Babbles from Scott Eagan

There Are NO Exceptions

2012-02-02T05:02:00.000-08:00

Yes, we're going to make this a Blog Flog (sort of).

This really goes out to a lot of writers that some how feel that the guidelines editors and agents put up publically some how do not deal with them. Yes, I understand that many of you who read this blog are thinking, "Come on Scott, why are you even wasting your time on these people?" Well, honestly, there are far too many of them out there. What's more frustrating is that many of them DO have a chance to be published if they would simply think for once.

Let me explain where this is coming from.

As you know, I have been closed to submissions right now and will be closed until March. I have posted this information here on the blog. I have posted this information on my website, not just once, but several times. Frankly, you cannot escape the message. Combine in the links to Facebook and Twitter and I would have to say, that information is pretty much out there. Now, I will have to exclude those people with no internet access at all. But, if they are emailing me a submission, they obviously do.

The point is, since I closed submissions, I receive a huge number of submisisons. Really? How did you miss this.

But I do believe this problen extends beyond the simple submission thing. There are far too many authors that seem to think "their story" is the exception to the rule. Scott accepts only romance and women's fiction, but Author X's non-fiction memoir about his grandmother is really so important that we need to ignore these rules. Steeple Hill takes Inspirationals but Author Z's erotica is so amazing and the sex is inspirational that the editors should take a look at it.

Where else have I seen it? At conferences. You get a chance to pitch to editors and agents, so do your research. Too often I turn away people because they have stories I am simply not acquiring. Heck, at many of these conferences, the information is posted. Again, I do understand that there are some who are complete idiots and just don't read the information. But there are far too many of them that will sit down with me and know I don't take it, but thought I would make an exception. Umm, no.

Yes, these are extreme situations, but the problem can also be seen on a smaller level. Simply put, the information is out there. The information is available to authors. This is not information that we are sending out in a cryptic form just to give us a reason to reject you.

In simple terms. You are not that special YET to do what you want to do.

Scott

The Word Of The Day Is Intention

2012-02-01T05:28:00.000-08:00

I was on my way home one day and I was listening to this speaker talk about making sure everything you do in your life should be done with purpose and intention. As I listened to him, it got me thinking about the writing that I frequently see and more often reject. Authors have characters doing things or insert plot elements without a purpose or reason. In other words, the concept of "intention" simply wasn't there.

As many of you know, I have done a lot with theatre. One director I worked with made it very clear to me that anything I do on that stage, whether it is a movement across the stage, a hand gesture, an vocalization, etc. must be done with an intention and a purpose. She said that a character wouldn't just walk across the stage for no reason. The same goes for your writing.

When you study your stories that are written, or craft the current works in progress, always stop yourself and ask if this element in your story is really serving a purpose for the characters and the plot. If you are simply adding a piece of dialogue because the line is funny, or you have a character going some place just because you're tired of them being in the same place, then you aren't thinking inention here.

We're talking about alignment here. The character, the plot, the setting, the theme, the dialogue - all of these have to work together in harmony to make the story work. Throwing something in your story just for the sake of putting it in ruins that alignment.

Scott

Pitching Is A Job Interview

2012-01-31T03:09:00.000-08:00

I know, I always blog about this at least once a year, but we are now starting to think about major conferences and it is always a good reminder. This one, however, is going out to not just writers, but also editors and my fellow agents.

Getting to meet face-to-face at conferences is really a rare and, should be treasured, moment for writers, editors and agents. We have the chance to finally see each other as individuals and people and not simply looking at a piece of writing. With that said, far too many individuals blow this chance for this meeting. For some reason, people in the publishing industry (writers, editors and agents) seem to believe that this meeting is somehow different from any real job interview. This is far from the case and we need to make some changes.

WRITERS
Please come to the interview with your game face on and treat this like a serious job interview. You show up looking the part and acting the part.

I don't want to hear the excuse, "oh, I get sooo, nervous..." Give me a break. If you can't handle talking about something you know better than probably yourself, are you really ready to make this jump to professional writing?

Come prepared.
Make sure your project is ready to go at that exact moment.
Dress appropriately
Act appropriately
DO NOT read or memorize your pitch. This needs to be natural and not sound scripted.

EDITORS AND AGENTS
I know you are trying to be nice and make these people feel relaxed, but in all honesty, do you really want to work with someone who doesn't even know their own story? Along the same lines, I know we are all in the same boat about the number of submissions we get. Why, can I ask you, would you ask to see something from either A) someone who you know will not cut it; or B) someone who has a project that you know really doesn't fit. Don't go giving me that whole "I have to read it first" stuff. We all know what we are looking for and we all know the premise of the story that will work and not work.

I have also talked to far too many authors that have said the same thing. They would rather hear us say, "no, it isn't right" then to hear, "send me a full" and then sit around and wait for the form letter, or in the case with some of you, stick with the "no answer is a no" response.

Maybe, just maybe, if we start to act in a more professional tone at these conferences, we can begin to elevate the level and quality of writing we are putting out there on the shelf. Who knows?

Just something to chew on for a Tuesday.

Scott

Help Out USA Swimming Swimmers and Their Team!

2012-01-29T08:11:00.000-08:00

Anyone interested in helping out a USA Swimming team - this link is for you.

http://www.firstgiving.com/fundraiser/rowan-poppen-eagan/swim-a-thon-2012

Three kids (yes they are mine) getting ready to do their swim-a-thon this year for USA Swimming. All of the money raised goes to things such as pool maintainance and the essential runnings of the team.

I know they would love to have your assistance on this one. Any amount would be a great help.

Thanks in advance from a dad of three great kids!

Scott

Gaining Something From Fairy Tales and Mythology

2012-01-27T05:02:00.000-08:00

I hear authors all of the time telling me that there are no new stories out there. Whenever I hear this, I am always frustrated. Unfortunately, these writers are missing the point. There are a ton of new stories out there. What these authors seem to think is that we just recycle plots. In reality, what we tap into are similar motifs and story elements. This is when we go to stories such as Fairy Tales and Mythology.

When we think about mythology, every culture has stories that go back to the beginning of time. What researchers will often tell us, is that stories have used the same ideas and motifs over time. Each time they tell a story they draw on similar ideas to convey a bigger message. Again, we are not talking about using the same plot, but combining elements of character, conflict and such.

Think about the common fairy tales we have. Let's start with Cinderella. We have a simple story of rags to riches. But, within that story, we can draw on different character and plot elements and put these into our stories:

The conflict between jealous siblings and someone who gets something from nothing.
The evil step mother
The idea of things just showing up when you need it.

We don't have to simply use the whole storyline, but just take the pieces we need.

What about the Beauty and Beast storyline?

Finding something in a person we don't view as being likeable
A character hating themself because of how they look
The concept of punishnment for being mean

In the end, a successful author sees patterns in writing. They see how elements from other stories can be tapped into to enhance their own writing. Don't limit yourself to simply the entire plot. Just work with pieces and build on that.

Have a great weekend.

Scott

Don't Give Up On Print Books Yet

2012-01-26T05:07:00.000-08:00

Recently, I read an interesting statistics regarding ownership of e-readers in the US. It got me thinking that for many out there in publishing, the moves they are making now in terms of "shifting" to an electonic market may be a bit hasty. The statistic showed that only about a 1/4 of the adults out there own e-readers. Now, they didn't specify what type but I do have to guess that people with iPads probably are clumped into this group as well.

So what does this tell us?

On the first level, it says that there is still 3/4 of the population that are not making the move to e-readers. Why? We can only guess. For some it may be the cost of the books. For others, it may be the argument of the "feel of the book." For others, it may be a dread fear of technology. Regardless of why, the numbers still say there is a huge number of readers out there not on that e-book bandwagon.

What I find interesting is the number of publishing companies that are now thinking they want to dive into the digital only market. I guess I have to question...WHY? If the money is tough to come by right now, why would you invest in a product that can only read 1/4 of the readership and, in many cases, at a cheaper cost? It would seem to me that a better move would be to focus in on that other 3/4.

I also find it interesting when I hear of the number of writers out there putting all of their eggs in one basket and really pushing this e-pub only movement. I do have to stress, I am talking here about NEW authors. Those authors tossing their backlists into an e-pub program might as well. This may be a way to extend the life of their books. The people I am talking about are those new writers.

I know what these people are saying though. They do this because the print market won't take their books. Yes, I know part of that is because the traditional publishers are scaling back, but in far more cases (clearly an overwhelming majority) it is simply because the writing is not good. (But I digress here).

I personally applaud publishers such as Harlequin who utilize the e-pub market as a way to both extend the life of an author as well as a promotion tool. The free reads online, the links to electronic stories that are connected to the main print books. This is a great use of the technology.

In the end, I would simply have to say, let's stop and think a bit. No, we don't have to live in the dark ages. Yes, we should pay attention to technology. But, don't abandon that other 3/4.

Scott

P.S. We also have to remember that when we hear of people buying books online, this doesn't mean they are buying electronic books. They are buying print books via the internet. Don't confuse that.

Focusing On Detail Is Good, But Remember The Big Picture

2012-01-25T05:24:00.000-08:00

I was talking with an author recently about the start of a book we were both reading. We came to the conclusion that the opening line and paragraph, although really witty and fun, was simply not the opening of a book. There was nothing that sucked us into the story. As I thought about this, I began to think about some of the problems I see frequently with submissions. The author has focused so much on the small details, that he or she simply forgot the big picture and the whole story.

As an author, you have to focus on all elements. Yes, those great lines and those fantastic scenes are crucial for providing a great voice for you or bringing in the right tone for the book. But, with that said, you have to remember that, in the end, the reader is looking at the entire story. The reader is not doing what you are doing. They are not dissecting the story on a chapter by chapter or a scene by scene level. They are looking at the big picture.

I always recommend that my author always look at how the entire story plays out for the reader. I was recently working with one of my authors on a story that we are in the initial planning stages for. The author wanted to add an element into the story to add some drama to a slow section of the story. Now, I have to admit that adding that element to the story would indeed add drama or conflict...BUT... the idea simply didn't fit with the theme and the idea of the entire story. So, that simply meant we dropped that idea.

When you are working on your stories, always ask yourself something I tell academic students to consider. Does this scene, this line, this plot device, etc. fit with the THESIS of the TOPIC of your story. If it only fits with the TOPIC, then it goes away. If it fits with the THESIS, then you are good to go.

Scott

When Established Authors Jump Ship To Follow Trends

2012-01-24T05:01:00.000-08:00

This one really gets me going, and I will say, not in a pleasent way. We scream time and time again about following trends. Never do this. We tell beginning writers to focus on what they do well and make sure they continue to improve. Editors tell writers to stick to what you know, and yet, time and time again, I see authors who have a great career in one area diving into the latest trend just to be "new" at something.

Now don't get me wrong. In no way am I saying that people cannot change what they do. I just get frustrated when I see someone just jumping into a category because it is the hottest thing. I started thinking about this when I saw the new Ann Rice novel coming out. I love Ms. Rice's writing. I am one of the biggest fans of the Mayfair witch series. But I have to say, when I saw she was writing a werewolf novel, my only thought was "come on Ann, really???" Now, maybe the writing is good. I haven't read it yet. The point is, was her motivation really a desire to write this story, or was this a move to jump into something that is someone hot right now due to the Twilight phenomenom.

We have seen this in other areas as well. Spy novelest suddenly turning to what they call romance. Paranormal writers suddenly thinking they can write YA. Great Chick lit/Romantic Comedy writers suddenly thinking they can write the dark and grime.

Not sure what to say about this. Maybe this is just a Tuesday morning complaint. Who knows.

Scott

Brenda Novak Auction - It isn't too early to be thinking

2012-01-23T05:03:00.000-08:00

I just let Brenda know what Greyhaus will be offering this year. I think for a writer, this could really be something you could grub on.

http://brendanovak.auctionanything.com/Bidding.taf?_function=detail&Auction_uid1=2447330

6 partial critiques in 1 year. Submit every other month.

Cool huh?

Scott

Scott's Dog Takes Over The Blog - Writing is important but so am I

2012-01-20T05:12:00.000-08:00

Last day of writing so I wanted to leave you with something to really chew on (which is what I'm going to do after I finish this).

Making time in your busy schedule is really important. You have to write every day, or at least do something for your writing every day. But with that said, you do have to remember the other people in your family. As I said in the title, writing is important but so am I.

You can't simply toss us a bone and say go play while I work. Yes, that has to happen every now and then, but there also needs to be time that you schedule for your family. They are giving up a lot to let you sit in your office on the computer and write for all of those hours. Make sure to do something for them too.

Family is very important so make sure to take some time to be with them too.

I guess I have to give up the computer now. Scott said something about wanting to get some work done. Thanks for hanging with me this week and let Scott know if you want me to blog again.

Apollo

Scott's Dog Takes Over The Blog - Digging to get to the good stuff

2012-01-19T05:06:00.000-08:00

I have a confession to make. I am a digger. OOOOOOOHHHHHH, I do love to dig a good hole. Of course Scott really doesn't like where I put my holes, but hey, ya gotta love me.

In any case, I was working on my latest hole yesterday and I started thinking about stories again. I just don't think some of your authors out there have been digging enough with your stories. In other words, you aren't going deep enough to get to the really good stuff about your characters, plots and settings.

I have heard Scott talk about some of these stories where you plop your characters in an Italian restaurant and just describe the delicious pasta with the smell of basil. Come on now. You know good and well there is much more to a restaurant than just that. Even I know that. Use all of your senses and really go for it.

The same goes for your characters. You give them a name, color their hair, give them a job and call it quits. Last time I checked that really isn't three dimensional.

Take it from a digger. You really have go dig to get the good stuff. And then, once you found it, bring it home for the reader. Or like I do, I just track it around the hardwoods for Scott.

Apollo

Scott's Dog Takes Over The Blog - Focus on one toy and play with it until it falls apart

2012-01-18T05:56:00.000-08:00

Hey, I'm not doing too bad with this computer thing. And this is all off of Scott's small computer and my paws are still typing well.

