Some Proposals I Simply Don't Like

I will say, I do try and keep an open mind to submissions. I will never immediately say no to a project without reading the proposal. With that said, however, I do find that time and time again, there are projects that I will run from faster than Forrest Gump can run. And this is that subjective nature of the business. Let me explain that piece of the puzzle first.

As you know as readers, there are some genres you like and some that you don't like. When you get that great treat of going into a bookstore, you know the section you are going straight toward. You also know the sections that you have probably never been into your entire life. Sure, you might say you read everything, but the reality is, you don't. You also know that there have been times when your friend gives you a book they have totally loved and within the first few pages, you started to rethink that friendship wondering what was going through their head. As an agent, we too have our likes and dislikes. Not only are we looking for projects that are marketable and have quality writing, we have to connect with these projects just like readers do. We have to love the projects.

I remember sitting on a panel with an editor who described this the best. She stated, she has to love that project so much because she will be reading it easily 5-8 times and will be talking about it to everyone. As an agent, you want it so much on my mind, when I am talking to an editor, your book is the first thing that comes to my mind and I am gushing about it.

So, with that said, what are those projects that I just tend to say "not for me" more often than not.

• Band Romances - I am sorry to say this, but these tend to be so trope heavy 9 times out of 10. The band member has issues, the other person is a follower or is someone shy and the author is simply trying to put together two people who are polar opposites. Lately, when these come across my desk, the comps I always see are Daisy and the Six or A Star is Born. Can't get any stereotypical than that.
• Road trips after divorces - Hello women's fiction. Main character has a rough time so runs off and wants to find herself on the road. Why does this fall apart? It is now episodic. This was somewhat of the same problem Eat, Pray Love had. Italy was great, but when she left Italy, it was the same story 2 more times. Boring.
• First Person Stories - Look, don't get me wrong. There is nothing wrong with first person stories, if written well. The problem is, people don't know how to write the darn things. The majority of the time, These stories lack depth of character and plot development. These stories are simply dialogue.
• Duel Narratives - This is the new "In Thing" but it is just not "My In Thing." So, let me explain. many stories have already had duel POV approaches, especially in romance. We saw things from the hero's side and we saw things for the heroine's side. Not a problem. Many authors used this approach within chapters. Sometimes they used individual chapters. Again, not a problem. Where this has become an issue is when authors are telling TWO stories at the same time and attempting to show that the two storylines really do connect. The author may see the connection, but it is never spelled out enough for the readers. In the end, these are two ships passing in the night.
• Parallel Timelines - This is generally when present day character finds a journal or a box papers and then the author goes back in time and we see that other story. The goal is "theoretically," that the present day person learns something from the person in the past. Let me just say, see my comment on Duel Narratives.
• Corporate life to Bakery Owner - Honestly, I have never understood this one. Why would someone decide to give up a job, and move to Podunk, Nowhere to open a shop doing something they do not know how to do? Or, for that matter, why would someone leave a bakery to someone who has no clue how to bake in their will. Stop the insanity!!!!!!!

That should give you something to work with for today!

I Don't Care What Your College Creative Writing Instructor Said - They Were Wrong

This last weekend, I answered over 100 submissions. A lot of them were from people who were clearly at the end of the semester for the year in their MFA programs and starting to fire off those projects they had been working on. And, unfortunately, they were all making many of the same mistakes. I get really frustrated because I know that they students really do have their hopes of being great authors. I also know that these professors really are trying, but there is also a huge disconnect. Let me explain.

First, let's start with the professors in the MFA programs. These people are writing and are often publishing, but many are doing so, not in a commercial industry. Some are publishing with college presses. Some are publishing with small independent magazines. What they are teaching the students is often the sterile craft of writing proses and poetry. They teach "workshopping stories." Yes, these are certainly important, but when it comes to writing in the professional world, they are often missing the fact that this is a business and not simply a "creative writing process."

As for the submissions, I do not believe they are actually teaching them how submit to editors and agents. So many are simply attaching their document to an email, writing a quick letter and firing it off. But hear me out, this is often what you do when you are submitting to a small press, or to a magazine for a contest. But when submitting to editors and agents, there are different procedural steps to take and if you don't follow those steps, it will be a rejection. 

Finally, these programs are not truly teaching the ideas of commercial genres. They are simply teaching them to "write something that means something to the author." Again, we want you to write something that is important to you, but it has to be something that is marketable. Let me give you some examples. I had 10,000 word short stories. I had projects that were still in the the rough draft phases. I had people reaching out to me, after I rejected to say that they wanted to work with me to edit the story to make it worthwhile to sign me (um that is what I would do IF I had signed them). I had projects that weren't even in any category that you would find on Amazon or any other online platform.

