THAT’S THE KISS OF DEATH. IF THIS GESTURE ISN’T IMPORTANT TO THE PLOT, I’D SUGGEST YOU JUST HAVE HIM WAVE. IF IT IS, FIND A SIMPLER GESTURE THE READER WILL BE FAMILIAR WITH AND EASILY ENVISION.



When he finished lifting the boom, he signaled to her brother, Junior, that they were breaking for lunch and then he shut down the crane.

YOU’VE GOT A LOT GOING ON IN THAT SENTENCE. CUT IT INTO PIECES SO IT’S MORE STIMULUS AND RESPONSE – HE’S SEEN HER, SO HE FINISHES WHAT HE’S DOING. THEN HE GETS THE BROTHER’S ATTENTION. THEN HE / THEY APPROACH.



The crew walked to the parking lot. Some left to go eat and the rest went to their cars and ate out of their lunchboxes.

TOO DETAILED. A CONSTRUCTION SITE IS FAIRLY EASY TO IMAGINE. JUST LET THE READER KNOW THE MEN ARE HEADED AWAY FOR LUNCH, WE’LL FILL IN THE REST.



When they saw Lauren, her dad’s friends nodded in her direction.

CUT ‘WHEN THEY SAW LAUREN’. THEY ARE EXTRA WORDS THAT ARE IMPLIED BY WHAT FOLLOWS.



Everyone knew she was Big Jim’s daughter, and they cleaned up their language for her, doing their best to be respectful.

CHOOSE 'CLEANED UP LANGUAGE' OR 'BEST TO BE RESPECTFUL'. BOTH INDICATE THE SAME THING AND TOGETHER THEY EFFECTIVELY REPEAT EACH OTHER. USE THE WORDS TO MOVE THE STORY MORE.

NOTE: WE’RE OVER 150 WORDS IN, AND ALL THAT HAS HAPPENED IS LAUREN ARRIVING AT THE SITE. THAT’S NOT A HUGE PROBLEM, BUT IF YOU WANT TO HOOK READERS IN THAT FIRST HALF-PAGE THEY READ WHEN THEY PICK UP THE BOOK IN A STORE, THIS PROBABLY ISN’T GOING TO DO IT.



Lauren had learned the art of profanity at her father’s knee,

EXCELLENT CHARACTERIZATION, KEEP IT.



and she knew she could make them all blush in the course of an ordinary conversation.

CUT THE ‘AND’. MAKE THIS A NEW SENTENCE AND CUT EVERYTHING AFTER ‘BLUSH’. IT SAYS THE SAME THING IN HALF THE WORDS.



But the one time she slipped and told Roy she didn’t give a shit what her hair looked like, her dad cleared his throat and winced with a look of disappointment that verged on disgust.

WINCING, DISAPPOINTMENT AND DISGUST ARE THREE DISTINCT EXPRESSIONS. CHOOSE ONE.



So Lauren learned to play along with the “treat her like a lady” game and minded her language around her dad’s friends.

LEARNED TO’ ARE EXTRA WORDS. KEEP THE REST, IT’S GOOD CHARACTERIZATION. AT THIS POINT I’M HOPING WE’RE ABOUT TO MOVE ONTO THE STORY PROPER.



For weeks the wind was a merciless whip, blurring Lauren’s vision and turning her shivering into a painful bodily clench.

THIS CONFUSES ME. WE’VE JUST HAD LAUREN WALKING ACROSS THE CONSTRUCTION SITE, THEN CONSIDERING HOW SHE NEEDS TO RELATE TO THE MEN THERE. THIS SEEMS TO COME OUT OF NOWHERE. THE OPENING ‘FOR WEEKS THE WIND…’ SEEMS LIKE BACKSTORY OR SCENE SETTING, BUT THE REST FEELS LIKE YOU’RE PAINTING A CURRENT PICTURE. EXCEPT I DIDN’T KNOW LAUREN WAS SHIVERING TO START WITH, LET ALONE IN THE GRIPS OF A FULL BODY CLENCH.



The Webbs normally ate lunch in the cab of the truck with the engine running and the heater blowing. Lauren slid over on the seat, and the men squeezed in on either side. She could relax, safe and sandwiched between two giants, eating tacos and listening to classic rock on KCRT.

OKAY, SO I THINK LAURENS’ WALKING ACROSS A CONSTRUCTION SITE IN COLD WEATHER. EXCEPT NOTHING YOU WROTE PREVIOUSLY INDICATED THAT, SO I’M HAVING TO READJUST THE PICTURE IN MY HEAD OF MEN IN T-SHIRTS AND TANKTOPS ON A DUSTY, WARM DAY.

CONSTRUCTION SITES ARE NATURALLY ASSOCIATED WITH WARM WEATHER, SO YOUR FIRST SENTENCE OR TWO NEEDS TO INDICATE THAT THIS IS DIFFERENT – LAUREN COULD HAVE THE CAR HEATER BLOWING IN HER FACE AS SHE DRIVES IN, OR COULD NOTE THAT HER DAD ISNT’ WEARING THE SCARF SHE MADE HIM, OR WHATEVER. SOMETHIG NEEDS TO TELL THE READER RIGHT OFF THE BAT THAT THE WEATHER IS COLD SO THE REST OF THIS MAKES SENSE.



But on this bright Friday, with no wind to blow away the warmth of the sun, Lauren couldn’t resist setting the tacos and drinks out on the back of the truck for a tailgate picnic.

WAIT, I THOUGHT SHE WAS SHIVERING AND EATING HER LUNCH IN A HEATED CAR CAB? THERE'S A FLOW PROBLEM HERE THAT'S CONFUSING. MAKE THE SEASON AND STATE OF WEATHER TODAY CLEAR AS LAUREN ARRIVES AND CUT THIS PART OUT. USE THE WORDS TO MOVE THE STORY FORWARD.



Big Jim came over
POV BLIP? WE’RE BEHIND LAUREN’S EYES. DOES SHE CALL HER FATHER ‘BIG JIM’ IN HER HEAD?



and took off his hard hat, leaving a dust-free stripe on his forehead where the white skin stood out from the rest of his perpetually sunburned face. His gray eyebrows drooped low, but he raised them to smile at her and the sun lit on the blue eyes hiding in all the gray and brown.