One of the things Scott's kids do a lot is to buy me toys. I have a ton of them! Now, don't get me wrong here, I do love my toys. But really, how many toys does a puppy really need? Heck, I have three stuffed bones and they keep getting me more.

Woops, sorry about that. This is supposed to be about writing not my toys. I did have a point to make about my toys though. Writers, too often, do the same thing with their stories that Scott's kids do. They put in too many things. It's as if someone said more is better. This is far from true.

I have heard Scott say several times that he would much prefer a story that focuses on a single item and issue and done well, then to see one with all of that stuff. He said this really happens with the contemporary stories and the women's fiction stories. Not sure what those are but I am sure you know.

The problem with adding all of that stuff is that the story simply becomes too cluttered and messy (kind of like our family room after I've been playing). And here's something else to consider. If you have kids (or an amazing dog like me) you'll understand. After all of that playing and that mess, someone has to put it all away again (and it ain't me). With stories, those final chapters are now an issue of "putting it all away" and obviously, the more issues you threw into the story, the more you have to clean up.

Gotta go now. Looks like we're off to the store.

Apollo

Scott's Dog Takes Over The Blog - Get Up and Walk Around For A New Perspective

2012-01-17T05:06:00.000-08:00

Apollo here again!

I see many writers really getting into a rut with their writing. They seem to be stuck in one direction and, unfortunately, their writing ends up in becoming REALLY boring. So, I started thinking about how I work out of those serious moments of boredom.

I get up and walk around. Sometimes, a simple turn in my bed is all it takes to give me a new perspective on life. Sometimes, I have to go for a serious run around the back yard looking behind the plants and under the barbeque (there is some seriously good stuff under there to check out). The point is, staying in one place gets boring and you need to shake things up.

Now, my strategy here can be used two ways.

The first way is when you are stuck on a story and not sure what to do with that next chapter. I think Scott talked about that once before. Get up from the computer and take a stroll around the house. If you have a writing partner like I am to Scott, I go with him on the walk. This way I can show him those cool things he missed on our last walk. When we get back, it is amazing what he gets done on the computer and I think you'll find the same thing.

The second way is with your writing in general. Every now and then, you need to just try something new. No, this does not mean changing your genre and trying to market a new book. Just do this with some smaller writing pieces. You know what I mean. I think you people call them short stories. Sometimes playing with a piece of writing other than what you are working on will give you some insight. For example, if you write contemporary romances, try a historical, or a fantasy. Sometimes that world building will get you that vision you need.

Let me know how you go for a walk to get that new perspective.

I'll see you tomorrow. I have to go now and see if I can catch that bird sitting on my fountain.

Apollo

Scott's Dog Takes Over The Blog - Over-doing it Leads To Barf

2012-01-16T05:08:00.000-08:00

Hey there,

I'm Apollo and I took over the blog for this week for Scott.

I started thinking about all the things Scott does during the day and I realized that I really had a new perspective to this whole human writing thing so I figured I would add my kibble worth of thought here.

One thing I have discovered in my 7 months of life is that over-doing things really leads to some serious barfing. I mean, I can really toss by cookies and boy does Scott not like it when it hits his carpet. He is getting really good at this whole steam cleaning thing though.

In any case, I thought about that whole "over-doing" it thing and it made a lot of sense when it comes to the writing you might think about sending to him or to some other person that might want to buy your book. If you do too much in your story, if you add too much extra stuff to your story that really doesn't need to be there (like the strings I find on the floor), it will lead to some seriously barfy writing.

What you need to understand is that Scott really does want some great stories but he really doesn't want to read any more barf that could have been prevented.

So, when it comes to writing your stories, try to use something I have heard Scott tell one of his writers on the phone. Keep It Simple. Take a great story and don't over-do it with all of that extra stuff.

That is, unless you like barf and then go for it.

See you tomorrow. I'm off for my morning nap now.

Apollo

Know The Business BEFORE You Get Too Far In

2012-01-13T06:43:00.000-08:00

I really struggled with this title this morning, so bear with me on this.

I know I have talked numerous times here on the blog about the idea that writers need to know and understand their business inside and out before they make that huge leap into finding an agent or an editor. Too often, writers have gotten slammed hard when they find themselves over-taken with all of the nuances of this business. "If only I had known." But today, I want to focus on a bit of a narrower focus.

For any writer, it is really important to know the genre they are writing in, and even more so, know and understand the components of what goes into that successful book that hits the shelf. You simply cannot just sit down and start writing a story AND THEN attempt to find a place for it. In many ways, this is analogous to someone deciding to open a business, they buy all of the items to go into the business AND THEN look for a place to put the store. Without that advance market research, the odds are the store is not going to be a success.

Understanding the genre is even more important when writing in ANY genre specific branch of publishing. This is not an issue of writing to a formula, but there are those nuances that are inherent in that particular line. If you don't have those elements, or you are doing something that falls outside of those inherent characteristics, you will find failure. For example, there are obviously strict guidelines for the Inspirational market. Why? Because they focus extensively on the CBA market. They know their clientele. So, if I add some explicit sex scenes in these stories, the books will have a difficult of impossible task of being sold. Does this mean that people reading these books don't have explicit sex? No. Does this mean these people don't read books like this? No. It simply means that the people selling the books AND the people who frequent those book stores are going there with certain expectations of what to find.

Knowing the business also extends to the general writing group as well. Understanding how books are published and sold is crucial. Even the small factor of knowing what the page count is for a standard book is key. (You would be surprised at how many people seem to believe a 300,000 - 400,000 word book is normal.

The point of all this is simple. Don't waste your time on a project that will never sell due to your lack of understanding of the business. This is like going to a really bad movie. That was 2-3 hours of your life you won't get back again. For that book, we're talking months here - wasted.

So, spend this weekend knowing and learning your genre. Determine if what you believe you are writing really is what you are writing. Then, determine if this is really where you want to be.

Have a great weekend. It's swim meet time for me!

Scott

The Amanda Hocking Story - This IS NOT the norm

2012-01-12T05:06:00.000-08:00

First of all, do not misinterpret what I have to say. I am excited when any author does well. But with that said, I am always laughing when I hear writers using these examples, such as the Amanda Hocking success as a rationale why they should do the same thing. We have to remind ourselves that situations such as Hocking are simply not the norm. You cannot compare what she did with your situation.

If you want to make a comparision to your writing and your professional writing career, you have to look to the people that are really in the same boat as you. In other words, if you are a first time romance author, you have to look at the majority of other first time authors and their careers. Guess what? You won't be finding those amazing 6 and 7 figure deals. The simple fact is that your career is not the same as a Nora Roberts or James Patterson.

If you are into self-publishing then look to see what the majority of other self-published authors are doing. Do not look to the exceptions.

Now, does this mean you should not follow your dreams or your career path? Absolutely not. But please, just keep your feet on the ground and don't assume you will be one of the exceptions.

Scott

Remember, Trends Started 3 Years Ago

2012-01-11T05:20:00.000-08:00

I love talking to new writers. There is a level of innocence that is so great to work with. For many of these authors, there is a real desire to make sure they are writing what people are really interested in. The problem, however, is where they get that information from. What they fail to realize is that what they are looking at as "being popular right now" actually started a while ago. In other words, what you see on the shelves is not necessarily what editors and agents are looking for.

Writers need to remember that the process of publishing takes a while. In other words, that book you are starting today has a long way to go before it makes it into the hands of the readers. Think of it this way:

Jan 1, 2012 - You start your story
April 30, 2012 - You finish it
May 30, 2012 - You start sending it out to agents
July 1, 2012 - An agent loves it and signs you (this is really wishful thinking but bear with me. the odds are it will be a lot longer)
September 1, 2012- You have finished all of the revisions the agent wanted to make the story perfect for who they wanted to send it to.
September 15, 2012 - The agent has sent your proposals out to potential editors.
October 31-December 31 - The agent is hearing back from people. This is giving editors 1-3 months to look at the project. For this story, let's say they call on Christmas Day (what a present!)
December 25, 2012 - You get the call. The editor now has to send paperwork to the contracts department and get paperwork gets going.
January 2, 2013 (we all partied too hard with the celebration of the sale) the agent reviews the contracts negotiates a bit for that big 7 figure deal and you get to sign the paperwork.
January 15, 2013 Editor sends you revisions.
February 1, 2013 You get the revisions back to the editor (Let's assume you were amazing here and only had 1 round of revisions)
Christmas present 2013 - You get to see the book on the shelves (depending on the number of other books the publisher is producing)

Now, this timeline is for authors that are REALLY lucky, that the revisions you have are not extensive or repetivitive and so forth. Still, in this case, we are looking at a full two years.

Of course for many of you, this will be a lot longer. When you find out about what editors are looking for, they are not expecting you to go out and start writing it that day. They are talking about you having that story already done and ready to go. They are talking about you already having an agent who has had their ear to the ground and really ready to go.

So, what should a writer do? We always say to just sit down and write the best dang story you can. Quit looking for trends. Quit trying to chase those trends. If you hear a demand for something, and you happen to have it, THEN jump on it.

Scott

There Is No Formula For Writing

2012-01-10T05:07:00.000-08:00

I was working this weekend with my 7th grade son on a writing project for his school. I have to say, as an English instructor, I get very frustrated at the approach the schools are taking with their writing today. Don't even get me started on the whole 5 paragraph essay garbage. (Breathe Scott, Breathe).

In any case, as I was working on the assignment with him, it got me thinking about the approaches that many authors seem to take when it comes to writing in their given genres. There seems to be a belief that there is a strict formula that has to be followed for everything we do in publishing. Query letters are written one way and only one way. A synopsis must be formatted this way and there are no exceptions. When writing a romance, the characters have to have different hair colors... you get the idea.

In reality, there are not fixed rules. I am reminded here of the line from Pirates of the Caribbean. Barbossa says, "...the code is more what you'd call "guidelines" than actual rules. Welcome aboard the Black Pearl, Miss Turner ." Arrrrggggghhhhh (oooh, feeling might piraty now). Still, Mr. Barbossa really is on the right track. Your job as a writer is to work within the broad guidelines that editors and agents give you you. Your job, is to look at your story and determine what the best approach would be to convey that message. It may be 1st person, it may be 3rd person. You may use a prologue, you may skip it. The point is, use your brain. Think. Don't try to force everything into a single model. It just won't work.

Scott

Show Editors & Agents How You Meet Their Guidelines

2012-01-09T05:11:00.000-08:00

What I am talking about today shouldn't come as any surprise to you, and yet, I find it interesting that too many writers fail to do this when writing their query letters. They simply fail to show me how you meet my guidelines.

When you are applying for a job and writing a cover letter, developing your resume or even participating in an interview, it is always crucial to show that future employer how you are perfect for the job. You take the time to highlight specific things you have done in your prior jobs, specific education that you have and what not. Remember, you don't just simply say you did it, but you show that employer results from that prior work. The same goes for query letters.

The majority of editors and agents have pretty clear guidelines of what they are looking for in their submissions. This is not just "I want a query letter, and first three chapters." What I am talking about here would be the components and characteristics of stories they like or don't like. For example, one agent states "I love super sexy and intelligent romance novels." So, the odds are, if you are writing sweet simple stories, this might not be the place for you. But, it also means that if you do write this type of story, you have to SHOW the agent how your story explicitly does this.

Let's try an editor now.
Harlequin Presents is the last word in sensual and emotional excitement. Readers are whisked away to exclusive jet-set locations to experience smouldering intensity and red-hot desire.
At the heart of your novel there must be two memorable and engaging characters who leap from the page but who remain credible, no matter what their situation. When the hero strides into the story he's a powerful, ruthless man who knows exactly what—and who—he wants and he isn't used to taking no for an answer! Yet he has depth and integrity, and he will do anything to make the heroine his. Though she may be shy and vulnerable, she's also plucky and determined to challenge his arrogant pursuit.
Harlequin Presents explores emotional themes that are universal. These should be played out as part of highly-charged conflicts that are underpinned by blistering sexual anticipation and released as passionate lovemaking. However, Presents is not the home of purple prose, cliché or melodrama; we want to see writing that offers unique perspectives and bursts with originality.
A Harlequin Presents is more than just a book; it's an experience, an everyday luxury. Let the pleasure and passion envelop you as you take a ride in the fast lane of romance!
As you look at this, there are several things that have to be stressed in your query (and hopefully your story does this too!) Look at the characters...
When the hero strides into the story he's a powerful, ruthless man who knows exactly what—and who—he wants and he isn't used to taking no for an answer! Yet he has depth and integrity, and he will do anything to make the heroine his. Though she may be shy and vulnerable, she's also plucky and determined to challenge his arrogant pursuit. SHOW US HOW THEY DO THIS!!!

Look, query letters are not some stupid activity that you blow off just to fill in a blank until we read your story. This is sales. Make me want to read your story and make me see how your story fits what I want.

Scott

Greyhaus and 2012

2012-01-06T06:29:00.000-08:00

Throught I would give you a bit of an update as to what Greyhaus will be up to in the coming year.

CONFERENCES, ETC.

Olympia RWA - Feb. 2nd
NOLA Stars RWA - Mar. 3-4
Writers Digest Webinar "The Keys to Romance and Women's Fiction - Mar. 29
Chicago RWA - April 27-28
Pacific Northwest Writers Association July 19-22
RWA Nationals July 25-28

I wanted to list these and let you know, if you wish to have me come and visit, chat, or teach a session to your writer's group, RWA Chapter, etc. Just email me or have your conference coordinator contact me. All you have to do is ask.

Also, if you are an RWA Chapter and want to have me visit at Nationals when your group gets together (for receptions or small meetings) again, all you have to do is invite. And yes, this goes for the PRO workshops.

