In my writer's group, we're a diverse bunch. There are literary fiction novelists, flash fiction scribes, essayists, poets, memoirists, writers for children, and international writers. The only way we're able to critique each other's work is by the fact that we understand and respect the rules and guidelines of each particular genre.
This got me thinking. What if my blog readers wanted to join a diverse writer's group? (One that doesn't say in the description, "We're a group of YA novelists helping each other on the way to publication", not that there's anything wrong with that. In fact, if you're a YA novelist, you should join them. However, if that's not readily available around you, check out a diverse group, they're awesome.)
So, long story short, we're going to talk about the main difference between Fiction and Nonfiction.
This is great if you're critiquing the work of others, if you're a nonfiction writer with a novel idea, or a fiction writer ready to tackle the scientific explanation of worm holes.
What is the main difference between Fiction and Nonfiction?
Fiction poses questions, whereas nonfiction answers questions.
Yes, it really is that simple.
Think back to your high school days with all those giant textbooks. They often included bold headers throughout the chapter saying something like:
Why is the sky blue?
How does Carver embody minimalist style?
What is an integer?
The paragraphs of text that followed those headers would answer the question and explain why the answer was that way.
However, this is not the case in fiction. In fiction, whether it's a short story, novella or novel, the best writers simply present us with a question.
Harper Lee posed the question of how innocence is destroyed, as well as the impacts of racism.
F. Scott Fitzgerald posed what facilitates the decline of the "American Dream".
Mary Shelley posed the question of what are the tolls in the pursuit of knowledge.
Being a fiction writer means that through your work, you uncover a question for the reader to ponder and create their own answers for. A nonfiction writer has the question predefined and uses their writing to provide answers for that problem.
It's the ultimate boiling down of the term, show don't tell, to a thematic level.
(Special Note: Memoir and other creative nonfiction [think David Sedaris and Elizabeth Gilbert] has shifted more to a fiction "pose the question, don't answer it" mentality in this post-modern time. So, if you're writing a memoir that reads like fiction, but is merely recounting factual events, please follow the thematic guidelines for fiction writing. It'll be so much more successful.)
Showing posts with label Publishing. Show all posts
Showing posts with label Publishing. Show all posts
Wednesday, April 6, 2016
Tuesday, February 16, 2016
BONUS POST: Where Are You Taking Me? (AKA the "But When" method)
Here it is, the bonus post. Earlier today we talked about setting in this post and right now, we're going to do a short rundown on plot.
One of the biggest reasons agents and publishers turn down beautifully written work is because the characters don't go anywhere or do anything. There's no external conflict. Nothing HAPPENS. What all this boils down to is - there's no plot.
Often, the easiest time to see whether or not plot exists is when you're writing a query. Here, you have a scant three sentences - a single paragraph if you're pushing it - to tell an agent why they should take on your book in their limited roster. Ideally, you should be able to summarize the main plot line in your novel in a single sentence.
When you do this exercise, it's very easy to discover if you've got plot or if it's sorely missing. If your sentence reads something like this, you may be in trouble:
Peasant Gretchen wants more than anything to be a knight, even though she's a woman, so she sets out on a quest to prove her bravery.
Okay, we know this story is about Gretchen, a peasant with lofty goals, but we know little about the conflict she will face. This story could easily get lost wandering in circles in the enchanted forest.
Instead, employ the "but when" method. Take a look at this plot line:
Peasant Gretchen wants more than anything to be a knight, even though she's a woman, so she sets out on a quest to prove her bravery, but when a dragon attacks her home, leaving her father crippled, she must decide between following her dreams or doing what is best for her family.
Now, we know the character: Gretchen the peasant.
We know her deepest desire: To be a knight.
We know the inciting incident: A dragon attacks Gretchen's home.
We know the conflict: She must decide between going home to help her crippled father or committing to becoming a knight.
What we also know is that a plot line exists - at least the beginnings of one - and most likely agents and readers will want to read more to figure out how this conflict resolves.
Try the "but when" method with your own novel in progress and see if you've got a plot worthy of publication or if you're still meandering around the same safe enchanted shrub.
One of the biggest reasons agents and publishers turn down beautifully written work is because the characters don't go anywhere or do anything. There's no external conflict. Nothing HAPPENS. What all this boils down to is - there's no plot.
Often, the easiest time to see whether or not plot exists is when you're writing a query. Here, you have a scant three sentences - a single paragraph if you're pushing it - to tell an agent why they should take on your book in their limited roster. Ideally, you should be able to summarize the main plot line in your novel in a single sentence.
When you do this exercise, it's very easy to discover if you've got plot or if it's sorely missing. If your sentence reads something like this, you may be in trouble:
Peasant Gretchen wants more than anything to be a knight, even though she's a woman, so she sets out on a quest to prove her bravery.
Okay, we know this story is about Gretchen, a peasant with lofty goals, but we know little about the conflict she will face. This story could easily get lost wandering in circles in the enchanted forest.
Instead, employ the "but when" method. Take a look at this plot line:
Peasant Gretchen wants more than anything to be a knight, even though she's a woman, so she sets out on a quest to prove her bravery, but when a dragon attacks her home, leaving her father crippled, she must decide between following her dreams or doing what is best for her family.
Now, we know the character: Gretchen the peasant.
We know her deepest desire: To be a knight.
We know the inciting incident: A dragon attacks Gretchen's home.
We know the conflict: She must decide between going home to help her crippled father or committing to becoming a knight.
What we also know is that a plot line exists - at least the beginnings of one - and most likely agents and readers will want to read more to figure out how this conflict resolves.
Try the "but when" method with your own novel in progress and see if you've got a plot worthy of publication or if you're still meandering around the same safe enchanted shrub.
Tuesday, September 22, 2015
What's In a Cover (Letter)?
The job search continues here in North Carolina as I look for steady employment to pay the bills. It means that most of my day is dedicated to writing. Some of it to stories and poems and (yes) even this blog.
But mostly, I'm writing résumés, applications, not-so-subtle pre-interview 'what would I do?' questionnaires, and above all, cover letters.
Writing these cover letters got me thinking: Is there a difference between writing a cover letter for the job market and writing a cover letter to submit a story to a lit mag?
Answer: Ah, hell yes!
Job market cover letters are longer (though never longer than one page) because they have to dance to the tune of many songs. A job market cover letter must at once hit keywords from the job description so you get picked up by the computer sorting and rejecting people before humans view the possible candidate, as well as convince the hiring manager that though you have no relevant experience or degree in their field, you'd be a great hire because of reasons a,b,c,x,y,z.
Whereas, a cover letter to a lit mag should be a very simple thing. Cover letters for your story should NEVER give a summary or synopsis of the story itself. Instead, follow this simple template:
1. Start your cover letter with a salutation. ("Dear Editor," works if the fiction editor's name is not listed on their site.)
2. Let them know what you've attached (either as a .docx attachment or in the body of the email) including the story title, word count, and genre (if the magazine publishes more than one).
Example: I have pasted my story, "Awesome Apes Five" (4,000 words, Fantasy) in the body of this email for your consideration.
