Trouble in Paradise

It's been a while since I've posted on the blog.

Most probably assume that I've been busy. I have been. I'm not going to lie. I'm a stay at home mom with three kids, a dog that doubles as a pony and I deliver early morning paper routes. I'm also the go-to babysitter for all of my friends. I've started a book club in my area, I'm trying to plan a girls night dinner for my friends and I volunteer regularly at my kids school.

It's not why I haven't posted.

The last time my turn came up, I didn't know what to write.

No. Let's be honest. I was afraid to write. Afraid to the point it slipped away.

I want to be honest with you on where I'm at. The last two years have been hard. I signed with an agent. I started editing. I did more editing. I found a second manuscript with a small press that I'd forgotten about and informed my agent. We started editing the second ms, pushing the first aside. I continued to edit. I've been editing for the last two years. It's been a never-ending circle of re-reading the same two manuscripts over and over. To the point of frustration. To the point I don't want to write anymore.

The feedback is always the same. This isn't right, it isn't getting better. Read this. It will help.

Your relationship with your agent should be a working partnership. A give and take where you both discuss and understand your goals, and where you want to be. It should be somewhat of a friendship. You should feel like you're able to talk to your agent. Shoot them an email with concerns, let them know when you disagree with a decision that both of you are making about your work. If your agent isn't allowing you to talk to them, or listening to you when you do talk, it's time to re-evaluate the relationship.

Deciding whether or not an agent is right for you is hard. It feels like that agent may be your only chance. So you don't speak up. You don't voice your opinion. You don't want to offend your agent. While you're watching your career spiral into nowhere, you're losing your voice because you're afraid to use it in the first place.

Don't be.

Stand up for yourself. It's easy to get in a circle that goes nowhere. Because this is your only chance. Only, it's not. There are plenty of agents out there. There is one that will treat you with respect and listen to your opinions, wants and needs. They won't hold onto you out of pity. They'll guide you through every decision and push you to be the best. They'll become a friend as much as they are your agent, because guess what? Their career rides just as much on you as yours does on them.

Don't get sucked into the void. Don't be sucked in by the right words. It's hard. Some agents are smooth talkers. They know what needs to be said to get the deal. Sometimes those words don't amount to anything but empty words. Sometimes an agent seems right from the get-go, but you just don't mesh. You have nothing in common. It happens. Don't be afraid to voice how you feel.

It's difficult. I know. If you're anything like me, you feel guilty. Guilty for the work put in, guilty because you feel the way you do, worried you'll offend, but it's your career. It's your work. And if the person promising to help you to the best of their ability isn't, you need to step back. Take a hard, long look at where you are and what you want. They'll understand. Talk to them. Resolve the issue before it gets so out of hand you don't want to follow your dreams anymore.

Becasuse there is someone out there who wants you just the way you are.

In Defense of the Form Rejection

I recently wrote a short story, my first in over a year. Inspiration struck and I listened.

Unlike novel writing, short stories are short-term rewarding because you reach "the end," while you are still loving that muse whispering in your ear. I was particularly excited about this story, as I knew exactly which magazine I was going to submit it to. A few years ago, said magazine had rejected another story of mine, but with glowing praise and a request to see more of my work. I kept that in mind, because this magazine is a professionally paying market and one that would be quite a feather in my writing resume. Thus after some furious late nights, anxious waiting for the beta reads to come back, and a lot of editing, I sent off my beautiful 3k-word gem to this magazine.

Another rather sweet aspect of short stories is these days most magazines use submission software. This means you can stalk, I mean track, your submissions. And, at least in the SciFi/Fantasy professional market, many of them have fairly quick turn around times. This is in part because they don't allow simultaneous subs in part because the stories are shorter. Altogether it's a much quicker and less frustrating process than novel submissions.

So a week full of checking the website later, there it was, that email. I took a deep breath and opened it to find... a form rejection letter.

The range of emotions that followed is one every writer is familiar with. But there was one more. Understanding. Working for a literary agency, I've sent out hundreds of form rejection letters over the years. And recently I opened up my own inbox to queries. In the beginning I tried to make each response a bit personal, a note here, a comment there. I knew what it was like to be on the other side, and that experience pushed me to communicate personally as much as I could, especially if the writing had potential. However, I discovered, to my dismay, that the majority of personal rejections were not appreciated, in fact they were often responded to with a "could you clarify this?" or "can you take this further?" or "what can I edit to change your mind?"