OTHER HAPPENINGS

Beginning in March, I will be increasing my focus for looking for Harlequin authors. You will see more details on the website and with the contact information. If you are a Harlequin author start gettng your things ready now. This does not mean I will not be sending authors to other publishing houses. Authors currently with me will continue to be marketed to single title house. Authors signing on with Harlequin books will also have the chance to eventually market to the single title houses.
Newsletter continues. Greyhaus will continue to put out a quarterly newsletter. Sign up information is found on the main website in the News and Information section.
Critiques and contests are still a big thing. I believe in working with a lot of new authors. For this reason, I will continue to be open to judging contests and providing critiques to writing chapters. Again, all you have to do is ask. Along the same lines, I will continue to offer my services to RWA Nationals in the hopes to make some big strides in seeing that the Golden Heart and RITA truly do recognize the best of the best in romance and women's fiction (yes RWA, the offer still stands to work with that committee).

Have a great weekend.

Scott

Why The Writing Process Trumps Everything

2012-01-05T05:06:00.000-08:00

For all of you who follow me on a regular basis, you know my opinion on the plotter vs. panster controversy. Plotter rock and pantster have too many problems. Yes, this is blunt, but you get the idea. With that said, I want to push this point again today with the blog and discuss the idea of "The Writing Process."

If you attended any public or private school in the US, the odds are you discussed the idea of the writing process. You covered it in pretty much any class from about the 4th grade on. If you don't remember it, either A) you had an awful teacher; or B) maybe you should have been listening. O.K. Maybe I'm being a bit harsh and extreme here, but the odds are, unless you were in a cave, you have heard of what I am talking about.

As a refresher, the Writing Process essentially has three phases to it. PREWRITING, DRAFTING and PUBLISHING. Each has a purpose. For far too many authors out there, ignoring the writing process is simply creating far too many problems in that final product you send out to the agents or editors, or more likely, creating problems you could have fixed sooner and reduced your writing time. I should also note that the writing process, in no way, eliminates your "creativity" and "personal voice".

Let's review, shall we???

PREWRITING - During this phase you make your initial plans for the story. This is where you take some time to think about what you want to write about and to plan the whole story out. Now don't get me wrong here. I am not asking for a chapter by chapter summary of your story, but I am asking you to know everything about your story, setting, characters and plot. Failure to do so will result in far too many hours having to revamp the entire story because you "thought of something" at about the 3/4 mark in the book. I honestly have to say, there are story ideas that I know the person didn't do this step. The premise alone tells me they wasted time writing a book that would never sell. Had they thought about their topic, they would have realized it would never sell.

Along the same lines, that pre-planning will make all revisions your editor sends to you go a lot easier. Revision notes now will be dealing with fine tuning, not a complete over-haul of your entire book. Fix a comment a character made here, tweak a scene there.

I have said this before and I will say it again. As the saying goes, "If you don't know where you are going you will end up in someplace you don't want to be." And I am sorry, but don't give me that lame excuse of "discovering something on the journey." If you are professional writer, you don't have the luxury of meandering.

DRAFTING - You need feedback. Simple as that. For those of you othere attempting to write these stories on your own, I wish you the best of luck, although frankly, I don't believe you have any hope at success.

Just recently, I wrote about critique partners and finding the right person to work with. Getting feedback from someone who "thinks" they know what to do is not going to help. You need to find someone who "knows" what is going on.

I went to a local conference several years ago, and I was shocked as to how many people were published (and I use that term loosly) with a single e-publisher. I thought it was interesting until I fully thought about it. They were simply teaching everyone only the material "they" knew. Needless to say, this publisher went out of business and the entire group is now lost and struggling. Why? They were attempting to learn from people who didn't have a clue.

Now, what does this have to do with drafting? Simply put - get feedback, but get it from people who really know.

Time for another side note here. There are a ton of agents and editors who can help. You just need to ask. Will it cost? Maybe! will it be beneficial? YES! (see below for offer).

PUBLISHING - This is the clean it up phase. If you have done all of your work early on, this will be easy. This is when you make it ready to go out. No, this does not mean to pay for an editor to charge you $1000's of dollars to run it through a spell checker. It means to use the tools at your finger tips.

In academia, the rule of thumb is 5 mistakes on the first page of a paper is an automatic F. Publishing works the same way. If I see a query letter with grammar errors, the first pages of a chapter with mistakes, what does this tell me about the person's writing ability? The story may be good, but how much work am I going to have to put in just to make it ready for publication? This really goes for many of you in the international market. If you are submitting to the US, have it US ready!

First impressions say a lot and if you submit garbage, don't expect amazing letter from us. As Hallmark says, "When you care enough to send the very best." Sending garbage to me is not going to cut it.

The point I want to make here is simple. Writing takes time. It is not something that can be done overnight with immediate success. Writing is also something that takes work to achieve something good. If you follow that writing process, I can (almost) insure that editors will love you even more because they know they can count on a story that has all (or most) of the holes filled.

Scott

It's Your First Book - Don't Expect Miracles

2012-01-04T06:19:00.000-08:00

If you ask any author, the best book they ever wrote was their first one. It was their baby. This book is the one they slaved over for all of those years. The poored all of their life and soul into it. But, for many of those authors, that first book is still not published. It might still be on that book shelf waiting for the right time.

But, there is another angle to this that I want to talk about. That first book you wrote also came with a hidden agenda that is tainting the way many authors see the publishing world and their careers. Because that book was so amazing in their heads, they start to believe that EVERYTHING amazing that could happen to a book is expected for their first book. These authors start making comparisons to other books and other authors that are simply unfair analogies. Examples of this include:
* Expecting advances equal to other authors with that first book
* Expecting to negotiate deals that are really big.
* Expecting book sales to be through the roof,
* Expecting stalkers and the Today show to highlight the troubles of this new author.
* Expecting Oprah to put their book on the cover of O Magazine.

I think you get the idea.

Please understand that publishing, like everything else in the world, takes time to be successful. You have to start from the ground up and you have to "pay your dues." You have to work to get to that success level.

Please also remember that the authors you hear making immediate success with that first book are "exceptions to the rule." Yes, it is good to dream that your book may be one of those exceptions, but, I am sorry to say this, it will only remain a dream,

Please also remember that comparing your sales, book deals, advances and dreams to the authors that have been around for 30 years is a fallacy.

There is simply no easy route to being successful in publishing or any other career. There are no short cuts and there will be struggles.

As you dive into 2012, and you start to make those resolutions and plans, remember to keep at least one foot on the ground.

Scott

Writing Category Romance Doesn't Mean Skimping on Depth

2012-01-03T06:38:00.000-08:00

I am always frustrated when I hear romance authors talk about writing category as a way to learn how to write before you write serious books. Oh come on! Their only premise is that writing category is for those people who can't produce more that 55,000 words. I hate to break this to you, but if you have ever tried to write a true category romance, it is a heck of a lot harder than you think.

Just because the story is under that 100,000 word count length DOES NOT mean the authors should skimp on the depth of storytelling. Please understand, I am not talking about adding a lot of small sub-plots to the story. I am talking about world building and character development. As one of the descriptions for one of the category lines says, "these are big stories in small packages."

To achieve this depth, a writer has to make every word and every scene count. Descriptions have to pack both introspection and world building into phrases that many single title authors feel they have to take a full chapter to do.

For those of you considering submitting to me here at Greyhaus in those category lines, I want you to really stop and think about what we know at the end of the first two chapters. I want to know A LOT about your characters. No, this is not past backstory and plot. No, this does not have to deal extensively with the storyline. And, no, I don't have to see them in bed and having a full on romance after the first meeting. I want to really get to know who these people are AS people. Emotion, motivation, depth. That's the key.

The same goes for scene building. Don't just tell me it's an Italian restaurant. Bring me into it. Draw me into your story.

If not, expect some rejections - not just from me, but for anyone (editors and agents alike) that acquire category romance.

Scott

The Numbers Behind Finding Agents

2012-01-02T06:50:00.000-08:00

I certainly don't need to tell the majority of you out there this tidbit of information, but the economy still sucks and the publishing industry, like everything else out there is buckling down. With these changes, the demand for agents to represent those authors still wishing to travel the traditional publishing route has increased.

Now, please do not get me wrong. This is not a post highlighting "another reason why self-publishing is the way to go." This is also not a post highlighting "why writers really need agents." I simply want to talk about numbers here and why finding an agent is becoming an even harder task.

First of all, agents are stuck in the middle here. We can find projects we like, but we have to also work really hard to convince the publishers to love the book as much as we do. This is not that easy since the publishers have become extra picky about what they sign. So, for that reason, the trickle down theory comes into play here and now agents are really becoming picky.

This pickiness is not simply finding the things we know we can sell, but a search for finding some truly AMAZING new writers and projects. In the past, we could find someone that was mediocre and work with them for a year to slowly craft that book we thought had a little potential. We simply can't spend that time now unless we have something amazing.

But the number thing is becoming an even larger factor. In simple terms, there are more of you than there are agents. Each agent is going to limit how many people we work with and what we work with. This way, we have time to really work with you to get those projects ready. So, for that reason, when you are submitting to an agent that says he or she is open to submissions, the odds are, they are only looking for certain types of books that fill specific niches. This is why I tell you to do your research.

I know that at Greyhaus, I try to really make it clear to you what things I am not actively looking for (when I am open) and what things I will not be actively looking for. I don't want you to waste your time.

The point though of all this babbling (it's early and my coffee isn't done brewing yet) is that finding an agent is going to be a big uphill battle. It is well worth it, but have patience.

Scott

2 Challenges for December 31 and Jan. 1

2011-12-31T08:32:00.001-08:00

CHALLENGE 1 - Take time to write both days. Tell me how many words you achieved each day and the grand total.

CHALLENGE 2 - What is your writing New Year's Resolution? Post it here. Remember though, a resolution is something YOU can control. Telling me you will be on the NY Times Best Seller List isn't going to work with me.

I DARE YOU!

To Prologue Or Not To Prologue - That Is The Question

2011-12-30T07:47:00.000-08:00

Now, before I get started, there are not editors and agents out there who are firmly in favor of, or against prologues (despite the common rumors that are out there). The issue stems from how a prologue is used.

Too often, I see projects that insert a prologue to do nothing more than to insert "backstory" that the author believes the reader needs to know at the immediate get-go. In reality, this is information the author needs but, for the reader, this is something that can come out later on when we start to wonder why the character would want to do something so strange.

The other time we see authors using a prologue, in my opinion, incorrectly, is when the author decides to give us the insight into the villain without giving us any name, context, gender or anything. We have no reason to hate this person yet because we haven't become attached to the main characters.

A prologue can be great for some tidbit of a smaller scene that just needs to get the ball rolling. For example, maybe this is story about two friends dealing with some tragedy that will affect one of them. In this case, a prologue to show them as great childhood friends and ending with a dialogue scene that says "You know, we'll be friends for ever" would be great. Now you can show the contrast in the rest of the book.

The key is to use a prologue WHEN IT IS NEEDED. In many cases, that prologue might be something you insert after you have gotten into the book.

Just be careful. Remember, if we make decisions on the opening pages of a story and we hate the prologue, you have just wasted 5-8 pages of your partial and already have us thinking the story isn't going to work.

Have a great weekend.

Scott

Who Did You Learn That From? Knowing Your Sources

2011-12-29T08:33:00.000-08:00

Too often, I find that I receive submissions that really makes me questions things. I sit amazed wondering why on earth someone would do something like that, or why they even thought it was a good idea. The answer is always one of two things. Either A) they are blindly writing on their own without anyone on the outside providing essential knowledge; or B) they are taking advice from people that simply should not be dispensing knowledge.

We have now moved into a publishing world that is proclaiming that everyone should get out there and write a book. I have no problem with that. I want people to write. But, with that said, it is important that a writer learns his or her craft before venturing forth in the world of publishing. Along the same lines, we need to make sure that when we take advice from someone about our craft (or for that matter anything we do in the world) we need to make sure that person really has a clue what they are doing.

I often ask writing groups for people to raise their hands if they struggle with grammar, punctuation and spelling. When those people raise their hands, I tell the group to not go to those people for help in that area. They may be eager to help, but they are struggling on their own. I follow that up with the idea that if your car is broken, do you take it to a plumber? Hopefully not. The same goes with your writing.

There are a ton of resources out there on the internet writers will be tempted to go to for information on how to do something with their writing. There are discussion boards where people will just spout of "knowledge" and "helpful advice." But again, do you really know who these people are.

We can extend this to conferences as well. People will offer sessions on craft, research and what not, but, regardless of how helpful they want to be, are they really the best person for the session. I have tried to push this idea numerous times with conference coordinators on this. Don't just invite someone to teach a session because they wrote a great proposal or they have a great session title. Do they know what they are doing?

Please writers, know who you are listening to before you take that advice.

Scott

The Only Constant Is Change

2011-12-28T08:49:00.000-08:00

We have all heard that phrase before. Things are always changing and publishing is certainly no different. It is for this reason that all authors need to be able to find a voice that is unique but to be aware that their style needs to constantly be changing.

I frequently have authors submit projects to me and in their query, they tell me they were successful writers 5, 10 and even 20 years ago. I pull up their numbers and they certainly were successful. But for whatever reason, they ended up stopping their writing and now were trying to revive that career. Unfortunately, I find that in almost all of the cases, I end up passing on their writing. Why? Their styles have not changed. They are writing in a style that has long gone by.

As a writer, you have to constantly find ways to evolve your writing. To make changes to what you put on the page meeting the needs of a changing society. No, this is not writing to trends, but writing to a population. You simply cannot say, "this is what I write so deal with it." To be successful, you have to find what works.

Scott

Changes Coming to Greyhaus

2011-12-27T07:42:00.000-08:00

Althought I will not be opening submissions until March, 2012, I did want to give you all some advance notice of some changes. I have been thinking about this for some time and over the holidays, I finally came to a decision.

Greyhaus will continue to represent romance and women's fiction authors, but will make a major shift to focus primarily on acquiring authors to write for Harlequin. In simple terms, if you want to write for the Harlequin series lines, Greyhaus will be the place to be!

