I thought I would keep things short and simple today and answer this for the author.
1) Average time for getting back is about 2-4 weeks. I honestly hate when submissions stack up in my email so I do really get to things quickly. When I start getting to that 1 month point, I personally start to freak out a bit.
2) If the submisson is an initial response and I want more material, I do have a form answer. More often than not, I have standard answers I give, but I do write a brief letter for each submission. I do not agree with the premise some agents (and editors) have that say, no answer means a no. Personally, I think this is unprofessional.
3) I take submissions from anyone that has a passion for writing romance and women's fiction. Authors can be both published and unpublished. In fact, with the exception of 3 of my current authors, all were unpublished.
Hope that helps!
Scott
Tuesday, September 6, 2011
Dialogue - It's Not Just Talking
I often find that one of the main reasons I reject stories is the lack of depth in a project. In other words, the author has really skimmed the surface with the real character development. In most cases, when I say this to an author, they add more sub-plots and story elements which does nothing more, in the long run, than increase the word count. In reality, the easiest solution is sitting right in front of their face - Dialogue.
Too often, many authors miss the real value of dialogue in a story. For most, the only purpose is to have the characters have a conversation with one another. Now granted, dialogue is a discussion, but what the readers can gain from the use of effective dialogue is huge.
When I used to actively do theater, one of the things I did was to spend countless hours looking over the script reading not just what I said to memorize the lines, but to read, the other stuff in the story. I would see what other people said about my character. I would read carefully to see how my character said things to different people in the story. In other words, was there a difference in tone and vocabulary used with the different situations. These small little elements added a huge amount of depth to the character development.
Over the weekend, I worked with one of my authors a new project she was working on. Depth was one of those elements. She found that she had a character that suddenly had nothing major that had to happen in the story. Still, it was time for this characters POV to show up since she had spent a very larger portion on one of the other characters. So we built in a dialogue.
Now I know what you are thinking. "But Scott, you're just having the characters talk." True, but instead of just having the conversation be mindless, this was a chance to insert a bit of that information dump that we try so hard to avoid in the narrations sections. Since this character was new to the surroundings, she had the character bump into someone that has been around for some time. The conversation could now deal with elements of world building, introspection into the other protagonist, as well as some introspection on the characters and his new surroundings. In this short dialogue, we now were starting to understand the GMC of two of the major characters, got a bit more of an understanding of the plot, and did so in a fun way.
Your job during this week is to really look at your use of dialogue. I understand that you probably use all of the elements I talked about here, but look at what you MOSTLY use it for. I think you will be shocked that for many of you, the dialogue you use most of the time is just mindless chatter. It's simply a time for your characters to be together. See if you can make it so much more.
Scott
Too often, many authors miss the real value of dialogue in a story. For most, the only purpose is to have the characters have a conversation with one another. Now granted, dialogue is a discussion, but what the readers can gain from the use of effective dialogue is huge.
When I used to actively do theater, one of the things I did was to spend countless hours looking over the script reading not just what I said to memorize the lines, but to read, the other stuff in the story. I would see what other people said about my character. I would read carefully to see how my character said things to different people in the story. In other words, was there a difference in tone and vocabulary used with the different situations. These small little elements added a huge amount of depth to the character development.
Over the weekend, I worked with one of my authors a new project she was working on. Depth was one of those elements. She found that she had a character that suddenly had nothing major that had to happen in the story. Still, it was time for this characters POV to show up since she had spent a very larger portion on one of the other characters. So we built in a dialogue.
Now I know what you are thinking. "But Scott, you're just having the characters talk." True, but instead of just having the conversation be mindless, this was a chance to insert a bit of that information dump that we try so hard to avoid in the narrations sections. Since this character was new to the surroundings, she had the character bump into someone that has been around for some time. The conversation could now deal with elements of world building, introspection into the other protagonist, as well as some introspection on the characters and his new surroundings. In this short dialogue, we now were starting to understand the GMC of two of the major characters, got a bit more of an understanding of the plot, and did so in a fun way.
Your job during this week is to really look at your use of dialogue. I understand that you probably use all of the elements I talked about here, but look at what you MOSTLY use it for. I think you will be shocked that for many of you, the dialogue you use most of the time is just mindless chatter. It's simply a time for your characters to be together. See if you can make it so much more.
