A Manuscript Checkup: Are You Really Ready to Query?

I sometimes hear of querying authors lamenting the decline of “editorial” agents. In truth, all agents are editors of their projects. It just depends on where along a manuscript’s evolution do they want to jump in. What these authors aren’t realizing is that they might be looking for representation too early in their writing process. Most agents look for a project in its later stages or last stage of development. And the reason is simple and practical. The sooner an agent can get a project in front of editors, the sooner (hopefully) he can see a paycheck. If he’s very lucky, he might find a project that only needs one round of editing, but most likely, that one round of editing will uncover the need to do more.

I’ve been working on a client’s book project for over the last month. This is my third time going through the manuscript for this editing round. I’m fairly sure this is either my fifth or sixth time reading the novel. One thing is certain, though. I loved this story the first time I read it, and I love it more now. It’s true that with each edit and revision, the manuscript improves. But it’s more than that. While I could see issues when I first read the story, I could also clearly see solutions. And now that the changes are on the page, the story is better than I first imagined it could be.  

Often I'll get submissions that are so early in their development that I cannot even begin to unravel their issues, much less envision solutions. Those novels, while "completed," are not "market-ready.” Occasionally, time permitting, I’m able to send feedback. When I do, I am struck by how often the same recommendations come up.

Even after countless rejections, some authors may still find it easier to keep querying and keep submitting rather than go back into their novels to fix what is not working. Often it’s because they’re too close to the work and can no longer see problems in it. Some do see or sense there are issues but are unable to pinpoint them or don’t know how to solve them, or where to start.

I have put together some questions that you can use as a checklist to see if you should start or keep querying, or use them to jumpstart your next revision:

1. Are the stakes clearly defined within the first few paragraphs, or at least within the first chapter?
2. Are the scenes grounded with specific and unique details that make them tangible and immersive?
3. Do the main characters have inner lives with complex thoughts, reflections, memories, etc.? Even if they do not reveal their fears, faults and vulnerabilities to the outside world, do they let us in to see them?
4. Do we have context to the main character(s) emotional journey? Is there a personal journey at all?
5. Can we clearly envision distinct physical features of the characters that also reveal their unique personalities (or do we only see their hair and eyes)?

If you have answered “no” to any of the above questions, then this could be why you are receiving rejections or no responses at all.

Keep going through your manuscript, asking the next questions:

1. Is there an over-reliance or repetition of facial movement or expressions to portray emotions, such as “sighing,” “grimacing,” “groaning,” and “cringing”?
2. Are there large blocks of dialogue where nothing else is happening in the scene, or it is unclear what the characters are physically doing during the conversation?
3. Is there a lot of expository information (explanation of background, characters,  ground situation, etc.) revealed through dialogue?
4. Are there words, phrases, gestures, physical sensations that are used commonly or repetitively (such as “heart pounding” or “pulse racing”)?
5. Is there filtering language? (for example, a character sees something happening rather it just happens on the page, or rather than saying the thought, the character’s “sees it through his mind’s eye”)

If you have answered "yes" to any of these last questions, it appears, you have some work ahead of you.

Hopefully by going through these questions, you'll have a better perspective on your manuscript, and be in a better place to decide whether or not you should keep querying or look at revising. These questions also aim to provoke ideas on ways to tell your story better, so that the next time you query, there’ll be an agent or editor who not only falls in love with it, she’ll love it more each time she reads it.

Writing A Series: An Inside Look

When I realized today was my day to write for the blog, I looked up in a daze from my latest WIP and thought...but what should I write about?  I asked the other Relentless Writers for suggestions and bemoaned the fact that I suck at blogging.

The conversation went something like this:

Me: I suck at blogging.

RW: You don't suck at blogging. Your posts are generally good. What you suck at is planning what to write. (*this is true)
 
Me: No, I really do suck at blogging. And planning.

(even Sherlock agrees)

RW: Wait, I know. Have you done a post about writing a series yet? (*because I write a lot of series)

Me:  And what would I say about writing a series?

RW:  How did you maintain the continuity between the historical western books? Was it different from how you approached the sequel to Hunter's book? Is contemporary easier than historical? How do you keep track of things? Pinterest boards? Google docs? Have you ever had a reader (beta or otherwise) catch a continuity error? What'll you do to keep that from happening? Are there any sources for "how to write a series" that you've found particularly helpful? From an agent's perspective/your knowledge of the industry, what are the pros and cons of writing books in series? What's your best piece of advice for a newby starting out with a series?

Me:  Oh wow. Okay, so my answer to all that is...I didn't plan that far ahead (big shock, right?). I did it all as I went. Oh, and Google.

RW:  ...