Authors signing on at Greyhaus (and obviously those currently at Greyhaus) will have opportunities to write for other houses and certainly move to single title if they wish, but again, the primary focus will be Harlequin.

I will make some exceptions to this. Authors who are currently writing for other houses outside of Harlequin, and wishing to sign on and work with Greyhaus will be considered. Specifics will be available in March. Along the same lines, if there is a special need that arises during the year for specific genres outside of Harlequin, I will post that information here on the blog, the website and Facebook (which will all link to Twitter).

Now, what does this mean for those of you wishing to submit.

#1 - Know which house you want to write for and make sure to know those guidelines inside and out.

#2 - Be commited to writing for Harlequin. Do not expect to write one book for them and then "move on to other projects."

#3 - Be prepared to demonstrate that you have the ability to write several stories for that same line. I am not looking for someone who thinks they can write for all of the lines at the same time.

#4 - Be prepared to produce. This is not a publisher who wants you to only write one book a year.

That's all for now, but I will certainly keep you posted during the year. For those of you who are really interested in this, you have about three months to really get prepped for this!

I hope all of you had a great holiday and got a lot of writing done.

Scott

Christmas Eve Challenge

2011-12-24T02:45:00.000-08:00

This one is simple. Don't let your writing slip by for the next 2 days. Push yourself.

Let me know the word count of what you achieve on the 24th and the 25th. I dare you!!!!

Happy Holidays!

Scott

What it takes to be a great writer...

2011-12-23T05:32:00.000-08:00

I am a firm believer in creative writing. I personally believe that writing is something that every person in the world can do. This is a chance for self-expression and a true revealing of the human spirit. With that said, I am also someone who believes that, while writing is something everyone can do, professional writing is something that not everyone can do.

When I was teaching in the K-12 system, I had a student in my honors English class. His dad happened to teach Physical Education in the school. Now this student was a great student. He was dedicated and he really worked to do well in school, but he continually earned B's. During the conference period, his dad came over to me and wanted to know what it was going to take to get him to be a straight A student. More time? Tutors?? The answer I gave to him I believe works as a great analogy for what I am talking about today.

I answered him with a question. I asked him that I wanted to be an NBA Basketball star. I wanted him to make that happen. At that moment, he told me, that making that move would be tough. I didn't have the body structure for it and, in many cases, regardless of the time I would spend in the gym, or the amount of money I spent for the best coaches, I just didn't have it in me. I told him, the same was for his son. He was a B to an A- student. Nothing wrong with that.

Now, I bring this up because for many writers, I think they seem to miss the fact that great writers have a combination of tools in front of them to work with. All of the tools have to be there. You can't just "sort of" have them, or "have most of them." Remember, you can't get a little bit pregnant.

Great writers have passion, they have an ability to learn the necessary skills, and they have an inherent talent to really tell those amazing NY Times best selling stories. For most writers out there, they have the passion and they do learn the skills and the techniques that go into a good story, but it is that last element, the inherent talent, that might be missing.

Please don't get me wrong. I am not here to rain on your parade during this great time of the year. I want people to write. I want people to work hard on their craft and I want them to tell their stories. But I also want people, every now and then, to have a reality check.

I know what some of you are saying. But Scott, we need to have dreams and we need to shoot for those dreams and goals. Dang right you do! But, when we do goal setting, one of the things that has to be considered is the "reality" of that dream or goal. I can dream of wanting to climb Mt. Rainier. I can dream of walking all the way around Mt. Rainier in 3 days (both of which I have wanted to do), but the reality is, at 45, on blood pressure medicine and no time to get to the gym, this is a dream that can probably never be achieved.

Just a nice reality check as we move into 2012

Scott

A Christmas Present For That Author In Your Life

2011-12-22T05:00:00.000-08:00

You know who these people are? They're the ones that have spent countless hours behind a computer creating those stories you love the most. They have given you so much joy over the year.

Now it is time to give something back to them.

This Christmas, give the gift of a book.

Buy a real book. Don't buy digitally. The authors are getting a lower royalty rate in many cases.
Don't buy a used book, but one from the store. Remember, used books don't give the author anything financially.
While sharing books is great and certainly fun, buy the book this year. Sharing books is just like the used book thing.
Buy a lot of books from them. Remember, the more you buy, the better their sales will be. The better the sales, the publisher is happier. A happy publisher means more books from your favorite author. Yes, this is very circular.

And finally, send your favorite authors a quick note on their website. Send notes via the publisher or the agent. The more they see they have a following, the more motivated they will be to write even better books!

And for you authors out there. Buy your own books directly and give those as a gift to the family. Giving away those books you use for promotion isn't getting you anything.

Scott

What Do You Do If That First Book Doesn't Sell?

2011-12-21T05:50:00.000-08:00

I have been asked this by several authors lately. Either they were selling their book on their own to publishers, or they had an agent attempting to sell the book to the publisher. In each case, the list had been exhausted and the book just didn't sell. Now what?

What I have found interesting is that the authors (and in some cases the agents) have made the recommendation to either sell it digitally or self-publish it. So, is this a good idea?

Personally, in my humble opinion, this is the worst approach to take with the story. What I have recommended to my authors is to hold on to the story. In some cases, we are able to do something with it after the next book sells. I personally believe that putting that book out there after it has been rejected is sending the wrong sign to the readers (and yes the publishers or agents) that might be interested in your later books. You want to put your best work out there and maybe, just maybe, that rejected book is not your best.

Look, self-publishing or digitally publishing with small presses is not the wasteland of forgotten or lost books. There is a legitimate place for these and authors using it as a dumping ground may find that they have shot themselves in the foot later on when that book might have a place.

Scott

Question From A Writer - What are "REAL" Stories and "REAL" Characters

2011-12-20T05:16:00.000-08:00

In your submissions info on the Greyhaus site, you put a lot of emphasis on "real" stories and "real" characters. Can you give some examples from already published work that fits your standards for "real?" Who are some authors you would recommend for someone wanting to get a better feel for "real" stories?

This is so true. I do overly stress the idea of real characters and real situations. Let me explain the rationale why before I dive into the issue of "what" I mean.

For readers to really get sucked into a story, especially a romance and relationship story, they need to find something in it that connects with them. This stems from some basic elements of "Reader Response" theory in literary criticism. In other words, the reader makes the meaning of the story with the strong connection to the characters and story. If the story is too far removed from a reality the reader can understand, then there is no connection.

When I argue for the element of reality, I am talking about situations and people that truthfully would exist in the real world (and not on the Jerry Springer show). Look, while we might enjoy watching reality TV shows, we have to admit that these are not real people in real situations. These are elements used to create "drama". What I am looking for are those situations that are not "over-the-top".

Too often, I see stories that are so extreme the story becomes forced. Characters that would never get together are forced together for drama. Plot elements are added to a story to add drama but in reality, would not likely happen. We're talking possibility vs. probability here.

Hope that helps!

Scott

Question from a Writer - Submissions with a contract offer

2011-12-19T05:05:00.000-08:00

If you receive a submission and the author already has a publisher such as Harlequin interested, would you automatically offer representation? Or do you need to really love that person's writing and the project as a whole to take them on?

This is really on a case by case basis, but I have to say that, for the most part, I have to really love the writing before I sign an author. Yes, this is an easy sale, but you have to remember that agents want to be in this for the long haul.

With that said, I do look at a project like this a bit longer that others. In some cases, that story might not have it for me, but the later projects really are great and that might sway my decision. Otherwise, the simple answer is a contract does not mean an automatic representation.

Scott

Scott's Happiest Place On Earth

2011-12-17T17:09:00.001-08:00

Enjoy!

Scott

Question from a Writer - Rejections from publishers

2011-12-16T05:30:00.000-08:00

What are the most common reasons you get rejections from publishers?

I have to admit, this question caught be off guard. Normally writers want to know why agents reject, but not what publishers say to us. Good question though.

I have to say all of the publishers I have worked with have been very favorable to the manuscripts I submit. The common response I get is "loving the writing" but "no place right now."

In other words, because the slots are already full, there is no place for that new author.

In recent months, I have gotten a couple of responses that really show the signs of the time. The editors liked the writing, story and everything, but it wasn't a "blow me away" story. One editor told me that in the past, liking and loving stories would have been good enough. Now, with budget cuts, the story has to be "blow me away."

What I think you can see is that we get the same responses too. We're all in this together.

Scott

Question from a Writer - Online Presence???

2011-12-15T04:25:00.000-08:00

How important is an unpublished author's social media presence (Facebook, Twitter, website, blog) in the quest for publication?

The answer to this one is simple. It is NOT needed for the author's presence.

I would say that using social media for gaining information on the business is crucial. There is a lot of information out there and any tool you can use to get that information is great. But, for a new author without anything to sell, I would simply say the time can be better spent working on your craft.

I know there are a lot of people out there that will claim you can "build your readership" for your book, but personally, this is not going to work in the fiction market. Non-fiction, yes. You may have a craft or hobby that is of interest to people, but for fiction, it just won't happen.

I do recommend you are ready to go with some ideas for a website when you do sell, but there is really no need to rush.

Good Question!!!!1

Scott

Greyhaus Closed To Submissions - NEW!!!!

2011-12-14T08:23:00.000-08:00

As of December 16, 2011 (This coming Friday) Greyhaus Literary Agency will be closed to submissions. This will remain in effect until at least March, 2012.

If you have submissions currently at Greyhaus, I will read and respond to you.
Any submission coming in from a conference or other meeting will be considered.

Any submission received AFTER December 16th WILL NOT be read.

Feel free to forward.

Scott

Question From A Writer - How Many Is Too Much?

2011-12-14T05:20:00.000-08:00

How many times would it be appropriate to query the same agent with different projects? If an agent's comments run along the lines of "I wasn't excited about this particular story line," and they try again with the next story, at what point does the writer cross that magic line from persistance to pestering?

I've only queried one book so far, but it will not be my last. I don't want to end up being the kind of author agets roll thier eyes and think, "Oh not her again."

This is a great question, but unfortunately, like all things in this business, there is no one single answer. I have always said that if this is the agent you really want to work with, and he or she hasn't told you to go away or initiated a restraining order against you, then there is no problem. Now, with that said, I would really examine the stories you are submitting and also the agent a bit more.

I know there are times when an author will send me something that really doesn't connect with me, but a later project jumps out at me. I did sign an author in just such a situation. But, more often than not, I find I continue to reject authors with those later projects. The reason is simple. These later projects are just more of the same thing and I am not seeing "anything different." I also find that if the author had of really read my blog and all of the information I put out there, they would have seen the story wasn't a right fit with me.

There is also another angle to look at here. If you continue to get form letters or no response, my question would be "why do you want to work with them?" Is there really a belief that things will be different with this next submission, or if they signed you? Just something to consider there.

The key is, take what you have learned from the agent and demonstrate that you have fixed the problems. Show them you have learned and exectuted those changes.

Best of luck!

Scott

Questions For Scott

2011-12-07T04:35:00.000-08:00

For the next several days, I will be on a break. But that doesn't mean you should be on a break.

What quesitions do you want answered here. Post those questions and when I get back to the blog, I'll answer them.

See you soon and give me something to write about.

Scott

Take A Vacation From Your Writing - You'll Be Surprised What You Find

2011-12-06T04:45:00.000-08:00

O.K. There are two points I want to make here.

First of all, I am taking a break with the family. That means you are on your own with blog posts here until sometime around the 15th of the month. Sorry, I need that break.

But, here is the more important part. You need to take a break, every now and then, from your writing to get a new perspective on things. Too often, writers find themselves in a case of tunnel vision from working far too hard on a story. Sometimes you simply have to step away.

Think of it this way. How often, while you are doing something completely random, that you remember something you need to do on another project. Sometimes we remember this during our sleep. For me, it is always while I am cleaning house or cooking dinner. During that "mentally relaxing period" my brain doesn't have to work hard. It is a chance to unclog the pipes a bit and suddenly we can figure out those problems that we have been fighting with on some other project.

As a writer, you have to do the same thing. If you are struggling on a current story. Leave it. Do something else. Write some other completely different genre. Go blog. Go enjoy time with your family.

You'll be shocked, you will find the answer you are looking for when you aren't thinking about it.

Scott

Watch That Professional Jealosy

2011-12-05T04:25:00.000-08:00

I know how it feels. It makes you feel miserable when you see a friend of yours make a sale and you are still trying to get some books even finished. Agents see this all of the time. We follow each other on social media and while we are busy writing proposal after proposal, we see other agents making sales. Ohhh do we see green.

Still, it is important to remember that we really don't know what the context was for that success. Was this a project that had been a 5 year uphill battle? Was it a better book? We simply don't know.

Along the same lines, we need to remember that they likely feel the same way when we make the sale and they are fighting with proposals.

Look, if you have friends and critique partners that make sales, enjoy their success. Cheer them on. Don't get distracted and start feeling you aren't worthy. It simply means that your time is still to come.

Scott

Things Will Get Better

2011-12-02T05:19:00.000-08:00

The economy sucks.

O.K. now that we all agree on that, let me remind you that our world tends to be one huge pendulum. Things swing one way and then they swing the other way. This includes the economy.

I am saying this simply to stress that while the market for books might be slow right now; and editors and agent might not be buying books right now; it does not mean that the market is going to be gone forever. Things will get better and we just have to wait. I know it is tough, but we can do it.

I really do worry about those people in the publishing industry (writers, editors and agents) that panic too quickly and jump ship to chase after that immediate success. Writers are diving into contracts and writing programs that we have seen too often, come back and really be a bad move. Yes, I am talking self-publishing here.. Editors are dumping programs in a panic and moving into fields that they probably haven't done enough market research on and may be spending money wastefully. Agents too are not exempt from this as they shift how they acquire books, how they sell books and what they do with their business.

For me, I do believe that things will get better and eventually, all of you out there that didn't panic will find that success, and personally, I do believe will be more successful than those who made the quick and hasty moves. Just hold on!

