Recently I've signed up on a writer's forum. One of the sections is critique groups, which range the gamut on genre and feedback requested. I found one that was open to new members and dealt with my genre, and figured, "What the heck? Ask for a read-through and some advice on whether enough happens/tension is high enough." But I forgot the one pitfall of groups like this. Sometimes, the people doing the critiques are too wrapped up in their own words to be able to read something and distance themselves from their own style.
Take, for example, writer X. I let Ms. X know that I was looking for overall impressions on the feel of the book, and whether it all flowed. Ms. X took my first chapter, and within a day had turned around with a line by line dissection of every sentence and how she thought it could be better. Now, buried in the (literally) 59 comments on about five pages of text, there were some helpful items. I used a unique word in two sentences that were right next to each other. A section where I talked about a scar the heroine got from an attack was confusing--it didn't seem to match the injury (It was a seperate wound from what she was talking about, but I hadn't made that clear enough). The rest was Ms. X trying to make my character talk in the voice she'd created for her own protagonist. The trouble was my protagonist DIDN'T talk like Ms. X. She was a 16 year old girl from New York. Ms. X had a much more formal (and thesaurus-based) way of writing. Purple prose, to be honest--appropriate for literary fiction maybe, but not urban fantasy focused on a teenaged girl.
So my critique, rather than talking about clarity and flow like I'd asked for, consisted of her telling me my sixteen year old New Yorker would say things like "Perhaps the bars would have offered me some populated safety," (who talks like that? Especially when they're running for their lives?) and telling me to describe the smell of a person she sees for about a minute.
I know Ms. X meant well. But it wasn't at all what I was looking for. It told me nothing about my book except that it wasn't written like hers. Quite frankly, that wasn't a bad thing. I don't want a story full of unrealistic dialog and observations that are communicated in a completly imappropriate way to the character. My protagonist sees things through her eyes and talks about them based on her own impressions, not mine. It seems I had gotten that part right, perhaps. Now I just had to find a way to bow out of a full critique of my book gracefully, because 350 more pages of comments on how my character didn't talk like hers wasn't going to tell me much more than she's already said.
Saturday, July 24, 2010
Sunday, July 18, 2010
10 Commandments for the Happy Writer
I'll admit that today's post isn't my own, but I came across it on Nathan Bransford's blog and thought it bore repeating. If you haven't checked out his site I highly recommend it--he's got great advice for aspiring authors, from an agent's perspective. Here's what he listed as the 10 commandments for being a happy writer (Check out the original here: http://blog.nathanbransford.com/):
1. Enjoy the present.
Writers are dreamers, and dreamers tend to daydream about the future while concocting wildly optimistic scenarios that involve bestsellerdom, riches, and interviews with Ryan Seacrest. In doing so they forget to enjoy the present. I call this the "if only" game. You know how it goes: if only I could find an agent, then I'll be happy. When you have an agent, then it becomes: if only I could get published, then I'll be happy. And so on. The only way to stay sane in the business is to enjoy every step as you're actually experiencing it. Happiness is not around the bend. It's found in the present. Because writing is pretty great -- otherwise why are you doing it?
2. Maintain your integrity.
With frustration comes temptation. It's tempting to try and beat the system, whether that's by having someone else write your query, lying to the people you work with, or, you know, concocting the occasional fake memoir. This may even work in the short term, but unless you are Satan incarnate (and I hope you're not) it will steadily chip away at your happiness and confidence, and your heart will shrivel and blacken into something they show kids in health class to scare them away from smoking. Don't do it.
3. Recognize the forces that are outside of your control.
While it's tempting to think that it's all your fault if your book doesn't sell, or your agent's fault or the industry's fault or the fault of a public that just doesn't recognize your genius, a lot of times it's just luck not going your way. Chance is BIG in this business. Huge. Gambling has nothing on the incredibly delicate and complex calculus that results in a book taking off. Bow before the whims of fate, because chance is more powerful than you and your agent combined.