My big word of advise for all of you in these programs is very simple. Go ahead and enjoy your time in these programs, BUT, learn the business of writing as well. This is not simply creative writing. 

Women's Fiction Does Not Equal Rom-Con or Depression

OK people, let's talk about women's fiction for a moment, shall we?

I spent Sunday morning answering submissions and I was deluged with women's fiction that fell into one of two categories. It seems that is all many of you seem to think women's fiction is about. Either you think it is ridiculous romantic comedy with characters struggling to find work and just figuring it out with friends with benefits, or, you have to create stories that are so depressing, it makes Where The Red Fern Grows look like the "Feel Good Movie" of the Century. Arrrgggghhhhhh!!!!!!! Do you hear me screaming from the Pacific Northwest?

Now, don't get me wrong, yes, you can certainly have stories like those. But that is not the only approach you can take.

Let me again redefine for you the definition of women's fiction that I like to use. These stories are about seeing the world through the female eyes. Readers get to see how women problem solve things, how they reflect on issues and so forth. It is not simply a story with a female protagonist. It is not simply a story with or without a Happily Ever After or a story with our without sexual content. 

Now, here comes the twist to women's fiction. The reader has to be able to connect with the characters and their experiences. In the case of those depressing stories. when you take that story so far over the top with all of their personal problems and issues, the readers are going to tune out. For most people out there, we might have one of those problems, but all of those issues? I think not. And for those of you writing the rom-cons, while they might be funny, these are almost getting to the point that the stories are getting so unrealistic. If some of these experiences these women get into at their work happened in real life, they would be sooooooo fired! 

These stories truly need to read like "real life." OK, let me stop right here and say that these are not non-fiction or based on "real life experiences. That is not what I mean. These stories need to READ like real life!

I hope that helps!!!!!!!!

When Might We Take A Chance On You?

I often hear authors say, "If you would just give me a chance...." I hear you! I honestly do! We all do and truthfully, I know a lot of agents and likely some editors wish we could give you that chance. When I first opened Greyhaus many editors and agents did take those risks. They would see those "diamonds in the rough" and gamble. But times have changed.

Let me remind you first of something, and I especially want to focus on agents for this post today. 

When an agent works with a new author, that agent is working for free until that first book is sold. Remember, agents work on commission! It is for that reason that we are often looking for manuscripts and authors who really have something to offer. No, I am not saying we are looking for only the next J.K. Rowling. We are looking for authors who have projects that are marketable and projects that are not likely going to require extensive overhauls. We are certainly not looking for someone who comes to us with simply a passion for writing and nothing to offer but just wanting to be tutored. There are times when we might actually be working with an author for a year getting a project ready to go.

Sure, we do get people who have projects that are amazing from the start! Those are great! We love those!

But now, let's really answer the question from the title of this blog. Are there chances that we might take a chance on you even if it is a gamble? I cannot speak for everyone, but I can say, speaking for myself, I would say yes, I would. BUT... and this is a big one... I would have to really consider a lot of things.

First of all. Do I see the writing with something with some serious potential. What I am talking about here is the quality of the writing, the quality of the plot and certainly the marketability of the story. I have to see it! Sure, you as an author might see it, but I have to see it. That means, SCOTT HAS TO SEE IT!

Secondly, I have to be able to look at the story and see how I would fix it. As I read the full manuscript, if I am actually still reading it, do I see where I would make changes and how much work what I would do to it? Sometimes it might be a complete rewrite of part of the story. Sometimes it is a restructuring of it. I will be honest, if I think it is a trash the whole thing, it will be a pass. I want the structure to remain. Think of it like those house flippers. They want the general structure of the house to be there but just bust out some walls and move some things around. If I have to bulldoze the whole house down and start over, then sorry, I won't take a chance. 

Finally, if I do see all of that, I have to consider who the author is. Is this author someone who would be up to this type of a task. This is not easy to do. Revisions like this are hard to handle because we will be working on a time schedule and we will be working with people's egos. If some author, in their letter told me they have worked on this all year, then I probably will pass. If they are a new author, then I might pass. If, when I talk to them and they sound like making changes will be a challenge, then I will pass. It is easy for an author to say they can adjust, but the reality is, when an editor or agent gives you revision notes, can you make those changes without complaining and make those changes fast? 

I know this sounds like if feels unfair to new authors. You have to be really strong out of the gate. You have to be nearly perfect with that first book. But please know, we are really looking out for you. We are trying to find the best in your writing and not just signing people we like or signing people who will make us millions of dollars. We will take a chance, if we think we can make it work!

Or at least I will