Me:  My post can consist of this: How to Write a Series, by M. Madigan. Come up with a fabulous idea (or you hope it is. It sounds fabulous in your head at least). Make a page of general notes (It's contemporary/western/post-apocalyptic and there are maybe five core characters you'll focus on for the series). Make more specific notes for book one. Start writing. Worship Google. Start the next book by making specific notes. Shoe-horn it into the series to fit with book one. Lots more Google worshipping. Do the same for the rest of the books. The End.

 RW: Um. Don't forget gifs.

That's how the conversation went, but I'm being (mostly) facetious about the process (okay, only partly). Everyone who writes a series will have a different process, so mine is just mine and could probably stand to be improved upon.

However, how do you write a series is a legitimate question because in many genres (romance, mystery, scifi, fantasy), series are hot. Readers want them, agents and editors look for them, so writers need to think about writing them. 

I seem to be a series addict. I've got no fewer than eight in progress at the moment: the Nevada Bounty series (historical romance), the Caine Brothers series (erotic contemporary novellas), the Forever Faerie series (paranormal romance), the Tap Zone series (contemporary MMA romance), the Dragon Club (shifter romances), Never Too Late (second chance at romance/women's fiction), the Timed Out series (space opera), and the Tales from Beyond the End (post-apocalyptic fairy tale retellings).

(that's a lot of series)

Why do I write series? Because I like to set up a world, fill it with people, get to know them and then put them through the wringer. I think that's why readers like them, too. I know that's what I like when I'm reading them, so that's what I aim for as a writer.

But how do you write a series? I can give you some idea of how I do it, but again, all writers are different. I write romance and science fiction so I can get away with some loosey-gooseyness where authors of mystery and fantasy probably can't. Those genres require some pretty tight plotting and planning.

So although I was being snarky when I said this is what my post would look like, in the end, it kind of does:


How to Write a Series, by M. Madigan

1. I'm struck by a fabulous idea for a series.  Often when this happens, I'll brainstorm with another writer friend just to be sure the story idea sounds as good out loud as it does in my head. I also look at some of the stuff that's selling in the industry to see if the idea has merit. If it has potential to sell (for instance, if I came up with an idea for a vampire/angel/demon romance, even if it was amazing, I wouldn't write it because that stuff is dead right now. It'll come back around again eventually, but I don't want to spend time now on something I can't sell), I'll move on to step two.

2. Make a page of notes for the series. What's the genre? Who are the characters? When I came up with the idea for the Caine Brothers series, I immediately sat down and made some general notes for each brother - his name, what he does (billionaire, biker, SEAL, rock star, fighter, shifter), who his heroine is, and a short paragraph blurb for the plot. All these things are subject to change, but the notes give me a vague shape for the series.

3. Make more specific notes for book one. I'm not a detailed plotter, but I do want notes to work from. I don't like writing myself into corners (I did this with the space opera and it took me a long time and some rewriting to get out). I do a character profile for the main characters, a setting worksheet, and write a couple of pages of linear plot summary. Often I will expand these as I'm writing and need more detail. I also make note of important details like dates, quirks, props, secondary characters, relatives, etc...anything that can be used throughout the series to tie them together. I love Pinterest as a visual way to keep track of characters, setting, props, clothes, etc. I have Pinterest boards for each book and/or series. Google is also my friend. I never know what kind of research I'll need until I'm deep into the story, so sometimes there's a lot of stopping-digging-starting going on. Writing a historical western required some pretty interesting research (for instance, 19th century western curse words). One of the great things about being a writer (I think) is that I get to teach myself about a whole bunch of new stuff that I probably never would have learned had I not needed to research it for a book!

Once the first book is done (after I've had my awesome betas read it--and yes, they've caught stuff I didn't see like continuity things, improbabilities, practical problems) and off to an editor, or self-published, it's time to move on to the next one.

4. Start the next book by making specific notes. Repeat the process with the next book. I go back and look at my series notes, figure out who's next, what the general plot is about, then open a document to begin expanding that into a fleshed-out plot. I'll review my notes from book one to see what I need to carry over (themes, tropes, etc), and get to work on the next one following the same general writing process. I kid when I say I have to "shoe-horn it into the series to fit with book one" because although I don't have obsessively detailed series notes, I hope they're good enough I don't have to force anything. And if I come across a problem, I just see that as an opportunity for creative solutions.

5. Repeat the process for as many books as are in the series.


For me, that's it. That's the process. It's part organic, part planning, part linear, part disorder, often frustrating, but always a wonderful, juicy, creative, wild ride!

The point is, if you write series you need to find what process works best for you depending on what genre you write, but also what kind of writer you are. There's no right or wrong as long as you figure out some form of organization and creative process that works to maintain your continuity and inspiration.