3. List any significant publishing credits. No, that newspaper article you wrote freshman year doesn't count. Only include contest entries you won or placed in, or pieces that appeared in magazines published by people who are not related to you and who you do not know. No favors from your magazine owning uncle, and usually, no self-published material unless it got really really big on Amazon. (Note: if you're a new writer with no significant credits, no problem! Simply skip this step and go straight to #4.)
4. Close the letter.
Example:
Thank you for your time,
Super Writer
999 Publication Way, New York, NY
555-I'm Awesome
superwriter@imthebest.com
The main difference between a cover letter for the job market and a cover letter for a lit mag boils down to this:
To get a job, you want to prove that you're the best candidate for the position by smart talking and sweet talking your way to an interview. Flourish it up.
To get a story considered for publication, you need to not screw up your chances before the editor takes a peek at your story itself. Keep it simple. Don't make them dislike you before they read your first sentence.
Don't get bogged down thinking you need to write a full page. And don't - whatever you do - ever think that you should explain why you're the best person to write this story.
You're the best person to write this story because you wrote it, not anyone else. End of discussion.
So, next time you want to submit, remember that simple is always better. Relay important information in the cover letter and let your story do the heavy lifting. It is, after all, why you created it.
But mostly, I'm writing résumés, applications, not-so-subtle pre-interview 'what would I do?' questionnaires, and above all, cover letters.
Writing these cover letters got me thinking: Is there a difference between writing a cover letter for the job market and writing a cover letter to submit a story to a lit mag?
Answer: Ah, hell yes!
Job market cover letters are longer (though never longer than one page) because they have to dance to the tune of many songs. A job market cover letter must at once hit keywords from the job description so you get picked up by the computer sorting and rejecting people before humans view the possible candidate, as well as convince the hiring manager that though you have no relevant experience or degree in their field, you'd be a great hire because of reasons a,b,c,x,y,z.
Whereas, a cover letter to a lit mag should be a very simple thing. Cover letters for your story should NEVER give a summary or synopsis of the story itself. Instead, follow this simple template:
1. Start your cover letter with a salutation. ("Dear Editor," works if the fiction editor's name is not listed on their site.)
2. Let them know what you've attached (either as a .docx attachment or in the body of the email) including the story title, word count, and genre (if the magazine publishes more than one).
Example: I have pasted my story, "Awesome Apes Five" (4,000 words, Fantasy) in the body of this email for your consideration.
3. List any significant publishing credits. No, that newspaper article you wrote freshman year doesn't count. Only include contest entries you won or placed in, or pieces that appeared in magazines published by people who are not related to you and who you do not know. No favors from your magazine owning uncle, and usually, no self-published material unless it got really really big on Amazon. (Note: if you're a new writer with no significant credits, no problem! Simply skip this step and go straight to #4.)
4. Close the letter.
Example:
Thank you for your time,
Super Writer
999 Publication Way, New York, NY
555-I'm Awesome
superwriter@imthebest.com
The main difference between a cover letter for the job market and a cover letter for a lit mag boils down to this:
To get a job, you want to prove that you're the best candidate for the position by smart talking and sweet talking your way to an interview. Flourish it up.
To get a story considered for publication, you need to not screw up your chances before the editor takes a peek at your story itself. Keep it simple. Don't make them dislike you before they read your first sentence.
Don't get bogged down thinking you need to write a full page. And don't - whatever you do - ever think that you should explain why you're the best person to write this story.
You're the best person to write this story because you wrote it, not anyone else. End of discussion.
So, next time you want to submit, remember that simple is always better. Relay important information in the cover letter and let your story do the heavy lifting. It is, after all, why you created it.
Tuesday, September 15, 2015
Tailor Fit Stories
Today we're going to tackle the classic debate: What came first, the story or the publisher?
Indeed, for every writer the answer differs, and for every story it differs as well.
Some writers fall very strictly in the "story first" category. They argue that, because the story is the most important aspect, it should be completed in full and revised and shined up all nice and 'perdy' before you even begin searching for a possible magazine or publisher to send said story to.
Those on the other side argue that stories (and probably most commonly, nonfiction articles) should have a clear focus and should be tailored specifically for each publication. That means, you might research one or two and then write your story tailored specifically to their specifications. On another hand, it could mean researching publications and magazines and garnering ideas from their sites or guidelines (like the list of things they're "currently looking for") and writing your story by inspiration from that.
No matter which camp you fall into, remember not to get bogged down in the cons of each method. If you're a "story first"er, remember that eventually, your story does need to be finished. Without a market in sight, you could get trapped revising, reworking, and editing forever and ever.
And if you're a "publisher first"er, keep your spirits up. If your target magazine or publisher rejects the story you tailor made for them, don't give up on it. Don't throw it away in a box somewhere or delete the file off your computer. You can take that story somewhere similar and submit (sometimes with little to no tweaking involved) and it could find a perfectly happy home in plan #2.
Personally, I've crossed the fence into both camps. I write stories because the stories need to be told, and then struggle to find the right market for them afterward, and I also keep my eye on new and emerging markets and what they're in desperate need of, then write a story from that.
Both have worked out. Both have been published. Both have made me very happy.
So, tailor made or out-of-the-slush? What do you think?
Indeed, for every writer the answer differs, and for every story it differs as well.
Some writers fall very strictly in the "story first" category. They argue that, because the story is the most important aspect, it should be completed in full and revised and shined up all nice and 'perdy' before you even begin searching for a possible magazine or publisher to send said story to.
Those on the other side argue that stories (and probably most commonly, nonfiction articles) should have a clear focus and should be tailored specifically for each publication. That means, you might research one or two and then write your story tailored specifically to their specifications. On another hand, it could mean researching publications and magazines and garnering ideas from their sites or guidelines (like the list of things they're "currently looking for") and writing your story by inspiration from that.
No matter which camp you fall into, remember not to get bogged down in the cons of each method. If you're a "story first"er, remember that eventually, your story does need to be finished. Without a market in sight, you could get trapped revising, reworking, and editing forever and ever.
And if you're a "publisher first"er, keep your spirits up. If your target magazine or publisher rejects the story you tailor made for them, don't give up on it. Don't throw it away in a box somewhere or delete the file off your computer. You can take that story somewhere similar and submit (sometimes with little to no tweaking involved) and it could find a perfectly happy home in plan #2.
Personally, I've crossed the fence into both camps. I write stories because the stories need to be told, and then struggle to find the right market for them afterward, and I also keep my eye on new and emerging markets and what they're in desperate need of, then write a story from that.
Both have worked out. Both have been published. Both have made me very happy.
So, tailor made or out-of-the-slush? What do you think?
Tuesday, September 8, 2015
Authorship
I've always been a big advocate of the fact that being a "writer" and having the ability to classify ourselves with the term "writer" needs only one requirement; That we write.
You needn't be published, or represented by an agent, or have written a piece over 50,000 words. Being a writer simply means that you devote your time and energy to writing.
So, with this logic, I've been a committed writer for quite some time - probably a good eight years. And many of you have, no doubt, been writers just as long or longer than I.