My personal notes were not received as the compliments they were meant to be, but rather as an opening for an editorial conversation. One that I had to ignore. It made me feel guilty, not continuing the conversations, but there is not enough time in an agent's schedule to answer every author question that floats through our inbox. I was also spending more time coming up with ways to make the reason I was passing on the project sound nice and encouraging and editorially useful, rather than focusing my energy on considering each submission carefully. Which made me reluctant to open my inbox. I had burned out. Thus more and more I found myself responding with a form rejection, both in the interest of time and clear communication. My defense of the form rejection:

• It's a clear answer.
• You receive said answer faster. 
• It's less emotional. 
• It helps prevent slushpile burnout, so the agent/reader can focus on what's important, considering the submission itself, rather than coming up with something to say in response to it. 
• The form rejection helps to keep expectations in check. 

I know most authors who don't do their research don't understand this, because they don't see the other side. I can't count the number of times I've heard writers say, "it couldn't be that hard to respond to a query!" Let me tell you, yes, yes it can.

Every once in a while, if the writing jumps out at me, or if I've met the author in person, I will still respond personally, but for the most part I've become a fan of the form rejection. Sure you could argue that if I hadn't gotten that personal response back in the day, I wouldn't have been as eager to submit to the magazine, but I also wouldn't have had as high of hopes. At least you can take comfort in the knowledge that I'm getting them as good as I'm giving them. We all just have to keep on keeping on. My so-called gem of a short story is already sunk into another slushpile.

*All artwork by street graffiti artist Banksy.

Follow Mary on twitter @Mary_C_Moore for more tips and updates on her query slushpile. To submit to her visit her website: marycmoore.com.

The Value of Critique Groups

Today is November 30. The last day of #NaNoWriMo. My post today is going to be a little different as I’m close to winning. I know they say close only counts in horseshoes and hand grenades. But what the hell do "they" know anyway? Let see *them* write forty-eight thousand words in a month!

Slapping 50K words in thirty days means all words will NEED to be revised. Revision is key. If I tried to fire off my NaNo Draft (which is probably even lower caliber than a First Draft) to agents or editors I could expect silence. If I sent it to my Critique Partner, I might expect a scathing reply along the lines of; “Did you send me a First Draft?!”

Used with permission from Debbie Ridpath Ohi at Inkygirl.com

In my opinion, a first draft should be read by no one besides the author. Once revised (more than once) the manuscript must be vetted by a Critique Partner. I interviewed Lane Buckman, the Lane of Robyn Lane Books, to discuss the value of CPs.  

1. How long have you been writing with a purpose?

I have been writing with a purpose since elementary school.  I got an early start with a specialized program to develop young writers through Old Dominion University, in Norfolk, Virginia.  I took my first write-for-pay job doing campaign scripting when I was fourteen, and have been working freelance since then.  I do a lot of technical writing for hire, a lot of op-ed, and dabble in marketing materials.  Now, as far as writing novels goes, I got serious about that in the early 2000s.  I sold my first novel in 2010, then followed up in different genres in 2013, 2014, and 2015.  Now, I focus on my work as a publisher, so I spend most of my time offering editorial notes to the fantastic writers we have found.

2. What’s the best thing a critique partner can tell you?

The best thing a critique partner can tell me is, "This doesn't work."  If they can back that up with why it doesn't work, that's a lot more helpful, but if something isn't reading well, I need to know--no matter how painful.  The most painful feedback I've ever gotten was, "Oh, Lane.  Just...no.  No."

3. What’s the worst thing a critique partner can tell you?

The worst thing a critique partner can tell me is, "This is perfect!"  Because it never is. 

4. What’s one piece of advice you’d like to offer new writers/new critiquers?

 Don't ask your friends to read you to critique is my advice to new writers.  Your friends love you, and they won't tell you the problems with your work.  Find a reader you respect, and ask them to read as though they were going to review it to recommend to their most esteemed colleague.

My advice to those new to critique is pretty simple.   My critique motto is:  Imagine it's your work.  I offer the feedback in a way I would want to receive it.  That is, honestly and respectfully.  I don't pull punches, but I am kind.  Writing is hard work, and whether I'm reading James Joyce, or E.L. James, I keep that in mind, and I offer my feedback with respect to the effort, and the human being who did the writing.  We're all in the same boat, hoping for the same success, and we can all afford to be kind in how we deliver our messages.

