No, I haven't left.
This weekend I took some time with the family. Two baseball games, a 2 day swim meet, re-arranging the house (and now a sore back).
Working on e-queries today and contracts.
Also, I want to take the time to welcome aboard Susan Edwards to the Greyhaus writers. Many of you know Susan from her huge success at Dorchester. She has some great stories lined up so say posted!
Scott
Scott Eagan is the literary agent for Greyhaus Literary Agency. Greyhaus Literary Agency focuses exclusively on the traditional romance and women's fiction genres. Scott believes through increased education as well as communication between publishing professionals and authors, these two genres can continue to be a strong force in the publishing world.
Sunday, June 7, 2009
Thursday, June 4, 2009
Writing a series
Editors love doing three and four book contracts so write a series...
I hear this all of the time from writers. While the first part of this idea is correct for the most part, using the series approach is always a tough one. I have talked about this before but I want to give you a new twist on this style of writing.
When you are writing a series, obviously you are planning on having the same characters continue to the next several books. This is great for the readers since we have hopefully fallen in love with the secondary characters in book 1 enough to want to know more. But here is the problem. When writers begin this series, they try too hard to get all of the pieces of the puzzle in the first book so that the other stories already have the back story needed to work out the other plots.
When a writer does this, the story simply becomes too cumbersome. We have information that we as readers really don't need until later books, and the author is asking us to keep this information in our heads until we get to book 2. Ugh, what if we don't even make it to book 2? What if book 2 gets restructured by the editor and now that information isn't necessary? What if when you are writing book 2, the story takes a different approach?
I think the second issue with trying to link a series this much is that it becomes repetitive to the reader. We see this a lot with siblings. There are three sisters and they are all going to have their season. Guess what? Book 2 and 3 will be the same as 1 with the exception of a slight plot twist. Seen it done it.
A recommendation I always make to new writers is to think of each book 100% as a stand alone story. When pitching to an agent or editor, discuss how you have other stories in this genre that would also tie in great, due to the voice, style or issue, but still keeping the ideas individual. If you do have stories that are linked, work with the secondary characters that play a significant role in the lives of the main character and then, when their story comes up, get them away from the first characters. Create their own story. Again, by taking this approach, you can really think of a unique story that is linked not by plot but by theme.
Scott
I hear this all of the time from writers. While the first part of this idea is correct for the most part, using the series approach is always a tough one. I have talked about this before but I want to give you a new twist on this style of writing.
When you are writing a series, obviously you are planning on having the same characters continue to the next several books. This is great for the readers since we have hopefully fallen in love with the secondary characters in book 1 enough to want to know more. But here is the problem. When writers begin this series, they try too hard to get all of the pieces of the puzzle in the first book so that the other stories already have the back story needed to work out the other plots.
When a writer does this, the story simply becomes too cumbersome. We have information that we as readers really don't need until later books, and the author is asking us to keep this information in our heads until we get to book 2. Ugh, what if we don't even make it to book 2? What if book 2 gets restructured by the editor and now that information isn't necessary? What if when you are writing book 2, the story takes a different approach?
I think the second issue with trying to link a series this much is that it becomes repetitive to the reader. We see this a lot with siblings. There are three sisters and they are all going to have their season. Guess what? Book 2 and 3 will be the same as 1 with the exception of a slight plot twist. Seen it done it.
A recommendation I always make to new writers is to think of each book 100% as a stand alone story. When pitching to an agent or editor, discuss how you have other stories in this genre that would also tie in great, due to the voice, style or issue, but still keeping the ideas individual. If you do have stories that are linked, work with the secondary characters that play a significant role in the lives of the main character and then, when their story comes up, get them away from the first characters. Create their own story. Again, by taking this approach, you can really think of a unique story that is linked not by plot but by theme.
Scott
Wednesday, June 3, 2009
Conflict over conflict | Murder She Writes
S.J. Day's comments on Conflict. She really hit it right on the nose. Great comments!!! Great author!!!!
