Category Archives: looking for editors

A Small Riff on “Infinite Revision” (I’m an Expert!)

cresock deserted peer sea

I’ve been deep in revisions of two major Works-in-Progress, with a resultant and perhaps regrettable absence from the blogosphere. The process has led me to think about the pros and cons of “infinite revision”—the impulse to come back to a supposedly polished manuscript again and again and again (and again. . . . ad infinitum).

The impetus for these revisions is twofold: first, responses from my valuable beta readers; and second, experiences at two recent “pitch” events, both of which I recommend: the one-day WritingDayWorkshop held in Louisville in April and the Midwest Writers Workshop “Agent Fest,” a Friday-Saturday affair in May at Ball State University in Muncie, Indiana.

The fact is, every time I attend a conference to pitch or get feedback from agents and editors (REAL agents and editors, mind you), I come home thinking that before I can respond to invitations to send materials, I really need to revise the darn book again!

Which of course means that my pages are sitting here, going nowhere, instead of in an agent’s inbox.

It seems worth asking whether the gains from the process of re-re-revising in response to these conference experiences are worth the inevitable delay. Surely there should come a point when I hit “save” for the last time and say “Enough!”

Well . . . yes. But. . . .

Two major eye-openers from this pitch-conference process have driven my compulsive rewriting, leading me to propose that maybe, just maybe, I’m not wasting my time.

“First-Page Reads”

First, both conferences included a “first-page read,” a feature that seems to be gaining popularity. In the “first-page read,” if you haven’t experienced one, conference attendees turn in, anonymously of course, the first page of their book. During the session, a moderator reads randomly selected submissions aloud.

At WDW, agents had copies to read along, a modification of the original format that I think made it easier for them to hone their responses in a rapid-fire, somewhat artificial setting. Agents raised hands or voices when they “would quit reading.” As one agent at MWW pointed out, ordinarily agents would have already glanced at the query, so they might be more tolerant of less than perfect submissions than when hearing a page cold (especially late in the evening after a long day). Even with those caveats, seeing how a panel of agents responded to my first page has, each time, been one of the most valuable conference experiences I can report.

“The Three-Minute Pitch”

Second, there is nothing like having to explain your book fast to a potentially skeptical listener to make you home in on that perennially vital question: what is this book about?

Think you know the main conflict, what’s at stake, how the main character changes, and why readers should care? Give yourself the three-minute test.

To meet the format requirements at MWW, I honed my pitches to ninety seconds. By the time I applied advice from my writing groups, they took barely a minute. And they both worked.

Things I Learned from Writing Conferences (This Time)

From the first-page read, I’ve distilled a “rule” much more important, it seems, than common prohibitions like “Avoid adverbs” or “Use strong verbs.”

Most obvious to everyone but slow-witted overachievers like me: BE CLEAR. Those agents wanted to be able to locate themselves in space and time in the company of a recognizable character. They wanted to be able to figure out, duh, what’s going on. And all this, of course, with only the tiniest touch of backstory. A hard lesson for those with unquenchable literary aspirations. Turns out all that energy devoted to haunting and mysterious hooks and complex, original metaphors would have been better spent on who, what, why, and where.

From the three-minute-pitch process, I’ve learned something else I sort of already knew but kept resisting: even the most complex plots, with the most tortured and nuanced characters, must have a throughline.

This rule is not in the least simple. It points to a tenet of structure as old as storytelling but one easy to overlook. Even if you are creating convoluted characters who wander all over their own emotions and tangle with fifty secondary characters and subplots, the book has to be about somebody who wants something and will pay in spades if he or she doesn’t get it.

That’s the throughline. Finding it is like that old story about chipping away parts of the marble that aren’t the statue. At some point, what your character wants, why she can’t get it, and what will happen if she doesn’t has to emerge from all the stuff that only supports your story, however important all that other stuff will ultimately turn out to be. The extras won’t work if they have nothing to hook onto.

Bottom Line: Sorry, You’re Not Stephen King or Salman Rushdie or Margaret Atwood or Any of Those Wonderful Folks

It’s tempting to think that our writing is so special, our creativity so rich, that any agent or editor who opens our file will be so entranced that clarity and throughlines are simply beside the point.

