Let's Get Real

Preparing to mentor someone in #Pitchwars has got me thinking about what I have to offer that isn't already out there enough in the writing ether. Here's where I landed:

The publishing industry is amazing, and also brutal.

If you want to be an author (i.e. someone who shares their books with the world, traditionally, or independently) then you need to understand what you can control, and what you can't. Because this industry will take a lot out of your hands. And it's easy to get confused and start blaming yourself for things you shouldn't--but also to not take responsibility for things you should.

I'm going to do my best to give you a realistic picture of how this industry works. And challenge you to own your actions and see yourself through an objective filter. Because if you're willing to do that, you will win at this game.

Are you ready to hear how? (This is where you strap in)

I'm friends with a lot of writers. Some self-published, some midlist published like me, some extremely successful, and some just starting out--agented, or aspiring to be.

After eight years immersed in this industry, I'm beginning to be able to pick who's going to win at this game, and who won't. Because giving yourself the best chance to be a winner in publishing is in your control, even if the ultimate finish-line isn't. Are you ready? Here goes:

What You Can Control (But Might Not Want To)

(As taught to me by people much more experienced and successful than I)

1. You can understand the craft of fiction.

It might seem daunting, or like a waste of time that could be better spent creating. Here's the truth: It isn't.

This is the largest obstacle I see in aspiring authors. I can't count the number of times I've heard people say they don't have time to read instructional books. Or they don't want their writing to become "formulaic". Or they start to read something, find it inspiring, jump back into their manuscript and don't ever go back to the other nuggets of instruction that are available in the book they started.

And the problems that someone else has already given the answers for, or the weaknesses in their writing that someone else has already identified in a craft book, continue in their writing. And they continue to get rejections. And they become despondent.

Take control. Read books from masters about how to become a better writer. Read blogs from authors about the things they see in new writers. Believe it. They aren't sharing that with you for kicks. They're trying to help. But only you can control if you're willing to invest time in your own work.


2. You can allow your work to be criticized so you can improve on it.

This is the second biggest problem I see in aspiring authors. "I can't let other people read it. It's my baby." or "I couldn't take it if someone didn't like it."

I get it. They're afraid someone will call it ugly, or useless, or mimicry. They're hurt by that thought, so they retreat. But here's the time to pull up your big girl/boy pants:

If you ever plan to share your writing--for free, independently, or via traditional routes--someone else is going to read it and inevitably, someone will tell you what's wrong with it. Whether those flaws are massive, or just nit-picky, subjective stuff, is in your control.

If you put out for free, someone will tell you why they don't like it.

If you publish independently or otherwise, people will give you bad reviews. (No one is free of that particular burden, no matter how successful).

If you try to get an agent and/or a publishing deal, it will be critiqued, edited, and changes requested. Probably demanded.

In short: In publishing, a thick skin is a must. And the only way to develop a thick skin, is to allow the criticism to help you do better next time. Don't wallow in rejection, learn from it.

In this industry, criticism and rejection are unavoidable, inevitable truths. So here's what you can control: You can control who gets first pass at identifying problems (because anyone who just says "I love it" isn't helping anything but your ego--none of us are perfect, and none of our books are, either). You can control how much you're willing to revise and work at refining your writing, and your story, to make it better.

Because the better it is, the more likely you are to reach whatever goal you have, be it great comments on your post, high average reviews and sales in self-publishing, or garnering an agent and a contract. Are you willing to take on the initial rejection and criticism, in order to receive less of it later? It's in your control to do so.


3. You can treat writing like a profession, even if you aren't earning through it yet.

Here's what's going to happen if you publish, independently or traditionally: People will have expectations, and you'll be working hard to meet them. And sometimes that will mean working when you don't feel inspired. Or working on a story that's started to die for you because you've read it so many times. 

An amateur gives up, procrastinates, denies (or worse, deceives) those who are demanding more, and makes excuses for why it's not their fault.

A professional works to deadlines (even if they're ones they've set themselves), takes input and turns it into momentum to improve, and is reliable. When they say something's going to arrive, it arrives. When they say they're delivering a sequel, or a proposal for the next book, or the edits on the current one, they do. It's that simple.

Are you making commitments and keeping them, even when it's hard? That's in your control. And if the day comes that you are successful in reaching a goal, the ability to work under pressure, or when the muse is absent, will serve you very, very well.


4. You can be willing to sacrifice to reach your goals.

Another refrain from aspiring authors: "I just don't have time."

In some lives, this is genuinely true. They're working full time, helping kids with homework, and dealing with family matters. If that's the case, forgive yourself, work when you can, and know that this is a season. The day will come when you have structured time to write, and you're so good at being reliable, that's when you'll see the rewards for it.

But many, many others don't.

"I don't have time!" yet they're binge-watching their favorite shows on Netflix.

"I don't have time!" yet they're posting visual diaries on Twitter, and talking for two hours with a friend over coffee about the book they're "writing". Sort of.