Conflict over conflict Murder She Writes: "1
Jun
09
This past week a friend of mine lamented her recent purchase of two romance novels. Her problem with both of them was the lack of conflict. It seems both stories had an external problem to work out, but internally… nada. The couple was clearly on the road to HEA, regardless. Their only problem was the external plot needed to be resolved, but as a couple, they were good to go. She asked me if this type of story was the norm now. After all, she’d picked up two books and they both had the same sort of setup.
As a reader, I understood what she was saying. I’d also noticed that some of the romances I’ve picked up over the last year or so lacked a “black moment.” I find that so odd. If there’s no question that the couple is going to end up together, where is the story? If the focus is entirely external plot, is that even a romance anymore? (internal conflict and black moments don’t apply exclusively to romance, but I’m talking about romantic fiction here). I’ve always thought external conflicts were important because they bring internal conflicts to a head. Sink or swim. Do or die.
My friend’s question tied into an issue I’d had with a book I’ve been trying to write unsuccessfully for months. Over the last few years, my stories have gotten progressively “darker.” There’s nothing wrong with that, but I wanted to switch things up when I started the new book. Both for my sake and for readers. While I believe that an author needs to consistently provide a signature experience for their readers, I also believe that familiarity breeds contempt. I think it’s important to surprise yourself and the reader with something new within the framework of"
Conflict over conflict Murder She Writes: "1
Jun
09
This past week a friend of mine lamented her recent purchase of two romance novels. Her problem with both of them was the lack of conflict. It seems both stories had an external problem to work out, but internally… nada. The couple was clearly on the road to HEA, regardless. Their only problem was the external plot needed to be resolved, but as a couple, they were good to go. She asked me if this type of story was the norm now. After all, she’d picked up two books and they both had the same sort of setup.
As a reader, I understood what she was saying. I’d also noticed that some of the romances I’ve picked up over the last year or so lacked a “black moment.” I find that so odd. If there’s no question that the couple is going to end up together, where is the story? If the focus is entirely external plot, is that even a romance anymore? (internal conflict and black moments don’t apply exclusively to romance, but I’m talking about romantic fiction here). I’ve always thought external conflicts were important because they bring internal conflicts to a head. Sink or swim. Do or die.
My friend’s question tied into an issue I’d had with a book I’ve been trying to write unsuccessfully for months. Over the last few years, my stories have gotten progressively “darker.” There’s nothing wrong with that, but I wanted to switch things up when I started the new book. Both for my sake and for readers. While I believe that an author needs to consistently provide a signature experience for their readers, I also believe that familiarity breeds contempt. I think it’s important to surprise yourself and the reader with something new within the framework of"
Great Kid Books
This librarian is on the money with this. We have to remember that now summer is here, it doesn't mean we stop reading. We have to show the kids there is always time to read. Let's give them a new approach to it as well. Audio books?
Great Kid Books: "Tuesday, June 2, 2009
Audiobooks for Young Listeners
Young elementary students, entering kindergarten through 3rd grades listen to stories over and over again. We have loved owning some stories, so our kids can listen to them repeatedly. Here are a few of our favorites:
James and the Giant Peach
Written by Roald Dahl
Narrated by Jeremy Irons
NY: Harper Audio, 2003
James escapes his wicked aunts with the help of magic crystals and enters the magical world with the insects. This reading is so much fun. Jeremy Irons doesn't just read the story - he performs it, bringing laughter and hillarity throughout. I'll never forget Aunt Sponge and Aunt Spiker arguing while James had to do all the work around the house. Once he ventures inside the peach, he finds friends and a real role as a hero in this exciting adventure. For a sample, you can go to Audible.com or the HarperCollins website.