5.  How many critique groups have you been in? What will keep you engaged? And what will have you running for the door?

I am active in three groups.  Each group was carefully cultivated (either by me, or another group member) to include published authors, copy editors, and people who love to read within the particular genre.  My favorites are the people who love the genre because they will tell you right off the bat if you are missing the mark.  Feedback keeps me engaged.  I run for the door when someone asks me to add in some erotica because I can't write that without laughing.

6. What can a critique group/partner offer that a writer can’t accomplish on her/his own?

  

Critique groups and partners offer honest, objective opinions in a safe environment.  I can't speak for anyone else, but my greatest fear in publishing is that my manuscript is the one the editorial team cracks up over because it is so bad.  I would rather run my work through thirty flesh-stripping critiques, than have one publisher laugh at me.  A friend recently posted that she'd just joined a critique group, and was thoroughly embarrassed by the feedback she'd received, but she was so glad she hadn't sent the book out to a publisher, or agent that way.  Critique groups help you hone your work, and help make you better.  I really can't say enough about how important it is to have someone else read your work.

KM Weiland has a great list of questions for Critique Partners.

What do you like to ask for in CPs?

Self Publishing and A Literary Agent

"Do you accept self-published books?"

I get this question a lot from authors. The answer, unfortunately, is no. It's not that I have anything against self-published projects, indeed, I've self-published myself. But as a literary agent there are two reasons why I do not consider representing self-published books. The first is a hard simple truth: I probably can't sell it. Most of the bigger publishers are not taking the risks on self-published books as they once were. Even those books that were moderately successful as a self-pub, are harder to find homes for, as the publishers are discovering by the time they reissue the book, it's already peaked. The second reason, which is by far one of the most frustrating and sad scenarios in my line of work is more complicated. Authors self-publish due to a variety of scenarios, many of them good reasons. I self-published because I had a manuscript, my second finished full-length novel, which I had written during my MFA program, turned into my thesis, and subsequently turned into a novel. It had been workshopped heavily, edited by two professors, and generally followed all the "rules" that are required of a polished manuscript. I was feeling pretty confident I could get this one past the gates. 

I sent ANGELUS out to over 75 agents, researching each carefully, following all submission guidelines with a simple and professional query letter. Although I got the usual round of form rejections and no responses, I did get enough positive feedback that I remained hopeful. However, after the fifth or sixth, "I like your writing, I just don't do angels," I realized I was stuck. I had written a book that was within a trope that no one wanted to touch. (Side note, now as an agent, I'm not all that interested in angel books either, the irony.) I sometimes wonder what would have happened if, during my time in my MFA, I had written something different; perhaps I would have found representation. But then again if I had, I probably would have never ended up as an intern at a literary agency to discover I loved being a lit agent as much, if not more so, than being a writer. So after enough feedback telling me my angel-themed book was not going to fly, I self-published. Happy to report it was successful enough that I earned back the money I had spent publishing it, but not much more than that. But I'm glad I did it, so as an agent I understand how hard, how much work, and how emotional the experience is, and I can relate to those authors who approach me with their self-published work. But I also know that 90% of the time they are approaching me because they weren't prepared for the experience nor was their manuscript. They were impatient to get their work out there, they were convinced by the few success stories that are constantly circulated online, they felt they knew better than the industry professionals, they believed that agents and editors were evil cackling creatures bent on never allowing them into the world of publishing. 

Then they threw their book out there, and with bated breath, waited for the sales that never came. So now they are at a conference, or online, reaching out to me because, "they want to take their book to the next level." And it is my heartbreaking job to tell them, how sorry I am, but that it is still up to them. Because I know their book being "not at that level" means it wasn't ready for me pre-publication either, and now it's too late for the traditional route. They have chosen to be the publisher of their own work, which means they have to be the one to take it to the next level, whether it's hiring a cover artist to design a more professional cover, or an editor to revise it, or a proofreader to get rid of errors, or a publicist to help them navigate the market. Self-publishing is exactly what it sounds like, publishing by self. Alone. And it is one of the hardest things you can do. So think carefully before you self-publish, and make sure your reasons are not for fame and fortune, and be prepared for a lot of work. That's not to say it won't be successful, or that you won't find that unicorn agent/publisher that would be willing to work with it post-publication. But it won't be me. And yet, if I can give a little advice and hope, if you are not cut out to take your self-pub to that "next level," then move on, shelve that book, let it sit online, or better yet, take it down. Because your story isn't over, you are still an author. Write a new book, and using your newfound experience, make that book the best you can. Send it out to agents utilizing the hard-learned lessons to show them you understand the industry and writing from a professional viewpoint. Keep on fighting for your writing.

