As I stood before the general membership at the May meeting, I had a strange moment of realization. Every meeting I ask for success stories from our membership, and without fail I receive them. It’s an uplifting exercise to hear the different forms of success and how success differs from person to person.
The end of the GLVWG year and the upcoming election also signals another event that many of us share: rejection season. After The Write Stuff conference in March, the membership as a whole must receive a lot of rejections at the end of May. Count out six to eight weeks from our conference, it brings us to our May meeting.
Every year there’s some good news, but every year at this time many members have a heavy heart. Rejected again. The exact words in the letters and emails change, but the message is the same.
No.
The form letters don’t sting. Writers easily toss those aside easily and forget about them. It’s the rejections that follow requests for partials or fulls that burn, cause doubts. Statements like “Many people will connect with this character, but I didn’t” or “I didn’t like the voice as much as I wanted to” can hit hard.
Many of these statements don’t even make clear sense, because it’s not a conversation. We don’t have the luxury of discussing with the editor or agent what they meant by their words, so it’s like secret code with no real key.
The simplest way to get over rejection is to start a new query and submit, submit, submit. Some people set it aside and continue work on a different project, to let the hurt cool. Some people view rejection as a sign that something’s wrong and set out to fix it.
Unless the agent or editor says there’s basic grammar mistakes, the plot sounds like a cliché or that every character was flat (or equally discouraging remarks), there’s nothing wrong.
An agent, editor or publisher must love the material he/she acquires as much as the author does or the relationship doesn’t work. It’s a tough business. It’s a tough world. Finding that one opportunity or that one person is hard.
Everyone at GLVWG understands.
Showing posts with label The Write Stuff. Show all posts
Showing posts with label The Write Stuff. Show all posts
Tuesday, May 31, 2011
Tuesday, May 17, 2011
Research
Besides the poem I wrote about my tooth, my writing time has been limited. I'm formulating a lot of ideas right now on how to revise my manuscripts, who to submit to next and what I'd like to do with my very brief pre-summer vacation. Summer class starts Monday.
I have many ideas and not much focus or energy, so I flit from idea to idea trying to find one that sticks. I have several ideas inspired by The Write Stuff and by the conference's keynote speaker agent Donald Maass. Those are for the manuscript I finished a month ago. I also have some concerns about Manipulations, the book I've been pitching, that I'd like to address. Primarily, the bad guy got tougher in book two and I think he needs to reflect that in book one.
I've resisted diving too far into Galen's back story because of the research I knew it would entail. Today I thought I'd read the passages that relate to his past and see if they spurred any idea of how I could strengthen them. I found something in this:
"A Huguenot couple had lost their daughter to a fever that their eldest son now had. They had traveled with him and his brother from the south of England. Hesper healed the boy. ... When it came time for the family to return to England, and escape the Irish climate, they offered the baby as payment. Or so Hesper had told him."
In my head I heard this voice say, "She lied."
I knew Galen's family were Huguenots from Bretagne (Brittany, the north of France). But what if the whole story was hooey? What if they fled Bretagne for some other reason? What if they left the south of England for the same reason?
I started with a quick internet search via the iPhone and discovered revolts in Bretagne, legends of Ankou, tidbits about the landscape and the language, and now I'm at the college library looking for more.
And Ankou? I haven't researched him here yet but he's Death, the Reaper. A skeleton in a shroud and flat Breton hat with an upturned scythe and an oxcart...
Sometimes with the right research, the story amazingly tumbles together as if you knew it all along.
I have many ideas and not much focus or energy, so I flit from idea to idea trying to find one that sticks. I have several ideas inspired by The Write Stuff and by the conference's keynote speaker agent Donald Maass. Those are for the manuscript I finished a month ago. I also have some concerns about Manipulations, the book I've been pitching, that I'd like to address. Primarily, the bad guy got tougher in book two and I think he needs to reflect that in book one.
I've resisted diving too far into Galen's back story because of the research I knew it would entail. Today I thought I'd read the passages that relate to his past and see if they spurred any idea of how I could strengthen them. I found something in this:
"A Huguenot couple had lost their daughter to a fever that their eldest son now had. They had traveled with him and his brother from the south of England. Hesper healed the boy. ... When it came time for the family to return to England, and escape the Irish climate, they offered the baby as payment. Or so Hesper had told him."
In my head I heard this voice say, "She lied."
I knew Galen's family were Huguenots from Bretagne (Brittany, the north of France). But what if the whole story was hooey? What if they fled Bretagne for some other reason? What if they left the south of England for the same reason?