NICE! HE’S VERY CLEAR TO ME. THERE ARE A FEW EXTRA WORDS IN THERE, BUT ALL IN ALL, NICELY DONE.



She smiled back and handed him a taco, then reached into the carton to pull one out for herself.

She was working to open a packet of hot sauce without squirting it on herself, and she didn’t notice the man who walked out of the construction trailer and crossed the parking lot. She only looked up when Big Jim called out to him.

“Hey there, Clay, you got a minute? I want you to meet my daughter, Lauren.”

THE WRITING IS FLOWING BETTER HERE. WE’RE CLEAR ON THE WHO, WHERE AND SOME OF THE WHAT… BUT THERE’S NO SENSE OF TROUBLE. IS THIS A ROMANCE? IS CLAY IMPORTANT IN THE UPCOMING STORY?

I’D SUGGEST TIGHTENING THIS SIGNFICANTLY AND USING THE EXTRA WORDS TO GET US JUST A LITTLE FURTHER IN THE STORY SO WE KNOW IF / WHY CLAY IS IMPORTANT.

NOTE: IF CLAY ISN’T IMPORTANT, THEN MOVE YOUR START UP TO THE POINT WHERE SOMETHING IS ABOUT TO CHANGE, OR SOMETHING IMPORTANT IS ABOUT TO HAPPEN THAT SPELLS TROUBLE FOR LAUREN.


SUMMARY CRITIQUE

READER NOTE: I’m on the fence about this one. I like the characterizations you’ve given about Lauren, so I want to see what’s about to happen (is this a romance?). But the truth is, if I was looking for something that just compelled me to read from the first page on, this wouldn’t do it.

WRITER NOTE: You’re burying some good writing under too many words. Simple is best, especially in the first pages where your primary goal is to hook, hook, hook your reader.

As currently written there’s no trouble – and no trouble means no hook. No hook means few readers with the patience to keep reading.

If Clay is important to the story (either as a love interest, or as an antagonist), then you’ve got your story start right. You just need to cut the fat and get the reader intrigued (which could be as simple as having Lauren anticipate the wanted / unwanted introduction, or give her a sudden unease that her Dad’s about to put her in an awkward position… or something like that).

If Clay isn’t important, you’ve got to find the point in the story where change or a problem is about to be introduced – or has just been introduced.

I’ll give you a little piece of advice from my own experience: Don’t knee-jerk and scrap the whole thing. You’ve got good characterization here, good description of the Dad and good worldbuilding in describing the environment that Lauren lives and functions in… you just need to cut out the extra words and introduce trouble.

There is one spot in the middle there where you aren’t writing in stimulus-to-response flow. Streamline the point between Lauren connecting with her Dad and his description. Other than that, just move us a little closer to Clay and give us a hint of what kind of trouble he’s going to be if you can.

Your Turn: Do you have any constructive advice or observations for Amber? 

WIN A FREE CRITIQUE of Your First Chapter

Just a note to say we're officially opening the competition for a free First Chapter critique.

To see what kind of critique you'll receive and for your chance to win, all you have to do is comment on any of the First 500 Critiques Series posts running through to April 10th (click the links for the list of all posts).  Every different post you comment on gets you another entry (so if you comment on all of them, you'll end up with a dozen entries).

Winner will be announced April 15th.

So get clicking and help your fellow writers by offering your two-cents on how they can improve their First 500 and maybe you'll win a free critique of your first chapter!

Wednesday, March 30, 2011

FIRST 500 CRITIQUE #3 - "Pale Horse"

This is the second in a series of critiques of first 500 words from complete novels. Each submission has been made voluntarily by the author.

Authors critiqued in this series will be offered the chance to send revised material for critique in a follow-up series.

Reader comments and impressions are welcome, but please ensure you're offering constructive (i.e. practical, useful) advice. Troll comments will be deleted.



PALE HORSE
By Michael Pallante


Jeniffer Corsica waited at the Café Della Pace nursing a martini.


ALTHOUGH ‘CAFÉ DELLA PACE’ CONJURES IMAGES OF A FRENCH OR ITALIAN STREET CAFÉ, IT ISN’T SPECIFIC ENOUGH FOR THE READER TO BE SURE. IT’S A GOOD OPENING, SO MAYBE JUST BE MORE GENERIC ‘…SAT AT THE CAFÉ’S OUTDOOR TABLE NURSING A MARTINI’. BETTER YET GIVE US A TIDBIT OF BODY LANGUAGE TO IMPLY HER FRAME OF MIND (TAPPING FOOT, UNABLE TO SIT STILL, ETC).



Under different circumstances she'd like nothing better than to start Spring recess under the cool shade of the Della Pace's awning sipping a drink.

THE SENTENCE IS LONG, SO IT’S HARD TO FOLLOW. YOU HAVE SPRING RECESS, SHADE, DELLA PACE, AWNING, SIPPING A DRINK… TOO MANY ELEMENTS FOR A SINGLE SENTENCE. CUT IT DOWN TO TWO (‘…A DRINK ON A SPRING EVENING’?)



Today, however, she craned her neck at each opening cab door and sat upright for every middle aged man in a black suit. She glanced at her watch, a tasteful silver housing on thin band around her petite wrist.

THE IMAGERY IS GREAT BUT WE’RE USING TOO MANY ADJECTIVES TO GET THERE. CUT IT RIGHT BACK. SHE CAN CRANE HER NECK AT EVERY CAB AND GLANCE AT HER TASTEFUL SILVER WATCH AN WE’LL STILL GET THE PICTURE.



“This is ridiculous. He said 5:00.”

TIME SHOULD BE WRITTEN OUT: ‘FIVE O’CLOCK’



The flair of a match reflected in her dark lenses as she lit a cigarette.

YOU GAVE US THE IMAGE BEFORE THE STIMULUS, SO I THOUGHT SOMEONE WAS SURPRISING HER. SHE CAN’T SEE THE REFLECTION ON THE OUTSIDE OF HER GLASSES, SO JUST HAVE HER LIGHT A CIGARETTE.



In her head she gave him until the final embers to arrive.

THIS IS ALL GREAT IMAGERY, BUT YOU’RE COMPLICATING THE PICTURE. IT TAKES TIME TO IMAGINE ‘THE FINAL EMBERS’ AND REMEMBER IT’S REFERRING TO A CIGARETTE. HOWEVER, IF SHE JUST GAVE HIM UNTIL THE CIGARETTE WAS FINISHED, WE WOULDN’T HAVE TO THINK ABOUT IT.