"I don't have time!" yet they're in a head-to-head battle with some guy in Norway over top slot on their favorite Playstation game.

Here's the thing: You can choose what you prioritize. If you want to prioritize other things, that's fine. But don't tell yourself (or me) that you don't have time. You do. It's what you're choosing to do with the time that's the problem.

Writers write. Are you? If not, you aren't a writer. But you can be. If you choose it.


5. You can be disciplined and structured about your efforts.

Here's words you'll hear a lot if you get involved in writing communities online:

"I'm a committed pantser."

"I can't outline, it kills the journey of discovery."

"I don't know how to fix this plot problem."

"If I plan a scene ahead, I get bored."

Something that's true: Everyone has a different process that works for them.

Something else that's true: Professional, successful writers have to plan ahead and know where they're going. They have to know what they're releasing before it's in the world. They have responsibilities to their agents/publishers to propose a book (which includes a full plot summary). They have to be able to commit to deadlines (which means understanding how long it will take them to write something, and pushing themselves to reach that goal even when it's hard).

Get serious. If you want to do this for a living, have an agent, get submitted to publishers, you have to be willing to plan.

Here's the cool part: When you start planning, organizing, and structuring your writing time, ultimately you'll write faster, better material, earlier in the process. And with each subsequent book, the material you produce becomes a better product. So you have more success, and get to choose even more things to plan for.

If you aren't willing to analyze, plan, or commit, your writing will get stuck and your career will stall. Your readers will get bored, or not show up at all.


6. You can function as a professional (even before you get paid).

No one says better how the jump to professionalism is achieved, than the master, Neil Gaiman (if you don't have time to listen to all of it, go to 14:10)

Which two are you? Own those. Tell people about them. Be those things. And watch yourself begin to succeed.


7. You can keep going, even when it gets hard.

Okay, serious talk: Some of us are dealing with mental or physical health issues, painful seasons in life, and other obstacles we can't control that will affect our ability to push on. That's okay. That's life. And writing is only good for your life when everything else is working. So take the time you need to be healthy, fit, and ready.

But once you're there, once you're in a place where you know what you want, and you're equipped to pursue it, know this: There are going to be really, really hard days (sometimes even weeks or months). Days when you're convinced your material is crap. Days when you receive just one more rejection from an agent, or just one more note from a publisher that says "close, but no cigar".

Those things all hurt. They hurt all of us. But there's two possible responses: The first is, "I hate this, I'm not doing it anymore." The second is "I need to take a breath, then I'm going to try again."

Guess which one will find you success? Hint: This industry will gut you if you don't have the wherewithal to lick your wounds, then keep going. The only part of this process that you can control is the willingness to take yet another shot.

Thomas Edison said it best. It took him around 1,000 tries to invent the light bulb, and after he did, a journalist asked him "How did it feel to fail 1,000 times?" His response? "I didn't fail 1,000 times, the light bulb was an invention with 1,000 steps."

Your book hopefully won't take 1,000 steps. But if it does, are you willing to keep pushing yourself on after the first one-hundred, two-hundred, even nine-hundred paces? Because that's the part of the process that you can control.

Authors are writers who didn't give up. Just because you haven't achieved something right now, doesn't mean you never will.

I promise.

So, here's my suggestion in a nutshell: Take control of what you can.

Then, in a few days, come back here and learn to forgive yourself for the things you can't . . .

Your Turn: Any questions? Ways I can help? Talk to me on Twitter at @AimeeLSalter or comment here.

Rule #1: Take the Reader With You

The last 3 weeks of reading have been a very interesting exercise for me. I have red one series which was incredible, bookended by two books which were not. All three taught me the same lesson: Take the reader with you.

There's an author whose books I read years ago, but who ended a series in a very unsatisfying way, so I stopped purchasing her books for a long time. I wish I hadn't done this. For years I left her to her devices, and only recently picked up the first in a new series. I was so blown away I devoured the entire series in days.

The last book in that series, I am happy to report, was not only amazing, it was inspiring. They were none of the technical, or storytelling issues that I'd observed in her debut series. I kicked myself for not believing earlier reports that these books were crazy-good. The thing that made this series incredible was not the character development, or how I was completely absorbed by the story (though those things are masterfully done). The incredible thing was that the premise of this series was ridiculous. If I were to describe these stories the entire premise would sound not only weird, but literally impossible. To have this many plots, and all the insane details converge on a small handful of people in a small town would seem implausible. But this author observed rule 1:

Take the reader with you.

Her world-building was steeped in reality, despite the fantastic nature of the story. Her characters were deep and complex, realistic despite their relative youth and inexperience. And the story was compelling despite the completely improbable elements that came together to make it up.

In short, she achieved The Impossible. The good news is that means we can too. You and I. All we have to do is take the reader with us.