Still, it sure does feel good when someone recognizes you for your achievements, doesn't it? This is exactly the experience I had the other day when I signed up for a Goodreads Author profile. To receive the Goodreads Author stamp on my profile, I had to prove that I'd published a book (or, in my case, a short story which was recognized on their site) in which my work appeared.
I submitted the application and waited two excruciatingly long days until I got the email that I was approved as a Goodreads Author! I logged on and look at what I saw:
Now, I'm a writer, but I've also boarded the coveted ship of "author". Seeing this definitely gave me the boot in the pants that I needed to keep the momentum of my projects at top-speed.
So keep writing, fellow scribes. Keep submitting and crossing your fingers that your story will be accepted. It'll take forever (eight years!) but it'll be worth it in the end.
[In the meantime, feel free to check out my profile on Goodreads. Also, if you're a Goodreads Author yourself (or simply a Goodreads member) hit me up in the comments or follow my profile and I'll come check out your books!]
You needn't be published, or represented by an agent, or have written a piece over 50,000 words. Being a writer simply means that you devote your time and energy to writing.
So, with this logic, I've been a committed writer for quite some time - probably a good eight years. And many of you have, no doubt, been writers just as long or longer than I.
Still, it sure does feel good when someone recognizes you for your achievements, doesn't it? This is exactly the experience I had the other day when I signed up for a Goodreads Author profile. To receive the Goodreads Author stamp on my profile, I had to prove that I'd published a book (or, in my case, a short story which was recognized on their site) in which my work appeared.
I submitted the application and waited two excruciatingly long days until I got the email that I was approved as a Goodreads Author! I logged on and look at what I saw:
Now, I'm a writer, but I've also boarded the coveted ship of "author". Seeing this definitely gave me the boot in the pants that I needed to keep the momentum of my projects at top-speed.
So keep writing, fellow scribes. Keep submitting and crossing your fingers that your story will be accepted. It'll take forever (eight years!) but it'll be worth it in the end.
[In the meantime, feel free to check out my profile on Goodreads. Also, if you're a Goodreads Author yourself (or simply a Goodreads member) hit me up in the comments or follow my profile and I'll come check out your books!]
Tuesday, September 1, 2015
Bonus Post: New Facebook Page!
I just created a Facebook page for my professional author and illustration projects. Feel free to check it out, hit like, or send me a message any time!
Alyssa Nedbal: author
And, as a super bonus, here's a picture of me geeking out with my copy of Parody Poetry Journal's Volume 4, Issue 1, which is for sale on their website now! Also, you can read 'The Fortune Cookie Writer' online, anytime, for free!
Alyssa Nedbal: author
And, as a super bonus, here's a picture of me geeking out with my copy of Parody Poetry Journal's Volume 4, Issue 1, which is for sale on their website now! Also, you can read 'The Fortune Cookie Writer' online, anytime, for free!
Tuesday, August 4, 2015
Formatting Email Submissions: A Worksheet
Many literary magazines and even some agents are switching to sites like Submittable to handle their submissions. Those sites are great because it allows the author to fill in a form for general information, and then upload their story in a file format (usually .doc or .docx) so that the agent or editor can read it.
It's great for the author, too, because all their formatting stays firmly in place - all italics show up as italics, bolding is visible, and the formatting indentation of paragraphs stays secure.
Best of all, the receiving party doesn't have to worry about unintentionally opening a virus onto their computer because Submittable checks for bad omens like that.
However, a lot of magazines and agents still require that you submit to them through email with your submission in the body of the email. (Also so they don't download any nasty viruses by opening bad files.) This means that you can't attach a handy file. It means you must copy and paste your story (yes, even if it's 14,000 words) into the message box of the email.
Over the years, I've submitted hundreds of stories, poems, and article pitches this way. But even when you've done it a hundred times, it can still be boggling to know exactly how to format a submission for email. So, this week, I'm offering up a worksheet of my tried and true email formatting tips.
Step One: Highlight the text of your submission and right click COPY.
Step Two: Go to your email body and place the cursor where you want the submission to start (this is usually after a query letter or note of introduction to the agent/publisher/editor). Right click and make sure to select PASTE AS PLAIN TEXT.
[Note: Plain Text will remove ALL your formatting. This means no paragraph breaks, no indents, and no italicizing or bolding. Your submission will look like one giant text block. This is normal. Don't Panic. Trust me.]
Step Three: Go through your submission line-by-line. The spacing of text lines should be single spaced, between paragraphs double spaced, and no indentations anywhere in the submission. Basically, you want to format it just like this blog entry is showing up on your screen. See the single space between the line above and this line because they belong to the same paragraph?
And now, when I start a new paragraph, I add an extra space between them. Also notice that I did not indent the new paragraph because most email servers don't recognize indentation and will put funky alien symbols there in front of your words. Not appealing.
Step Four: Once the formatting is complete, go back to find all your stylized text like italics and bolding. They will appear just like normal words in the Plain Text version. You must place _underscores_ around the words like I just did. This translates to the reader that that particular portion of text needs stylization, whether it be italics or bold. So rather than saying that Sadie is such a bore. You must say that Sadie is _such_ a bore.
Make sense?
When all four steps are complete, you can go ahead and hit send with the knowledge that your email will show up in an appealing and legible fashion in any email, regardless of the server service.
It can be a bit time consuming and tedious, but when it's already so difficult to get published, isn't it better to take the half hour to format it correctly, then to have your wonderful story turned down because the editor got fatigued reading: ^#$@I%m in big trouble<%#$&* I said. ?
It's great for the author, too, because all their formatting stays firmly in place - all italics show up as italics, bolding is visible, and the formatting indentation of paragraphs stays secure.
Best of all, the receiving party doesn't have to worry about unintentionally opening a virus onto their computer because Submittable checks for bad omens like that.
However, a lot of magazines and agents still require that you submit to them through email with your submission in the body of the email. (Also so they don't download any nasty viruses by opening bad files.) This means that you can't attach a handy file. It means you must copy and paste your story (yes, even if it's 14,000 words) into the message box of the email.
Over the years, I've submitted hundreds of stories, poems, and article pitches this way. But even when you've done it a hundred times, it can still be boggling to know exactly how to format a submission for email. So, this week, I'm offering up a worksheet of my tried and true email formatting tips.
Step One: Highlight the text of your submission and right click COPY.
Step Two: Go to your email body and place the cursor where you want the submission to start (this is usually after a query letter or note of introduction to the agent/publisher/editor). Right click and make sure to select PASTE AS PLAIN TEXT.
[Note: Plain Text will remove ALL your formatting. This means no paragraph breaks, no indents, and no italicizing or bolding. Your submission will look like one giant text block. This is normal. Don't Panic. Trust me.]
Step Three: Go through your submission line-by-line. The spacing of text lines should be single spaced, between paragraphs double spaced, and no indentations anywhere in the submission. Basically, you want to format it just like this blog entry is showing up on your screen. See the single space between the line above and this line because they belong to the same paragraph?
