A NaNo No No

Like many agents and editors, I see both the positive and negative sides of the http://www.nanowrimo.org/ program. Unfortunately, I see more negative elements than I do positive sides of the program.

First of all, I do want to say, I think it is a great inspiration for people to finally get off their butts and write the darn thing they spend all of their time complaining about when they don't do it. Finally, these authors have no excuse and will get motivated to do something. With that said, that is where I have to personally draw the line when it comes to the program.

Now, unlike many agents and editors, who tend to complain the most about the number of bad submissions we will all see in December (which is a hassle), my bigger issue is the lack of true emphasis on the writing process that SUCCESSFUL authors know and use religiously. It is the writing process that tends to yield the best final products and prevents so many headaches for authors that think it is a waste of time. I should also note that the writing process is not something we only use in the academic field. This is something that works in all levels and areas of writing.

First of all, the word process is key. According to the random "Online dictionary":

n. pl. proc·ess·es (prssz, prss-, prs-sz, prs-)


1. A series of actions, changes, or functions bringing about a result: the process of digestion; the process of obtaining a driver's license.

2. A series of operations performed in the making or treatment of a product: a manufacturing process; leather dyed during the tanning process.

3. Progress; passage: the process of time; events now in process.

Now, let us look at the first two definitions in particular. In both cases we are looking at a concept of things happening in a precise order to yield a response. The problem with NaNoWriMo is the encouragement of skipping any element of process. The arguement is to simply write. To throw caution to the wind and pray to God that something will happen in the end that is complete. Not good, just complete.
 
Remember, the writing process has essentially three parts. A Pre-Writing Phase, a Drafting Phase and a Editing/Publishing Phase. If you do the steps in order, when you get to that final phase, your work is really easy. Why? Because you took the time on the front end of the process to think and plan out what it is you are doing.
 
Let's look at each.
 
PRE-WRITING I don't care if you are plotter or a pantster, this early phase is for you to figure out what you want to write about and how you plan to achieve it. This is when you think through all the potential issues and problems that might show up so you don't panic during the writing phase and lose your momentum. This is where you pre-empt any potential issue. This is where you research. This is where you plan.
 
DRAFTING This is, unfortunately the only thing NaNoWriMo does. In this phase you write. Now this is where the problems occur for the majority of the writers in NaNoWriMo. Because they didn't know where they were going to with their story, the final product, if they even get that far, is a jumbled mess of disconnected thoughts, of characters doing things and saying things that might not fit with their GMC's and so forth. Sure, the word count is there but that is about it. All of that fluency and organization that ties those quality stories we love to read is simply not there. If it is, it stems from sheer luck.
 
EDITING It is here that the successful writers understand the value of the writing process. Because they planned things early on. Because they thought through their characters and their actions. Because they understand the conflict in the story, the editorial phase is fairly easy. We're not talking about a serious over-haul of your story here. You knew where you were going to and you took your time to think it through.
 
If, however, you took the NaNoWriMo approach, the amount of time you get to spend on revisions now will be almost doubled. Any writer can tell you that changing full chapters around, or over-hauling a character that goes through the whole book is sheer insanity.
 
Now, I know there have been some writers that have been successful with this program. We cannot simply look to these people. They are anomolies. They are the exceptions to the rule. Heck, maybe some of them took the time during October to do serious planning. Unfortunatlely, for many of you out there, you didn't take the time to do that.
 
For you people, I can only say, I am glad you are motivated, but please - do not complain, whine or moan to the rest of us when you either A) don't finish the NaNoWriMo because of "writer's block"; B) have a complete manuscript that is a complete mess; or C) find out that the final product you send out to editors and agents in December yields more rejections than you imagined. Only remember that I warned you.
 
Scott

Publishers Are Not Out To Screw Authors

I find it interesting that as soon as an author has something not go their way with their books or their sales, it becomes an authomatic response that the publisher is out to "screw the author." Sorry to say this people, but with the exception of those "scam" publishers (you know the ones I am talking about) everyone is in this for the common good.

Part of the reason for contract negotiation prior to getting your book published is to make sure you are sure this is the deal you want to take. There is no one out there putting a gun to your head saying you have to sign that contract or say yes. If you sign that contract, you are saying that you agree with everything that is in the contract. You cannot just "hope that issue doesn't come up." You have to plan ahead and preempt any situation that might come up.

Yesterday, I discussed the issue that came up from Amazon. I had a comment that I think is relevant here: I've seen about how predatory Amazon can be to writers. Unless we get some minimal regulations around their activities in this country, the stories are going to keep on coming. People have to think very carefully about whether they want to make Amazon THE channel they sell through.

I am not so sure how "Predatory" Amazon really is since the authors have signed a contract to work with them. The last comment this person made is really the right approach. People have to think about whether or not they want to take that approach. But this also means that they need to be proactive and discuss potential contract issues.

