Why are you going to the National Conference?
I ask this, not to get a flood of emails with their top list of things to do when they are at the conference, it is a reminder of what a conference such as RWA National is all about.
I find it amusing that on all of the chats and blogs out there, writers are gearing up for all of the restaurants they will be at, the sights they will see, the parties they will attend and I really wonder, why are they spending so much money for the conference? I know in the past, when I have attended, I find little time to do anything. I take my swim suit in the attempt to hit the hot tub, or my work out clothes, but my day is just too packed. In Dallas, I wanted to do the whole JFK tour, but simply didn't have the time.
From 6:00 AM until 11:00 at night I was working. I attend the Spotlights, I meet with writers, I meet with editors and other agents. I work. I have my complimentary breakfast, eat the dinners and lunches provided by the conference because yes, these are working meals. This is business.
I remember having a conversation with Susan Swinwood from Harlequin one year we were talking about how RWA is really an exhausting conference. From the moment you walk out the door of your hotel room, you are "on." For myself, I start developing a single calendar in my Outlook file simply for that conference and it is booked all day.
Look, if you want to go and hang out with your friends, see the sights of a city, sit by the pool with your AlphaSmart of laptop and write, don't waste your time on the conference. If you want to see DC, go when it is cooler. Stay at a hotel that gives you what you want to be creative and have fun. (Please note, I am not slamming conference hotels or sights, RWA has picked fantastic ones every year. Keep it up!!!). What I am simply saying is that you need to have your priorities straight for a PROFESSIONAL conference with PROFESSIONAL writers.
Still, have fun! I will see you in 2010! For me, this year I needed a break!
Scott
Tuesday, July 7, 2009
Monday, July 6, 2009
Variables in Writing
Many of you are preparing for your upcoming trip to Washington, DC for the National RWA Conference. Like many, along with struggling with your packing list, figuring out how on earth you are going to bring home all of those books, trying to memorize that pitch of yours and finally, you are also combing over the tons of great seminars to attend. This is a tough trip! Today, however, I want to take some time to focus on the seminars.
Here is that tough love statement. The seminar you attend will not be the golden ticket to getting you published.
As I said, there are tons of great seminars to attend and each one is fantastic for what is being provided. After the conference, along with being physically exhausted, you will be highly motivated and charged up for your writing project. You will hear things in seminars and scream silently to yourself, "That's it. If I just do that, the book will be golden!"
Now, here is the thing. You should scream that. At every session you attend, you should leave with one little tidbit of what it takes to make a piece of writing good. That one little nugget that makest that manuscript a little better, a little stronger, and hopefully a bit more marketable. But... these are just nuggets.
Like any business, there are a lot of variables that come into play when making that final product marketable. Let me expalin it this way. When I was working on my first MA in literacy, my research went out to study what it was in the classroom that caused student learning to be successful. What I found was interesting. Most of the research out there only attributed student learning to small elements. It might be the curriculum, it might be the inherent ablity of the student, it might be the way the classroom is set up, it might be the implementation of the teacher. What the research did not show was that all of the pieces of the puzzle - the teacher, student, curriculum & environment - had to be in place and working together to make student learning happen. Give a fantastic curriculum to a terrible teacher and learning will not occur. Give a great teacher a perfect curriculum, let them implement the curriculum in a perfect environment, but toss in a student that simply doesn't care, there will be no learning.
The same holds true with publishing. The perfect query letter will not get you published if the premise of the story, or your writing is bad. The fantastic hook or opening chapter will not get the story anywhere if the story fizzles after chapter 2 or 3. You can create the best dialoge possible but if the narration isn't balanced with it, the story is simply a conversation. The point is, these are all pieces of the puzzle, and even then, not all of these pieces work with every single manuscript out there. These are all just variables.
Please do not get discouraged by this. Go to those sessions and pick up all of those nuggets of information. Keep an open eye and think. Think about your manuscript. Think about who you are writing this for. Think, think, think. Keep a huge list of things you want to go and "look at" in your manuscript when you get home. But also remember, these are not the single pieces that will fix the entire story.