There's any number of academic exercises I could do to explain what that means. But honestly, I think this is a skill we develop with time (just like this author did). Instead I want to tell you about the other reading experiences I had over the past 3 weeks, and why they didn't achieve this:

In the first, I read a fantasy book that, while beautifully written, and of a fascinating premise, never pulled me into love with the hero. And because the entire story hinged on me falling in love, the entire story was boring. I did not finish it.

The other book I read, and did finish--barely--was a contemporary romance. It was very well written, with complex characters, and a family dynamic that in normal circumstances would have kept me flipping pages late into the night. However, there was one major flaw in the story, and it took me several chapters into the book to identify it: Why was I not connecting with the story in the way that I should? Why was I able to put the book down, and go to sleep.? Answer: There was no character intent. There was never, at any of the divergent points in the story--every action, transition, or internal narrative--a description of what the protagonist wanted.

So on one hand I was left wallowing. Where are we going, and when can I expect to arrive? And on the other hand, I was frustrated. Why are we here? What's the freaking point?

I have to say that this last was, in fact, the most frustrating even though the writing was probably the best I've read in a long time. Knowing that there was a talented author behind the story and these characters, who clearly needed to be putting words out there, but also knowing that the reason this book was not receiving the accolades it should, or the reviews, or the sales, was because of this one missing element, broke my heart.

I'm guessing most readers would not be able to identify this unless they've taken some kind of creative writing structure training or study. But the fact remains unless you take the reader with you it's an unsatisfying story. And in this case I never got on the train because I wasn't told where it was headed.

I've talked on this blog before about character intent. I've talked about motivating stimulus and reaction. I talked about those things years ago, before I was a published author. I stand by those words. Mainly because the more I learn through my own writing, through reading, through being edited by a very experienced editor, and just generally in my own study of the craft, the more I know this to be true: Unless you take the reader with you, your book is going to fail.

Do you want to know what a book looks like when it doesn't take the reader along for the ride? It looks like a mediocre reviews, readers left questioning why they read the book, lackluster sales, and lots of "Did not finish". Whether they're able to pinpoint it or not, there's something missing, a critical element that effectively ruins the read.

So, what's my point here? My point is that you can't skip an understanding of the craft of writing and expect readers to fall in love with what you do. You, the author, must first understand what you want the book to do, then you have to figure out what your protagonist needs to want in order to take the story there. And after you've communicated that through their voice, you need to surround them with such tangible detail and response to stimulus, that even the most ridiculous premise is gobbled down whole.

You can do this. So can I. But just as our character needs to strive for something, so do we. There's no short-cuts here, folks. Study the craft. Understand the rules. Then when you break them, it's because you know another, better way to achieve what they do within the parameters of your story.

Good luck! (And I'll take all prayers to that effect for my current books *wink*

How Far Have You Come? How Far Do You Have to Go?

Working on a very in-depth revision of my book has reminded me of some of the difficulties of writing.

But it's also showing me how far I've come.

The following is an archived post, but it's one I've needed to refer back to recently - and one that challenges me to keep going. I hope it does the same for you...

I haven't always been a writer. My CV reads like a patchwork quilt of careers.  (I'm told this is common in creative, right-brained types).  But buried among a list that includes Recruitment Consultant, Project Manager, Marketing and Government Assistant, is one job I ended up doing twice:  Trainer.

Turns out I'm good at teaching people how to do their jobs.

I tell you that, only because it's the context in which I learned the following learning scale - and it's something you probably need to know.

It looks like this...

...and it's going to tell you how far you'll get as a writer:

UNCONSCIOUS INCOMPETENCE:  You Don't Know What You Don't Know

(Or, "As far as I know, I know everything!")

This is where every writer starts.  Whether or not you're naturally gifted, the first time you embark on telling a story in words, you're incompetent.  Accept it.

Roadblock Attitude: "I know enough to do what I want to do... why should I put the effort into learning the craft?"

The entire point of "Unconscious Incompetence" is that you don't know what you don't know.  And if you aren't willing to learn, you'll never know it. 

I'm beginning to see many writers never move beyond this point.  Unwilling to learn, they don't recognize they're just plain incompetent.  They never achieve, and never understand why.

CONSCIOUS INCOMPETENCE: You Know You Don't Know Enough

(Or "This is Harder Than I Thought!")

Conscious Incompetence is just that: the learner has learned enough to realize they're incompetent.

Roadblock Attitude: "Just because it's always been done that way, doesn't mean that's the way I should do it." 

1.  As a writer, you aren't only competing with yourself for success.  There are people out there who do this professionally already.  They've already been through the learning curve.  Their stuff is already 'great'.  When your talented-but-unrefined work goes up against theirs it always loses.  Learn the rules first, then you'll know how to break them.

2.  There's no doubt some people can learn 'on the job', but in the overall picture of your career it will take longer to succeed.  Consider the time used up front as your investment in your own future!

CONSCIOUS COMPETENCE:  You Know What to Do... But It's Work.

(Or "Why Is This Still Hard?")