And now, when I start a new paragraph, I add an extra space between them. Also notice that I did not indent the new paragraph because most email servers don't recognize indentation and will put funky alien symbols there in front of your words. Not appealing.
Step Four: Once the formatting is complete, go back to find all your stylized text like italics and bolding. They will appear just like normal words in the Plain Text version. You must place _underscores_ around the words like I just did. This translates to the reader that that particular portion of text needs stylization, whether it be italics or bold. So rather than saying that Sadie is such a bore. You must say that Sadie is _such_ a bore.
Make sense?
When all four steps are complete, you can go ahead and hit send with the knowledge that your email will show up in an appealing and legible fashion in any email, regardless of the server service.
It can be a bit time consuming and tedious, but when it's already so difficult to get published, isn't it better to take the half hour to format it correctly, then to have your wonderful story turned down because the editor got fatigued reading: ^#$@I%m in big trouble<%#$&* I said. ?
Tuesday, July 28, 2015
More Publishing News (And a Market for You!)
North Carolina must be bringing me good luck because I write to you again this week with more publishing news!
My short story The Eastern Route is being published in the August 1st issue of Vitality magazine.
You can pre-order now on www.readvitality.com for the issue coming out this Saturday, and if that's not exciting enough, my story was used as the Sneak Peek on their homepage.
If you haven't heard of Vitality magazine know that they are entirely online, so your issue will be sent directly to your email if you pre-order or subscribe. Vitality is unique in the fact that they publish stories, poetry, and artwork with casually integrated LGBTQ+ protagonists. This means they publish pieces that are fun and "escape" fiction rather than pieces that deal with the stresses of transition, bullying, homophobia, rape, or the martyrdom or death of LGBTQ peoples.
In their About section on their website, they describe themselves. "[Vitality is] a safe place full of wonder and awesome where the reader can see characters like themselves doing things like battling dragons, solving crimes, acting in a circus, or traveling the world. All genres and styles can be found in Vitality. The only limit is your imagination." from: http://www.readvitality.com/about-vitality/
This is an extremely exciting proposition for writers because you can literally write close to anything. Have a fantastic space opera idea? Send it to Vitality! Want to write about sailors and sirens? Do it! Feel the need to dive into the realm of pixies or ghosts or time-hopping two-headed warriors? Now you can with the knowledge that a market exists. Just like they say, your imagination is the limit.
For me, this meant that I was able to write in one of my favorite genres: Steampunk. I'm really excited to present my transgender airship pilot and his love interest at the start of next month.
I hope you take a look at The Eastern Route if you get a chance, and please research Vitality. Not only is a great market with endless possibilities for creativity, but it also promotes diversity in fiction. What could possibly be better than that?
PS> check out that gorgeous artwork Rebecca Schauer did to bring my story to life! Can't wait to see the whole image!
My short story The Eastern Route is being published in the August 1st issue of Vitality magazine.
You can pre-order now on www.readvitality.com for the issue coming out this Saturday, and if that's not exciting enough, my story was used as the Sneak Peek on their homepage.
If you haven't heard of Vitality magazine know that they are entirely online, so your issue will be sent directly to your email if you pre-order or subscribe. Vitality is unique in the fact that they publish stories, poetry, and artwork with casually integrated LGBTQ+ protagonists. This means they publish pieces that are fun and "escape" fiction rather than pieces that deal with the stresses of transition, bullying, homophobia, rape, or the martyrdom or death of LGBTQ peoples.
In their About section on their website, they describe themselves. "[Vitality is] a safe place full of wonder and awesome where the reader can see characters like themselves doing things like battling dragons, solving crimes, acting in a circus, or traveling the world. All genres and styles can be found in Vitality. The only limit is your imagination." from: http://www.readvitality.com/about-vitality/
This is an extremely exciting proposition for writers because you can literally write close to anything. Have a fantastic space opera idea? Send it to Vitality! Want to write about sailors and sirens? Do it! Feel the need to dive into the realm of pixies or ghosts or time-hopping two-headed warriors? Now you can with the knowledge that a market exists. Just like they say, your imagination is the limit.
For me, this meant that I was able to write in one of my favorite genres: Steampunk. I'm really excited to present my transgender airship pilot and his love interest at the start of next month.
I hope you take a look at The Eastern Route if you get a chance, and please research Vitality. Not only is a great market with endless possibilities for creativity, but it also promotes diversity in fiction. What could possibly be better than that?
PS> check out that gorgeous artwork Rebecca Schauer did to bring my story to life! Can't wait to see the whole image!
Tuesday, July 14, 2015
Poem Publication News
Hey, y'all.
I feel like I can (or should/have to?) say that now that I'm a southerner. The move went as smoothly as you can hope it to. Dem Bunnies and I are doing well in the air conditioning because it is HOT-T-T here.
And for my first week back in the blogging seat post-move, I have exciting news to share with you:
My poem, The Fortune Cookie Writer, is being published in Volume 4 Issue 1 of Parody magazine.
I've known about this publication for awhile, but they've just posted the cover image and table of contents on their website, so I feel like it's officially official now. You should be able to read the issue and/or buy the printed copy soon.
Until then, I'm basking in the good vibes of seeing my name as a poet.
I'm taking this as a good omen for my life in a new region. I hope the luck transfers onto you, my faithful blog readers, and that you see success in your own writing endeavors.
Check out Parody Magazine here.
I feel like I can (or should/have to?) say that now that I'm a southerner. The move went as smoothly as you can hope it to. Dem Bunnies and I are doing well in the air conditioning because it is HOT-T-T here.
And for my first week back in the blogging seat post-move, I have exciting news to share with you:
My poem, The Fortune Cookie Writer, is being published in Volume 4 Issue 1 of Parody magazine.
I've known about this publication for awhile, but they've just posted the cover image and table of contents on their website, so I feel like it's officially official now. You should be able to read the issue and/or buy the printed copy soon.
Until then, I'm basking in the good vibes of seeing my name as a poet.
I'm taking this as a good omen for my life in a new region. I hope the luck transfers onto you, my faithful blog readers, and that you see success in your own writing endeavors.
Check out Parody Magazine here.
Tuesday, May 19, 2015
I Wanna See You Write Brave (Challenge Post)
My schedule has been hectic, to say the least. It seems like everyday I have less and less time to do the essentials like washing dishes and taking care of my buns, let alone fit in adequate time for yoga and writing.
So, this week I want to post a challenge:
No matter who you are, where you are, and what you have going on, I want you to submit something for publication.
Dig out an old poem from your underwear drawer. Uncover a flash fiction file from your hard drive. Or ruffle up the final draft of your novel in progress.
Then, revise and edit it. It should have been sitting long enough by now that you can see it with fresh eyes. Reread, tweak, fix, and polish.
Finally, find a market for your work and submit it. Maybe it's a new startup lit mag. Maybe you decide to go for the magazine of your dreams or the agent you always admired. Maybe you shoot for inclusion in a friend's weekly fiction mailer. Whatever the market, get that manuscript out there.
Because, really, what's the worst that can happen? You get rejected? Pff! It's happened before and it'll happen again. You can take it.