Here is that tough love statement. The seminar you attend will not be the golden ticket to getting you published.
As I said, there are tons of great seminars to attend and each one is fantastic for what is being provided. After the conference, along with being physically exhausted, you will be highly motivated and charged up for your writing project. You will hear things in seminars and scream silently to yourself, "That's it. If I just do that, the book will be golden!"
Now, here is the thing. You should scream that. At every session you attend, you should leave with one little tidbit of what it takes to make a piece of writing good. That one little nugget that makest that manuscript a little better, a little stronger, and hopefully a bit more marketable. But... these are just nuggets.
Like any business, there are a lot of variables that come into play when making that final product marketable. Let me expalin it this way. When I was working on my first MA in literacy, my research went out to study what it was in the classroom that caused student learning to be successful. What I found was interesting. Most of the research out there only attributed student learning to small elements. It might be the curriculum, it might be the inherent ablity of the student, it might be the way the classroom is set up, it might be the implementation of the teacher. What the research did not show was that all of the pieces of the puzzle - the teacher, student, curriculum & environment - had to be in place and working together to make student learning happen. Give a fantastic curriculum to a terrible teacher and learning will not occur. Give a great teacher a perfect curriculum, let them implement the curriculum in a perfect environment, but toss in a student that simply doesn't care, there will be no learning.
The same holds true with publishing. The perfect query letter will not get you published if the premise of the story, or your writing is bad. The fantastic hook or opening chapter will not get the story anywhere if the story fizzles after chapter 2 or 3. You can create the best dialoge possible but if the narration isn't balanced with it, the story is simply a conversation. The point is, these are all pieces of the puzzle, and even then, not all of these pieces work with every single manuscript out there. These are all just variables.
Please do not get discouraged by this. Go to those sessions and pick up all of those nuggets of information. Keep an open eye and think. Think about your manuscript. Think about who you are writing this for. Think, think, think. Keep a huge list of things you want to go and "look at" in your manuscript when you get home. But also remember, these are not the single pieces that will fix the entire story.
Sunday, July 5, 2009
Happy Post July 4th!
I hope all of you had a great 4th and fingers are still in place. It's the 5th now. Time to get back to work on that writing.
Scott
Friday, July 3, 2009
Erotica on hold for Black Lace and Nexus at Virgin | theBookseller.com
An interesting development...
Erotica on hold for Black Lace and Nexus at Virgin theBookseller.com: "Erotica on hold for Black Lace and Nexus at Virgin
03.07.09 Benedicte Page
Virgin Books will not publish any new titles in its Black Lace and Nexus erotica lists next year, although the publisher has said the imprints will remain 'active'.
John Sadler, m.d. of Virgin Books, said: 'As part of our strategic planning for 2010 we will be prioritising our rapidly growing non-fiction list and as such have decided not to add to our erotica list for that year.' As a result of the development the publisher has entered into a period of consultation with one member of staff, said a Random House spokesperson.
Black Lace was founded in 1993, and celebrated its 15th anniversary in 2008. It describes itself as the leading imprint of erotic fiction for women. Nexus Books is the UK's longest-running imprint of erotic fiction.
Sadler joined Virgin as its new m.d. in September."
Erotica on hold for Black Lace and Nexus at Virgin theBookseller.com: "Erotica on hold for Black Lace and Nexus at Virgin
03.07.09 Benedicte Page
Virgin Books will not publish any new titles in its Black Lace and Nexus erotica lists next year, although the publisher has said the imprints will remain 'active'.
John Sadler, m.d. of Virgin Books, said: 'As part of our strategic planning for 2010 we will be prioritising our rapidly growing non-fiction list and as such have decided not to add to our erotica list for that year.' As a result of the development the publisher has entered into a period of consultation with one member of staff, said a Random House spokesperson.
Black Lace was founded in 1993, and celebrated its 15th anniversary in 2008. It describes itself as the leading imprint of erotic fiction for women. Nexus Books is the UK's longest-running imprint of erotic fiction.
Sadler joined Virgin as its new m.d. in September."