My former agent once said writers who were just getting a grasp on the craft reminded her of one of those American Idol contestants.  You know the ones: They listen to the judges, take the advice - and work so hard to get it right that everything comes out robotic.

Roadblock Attitude: I'll never be good at this.

Never fear, eventually what's in the head sifts down into the soul.  That's when American Idol contestants sing like canaries and writers paint pictures with words that leave people gasping.  It's because they've reached...

UNCONSCIOUS COMPETENCE:  Oh, That's Right - This Used to be Work.

(Or "What do you mean, that's amazing?")

The whole point of learning the craft, listening to those more experienced, and emulating those who've been successful, is that one day it just happens... Without even thinking about it, you sit down to write a first draft and it comes out great.  (Or at least, a version of 'good' that is much, much closer to 'great' than most can achieve). 

There are no roadblocks, except those you raise for yourself, because you're there.  You're good.  And you don't even have to think about it.

That's why Stephen King can put out a book a year.  That's why Diana Gabaldon can cross-genres.   That's why I want to be like them:  Because I know if I'm patient and hard working... one day it won't be work anymore.

SO, WHAT'S MY POINT? 

This:  Most aspiring authors are in the first two groups.  It's unavoidable.  I suspect there are certain things we can't learn until we're working with an editor or have finished several books.  But if you imagine each of those boxes in a graded scale... well, you can also imagine where most of the 'aspiring' are sitting when they turn into 'author'. 

Just some food for thought.

Your Turn: Where do you think you sit on the scale?  Are you doing anything to move further along?

 

FIRST PRIORITY: Make the Reader Care

I read an interesting article from a successful writer who is also a slush-pile reader. The details were interesting (and very in-depth), but there were two high points for me that underlined things I'd heard from my agent, and from friends who are interns for agents:

1. Slush-pile readers want to like your story. In fact, as they open up that first page, they're hopeful they're about to read something amazing. Unfortunately, in most cases, that hope drops (slowly, or quickly, depending on the manuscript) as the read doesn't fulfill expectations.

Moral of the story: Slush-pile readers are your best chance for finding an advocate, if your story is up to par.

2. The most common reason for a slush-pile reader not enjoying a story was simple: They didn't care. Either the writing wasn't skillful enough to place them firmly in the skin of the protagonist, so they never felt grounded in the story; or, as the pages flipped, they kept getting distracted from the story by the growing realization that...it didn't matter to them.

Moral of the story: The very first priority for your opening pages is to answer these questions: Who is the character, what is he / she doing that's important, and why should the reader care about it?

You can study the craft, expand your vocabulary, and eradicate adverbs until your fingers bleed, but if the reader doesn't care about your protagonist and doesn't care about your story, you aren't getting anywhere.

So, how do you make the reader care?

Give them a person they can relate to and a threat to life, love, or eternal happiness. That's it.

That's building block numero uno.

Simple, right?

*Maniacal laughter ensues*

Your Turn: What makes you care about a character or story right from the start?

Multiple POV's: Choosing the Right Point of View

(NB: This article originally appeared in July 2011 when I was writing urban fantasy).

 

Are you struggling with a book which could work, but just isn't?  Are the characters layered, yet somehow that depth isn't making it onto the page?

Me too.  Or at least, I was.  Until the last few days when a big, ol' epiphany smacked me between the eyes and smiled a toothy grin.

I've been struggling through revisions on the opening chapters of Book II in my little trilogy for some time.  The book is in first (read: crappy) draft form - completed in NaNoWriMo last year.  The plot is in place, but reading through the material I've got, it was clear the character development and story arc weren't receiving justice.

I wrote scenes.  Rewrote scenes.  Tried a different inciting incident.  Went back to the original... on and on and on.

In frustration earlier this week, I put the book aside and started writing the opening to Book III (the final, since this is a trilogy).  Maybe I needed to figure out something crucial there that would open my eyes on book II?

Meanwhile, I was reading Maggie Stiefvater's Shiver, and really enjoying it.  I stayed up late one night and read a scene that really engaged all my senses.  I woke up still thinking about it. 

What had she done there? Why in a scene that, from a plotting point of view, is pretty much 'stock' in YA, did she get my heart racing and my emotions engaged?

Then I realized: She'd written a fairly standard scene from the point of view of the male character.  And in doing so, she'd revealed a level of tension and emotion that wouldn't have been evident from the heroine's point of view.

It got me thinking...

I write my books in multiple POV's. In my current series, scenes written from the POV of the female protagonist are in first person, scenes written from anyone else are in third.

I did this intentionally to draw the reader one step closer to the protagonist than the other characters.  But here's the thing: At the beginning of book II, the protagonist is under a lot of stress, but otherwise doing pretty good. It's her boyfriend who's embroiled in heightened emotions and whose immediate stakes are higher.

When I wrote the opening from the heroine's POV, the boyfriend looks like a jerk (because he's acting like one).  But when I took certain scenes from his POV, suddenly it opens up to the reader the battle he's waging.