But she no longer held any expectations that the man she knew only from faculty photos would show.

‘HELD ANY EXPECTATIONS’ IS A REALLY COMPLICATED WAY TO SAY ‘EXPECTED’ OR ‘BELIEVED’ OR ‘ANTICIPATED’, ETC.



After an hour of waiting she simply attributed this latest waste-of-time to a series of disappointments over the past six months. Bad luck and dead ends had pervaded her life since the disappearance of her best friend, Marcus Corvos.

WATCH YOUR ADVERBS (MOSTLY WORDS ENDING IN ‘LY’) ONLY BECAUSE THEY’RE USUALLY SURPLUS TO REQUIREMETNS, AND YOU’VE ALREADY GOT A LOT OF EXTRA WORDS HERE. I’D SUGGEST REPLACING ‘ATTRIBUTED’ WITH ‘ADDED’ AND GIVIN GTHE MARCUS SENTENCE ITS OWN PARAGRAPH. RIGHT NOW, IT’S NOT AN ENTIRELY SMOOTH TRANSITION FROM CURRENT PREDICAMENT TO BACKSTORY INTRODUCTION. TRY AND MAKE THE MARCUS CORVOS COMMENT A NATURAL PROGRESSION FROM THE SENTIMENT OR OBSERVATION BEFORE IT.



Marcus, a tall, fey, fellow American with high cheekbones and dark eyes, attended the same University as Jeniffer.

YOU’VE GOT FOUR ADJECTIVES FOR MARCUS BEFORE YOU GET TO HIS PHYSICAL FEATURES. PARE IT RIGHT BACK. WE DON’T NEED HIS ENTIRE STORY IN ONE SENTENCE.



They met in her first year in Italy during a medieval art survey course. While Jeniffer stretched her college money as thinly as possible, Marcus lived opulently off a trust provided by his estate.

NOW YOU’RE REALLY JUMPING INTO BACKSTORY PROPER AND THAT’S A HUGE NO-NO IN THE FIRST PAGE.



His family perished in an accident when he was a child, leaving him the sole beneficiary of their fortune. And while Marcus' wealth and status attracted a constant entourage, very few, if any, were truly close to him. Unsurprisingly, Jeniffer was the first to report him missing.

They had made plans to meet for lunch the day he disappeared. Marcus intended to meet her at noon after returning a library book. The librarians, like many on campus, were familiar with the attractive and charismatic young man, but did not report seeing him that day. Jeniffer waited for him, but eventually gave up and went about her day. In the evening she phoned him, hoping to reschedule for dinner, but received no answer.

Marcus frequently abandoned Jeniffer for the eager girls and willing boys attracted to his sensual androgyny. Jeniffer made allowances for this aggravating, but somehow still endearing habit in exchange for his otherwise loyal and generous friendship. To Marcus’s credit, he never expressed any desire for or levied any pressure on Jeniffer. She lived in self-imposed celibacy, thankful for the simplicity it afforded her. While his boyish-girlish mouth often seemed welcoming on late, wine-filled nights, she was a practiced bachelorette. And he a respectful friend.

But his charm may have been his undoing.

Assuming kidnapping, Jeniffer and the Police both waited for for ransom demands. The police spoke to Marcus' stiff lipped lawyer Alex Di'Cosimo. If demands had been made Di'Cosimo wasn't telling. With no other leads the case went cold. Jeniffer mounted her own investigation but ran into the same roadblocks as the police. Still, she kept in contact with his few friends including his doctoral advisor, Dr. Malachi Agrippa.

EVERYTHING BETWEEN THE LAST COMMENT I MADE AND THIS IS BACKSTORY. FEW AGENTS OR EDITORS WILL READ PAST THE SECOND PARAGRAPH OF BACKSTORY. PICK UP BOOKS IN YOUR GENRE AND YOU’LL FIND MAYBE A PARAGRAPH (A BRIEF ONE!) IN THE FIRST COUPLE OF PAGES. OTHER POINTS MAY BE SPRINKLED THROUGHOUT. BUT IT’S CRITICAL THAT YOU GET THE FOCAL CHARACTER MOVING IN THIS PORTION OF THE BOOK. I’D SUGGEST CUTTING ALL OF THIS OUT AND MOVING INTO THE STORY PROPER, INTRODUCING THIS BACKSTORY IN A MORE ORGANIC WAY, LATER ON, WHEN THE READER IS ALREADY ‘HOOKED’.



SUMMARY CRITIQUE

READER NOTE: If I picked this book up in a bookstore I would have been disappointed when it dropped into backstory. The original scene seemed very colorful (if a little complicated). I wanted to see what was going to happen there.

WRITER NOTES: Everything above the sentence “Bad luck and dead ends had pervaded her life since the disappearance of her best friend, Marcus Corvos” painted a picture I wanted to see to its conclusion. Who is this woman? Why is she waiting for this man? Why is she so interested in talking to him? Does it have something to do with the disappearance of her friend?

It’s the beginning of a great scene, full of sensations that ground the reader in reality. It just needs tightening. You’ve got a lot of extraneous words, too many descriptors, and occasion complex phrases. But the showing shines through, so it isn’t a big problem.

Your BIG problem here is backstory. I’ll tell you what a published author told me: If you can paint a scene that intrigues people, you can trust them to stick with it even if they don’t know everything about how and why the focal character came to be there.

In fact, readers generally don’t want backstory until it becomes relevant to the current problem. You haven’t put your focal character into any real danger or conflict yet. If you achieve that first, then the reader will happily watch backstory unfold as and when it becomes relevant.

Dwight Swain puts it this way: Backstory can’t be changed, therefore it lacks tension for the reader. Only the future is undetermined – that’s what drives a reader to read.

Good luck with this Michael. I like your writing and think you’ve probably got a good book buried under here. You just need to do a little digging and cut away the fat.

Monday, March 28, 2011

FIRST 500 CRITIQUE #1 - "Sendek"

This is the first in a series of critiques of first 500 words from complete novels.  Each submission has been made voluntarily by the author.  Reader comments and impressions are welcome, but please ensure you're offering constructive (i.e. practical, useful) advice.  Troll comments will be deleted.