I started with a quick internet search via the iPhone and discovered revolts in Bretagne, legends of Ankou, tidbits about the landscape and the language, and now I'm at the college library looking for more.
And Ankou? I haven't researched him here yet but he's Death, the Reaper. A skeleton in a shroud and flat Breton hat with an upturned scythe and an oxcart...
Sometimes with the right research, the story amazingly tumbles together as if you knew it all along.
Friday, April 1, 2011
Commitment
I'm making a renewed commitment to blogging. It's not easy with no internet access at home, but here is my pledge and my meager attempts.
At the Greater Lehigh Valley Writers Group The Write Stuff conference, several fellow writers and I had what could be termed as a brief conversation about process.
How do you write or edit when you haven't any time?
I've heard the stories of writing on napkins at traffic lights, and that it one legitimate (though unorganized) way. I propose three mindsets that can help take those random fifteen minute writing spots and turn them productive...
1. Have a hard copy of your manuscript. It's "old-fashioned" but it can help conquer some of the fractured mindset. This won't help with the writing process but it could jump-start your editing. If you're excited about edits but don't have a large block of time OR have large edits, I recommend the printed manuscript as a first step. Here's why: Before doing any big edits, you need to read the entire manuscript to make sure what you think is already there IS already there. And I don't care what anyone says. A manuscript reads differently in print than on screen. Not better, not worse, just differently.
If you make hand-edits, you can do them in bits and pieces because every time to open that manuscript your scribbles will make it obviously where you left off and what you were thinking. When we delete and add words on the computer, we don't have the benefit of always seeing the starting point. There's no delete on the page. Merely editing symbols.
When you have a big block of time, then you can go back and make all the changes you did by hand. And you will argue with yourself, just like you argue with critique partners, about which changes are warranted. In the end, this will have a strong impact on your edits.
2. Write in your head. Those of us who have worked (or are working) menial jobs have mastered the art of perfecting sentences or paragraphs in your head. Yes, a few words might be the only gain you make this way, but if you fill some of those down moments in the grocery line with playing with a sentence or two, you may find that the environment spurs unusual word choice or comparison. It's a good exercise in memory, especially if you can't write anything down. The best part is you have a starting point when you can sit down and write.
3. Have a plan. If you only have 15 minutes, don't waste too much time reading the last few paragraphs. Hopefully you have some "head-writing" to get you started and write a sentence or two. When you burn out the initial energy of what you had in your thoughts, pause, daydream and write your next immediate thought. This becomes the basis of your next bout of "head-writing" as you debate with yourself whether or not you like it...
At the Greater Lehigh Valley Writers Group The Write Stuff conference, several fellow writers and I had what could be termed as a brief conversation about process.
How do you write or edit when you haven't any time?
I've heard the stories of writing on napkins at traffic lights, and that it one legitimate (though unorganized) way. I propose three mindsets that can help take those random fifteen minute writing spots and turn them productive...
1. Have a hard copy of your manuscript. It's "old-fashioned" but it can help conquer some of the fractured mindset. This won't help with the writing process but it could jump-start your editing. If you're excited about edits but don't have a large block of time OR have large edits, I recommend the printed manuscript as a first step. Here's why: Before doing any big edits, you need to read the entire manuscript to make sure what you think is already there IS already there. And I don't care what anyone says. A manuscript reads differently in print than on screen. Not better, not worse, just differently.
If you make hand-edits, you can do them in bits and pieces because every time to open that manuscript your scribbles will make it obviously where you left off and what you were thinking. When we delete and add words on the computer, we don't have the benefit of always seeing the starting point. There's no delete on the page. Merely editing symbols.
When you have a big block of time, then you can go back and make all the changes you did by hand. And you will argue with yourself, just like you argue with critique partners, about which changes are warranted. In the end, this will have a strong impact on your edits.
2. Write in your head. Those of us who have worked (or are working) menial jobs have mastered the art of perfecting sentences or paragraphs in your head. Yes, a few words might be the only gain you make this way, but if you fill some of those down moments in the grocery line with playing with a sentence or two, you may find that the environment spurs unusual word choice or comparison. It's a good exercise in memory, especially if you can't write anything down. The best part is you have a starting point when you can sit down and write.