Dominic
by William Steig
narrated by Peter Thomas
NY: Listening Library Audio, 2009
Dominic is a kind-hearted dog who sets off on a journey. He's not sure where he’s going, but he's eager to find adventure. Dominic just isn't satisfied with his ordinary life - he knows that there has to be something different if he just takes the road less traveled. Along the way, he meets a band of robbers, the Doomsday Gang, who try to steal all his possessions. Through wit and determination, Dominic chases them off and then helps several other people fight off this gang of trouble-makers. Dominic is a true hero throughout - confident, but modest - courageous, but thoughtful. We enjoyed this audiobook so much that we had to check out the print copy from the library. To our surprise, it was filled with marvelous pen and ink drawings. This audiobook has just been rereleased by Listening Library. Try"
Great Kid Books: "Tuesday, June 2, 2009
Audiobooks for Young Listeners
Young elementary students, entering kindergarten through 3rd grades listen to stories over and over again. We have loved owning some stories, so our kids can listen to them repeatedly. Here are a few of our favorites:
James and the Giant Peach
Written by Roald Dahl
Narrated by Jeremy Irons
NY: Harper Audio, 2003
James escapes his wicked aunts with the help of magic crystals and enters the magical world with the insects. This reading is so much fun. Jeremy Irons doesn't just read the story - he performs it, bringing laughter and hillarity throughout. I'll never forget Aunt Sponge and Aunt Spiker arguing while James had to do all the work around the house. Once he ventures inside the peach, he finds friends and a real role as a hero in this exciting adventure. For a sample, you can go to Audible.com or the HarperCollins website.
Dominic
by William Steig
narrated by Peter Thomas
NY: Listening Library Audio, 2009
Dominic is a kind-hearted dog who sets off on a journey. He's not sure where he’s going, but he's eager to find adventure. Dominic just isn't satisfied with his ordinary life - he knows that there has to be something different if he just takes the road less traveled. Along the way, he meets a band of robbers, the Doomsday Gang, who try to steal all his possessions. Through wit and determination, Dominic chases them off and then helps several other people fight off this gang of trouble-makers. Dominic is a true hero throughout - confident, but modest - courageous, but thoughtful. We enjoyed this audiobook so much that we had to check out the print copy from the library. To our surprise, it was filled with marvelous pen and ink drawings. This audiobook has just been rereleased by Listening Library. Try"
Where are all the good writers?
I had a writer ask me a while back an interesting question. After seeing that a fellow colleague was "looking for a gem" in her submission pile yesterday it got me thinking again. Why is it that agents don't sign more writers.
We all hear that there a great writers out there, but why is it that more rejection letters go out than do contracts?
There are actually several thoughts behind this one. I think the first comes down to the way the author sends out the material. First impressions are everything and if you blow it early on, then I don't care how good the writing is, it just won't fly. I do know that a lot of agents request large blocks of material because "the query" might not sell them early on. That is true, but if those opening pages aren't "golden" then it really isn't going to matter in the long run.
It is a tough thing that writers have to be so good with that first book, but that is simply the way it is. When agents are receiving so many submissions on a daily and weekly basis, if it doesn't hit us early on that the writing is good, then it is over.
I think we also have to consider that agents are human. This means that we do get tired. We do have busy days and as we work our way through the stacks of submissions, if we hit yours on one of those tough days, we will be extra critical. We may pass on something we would consider more of on another day.
I do want to add a note here. Please remember that we are all trying to be subjective here when it comes to the writing but the human body is a factor that can not be ignored here. I know, for myself, that if I am in a grumpy mood for what ever reason, I won't go and grab those submissions.
Finally, we come back to the issue of sending the materials to the right person. I always say this but it is something we need to be reminded of frequently. All agents are not right for your work. You can't just send out your work to 20 different agents and hope for the best. You have to find the right match. If you can't do that, the relationship will just not work.
Scott
We all hear that there a great writers out there, but why is it that more rejection letters go out than do contracts?
There are actually several thoughts behind this one. I think the first comes down to the way the author sends out the material. First impressions are everything and if you blow it early on, then I don't care how good the writing is, it just won't fly. I do know that a lot of agents request large blocks of material because "the query" might not sell them early on. That is true, but if those opening pages aren't "golden" then it really isn't going to matter in the long run.