4. Don't neglect your friends and family.
No book is worth losing a friend, losing a spouse, losing crucial time with your children. Hear me? NO book is worth it. Not one. Not a bestseller, not a passion project, nothing. Friends and family first. THEN writing. Writing is not an excuse to neglect your friends and family. Unless you don't like them very much.
5. Don't Quit Your Day Job.
Quitting a job you need to pay the bills in order to write a novel is like selling your house and putting the proceeds into a lottery ticket. You don't have to quit your job to write. There is time in the day. You may have to sacrifice your relaxation time or sleep time or reality television habit, but there is time. You just have to do it.
6. Keep up with publishing industry news.
It may seem counterintuitive to follow the news of a business in which layoffs currently constitute the bulk of headlines. But it behooves you to keep yourself informed. You'll be happier (and more successful) if you know what you're doing.
7. Reach out to fellow writers.
No one knows how hard it is to write other than other people who have tried to do it themselves. Their company is golden. If you're reading this it means you have an Internet connection. Reach out and touch a writer. And plus, the Internet allows you to reach out to writers without smelling anyone's coffee breath.
8. Park your jealousy at the door.
Writing can turn ordinary people into raving lunatics when they start to believe that another author's success is undeserved. Do not begrudge other writers their success. They've earned it. Even if they suck.
9. Be thankful for what you have.
If you have the time to write you're doing pretty well. There are millions of starving people around the world, and they're not writing because they're starving. If you're writing: you're doing just fine. Appreciate it.
10. Keep writing.
Didn't find an agent? Keep writing. Book didn't sell? Keep writing. Book sold? Keep writing. OMG an asteroid is going to crash into Earth and enshroud the planet in ten feet of ash? Keep writing. People will need something to read in the resulting permanent winter.
What's playing: "She Blinded Me With Science," by Thomas Dolby.
1. Enjoy the present.
Writers are dreamers, and dreamers tend to daydream about the future while concocting wildly optimistic scenarios that involve bestsellerdom, riches, and interviews with Ryan Seacrest. In doing so they forget to enjoy the present. I call this the "if only" game. You know how it goes: if only I could find an agent, then I'll be happy. When you have an agent, then it becomes: if only I could get published, then I'll be happy. And so on. The only way to stay sane in the business is to enjoy every step as you're actually experiencing it. Happiness is not around the bend. It's found in the present. Because writing is pretty great -- otherwise why are you doing it?
2. Maintain your integrity.
With frustration comes temptation. It's tempting to try and beat the system, whether that's by having someone else write your query, lying to the people you work with, or, you know, concocting the occasional fake memoir. This may even work in the short term, but unless you are Satan incarnate (and I hope you're not) it will steadily chip away at your happiness and confidence, and your heart will shrivel and blacken into something they show kids in health class to scare them away from smoking. Don't do it.
3. Recognize the forces that are outside of your control.
While it's tempting to think that it's all your fault if your book doesn't sell, or your agent's fault or the industry's fault or the fault of a public that just doesn't recognize your genius, a lot of times it's just luck not going your way. Chance is BIG in this business. Huge. Gambling has nothing on the incredibly delicate and complex calculus that results in a book taking off. Bow before the whims of fate, because chance is more powerful than you and your agent combined.
4. Don't neglect your friends and family.
No book is worth losing a friend, losing a spouse, losing crucial time with your children. Hear me? NO book is worth it. Not one. Not a bestseller, not a passion project, nothing. Friends and family first. THEN writing. Writing is not an excuse to neglect your friends and family. Unless you don't like them very much.
5. Don't Quit Your Day Job.
Quitting a job you need to pay the bills in order to write a novel is like selling your house and putting the proceeds into a lottery ticket. You don't have to quit your job to write. There is time in the day. You may have to sacrifice your relaxation time or sleep time or reality television habit, but there is time. You just have to do it.