Maybe, just maybe, this will be the time you get constructive feedback. Maybe, just maybe, this will be the time you're accepted.
Whether you take this challenge the week I post this blog entry, two months from now, or three years from now, make the commitment to submit. Because you'll never be a published writer if you don't put yourself out there.
Take the challenge. Be brave. Submit your writing.
So, this week I want to post a challenge:
No matter who you are, where you are, and what you have going on, I want you to submit something for publication.
Dig out an old poem from your underwear drawer. Uncover a flash fiction file from your hard drive. Or ruffle up the final draft of your novel in progress.
Then, revise and edit it. It should have been sitting long enough by now that you can see it with fresh eyes. Reread, tweak, fix, and polish.
Finally, find a market for your work and submit it. Maybe it's a new startup lit mag. Maybe you decide to go for the magazine of your dreams or the agent you always admired. Maybe you shoot for inclusion in a friend's weekly fiction mailer. Whatever the market, get that manuscript out there.
Because, really, what's the worst that can happen? You get rejected? Pff! It's happened before and it'll happen again. You can take it.
Maybe, just maybe, this will be the time you get constructive feedback. Maybe, just maybe, this will be the time you're accepted.
Whether you take this challenge the week I post this blog entry, two months from now, or three years from now, make the commitment to submit. Because you'll never be a published writer if you don't put yourself out there.
Take the challenge. Be brave. Submit your writing.
Tuesday, March 31, 2015
Is It Possible To Be Too Beautiful?
I'm the queen of bad selfies. Even when I do my makeup and apply a number of filters to my picture, I still manage to look weird. I would enjoy being a beautiful selfie master. Heck, I'd even accept one beautiful pic of me at this point.
But is this the kind of mentality you want to apply to your writing?
Of course, you may be saying, What's better than people thinking my writing is beautiful?
Answer: when it takes the reader out of the story.
You've been there, I'm sure. You're reading a novel, completely invested in the characters and plot, and then suddenly you stumble upon a description so beautiful that you have to stop and reread it. You write it down, take its picture, or find it scrawled on Pinterest.
You may think, wow that passage was great, or that metaphor was superb. But really, what just happened?
Answer: you were pulled out of the story.
Even if it's just for a second, losing the reader is losing the reader. Whether they're confused or too stunned by your writing, it's a bad scenario.
So, make sure you're writing for the characters and plot of the story and kill those darling passages you think too beautiful to leave out. Cut them right out of the page and save them in a separate word document. Who knows, maybe you'll need a beautiful Tweet or social media update that you can use that beautiful passage for. But, as strange as it sounds, your fiction isn't the place to showcase just how wonderfully you can write. Fiction is about the story, the emotions, and the actions of the characters. You are simply the catalyst they're using to come to life.
But is this the kind of mentality you want to apply to your writing?
Of course, you may be saying, What's better than people thinking my writing is beautiful?
Answer: when it takes the reader out of the story.
You've been there, I'm sure. You're reading a novel, completely invested in the characters and plot, and then suddenly you stumble upon a description so beautiful that you have to stop and reread it. You write it down, take its picture, or find it scrawled on Pinterest.
You may think, wow that passage was great, or that metaphor was superb. But really, what just happened?
Answer: you were pulled out of the story.
Even if it's just for a second, losing the reader is losing the reader. Whether they're confused or too stunned by your writing, it's a bad scenario.
So, make sure you're writing for the characters and plot of the story and kill those darling passages you think too beautiful to leave out. Cut them right out of the page and save them in a separate word document. Who knows, maybe you'll need a beautiful Tweet or social media update that you can use that beautiful passage for. But, as strange as it sounds, your fiction isn't the place to showcase just how wonderfully you can write. Fiction is about the story, the emotions, and the actions of the characters. You are simply the catalyst they're using to come to life.
Tuesday, October 28, 2014
Special Shout-Out to Purdue OWL (or, when commas aren't making sense)
Were you always gifted with writing? Did your teachers often give you A's for your papers, even when the grammar was terrible, simply because they were so well written? Did you unwilling skip every basic grammar and level one English class in your school career?
If so, or even if you just need a refresher on grammar, check out Purdue OWL. (It stands for Online Writing Lab.)
This is the place I go for answers when I'm questioning the use of a comma or the placement of a hyphen. Here, you can brush up on what's right and wrong and then become your own copy editor before submitting to agents or magazines.
Because even though grammar is one of the easiest things for a publisher to fix, don't you think they'd rather not fix anything at all?
Right. So the next time you question yourself, check out Purdue OWL and submit with confidence. I just used its large knowledge base to quickly proof my short story before I even considered sending it out.
Now, fingers crossed that the grammar and writing are so spectacular, it's only a matter of time to publication.
:)
(By the way, here's the link to Purdue OWL so you can check it out!)
If so, or even if you just need a refresher on grammar, check out Purdue OWL. (It stands for Online Writing Lab.)
This is the place I go for answers when I'm questioning the use of a comma or the placement of a hyphen. Here, you can brush up on what's right and wrong and then become your own copy editor before submitting to agents or magazines.
Because even though grammar is one of the easiest things for a publisher to fix, don't you think they'd rather not fix anything at all?
Right. So the next time you question yourself, check out Purdue OWL and submit with confidence. I just used its large knowledge base to quickly proof my short story before I even considered sending it out.
Now, fingers crossed that the grammar and writing are so spectacular, it's only a matter of time to publication.
:)
(By the way, here's the link to Purdue OWL so you can check it out!)
Tuesday, October 21, 2014
Short Stories, Novellas, Novels, Oh My!
Sometimes it's difficult to know into which category your writing will fall. If you're like me, you allow your first draft to unfold organically or with an outline, paying little attention to the word count at the bottom of the screen. So, you don't stop at 3,000 or 5,000 or 30,000 words just because you've hit the word count stop point. You let the story happen as it needs to, with as many or few words as it needs to be.
That's the easy part, right? Then you revise, edit, and revise again. You read it out loud, give it to critique partners and file it into a drawer for three weeks so you forget about it.
After all this - when the work is done - how do you know what to call it?
I'm not talking title, I mean when someone asks you what you wrote, do you say it's a novel, novella, or short story? What makes each of these categories?
Well, traditionally, a short story is a piece under 12,000 words.
A novella is a piece from 17,000 to 50,000 words.
And a novel is a piece from 65,000 to 120,000 words.
But traditional guidelines are not always the norm. I've found that many lit mags won't take short stories over 5,000 words. There are a few that accept up to 7,000 words, a slimmer section that take up to 9,000 and only a handful who want stories under 12,000.
Similarly, agents and publishers like to see (in adult works) novels from 70,000 words to 90,000 words. Any less and you don't have enough plot or conflict or characterization. Any more and you can't edit yourself. (One exception, of course, is fantasy or Sci-Fi, when the novel can be up to or over 100,000 words.)
And novellas? Well, where can you send those other than to contests with steep entry fees or to a self-publishing company?
When your work falls outside the norm, what do you do?
1) Revise and edit. Get your short story down under 7,000 words or bump that novella up to novel status.