Scott
Monday, September 5, 2011
You Don't Have To Say Yes - A Thought On Contracts
So, you have been working your butt off finding an editor or an agent. You found someone that really does work for you and isn't someone just out to take your story and your money. In other words, you found someone reputable. After a bit of talking, you are offered a contract. Now what?
Of course we always talk about contract negotiations. Find what works best for both you and the editor/agent and work out the details. But this is not always going to work out for everyone. Sometimes, even if the deal looks good and you have worked everything out to the best of your abilities, something might not feel right. The question is, do you sign.
One of the things about the publishing business is that a lot has to do with gut instincts. Although I am not someone into all that New Age stuff, I do believe that many times, if we trust our feelings about something, we should follow that tought. The same goes for contracts.
If things just don't feel right, there is nothing wrong with simply saying "no." In a professional and polite way, you can explain to the editor or agent why you think you will pass on the project. In all likelihood, the contract might be heading you in a direction different than what you want to do with your career.
The thing about this is that you may have closed off a door later on if something does fit with that editor or agent. Now they will see your name and be reminded that the last time, you changed your mind at the last minute. The question they will ask is if you plan on doing that to them one more time around. Do they want to devote all that time and effort into reading your project, discussing things with them and then writing up the contract just to say no again? Probably not.
But, this does not mean you take it. This all goes back to do your homework before you start anything. Make sure you know as much as you can before you start. Still, remember that you have the power to say yes or no. It is 100% your decision.
Scott
Of course we always talk about contract negotiations. Find what works best for both you and the editor/agent and work out the details. But this is not always going to work out for everyone. Sometimes, even if the deal looks good and you have worked everything out to the best of your abilities, something might not feel right. The question is, do you sign.
One of the things about the publishing business is that a lot has to do with gut instincts. Although I am not someone into all that New Age stuff, I do believe that many times, if we trust our feelings about something, we should follow that tought. The same goes for contracts.
If things just don't feel right, there is nothing wrong with simply saying "no." In a professional and polite way, you can explain to the editor or agent why you think you will pass on the project. In all likelihood, the contract might be heading you in a direction different than what you want to do with your career.
The thing about this is that you may have closed off a door later on if something does fit with that editor or agent. Now they will see your name and be reminded that the last time, you changed your mind at the last minute. The question they will ask is if you plan on doing that to them one more time around. Do they want to devote all that time and effort into reading your project, discussing things with them and then writing up the contract just to say no again? Probably not.
But, this does not mean you take it. This all goes back to do your homework before you start anything. Make sure you know as much as you can before you start. Still, remember that you have the power to say yes or no. It is 100% your decision.
Scott
Friday, September 2, 2011
Some Thoughts On Contemporary Romances
People often ask what I am looking for in a contemporary. I was working a couple of days ago and had on some cheesy 80's ballads and this one came up and of course got me thinking.
One of the things that I honestly feel is missing with the contemporary romances today is the real sense of passion and relationship development. The stories seem to be all focused on over-the-top sex scenes, outrageous plot developments and "witty" dialogue. While these elements are certainly fine when used in the right places and the right time, the passion and the true romance is what seems to be missing.
I honestly remember this when it was live on TV and remember at that time how impressed I was at the drama and the clear sense of romance that was being played out on stage. Even though this is a break up song, you can still see the passion that was there, and honestly, if the right spark was in the right place and the right time, that passion would again show up.
If I were to place this song anywhere in the story, this is really toward the end of the story. We have seen all of the great things heading up to the romance, and then the dark moment shows up. If a writer has done a great job of building the romance, then this should be an amazing emotional scene.
So, you wanted to know what I want in contemporary romance? The passion that Neil and Babs have right here!
Scott
"If You Would Just Read The Whole Story..." Umm, no!
We talked yesterday about how important making that first impression is for a new author. The same goes for the opening pages of your story. You have to come off the blocks (yes I am back to swimming comparisons here again), with a story that really sucks us into the characters lives and their world. These opening pages are not the time for endless pages of backstory dumps or character descriptions that will likely die off in the next couple of chapters.