(use yours)

Now, go write.

~Margaret

The Next BIG Thing

"A hero knows it takes hard work and a long time to get published; a fool thinks it should happen immediately, because he thinks he's a hero already.

A hero learns the craft; a fool doesn't think there's much to learn.

A hero keeps growing all his writing life; a fool thinks he's fully grown already.

A hero fights to make his writing worthy, even when no one's noticing; a fool demands to be noticed all the time, even if his writing stinks.

A hero is persistent and a professional; a fool is insistent and annoying.

A hero gets knocked down and quietly regroups to write again; a fool gets knocked down and whines about it ever after.

A hero makes his luck; a fool cries about how unlucky he is.

A hero recognizes the worth in others; a fool can't believe others are worth more than he.

A hero keeps writing, no matter what, knowing effort is its own reward; a fool eventually quits and complains that the world is unfair.

Be a hero." -James Scott Bell, The Art of War for Writers

Gilmore Girls

NaNoWriMo is upon us. For many that means plucking away with a group of like-minded individuals, in whatever space of time we can manage to free up to hit that 50,000 word goal. Many published novels have come from NaNo origins. The Night Circus by Erin Morgenstern for one. I don't know about you, but when I go into NaNo, I wonder just what I'll write. I'm not a plotter, so most of the writing I do during NaNo is pantsing. I enjoy envisioning a character and letting the words fly. Is it harder to clean up the words afterward? Sometimes. But at least the words are down.

Recently, I've heard a lot of discouraging chatter from one of my writers groups. Some wonder how the effort will ever be worth it if they don't come out the next big thing. THE NEXT BIG THING. They want to be the next JK Rowling, the next Stephenie Meyer, the next Stephen King. That's the only goal that they can see.

They won't be The Next Big Thing. I won't be The Next Big Thing.

Okay, never say never. They could. I could. It's always a possibility. The problem with their kind of thinking is that it's discouraging. Big Things happen because they were at the right place in the market at the right time in the market with the right agent and editor. Do you realize how many stars have to align for something like that to happen?

Lindsey Stirling, Stars Align

My son is nine years old, and the oldest. He was born 5 weeks early and was only 3lbs 3oz. I had to have an emergency c-section because I would have contractions and sleep through them, but his heart rate would drop from 160 to 90 every time. We were blessed. He didn't have any health problems other than needing a feeding tube for several weeks. He is small. He will be small until that one growth spurt hits and he shoots up to the stars. The other day I caught him and his 6-year-old sister trying to see who was taller with the help of their 5-year-old sister.

The inevitable happened. His sister has grown taller than he is. We knew this would happen. His pediatrician informed us the first time he saw our 3lb bundle of joy. Preemies struggle to catch up sometimes and one day he will shoot up. The Dr. has seen it happen a million times. Both of his sister's were born at 6 lbs 13 oz and 6lbs 8oz. They had a better chance of being bigger faster than he did. My son was upset. Why is his sister taller than he is? Why is she stronger than he is? I sat him down. I asked him what he thought the world would be like if everyone were the same height and strength? He said everyone would be like daddy. I asked him what he could do that his sister couldn't. He told me that he could build portals in Minecraft (yes, our world currently revolves around Minecraft).

So, I put things in Minecraft terms. I asked him,  "What if no one could build portals? What if they could only build houses?"

He thought on this for a few minutes. I don't know the importance of portals in Minecraft, I've never played, but this seemed to be a big deal to him. He replied, "That would be boring. No one would be able to create anything."

I told him to continue to be a creator. Height and strength would come later, but creativity could never be replaced. He's since taken to drawing and creating more things on Minecraft. Apparently kissing cats creates babies. Who knew.

There will never be another writer like you. Stop trying to be The Next Big Thing. Focus on your writing, your style. Read what you love, write what you love and do your best to learn and grow. Learn from those authors you adore. Cultivate a career. Suzanne Collins had published the Underland Chronicles before The Hunger Games came out. Not every book your write is going to be a Big Thing. But every book you write could be a career. Continue to write because every time you do, your skills improve.

Be a squire struggling to prove himself a knight.

Heath Ledger, A Knight's Tale

Run with velociraptors.

Jurassic World

Be a hobbit struggling to make their way to Mount Doom. Be you. No one will ever know the formula for a Big Thing. No one can predict what will take off and earn millions. It isn't possible. But you can focus your energy on writing the best novel you possibly can. And who knows. Maybe the stars will align.

Galadriel, The Lord of the Rings

    

What's Your Sign? Character Development

Creating characters is hard. Sometimes it can be difficult to create a realistic personality. Characters can be based off of real life people, or ones from TV or movies, but how can you dig deeper? How can you give them more life?