It is still your choice
Writers are often torn between writing THEIR story, the one they truly believe in and what THE MARKET wants to see. This is tough and I have seen a lot of new writers end up giving up pretty quick when they realize they have to make a decision. But here's the thing. It is always your choice as a writer what you want to do. Please understand I am not talking about the legal side of things, but the craft side of the business.
If a writer wants to sell their stories and really does want to look at writing as a profession, they do have to really understand that there are rules to the game. Marketing departments in each of the publishing houses know exactly what sells. Each house is different because they do market their books differently, but they are very clear. It isn't just a matter of shoving it on the book shelf and just going for it. There is much more to it. It is for this reason that you even see many different titles being changed. While you might have spent countless hours with your critique groups trying to find the perfect title, the marketing department comes up with something different. According to one editor I have worked with, "we know that certain words simply sell better than others."
Please also remember that bookstores also have rules and guidelines they have established that work with the type of books they sell. Borders, Barnes and Noble and the like, all have specific marketing plans that have demonstrated what does well and what doesn't. It is for this reason that many authors that self-publish, suddenly find it difficult to get that book of theirs on the shelf at specific book stores. It isn't that they don't like you personally, or are "in the pocket of coroporate America"; it simply comes down to the fact that your particular book isn't what they are looking for.
Editors and agents are not arbitrarily making up rules. We are in this business to make money, just like you as a writer want to do. Taking the time on a book that simply will not sell, regardless of how good the actual writing might be is not worth it in the long run. Sure, there are times when we might think the book will sell and it flops. The business isn't flawless. But, one flawed sale doesn't mean you bail on the whole plan.
If you are a writer and simply don't like the way the established publishers are doing, and you feel your writing career is better off "away from people like that" then I wish you all the best and I encourage you to stick to your guns. You still get to make the decision. The only thing I would say is to not blame others if your book doesn't sell.
Now, go out there and write that book!
Scott
If a writer wants to sell their stories and really does want to look at writing as a profession, they do have to really understand that there are rules to the game. Marketing departments in each of the publishing houses know exactly what sells. Each house is different because they do market their books differently, but they are very clear. It isn't just a matter of shoving it on the book shelf and just going for it. There is much more to it. It is for this reason that you even see many different titles being changed. While you might have spent countless hours with your critique groups trying to find the perfect title, the marketing department comes up with something different. According to one editor I have worked with, "we know that certain words simply sell better than others."
Please also remember that bookstores also have rules and guidelines they have established that work with the type of books they sell. Borders, Barnes and Noble and the like, all have specific marketing plans that have demonstrated what does well and what doesn't. It is for this reason that many authors that self-publish, suddenly find it difficult to get that book of theirs on the shelf at specific book stores. It isn't that they don't like you personally, or are "in the pocket of coroporate America"; it simply comes down to the fact that your particular book isn't what they are looking for.
Editors and agents are not arbitrarily making up rules. We are in this business to make money, just like you as a writer want to do. Taking the time on a book that simply will not sell, regardless of how good the actual writing might be is not worth it in the long run. Sure, there are times when we might think the book will sell and it flops. The business isn't flawless. But, one flawed sale doesn't mean you bail on the whole plan.
If you are a writer and simply don't like the way the established publishers are doing, and you feel your writing career is better off "away from people like that" then I wish you all the best and I encourage you to stick to your guns. You still get to make the decision. The only thing I would say is to not blame others if your book doesn't sell.
Now, go out there and write that book!
Scott
Thursday, July 2, 2009
Great Article from Malle Vallik on Branding
Check this out! This is really right on the money and sometimes, things we often forget!
http://mallevallik.wordpress.com/2009/07/02/managing-your-brand-online/
Scott
http://mallevallik.wordpress.com/2009/07/02/managing-your-brand-online/
Scott
Messing with the classics
I was talking to a writer yesterday that had just finished RHETT BUTLER'S PEOPLE and it got me thinking about all of those writers out there, both published and unpublished, who return to the "classics" to get their inspiration. Does it work on doesn't it?