Honestly, think about this as a reader. How many times have you picked up a new book only to find in the opening pages you weren't hooked. In all liklihood, you dumped the book and went on to something else. The same goes for editors and agents. When we read a project, we are thinking along the same lines of the reader. Is this something that really draws us in. Yes, we might think there are things we can fix, but it is that initial first read that has to bring us into the character.
So, what is it that we are looking for in those opening pages? No, it isn't just a single witty line. We are looking for movement to get the story moving. It doesn't have to be the action of the story, but something that sets up where this story might be heading to. We're also looking for some great character development early on. In most cases, you will start with the protagonist and if that is the case, we have to really like this person. Sure, there can be flaws in the character but they have to be someone we can relate to and at least sort of like.
There is a tendency to unload a pile of backhistory and world building in those opening pages. While this is certainly information that needs to show up potentially in those early chapters, it doesn't have to all come out on page 1 of the story. You will simply bore the reader. Yes, it is important and yes we do need to know it but not all in the first page.
Remember that we have never seen this before. We don't know what is going on or who these people are. You know the information because you have been with them for several months now, but we haven't Read your story from the standpoint of someone who is really coming at this fresh. Even someone who might not read your genre. Is this something that will draw them in or send them running? That is your test.
Scott
Honestly, think about this as a reader. How many times have you picked up a new book only to find in the opening pages you weren't hooked. In all liklihood, you dumped the book and went on to something else. The same goes for editors and agents. When we read a project, we are thinking along the same lines of the reader. Is this something that really draws us in. Yes, we might think there are things we can fix, but it is that initial first read that has to bring us into the character.
So, what is it that we are looking for in those opening pages? No, it isn't just a single witty line. We are looking for movement to get the story moving. It doesn't have to be the action of the story, but something that sets up where this story might be heading to. We're also looking for some great character development early on. In most cases, you will start with the protagonist and if that is the case, we have to really like this person. Sure, there can be flaws in the character but they have to be someone we can relate to and at least sort of like.
There is a tendency to unload a pile of backhistory and world building in those opening pages. While this is certainly information that needs to show up potentially in those early chapters, it doesn't have to all come out on page 1 of the story. You will simply bore the reader. Yes, it is important and yes we do need to know it but not all in the first page.
Remember that we have never seen this before. We don't know what is going on or who these people are. You know the information because you have been with them for several months now, but we haven't Read your story from the standpoint of someone who is really coming at this fresh. Even someone who might not read your genre. Is this something that will draw them in or send them running? That is your test.
Scott
Thursday, September 1, 2011
Make Your Submissions Impressive
To be honest, it is tough being a first time author looking for an agent or an editor. In simple terms, you have to be beyond amazing with that submission. No, this is not an unfair burden being placed on an author, it is the simple, cold-hard truth about any initial contract you make with someone you want to work with.
As I have said in the past, querying editors and agents is very similar to looking for a job.
I do have to stress that agents and editors are not out to "find reasons to reject an author or project. The reality is that authors really do this to themselves. Sloppy projects, rushed query letters, no focus in the query.... You get the idea.
While you might have your story finished, you need to really take the time that everything is in place and representing exactly who you are and what the story is.
One thing to remember is the combination of the number of submissions and agent or editor receives as well as the time they have available to read your project. This is why all of the agents out there have spent so much time on their blogs talking about what makes a great query letter and what falls apart. There isn't one right or wrong way of doing a query, but there are things you can do to enhance the quality of your project. Take the time to really look at what you send.
Scott
As I have said in the past, querying editors and agents is very similar to looking for a job.
- Cover letter = Query letter
- Resume = Manuscript
- Pitch = Initial interview
I do have to stress that agents and editors are not out to "find reasons to reject an author or project. The reality is that authors really do this to themselves. Sloppy projects, rushed query letters, no focus in the query.... You get the idea.
While you might have your story finished, you need to really take the time that everything is in place and representing exactly who you are and what the story is.
One thing to remember is the combination of the number of submissions and agent or editor receives as well as the time they have available to read your project. This is why all of the agents out there have spent so much time on their blogs talking about what makes a great query letter and what falls apart. There isn't one right or wrong way of doing a query, but there are things you can do to enhance the quality of your project. Take the time to really look at what you send.
Scott
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