It is a tough thing that writers have to be so good with that first book, but that is simply the way it is. When agents are receiving so many submissions on a daily and weekly basis, if it doesn't hit us early on that the writing is good, then it is over.
I think we also have to consider that agents are human. This means that we do get tired. We do have busy days and as we work our way through the stacks of submissions, if we hit yours on one of those tough days, we will be extra critical. We may pass on something we would consider more of on another day.
I do want to add a note here. Please remember that we are all trying to be subjective here when it comes to the writing but the human body is a factor that can not be ignored here. I know, for myself, that if I am in a grumpy mood for what ever reason, I won't go and grab those submissions.
Finally, we come back to the issue of sending the materials to the right person. I always say this but it is something we need to be reminded of frequently. All agents are not right for your work. You can't just send out your work to 20 different agents and hope for the best. You have to find the right match. If you can't do that, the relationship will just not work.
Scott
Tuesday, June 2, 2009
Submission Mistakes
I know we have talked about this before but in the last two weeks I have received submissions that fall into this category. Now maybe these people just like receiving rejection letters and are simply interested in cheap wall paper, but darn it, I am tired of writing rejections for things like this.
First of all, we all know that many of you use form letters for all of your agents and editors. O.K. I promise not to go off on the idea of how your letter needs to be personalized. I'll save that for later. The problem is to make sure that A) you change the address and letterhead; B) you still address the letter to the specific editor or agent and not simply "To Whom It May Concern"; and C) Don't just write one letter and cc it to us.
Now, I will give you one mistake if you typed the wrong name in. That happens, but when the whole package isn't addressed to me, uses the wrong address and the letter is addressed to someone else, that is a certainty for a rejection letter.
As for the cc'd message. That one I think was taken care of by another agent. When we all received this message, this person simply did a reply all and hinted that maybe they should try a bcc function. Yes, we get the hint that you are mass emailing it, but we don't end up finding out who we are also being considered with.
Now, here is the last problem. Same thing I have said before. DO YOUR RESEARCH! Greyhaus Literary Agency focuses only on romance and women's fiction. I don't do cookbooks, I don't do biographies and memoires (although Laura Bush, I know you are looking for an agent so swing on by!) and I don't do children's books. I also know other agents are also clear with what they look for.
Writing a response to you takes time! Save your self the postage. Save yourself the headache, and together, let's save a tree or two with all of the submission material. Be smart when submitting.
Scott
First of all, we all know that many of you use form letters for all of your agents and editors. O.K. I promise not to go off on the idea of how your letter needs to be personalized. I'll save that for later. The problem is to make sure that A) you change the address and letterhead; B) you still address the letter to the specific editor or agent and not simply "To Whom It May Concern"; and C) Don't just write one letter and cc it to us.
Now, I will give you one mistake if you typed the wrong name in. That happens, but when the whole package isn't addressed to me, uses the wrong address and the letter is addressed to someone else, that is a certainty for a rejection letter.
As for the cc'd message. That one I think was taken care of by another agent. When we all received this message, this person simply did a reply all and hinted that maybe they should try a bcc function. Yes, we get the hint that you are mass emailing it, but we don't end up finding out who we are also being considered with.
Now, here is the last problem. Same thing I have said before. DO YOUR RESEARCH! Greyhaus Literary Agency focuses only on romance and women's fiction. I don't do cookbooks, I don't do biographies and memoires (although Laura Bush, I know you are looking for an agent so swing on by!) and I don't do children's books. I also know other agents are also clear with what they look for.
Writing a response to you takes time! Save your self the postage. Save yourself the headache, and together, let's save a tree or two with all of the submission material. Be smart when submitting.
Scott
Monday, June 1, 2009
Comments on last post
I just read this opening paragraph. Now talk about a "gripping" intro.
Check it out and let me know what you think.
Scott
Check it out and let me know what you think.
Scott
Redefining Yourself
So here is a twist.