His petulant actions no longer appear juvenile, instead they're more sympathetic. Sure, he's acting like a jerk, but look at what he's dealing with!

I literally took a scene I'd already written from the heroine's POV and rewrote it without plotting change through his eyes. 

One word:  YOWZA.

So here's my new rule (which only applies to books in which you write from more than one POV):

Whatever is happening, wherever you are in the story, write from the POV of the character who's experiencing the greatest emotional turmoil.  Let the reader walk in the shoes of the person with the most to lose at that point - even if their overall stakes aren't as high as the hero / heroine's.

The reader experience is all about emotion, so follow the feelings.  Your readers will love you for it.

That is all.

Your Turn:  What do you do when you know your scene isn't working?  Do you have any tips on how to better engage the reader ?
 

How Good Writers Make You "Feel"

For years there's been something bothering me: Why is it when I read a book that's been professionally written / edited (well), am I transported more than by a book that... isn't?

This week I think I figured it out. I touched on this note briefly last week, but I want to expand here because it heralds an "A-ha!" moment for me that might help you too:

Writers whose work compells me to keep reading don't describe "the feeling" of the focal character, they describe the stimulus that creates the feeling.

What does that mean?

It means, in the moment the hero and heroine meet and insta-love ensues, the writer doesn't focus on how the heroine feels. Instead, prose and page time are given to what the heroine sees, smells, touches... how the stimulus of being close to the hero affects her body:

It means no more "Before me stood the most delicious example of masculine strength under God's blue sky. I could barely breathe, unable to take my eyes off him..." and lots more "When his head turned, the sharp blue of his eyes raked me from head to toe. I shivered, following the lines of his broad shoulders to the corded muscles of his back..."

It means, when the shocking reveal of critical information occurs, the writer gives most of their focus to the implications that cause the feelings, rather than the feelings themselves:

Rather than "John wasn't in New York when Samantha was killed? He could be the murderer? My entire body trembled. I sucked in a breath, unable to believe it could be true. John had lied to me! John could be the killer?! No!..." you'll find more of "John wasn't in New York when Samantha was killed? I knew I should speak. Deny it. But all I could see was her bruised and twisted body, lying naked in the sand, cold and alone. The way her hair twisted around her ear and stuck to the raw skin on her neck. The numb vacancy her death had left in my gut. Was it possible he'd done that? Was John that monster?"

It means that, as the hero and heroine clasp hands and walk into the sunset, the writer focuses on their senses, the circumstances that give them safety and resolution. Not their feelings:

Instead of "Rafe took my hand and finally, finally I let myself smile. Drowning in the deep pools of his eyes - the eyes I'd wake up to every day for the rest of my life. My heart raced as I drank in his handsomeness and strength..." you'll find, "Rafe took my hand, his fingers curling between mine. It was the moment to let myself smile, and I did, dropping my head to rest on the warm firmness of his shoulder and breathing in the scent of him - pine, musk and something uniquely Rafe. As the car roared to life my smile broadened. We would drive away and never return to this place. This house was not a part of our future. Only our past..."

I guess the biggest lesson I'm taking away is that a focus on the feelings of characters will still get your story across. You can write a book that "shows" and describes feelings, and sometimes readers will love it.

But the book that places the reader in the skin of the protagonist, allowing the reader to see, feel and think as the character, trusting the reader to draw the right conclusions... that's the book that I forget I'm reading and just experience.

That's the story that becomes my own.

Your Turn: Have you observed any patterns or techniques in the books that draw you in and capture your imagination?

INTERVIEW: Elizabeth Briggs - Intern for Superagent Jill Corcoran

Elizabeth Briggs calls herself "...a nerd who writes YA sci-fi, goes to Comic Con every year, and volunteers with dog rescues." (I just call her a lovely online-friend and source of insightful publishing advice). She's represented by Kate Schafer Testerman of KT Literary, and interns for Jill Corcoran of the Herman Agency.

Liz, thanks for taking the time to drop by today. Let's start with your position as Intern at the Herman agency. How did you procure that position, and what's involved?

Thanks for interviewing me! I got the position by sending Jill an email after she posted that she was looking for interns. I told her I didn't have any experience in publishing, but that I was an active member of SCBWI and an avid reader of YA and MG. I wrote that I was hoping to transition to a job in publishing, and tried to describe how my work experience gave me skills that would help me as an intern. I honestly didn't think I would get the position because I assumed most people would be better qualified than me, but I wanted to try anyway.

Jill ended up hiring someone else as her assistant, and I figured that was that. But few months later Jill needed another intern to help with the growing query pile and contacted me. She interviewed me over the phone, and I started working for her in June. Now I help her go through queries, both to reject the ones that are obviously wrong for her and to make sure she pays attention to the amazing ones. I also sometimes read full manuscripts and give my opinion on them.