2) Hope. Send your work off to agents or lit mags and pray that they love the story enough to look past your word count. Of course, this method only works if you've gone through your manuscript with a fine toothed comb and can justify every sentence, every word and its existence.
3) Try untraditional. Is your story too good to not share, but not the norm for publishers? Think about posting it online or in a blog in increments. You probably won't make money or have any pub credits, but you may get a lot of hits on your story. And one of those could be an agent who is now watching your incline as a writer.
Those are the facts of piece lengths and realistic expectations in this industry. But if you're doing something new and interesting that needs to be seen, don't be discouraged if it isn't the norm. Power on until the story you need to tell is out there.
That's the easy part, right? Then you revise, edit, and revise again. You read it out loud, give it to critique partners and file it into a drawer for three weeks so you forget about it.
After all this - when the work is done - how do you know what to call it?
I'm not talking title, I mean when someone asks you what you wrote, do you say it's a novel, novella, or short story? What makes each of these categories?
Well, traditionally, a short story is a piece under 12,000 words.
A novella is a piece from 17,000 to 50,000 words.
And a novel is a piece from 65,000 to 120,000 words.
But traditional guidelines are not always the norm. I've found that many lit mags won't take short stories over 5,000 words. There are a few that accept up to 7,000 words, a slimmer section that take up to 9,000 and only a handful who want stories under 12,000.
Similarly, agents and publishers like to see (in adult works) novels from 70,000 words to 90,000 words. Any less and you don't have enough plot or conflict or characterization. Any more and you can't edit yourself. (One exception, of course, is fantasy or Sci-Fi, when the novel can be up to or over 100,000 words.)
And novellas? Well, where can you send those other than to contests with steep entry fees or to a self-publishing company?
When your work falls outside the norm, what do you do?
1) Revise and edit. Get your short story down under 7,000 words or bump that novella up to novel status.
2) Hope. Send your work off to agents or lit mags and pray that they love the story enough to look past your word count. Of course, this method only works if you've gone through your manuscript with a fine toothed comb and can justify every sentence, every word and its existence.
3) Try untraditional. Is your story too good to not share, but not the norm for publishers? Think about posting it online or in a blog in increments. You probably won't make money or have any pub credits, but you may get a lot of hits on your story. And one of those could be an agent who is now watching your incline as a writer.
Those are the facts of piece lengths and realistic expectations in this industry. But if you're doing something new and interesting that needs to be seen, don't be discouraged if it isn't the norm. Power on until the story you need to tell is out there.
Tuesday, October 7, 2014
Pondering Lit Mags and some Advice from Doug of Pixar's UP
You know when you go to a favorite literary magazine's submissions page and read their guidelines? About two paragraphs in there's a page-long rant about how you NEED, DEAR GOD, NEED to read their magazine at least for a good year so you understand what they like and accept. So you understand what kind of story they'll publish. Then you'll understand that if your story isn't a carbon copy of these previously published stories, you shouldn't waste their time and your own by submitting it to them.
I often find myself turned off by these rants. Even when it's a literary magazine I've subscribed to in the past or one I really look up to. It can sometimes feel that the literary community has turned against us as writers. If they want nothing new and inventive - if they want us to write only what's already been published - then why are we here? What are we striving toward?
This is something I've been grappling with for years. The American culture puts so little value into the arts. If you're a creator or an innovator, whatever you make had better generate its own cash-flow or you're worthless.
However, other cultures, like Japan, can see the value in the arts, and they respect things that are beautiful and innovative not solely from a basis of profit but from the aspect of a cultural advancement.
Because, really, what are we without art? Will we ever grow as a species if no one thinks outside the confines of what we already know and accept? Why do we put so little heft into the words or pictures brought forth by artists that wish to broaden our definition of humanity? Why do we ridicule the artist herself so?
These questions are the ones that boggle me. They are even more boggling when the community that is supposed to be supportive of the artist and his work turn against him.
Unfortunately, I don't have an answer for these questions, or a reason that America seems to dislike those who wish to allow us to grow and see things through new eyes. Perhaps it will not be within my lifetime that our thoughts switch and we value art.
Most humans, after all, dislike change.
But we keep doing it, why? Because we love it, and we can't stop. Even when no one else believes in us or shows us any support.
To keep you rolling with your writing, even when the haters get you down, here's a list of 22 tips on better storytelling from Pixar:
http://www.pinterest.com/pin/191403052888669266/
I often find myself turned off by these rants. Even when it's a literary magazine I've subscribed to in the past or one I really look up to. It can sometimes feel that the literary community has turned against us as writers. If they want nothing new and inventive - if they want us to write only what's already been published - then why are we here? What are we striving toward?
This is something I've been grappling with for years. The American culture puts so little value into the arts. If you're a creator or an innovator, whatever you make had better generate its own cash-flow or you're worthless.
However, other cultures, like Japan, can see the value in the arts, and they respect things that are beautiful and innovative not solely from a basis of profit but from the aspect of a cultural advancement.
Because, really, what are we without art? Will we ever grow as a species if no one thinks outside the confines of what we already know and accept? Why do we put so little heft into the words or pictures brought forth by artists that wish to broaden our definition of humanity? Why do we ridicule the artist herself so?
These questions are the ones that boggle me. They are even more boggling when the community that is supposed to be supportive of the artist and his work turn against him.
Unfortunately, I don't have an answer for these questions, or a reason that America seems to dislike those who wish to allow us to grow and see things through new eyes. Perhaps it will not be within my lifetime that our thoughts switch and we value art.
Most humans, after all, dislike change.
But we keep doing it, why? Because we love it, and we can't stop. Even when no one else believes in us or shows us any support.
To keep you rolling with your writing, even when the haters get you down, here's a list of 22 tips on better storytelling from Pixar:
Tuesday, July 29, 2014
Making Money from Writing: Alternative Markets
You want to build your author platform so one day you can catch an agent's eye and get your novel published and make millions of dollars....this is for sure a goal.
We've talked about author platforms in the past: your options often extend to literary journals publishing your short stories, contest wins, and knowing big-name authors.
But, Alyssa, you say, I don't have time to write hundreds of short stories, spend time revising and editing, and then send those stories off to literary journals to wait the seven to fourteen months lag time before I get a rejection, or, an acceptance that carries no prize money. I barely have time to write my novel as it is, and if I'm not getting paid for my writing time, I'm going to work on my true passion.
And I agree with you. While literary magazines can give you awesome credits (and contests can too, if you pay the submission fees), they take up a lot of time that could have been spent on your main writing project.
So, how do you build your author platform into at least a measly little soapbox that pushes your query above the rest?
My answer: alternative (paying) markets. Check out freelance writing - even if it's not your full time or even part time occupation. Write articles on things you know. Work in a hospital - write medical. Have a psychology degree - write about the brain and human actions. Like to live eco friendly - write eco articles for small but lucrative eco magazines.
And if you're really looking for an adventurous writing experience, try writing copy or reword a local company's crappy website or brochure. Write greeting cards, inspirational weekly email messages, blogs for paying markets.