Scott

What Writers Can Learn From Politicians

2011-12-01T05:13:00.000-08:00

I have to be one of the first to admit that I really do get tired of this time of year when the politicians are all running for office. Still, I know it is important and frankly, I am pretty dang proud of getting the chance to live in the US. While this time might be a bit crazy with the ads, I was thinking recently of how what we are seeing going on right now (and in the past) really does translate well to writers.

Whether or not you want to believe the things going on with Herman Cain, I do have to say that this is one of those examples where things in the past really do have an impact on what you do today. Although an issue might be small (not saying the allegations about Mr. Cain are), those small little things can come back to bite you.

I know that I am someone who does remember things writers have said and done in the past. There are several authors out there that I would never go out and buy their book. Even if that author were to come to me and want me to represent them with a 7 figure deal, I would likely pass on it. Why? Because of some things they either said or did in the past that I felt were simply not right.

Now that we have moved into an electronic age, everything we say and do can be tracked. Employers are reading what we post on Twitter, Facebook and our blogs. We have become an "open book" and "Big Brother" might be watching you.

I just want to remind all of you to really watch what you do. This is especially true for those of you fighting and working so hard for that first contract with an editor or agent. Hopefully you don't have any skeletons in the closet that might come back to get you.

Scott

We All Need A Break

2011-11-30T08:13:00.000-08:00

I have been asked if there is a good or bad time to submit stories to editors or agents. Like everything else in this business, there is no single answer for this one. It all depends. Still, when we look at our calendars it is pretty clear when editors and agents want to see new projects and when we could care less. We are approaching that time right now.

Between Thanksgiving and Christmas, this is a tough time for all editors and agents. We have projects with our current clients we are dealing with, as well as trying to dig ourselves out of the holes we have created with all of those submissions we keep asking for. I know I have been nailed lately with a ton of contests that I said I would judge the final rounds for, and then never bothered to keep a calendar of when those would show up on my doorstep (Please, someone! Remind me to start a calendar of just those starting in January). In any case, you get the idea.

I know as an agent, I try to limit certain times when I send projects and when I decide to hold back. I know that when big conferences are coming up, editors are often getting ready (as am I) to go, and one more thing to read is tough. No, we are not cleaning off our desks and just rejecting everyone just because we want to wait for the good stuff. It is simply that we are busy.

With that said, I want all of you to start looking at your calendars. If you are getting busy, guess what??? So are we. Think about this when submitting.

Now, with that said, please note that I will be "unofficially" be closed from now until sometime after the start of 2012. No, I am not closed to submissions, but DO NOT expect an immediate answer. I do have holiday shopping to do.

And speaking of holiday shopping...

I want an IPAD!!!!!! Apple, or someone else who loves me SOOOOOO much, feel free to send me one ASAP. Who knows? Maybe I can respond to emails faster. (smile).

Scott

Results from the Thanksgiving Break Writing Challenge

2011-11-29T04:22:00.000-08:00

I saw several things with the "first line" contest during the Thanksgiving break last week. Let me hightlight a few of the over-all trends I saw.

Had to be 1 line. I know this sounds picky, but was the rule. I should note, this really goes back to the comments I have made here on the blog about following the guidelines. For an agent or editor, while we might not send you an automatic rejection letter if you don't follow the rules, it does plant a thought in our head as to a whether or not you would be someone who could follow the revision notes should we sign you. Just something to stick with. I will note, I did look at the comments and in all of the cases when there was more than one sentence, I found several of the problems listed below.
Too wordy and forced. In several of the cases, it was clear the writer was trying too hard to find the right word and phrase. Unfortunately, when we see this, it gives us a feeling of too much wordsmithing. The writing needs to come across as very natural
Rambling sentences. Packing a lot into a single sentence is tough. It is possible to do, but the fluency of the read still needs to be there, and this goes for all sentences in your story and not simply the first line. The easier the writing is to read, the easier it is to suck the reader in.
Lack of clarity. There were several I saw that I felt could have had the potential, but I was unclear as to who or what we were talking about. Mentioning plot elements without a reference point, especially in the opening pages creates too much confusion. This is something that happens a lot when an author inserts a prologue from the bad guy in a book but doesn't give us a name or context to attach the scene to.
Cutsey writing. This is that forced writing I spoke about yesterday. A line that is too cute or is attempting to just be "a great sentence" doesn't come across as a natural read.
Huh? O.K. I had a couple of these. I simply read the line(s) and had to ask myself what you were thinking. You simply lost me
Simply description In this case, we return to the telling vs. showing argument. I had a couple of the lines that seemed to be nothing but a description of the scene without giving me a feeling of tone or voice.

So, the final ones that caught my attention were...

Katya said...

She waited until he kissed her before she stole his keys; she didn't count on his best friend seeing.

I liked this one simply because we have action and we have motivation on her part. At some level, I would hope we know why she is stealing the keys and that should happen in the next sentence, although I do think it could have happened here. For example, "...she stole his keys to the National Treasury..."

KimberlyFDR said...

In that moment, she thought they would be together forever, but three years later the photograph served as a motivation for murder.

This one is fun. The only issue I had here was the time element. I think I would have re-worded the opening to give us a true sense of when this is taking place.

Patti Shenberger said...

Undercover Detective Mack Cortland pulled the woman to him, knowing the 'Grassy Knoll killer' was standing less than twenty feet away surveying his next victim.

Great sense of action here. The only question I had was why the detective wasn't going to catch the killer right there when he was able to do so.

Lee Burgess said...

Cameron watched over Portia as his brother took her in his arms and kissed her, the same brother who'd murdered him in a hail of gunfire, turning him into the very worst kind of spirit.

The paranormal element is great here. This tended to be a bit too wordy for me. I would have liked to have seen more of the paranormal brought to the forefront.

And the winner is...

KimberlyFDR said...

In that moment, she thought they would be together forever, but three years later the photograph served as a motivation for murder.

Send me a synopsis at the agency and make sure to include in the subject line, REQUESTED MATERIAL - TURKEY WEEK CONTEST!

Scott

What Does The First Line Tell Us

2011-11-28T05:35:00.000-08:00

I think a lot of authors really miss the point with "the first line" and the "first scene" of a book. Unfortunately, too often, in an attempt to be "really creative" the author simply sends the message that they are likely to use whatever "plot device" they learned at a conference or workshop to make the story sound impressive, instead of really doing what an opening line should do, and that is to hook the reader.

If we think about an introduction in an academic paper or before a speech, the purpose is to do more than what most high school teachers tell us, "to hook the reader". The introduction does do this, but there is a lot more to to that introduction than meets the eye.

An introduction needs to really set the tone for the rest of the piece of writing. If the story is to be dark and gloomy, then the introduction needs to really create that tone and mood. If the writing is to be light and humorous, then the opening needs to do just that.

When it comes to stories, those opening lines also need to give us a sense of one of the characters and who this person is. We really need to really want to know more about this person. Whether it is an attitude or a situation, we need to see this.

I bring this up because I think you can see the really good opening lines compared to those that are really out to "be witty" or "to be cute" from this last Thanksgiving break contest here on the blog. While the lines may be great and certainly worthwhile to put into a book, the question is, "do you really want to start your story with this?

I'll be taking a look at the entries today and let you know the result tomorrow. Until then, please review those opening lines and then, think about your opening lines. Do those words you crafted really head us off in the right direction for the rest of the 55,000-120,00 words of your story? Or, do those words really seem out of place.

Scott

P.S Scott will officially be closing the office until the first of January. While submissions come in, do not expect an immediate answer. Sorry, but yes, agents need breaks too!

I'm Taking A Break - But here is a contest...

2011-11-21T04:11:00.000-08:00

During the week of Nov. 21-25, I will be taking a break from blogging. It is time for me to spend some time with my family.

But, with that said, it is time for a little contest.

The winner will receive a critique of a synopsis of a story.

Using the following picture, write the first line of a potential story. Hook me. Show me something special!

Post response here in the comments section. I will select the top entry after Turkey Day! Entries must be posted by Nov. 25th. Anything posted after that will not be counted. Sorry, but rules are rules. (Besides, it is my contest).

Why Writing Category Romance Is A HUGE Gamble

2011-11-18T05:02:00.000-08:00

There are many agents out there that will not go in search of authors wanting to write for Category Romance lines. The reason is fairly simple and something writers need to understand before they commit themselves to projects of this nature.

Category romance has a limited area we can market. When writing general fiction, the market is really open. We can work with the word count and the "general genre" and then start to narrow with the voice of the story. With category, you really only have one chance.

Now, what does that mean to the author? If that line you targeted says no, the doorways are now closed. Despite what some writers think, you simply cannot just start sending it out to other places in the hopes they like it enough. Along the same lines, you can't just "add word count" to get it to something that will work for other lines.

You can also extend this thought to other genres that have a small target audience. The narrower your market, the harder it is to sell.

I should note, I personally love working with category authors and yes, I do look to sign new category authors. But, you need to know what I am looking for "beyond the single book" the author submitted. I am looking for more than 1 book. I am looking for several books and a future they see in that particular line.

I think the thing to remember is that, as an author, you need to really stop and think before you dive into a particular project. What is the market that will be available to you. Are you ready to gamble it all for this limited area. It doesn't mean you shouldn't. Just stop and think before you do.

Scott

Scott Chimes in on No Response = No Controversy

2011-11-17T10:47:00.000-08:00

I am not one who normally jumps in on something such as this, but I do believe this time I will. This is in response to the SCBWI Open letter Controversy on the No Response=No issue from publishers and agents http://scbwi.blogspot.com/2011/11/scbwis-open-letter-to-kid-lit-industry.html

I have to say, in this case, I personally side with the authors on this one. I am personally someone who thinks the arguments used by publishers and agents such as:

Taking the no response option reduces the amount of negative letters I get from my rejections I send out.
The time it takes to write a rejection letter is just too time consuming
The business world uses this so it is OK if we do.

...is a bunch of garbage.

I for one believe that answering letters is a PROFESSIONAL thing to do. I also believe that the approach the agents and publishers take when opening the door to submissions can prevent many of these issues.

For example:

We don't have to respond to those negative comments. Most of those are coming from crack-pot writers who will never be successful in the business anyway so why do we even need to respond to them. Along the same lines, if you provide a legitimate reason for rejecting the story, then there is not problem. I also believe that if the guidelines are clear on the publisher or agency website as to what they accept and do not accept, then this can also prevent the problems. Saying "I take everything and I look at everything" or " I want a strong story with strong characters" gives the authors absolutely nothing to work with. Still, this all comes back to the same point I made at the beginning. Why respond?

Secondly, when it comes to a response, it really doesn't take that long. I have timed my reponses and found that it takes me 1 minute to write a response. This is not a "form letter" but often contains similar comments that I say time and time again to authors. Let's face it. Most authors make the same mistakes so the comments I make in rejections will often be very similar.

I should also add that if an agent or a publisher says they take a look at everything, or at conferences, tells every writer to send a full manuscript because they either don't like pitch sessions or don't want to hurt the writers' feelings by telling them no to their face have also opened a door to having to respond.

Finally, the concept that the business world does this so we can do it to is simply a Bandwagon Fallacy. Just because other people do it doesn't make it right.

Look, the solutions are simple.

If you think submissions are coming in too fast and furious for you, limit what you take and make it clear to the authors your policy. Here at Greyhaus, I make it very clear, I only take romance and women's fiction. Submit something other than that and you will get a quick form response to that your story is not what I am looking for. End of story.
If you think your submission load is too high, quit telling people to send you material.
If you have an email system for submissions, put in an auto reponse that tells people that at least the submission made it to your INBOX. I am sorry to say this, but technology is not all that you think it is. Things do get lost. (I sent a fax 4 times to a publisher this week only to find out they had a jam on their end).
And if you are a publisher that really isn't open to new authors, then simply tell the public that. You would be surprised, but authors can take the truth.

I know, I will continue to send a response. Initial first time reponses will be "form letters" so don't count on more. If I request more from you, there will be a response. It might only be a couple of lines, but you will get a response.

As always, IMHO,

Scott

Susan Edwards is Back

2011-11-17T05:31:00.000-08:00

For all of the fans of Susan Edwards, you can now get her backlist. Check it out now! Susan is here to chat a bit today. Make sure to say hi!

RENEWAL & REUNIONS

What’s better than seeing your books in print for the first time? Watching them being released a second time with new covers and in a new format! It is very exciting to have my WhiteSeries once again made available to my readers in digital format with Carina Press.

My White series has always been close to my heart—each character became my brother, sister, best friend, etc. and now it feels as though a long awaited family reunion is taking place. I've even ordered copies of my own books for my nook and plan to reread each book and become reacquainted with each character! Even the villains, for there is nothing like seeing justice served!

It is hard to believe that my first book, White Wind came out more than 15 years ago. I started that book way back in the eighties. I had an idea for a book and it didn’t go away. So I thought, why not? I could write a nice scene or two. Or three. Hey, how about even just a love scene in this wonderful setting that I could see so clearly in my mind. So, just for fun, I started writing as though I was a writer. But I ran into the first problem.

In the middle of the action, my hero and heroine stopped. Yes, they just stopped and looked at me and asked, “Why us?” Suddenly I had all these questions swimming in my mind.

 What had brought my two willful characters to this stream at the same time?

 What connected them?

 Why would this mighty warrior want to claim this white girl?

 What made him fall in love with her and risk everything for her? And he did. My honorable (and very virile) hero, Golden Eagle was determined to rescue a very stubborn heroine named Sarah.

 Why did Sarah choose to go with a man society deemed a ‘savage’?

Well, I had no clue and Sarah and Golden Eagle just sat there waiting for me to come up with the answers. Huh? Did they think I was a writer? Not me. Never did any writing at all (except pass notes in class and write chatty letters to my great-grandmother) and had never had any desire to do so. Well, Sarah and Golden Eagle just shook their heads and let me know that despite never having written before, it didn’t matter because I was a Storyteller! A vivid imagination, a love of romance and the Native American Historical genre were all that was required. Okay, not quite but I got the message.