In the case of this writer that I spoke to yesterday, it didn't. She is an avid fan of GONE WITH THE WIND. She loves the movie but she knows the novel inside and out. Play GWTW trivia with her and she will kick anyone hard. When she had heard about this new book, she ran to the book store to get that copy and was fuming by the time she reached the end. Although this is supposedly Rhett's view of things, she found it frustrating that there were things that deviated from the original story in GWTW. What made her even angrier is that the author, in her opinion, missed the boat by ignoring the previously authorized story SCARLETT and had Rhett and Scarlett doing things after the story that were completely different. Was this right or wrong? That is up to the views of many. This is, however, what writers will face when "messing with the classics."
Frequently a writer will approach me with a new version of the Arthurian legends. Now, I am all into different takes, but I often struggle with the approaches. Mostly because, in an effort to find something new, the author has had to deviate from the original so much, that as a reader, I have a hard time swallowing it. In the case of the Arthur legends, there are so many scholars out there, both professional and hobbiest, that seeing a story deviating from what they would call the "correct version" would be too much.
For myself, I cringe when a director decides to mess with Shakespeare. I have always agreed with the premise these directors have when they say Shakespeare is timeless, but some of the versions I have seen, where a director takes a show and places it in time periods it just doesn't fit kills me. I was never a fan of the Dicaprio Romeo and Juliet. Sure, it got people hooked on Shakespeare and that, as a lit-major and as an English instructor is always thrilling, but I simply struggled with the approach. It just didn't work. Regardless of how good the acting may have been, it made it too hard to recall what I enjoyed about Shakespeare.
Now, does this mean a writer shouldn't play around with the classics? No. Go for it and see what happens. If the story is honestly good enough, there is a chance it can make it over the hurdles and onto the book shelf. Just understand, there may be many that scream in agony as you take their favorite character to a place they don't believe he or she belongs.
This same approach can be taken with true examples of historical fiction. Showing your take on a historical figure is a great practice in research and hypothesis. As a historical writer, if you really want to challenge yourself, see what you can do with a real character. You have to insure all of the facts that are known about that character make it into the book, and then you build around it. Philippa Gregory is fantastic at this.
Today's post is not about what you can and cannot do. It is simply something to chew on as you think about your next project. If you are reader that picks up one of these books, decide what it is that you like or hate about it? Were they true to the original?
Scott
In the case of this writer that I spoke to yesterday, it didn't. She is an avid fan of GONE WITH THE WIND. She loves the movie but she knows the novel inside and out. Play GWTW trivia with her and she will kick anyone hard. When she had heard about this new book, she ran to the book store to get that copy and was fuming by the time she reached the end. Although this is supposedly Rhett's view of things, she found it frustrating that there were things that deviated from the original story in GWTW. What made her even angrier is that the author, in her opinion, missed the boat by ignoring the previously authorized story SCARLETT and had Rhett and Scarlett doing things after the story that were completely different. Was this right or wrong? That is up to the views of many. This is, however, what writers will face when "messing with the classics."
Frequently a writer will approach me with a new version of the Arthurian legends. Now, I am all into different takes, but I often struggle with the approaches. Mostly because, in an effort to find something new, the author has had to deviate from the original so much, that as a reader, I have a hard time swallowing it. In the case of the Arthur legends, there are so many scholars out there, both professional and hobbiest, that seeing a story deviating from what they would call the "correct version" would be too much.
For myself, I cringe when a director decides to mess with Shakespeare. I have always agreed with the premise these directors have when they say Shakespeare is timeless, but some of the versions I have seen, where a director takes a show and places it in time periods it just doesn't fit kills me. I was never a fan of the Dicaprio Romeo and Juliet. Sure, it got people hooked on Shakespeare and that, as a lit-major and as an English instructor is always thrilling, but I simply struggled with the approach. It just didn't work. Regardless of how good the acting may have been, it made it too hard to recall what I enjoyed about Shakespeare.
Now, does this mean a writer shouldn't play around with the classics? No. Go for it and see what happens. If the story is honestly good enough, there is a chance it can make it over the hurdles and onto the book shelf. Just understand, there may be many that scream in agony as you take their favorite character to a place they don't believe he or she belongs.