As agents, most of us work really hard to modify and work with contracts to insure things are in the best shape for our authors. This isn't just the amount of the advance, but also issues with cover designs, options on next books, release dates and what not.

I would just encourage authors to think before they sign anything. This is common knowledge. But, with that said, if something goes wrong, before you start placing blame, see if there was something you could have done before hand that would have prevented it.

Scott

P.S. I would also note this is one more of those cases where the role of the agent is becoming even more of a necessity.

Another Reason For Having An Agent

On Tuesday, an article came out describing how author James Crawford reported losing royalties for 5,104 books from the Amazon Kindle Direct Publishing platform. This author found out that Amazon had slashed the price of his book without his permission. I don't want to discuss so much the issue of whether or not Amazon should have done what they did, or for that matter why the change happened. The real issue here is what we often talk about when it comes to self-publishing. You are simply on your own.

There has been a lot of talk about whether or not the role of agents will disappear with programs such as the Amason KDP program. I honestly have to say, that situations like this will increase the demand for having that extra person on your team as a writer. It will also likely lead to a shift of how agents will run their businesses. No, this does not mean they will take more and more things, but who they sell their projects to and the commissions they take will certainly be different. They won't be on your team for free you know.

I am sorry to hear about the situation James Crawford had to deal with. It is what it is. But I do wonder if he would have found himself in the situation had an agent been there to cover his back. Of course, with that said, if Mr. Crawford does have an agent, where is he or she in the whole mix of things.

Best of luck to Mr. Crawford to work through this situation. Along the same lines, best of luck to all of you writers that are taking this new approach and want to do it on your own. And in the words from HILL STREET BLUES "Be careful out there."

Scott

Time To Evaluate Your Critique Partners

Critique partners are essential in the business of writing. Too often, writers fail to take advantage of this great resource and really flounder as they navigate the world of publishing on their own. Unfortunately, for these writers, they often find their faces slamming directly into brick walls and not knowing why it happened. With that said, I have to also note that too often, writers with critique partners will often do the same thing. Why? The crtique partner situation is just broken.

I have mentioned this here before, but one book I love to go to for inspiration is A POCKET MUSE. In this, the author notes that writers really need to have two critique partners for everything they do. One is there to encourage and to make you feel good. The other is there to tell you the truth. Unfortunately, too many writers have the first critique partner and not the second. Sure you are all encouraged to get to that THE END, but the stories end up as something that simply will not be something editors or agents will want.

There are also situations where the critique partners are both so clued out to the world of writing, that they end up giving each other misleading or simply wrong information. In this case, the authors are not intentionally trying to hurt the other person, it is simply a case of the blind leading the blind.

As an author, you need to stop every now and then to evaluate how the relationship is working. Maybe this is a time to break with the group and work with someone new. No, this does not mean the friendship is bad, it simply means it is time for some new feedback and new direction.

Scott

What Is It That Catches My Attention In That Initial Query

As I was reading submissions this weekend, I started to really stop and contemplate what it was about the projects that made me say, "Yes, I want to see more of this." and certainly those that I said, "I want to see a full of this project." While it is easy to say it is about the story, I did start to notice that there was a lot more. I also felt as if this was important since writers often hear at conferences during those infamous editor/agent panels "We are looking for stories with great characters and great voice." Really?

As I look at projects, obviously I take a look at whether or not the story is something that a reader would be interested in seeing. If the story is so obscure or deals with a topic that readers would bypass if they saw it on a shelf, I will pass on it. I don't care if the writing is good or not, we have to look at the basic premise.

I also look for what I like to call the "WOW Factor." In other words, when I read that submission, I can say to myself "that is something certainly new and unique." What I would see is the author has taken a chance to find a new direction with a project or concept. Of course, in some cases, that direction may be so far off the beaten path that the project becomes unmarketable.

I noticed also that I really tended to lean toward projects that really had a sense of direction. In these situations, the author really seemed to know what they wanted the readers to walk away with. There was a sense that the characters and the action in the story really had a purpose for being there and not just a device to make something happen in the plot. There is a sense of honesty, authenticity and a quality of being "real." Too often the stories just come across as being fake.

Because I deal with romance and women's fiction, the stories have to be about "real" people, "real" relationships, and "real" issues. The readership has to be able to fully relate to the characters and what they are going through. If these elements come across as characterizations, or the situations are so extreme or over-the-top, then it becomes too easy for a reader to say they can't connect with the story. I don't care if the characters are imaginary, that human quality has to come through.

Finally, and this one is really subjective, is the element of whether or not I personally like it. While all of these above ideas might be great, if the story is something that personally doesn't resonate with me, I will likely pass on it. This is really a tough one for the authors to handle, but I think you will understand why I take that approach. As an agent, I have to really be in love with a project to want to market it. In other words, if I'm not in love with it, I won't have the enthusiasm I need to really fight for it. We say this all of the time, but this business is subjective and sometimes that factor is enough.

Hope that provides some insight.

Scott