I took the time to figure out who these characters were, what their problems were and when we once again met at that stream in the wilderness, I just sat back and gave directions like a director and this time, my characters knew their lines and away we went!

And that is how my writing career began for once I started, I could not stop. I loved writing about this family. Sarah and Golden Eagle had four children and it just seemed natural to continue the series as my readers were beginning to fall in love with this family as well. Especially White Dove and Jeremy Jones. I had many letters begging and yes, even demanding their story!

And honestly, I was right there with each and every reader for that was one story that just called to me and I chomped at the bit until the books before White Dove were written. So from two people, who met by chance, an eleven book series was born.

Over the years, I’ve valued and treasured the comments my readers made regarding my characters and how they’ve affected their lives: from the mother who read the books to her dying daughter, to the lonely women who found companionship and to women who appreciated the guts, and the willingness of the heroine’s and hero’s to do whatever it took to overcome adversity and so much more.

I’ve addressed several of society’s problems like abuse and handicaps. My blind heroine, Mattie (a child in White Dreams and not blind) was one of the hardest books to write yet one of the most satisfying books. I was so afraid that I would receive letters protesting the fact that she does not regain her sight by a miracle but I didn’t receive a single complaint. Mattie was so comfortable and in tune to her world, that “fixing” her would have cheapened the story and her courage.

Each of the White Books has a story that means something to me. Jessie in White Wolf is a lot like I was in my youth. I could go on and on with each book but then I’d be writing a book instead of a blog! I will say that so many of the letters I received from readers were stories in and of themselves but with one common theme: a love for each of these characters who made a difference in their own lives. And even after the print version of the books was no longer available, letters still pour in from readers asking for the books, and the stories and for new stories.

Just writing this blog makes me all teary and homesick but just as these books will be available once more to my readers, I will become acquainted anew with each book and each character. Going back to the reunion idea, I am working on a White Reunion.

But for now, I am grateful to Scott Eagan, Carina Press and my editor Angela James, for their parts in once again making this series available.

Leave your comments on writing, series, how you became a writer, etc. and be entered into a drawing to win an epub copy of White Dawn. More contests happening on my website. New information going up this weekend to celebrate the new releases of White Dawn, White Dusk, White Shadows, White Wind.

Visit me at:

http://susanedwards.com/

http://susanedwardsauthor.blogspot.com/

http://twitter.com/susan_edwards

http://www.facebook.com/pages/Susan-Edwards/40226247104

White Dawn: Book One of Susan Edwards' White Series

White Dusk: Book Two of Susan Edwards' White Series

White Shadows: Book Three of Susan Edwards' White Series

White Wind: Book Four of Susan Edwards' White Series

Why Do We Have Rules For Submissions

2011-11-16T05:16:00.000-08:00

So, are there rules in publishing or not? When it comes to a submission process, whether it is to an editor or to an agent, there are rules, they must be followed and there are reasons for this.

Despite what some writers claim, these rules are not "hoops you have to jump through to sort out who we really want to work with." Surprisingly, many of those people who claim that are the people who feel they don't have to do anything other than what they want to do. I will admit though, if someone submits material to me and cannot follow the rules, I start to wonder how this person will work with either me or a future editor when we give them revisions or suggestions for current and future books. Can they follow those directions?

The reality is that we have all created a system to deal with the high volumes of material we receive on a daily basis. We want to read the material to find that golden nugget. We want to get to you as quickly as possible, because, to be honest, it becomes really scarey when we look at our emails with 100's of things to read. Needless to say, to get to that material, we create specific things that streamline things on our end.

For example, if you use the form on my website, that information is there so I can clearly enter the data into my database that I keep for all potential clients. (This is how I know when you have submitted to me before). If you don't enter the data in correctly, it slows down the process as I look for what I need.

The same goes for submissions when we ask for attachments or data. For me, I ask for attachments in .RTF format. I do this to accomodate many of you who use Freeware software that I cannot open without going through about a 5 step process.

If we ask for only so much material, then there are no exceptions. Just do what we ask.

I think one last thing to remember is this. If you are difficult and show us early on that you are someone that we don't like, even for small things like viruses, spamware on your email responses and submissions that don't do as we ask, the odds are this submission, as well as future ones, will result in the same answer.

Scott

It's Really About The Economy

2011-11-15T05:05:00.000-08:00

I have heard from numerous agents that they have seen publishers simply not buying projects right now. If they are buying, it is taking an extraordinarily long time to sell something. For many authors, they see this as simply a sign that more and more people are going with the e-book market and traditional publishers are behind the time. In reality, it is all coming back to the money issue and not the way the books are being distributed.

In the past, publishers were able to "take a chance" on new authors and consider books that might be considered "just O.K." The belief was simple. If they would take the chance, they could work through some additional books and work out the kinks in the author's writing. The idea was that the publishers would slowly mold and work with the author. But now, with the changes we have seen in the economy, publishers, like many other businesses are simply not taking chances.

Every day, we hear signs that the economy is making some small strides toward gaining momentum and stability. Companies are showing profits, but the unemployment rate is simply not changing. Many "unemployed" are complaining that the companies should take the profits and start hiring. While this sounds reasonable, the businesses are simply cautious. What if we hit a double dip recession. Spending that money right now could create some additional, and probably worse problems in the long run. Publishers are doing the same thing.

Publishers, to insure the success of their product are now relying heavily on their current authors that have proven success already. They know that readers will continue buying books from their "favorite" authors and will do so both in print and e-book format. Unfortunately, that leaves many unpublished authors in a tough situation.

I do believe that 2012 will show signs of the market opening up again. Publishers will start buying again, once we see the general public believing that they can take that income and buy something other than groceries and gas. Book buying will return and with that comes a demand for new authors. We simply have to wait this out.

Scott

The New Trend for 2012

2011-11-14T04:00:00.000-08:00

Yes, I know it isn't New Years and it isn't time for those resolutions and things we do to think about the coming year, but I wanted to write about it. Besides, all of the big box stores have had Christmas Decorations up since July 4th so starting now isn't that strange.

I was thinking about what will be hot and not for 2012. No, this isn't what you will see on the shelves. Those books have been bought 3 years ago and are hovering over us like planes in a flight pattern. I am talking about the books that editors and agents will be wanting to see.

I know what you're all thinking. "But Scott, you tell us to never follow trends." You're darn right. Don't follow the trend! But, if you have a project like this, you might find yourself in the right position for it.

CONTEMPORARY ROMANCE I have been saying this since Orlando RWA 2 years ago and the editors are still begging for these stories. I hear a lot of editors calling these "women's fiction" but when I really get them talking, we are looking at REAL stories about REAL people without baggage. Hmmm, sound familiar from what I have been talking about? In any case, I see a real shift in this area.

PARANORMAL Sorry to say this, but I do believe we will see a huge decline in the really weird here. Look, even the paranormals we've been seeing on TV aren't that over the top. These are real people with the tendency to, every now and then, bite someone for blood. The point is, I don't think they will be wanting weird. You have to find something new that will really suck you in (and not like a vampire). My bet? - Ghosts.

ROMANTIC SUSPENSE - This one really has me stumped. I honestly wouldn't be shocked if this goes away. All of the stories I have seen (both published and new) focus more on the suspense and less on the romance.

HISTORICAL - I think they are ready to move out of the standard realms. I think Medieval and those ancient stories are going to go away. Regencies will continue but with the standard authors. I don't see the editors buying new authors in this time period. I do think we will see some things opening up in new countries and new time periods. My bet is WWI an WWII. Sorry, the publishers, IMHO are still afraid to do a Civil War story, (although personally, this is your new Regency Romance and if any publishers are reading this and want to trust me on this, email me. I have a couple of authors that are ready for this).

INSPIRATIONALS - Amish is out. I am sorry to say this, but editors treated Amish the same way they treated Chick Lit. We simply had too much of it. What I do see, however, are more real life inspirational stories with a serious reduction in Bible Quoting. These will be contemporary romances.

YA While I don't represent this, I am going to talk about it. YA isn't YA anymore and the backlash will happen soon from the school librarians. What these people have been claiming as YA's are nothing more than your standard adult romance with teens. The librarians cannot put these books in the school and will return to the older formats. Look for YA's dealing with traditional teen issues and especially multicultural. Think Glee here.

So. that's what you'll see editors buying.

Scott

Vet's Day Challenge

2011-11-11T05:01:00.000-08:00

As we honor those Veterans today, I am challenging all of you today.

Go out and buy a book for a vet today. Don't go cheap. Don't go to the used book store. Get a vet a great book to read.
If you are a published author, donate some of your books to a Vet's organization today.
Published or not, donate some NEW books to your local military organizations. Send those books to our troops not at home.

I challenge all of you!

Scott

Time For Published Authors To Re-Evaluate

2011-11-10T05:21:00.000-08:00

Today I want to talk to you published authors.

I often joke that there seems to be a breaking point for authors that I see their writing collapse. No, this isn't for every author, but darn it, the trend seems to be there. For some reason, the 7th or 8th book suddenly goes down the tubes. The writing just isn't as vibrant as it was before.

I think this really stems from an attitude that published authors get as they move through their careers. The things they really had to think about when they were writing, (goals, character motivations, plot elements and so forth) have become second nature to them. The problem, however, is that that complacency tends to lead to a sloppiness.

For an author (or for that matter every thing we do), I do believe it is important to stop and think about what we are doing every now and then. It is time to take a breather and HONESTLY examine your writing and the writing process. Are you getting sloppy? You might want to fix it.

Just something to think about.

Scott

There Is No One Right Way

2011-11-09T05:14:00.000-08:00

I think it is time for a "reminder blog" today. I know this is something we hear time and time again from agents and editors, but authors often forget it. Much of this stems from (I believe) the way we write things here on the blogs. Regardless of the reason, we need to remember that, in the end, there is no one right way of telling our stories, writing submission letters, or even writing a synopsis.

When it comes down to it, every situation and every writer is different. This means that you have to examine your writing project and determine the needs it is dictating. The factors that control what and how you write will be determined by the genre you are writing, the publisher you are targeting, or even the agent that you are sending it to. Outside of that, it is entirely up to you as to what you want to do.

Please understand that I am not taking a relativistic approach to this and anything goes. You still need to know your audience and the piece you are writing. There are those parameters you have to work with so deal with it. But, again remember that within those parameters you can pretty much do anything.

So what does this deal with?

Do I have to write in 1st or 3rd person?
Do the characters have to meet in the first chapter?
Can I start with the hero and not the heroine?
How many pages are in a chapter?
Does my synopsis have to be a certain page count?
Can I do a synopsis in a chapter by chapter format?
Etc.

Before you go and freak yourself out, consider your situation. Relax and think.

Scott

There Are No Stupid Questions

2011-11-08T05:12:00.000-08:00

O.K. So maybe there are stupid questions, but I really don't want to go that direction with today's post. What I really wanted to stress here is the need for all beginning writers to ask questions. Ask a lot of questions. This is how we learn and grow as writers.

I think that too often, writers feel that asking questions somehow shows they are really out of the loop. We really see this during those infamous editor/agent panels at most conferences. Writers will sit there in complete silence and be lost as to what is going on. Instead of asking questions, they sit there in the hopes that somehow, by a force of supernatural powers or something, they will gain the knowledge they need to move on with their writing and careers. Sorry to say this, but it isn't going to work.

When agents and editors come to conferences, our goal is really communication and education. We are here to talk to writers. We want to help. (Or at least I do, maybe it is different for other agents). In fact, the more we can answer some of those questions, and the more the writers can learn what to do and not do, we will slowly see a few less of those submissions that make us cringe.

So ask questions.

And this questioning doesn't have to strictly be at conferences. You know all of us agents who are out here blogging daily? Ask them.

Those editors who tweet and open up questioning for a day? Ask them.

How else do you expect to learn?

Now, with that said, are there really no stupid questions. Sorry to say this, but yes, there are stupid questions. For the most part, it is when you are asking questions that are clearly posted on all of the editor and agents FAQ pages. We do our best to provide you all of the information you need to make a great first impression. Asking things such as "Scott, do you accept YA Romance?" when it is posted on my website that I don't would be one of those "stupid questions."

Get the idea?

Now get out there and start asking questions. My bet is that not only once you start asking questions, you will find more to ask, but you will also find you start learning and improving as a writer.

Scott

A NaNo No No

2011-11-07T05:15:00.000-08:00

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

2011-11-04T05:07:00.000-07:00

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

2011-11-03T05:06:00.000-07:00

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

2011-11-02T05:37:00.000-07:00

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

2011-11-01T05:11:00.000-07:00

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

The Changing Model of Publishing

2011-10-31T05:22:00.000-07:00

I was reading an article by Mathew Ingram on Friday and thought some of his comments were interesting, but with that said, I think he, like many others out there writing about this topic, might be missing a few points.

http://gigaom.com/2011/10/28/on-the-death-of-book-publishers-and-other-middlemen/

Ingram notes that there is a huge chance that the "middlemen" (agents and editors specifically) may be out of a job soon when more and more opportunities show up for the writers to self-publish their books. Yes, these opportunities are there and yes, these might be avenues that many authors need to take to see their book in print. I 100% agree with this. However, Ingram misses the point when he notes the authors that are taking this option.

What readers should note in cases like Ingram as well as other authors who write on this, is that the authors they mention already have huge readerships. For these authors, the readers will already go out and buy those books because they know who they are. They got their start in the traditional system and for many, this move is just an extension into another marketing avenue.

We also need to note that for many of the authors, they are using this option to release "backlists" to their readers. I personally think using the self-publishing model is a great avenue for the backlist issue. We have to remember, however, that dealing with backlists is completely different than new releases. In other words, we cannot (for the most part) extend the same analysis to both types of books.