6. Keep up with publishing industry news.
It may seem counterintuitive to follow the news of a business in which layoffs currently constitute the bulk of headlines. But it behooves you to keep yourself informed. You'll be happier (and more successful) if you know what you're doing.
7. Reach out to fellow writers.
No one knows how hard it is to write other than other people who have tried to do it themselves. Their company is golden. If you're reading this it means you have an Internet connection. Reach out and touch a writer. And plus, the Internet allows you to reach out to writers without smelling anyone's coffee breath.
8. Park your jealousy at the door.
Writing can turn ordinary people into raving lunatics when they start to believe that another author's success is undeserved. Do not begrudge other writers their success. They've earned it. Even if they suck.
9. Be thankful for what you have.
If you have the time to write you're doing pretty well. There are millions of starving people around the world, and they're not writing because they're starving. If you're writing: you're doing just fine. Appreciate it.
10. Keep writing.
Didn't find an agent? Keep writing. Book didn't sell? Keep writing. Book sold? Keep writing. OMG an asteroid is going to crash into Earth and enshroud the planet in ten feet of ash? Keep writing. People will need something to read in the resulting permanent winter.
What's playing: "She Blinded Me With Science," by Thomas Dolby.
Sunday, July 11, 2010
When Distraction Calls
I'm about 20,000 words in on book two of my Toxic series. Sounds like it's going well, right? It is, but I'm also fighting distraction. Driving home from work on Friday I saw a cheesy van with a logo printed on the back window--ColoradoSpringsGhostHunters.com, or some such thing--and it got me thinking. What would happen if a kid had parents that were scam-artist ghost hunters, but the kid could actually see ghosts?
Enter Jeremy Roswell, fifteen year old home-schooled son of modern day gypsies, con artists that have everyone believing they're the real deal. Jeremy is a little socially inept--wouldn't you be if you were dragged around to conventions and seances your whole childhood?--but he's a pretty grounded kid. He knows the deal with his folks, and he has a pretty good laugh at their cluelessness when there are actual spirits nearby.
So, yeah. Distraction. Jeremy's story isn't totally clear yet, at least. He's still just more of a character in my head trying to get my attention. I'll keep on with book two of Toxic, and let him become a little more solid in my head while he waits. Tempting, though, to just start writing and see what happens to him.
What's playing: "Rehab," by Amy Winehouse.
Enter Jeremy Roswell, fifteen year old home-schooled son of modern day gypsies, con artists that have everyone believing they're the real deal. Jeremy is a little socially inept--wouldn't you be if you were dragged around to conventions and seances your whole childhood?--but he's a pretty grounded kid. He knows the deal with his folks, and he has a pretty good laugh at their cluelessness when there are actual spirits nearby.
So, yeah. Distraction. Jeremy's story isn't totally clear yet, at least. He's still just more of a character in my head trying to get my attention. I'll keep on with book two of Toxic, and let him become a little more solid in my head while he waits. Tempting, though, to just start writing and see what happens to him.
What's playing: "Rehab," by Amy Winehouse.
Wednesday, July 7, 2010
Publishing Limbo
As a writer, you get used to rejection. Lots of it. We all have our ways of dealing with it. Who knew that the limbo while waiting for the rejection could actually be a little bit harder?
Take right now, for example. I've got eight outstanding queries on my book, "Toxic." One of them, miracle of miracles, asked for a full off my query and 10 sample pages. That was a month ago. Still waiting, but according to industry scuttlebutt, it could take another three months to even hear if they want edits and then a resubmit. Of the other seven, three are set to go into "if we don't respond by XX date, we're not interested" land. Now these are the interesting ones, because up to now every agent that's said that actually responded. With rejections, but still. According to their guidelines, a "no" left you in the "no reply, period" zone. So while I'm getting ready to cross them off my list, I keep thinking "the others that said I wouldn't hear actually sent a form email, so maybe..." Dangerous ground because it leaves you in a weird limbo world, not wanting to send out more queries while those are outstanding, just in case they provide some helpful feedback that will make future queries stronger. Hey, it could happen some day. I could win the Powerball, too.