That sounds really interesting! Had you had much experience reading other writer's manuscripts before you started? What are the most common flaws you see?

Nope! The only experience I had was reading published books and doing critiques for beta readers. But I think one reason Jill "hired" me was that I've read over 90 books a year for the past few years, and most of them were YA and MG.

The most common flaws I see in manuscripts are: too much backstory early on, passive main characters, and a plot that moves too slowly.

That's interesting that you mention passive main characters as a common flaw. The word "passive" gets bandied around a lot in writing circles, but I think sometimes as writers it's hard to see your main character in that way when you know everything that's happening inside their head. Can you offer some examples of the kinds of things that make a protagonist passive, in your opinion?

A passive character is one that isn't driving the plot forward. Often this is because the protagonist doesn't have a clear goal they are working toward, or sometimes other characters are making the decisions and taking action instead of the protagonist. To fix this, I'd suggest making sure your main character has an overall goal they are working toward, plus a smaller goal or desire in every scene (although they should often fail at reaching these goals - it's the trying to achieve them that matters). You can also look at your side characters and see if one of them is making all the decisions, rescuing the protagonist a lot, and so forth (in YA, I often see this with the love interest).

Since you're reading a lot of different books now, from different authors, do you find yourself drawn to any genres in particular? Or seeing any trends coming through that you're excited about?

I'm not really drawn to any genres in particular, I just look for a unique concept plus excellent writing. And I wish I knew what the upcoming trends were! Right now I'm seeing a lot of interest in YA mystery/thrillers, funny contemporary, and magical realism. Also, anything MG is in demand right now, but it's hard to find writers who can do a great MG voice.

Great insight! Excuse me while I scurry off to finish my YA thriller! *Cough* Now that you're settling in with Jill, have you found that reading all those queries and books has helped you as a writer?

It's definitely made me a better writer, probably because it's easier to see what works and what doesn't in other people's writing than in your own. It's also helped me be more aware of overused cliches in writing (starting with waking up, for example).

Is there any advice you'd offer to writer's heading into the query / submission fray?

My advice to writers is to do your research before you query, not just about submission guidelines and things like that, but also about the agent him/herself. Look at their sales, and not just how many there are, but also where they've sold to, and what types of books they've sold. For example, if an agent only sells adult mysteries, or only sells to small presses, does that work for your book and your goals? If the agent is newer, where did they previously intern or work, and do they work for a reputable agency now? If they have Twitter or a blog, do you like what they have to say? Do you like their clients' books? I think writers sometimes become desperate to get an agent and don't stop to think, "Is this person a good agent for me?" You want to make sure that the agent you sign with both has the right experience for your writing goals, and is someone you want to work with for many years.

That's all great stuff, Liz. Thanks so much! Now, as our final farewell, tell us about your book! Where are you in the process of finding a publisher? And where can readers find you if they want to message or tweet, or hear about your upcoming success?

I'm represented by Kate Testerman of KT Literary, and my novel ALTERNATE is about a teen hacker who is thrust into a war between parallel universes when she meets an alternate version of herself from another dimension. You can find me at http://elizabethbriggs.blogspot.com and on Twitter at @lizwrites.

Thanks for the interview, Aimee!

Your Turn: Do you have any questions for Liz?

Repeat After Me: I Shall Not Write "I Heard..."

There's  a writerly niggle I've encountered in a few of the novels I've purchased lately (and my own - but thankfully that's not available for public consumption yet), and it's driving me nuts:


I heard the sound of gravel crunching under Noah's boots as he meandered up the driveway....

Carl wondered what was going on when he saw a crowd gathering in the quad...

Dave smelled the aroma of Charlie's cookies rising from the hot oven. It made his mouth water.


Did you pick it yet?

Just in case the answer is no, consider these alternatives:


Gravel crunched under Noah's boots as he meandered up the driveway.

A crowd gathered in the quad. What was going on?

The tantalising aroma of fresh-baked cookies rose from Charlie's oven. Dave's mouth watered.


Not only does the second technique use fewer words, it places the reader much deeper in the focal character's point of view (and trust me, that's never a bad thing). The closer your reader can get to feeling like they see, hear, smell and touch anything the focal character is interacting with, the more compelling your read will be.

So, hark back to the title of this post and remember: every time you come across the phrase "I heard / saw / smelled / noticed..." or "Devon heard / saw / smelled / noticed..." eradicate it. Push the reader deeper. Don't tell them what the character is aware of. Let them hear, see, smell and notice through the character's eyes.

Capeche?

Your Turn: Why do you think we often fall into this kind of phrasing? How do you bring your reader deeper into your novel?

Do You Understand Motivating Stimulus and its Importance to Your Novel?

I was recently interviewed about common mistakes I see in manuscripts I critique. It got me thinking about a lot of the mistakes I used to make and how I learned to identify them.