A quick online search will show you tons of smaller markets looking for fantastic writing (who are willing to pay - a little or a lot - for your time and talents).
But Alyssa, you're saying now, that's not fiction. How will an agent know I can write fiction?
Well, I say don't worry. Having this type of alternative platform may not make you a literary darling, but it will show agents you possess one very needed aspect of being a successful writer - you can sell your work for profit.
We've talked about author platforms in the past: your options often extend to literary journals publishing your short stories, contest wins, and knowing big-name authors.
But, Alyssa, you say, I don't have time to write hundreds of short stories, spend time revising and editing, and then send those stories off to literary journals to wait the seven to fourteen months lag time before I get a rejection, or, an acceptance that carries no prize money. I barely have time to write my novel as it is, and if I'm not getting paid for my writing time, I'm going to work on my true passion.
And I agree with you. While literary magazines can give you awesome credits (and contests can too, if you pay the submission fees), they take up a lot of time that could have been spent on your main writing project.
So, how do you build your author platform into at least a measly little soapbox that pushes your query above the rest?
My answer: alternative (paying) markets. Check out freelance writing - even if it's not your full time or even part time occupation. Write articles on things you know. Work in a hospital - write medical. Have a psychology degree - write about the brain and human actions. Like to live eco friendly - write eco articles for small but lucrative eco magazines.
And if you're really looking for an adventurous writing experience, try writing copy or reword a local company's crappy website or brochure. Write greeting cards, inspirational weekly email messages, blogs for paying markets.
A quick online search will show you tons of smaller markets looking for fantastic writing (who are willing to pay - a little or a lot - for your time and talents).
But Alyssa, you're saying now, that's not fiction. How will an agent know I can write fiction?
Well, I say don't worry. Having this type of alternative platform may not make you a literary darling, but it will show agents you possess one very needed aspect of being a successful writer - you can sell your work for profit.
Tuesday, July 8, 2014
Homes in the Slush Pile
Author platform. You've heard the term, no doubt. But what the heck is an author platform?
It is not, unfortunately, a soapbox on which you stand to deliver your next reading and subsequent author speech. No, it is a way agents, editors, and publishers finally notice your work.
Let's think of this through a Texas state of mind. House number 100 in Texas is a giant castle with a moat and drawbridge. House 101 is a still large 3,000 square foot abode with a pool. House 102 is a little shack with a crumbling rooftop. And finally, house 103 is not a house at all, but an empty, overgrown plot.
If you had no budget from which to work with, and every house was up for grabs, which house would you take? Really. No restrictions. You can take any of them - they want you to buy them.
Easy, right? House 100. The giant castle. It's the biggest and the best. You might go for house 101, too, just to buy yourself a buffer zone, but they're the only two that draw your attention.
If you're an agent, this is what author platforms look like. House 100 is the big ticket author who has either published a bestseller or has enough online attention to do so soon. Even house 101 has done their marketing, sprucing the place up and making it the best house it can be on its own. Can it be bigger? Yes. It could be a castle. But only after major overhaul - which, in our case, is publication.
What about the other houses, you ask? Well house 102, our shack, is trying. It has maybe one poetry credit, a twitter feed, and maybe a short story about to be published in a friend's lit mag. It has something, but it needs a crap ton of work before anyone with an unlimited budget notices. And house 103, the empty plot, has nothing but a manuscript to its name. Nothing previously published, and no Facebook author page or blog.
Now, I'm not saying that no agent or publisher had ever chosen a really awesome empty plot based upon the manuscript alone, but isn't it better to have an eye-catching author platform so every agent that passes your query wants you as a client? Quite right.
So how do you make yourself into a giant agent snatching house? You have to work for it. How do you do that? You must commit to a few types of platforms. Create a Facebook author page, a Twitter feed, Instagram, blog, or website. Post from the POV of your protagonist, make sure everyone knows you're an expert on your novel's subject, and share your writing advice.
Then, you'll be the house 100 in the query slush pile and no one can stop you from publishing the next NYT bestseller.
It is not, unfortunately, a soapbox on which you stand to deliver your next reading and subsequent author speech. No, it is a way agents, editors, and publishers finally notice your work.
Let's think of this through a Texas state of mind. House number 100 in Texas is a giant castle with a moat and drawbridge. House 101 is a still large 3,000 square foot abode with a pool. House 102 is a little shack with a crumbling rooftop. And finally, house 103 is not a house at all, but an empty, overgrown plot.
If you had no budget from which to work with, and every house was up for grabs, which house would you take? Really. No restrictions. You can take any of them - they want you to buy them.
Easy, right? House 100. The giant castle. It's the biggest and the best. You might go for house 101, too, just to buy yourself a buffer zone, but they're the only two that draw your attention.
If you're an agent, this is what author platforms look like. House 100 is the big ticket author who has either published a bestseller or has enough online attention to do so soon. Even house 101 has done their marketing, sprucing the place up and making it the best house it can be on its own. Can it be bigger? Yes. It could be a castle. But only after major overhaul - which, in our case, is publication.
What about the other houses, you ask? Well house 102, our shack, is trying. It has maybe one poetry credit, a twitter feed, and maybe a short story about to be published in a friend's lit mag. It has something, but it needs a crap ton of work before anyone with an unlimited budget notices. And house 103, the empty plot, has nothing but a manuscript to its name. Nothing previously published, and no Facebook author page or blog.
Now, I'm not saying that no agent or publisher had ever chosen a really awesome empty plot based upon the manuscript alone, but isn't it better to have an eye-catching author platform so every agent that passes your query wants you as a client? Quite right.
So how do you make yourself into a giant agent snatching house? You have to work for it. How do you do that? You must commit to a few types of platforms. Create a Facebook author page, a Twitter feed, Instagram, blog, or website. Post from the POV of your protagonist, make sure everyone knows you're an expert on your novel's subject, and share your writing advice.
Then, you'll be the house 100 in the query slush pile and no one can stop you from publishing the next NYT bestseller.
Tuesday, July 1, 2014
Can you Query me now?
Let's talk about selecting which agents to submit queries to.
Querying may seem daunting and full of rejection (we've talked about this before), but when you think about it, so is applying and interviewing for jobs. So why should we treat it much differently? Only, this is your dream job and it's filled with words and not the expired coffee beans of your last barista job.
Now, think about what's most important in an agent:
1. Someone you connect with, who believes in your work and your career.
2. Someone who's willing to fight to get you the best possible publisher for your book at the best possible price.
3. Someone who can help explain this confusing, inter-galactic process of the publishing world (ie e-Books, novellas, literary, commercial, traditional print...).
It's not all that different from accepting an offer for a traditional 9-5 job. For that you look for:
1. Doing something you like.
2. Having a pay that makes the revocation of your free time worth the job itself.
3. Working with people you like, who understand you, and accept you for your strengths and weaknesses (and, of course, understand you have a life outside of their walls).
So, next time you're scouring that agent search site, try not to panic and send a mass query to everyone who represents sci-fi novels. Research your agents. Make sure they sound like the type of person you'd want to work professionally with. Is the agency in line with what you want for your book and your career? Is this a place you'd like to "work"? If so, submit. If not, you could be entering in to a professional relationship that isn't right for you.