SENDEK
By Charity Bradford

While other girls dreamed of ponies and boys, I dreamed of fire and pain. By the time I turned seven, I realized the dreams foretold my future. I understood they were a gift, a chance to save myself if I could find the way. Those dreams shaped my life, and it’s up to me to stay alive.

THIS FEELS MORE LIKE A PROLOGUE THAN A BOOK OPENING TO ME. TECHNICALLY IT’S BACKSTORY. IF I WERE YOU I’D CUT IT. THE THINGS IT IMPLIES ARE ALSO COVERED LATER, BUT WITH A MUCH BETTER INTEGRATION TO THE STORYTELLING.



The last of Sendek’s three moons had set, but I didn’t need their light. My legs knew the way and moved me instinctively up the tree-covered hill. The moss, soft and cool under my bare feet, carried the promise of relief. With only moments left before the double suns crested the horizon, I ran faster and reached the clearing at the top. My muscles twitched as I stared at the light of Gneledar below me. The small city already glowed with activity, and as I watched the skylanes filled with transports.

THIS IS WHERE YOUR BOOK SHOULD START. WE’VE IMMEDIATELY GOT THE WHEN (NIGHT-TIME, PROBABLY IN THE FUTURE), AND WHERE (ON A HILL, ON A PLANET THAT ISN’T EARTH).



Am I alone? I asked the trees around me.

YES. Their deep calm filled me and I knew they would warn me if anyone approached.

GOOD HOOK! SHE CAN TALK TO TREES? THIS I’VE GOT TO SEE…



The first sun rose beyond the village and sunbeams bounced off the metal and glass of the city in a glaring shower of radiance. Tendrils of light pushed their way into the shadowy places at the base of the buildings chasing away the darkness. As the second sun climbed into view, I called the light to me.

My lungs expanded as I inhaled the energy of the suns. Synapses fired and blood pumped the pure life through my veins. The soreness dissipated, cells recovered and my soul filled with the power of the suns. Deep within I felt myself expand until my spirit pushed at the skin, reaching for freedom.I exhaled. The extra energy flowed from my body and into the surrounding wildlife. The collective sigh of every plant, animal and bird in the area filled me with joy.

The glow of energy faded into the normal light of day, revealing the Witch’s Grove. There were no witches. Just me. The area remained a lush green year round because of the energy I siphoned off from the sunsrise. I sighed as the breeze played with my hair. This would be my last drinking of the suns for a long time. What would happen to my little grove?

I LIKE THIS, BUT I THINK IT’S A TAD TOO LONG. YOUR DESCRIPTION IS VIVID (A FEW EXTRA WORDS, BUT NOTHING SERIOUS) BUT IT FEELS A LITTLE OVER-WRITTEN TO ME.

AT THE BEGINNING OF A BOOK THE READER IS MOST INTRIGUED BY TROUBLE. THERE’S THE BAREST HINT OF IT AT THE END OF THIS LAST PARAGRAPH, BUT I’D PREFER TO CUT BACK ON THE DESCRIPTION BY A SENTENCE OR TWO AND GIVE THOSE WORDS TO MAKING THE SENSE OF CHANGE / TROUBLE STRONGER.



WE RETURN TO THE SEASONS. The collective voice of the trees vibrated through my mind.

I’m sorry. I turned to the path home. Each step slower than the last. Small animals and birds drew near, touched my feet or shoulders and skittered away again. They knew this was goodbye.

FOR ME THE TONE / EMOTION BEHIND ALL THIS CHANGED TOO QUICKLY. A MINUTE AGO SHE WAS JOYOUS AND ON A HIGH – NOW SUDDENLY VERY LOW. IT CAN BE DONE, BUT YOU NEED TO PREPARE THE READER. LET THEM FEEL THE EMOTIONAL FALL. PUT US INSIDE THE CHARACTER’S HEAD AS SHE RIDES THE WAVE OF EMOTION DOWN WHEN SHE FINISHES ‘DRINKING THE SUN’ SO WE KNOW WE’RE TRANSITIONING TO SADNESS / FEAR.



YOU’LL BE BACK.

Not this time. Remember, I’m going to Joharadin. The fear rose and I swallowed it down before it could take hold.

DREAMS CAN CHANGE.

This one never does. I’ll die there.

THERE IT IS! THAT’S YOUR TROUBLE. AND IT’S GOOD – LIFETHREATENING IS ALWAYS THE BEST KIND OF PROBLEM. IN MY OPINION YOU COULD HAVE INTRODUCED THAT EARLIER – SEE SUMMARY NOTES AT THE BOTTOM.



STAY, WE WILL PROTECT YOU.

I rested my palm against the bark of a large tree. The energy pulsed from its core, warming my hand. Love coursed through me with each heartbeat.

They’ll come anyway. I’ll try to protect all of us.

NICE! I’M STARTING TO CARE ABOUT THIS CHARACTER / WHAT WILL HAPPEN. WELL DONE!


SUMMARY CRITIQUE

READER NOTES: If I picked this book up in a store I’d probably give it one or two more pages to see if it intrigued me enough to keep reading. That means you’re on the right track for readers like me, but not quite there yet. If I had something else in my hands I was really interested in, this would lose the battle.

I love the imagery here and the emotional nature of your writing – that will take you far, in my opinion. But as a reader, you haven’t made a convert of me - YET.

WRITER NOTES: There’s no doubt you can write and you do a fabulous job of dropping the reader into the emotion of the moment right from the start. Well done! The lack, as I see it, is a need for that emotion to draw the reader through this little scene more smoothly. I think you know you’re good at writing description and enjoy writing it. The problem is, it's a little wordy and dominates just a little too much for my liking. This early in the book, it’s the emotion and the trouble that will hook the reader. Later, when they are firmly ensconced in your world, they’ll be more interested in going on the journey with you, so to speak.

Three things this needs, in my opinion:

1. Cut the first paragraph and use a gender reference in the second paragraph (that will become the first) to place the reader inside the girl’s head.

2. Reference the trouble that spurs the girl towards the grove in the first place. Right now she is running, but we don’t know why. Give us the motivation first (“This is my last chance because…! I have to make it before the suns are up.” – except much prettier and in your voice), then the running.