To distract myself, I'm working on the second book. I'm also having an argument with myself about whether I need to write a couple short stories and get them published. Get in the SFWA so that my experience line isn't so...absent. Easier said than done, of course. I'm not going to claim getting a short story published is any easier than a novel. But what's a girl to do? I swear it's like waiting to see if anyone will ask you to the prom.
What's playing: "House of Wolves," by My Chemical Romance.
Take right now, for example. I've got eight outstanding queries on my book, "Toxic." One of them, miracle of miracles, asked for a full off my query and 10 sample pages. That was a month ago. Still waiting, but according to industry scuttlebutt, it could take another three months to even hear if they want edits and then a resubmit. Of the other seven, three are set to go into "if we don't respond by XX date, we're not interested" land. Now these are the interesting ones, because up to now every agent that's said that actually responded. With rejections, but still. According to their guidelines, a "no" left you in the "no reply, period" zone. So while I'm getting ready to cross them off my list, I keep thinking "the others that said I wouldn't hear actually sent a form email, so maybe..." Dangerous ground because it leaves you in a weird limbo world, not wanting to send out more queries while those are outstanding, just in case they provide some helpful feedback that will make future queries stronger. Hey, it could happen some day. I could win the Powerball, too.
To distract myself, I'm working on the second book. I'm also having an argument with myself about whether I need to write a couple short stories and get them published. Get in the SFWA so that my experience line isn't so...absent. Easier said than done, of course. I'm not going to claim getting a short story published is any easier than a novel. But what's a girl to do? I swear it's like waiting to see if anyone will ask you to the prom.
What's playing: "House of Wolves," by My Chemical Romance.
Thursday, July 1, 2010
When queries make you think...
I sent another query out to an agent today, but in addition to the pitch, synopsis and sample pages most want, I found myself having to talk about myself as well. They wanted information about me as a writer, and what I wanted out of my writing career. The topic seemed simple enough, but it wasn't. I'd never really stopped to think about the "why" of any of it.
Since I was too little to even read by myself, it had just been a given. Books charmed me, and it had never crossed my mind that I couldn't, or shouldn't, make my own. Sure, I took some time off to live a different life, but I had come back because I knew that without it, I wasn't who I wanted to be.
But why had I written this particular book, for this particular age group? That's what they wanted to know. The truth was, I'd never even considered YA fiction before. So there must have been some reason that this was the story that finally came out. The question was: why? I had no idea.
When I sat down to write about it for the agent, what I put was that I'd written the book to give young adults the same experiences I'd had growing up--of staying up too late on a school night, reading a fun book I just couldn't put down, with a character I could relate to. The answer surprised me, because it was an honest one. Who knew?
As far as reasons went, it wasn't all that bad. Maybe, given my answer, I was on the right track after all.
What's playing: "Mr. Brightside," by The Killers.
Since I was too little to even read by myself, it had just been a given. Books charmed me, and it had never crossed my mind that I couldn't, or shouldn't, make my own. Sure, I took some time off to live a different life, but I had come back because I knew that without it, I wasn't who I wanted to be.
But why had I written this particular book, for this particular age group? That's what they wanted to know. The truth was, I'd never even considered YA fiction before. So there must have been some reason that this was the story that finally came out. The question was: why? I had no idea.
When I sat down to write about it for the agent, what I put was that I'd written the book to give young adults the same experiences I'd had growing up--of staying up too late on a school night, reading a fun book I just couldn't put down, with a character I could relate to. The answer surprised me, because it was an honest one. Who knew?
As far as reasons went, it wasn't all that bad. Maybe, given my answer, I was on the right track after all.
What's playing: "Mr. Brightside," by The Killers.
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