Querying may seem daunting and full of rejection (we've talked about this before), but when you think about it, so is applying and interviewing for jobs. So why should we treat it much differently? Only, this is your dream job and it's filled with words and not the expired coffee beans of your last barista job.
Now, think about what's most important in an agent:
1. Someone you connect with, who believes in your work and your career.
2. Someone who's willing to fight to get you the best possible publisher for your book at the best possible price.
3. Someone who can help explain this confusing, inter-galactic process of the publishing world (ie e-Books, novellas, literary, commercial, traditional print...).
It's not all that different from accepting an offer for a traditional 9-5 job. For that you look for:
1. Doing something you like.
2. Having a pay that makes the revocation of your free time worth the job itself.
3. Working with people you like, who understand you, and accept you for your strengths and weaknesses (and, of course, understand you have a life outside of their walls).
So, next time you're scouring that agent search site, try not to panic and send a mass query to everyone who represents sci-fi novels. Research your agents. Make sure they sound like the type of person you'd want to work professionally with. Is the agency in line with what you want for your book and your career? Is this a place you'd like to "work"? If so, submit. If not, you could be entering in to a professional relationship that isn't right for you.
Tuesday, June 17, 2014
Fitting a Swimming Pool in a Coffee Mug
It can't be done, right? Physics simply won't allow it. And yet, the synopsis requires that you do just that. Your novel (the swimming pool) has to be condensed to 1-2 pages: in fact, the lowest synopsis amount I've seen on an agent submission page is 3 paragraphs: which can often feel even less like a mug and more like an eye dropper.
So how do you accomplish fitting your entire, brilliant masterpiece into such a tiny space?
First, forget about subplot. Have an interesting father-daughter scene that unfolds under the main current of the novel's plot? Great! Don't include it in the synopsis. Tangents don't show you're a good writer, they show you don't know how to edit.
Second, limit your characters. Does your protagonist's brother perpetuate her loneliness by socially isolating her at school? Awesome! Don't name him in the synopsis. Providing every character's proper name from the novel doesn't provide depth, it confuses the reader because instead of focusing on one or two names, the reader has to remember six or seven who may only be mentioned once or twice.
Finally, remember cadence. As a rule of thumb, keep sentences short and to the point. Don't try and show off in your synopsis. It is less a showcase of writing talent (though you do want to put time into writing it well) and more of a showcase to agents that you know how to plot and you know where you're going with this story before they read the whole thing. Need help? For your first draft keep all sentences 10 words and shorter. Then, later, combine sentence for clarity and cadence.
Still intimidated by the synopsis? Try this technique---
Boil your novel's plot down to ten sentences. I repeat, TEN. No more. Only include what's important because you can't add more space - just like your one page synopsis. Then, expand upon these ten sentences enough so your plot has causality and makes sense, but not enough so it's cluttered.
Think you're up for the challenge? I think you are. If you keep in mind that simplicity is best, you will do infinitely better.
So how do you accomplish fitting your entire, brilliant masterpiece into such a tiny space?
First, forget about subplot. Have an interesting father-daughter scene that unfolds under the main current of the novel's plot? Great! Don't include it in the synopsis. Tangents don't show you're a good writer, they show you don't know how to edit.
Second, limit your characters. Does your protagonist's brother perpetuate her loneliness by socially isolating her at school? Awesome! Don't name him in the synopsis. Providing every character's proper name from the novel doesn't provide depth, it confuses the reader because instead of focusing on one or two names, the reader has to remember six or seven who may only be mentioned once or twice.
Finally, remember cadence. As a rule of thumb, keep sentences short and to the point. Don't try and show off in your synopsis. It is less a showcase of writing talent (though you do want to put time into writing it well) and more of a showcase to agents that you know how to plot and you know where you're going with this story before they read the whole thing. Need help? For your first draft keep all sentences 10 words and shorter. Then, later, combine sentence for clarity and cadence.
Still intimidated by the synopsis? Try this technique---
Boil your novel's plot down to ten sentences. I repeat, TEN. No more. Only include what's important because you can't add more space - just like your one page synopsis. Then, expand upon these ten sentences enough so your plot has causality and makes sense, but not enough so it's cluttered.
Think you're up for the challenge? I think you are. If you keep in mind that simplicity is best, you will do infinitely better.
Tuesday, June 10, 2014
Editing and Queries and Synopses, Oh My!
With my latest revision of my YA novel done and the manuscript looking the best it ever has, my mind has turned from editing to the query and synopsis. Both daunting tasks.
To help you out in your future research, here are a few of the best sites I've found to help you with queries (and next week we'll tackle the fear-inducing synopsis).
Want the agent's perspective to queries? Check out the Nelson Agency blog: nelsonagency.com/pubrants here, agent Kristin Nelson shares her current music tunes, publishing advice, and (if you follow the queries label) successful queries that won her heart.
If you want another agent perspective without the niceties of a Midwestern childhood, drive into the chum bucket at Janet Reed's hit blog Query Shark. queryshark.blogspot.com. View the archives, read mistakes and triumphs by other writers and even submit your own query for critique by the shark herself.
Finally, for great query advice, look no farther than Writer's Digest. writersdigest.com. Their bloggers and article writers write often about how to create successful queries, but what sets them apart is their "Successful Queries" series. So, check out the website and get your subscription - it will aid your craft.
To help you out in your future research, here are a few of the best sites I've found to help you with queries (and next week we'll tackle the fear-inducing synopsis).
Want the agent's perspective to queries? Check out the Nelson Agency blog: nelsonagency.com/pubrants here, agent Kristin Nelson shares her current music tunes, publishing advice, and (if you follow the queries label) successful queries that won her heart.
If you want another agent perspective without the niceties of a Midwestern childhood, drive into the chum bucket at Janet Reed's hit blog Query Shark. queryshark.blogspot.com. View the archives, read mistakes and triumphs by other writers and even submit your own query for critique by the shark herself.
Finally, for great query advice, look no farther than Writer's Digest. writersdigest.com. Their bloggers and article writers write often about how to create successful queries, but what sets them apart is their "Successful Queries" series. So, check out the website and get your subscription - it will aid your craft.
Tuesday, May 13, 2014
Publication
It feels like months I've been holding this news back - waiting for it to be officially okay to tell everyone. But the day has finally come!
Drum roll, please.......................................
My short story The First Summer Funeral has been published in the Winter/Spring 2014 issue.
You can find it here: http://www.snreview.org/0414Nedbal.html
And check out the other great stories in this issue on the homepage of the magazine here: http://www.snreview.org/
Print and Kindle editions of the magazine will be released shortly. I'll keep you posted.
Drum roll, please.......................................
My short story The First Summer Funeral has been published in the Winter/Spring 2014 issue.
You can find it here: http://www.snreview.org/0414Nedbal.html
And check out the other great stories in this issue on the homepage of the magazine here: http://www.snreview.org/
Print and Kindle editions of the magazine will be released shortly. I'll keep you posted.
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