3. You’ve nailed emotion in the writing, but after reading the entire passage, what the very beginning needs is that sense of the bittersweet. i.e. This is a lovely, joyous experience, but it’s the last time she will ever have it. So, we’re forewarned that when this is done, we’re going to hit a low. Then, as noted in the text, signal the slide down from hype / joy to grief and fear. If you can pull that off, readers of this genre will have a hard time putting it down in my opinion.

All in all, I’m intrigued, but not addicted. If you decide to revise, feel free to resend it. I’d like to see what comes of our little protag here.

YOUR TURN:  Do you have any advice or observations for Charity?

Sunday, March 27, 2011

Self-Editing: Essential Elements for Chapter One

I dare you to pick up any book released as a major publication and check out the first page or two.  I can guarantee you they'll include the following.

Does yours?

The 5 W's: Who, Where, When, What & Why

Obviously there's a limit to exactly how much ground you can cover in 500 words.  But don't underestimate the power of that first page.  Pick up any novel that 'hooked' you from very beginning and you'll find at least three of those W's present probably as early as the first paragraph.  Maybe even the first sentence.

They're fairly self-explanatory, so I won't spend a lot of time:

WHO:  Whose skin am I in? 

WHERE:  Physical location and setting.

WHEN:  World-building is a HUGE component in those first words, so consider at least giving the time of day and a hint at the time / space continuem.  Maybe you can offer the season by painting a picture of the leaves (or lack thereof).  Whatever.  Just keep in mind, the more information your reader absorbs without realizing it, the more fixed in the world they'll feel.

WHAT:  Could be as simple as whether they're driving, walking, talking, etc, or it could be (and hopefully will be) as engaging as placing the focal character on the frontline of a war, or engaged in making out with their hot boyfriend / girlfriend.  Wherever they are, make sure they're DOING something. 

WHY:  This won't always be clear in the first pages, but make sure you don't leave the reader hanging completely.  If you can't offer the story question on the first page, then at least give the character a goal or intent.  Have them aiming for something the reader can shoot for too (even if they don't know exactly why at this early stage).

Simple?  Great.  Let's move on.


TROUBLE: Creating Danger and / or Presenting a Problem

This one sounds simple, but in my experience its one of those blind-spots for us novice authors.  We feel the tension, trouble or implications of a situation for our focal characters because we KNOW the story.

Fresh eyes though?  Sometimes it's not as clear to them.

I'm not suggesting you should spell out t-r-o-u-b-l-e, but find a way to introduce change that threatens the life, livelihood or eternal happiness of your character and your reader will read on to find out whether they're going to overcome this terrible problem.

Next?


FOUNDATION: Tying Motivation and Response to Create Realism

This one's important regardless of whether you're in the first two, middle five, or last page of your manuscript:  The way to keep a reader reading, and convinced your world is real, is to tie their actions, thoughts, feelings and words to motivating stimulus.

It's how our lives work for real, so it makes any world believable.

- Rather than a character randomly deciding to pick up the newspaper that morning (which is going to tell them their estranged father has been indicted), have the character receive a phone call for comment on the story.

- Or maybe your teenage protagonist wants to be Prom Queen.  Instead of just steeling themselves to ask that gorgeous guy out, have them witness the most beautiful (and annoying) girl in class sauntering up the to the object of their attention and flirt with him.

In short - give the story a launching point.

Then take it down to the detail: When one character speaks to another, make sure the response is both logical and timely.

When an event occurs that makes your character feel something, give the reader their response right away - in thought, action and / or speech. 

Your character needs to be doing something to move your story forward, so give them a reason to do it. 

That's what makes a story realistic and helps the reader suspend disbelief long enough to fall for your fallen angels, superhero teens, cool-guy-falling-for-nerd-girl, etc, etc, etc.

There's more, but those are the most important, I think.  Now, go forth and write!

SPONSORED LINK: Publishing your own book can reduce costs and help you share your great ideas with the world.

Your Turn: What else is crucial for those first 500 words, in your opinion?

PS - I've already had a couple submissions for the First 500 Critique Series. (I'm impressed with your fearlessness my writerly friends). I'll be kicking that series off in the next couple of days. 

If you think your first 500 words hit all the major points above and would like to submit it for the critique series, send it to me (in the body of an email) at aimeelsalter@gmail.com - I'll look forward to hearing from you.

Tuesday, March 22, 2011

The Flipside of Criticism

In the past three days I have been accused of:

- Lying
- Being biased against (or judgmental of) self-published writers
- Denegrating anyone who doesn't publish traditionally
- Using controversy to drive blog traffic
- Being devisive / 'choosing sides'
- A myriad of petty things: i.e. 'dowright wrong'.

If it's important to anyone, I'm not walking away from those conversations unfazed.  I'm not the kind of person who kicks up dirt for fun - and I really don't enjoy being accused of things I don't think I deserve.  But I do recognise that putting myself 'out there' means taking the punches if / when they come. 

This is an industry of hard knocks, right?  So I'm determined to learn from the experience: If you tweeted any of those comments and believe they're genuinely deserved, please feel free to email me. I won't argue.  I will listen and consider.  If I'm wrong, I'd like to know.

The flipside is, I now have a HUGE desire to blog about things that are helpful, useful, and generally positive for anyone who calls themselves a writer.  So here are some ideas.  I'd love to see what you all think I should prioritize - or if you have other ideas please suggest them in the comments.

A.  Free critiques for first 500 words so we can discuss what a useful critique should achieve (see info box at top right of this page if you're interested 'cos frankly, I think this would be fun)

B.  Timeframes in publishing - what's realistic for writing a draft, finding an agent, getting a contract, seeing your book on the shelf?

C.  More self-editing tips (though we'll be getting into some heftier stuff than the previous posts)

D.  Analysis of popular YA fiction plot structure (it's my genre, so I read it a lot and have a lot of examples in my bookcase).

E.  Your idea here.

Your Turn: Tell me which of the above you'd like to read, or any ideas you have for blogging discussion.  My ears are all yours.

Tuesday, March 15, 2011

My New Blog-Love

Ever get blog-envy?

You know, you run across a blog and love it so much you spend the whole time thinking "I wish I said that".  You find yourself scrolling through pages and pages of posts (I'll just read one more... Um, just one more... Does that link say SERIES!?).  Then, when you're totally replete and your brain has been half-transplanted so you're living in the blogger's head, you walk away from the laptop wishing you were that person? 