You have been writing for some time. Maybe your are published, maybe not. Regardless, you find yourself at a stand still. The writing is going no where. Maybe your editors have passed on your last manuscript. Now what?
No, you don't just give up. It is time to redefine yourself as a writer.
This is really a tough challenge since you may have been in a pathway for a long time. You may have really loved the work you were doing and finding a new direction is just not what you wanted to do, still it is an important pathway to take.
Several years ago, when the "chick lit" movement peaked and really dropped off, many writers had to find a new pathway to take. Continuing what they were doing was just not going to work in the long haul. Sure, some were able to last a bit more, but we still saw a shift. For these writers, finding a new pathway and redefining what they did was surprisingly easy. Many had found a great deal of success with their humor and snark. At this point, they simply had to find a new outlet for the style and to do so, meant blending genres. We saw that snark move into paranormals, into romantic suspense, into historicals.
Another writer I had the chance to work with found that her writing, while it was good, simply wasn't going to fly anymore. In her case, she had been writing historicals for a long period of time. While she had good numbers, there was a period of time that the writing just wasn't moving. In her case, she moved to a new time period. She had dabbled in this new time period a while ago, but just didn't do much with it. So, she dusted off the files she had started once before, and dove into a new project.
For unpublioshed authors, finding that new genre might be the key to success. One author I spoke to had been working hard at trying to write historicals. While her writing was good, it seemed to really lack the voice of that killer story. Her heart was really with fantasy and paranormal. In fact, she had actually published a couple of stories in her early days of writing in these genres. So, we went back to where her heart was and sure enough, she started selling. The fantasy/historicals sold, she expanded her writing and more fantasies went to a new publisher and guess what? That historical, sold to that new publisher, despite the fact that the publisher rejected it the earlier time around.
The key is to stop and examine what you are doing. If your heart really isn't into it. If your writing is continually receiving the same rejections over and over again, maybe it is time to "redefine" yourself. This might be all it takes to get things rolling again.
Scott
You have been writing for some time. Maybe your are published, maybe not. Regardless, you find yourself at a stand still. The writing is going no where. Maybe your editors have passed on your last manuscript. Now what?
No, you don't just give up. It is time to redefine yourself as a writer.
This is really a tough challenge since you may have been in a pathway for a long time. You may have really loved the work you were doing and finding a new direction is just not what you wanted to do, still it is an important pathway to take.
Several years ago, when the "chick lit" movement peaked and really dropped off, many writers had to find a new pathway to take. Continuing what they were doing was just not going to work in the long haul. Sure, some were able to last a bit more, but we still saw a shift. For these writers, finding a new pathway and redefining what they did was surprisingly easy. Many had found a great deal of success with their humor and snark. At this point, they simply had to find a new outlet for the style and to do so, meant blending genres. We saw that snark move into paranormals, into romantic suspense, into historicals.
Another writer I had the chance to work with found that her writing, while it was good, simply wasn't going to fly anymore. In her case, she had been writing historicals for a long period of time. While she had good numbers, there was a period of time that the writing just wasn't moving. In her case, she moved to a new time period. She had dabbled in this new time period a while ago, but just didn't do much with it. So, she dusted off the files she had started once before, and dove into a new project.
For unpublioshed authors, finding that new genre might be the key to success. One author I spoke to had been working hard at trying to write historicals. While her writing was good, it seemed to really lack the voice of that killer story. Her heart was really with fantasy and paranormal. In fact, she had actually published a couple of stories in her early days of writing in these genres. So, we went back to where her heart was and sure enough, she started selling. The fantasy/historicals sold, she expanded her writing and more fantasies went to a new publisher and guess what? That historical, sold to that new publisher, despite the fact that the publisher rejected it the earlier time around.
The key is to stop and examine what you are doing. If your heart really isn't into it. If your writing is continually receiving the same rejections over and over again, maybe it is time to "redefine" yourself. This might be all it takes to get things rolling again.
Scott
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