I fully acknowledge that there are literary geniuses for whom this is true. But two hard facts I’ve come to accept more and more: we first have to get our files into that agent’s inbox, and a clearly stated throughline is our best chance of slipping them in there. That throughline, which a three-minute pitch forced me to write, is also one of the best ways I’ve found to figure out where my book goes off track and w

Second, you are almost certainly not the genius who can transcend clarity once your first page is up for scrutiny by people who might actually pay you for the rest. Your genius—okay, my genius—will remain undiscovered if an agent or editor chooses “Move to Trash” before finishing that first page.

Quick Caveat before You Infinitely Revise

Choose your conferences carefully. It’s fun and often inspiring to attend lectures on how to do this or that in your story (“Make Your Characters Dynamic!” “Build Conflict!”). And it’s nice to chat with a “real author” who has agreed to critique your work

But conferences aren’t cheap. You can get “how-to” in spades online. And authors, bless us, don’t come to the chat thinking, “Would a publisher be willing to PAY FOR this book?”

With infinite revisions already behind me, I’ve found that someone who comes to my work with that question looming—who has made me do the work to answer it—is the only one who can definitively tell me whether I should revise again.

Okay, so when do you decide, “I’m never revising again”?

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Filed under Finding agents, Learning to write, literary fiction, looking for editors, Myths and Truths, novels, Plot Development, Publishing, Works in progress, Writers' conferences

8 Query Letter Don’ts

Succinct, clear advice for the OTHER awful task once the book is finished. I’m in the process, so this came right on time. Thanks, @KMAllan_writer. (And Chris the Story Reading Ape, for sharing this).

K.M. Allan

Perhaps the most feared thing after a synopsis for writers is the query letter.

Mostly because it has so much riding on it. It’s your chance to make a good impression on an agent or publisher, and you only have a few paragraphs to do it.

You want your query to lead to a request for your manuscript; it needs to be strong, interesting, and not feature any of these don’ts.

Query Letter Don’ts

1. Don’t talk about yourselfmore than the project you’re pitching. The agent/publisher needs to know about your book first. You, second.

2. Don’t skimp on story hooks. A hook is called such for a reason; it hooks the reader and makes them want to read more. If your query doesn’t mention at least one hook, rewrite it so it does.

3. Don’t give away too much. Yes, this contradicts the last point, but even though…

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That $%*!!?# Novel Synopsis—Again!

Synopsis writing for authors

Down the Synopsis Wormhole

I’ve been caught up in revisions, queries, pitches, and yes, my WIP synopsis for the past month. At least @BillFerris over at @WriterUnboxed gives me a reason to laugh at my wandering efforts to tell a 99,000-word story in 1000 words! Maybe he’ll help you over the hump of writing your synopsis. Enjoy.

I swear I'll catch up my SEO!

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Filed under business of writing, Finding agents, looking for editors, novels, Publishing, Works in progress

Once More into the Dreaded Synopsis!

Frustrated man at typewriter

Via Chris the Story Reading Ape, this post by M. L. Davis at Uninspired Writers provides another template for tackling that hateful beast, the synopsis. We can never have enough weapons in this struggle, IMHO. Let me know if you try this!

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Myths and Truths about Traditional Publishing—What It Was Like for Me.

Old Open Bible

I came across this post via Chris the Story Reading Ape (a crucial source for publishing tips and news). Steven Spatz, president of BookBaby.com, a book packager for independent publishers, lays out “Six Myths (and a Few Facts) about Traditional Publishing.

Just to be clear, “traditional publishing” means having your book produced by an established, for-profit publishing company that will pay you an advance, provide you with an editor and a publicity department, physically manufacture your book—including the cover and format—and, ideally, get it to sell.

In contrast, independent or self-publishing means writing a book and getting it edited, producing a formatted copy with a cover, uploading it as an ebook to an ebook vendor like Amazon or Smashwords or as a “real” book like a paperback or hardcover to a company that “packages” it for you and that may supply some editing, cover production, and marketing, depending on what you pay for.

Whew.

When I contemplated this post, I didn’t know those definitions could be so hard.

Bottom line: A traditional publisher PAYS YOU and does it all (or much of it) for you. As an indie publisher, you either do it all yourself, possibly for free, or pay for certain services you don’t feel you can do well.

grunge paper texture, vintage background

With that out of the way, the very first comment on Mr. Spatz’s article pointed out that BookBaby specialized in packaging books for “indie publishing,” and is therefore biased against traditional publishing.