No?

Just me on that one?

Well, that happened to me in the past few days.

The worse part is - she's half my age.  Literally.

Here's the cool part though - I didn't know that when I started reading her blog.  Sister writes like a peer of mine.  It wasn't until I read her most recent post (an in depth look at *ahem* 'mature' male characters in YA fiction) in which she noted she is the YA audience, that I found out she's still in high school.

(INSERT: "Wait, WHAT?!" here)


If her profile is to be believed, at just sixteen years old this chick has developed the voice, intellect and amusingly snide pretentiousness I can only aspire to.  She understands writing, her audience, and her goals.  Oh, and she's completely full of her own artistic glamour.  (Go girl).

If you're smart, you'll check out http://nindogs.blogspot.com/ and get on the bandwagon.  This chick's going places.

Oh, and she's funny too.  In that cooly-yet-completely-up-her-own-nether-regions kind of way.  Stop by and check her out.  And tell her I sent you: I'm angling to head up the fan club.

What's your favorite blog?  Link it in the comments!

Sunday, March 13, 2011

Jody Hedlund - Author Thoughts #4

Jody Hedlund was a double-finalist in the 2009 ACFW Genesis Contest for unpublished writers, and took CBA by storm last year when her debut novel The Preacher's Bride was released (and reviewed by both Publisher's Weekly and Booklist).

Her second novel The Doctor's Lady hits the shelves September 1st (and she's already writing the third!).  I follow Jody's blog for writers which is chock-full of tips, insights and commentary on the current publishing market. 

Jody is represented by Rachelle Gardner of Rants and Ramblings fame. 

We here at Seeking the Write Life (i.e. Me) are shamelessly excited to have Jody guest post today!


"What I wish I'd known before I signed the publishing contract."


1. Worry #1: Publishers wouldn’t have enough room for me.

The Truth: Publishers are still interested in finding good books and talented authors.

When I heard statistics about how traditional publishers have so few slots allotted to debut authors within their line-ups, I panicked. With so many talented aspiring authors vying for those spots, how would there ever be room for me?

What I’ve since learned is that publishers ARE still interested in finding new authors and discovering great stories. When they find them, they WILL make room in their line-ups. In other words, there’s always going to be a place for an author who’s got what it takes.

2. Worry #2: If my book didn’t do fantastic, my publisher would drop me.

The Truth: Traditional publishers want to invest in authors not just books.

I don’t know what I really expected before the contract, but now I understand that it makes a whole lot more sense for publishers to help their authors have a career, rather than just be a one-book wonder.

It takes time and several books before an author really gains a widespread readership. Most publishers are willing to work with their authors for the long haul. They want to help them grow, and push them to succeed so that it’s mutually beneficial. They aren’t waiting to cut authors loose with the first bad review or mistake.

3. Worry #3: If I wanted my book to sell, I’d have to do a lot of marketing.

The Truth: Traditional publishers still do help with marketing.

We hear stories about how authors are expected to do the bulk of their marketing. And yes, every author needs to participate in marketing—why wouldn’t we want to do all we can to help our book stand out? However, in large traditional publishing houses, the majority of the marketing work does not fall on the author.

My publisher’s sales and marketing department was able to sell more of my books by getting them to key distributors, buyers, reviewers, and stores, than I would have ever been able to sell on my own. Yes, my marketing efforts have contributed, but my publisher’s reputation, connections, and strategies made far more of an impact in overall sales.

Question For Readers: Have you ever worried about these same things? What’s your biggest concern right now?

Wednesday, March 9, 2011

REJECTION VS. FAILURE

Building Your Writer Callouses - Part II

In the previous post we talked about the a need to develop a thick skin if you're going to be successful in publishing.  I noted that for me the process required two things: Developing the humility to unpack criticism and the ability to separate rejection from failure.

If you missed the post on unpacking criticism, you can read it here

But, what about all that rejection?  Feedback and criticism aside, some friends and family aren't interested in my book or doubt the fact I can be a professional writer at all.  Dozens of agents rejected my queries.  Then, after I was signed, a handful of editors rejected my agent's submission - some after reading the manuscript in full.

Does that mean I'll never get published?

No, far from it.  But it does mean I have more work to do to make sure I don't fail.  It's been two years so far, and likely to be as long again before I see my book on the shelf (and that's an optimistic timeframe).  The ability to separate rejection from failure is crucial if I'm going to keep going. 

To whit:

Rejection:  To rebuff; something rejected as imperfect, unsatisfactory, or useless; a refusal to accept an offer.

Failure: Non-performance of something due, required, or expected; a person or thing that proves unsuccessful; lack of success.

Hopefully you can see the difference. 

I believe (and yes, this is just my opinion), that as writers we need to actively train ourselves to differentiate between rejection and failure.  That is not to say we never fail, only that every rejection is not a failure.

How do I tell the difference? 

Rejection means that someone doesn't like it, can't use it, doesn't want to spend money on it, doesn't appreciate it, etc, etc, etc.  Response: Make changes if applicable, but move on.  Keep going.  Find another agent, editor, reader.

Rejection is something that occurs in every writer's life.  Even the most successful books on the planet have been rejected by agents, editors and readers.  It is literally inescapable.  If you cannot handle rejection, you are in the wrong profession.

Failure, on the other hand, means the thing you have created has not served its purpose.  It is not successful and never will be.  Response: Trash the failed project, learn, learn, learn, then try again.

If every rejection meant your project had failed, pretty much every single writer out there would not be published.  If, after the first few letters came back saying 'thanks, but no thanks', they pulled the project, the number of books on the shelf would be even fewer.

Rejection doesn't mean that book can't or won't be published.  It just means that particular person doesn't buy into what you're doing. 

That could come for any number of reasons: it may be that the agent or editor doesn't like your genre, or the approach you've taken to the genre.  It might be that they already have a similar project.  Maybe they read something else recently that had them more excited, so yours hasn't passed the comparison test.  Or maybe they just didn't like it. 

Or it could be because your project is 'failing'

Failure means either the writing or the premise isn't strong enough.  It cannot and will not be published. 

Since most of those rejections probably won't come back with a detailed analysis of what, exactly, the agent (or editor) didn't like, how do you know whether your project is being rejected, or completely failing?