And for those of you who are curious, yes ANGELUS is still available as an eBook, still selling more or less, but I have moved on, writing and publishing short stories, novellas, and working on a new novel. I'd like to release a paperback version of it again, but it needs a redesign. I'd also like to finish and self-publish the rest of the series, you know, in all that spare time I have as a literary agent. Doing these things would certainly revitalize sales. But I have other priorities currently, and sadly as I am the publisher, it's up to me to find the energy. However, I have no illusions that anyone else will discover it and do it for me. So I'll keep fighting for it. Eventually.

Interested in reading ANGELUS? Go here.

A Career as an Author: The Reality

As a literary agent, I see the starry eyes of newbie writers everywhere.

• "Did you know Stephenie Meyer had a dream and Twilight was published 6 months later?" 
• "Amanda Hocking made 2 million dollars self-publishing." 
• "JK Rowling went from sleeping in her car to becoming a billionaire."

You hear these recycled lines everywhere on forums and in writing groups. The stuff of legends. The writers who made it. These anecdotes give hope with each rejection, fuel the fire, keep the dream alive. It's like the waiters in Hollywood dreaming of becoming the next Brad Pitt or Halle Berry without the star-studded veneer.

The other side of the coin though, is these anecdotes give rise to high expectations. I've met so many writers who believe by self-publishing they'll be the next Amanda Hocking, or by finding a literary agent they'll be the next franchise. It creates an unrealistic perception of what it means to be a career author. And when a literary agent sees that idealism shining through a newbie writer's pitch, they run the other direction.

Because, writing is a career. And like any other career it takes time. On average it takes about 10 years to get your first book published. And that's probably not the first book you've written. Following that, it takes about six successfully published books for you to start earning a living as an author. That's a few decades. That requires a lot of patience and dedication.

For every legend, there are thousands of writers who haven't made it, whose rejections litter the pathway, whose debut novel was a dud, who gave up, because the dream was taking too long and was too much work. My favorite response to those who ask how long it takes to become a successful writer is to ask, "if you started a job tomorrow at an entry level position, would you expect to be the CEO within the year?" Not to say that it hasn't or won't happen. Just be ready to fight to keep the dream alive for more than a few years. 

So before you approach your next literary agent or editor or consider self-publishing, ask yourself, are you willing to do the time? Once you know and accept the reality of becoming a career author, the more likely you are to succeed.

And don't forget to submit to me when you do have it figured out: marycmoore.com.

Know Your Rights

Most newbie writers believe that you get your book published and that's where the publishing train ends. So when they seek out an agent or publisher, or they self-publish, they tend to overlook one of the most important aspects of publishing, the subsidiary rights.

Sub-rights are a great way to bring in more money and get more exposure for your book. If you are self-publishing then you have the responsibility to see if these rights can be sold. If you land an agent or a publisher, they should be taking care of these rights for you. An agent will be shopping these with your interests in mind, the publishers in their own interest. There are a bunch of subsidiary rights that you may not know or care to know about, even after you've published, but there are 3 major ones that you should be asking about before you sign anything.

Film/Media: 

This is the obvious one. Most writers have already dreamed of that actor that will play their characters in a film. 

Audio: 

Audio sales have seen a steady increase over the years, so much so that publishers are more often trying to retain these. With the advent of digital content streaming, companies such as Audible are carving out a place in the market.

Translation:

Where in the world and in what language your book is being published is determined by which rights you have signed away. Did you give the publisher only North American English or did they retain World English? What about the right to translate and sell it in different countries? 

If an agent has offered you representation, ask what their process is for retaining and selling these important rights. How does the commission percentage break down? Do they have a sub-agent or do they partner with an agency that specializes? If the publisher insists on keeping one or all of these rights, what sort of parameters does the agent set in order to make the deal worth it? Most agents should be able to answer these questions easily and happily. 

If you went straight to a publisher, make sure you understand what is happening with these rights. If said publisher is keeping all these rights, there should be a time limit so if the publisher does not doing anything with these rights they revert back to you. 

So before you start shopping your manuscript, know your rights.