3. Have a plan. If you only have 15 minutes, don't waste too much time reading the last few paragraphs. Hopefully you have some "head-writing" to get you started and write a sentence or two. When you burn out the initial energy of what you had in your thoughts, pause, daydream and write your next immediate thought. This becomes the basis of your next bout of "head-writing" as you debate with yourself whether or not you like it...
Saturday, April 10, 2010
Adaptable and connected
Jonathan Maberry, a very prolific author of everything from paranormal-related nonfiction to paranormal thrillers and other odds and ends like comic books and movie-novels, spoke to Pocono Lehigh Romance Writers (PLRW) today about trends in the publishing industry.
My first exposure to Jonathan had to be in March 2008, at GLVWG's The Write Stuff, when I attended his query letter workshop. He was the keynote for the conference that year and the theme of his talk boiled down to write anything they throw at you and you can build a career. I oversimplify a tad, but the man lives by that motto.
He has fun with his work, and it seems like whether it's a GI Joe prose series to accompany a comic storyline, his novels or his zombie YA book, he's willing to tackle it.
When he walks into the room, he has so many practical ideas on how to build and market yourself as a writer, you might feel exhilarated and overwhelmed all at the same time.
I remember from two years ago, he told us to query up. He told us to start with all the dream agents, the big agents, because we didn't deserve to sell ourselves short. What's the worst that will happen? They say no. But maybe you will hit it big.
Today he talked about social networking in that same kind of light. Connect with people bigger than you, treat them as a colleague in a professional manner. Interview writers bigger than you for your blog. Use Linkedin, Twitter and Facebook.
And keep it positive. Because more kids want to play in your sandbox if you're positive. And Jonathan believes in the power of putting positive into the world.
It works for him.
And honestly, his enthusiasm is infectious. Now, if only I can find about six more hours in a day.
My first exposure to Jonathan had to be in March 2008, at GLVWG's The Write Stuff, when I attended his query letter workshop. He was the keynote for the conference that year and the theme of his talk boiled down to write anything they throw at you and you can build a career. I oversimplify a tad, but the man lives by that motto.
He has fun with his work, and it seems like whether it's a GI Joe prose series to accompany a comic storyline, his novels or his zombie YA book, he's willing to tackle it.
When he walks into the room, he has so many practical ideas on how to build and market yourself as a writer, you might feel exhilarated and overwhelmed all at the same time.
I remember from two years ago, he told us to query up. He told us to start with all the dream agents, the big agents, because we didn't deserve to sell ourselves short. What's the worst that will happen? They say no. But maybe you will hit it big.
Today he talked about social networking in that same kind of light. Connect with people bigger than you, treat them as a colleague in a professional manner. Interview writers bigger than you for your blog. Use Linkedin, Twitter and Facebook.
And keep it positive. Because more kids want to play in your sandbox if you're positive. And Jonathan believes in the power of putting positive into the world.
It works for him.
And honestly, his enthusiasm is infectious. Now, if only I can find about six more hours in a day.
Friday, April 2, 2010
The Selfish Writer
My apologies to Molly Cochran for stealing her desired title for the talk she gave at last week's GLVWG The Write Stuff conference. The talk was actually titled "Finish your novel" or something equally boring, but she really wanted to call it "The Selfish Writer" because that's what it takes.
Sometimes you have to neglect your children, your life, your job.
And those of us who spend our lives being way too serious need to hear that.
I finished my agent submission Tuesday night and emailed it. When I should have been in class.
I allowed myself to work on a scene five chapters away because my emotions seemed drawn to that scene.
And I promised myself I would make time for writing. That no matter what happens, I will give myself 30 minutes to an hour of writing time a day.
Because I need this.
Sometimes you have to neglect your children, your life, your job.
And those of us who spend our lives being way too serious need to hear that.
I finished my agent submission Tuesday night and emailed it. When I should have been in class.
I allowed myself to work on a scene five chapters away because my emotions seemed drawn to that scene.
And I promised myself I would make time for writing. That no matter what happens, I will give myself 30 minutes to an hour of writing time a day.
Because I need this.
Saturday, March 27, 2010
Recap: GLVWG The Write Stuff
It was a fabulous conference today, put on by the Greater Lehigh Valley Writers Group.
My favorite author speakers were Jordan Sonnenblick and Molly Cochran. I also pitched to an agent, and let's just say she was a fabulous speaker and warm person, but I fell down on the job.
I let Étienne and his posse down.
Now, I'm not naming the agent because I know what a mix of factors lead to an agent accepting your manuscript: the right market, the right blend of personalities, that agent has to believe in your prose as much as you do (okay, probably more)... I'm not naming her because if she rejects me, as is statistically likely, I don't want anyone to say she's mean, or a bad person, or stupid.