One of the most common problems I had in my first few manuscripts was the lack of foundational structure:

Tying Together Motivation and Response to Create Realism

This is crucial 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 (the phone rings, so I answer it; a friend cries, so I offer her a tissue; my husband says he wants a divorce, and I go into shock, etc). Using it makes any world believable.

What is a motivating stimulus? I'll leave it to my swami Swain to explain since I think he does it best:

"A motivating stimulus is anything outside your focual character to which he reacts. For a motivating stimulus to do its job well, it must have:

a. Significance to your character.
b. Pertinence to your story.
c. Motivity to your reader."

And I'll add one point that Swain makes later in the book in much greater detail:

Plausibility is key. If a stimulus appears "trumped up" by the author -- a vehicle to move the character that doesn't occur organically -- it doesn't matter how well the character reacts. You'll lose your reader.

So, what does this look like? It looks like something that isn't happenstance, and requires immediate reaction:

- 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.

- If 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 character 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. Don't let your characters give three paragraphs of internal narration before responding to a line of dialogue from someone else -- not unless you've established a great deal of emotion attached to that dialogue and hte reader already knows the answer, but it's more important to hear how the protagonist feels.

In general, give the motivating stimulus, then the response. Keep the momentum flowing by making sure that when event occurs it makes your character feel something. Give the reader the character's response right away - in thought, action and / or speech.

Your character should always be doing something to move your story forward. It's up to you to give them a plausible 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.

Your Turn: Any questions about motivating stimulus? Or comments on how it's used?

I'd Like to Introduce You to My Friends "Cause" & "Effect"

Having trouble pinning down an agent?  Certain your premise is a winner, but struggling to get anyone to read long enough to see it?

One thing that's utterly crucial for first-time novelists is suspension of disbelief.  The reader has to fall into your world and follow your story with zero "Really?" moments.  I think two things contribute to opening a book in a way that draws the reader in this way:

- Minimal backstory
- Maximum cause and effect.

A few weeks ago I posted advice from Taylor Mali suggesting every writer had to base every word they wrote in the physical world.  To my mind the most important thing he said was:

"...Don't expect anyone to listen to your advice and ignore your examples..."

I think a common misconception is that Cause and Effect are plotting devices: Love + Jealousy = Intrigue.  Rage + Obstacle = Murderous Intent.  Lust + Time = Love, etc - that if we simply put the right elements in a room together, we have created cause and effect.

While there's some basic foundational truth there, cause and effect goes much, much deeper.

Real, day to day life is driven by cause and effect.  Every move, every decision, is rooted in cause.  And every action creates effect.

To wit:
I have a manuscript to finish, so I write.  I am hungry, I eat.  I love my husband, I pick up his dry-cleaning.  My son runs a fever, I make a doctor's appointment....

Simple, right?

Let's take it down another level...

I have a hunger to be a published writer - I read books about the craft of fiction, study the advice of those who've achieved what I am aiming for.  I want my characters to be realistic - I observe the life and feelings of those around me.  I need an agent and a publisher - I query, and submit, and edit and wait...
But it goes deeper than that too:

I am inherently driven by a need to prove myself - to those detractors who, in my junior high and high school years told me I was nothing, hated, ugly and worthless; to the university professors who told me I was ill-disciplined, untalented, never going to be good enough; and to the adults who have (and do, and will) inwardly scoff at the idea I could ever be a success, because "She's just Aimee.  She's normal.  She's nothing special."

So I don't just write, I strive.

"Cause" can be anything from an unexpected phone call, to car crash, to a harsh word from a parent when the character was five. 

"Effect" is demonstrated in every detail from getting dressed in the morning, to one character setting out to murder another.

Really good writing doesn't just let cause hang in the wind, whipping the characters too and fro.  Really good writing delves deep.  It lets every detail have a point and gives every character intent a foundation.  Events and actions, big and small, are twined and tangled until the ultimate moment when every single event and intent collide in a cacophony of Effects.

The reader heaves a sigh of relief, not simply because the Hero has won the day, but because when they look back they can clearly see every action and reaction logically drawn from and pointing to this moment.  Emotions have been spent, actions have had consequences, now reactions will end the day.

Dig deeper, friends.  In yourself and in your characters.  And watch brilliance unfold.

Your Turn: What comes to mind when you think of 'cause and effect'?  Does the concept enter your writing process?  
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Write What You Know... In Fantasy?

I am re-reading Romeo and Juliet for reasons that won't interest you.  The little collector's edition I now own has a foreword from someone I've never heard of.  In it, Aforementioned Unknown makes this observation (NOTE: It's a British publication, so all spelling is SIC):

"Reading the play you discover that the characters all act and speak as you would expect anyone to do in the circumstances.  Those circumstances might be dramatic, even violent, and the setting long ago and far away.  But the interactions make sense.  Events unfold not in the way of throw-away fiction or drama, driven by dithering, unreasonable behaviour and ludicrous coincidences, but via the credible reactions of each character to the actions of the others.