You test the market.

1.  You stop giving your manuscript to friends and family who love you and will likely support you even if they see flaws (or, as one writer told me, nit-pick for flaws out of envy). 

2.  You find a writers group that involves people who know the craft of writing and who will read the whole book

3.  Maybe you enter your first page up on Page-to-Fame on the website http://www.webook.com/ and let other writers / readers tell you if your work is engaging.  If it's successful, you'll get to round two (first five pages) or round three (first fifty pages).

4.  You could attend a writer's conference and speak to an agent or editor directly (not to mention get involved in workshops or lectures that could add to your knowledge of the craft).

5.  If you can afford it, you find a freelance editor to take a look.

6.  Insert a multitude of other options here.

In short, you hunt down people with a professional knowledge of writing, do whatever it takes to get your manuscript in front of them, invite brutally honest opinion, then listen to what they have to say.

At which point you put into practice the humility you've adopted to unpack criticism so it makes you a better writer who, when their rejections are done, has a traditionally published book in their hands.

Check out the quote underneath the title of this blog.  The only way to be absolutely certain your project is being rejected, rather than failing, is to just keep going. 

Then on one glorious day, it will be a success.

Capeche?

WHAT ABOUT YOU?  Have you developed a radar for rejection vs. failure?  What helps you get through the let-down of a rejection?

Monday, March 7, 2011

Building Your Writer Callouses

Published authors, agents and editors talk A LOT about how there's a need to develop a thick skin if you're going to be successful in publishing.  But what does that really mean? 

Primarily, in my experience at least, it means two things:  Developing the humility to unpack criticism and the ability to separate rejection from failure.

I'll talk about rejection in the next post, but for now, I want to address how to go about...


Unpacking Criticism

When someone reads your work and gives feedback that isn't complimentary, there are three ways to react:  1.  Anger or defensiveness; 2. Retreating out of fear of further hurt; 3. With thoughtful consideration.

The third option is the only one that will improve your chances of success in publication.

Now, don't get me wrong.  I've felt the anger of a criticism: "What do you mean it was a little flat?!  Are you kidding me?!  I spent DAYS on that scene!  And now I need more exclamation points to fully express the emphatic nature of these statements!!!". 

I've had moments where I'd like to crawl under a rock and pretend I never wrote a word.  And I've written fourteen page emails explaining to my critique partners exactly why that scene / character / plotpoint had to be that way...

But in the end, those reactions don't make me a better writer.

For me, unpacking criticism is a four part process: 

Part One:  After I read feedback or critique, I let myself react emotionally (where no one else can see).  I feel the feelings, have the justification conversation with myself, throw a pity-party or shed a tear - whatever is required to vent the emotional response I've had.  Then I wait for myself to calm down (NB: Sometimes this takes minutes, sometimes hours, sometimes days). 

Rule #1 for Part One of Unpacking Criticism - Thou shalt not respond - at all. 

Rule #2 - If response is absolutely required, it shalt only acknowledge receipt, gratitude for time taken by critiquer and statement of intention to consider all points.  (i.e. "Thanks for sending that through!  I really appreciate your time.  I'll get back to you when I've had a chance to digest it all.)


Part Two:  Once the intial shock / emotional crisis has passed, I review who the critique or feedback came from.   Are they further along in the journey than I am?  If so, do they have a vested interest in seeing me succeed?  How familiar are they with my genre?  Are they published?  Are they an agent / editor?  What is their experience or knowledge of the craft? 

In the vast majority of cases, I am reminded that this person is either a fellow-writer with a genuine desire to help, or a professional with a much sharper, more experienced eye than my own.  In other words: I renew my respect for the source.  

Only very rarely do I finish this part of the process with a caution to myself that this person might not know an adverb from a gerbil.***

I also take some time to remind myself fresh eyes can catch things a reader would see that I'm blind to and remember how much better I've felt about my story in the past after taking on board some of the suggestions for change from previous critiques.

Rule #1 of Part Two of Unpacking Criticism - Honesty is the best policy.  Do yourself a favor and admit you don't know everything - even if it's only to yourself.


Part Three:  I sit down with the critique and re-read it, highlighting any points that immediately jump out as 'right'.  I make notes on how and where I'll action those points, then sift through the rest.

All other pieces of critique will fall into one of two categories:

The reader doesn't understand!  Whenever I feel this way, I'm reminded it's my writing that failed - because no one can read any book except the one I wrote.  So either I need to give more information, change my approach, or clarify something to ensure everyone 'gets it'.

I don't want to do that!  This is where things get gritty.  In the almost-two years of being critiqued by published and agented authors, as well as my agent, I'm finally beginning to see that the majority of the time I'm resistent to acting on feedback, when I boil it down it's because it seems like too much work. 

And in almost every single case where that is my driver, the feedback is right.

I can tell myself the story doesn't need that, the character isn't like that, yadda yadda yadda... but the truth is, if other writers / my agent can see it, then an editor will too.  What do I gain from pushing my story out there with flaws I know exist?  Nothing.  Wouldn't it be better to take the time and effort involved to fix the issues before someone who has a shot at making my career reads it?

Step Four: Start writing.  Do the easy stuff first.  When I see how much better the manuscript becomes after that's done, I usually find a second wind for the harder changes.


So that's my process.  I don't know how you're doing with receiving critique, but if it's a struggle, I hope this helps.


Where are you at with getting feedback on your writing?  Do you have a writer's group?  Critique partners?  How do you cope with criticism of your 'baby'?



***Exceptions to the rule: 

1.  When five people have critiqued the manuscript, and only one has noted the point (though it's probably still worth considering since that implies 20% of my readers might  have the same reaction.

2.  When the comment comes from someone who knows zero about writing and doesn't usually read my genre (this is more of a beta-screening issue - now I'm pickier than I used to be).

Saturday, March 5, 2011

Jim N. Duncan - Author #3

Jim N. Duncan is the author of Deadworld  - out April 5th, 2011.  He's previously joined us at Seeking the Write Life to discuss how he procured an agent.  You can read about it here.

Jim has promised me an interview for the release of Deadworld (!), but until then, here's what he had to say when asked to finish the thought "What I wish I'd known before I signed the publishing contract":

For myself, and the case for many authors I would guess, getting over the initial, "I have a contract! Where do I sign?" is the first hurdle. There's also a big difference between a writer who has an agent and one who doesn't. I received a contract prior to landing an agent, and then proceeded to use that to secure one. Having a three book deal in your hand is a pretty good way to get an agent to look at your work. It's not a guarantee mind you, but it definitely gives you a leg up.