My literary agent recommended I look into astrology. That requires extra work, but in the end I found it to be worth it. I had to ask myself some questions I didn't consider. What month was the character born? What day? Which sign do they fall under? Astrological signs have been used for centuries to determine personality traits.

With the above chart, found here, you can determine different behaviors for your character. Like with my sign, Libra. It says Libra's can be charming, idealistic and peaceable, all traits that I have in my personality. It also says I can be gullible, indecisive and flirty, which are also true. Knowing these things gives your character an addtional layer. It makes them more relatable.

Next time you plot out characters, dig a little deeper. Figure out their date of birth, find out their sign and see what traits make these characters who they are. You never know what you might find.

Ten Steps to an Emotionally Engaging Character

Literary agents pass on submissions for all sorts of reasons. For me, it usually comes down to the writing, more specifically, the characters themselves and how well I am able to connect with them. Having that emotional engagement with the characters makes me care what happens to them and keeps me turning pages.

The most common reason why I cannot connect with a protagonist is because the character does not seem “real” enough for me to relate to him or her. In other words, the character must have a certain degree of complexity, and a deeper or more layered way of thinking and acting to comes off as authentic and unique. Otherwise, the character will appear shallow and one-dimensional. He or she will seem more like a stock character pulled out of a TV show or movie, or worse, a caricature of a person.

The key to creating a more complex and convincing protagonist is to understand your character on an intimate level. Below is a 10-step writing exercise designed to help you dive deeper into the inner workings of your character’s personality:

Step 1: Create a tagline for the character. This is similar to what you would see in a personal profile of someone on social media. Just like a social media profile, it should be relatively short, reveal a main aspect of the character and her interests or what she desires most or aspires to become. 

Step 2: Write up a personal history of the character. Start with the basics and leave room to add more as more about the character comes to you. A good place to begin is with the character’s family history, including cultural and social roots. Then expand further. Are there any family issues or secrets? What about significant or pivotal childhood events? Think of what events or relationships might’ve influenced or shaped the character’s decisions in the story – perhaps an alcoholic or abusive parent, or a sibling that drowned or was murdered.

Step 3: Identify in general terms, your character’s type. Think in categories, archetypes, and even in stereotypes. Commercial fiction will often require a character to fill a role that fits a category – like the nosy mother-in-law or the funny, buddy sidekick or the recovering alcoholic detective. Once you have a generalized aspect of your character, make him or her more interesting and unique by adding traits and behaviors that might emphasize, stretch, bend or go against type.

Step 4: Describe the character’s morality make-up. Is the character principled or is he untrustworthy?  Is she thoughtful and logical about her decisions or impulsive and irrational? Is he empathetic and kind or indifferent and cruel to others? Is he honest to fault? Or perhaps ruthless and ambitious? Or maybe ethical and heroic?

Step 5: List what your character’s dreams and aspirations are.  Include not just career or life goals. Also include personal goals. For example, you might have a character who wants to stop a terrorist plot but he also wants to some day make amends with his estranged brother.

Step 6: Describe difficulties in the character’s life. What inner demons are making him or her struggle to get though the day, or deal with others? These difficulties might manifest themselves in the character’s life by making him drink too much or make her unable to commit to a relationship or contribute to his depression.  

Step 7: List the strengths and weaknesses of the character. What skills does she utilize the best or what traits help her the most?  What are the weaknesses or deficiencies in skills or behavior that come out most often or at the worst moments?

Step 8:Write about an incident, relationship or anything from the character’s upbringing that either directly or indirectly creates a behavioral or personality issue for him or her now, such as a debilitating shyness as a result of being shamed or dismissed as a child, or an underlying anger because of being abandoned by a father.

Step 9: Identify the cultural or environmental elements that might influence your character.  What ethnic or cultural traditions does he practice? What kind of sports does she play or watch? What television shows are on his DVR? Does she prefer to be in nature or the city? Is he conservative or liberal? Does she go to ballets and symphonies or rock concerts and baseball games? 

  

Step 10:After you have completed the nine steps, take stock of what you’ve written down. You should now have a better, more nuanced vision of your character. Continue to add to what you have written about your character, as you work on your story. Your notes will help you make decisions in what your character will do or think when situations arise in the story, identify the character’s personal stakes and bring out your character’s arc.

By the end of this exercise, you will know your character on a more meaningful level.  He will have a broader range of actions and reactions, because you will have a better understanding of his beliefs and morality, and his personality flaws and strengths. Your character will have a compelling inner life with tangible fears and real aspirations. He’ll have interesting quirks and eccentricities. Most of all, you’ll have a more emotionally engaging story that will keep readers invested in seeing your character’s journey to the end.