On the contrary, I'm inclined to believe this person's a saint, because I did a terrible job at my pitch. I salvaged it enough so she requested a synopsis and the first three chapters so she's either a big saint or my ideas have some merit.
But let's talk positive.
What did I learn?
Jordan Sonnenblick mentioned a great technique for checking your character's dialogue. He suggested taking different colors of highlighters and using one color for each main character and highlighting just their dialogue in your book. Why? Because if some one read nothing else but the dialogue would that character's personality/characterization materialize?
Molly Cochran listed techniques to finish your novel. Luckily, I do most of them. But listening to her talk about "writing fast" and "allowing yourself to write [a first draft] badly," I let her pivotal advice sink in. Have a regular writing schedule. Even if it's only 30 minutes per day. Set this schedule based on your own goals and your own priorities regarding writing. Allow yourself to be selfish and write.
That made me realize:
I need to reorganize my priorities in life.
Not just in writing, in everything.
My favorite author speakers were Jordan Sonnenblick and Molly Cochran. I also pitched to an agent, and let's just say she was a fabulous speaker and warm person, but I fell down on the job.
I let Étienne and his posse down.
Now, I'm not naming the agent because I know what a mix of factors lead to an agent accepting your manuscript: the right market, the right blend of personalities, that agent has to believe in your prose as much as you do (okay, probably more)... I'm not naming her because if she rejects me, as is statistically likely, I don't want anyone to say she's mean, or a bad person, or stupid.
On the contrary, I'm inclined to believe this person's a saint, because I did a terrible job at my pitch. I salvaged it enough so she requested a synopsis and the first three chapters so she's either a big saint or my ideas have some merit.
But let's talk positive.
What did I learn?
Jordan Sonnenblick mentioned a great technique for checking your character's dialogue. He suggested taking different colors of highlighters and using one color for each main character and highlighting just their dialogue in your book. Why? Because if some one read nothing else but the dialogue would that character's personality/characterization materialize?
Molly Cochran listed techniques to finish your novel. Luckily, I do most of them. But listening to her talk about "writing fast" and "allowing yourself to write [a first draft] badly," I let her pivotal advice sink in. Have a regular writing schedule. Even if it's only 30 minutes per day. Set this schedule based on your own goals and your own priorities regarding writing. Allow yourself to be selfish and write.
That made me realize:
I need to reorganize my priorities in life.
Not just in writing, in everything.
Tuesday, March 23, 2010
The Write Stuff
I'm getting ready for the GLVWG conference The Write Stuff this weekend. I was doing a lot of writing, two chapters over the weekend. And I felt like I was on fire.
Then yesterday I had a falling out with my boss. She made a list of criteria for me to keep my job and I didn't feel I could make it so I left.
Now I'm unemployed.
That's a scary feeling. But it's not worth the constant stress of the job, the job that only paid about $700 a month take-home. I was actually disciplined for being insubordinate on my day off, even though I did everything I was asked to do AND it was my day off.
I mention it because it happened before the conference. I was scheduled to work everyday this week so now I'll have more time. Hopefully I can practice my pitch.
Someone recently said, marketing your writing has always been a crapshoot. You still have the same terrible chances when it comes to the odds of making it, but she felt the uncertain economy had agents looking for the next great thing, instead of the predictable old thing, and maybe give us all a boost.
I don't know.
Then yesterday I had a falling out with my boss. She made a list of criteria for me to keep my job and I didn't feel I could make it so I left.
Now I'm unemployed.
That's a scary feeling. But it's not worth the constant stress of the job, the job that only paid about $700 a month take-home. I was actually disciplined for being insubordinate on my day off, even though I did everything I was asked to do AND it was my day off.
I mention it because it happened before the conference. I was scheduled to work everyday this week so now I'll have more time. Hopefully I can practice my pitch.
Someone recently said, marketing your writing has always been a crapshoot. You still have the same terrible chances when it comes to the odds of making it, but she felt the uncertain economy had agents looking for the next great thing, instead of the predictable old thing, and maybe give us all a boost.
I don't know.
Sunday, March 14, 2010
Troublesome Chapter Nine
I think I finished troublesome chapter nine. It took me a month. Part of that could be blamed on life, since school, work and volunteering have been hectic.
Ironically, yesterday was PLRW and I made my monthly goal to finish chapter nine. That's what made me go back and read it last night and discover that I had written more and better than I thought. That's always a nice feeling.