Top Five Reasons Attending A National Writer's Conference is Worth it

With the annual RWA conference taking place this week, my mind has been on conferences. Last year, the RWA conference took place in San Antonio, where I was living, and after a great deal of struggle and soul searching, I registered and attended. I was unsure whether the high cost of attending would be worth it, and I was so glad I did in the end. This year, I am unable to afford to go, but I am a firm believer that if you can manage it, a big national writing conference is absolutely worth you while, and here are the top five reasons why. (The importance of these reasons shift rankings depending on where you are in your writing career, but all five were important to me and are likely to stay important as my writing career progresses.)

Number Five: You'll meet your people.

If you're a writer, you've experienced that moment where you tell someone you're a writer and they either
(a) back away slowly, mumbling something under their breath,
(b) tell you about how they would write a book if they had time,
(c) say that's nice, but what do you really do?

As writers, there's an immediate connection when you meet other writers. People who get it. They've fought sagging plots, writers block, the incredible vulnerability that comes from letting people read (and OMG, CRITICIZE) your writing. They know what it's like when a story won't leave you alone, and what its like when your characters abandon you mid-story.
They get it and that's worth so much.

Number Four: The Network

This touches on what number five is about, but it's more about meeting face to face, the people who you've known and connected with online. Writers tend to be scattered about, especially for writers living in non metropolitan areas. Conferences are a great place to meet the people you feel like you've known forever in real life.

Critique partners, agents or editors you've had dealings with, the folks from your online writers group are often at the big conferences, and they are there in part to meet you in person, and to network with you.

Number Three: The inspiration

This isn't just coming from me. I've experieinced this, but I've also heard it from so many writer friends.

There's a synergy that comes from getting hundreds of highly creative people together who are interested in writing and are talking about writing. Things happen. Plots start to bubble in your brain. You find yourself writing baby plot lines out on bar napkins. And some of those bubbles actually work.

Attending a well run, large conference can refresh your creative well, and give you new ideas to draw from. It can help you view old ideas in new ways. Conferences can be incredibly inspiring.

Number Two: the classes

The caliber of classes at a large national conference are amazing, as is the range of topics covered.

There's something for everyone.  Attending the classes I got to attend last year raised the level of my writing. I learned tools to help me learn to write better.

I learned tools to help me keep track of plotting, and character arcs. There's an incredible wealth of writing wisdom and  information out there, and a national writing conference is one of the very best ways to access that wisdom.

Number One:  Its the best place for first time authors to find an agent.

Don't take my word for it. Take Scott Hoffman's. The founding partner of Folio Literary Management had this to say about it:

"Particularly for first-time authors, there’s no better way to get to an agent than at a conference. Authors love one-on-one meetings with agents, but we know where the best writers can be found: at the bar. You think Hemingway would have given an elevator pitch at a 7:30 A.M. meet-the-agents session?"

So there you go. Five great reasons why a national conference is worth the time (and huge expense) of attending.

Reasons For Rules: An Agent's Perspective

By Mary C. Moore

Having been an unpublished author seeking an agent, I know how daunting a task this can be. Each agent has different submission guidelines and there are so many RULES. It seems as if you break any of these sacred RULES your query will go right in the physical and metaphorical trash, never to be seen again and you as an author will be laughed out of any possible opportunity to be signed. And when those rejections start rolling in, you question yourself and your writing. What RULE did you break? Then you get angry and frustrated. Why are the RULES so dang important anyway? Isn't it about the writing? Shouldn't they see you for the amazing talent you are and brush all that other stuff away? You start reading about authors who have broken the rules and been hugely successful and you  lurk on online forums to commiserate with other writers that are feeling as bruised as you are. Pretty soon you are convinced that agents have too much power and that their RULES are just petty ways of making authors jump through silly hoops for their own amusement. 

Now, being on the other side of the fence, I find myself spouting off RULES to hopefuls at writer conferences, online forums, on Twitter, and everywhere in-between. I have unintentionally become a gatekeeper, because on this side, the RULES have REASONS. Oh. So for your sanity and mine, I am going to explain the REASONS behind the seemingly random RULES. I'm sticking to fiction literary agent RULES to keep it short. 

Rule #1: Follow each agent's individual submission guidelines down to the letter.

Reason: Every agent has a different system for shifting through submissions. Their guidelines are based on what will help them get through the slushpile in the most efficient manner. By not following the guidelines, you are causing a disruption in the system, which means it will take longer for the agent to consider your submission and respond to you, in effect wasting their time and yours.  