Okay, Spatz may be biased. But as I read, I found myself saying, yeah, yeah, that’s exactly what I found out during my all-too-brief existence as a traditionally published author. Spatz’s observations, in my view, offer a useful “wait-a-minute!” that prospective authors need before they decide how they want to enter the publishing melee.

Note that the experiences I cite here are grounded in my own career: I was traditionally published by three MAJOR houses, St. Martin’s, Bantam/Doubleday, and New American Library. Today’s traditional publishing field is surely more competitive, not less, than in those glory days.

So, with eternal gratitude to Victoria Strauss, read these thoughts as a version of Writer Beware.

Spatz’s Myth 4: Publishing with a Traditional Publisher means your book will show up on bookstore shelves.

This was my first devastating revelation. And my mother’s. We’d walk into a bookstore and she’d gesture at the extravagant front-door displays and demand, “Why don’t they put your books out here?”

Because, I learned, shelf space is a precious, much fought-over commodity. In order to be provided so much as a sliver of space the width of a spine, my books had to have a mega advertising budget behind them. Mega. I had to be Paris Hilton. Or Michelle Obama. Or . . . you know who I mean.

My mass-market paperbacks (these still do exist) did get rack space in drugstores. For about a month.

I can now get my books into independent bookstores by carrying them there and asking for shelf space while presenting a reason why I deserve it. This was as true before indie publishing as it is now. Only it never occurred to me. I didn’t know that was part of my job.book word in letterpress wood type

Myth 3: A traditional publisher will market your book.

This hope meant almost zilch thirty-five years ago. I can’t imagine it means more now.

No one told me that I really needed to get out there and market. They told me, write the next book. At least now they’re honest about this.

Marketing is the hardest thing asked of authors who really would rather be writing the next book (well, hardest after writing the synopsis). Only some of us have marketing in our blood. I found that my houses had standard “marketing” practices that gave the books a chance to take off but didn’t do anything out of the way to grow them wings. A smart author (I was not) would have noticed all the other things that could have been done, and would have done them.

I did do something. For King of the Roses, they asked me for a list of horse-racing celebrities who would endorse the book. I compiled such a list. They wanted to know who on that list I knew whom I could personally ask. Um, no one.

I said, since this book is about the Kentucky Derby, why not run an ad in the Daily Racing Form on Derby Day? Not cost-effective, they said. So I paid for it. Myself. They may have been right. In those days, you couldn’t track clicks to see who responded to what ad.

What a traditional house can do is send your book out to reviewers. They have lists of people who will possibly read your book and write it up in a highly visible place. Much more effective than begging for reader reviews. If the right reviewer—say, at the New York Times—takes a shine to your cover or back-of-book copy, you might really end up on Oprah! (No way of knowing what my brief mention in the prestigious Atlantic Monthly meant to my sales.)

Magic book

Myth 5: Getting picked up by a major house means your writing career is set.

No.

Your career with a traditional publisher will last only as long as you write a) what the publisher thinks will sell; or b) what actually does sell. You want a career in a traditional house, YOU better make sure what you write sells. See Myth 3.

And if what you wrote the first time around doesn’t sell well above average, second chances are hard to come by. More than once agents I’ve approached want sales figures from my previous books. At the very least, they want my platform. How many famous people do I know who will endorse my book?

It takes only one “disappointing” book to end this kind of career. I know.

That doesn’t mean there aren’t ways back into the fold. But they are at least as hard as that first foray, when you stood a chance of being a “discovery” that sent the sales team into raptures. I was there. I know.

Some “truths” from Spatz I can endorse:

**It will take at least a year and probably longer for your traditionally published book to make it into print.

**You have to fight for control over your metadata and cover. If you don’t like cover or the back-cover copy or the book description, you have to assert yourself. I was able to protest the inner jacket flap copy for one of my books and rewrite it. But it was when I saw the back-cover copy of that book that I knew the book was doomed. No blurbs quoting the excellent reviews for my first two books, both in paperback from Bantam. Instead, just an excerpt from the book.

Decent writing, I guess, albeit arguably overwritten. Of course, in Bantam’s defense, in those days, no one could order a mass-market paperback once it was out of print.

**And if your traditionally published book does make it onto bookstore shelves, it will run out its welcome fast. Once it’s last month’s sensation, it’s gone. Maybe you’ll get a paperback deal that may hang onto shelf space in row 6 a little longer. But it if doesn’t sell, bookstores will pull it for this month’s New Thing. People will buy your book from Half-Priced Books or from third-party sellers on Amazon, and you won’t make a cent.