My next immediate task should be to work on my pitch for the GLVWG conference (The Write Stuff) which is less than 2 weeks away...
I need to freshen my approach and rebuild my enthusiasm. No matter what we're doing-- whether writing or something else-- we all reach that point where we need to freshen and rebuild.
So, let's see...
I write sexy paranormal chick lit where the bad guys make are bad and so are the good girls.
In the first book of my series, supermodel Adelaide Pitney has to protect her feminine power-- the same power that made her a superstar--from a 400-year-old witch who wants to use her latent elemental magick and blood rituals to bend the universe to his will.
Okay... next draft:
Angel Ackerman writes sexy paranormal chick lit set in the high fashion industry. Her bad guys stay bad, her heroines wear high heels. in her first book, supermodel Adelaide Pitney has to protect her feminine power-- the same power that made her a superstar--from a 400-year-old witch who wants to use her latent elemental magick and blood rituals to bend the universe to his will.
Ironically, yesterday was PLRW and I made my monthly goal to finish chapter nine. That's what made me go back and read it last night and discover that I had written more and better than I thought. That's always a nice feeling.
My next immediate task should be to work on my pitch for the GLVWG conference (The Write Stuff) which is less than 2 weeks away...
I need to freshen my approach and rebuild my enthusiasm. No matter what we're doing-- whether writing or something else-- we all reach that point where we need to freshen and rebuild.
So, let's see...
I write sexy paranormal chick lit where the bad guys make are bad and so are the good girls.
In the first book of my series, supermodel Adelaide Pitney has to protect her feminine power-- the same power that made her a superstar--from a 400-year-old witch who wants to use her latent elemental magick and blood rituals to bend the universe to his will.
Okay... next draft:
Angel Ackerman writes sexy paranormal chick lit set in the high fashion industry. Her bad guys stay bad, her heroines wear high heels. in her first book, supermodel Adelaide Pitney has to protect her feminine power-- the same power that made her a superstar--from a 400-year-old witch who wants to use her latent elemental magick and blood rituals to bend the universe to his will.
Tuesday, February 16, 2010
A new angle
At last year's The Write Stuff conference, I took a workshop with Karen Blomain in which we submitted a first chapter from a work-in-progress and then we literally cut it (with scissors) and rearranged it to explore other possibilities for where the story starts and other examinations of our own structure.
As a newspaper person, literary re-arranging didn't bother me and I found the act of tearing paragraphs apart (literally with my hands and ripping) quite therapeutic.
Now, I find myself struggling with a chapter and it irritates me and I find myself falling back on some of Blomain's techniques. Where does my story start? Or in this case, where does my chapter start? What do I need to convey?
More importantly, how else can I start it? Most of all I'm lacking momentum. I feel like once I find the beginning that works, the story unfolds naturally, especially since this is no longer a first draft.
I tried weaving some memories in with the character's (Étienne) present-day worries, using some of that imagery to symbolize the problems. It felt cliché. I'm tempted now to give him a nightmare, similar to his wife's nightmare a few chapters ago. Similar but different. Her nightmare was literally her subconscious tapping into the magic around her. His nightmare would use those same memories I used earlier to show his feelings... but they could have a quick exchange later about how "the house" is making it impossible for them to sleep.
I hate the idea, but I'm tempted to try it because everything else does not feel right.
As writers, we often push ourselves where we don't want to go.
As a newspaper person, literary re-arranging didn't bother me and I found the act of tearing paragraphs apart (literally with my hands and ripping) quite therapeutic.
Now, I find myself struggling with a chapter and it irritates me and I find myself falling back on some of Blomain's techniques. Where does my story start? Or in this case, where does my chapter start? What do I need to convey?
More importantly, how else can I start it? Most of all I'm lacking momentum. I feel like once I find the beginning that works, the story unfolds naturally, especially since this is no longer a first draft.
I tried weaving some memories in with the character's (Étienne) present-day worries, using some of that imagery to symbolize the problems. It felt cliché. I'm tempted now to give him a nightmare, similar to his wife's nightmare a few chapters ago. Similar but different. Her nightmare was literally her subconscious tapping into the magic around her. His nightmare would use those same memories I used earlier to show his feelings... but they could have a quick exchange later about how "the house" is making it impossible for them to sleep.
I hate the idea, but I'm tempted to try it because everything else does not feel right.
As writers, we often push ourselves where we don't want to go.
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