He also notes that publishers need to find a way to "make it easier to get to the readers." I don't think the self-publishing model is really doing anything different here. Traditional publishers are already providing print and e-book options for their authors. In many cases, when a book is released, it is also coming out in various e-book formats. The books are also being distributed directly to those book stores that receive standing orders from the publishers. If we talk about those moving into the self-publishing arena, readers have to go in search of the books. That distribution model isn't exactly there and it is often up to the author to make those direct connections to the book stores, online or traditional.

I do agree that the e-book market that many of these self-publishers are using does get the books out there quicker. No problem with that. I also agree that many of these options do give the author a higher cut of the profits. But, again we have to remember that for an unknown author, regardless of how high that percentage might be, it all comes down to sales. If your readers don't already know who you are as an author, those sales simply won't be there. Again, this goes back to that first idea I mentioned that the authors we see doing this ALREADY have a readership.

Are we seeing some trends in publishing changing? Yes. But I think it is always important to remember that when it comes to readership, there is still a huge percentage ( I think I read once 2/3 of the readers) that are not moving to an e-books which is, in reality, where many of the self-publishers are placing their books.

Just some things to consider.

Scott

Why Are You Writing Your Story?

2011-10-28T08:19:00.000-07:00

As an agent, one thing I really look for in a submission is a sense of purpose. In other words, I am looking for authors who really had a goal in mind when they were telling their story. I fully understand there are many of you out there that claim the sole purpose for telling their story is to "just tell a story." But, I have to say, in my humble opinion, and one that comes from a literary tradition, there needs to be more.

In literature, we often look at this concept when we talk about the theme of a story. What is that message you are hoping the reader/audience will walk away with. I know that one publisher I work with describes this as the "take-away."

Too often though, I see many projects that it becomes clear the author just had a great set of characters, or a plot element they wanted to build off of, but beyond that, there wasn't much more. Sure the story read great, but there was still a lingering question floating around the text. Why was I reading this?

What most people seem to forget is the theme really drives the story. It is the theme of the story - the real reason you are writing the story - that gives all of the action and the characters a purpose in the story.

I will also add that if you are some who struggles with writing queries or pitches because you fail to understand your "high concept" much of this stems from a potential issue of your story having no purpose.

So the question you get to ponder this weekend is simple. Why are you writing your story?

Scott

More On Queries - An extension of what Jessica Faust wrote about...

2011-10-27T08:20:00.000-07:00

Jessica posted this on her blog and I wanted to make sure you all had a chance to read this. I did want to add to this as well.

BookEnds, LLC — A Literary Agency: The Archaic Query: When authors spend time together complaining about query letters, one of the things I frequently hear is how archaic the process is, how que...

Jessica is right on the money with this. I have to add, however, that one thing many authors fail to remember is that publishing is a business. With that said, when you are sending a project to a potential editor or agent, what you are doing is "applying for a job as a writer." This is a career move and like any other job out there, when you apply for a job, you send a resume and a cover letter.

Your job is to convince the potential employer, in this case the editor or agent, that YOU are the next best thing. That YOU are someone we cannot live without. In the business world, it isn't just about the application or the resume, it is about who you are and the complete package. Think of it this way. Why do we have job interviews?

According to many writers, if we extend that argument of dumping the query, dumping the synopsis and just doing the reading, then you would also say in the business world that you want us to just read your resume or your application and make a decision based on that. I would seriously doubt many of you would want to take that option.

I guess I would have to say, if you honestly think "selling" yourself and your story isn't what you want to do, then maybe this isn't the business for you.

Just some things to think about....

Scott

Is Self-Publishing Giving People A Misconception On Publishing

2011-10-27T05:26:00.000-07:00

I have been thinking about this for some time and thought today would be as good a day as any to bring this up. I do know, as I type this, that there will be many of you that think this is a slam against the self-publishing model. Please note, this is in no way a slam, just a perspective.

In recent years, we have seen a huge increase in those self-publishing opportunities for writers. A lot of writers are all diving on these options as a way to A) get published finally; B) get something published that traditional publishers might avoid; and C) to have a chance to learn about the business. It is this last option I really want to look at.

I do believe that a lot of authors who self-publish are missing out on understanding many things that go into a true business approach to publishing. Because they are, in many cases, in complete control of everything about their book or books, they fail to see things that would only come about by working in the traditional model. For example, they may be missing out on a real element of market research. Sure, they can talk to their individual group of close friends and determine if a book will sell, but what about the larger picture. Along the same lines, how is the book adapted to different markets to increase sales.

I would also add that the editorial side of things might also be limited. Having the editors, who are really focused on both content and grammatical issues may be out of the loop if the author is working on their own.

I guess I bring all of this up because I have heard (and read) far too many authors who are self-published teaching other authors methods, skills and what not that really don't work at all. For example, I heard one author at a conference talking about how you would use social media like Twitter and Facebook to pitch your stories to editors. "This is what they like." I later found out that the "publisher" this person worked through only ran operations off of a Facebook account. Now here is the problem. The writers in that room listening to these comments walked away thinking that was what to do. In her case, she had missed out on that education that might have made her a bit more successful with her writing.

Again, please understand that there is nothing wrong with self-publishing. This is certainly an option that may work for you and might be the only approach for your book. With that said, I do believe that whether or not you take the traditional or the self-publishing approach, it is crucial that an author takes the time to really understand the business and the craft. Regardless of the model you use, the skills are all the same.

Just some thoughts.

Scott

You Can't Get Everything - This is a game of compromise...

2011-10-26T05:15:00.000-07:00

I seem to be spending a lot of time thinking about agents this week.

One of the roles that an agent serves in the author/agent relationship, is that of contract negotiations. This is the obvious one that most authors seem to gravitate to. Unfortunately, I do believe that many authors (and yes, I do think there are a few agents out there as well) believe that during the negotiation process, the goal is for the writer to get everything he or she wants. This is simply not going to happen.

As an agent, we are taking the time to look at not just the current contract, but also the future the author has with that particular publisher. Remember, we are in this for the career and not simply for the single contract. For that reason, as we look at what we want, we have to also look toward the future.

In some cases, we might give in on one element in the contract to get something we want on some other issue. We might even give up on an issue knowing that for a later contract, we can bring this up because it will be a better fit with a different project. This is a compromise here, and, in a compromise, there will always be a give and take.

What many authors might forget is that trying to get everything might send the wrong signal to the publisher. The goal is again, a career. You (and your agent) don't want to come across as someone who they don't want to work with. Editors/publishers want to know that you are there for them when they need it. In many ways, this is an extension of that "team" element I talked about later.

This "getting everything" element also extends to an author looking for that agent. If you have an agent who is really interested in your work, and you are interested in working with that agent, demanding too much might not be the best approach.

I think, in reality, this is a lot of "common sense". Just think.

Agent-Author Relationship Is A Team Affair

2011-10-25T05:07:00.000-07:00

This might seem like an obvious statement, but having an agent really means that you are adding a member to your writing team. This "team" does more than simply negotiate contracts, but really works with you through the entire writing process. But, when I mention "team" here, I am really talking about how every member of the team brings something to the table.

I think there is a huge misconception that once you have an agent, all you have to do as a writer is to create your stories. As someone who really does promote that team attitude here at Greyhaus, I have to say, I really count on my authors for bringing a lot more to the table.

I bring this up because just recently, I am glad my authors were part of the team. We were discussing contracts and working through issues on one "in the works." Between myself and the editor, it really looked as if we had gotten all of the pieces. Even talking with the author, it really looked like we had it all. But, we missed something. Fortunately, it was this team approach that added another pair of eyes to the process to discover that missing piece. No, this wasn't a huge issue, but it was nice to know the author was part of the equation.

Along the same lines, it was nice to know the author felt as if she was a part of the team. She brought the issue forward without a fear of being pushy. This confidence comes from that team approach.

As you look for an agent, I cannot stress enough the need to know what you bring to the table, as well as what you want from an agent. Aligning those elements will certainly make that relationship, if and when it comes, work so much smoother.

Scott

The Problem With First Person, But Why Writers Are Drawn To It

2011-10-24T05:28:00.000-07:00

Agents and editors are always being asked the question of whether we like first or third person stories. Unfortunately, there is only one answer to this. I like first person IF it is done right and I like third person IF it is done right. In other words, the story and situation dictates the voice you want to use.

Too often, however, writers dive all over first person because (to quote a writer friend of mine), it's because it is easier to write. In reality, writing in first person provides a whole new level of challenges that a writer doesn't really see until it is too late.

Now, first of all, the reason most people think first person is so much easier stems from the simple fact that they are pretty much writing dialogue and that is it. The character is simply talking, either to the reader or to another person. They may even talk to themself. The key is, it is ALL talking. I know, for myself, when I am writing a scene in a story, I have often worked with a digital recorder and just had the characters talk back and forth to each other. In this way, I can "hear" the tone in the voice, I can "hear" the feeling and I can "hear" the emotion.

But then comes the challenge.

In writing we can't "hear" that stuff. That is where the narration comes into play. If you are writing in first person, it now becomes a challenge to bring to the table all of the feelings and emotions, that, if you are talking, you take for granted and don't ever talk about.

There is an additional challenge and that is how much the first person narration "describes" to the reader. Think of it this way. When you walk into your house, do you take the time to mentally describe the surroundings, the smells, the feelings and the emotions? Do you contemplate the history of the house or the dishes on the table. I seriously doubt it. But, the reader needs to know this information. This is that world building element that adds depth to a story, plot and characters. But, because this information is something your characters is likely to take for granted, they won't bring that information out in any form of narration. There is simply no need to.

What about their history with their goals, motivations and their conflicts. Again, this is something we often find in narration alone, and not something a character will bring out.

So, the writers then bring in other characters to create a scene to "info-dump" that information. Unfortunately, in terms of creating a story that flows, this ends up feeling awkward and may even hamper the forward movement of the story. Leaving it out leaves questions for the reader. Putting it in, hurts the flow.

Now, let me make a point here. There is NOTHING WRONG WITH FIRST PERSON. You just have to figure out how to do it effectively. To do this requires research. Take the time to really "dissect" those novels that do it well. (I personally recommend Outlander for this one). Then, find a way to work it into your story smoothly and naturally.

Best of luck on this one.

Scott

Writing Is Not A Formula

2011-10-21T05:32:00.000-07:00

For many writers, there is a belief that "if I do X to my book, then it will be good." We see this in synopsis writing, query letter writing and even all of those craft books out there that proclaim you can "Write That Selling Novel." Unfortunately, these writers are missing the point.

The things these books tell you are characteristics of some things that work and don't work in writing a story. Please note the vagueness here in the wording. In other words, every book, every author and every situation is completely different. What works for one person does not mean it work for someone else.

I spoke yesterday of my Master's research. One of the things I had looked at was obviously the role of the teacher. When I set out on the research, I really wanted to prove that the teacher wasn't the factor. I had been doing things in my classroom that were amazingly effective. Yet, when other teachers tried the strategies, things didn't work so well.

The point is, when you read those books, follow our blogs, and take our workshops, listen and adapt that information to what your individual situation calls for. Don't just copy things as a formula.

What this all comes down to is critical thinking. Use your brain!

Have a great weekend. I'm off to a horse show!

Scott

Maybe Your Writing Really Isn't Good

2011-10-20T05:15:00.000-07:00

A lot of writers dive all over their blogs and discussion boards complaining that the publishing industry is simply short-sighted and doesn't know their butt from a hot rock. They received a rejection and it was clear that the editor, agent, or both were just not open to trying something new and giving their book a chance. In other words, the rejection letter stemmed from the way the publishing industry is out to "only make money" and to "screw the writer." I do find it interesting, though, that these disgruntled writers fail to take one thing into consideration.

Maybe their writing is a piece of garbage.

When I worked on my first Master's degree, I studied the role of student, curriculum, teacher and environment on student learning and literacy enhancement. This idea stemmed from a business model that did essentially the same thing when looking at the success or failure of a business. The conclusion was simple. All of the factors had to be in alignment for student learning to take place. In other words, if something was going wrong in the classroom, the teachers had to look at themselves, as well as the parents actually looking at their own kids as potentially being the issue.

I bring this up because the same holds true with publishing. We have editors, agents, readers and writers all as variables to contend with. Obviously, with larger number of variables comes a larger challenge of being published. But, with that said, if something is not going right, we have to look at all of the areas. And yes, that means that writers have to look at what they are writing and what they are doing.

I don't care if your "beta-readers" have loved your story. This is a small selection. We have to remember that publishing is a business and I don't care if your earlier reviews from Bodfish, California love your story, the question is whether or not the general public across the nation is going to be interested in buying your book. If not, I am sorry to say this, but we aren't going to be interested in your book.

I keep saying this but I will say this again. Publishing is a business. In business, the goal is to make money. Publishers and agents are not here to work for you in a "pro-bono" style approach. If your product is not going to sell, then we won't take the approach. And note, I am not saying whether the publisher or agent can sell the project, I am talking in the broad sense of the word here looking at whether or not your project is marketable.

We are also in a new time now where things are changing. Your readership is constantly looking for new ways to acquire books and reading material at a "cheaper cost." Craigslist, Ebay, Redbox DVD rentals and even the Used bookstores are all on the rise. Even the e-market is doing that with readers willing to willing to wait for a "discounted" version of the book to come out. You cannot deny this. Even many authors do this. What they fail to realize is that all of these moves are having a trickle down effect for the authors. Again, reduced or no money for the publisher and therefore no money for the authors.

The point of all this is simple. Rejections are part of this business (there was that word again). There are a lot of you out there and only so many places that are looking. Your writing has to be good, but please, don't go and blame others for the failure of your book to make it to the top. That failure may stem from your ability to write. And yes, it may be some of those other factors as well, but you cannot forget yourself.

Scott

Publishing in the Brave New World

2011-10-19T09:12:00.000-07:00

Fantastic article from Rachelle! This is a must read!

Publishing in the Brave New World

We Don't Need To Know It All Now!