Image of earth planet on hand

A truth of my own: Working with a top editor at a major house doesn’t mean your book will get better.

My editor at St. Martin’s was superb, my editor at Bantam horrible, and my editor at NAL nice but not inspirational. (They are all long gone, so don’t ask.) I learned that, in the end, I alone was responsible for the words that got published under my name.

I regularly depressed people at writing conferences by sharing these experiences.

If I’ve depressed you, at least you are forewarned.

If this sounds as if I am biased in favor of self-publishing, well, to a certain extent yes. I would like to be traditionally published again because a “published” book, however doomed in the market, would give me credentials for speaking and guest-posting. I would also like reviews. And my feeble, newbie marketing efforts are unlikely to earn me what I would make from even the most anemic advance.

What I do like about self-publishing is that my prospects are limited only by my energy and creativity. There is no shelf-life for my books. I can try new marketing techniques indefinitely without knowing that next week, or the week after, my books will show up on that pile labeled “remaindered.” I can even revise and republish. I can be a completely new author, in a completely new genre, as fast as I can write.

When lightning strikes an author!

My final words of “wait-a-minute”:

If you want to submit traditionally, haul out all those grammar books and all those tomes on how to structure a story. Editors and agents do gatekeep based on how much work you’re going to mean for them versus how much you can earn for them. A badly edited, unstructured book means more work for them. A great idea can die because it looks as if it will take too much time to slap into shape. Make their job as easy as you can.

If you want to self-publish, do your due diligence. Book packagers (that includes Kindle Direct Print and Ingram as well as BookBaby, Lulu, etc.) vary widely in quality and cost. Make sure you understand how the self-publishing universe works (it’s all out there online) and don’t pay for anything you can do yourself. You can publish your ebook in an hour at Smashwords or Amazon for free. Your paperback may take a little longer, but you can do it. Don’t pay for anything you can do yourself.

Ask me anything you want about my days as a “published author.” I’ll tell you everything but the names.

 

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Filed under Amazon Kindle Direct Publishing, business of writing, indie publishing, King of the Roses, looking for editors, Marketing books, Money!, Myths and Truths, novels, Publishing, Scams, Self-publishing, Writing

Is It Worth Your Time to Pitch Your Book?

Book in dramatic sunset landscapeOver at Indies Unlimited not too long ago, I ran across this comment from multi-award-winning author @MJBowersock:

[A]nyone who has not already been published, who is not a name that people recognize and that will draw sales, will not win a publishing contract with a traditional publisher. It’s like winning the lottery. It could happen, but the chances are, it won’t.

That’s not quite the kiss of death to our dreams of one day breaking into the publishing big time (the big houses call themselves “legacy” publishers now, Bowersock says). But it’s close.

Books as stairs to publishing success

So my question is, what about all those conferences that bring in rafts of agents and editors who claim to be starving for new talent (like you and me)? Are they scamming us? Do they consider a day at a conference listening to pitches some sort of paid vacation?

If Bowersock is right, I guess so. And our chances of coming away from a conference with real hopes for a contract are nil. Conferences aren’t cheap. Pitching is scary. Why go through such an ordeal?

Here’s one answer: because there are benefits from pitching to actual editors and agents that you can’t get any other way.

I’m not suggesting that any writer invest thousands of dollars in conferences. But I am arguing that a judicious choice of conference at the right moment in your process can be worth at least as much as what you’re paying for that cover or that expert to format your text—

—Because pitching gives you several kinds of feedback you won’t get from any other source.

Publishing success is like a sunny day

You know what you get from query letters: “Sorry, we’re not the right agency for this book.”

What about your writing group? I consider writing groups essential. But the members of your writing group read as friends and colleagues. They don’t read as business people, charged with making money out of your book.

And therein lies all the difference. They hope to make money off of you!

I’m not plugging for any conference, but I’ve been to quite a few, and I’m sharing my experience. I’ve learned things from pitch sessions that no one else ever told me. I’ll do it again.