"[Consider Juliet.]... we empathise not just with her predicament, but with her rational manner of coping with it.  And that is why we are so touched with the tragedy of her death."

-Ned Halley, Page xiii of this publication

Here's the thing: Mr. Halley gives these words a delighted air, as if this resonance with the reader is a unique and uncommon trait.  Perhaps in Shakespeare's time it was.  But I would contend that empathy with the main character(s) goes far beyond 'delightful' in contemporary publiction - it's essential.

I could make all kinds of quips regarding Mr. Halley's observation that Shakespeare's characters speak "...as you would expect anyone to do in the circumstances..." but you and I both know what he actually meant by that:

Whatever world your characters inhabit, whatever language or colloqialisms they use, whatever creatures they may encounter, it is imperative that you bring to them an element of humanity that is common to us all.

When we're told to Write What You Know that doesn't mean one must become an expert in swordsplay to write a convincing Knight (though that may come in handy).  It means a writer's job is to identify the most common element at the core of your protagonist (and his / her opponents) which anyone can recognize.

Feelings.

(I.e. If that was me, I'd feel that way too.)

As my Writer Swami puts it:

"...thought it is the writer's world the reader enters, there are all sorts of opportunities for confusion.  Too often, the writer falls into the trap of writing about things--about sex, about violence, about scenery, about war, about domestic bliss or discord.  Historical fact or clinical detail overwhelm him.  The implications and evaluations, tacit in his thinking, never quite reach the reader. 

"In brief, although his work may on the face of it be cast rigidly in story form, it isn't actually fiction.  For a story is never really about anything.  Always it concerns someone's reactions to what happens: his feelings, emotions, impulses, dreams, ambitions, clashing drives and inner conflicts.  The external serves only to bring them into focus.... as the old rule-of-thumb has it, 'Every story is somebody's story."

-Dwight V. Swain, Page 43 of this publication

In other words... it isn't the words about your fabricated world that draw a reader in.  It is what you know of people.  Of feelings.  Of the human condition.  Using the focal character, you draw a picture of a world and a set of circumstances that - if the reader were in it - would evoke great emotion.

You then attribute those feelings to your focal character.  And create reactions within them and to them that also resonate for the reader.

In short, you make sure your characters act like real people... even if they speak like fourteenth-century soap-opera stars.

I may not be a swashbuckling wench with a serpent tattoo, but if you place me firmly in the head and heart of a buxom young lass who demonstrates a humanity I can recognize, I'll feel like I am.

That is what I think it means to write what you know.  Search yourself.  Search your heart.  Search your life - and observe the actions and reactions of those you love.  Understand how you feel and why, then attribute those same feelings, reactions and conclusions to your characters.  Your reader will love you for it - even if it means empathizing with a demon-blasting immortal, or a narcisistic Emperess. 

Your Turn: What other tips have you found useful to successfully deliver 'writing what you know' in fantasy genres?
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How Do You Know When Your Book is Cooked (The Revival)

A funny thing happened here on my blog:  I was wrong.

Now, now, before you go gettin' all quivery...

Last year, after an extensive round of edits with my agent that whipped my manuscript into the best shape it had been at that point (and during which time several editors asked to read it *gulp*) I wrote a post on how to know if your book is cooked.

Except, the problem was, my book wasn't.  So editors who were 'very excited about the premise', turned it down. 

It just wasn't ready.

(If you want to see why I'm eating humble-pie, check out this post, then come back here.  I'll wait....)

*Facepalm*

Now, from what I gather, I'm not the first author to have experienced this.  But it taught me something really important:

I'll probably never be finished until the book is on the shelf.  (And, based on listening to a bunch of published authors out there, I'll probably wish I could change it later).

BUT that's kind of the beauty of this industry.  We're always growing, always improving, always learning new skills (or should be). 

I think the question you, me and everyone else who's writing should ask is: Have I got the right recipe?  Whether the next step is revision, querying agents, submission to editors or self-publishing - your book might be as "cooked" as you're capable of getting it right now.  If you find yourself reading through, changing sentences, then reading through and changing them back... you've probably reached your limit. 

So, what next?  How do you know it's ready to move along?

- Find a critique group (especially with someone more experienced than yourself) and listen to what they have to say, even if it hurts.

- Read a Really Good Fiction Craft Book.

- Put the manuscript aside for a couple of months and write something else, then come back to read with fresh eyes.

- Read another Really Good Fiction Craft Book.

- *CAUTION: USE WITH CARE*: Approach any professional contacts you might have and ask their advice.

The point is, even published authors haven't 'finished' a book until it's been through several rounds of editing.  We-The-Aspiring's can't really expect to reach that level without professional help.  The trick is to recognize when you've taken it as far as you can for now, then employ one of these techniques (or any others you can come up with).  And the key to making any of these actually useful is a willingness to consider criticism as a springboard for improvement, rather than a failure of epic proportions.

Your Turn: Is your manuscript ready to move on?  What helped you feel confident of that?
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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.