Rule #2: Word count, 55k-75k for YA, 80k-90k for most adult, up to 125k for historical or fantasy.

Reason: Word counts are a throwback from traditional printing. There was a standard specification for print book sizes, which meant if your book fell outside those specifications, it was less likely to be picked up. Because of this, readers got used to a standard book length. And although publishing mediums have since evolved, the standard has yet to change. Thus, your book is easier to sell if it falls within the word count parameters. 

Rule #3: Classify your work as only 1-2 genres, plus age group. 

Reason: We want to know what genre your book falls into, so we know which editors we would place it with. Do not say "it's a unique new genre," not only is this not true (trust me, after slogging through the slush, I can say with confidence, you are not the first to come up with whatever concept you have come up with) it shows us you do not read within your genre, and do not understand it. We are looking for experienced authors who grasp who their reader audience is. 

Rule #4: Address the query to the agent you are sending it to.

Reason: Not only is this courteous, but it shows you've at least done a bit of research before querying us, which means you think we would be a good fit for your manuscript.  

Rule #5: Only query agents who represent your genre. 

Reason: We as agents, develop relationships with editors and publishing houses. If we specialize in a genre, that means we are experienced both in reading/selling said genre, but we also know exactly which editors would be right for it. That being said, there is no harm in querying an agent you are not clear on, especially those who list "commercial fiction" as one of their genres. Just try to avoid querying an agent who only represents thrillers and mysteries with your inspirational memoir.

Rule #6: Have your manuscript finished, edited, and polished before querying.

Reason: Although a lot of agents will do edits before shopping your manuscript, their time is limited. They are not going to be willing to do extensive edits on a project, so if you send out a manuscript before it is finished, you are essentially setting yourself up for rejection. 

Rule #7: Do not mention how well the book will do, or what great writing it is, or how you plan to be the next JK Rowling. 

Reason: The reality of publishing is much harsher than the success stories of JK Rowling and EL James. Most authors don't start making a living off their writing until after their fifth or sixth successfully published book (this is true for self-published authors as well) and even then you're probably not going to be able to buy that island. On average it takes years/decades to become financially successful as an author. We are looking for clients that understand that and are willing to put in the time and energy toward that goal. 

Rule #8: Keep your bio to simply your experience as a writer as well as any relevant experience to your novel (i.e. if you're writing legal thrillers and are a lawyer, mention this). Leave out the names of your pets, your dreams of stardom, your inner demons, and any other personal/professional background.

Reason: Agents are professionals, and they are looking for professional clients. Your query letter should have the same information that a cover letter for a job resume would have. Relevant experience only. Of course once we've signed you, then the relationship may evolve to a more personal level, but there will always be a professional line. 

Rule #9: Keep the query short. 

Reason: The slushpile is no joke. There are hundreds of submissions that an agent or agent's assistant have to read on a monthly basis. If a query is too long, out of necessity, we will skip most of it. 

Rule #10: Only nudge an agent if you have an offer of representation or they have not responded past their posted response time.

Reason: Again, the inbox is flooded already. If you nudge, odds are we won't read the email until after we've seen your original query, (unless in the subject line are the words: OFFER OF REP), so you are just adding to the pile and possibly being annoying. However, things do slip through the cracks. Usually in the submission guidelines, an agent has posted their normal response time. If it is past this date, go ahead and nudge. If it's a full manuscript, nudging after six months is reasonable. 

I hope this post has helped you make sense of a seemingly random set of parameters and given you more confidence to keep going. It is good to remember that most agents are hopeful that authors will follow these RULES, but we are also human and understanding. We may reject you because you didn't follow one of our RULES, but that doesn't mean you are blacklisted and we never want to see your face (or pen) again. In all honesty, we are so inundated with queries, we probably won't remember your particular RULE-breaking query in the first place. So don't be nervous, just do the best you can. 

There are many more RULES that crop up in all aspects of publishing: formatting, grammar, design, editing, writing, contracts etc, even self-publishing, and I'm happy to give REASONS for these in the comments below. 

As for the RULE-breakers out there. You know what they say...

Dealing with Critiques and Reviews

I really enjoyed Niki’s and Janet’s last blog posts. To me, critiques and reviews seem to be two sides of the same coin. As writers, we're part of the entertainment industry. Reviews may be professional book reviews, fan reviews, or word-of-mouth. And as Janet said, lots of reviews garner attention and bring more readers.