If you do decide to pitch, be sure to make your investment count:

  • Be ready. Don’t rush to a pitch session with an unspellchecked draft while you’re still trying to figure out whether your main character’s hair is black or red. Exhaust your writing groups and beta readers first.
  • Review the faculty to make sure you can pitch to people who work with your genre. Make sure they work for good agencies and aren’t just somebody’s Facebook friend.
  • Get one-on-one critiques as well as pitches. If at all possible, pay extra to have the right person at the conference read a query letter or a first page and meet with you so you can ask follow-up questions. Pay for “pitch practice” if you possibly can.

Your words fall into your book!

Here are the kinds of questions you can get answered even if there’s scant hope of a contract. They’re the questions you would pay an editor to answer, and Lord knows good editors aren’t cheap.

Do I know what my book is about?

You can muse all day with your writers’ group about your story question, your main character’s goals, why she can’t achieve them, how her journey ends, and so on.

In a pitch session, you have five minutes to lay it out. Five minutes with a steely eyed editor daring you to make him buy it. Get tongue-tied with that agent smiling ever-so-sweetly at you?

Then you haven’t figured it out.

Seeing that stare glaze over or that smile turn to a frown tells you that it’s time to take a good look at your structure so next time you’ll know what your book is about.

What’s derailing my book?

When was the last time you got a response from a query that said, “Sorry, here’s why we don’t want your book.” [Interject sound of strangled laughter from author]

In contrast, you’re three minutes into your pitch, and Steely Eyes says, “I don’t understand why anyone would do that.” Sweet Smile says, “That sounds like a really unpleasant character.” They both say, “I’m lost.” (Often followed by a specific hint as to where and how the road signs got turned around.)

Yeah, I know, if they’d just read the darn book, they’d get it. But the fact is, you’ve just recited part of the back cover blurb that will make readers buy the darn book, and now you know a few things that can turn readers off.

And you have specific issues beyond just-not-good-enough to consider before your next submission: motivation, characterization, style.

Is my idea the high-concept, totally original, million-dollar gem I think it is?

Agents and editors see hundreds of ideas in your genre. You may well be asked, “How is this different from all the other books I’ve seen recently about crazed werewolves in New Jersey?” That five minutes will tell you whether you know the answer to that.

How does my work stack up with someone who is not my friend?

Really, it all comes down to this one: An agent or editor at a conference does not need to make you feel good.

They don’t need you to be in the mood to give them friendly, constructive advice at the next writing group meeting. They don’t need to keep you happy so you’ll hire them again the next time you need an editor.

They’ll give you your five minutes, but after that, they’ve got twenty other people lined up, one of whom might have THE BOOK they came to the conference to acquire.

So the instant they know your pitch isn’t clicking, they won’t string you along.

Pitching at a conference isn’t the way to learn how to make your structure work or how to make your concept a stand-out. But it’s one sure method of finding out fast how close you are to those goals. The day the frown is accompanied by a business card and a willingness to take a look, you’ll know you’ve finally managed to answer the questions that will sell your book.

Book publishing success

Do you have advice for making the most of pitch sessions? Share!

 

 

 

 

 

 

 

 

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Filed under business of writing, Editing, Finding agents, indie publishing, Learning to write, looking for editors, Money!, Myths and Truths, novels, Publishing, Self-publishing, Writers' conferences, Writers' groups, Writing, Writing and Learning

Writing a Synopsis? Jane Friedman to the Rescue

Is there ever a time when Jane Friedman’s writing advice is not worth reading? Just today, checking out her newsletter, I’ve discovered more wonderful posts than I can feasibly share.

Torn up draftsI decided to link to this Jane Friedman piece on writing synopses because recently members of one of my writing groups have been plagued by their struggles with that demon of demons. Oh, how we all hate that one task!

But listening to the synopsis drafts, I found myself wondering if the writers had searched the lovely Internet for the many helpful examples, guidelines, and templates that excellent writers have shared. The first thing you learn when you do is “Do not try to create a blow-by-blow of every single thing that happens in your book!” Yet over and over, that’s what drafts of synopses seem to do.

Getting from the blow-by-blow to the contained, focused, emotionally revealing creature (in one page, no less) that agents and editors say they want is HARD. I’m not for one second denigrating the incredible effort it takes. But I’m sharing these resources just on the outside chance that some readers haven’t encountered them. Friedman lists no fewer than six sites that prove both instructive and inspirational, including one that critiques more than 100 drafts.

I’m not at the synopsis stage right now, but I will be again soon, and I will mine every one of these sources. I hope they prove helpful to you.

Do you have a favorite tip site for writing synopses? Share!

 

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