If you have an agent who happens to be with an agency, these agencies will often have their own boilerplate contracts with publishers. They have worked with them before, know what points of the contract can be contested and negotiated, and as an author, I can pass off the contract to them and say, "have at it." Good agents are expert at these things. They are supposed to know what they are doing, and I felt comfortable letting him negotiate things to be as much in my favor as possible. I received a bit more money, a larger number of free copies, and a couple other minor points to my benefit. As a debut author, the leverage just isn't there to do a lot more.


Without an agent, this is a whole other ballgame. Unless you are familiar with publishing legalese, it might be difficult to understand many of the terms and contract points. And I'm definitely not the person to be asking. Do know this though, some aspects of a publisher's contract are not negotiable, unless perhaps you are a best-selling author. Some things just can't be altered to be more in your favor, and you will get a contract yanked if you insist. As a debut, you only get so many chances to get your foot in the door, so you have to be willing to compromise. Let your ego get in the way, and you will lose. Without an agent it's just difficult to know what is feasible and what isn't. Given that you aren't the only book looking to be bought, well...you get the idea.


Writers need to be sure they don't get stuck in the mindset that they deserve such an such for their book. If you want to pull the "I'm going to make you a million bucks" card to try and get more, you'll lose. Guaranteed. Debut authors have proven nothing, other than being able to write well enough to impress the editors and the publisher. You achieve success? Then you have more leverage. That said, if you don't have representation, do your research, talk to pros who know the business, or even hire a publishing attorney to look at a contract. Publishers have base contracts for a reason. Some points can be negotiated. Get knowledgeable enough to know what you want on a contract and what things publishers won't likely budge on. I'm glad I didn't have to do this. It would have been a royal pain in the ass. For all the claims these days of you not needing an agent, this is one aspect where I believe they are wrong. They get paid for knowing this stuff inside and out, and I'm happy to give my 15% for it.

Thanks for that Jim!  You want to hear more from Jim, check out his blog Writing in the Dark or follow him on twitter - and don't forget Deadworld is out April 5th!

Friday, March 4, 2011

How to Write a Synopsis

Synopsis [si-nop-sis] 

-Noun, Plural - ses

1.  Tool of the Devil. 
2.  Thing One Must Write Howevermuch One Doest Hate It. 
3.  Instrument of writerly torture at the hands of publishing professionals. 


Do you want the good news first, or the bad news?

THE BAD NEWS IS the chances of you getting through the process of traditional publishing without having to write a full synopsis at some point for someone is so slim even Victoria Beckham is jealous of it.  Accept that fact now and get a synopsis together so you can work on it before you have to have it - in which case you'll be forced to push something together that probably won't do the job well.

THE GOOD NEWS IS your synopsis itself will not be the make or break point of your writing career.  The plot it outlines might!  But the synopsis doesn't have to be a piece of literary genius.  If you don't believe me, read this.

So... How do you write one?  Well, if you're anything like me, the answer is 'badly'.  But here's the reason you want to: by writing synopses you a) learn how to distill your story down to bite sized plotpoints and b) figure out how to instill your voice into summary, and c) get a birds-eye-view of your story that will help you identify plot holes, shallow characterizations, etc.

Like anything else, you have to practice to get good at it. 

Because I'm not a natural synopsizer (is that even a word?), I'm not going to try and tell you how to write a good synopsis, only how to get one put together.  The beauty is, once you have a synopsis in place, you can play with it, edit it, revise it... in short, work on it just like you do any other piece of writing.  And one day you'll look at it and realize it's actually an okay piece of writing (or you'll hate it forever, but at least have something to give your Agent to pass on to that Editor and so forth). 

Without further ado, here are two ways in which to approach the first-draft of synopsis writing:

(NB: There is no wordcount / pagecount limit for this exercise.  We'll talk about what forms / lengths synopses should take in a later post).


APPROACH #1: The Chapter Outline

Step One:  Take your story chapter by chapter and distill each chapter into one to two paragraphs.  Or, if you change Points of View within your story as I do, give each POV a short paragraph of its own. 

Step Two:  Do this for every single chapter, then put it away. 

Step Three:  Pick it up again a few days later and read through, deleting any sentence which doesn't specifically move the plot forward. 

Step Four:  Repeat steps two and three until you have a fresh read-through wherein you don't delete anything.


APPROACH #2:  Beginning, Middle and End

Step One: Head up three separate pages in a word document "Beginning", "Middle" and "End".  

Step Two: Under Beginning, answer the following questions:
1.  Where am I?
2.  What's going on?
3.  Who's involved?
4.  What is the protagonist's primary desire? (This should be your story goal)
5.  What danger or obstacle prevents the protagonist from maintaing or achieving that primary desire?
6.  What does the protagonist decide to do to overcome that danger / obstacle?

Step Three:  Under "Ending" answer the following questions:
1.  What options does the protagonist have available to them as you approach the climax?
2.  Who and / or what is stopping them from achieving their story goal?
3.  What choice does the protagonist make? And what action do they take?
4.  What consequence occurs as a result of that choice / action?
5.  How are the protagonist and antagonist punished / rewarded for their choices / actions in the climactic scenes?
6.  How is the story resolved (what occurs to tie up loose ends)?

Step Four:  Under "Middle" outline only the major plotpoints that lead the protagonist / main characters from the Beginning to the End events.


Using either of these techniques, draft up a synopsis.  Next week we'll talk about how to pare it down into various forms for submission.

Good luck!

Q4U: Have you written your synopsis?  What did you learn from it?

Wednesday, March 2, 2011

Margaret Atwood - The Publishing Pie

Many of you may have caught this on Rachelle Gardner's link, but I'm posting it for anyone who didn't find it or take the time:

Margaret Atwood is one of the publishing world's most enduring and respected authors.  During this conference speech she outlines the evolution of publishing, what we're doing the same and what we're doing different from fifty years ago - and where it might be taking us.

Watch and learn my aspiring authorial friends.  This is one of the most educational (and amusing) twenty minutes you'll ever dedicate to your burgeoning career.