But critiques prior to publication are what make us better. 

Therefore, as Niki so eloquently told us, a critique partner, should be held in very high regard. 

I love my blog partners. They are critique partners, beta readers and hand holders. I find myself chatting with them on Facebook in the evening while my daughter watches her favorite TV shows. Writing this post, I had an epiphany. We watched two reality TV shows back to back. And guess what? I have two perfect examples fro you on how to deal with critiques and reviews.

Shark Tank is a reality TV show where aspiring entrepreneurs pitch the "sharks" (investors).

Click here to watch

This is a perfect example of what NOT to do. But critique partners, agents, and editors don't get the luxury of opinionated writers going on national television. So take a moment to review Niki's Ten Critique Partner Commandments. Don't argue with recommendations--the sharks talking about the two women pitching? Just think, they could be your editors.

Cut Throat Kitchen was on next. In this show the Chefs are given a cooking challenge, in this case they had to make a French Dip sandwich. The other contestants are offered an opportunity to sabotage each other. The chef you'll see get booted off the show had to make his sandwich on a tandem bike.

Click here to watch

These chefs don’t make excuses with the challenges they faced. They simply say, “Thank you, Chef.”  The chef who judged was also polite. He couldn't bite through the sandwich, but his review? 

"You cut the meat wrong."

My ultimate goal is to get my manuscript published and sell lots of books. Critiques and reviews are just part of the process. I'm sure at some point, I'll get a negative review. Everyone reads differently. But when that happens I'm going to look for this blog and try to remember, "thank you chef."

  

From Zero to One. The Milestones

by Charlotte Levine Gruber

My granddaughter, Penny, turned seven months old yesterday. Each month, she works hard to master a new milestone. This month, it's crawling. Last month, it was sitting up. 

Human babies are fairly amazing. At birth, they can't even support their own head. And one year later, they're walking, talking, and [sometimes] even following directions. Developing babies follow a sequential pattern; from head to toe.

My youngest daughter got down on her hands and knees to "show" Penny how to crawl. Realistically though, her neuromuscular coordination is just not quite ready. Watching this attempt made me think about writing; writers often compare their book to a baby. After all, a lot of blood, sweat, and tears go into the creation of your book.

Earlier this weekend, I critiqued a few chapters for a new writer in my group. She made some of the same mistakes I made last year—so close, in fact, I just copied and pasted a critique I’d gotten. 

Creative writing might not have the delineated sequence of a developing child, but researching for this post, I did come across many common mistakes new authors experience in the first year:

1) SUBMITTING TOO SOON

You finish your manuscript. Your mother and sister both loved it. You begin submitting. It’ll take the agents a while to get to it anyway right? While it’s in Ms Wonderful Agent’s inbox, I’ll just keep working on it.

Jessica Faust, from BookEnds Literary said in a blog post:

The first thing I'm going to say is that revising material that's already out on submission just shouldn't happen. Why? Because, once you decide a book is ready to go you've more or less put it away and started work on your next book. The first book is dead to you as far as revisions are concerned. 

My advice? Finish your MSS, and then revise until you can’t stand to look at it anymore.

2) STARTING IN THE WRONG PLACE 

Start where the change takes place for your protagonist. In an email exchange with Janet Reid, she cut to the root of my opening in one fell swoop.

aha!

One of the problems in mss I see consistently is not starting

at the right place.

Chop those 47 pages and get to the good stuff.

Go! go! Go!

Janet

3) CONFLICT

Some writers shy away from conflict, even with imaginary people. But conflict is one of the primary elements of fiction. Your main character should face conflict, and should instigate conflict.

Add conflict to dialogue. Friction is interesting. Look for ways to set your main character at odds with others, whether that means a simple difference of opinion or a major difference in philosophy. Make sure there is some kind of conflict in every scene.

*But most important is to increase the level of conflict as the story advances.*

4) PACING

The pace should vary throughout your MSS, but escalate toward the climax. The failure to pick up the pace and/or push the emotional stakes as the story peaks is a cause for readers to stop reading.

By the sixty to seventy percent mark, your reader should anticipate the ending. If they don’t feel that something’s about to break open, you haven’t upped the pace and begun to push the emotions.The reader should feel the difference as the story heads toward the showdown. Speed the pace by writing shorter chapters, paragraphs and sentences. Put more white space on a page.