This same approach can be taken with true examples of historical fiction. Showing your take on a historical figure is a great practice in research and hypothesis. As a historical writer, if you really want to challenge yourself, see what you can do with a real character. You have to insure all of the facts that are known about that character make it into the book, and then you build around it. Philippa Gregory is fantastic at this.
Today's post is not about what you can and cannot do. It is simply something to chew on as you think about your next project. If you are reader that picks up one of these books, decide what it is that you like or hate about it? Were they true to the original?
Scott
Wednesday, July 1, 2009
Make deadlines
For established writers, this is something they are used to. Deadlines. Those pesky little things that come from editors and agents when they demand for the next books or the next round of revisions. It is a known evil within the writing community, but for new writers, it is often something that is unknown.
I would, however, recommend for any new writer, someone who is still out there searching for that first deal, or even searching for the end of that first book, to begin using deadlines. Creating a timeline for your writing will keep you on pace, keep you focused, and, in the end, put you in a better place for when that editor or agent starts demanding those manuscripts.
Setting up a timeline is a fairly easy task. The first is to establish a regular writing routine. Regular means that you know you will write daily from, say 1:00 - 3:oo when the baby is asleep. Maybe your schedule is simply on Monday, Wednesday and Friday. The key is to keep it regular and don't deviate from it. Make it known to your family that you write then. Don't schedule things during that writing time. This is a job and view it as such. You don't schedule a doctor's appointment during your work when you know you can't take the time off, right? Same with this.
Once you have established that pattern, create smaller deadlines. Don't just work with word count. I hear a lot of writers do that and their stories simply just don't move along at a steady pace. They will say, I want to do 4000 words a day. That's great, but is this a natural stopping point? Work with chapters. You have a great break there. Now, on your calendar, state when you will have each chapter finished. If you know it takes you two days to write a chapter, then make it happen.
Your goal is to have all of the smaller deadlines created, and eventually, the entire book planned out so you will have an accurate idea of when the book is to be done. Now here comes the fun part. Finish it early! If you have some spare time, go and write. If you get on a roll one day, don't just stop at one chapter, go for two, or at least dive into the next chapter. Little by little you will find that your story will get finished sooner than you think. The positive thing here is that if you do run into a bind later in the process, for example you get sick, then you don't have to panic when you miss one of your deadlines. You are already ahead of the game.
Does this require planning? You better believe it, but in the end, you will find yourself happier and certainly not stressed out.
Scott
I would, however, recommend for any new writer, someone who is still out there searching for that first deal, or even searching for the end of that first book, to begin using deadlines. Creating a timeline for your writing will keep you on pace, keep you focused, and, in the end, put you in a better place for when that editor or agent starts demanding those manuscripts.
Setting up a timeline is a fairly easy task. The first is to establish a regular writing routine. Regular means that you know you will write daily from, say 1:00 - 3:oo when the baby is asleep. Maybe your schedule is simply on Monday, Wednesday and Friday. The key is to keep it regular and don't deviate from it. Make it known to your family that you write then. Don't schedule things during that writing time. This is a job and view it as such. You don't schedule a doctor's appointment during your work when you know you can't take the time off, right? Same with this.
Once you have established that pattern, create smaller deadlines. Don't just work with word count. I hear a lot of writers do that and their stories simply just don't move along at a steady pace. They will say, I want to do 4000 words a day. That's great, but is this a natural stopping point? Work with chapters. You have a great break there. Now, on your calendar, state when you will have each chapter finished. If you know it takes you two days to write a chapter, then make it happen.
Your goal is to have all of the smaller deadlines created, and eventually, the entire book planned out so you will have an accurate idea of when the book is to be done. Now here comes the fun part. Finish it early! If you have some spare time, go and write. If you get on a roll one day, don't just stop at one chapter, go for two, or at least dive into the next chapter. Little by little you will find that your story will get finished sooner than you think. The positive thing here is that if you do run into a bind later in the process, for example you get sick, then you don't have to panic when you miss one of your deadlines. You are already ahead of the game.
Does this require planning? You better believe it, but in the end, you will find yourself happier and certainly not stressed out.
Scott
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