5) FLAT WRITING

Flat writing is a sign that you’ve lost interest. And if you’ve lost interest, your reader will too. When reading your own work, if you catch yourself skimming, it’s a sign of flat writing. Beef it up with tension. See #4

7) SHOW, DON’T TELL

The difference between telling and showing usually boils down to the physical senses. Visual, aural, aromatic words take us out of our skin and place us in the scene you’ve created. Giving senses to your characters will bring them to life for your readers.

Shilpi Somaya Gowda has a perfect example of showing in the first paragraph of her novel SECRET DAUGHTER

5) PHONY DIALOGUE & AWKWARD PHRASING

Be wary of using dialogue to advance the plot. Readers can tell when characters talk about things they already know, or when the speakers appear to be having a conversation for reader benefit. You never want one character to imply or say to the other, “Tell me again, Bob: What are we doing next?”

“Mrs. Smith’s face pinkened slightly.” This is an author trying too hard. Awkward phrasing makes the reader stop in the midst of reading and ponder the meaning of a word or phrase. You never want this as an author. A rule of thumb – always give your work a little marinating time before you come back to it. See Rule #1 When your return to it with fresh eyes the awkwardness will scream at you. I promise.

From our own Margaret Bail:

Your manuscript isn't as smooth as it could be. A couple of notes:  First, the characters address each other by their names way too much. People just don't do that. We don't say, "Hi Bob, what's up?"  "Nothing, Suzy, how are you." "I'm good, Bob, except I have a headache." "I'm sorry, Suzy. Maybe you should take an aspirin." "But I'm allergic to aspirin, Bob."  You see what I mean? 

6) THE “TO BE” WORDS

Once you've been dinged for the frequent use of the “to be” words – am, is, are, was, were, be, being, been, and others – you’ll be appalled at how many you find. “To be” words flatten prose and slow your pace to a crawl. My personal favorite? ”was verbing." Ie was stalling, was crying. It's much stronger to say, stalled or cried. Weeding that from my MSS was a @$! When in doubt, replace them with active, vivid, engaging verbs to muscle your prose.

7) REPEATS

Just about every writer has "pet” words. Hunt them down. Agents, editors and readers will notice them.

In Scrivener, on your toolbar,

—>Project

—>Text Statistics

—>hit the drop down arrow next to word frequency

8) -LY ADVERBS

Many people are opposed and they don’t add anything. Eliminate.When I think of adverbs, I have a mental picture of Vizzini from PRINCESS BRIDE.

How many adverbs are in the scene from this classic movie?

Your book baby has a lot of moving parts to coordinate just like a developing human baby. Make sure your child is ready for the bus. Sometimes, we writers might need a trusted friend to catch us when we fall. Keep your chin up, call your friend, and be sure to reciprocate. Like Niki Cluff said, your CP will need a boost sometime too.

Putting Yourself "Out There"

Last week, my daughter’s ADEC choir (all-district elementary choir) had the honor of performing  in front of the Texas Music Educators Association Convention.  They were one of eight elementary choirs chosen in the state. I have to say, I’m so impressed that my daughter made it this far with her gene pool. I’m tone deaf, and her dad sounds like…uh… well…*coughs into hand* he sounds better than me.

Driving from Dallas to San Antonio was a trek, but I wouldn’t have missed it for the world. 

The whole choir experience made me think about my blog post. ADEC is a qualifying choir.  My daughter had to try out at her school before moving on to the next level; auditioning at the high school. 

When I was a sixth-grader, I would never have cleared the first hurdle: putting myself out there.  Singing in front of people by myself? No way. As a writer, that's exactly what we must do. But our words are written, instead of sung. Our practice "matching pitch" is perfecting the craft of writing and finding our voice. And we try out in front of trusted critique partners, in preparation for agents and publishers.

If writing with the intent to publish, at some point your writing will have other eyes. While we writerly types count on an agent, critique partners, and beta readers, for help, once the book is sent, it's out there for everyone to see. And just like music, there's a lot of subjectivity related to taste.  What one person loves, another may not. 

Our job as writers is to follow Janet Wrenn’s advice and Research Before Submitting; find the right eyes, or ears, before launching yourself out there. Remember, even if you feel like you’re standing there in your underwear, the person reading your words is wearing underwear, too. If they aren’t, well, that’s another blog post.

And if you do have to sing, or write alone, it’s nice to know your friends are rooting for you. Because you have to take that first step, putting yourself out there.