2011-10-19T04:27:00.000-07:00

Information dumping is a huge issue for a lot of beginning writers. Unfortunately, that information dumping is also a big reason for agents and editor to want to pass on a project.

We all know that stories need to really get going in the beginning. This doesn't mean it has to be action, but there needs to be movement. We need that energy to get the ball rolling. Unloading a stack of information on the reader early on is a sure way to not only NOT get the ball rolling, but to bring the book to a screeching halt before we even got started.

Part of the reason writers tend to do this, is because they believe the reader NEEDS that information for things to make sense. In reality, this is far from the case. Readers full accept that information will come to us when we need it. We can handle the wait. In fact, we like very much to go along for the ride and discover things when the characters do.

As you think about your opening pages, remember to think of your characters as real human beings. Do we really self-disclose during the first meeting? Probably not, and neither will your characters. Think about what we really need to know and the rest of that information can come out later in the story when the time is right. Think of a trickle of water here. Bring it out when you need it.

Scott

Overcoming Writer's Block

2011-10-18T05:11:00.000-07:00

Writers simply hate this concept. It is that moment when you sit in front of your computer and all you see is a blank screen. What is worse, is when you know you have time to write (which is often very precious for writers) and nothing is coming.

This is normal for writers and we all have faced it before.

With that said, I did a little research on what some professionals have discussed on the topic. This information comes from the Purdue Online Writing Lab and, while this information deals with academic papers, I do believe the comments the writers discuss apply to every writer out there. I have tweaked the ideas a bit to more target fiction writers.

Symptom

You have attempted to write your story (or the day's project) without doing preliminary work such as brainstorming or outlining.
Possible Cure

I am sorry to say this, but the best solution for this is plotting. Essentially, you are trying to go somewhere in your story but you have no idea where you want to go to. Trying to plot a course to a mystery location is impossible. Sure this approach is fun for creative free-writing, but when it comes down to writer's block, you need a little planning.

So, sit down and figure out where the plot is going. Don't focus on the scenes, but think of the next benchmark location in your story. Where are your characters now and what has to happen between now and then? Plot it out.
Symptom

You are attempting to write something you have little or no interest in.

Possible Cures

Most writers who end up in this category are writing in a genre they simply don't understand. In many cases, these are the authors trying to write to the trends out there. These are also the authors that are obsessed with "strategies" they have heard that work and don't work.

Writers who are used to writing in 3rd person trying to write in 1st person is just one example of this (or visa versa). Look, if you understand and enjoy one style of writing, why are you trying to jump into this other area? If the market isn't buying that style right now, don't worry! Things will change and eventually that style will be back. Stick to your guns.
Symptom

You are rushing the writing.
You are anxious about writing the paper...

Possible Cures

This is a simple issue of stress. The problem here is that you are focused only on the deadline or the completion of the project and not thinking about the story any more. Again, this may come back to the issue of plotters vs. pantsters. Because you didn't do that earlier work, you now find yourself worrying over the writing.

I know several of my Greyhaus authors will sometimes find themselves in this same situation. A deadline is looming and when they start thinking about that date instead of the writing, they struggle.

The solution is simple. Break the work down into smaller benchmarks. Just get through smaller sections and don't think about the big picture here.

Of course the better solution is to quit procrastinating.

Symptom

You have worked it too hard and you're tired.

Possible Cures

Marathon writing sessions, or working on stories in small pieces of time in the middle of the night (3 am after a full day of work the prior day, for example) will create this problem. The simple problem is - You Are Tired! You are now asking your brain to be creative and really work extra hard. It ain't going to happen.

The solution is simple. Take a break! These come directly from the Purdue site.
•Stretch! If you can't stand up, stretch as many muscle groups as possible while staying seated.

•Try tensing and releasing various muscle groups. Starting from your toes, tense up for perhaps five to ten seconds and then let go. Relax and then go on to another muscle group.

•Breathe deeply. Close your eyes; then, fill your chest cavity slowly by taking four of five short deep breaths. Hold each breath until it hurts, and then let it out slowly.

•Use a calming word or mental image to focus on while relaxing. If you choose a word, be careful not to use an imperative. Don't command yourself to "Calm down!" or "Relax!"

Symptom

You're self-conscious about your writing, you may have trouble getting started. So, if you're preoccupied with the idea that you have to write about a subject and feel you probably won't express yourself well...

Possible Cures

The solution for this is really simple. Talk to someone! You need a serious injection of positive thinking here.
There is a book I love going back to form inspiration like this. It is called The Pocket Muse. The author notes that everyone out there needs two critique partners. They need the one person who will tell you the truth and tell you your writing is a piece of garbage. But, you also need that person that believes everything you do is GOLDEN! Go to that person. Whine, complain and moan. They will talk you out of it.

I am sure all of you have other solutions. Share them here for other people.

Scott

Sometimes Good Writing Isn't Enough

2011-10-17T09:22:00.000-07:00

I have to say, I hate calling writers saying their manuscript was turned down by an editor. If you hate rejections, you need to know that agents hate it just as much if not more. But there are times that the rejections really hurt.

This weekend, I got to make one of those calls.

I spoke to the editor last Friday and she unfortunately passed on the project. In this case though, the editor completely loved the work. She knew that there were some editorial tweaks she would make, but other than that, the story was good. The problem, however, came down to budget cuts. The publisher was cutting one line of books where this story would have likely been placed. Now, as she put it, the editors can no longer simply like a piece of writing, they have to be way over the top excited and the story has to be incredible. This was a bummer.

Now, while it is good to hear the editor loved the writing, and the author certainly liked hearing that, what we faced was really a clear sign of the time. This all comes down to people buying books. No, this is not a case of people only buying things digitally, it means people are just making tough decisions and books are not a mandatory item. Readers are relying on those discount books, used books and so forth to get their reading done. Unfortunatly, this becomes a domino effect. If they don't buy the books new, the publisher doesn't see the cash, and therefore it comes back to the writer.

In the past, publishers were able to really buy a lot of mediocre or simply good books and build those authors. Now, or at least for the moment, we can't just invest in something that is sort of good. I am confident though, that things will get better. For now, you have to shoot for perfection in those stories.

Scott

Alien Vampire Bunny Update

2011-10-17T08:38:00.000-07:00

Sorry for the delay. Postings will go up later today on the website and voting can begin as soon as things are up. Had a busy weekend and never made it to the computer. Ugh!

Scott

More On The Issue Of Voice

2011-10-14T05:14:00.000-07:00

I recently had the chance to talk to a writer that I hadn't seen since the San Francisco RWA conference. At that first meeting, we had a chance to talk about the issue of voice and the uniqueness of voice with each publisher and agent. She firmly disagreed with me stating that voice couldn't be that different, and, in fact, when I mentioned one publisher that she was submitting a project to, I stated that the voice of that house was clearly not her story. Again, she disagreed.

In any case, I had bumped into her again. I found it interesting that, while she has shown some success (and I really stress SOME here) her career in publishing is really a huge plateau. Nothing amazing now and it is clear that there is nothing new on the horizon. At this new meeting, again the issue of voice came up. She is still a firm believer that voice doesn't change. I should note that she did not get signed with that other publisher. "The story just didn't fit what they were looking for." In this case though, the discussion of voice took on a new twist.

She proceeded to tell me that using one particular voice for historical romance could only yield a 140,000 word project and you could never write a traditional romance in less than that. In other words, the voice of the story dictated the word count.

This person clearly doesn't get it.

When we talk about the size of a story, we are discussing the plot line and the depth of character and plot development. Voice has absolutely nothing to do with the size of the story.

Voice is simply the sound of the story. The use of vocabulary, sentence construction, depth of figurative language and so forth. In the end, it is how the story reads if we hear it out loud. Each author has a unique voice and each publisher has a unique voice. The key in publishing is to find that right match. You will notice though, voice doesn't deal with how many words you put into a project.

The length of story comes from the level of complexity you add to your story. Add more characters, you need more room. Add more time during which the story takes place, you need more room. Add more sub-plots, you need more room.

Our conversation this time ended up the same way it did the last time. I had to simply say that we would have to agree to disagree, knowing that there was nothing that was going to change her mind. It is a shame though, because there are some things I very much like about her writing. She could have potential.

Of course, she did also mention that it was clear to her that Regency was not selling at all and the only thing that was selling in this time period was Master and Commander type books. Really? In the last 3 days, I have received countless Twitter posts of fantastic new Regency stories by USA Today and NYTimes best selling authors. Hmmm, I wonder where she gets those numbers from?

Oh well. Have a great weekend. It's swim season again so I'll be out officiating this weekend. Ahhh, the smell of chlorine!

Scott

Question from a Writer - Degrees and Agents

2011-10-13T08:14:00.000-07:00

I follow your blog regularly and value the opinions you give on the many different issues related to writing and publishing. I’ve considered going back to school and getting a creative writing degree (in addition to my BS Communications). My question is how much do agents such as yourself value a writer with a creative writing degree? Do you think its worth giving submissions more attention if the writer has such a degree?

I’ve been attending writing workshops and individual classes online that I’m really enjoying. The additional craft skills I’m learning are helping my writing significantly. I wanted to know if it’s worth spending the substantial additional money to get the ‘piece of paper’ to prove it.

I’d love to know your thoughts.

Personally, the degree doesn't matter for the submission, especially in cases of fiction. When it all comes down to it, we are looking at the material and you as a writer. I will emphasize, though, for non-fiction, and certainly some other genres in fiction, your degrees and personal information does matter. If you are writing a creative writing book, then knowing you hold degrees in these areas is something I would bring to the forefront.

As far as the courses go, there is nothing wrong with using that learning toward your growth as a writer. I think it is awesome that you are really pushing yourself to learn the craft. As for the degree, if you feel the degee and "that piece of paper" is what you want, then you should certainly go for it.

Scott

Adventures in Agentland: Tips on Marketing Your Novel

2011-10-12T08:16:00.000-07:00

AWESOME POST by Natalie. Check it out!!!

Adventures in Agentland: Tips on Marketing Your Novel: Below is a helpful list I compiled (using the brilliant “phase strategy” author Jessica McCann -- All Different Kinds of Free -- put toget...

Question from a Writer - Making it real (continued)

2011-10-11T05:02:00.000-07:00

I understand what you're saying. I just read a romance by a very popular author but I questioned plausability with certain scenes and character actions. When I complained to a friend who read the same book, she replied, "It's fiction. It's entertainment. It's not reality."

This book made me laugh out loud and the characters were memorable, but I questioned things that seemed 'forced.' As I said, popular author and equally popular book. As a writer myself, I just find myself wondering, do you call it off-beat and quirky so readers understand that your characters will do things not based in reality?

Where's the line?

What I am really focusing on here is the connection you build with your reader. Sure, books can be quirky and off-beat. There is nothing wrong with this. If the goal of your book is simply to do that, then you need to make sure you stick to your guns and do it.

Too often, though, authors are not setting out with that goal in mind. When they do this, and then add the quirky and off-beat stuff, the story comes across as being very unnatural.

I really push this point with authors though when we are dealing with romance and women's fiction. These are genres ABOUT RELATIONSHIPS AND PEOPLE!!! Regardless of whether they are alien's or vampires, the focus is the "person." Reality now has to play a central role!

Scott

The Difference Between Knowing and Understanding: Successful Writers Get It!

2011-10-10T05:02:00.000-07:00

We were discussing this issue during our Sunday School lesson yesterday and I realized the idea is equally as important when it comes to writing. What is the difference between knowing and understanding? In other words, at what point does the process of writing move from just knowing what goes into a story to really understanding why those elements need to be there and what purpose they serve?

I honestly have to say, when I turn down many submissions, it comes down to seeing writing that is, as best as I can describe it, immature. Sure the author has included many of the required elements to tell a good story, but in the end, the story is just lacking something. That finesse! That polish. That understanding of why they did what they did.

There is no single thing an author can do to achieve this level of understanding other than taking the time to really work at his or her craft. This is that time element that I am always talking about when we talk about publishing. For some authors, this may take 1 year. For others, it may take 30 some odd years and who knows how many manuscripts.

Keeping this in mind, this is what I think about when I talk about an author being successful. Sure, he or she may have written several stories. The author may even be published, but that is not saying they fully get it. We see this frequently when we see authors teaching workshops, writing blogs and what not, and trying to simplify everything to a single forumla. Somehow impying to their audience that "this query letter got me published" or "starting your story this way is a sure fire way of selling the book." Ugh, they don't quite get it.

If, for those of you reading this, you start to really question whether you "know" or "understand" and this idea is giving you a headache already - GOOD! Keep thinking. Keep working at it. You will know when you truly UNDERSTAND!

Scott

Advice for Character Creation and Plotting - Keep It Real

2011-10-07T09:07:00.000-07:00

I have been reading a ton of submissions lately and one of the comments I have found myself making time and time again is that the story is simply forced. Either the plotline or the characters are coming across as far from being real. It seems as if the writer is trying too hard to make everything come together in the story.

The problem lies with one key factor. The writers have not looked at what is happening in their stories in a "real context." The truth of the matter is that, in the real world, these stories would probably never happen? The writer has piled on so much to the story or focused so much on individual scenes that they failed to see if something like this would likely happen.

Now, for all of you who write sci-fi, fantasy and paranormal, don't think you are out of the conversation here. Your characters and the way they act have to be human like as well. I don't care if it is a vampire, we have to, as readers, believe something like this would happen.

The key to the success of a book is the ability for the reader to be drawn into the story and to relate to the things that are going on. Even in horror, readers want to relate to the characters. There are, in fact, numerous communication theorists who have noted that people watch these movies to "live out their fears" in a safe environment.

When you are writing, you have to always stop and examine what you are doing. Sure the scene may be great. Sure the concept you might be throwing out there may be unique and fun, but is it something that truly would happen in the real world and would the characters actually do it?

Just something to think about over the weekend.

Scott

Upcoming Books From Greyhaus Authors

2011-10-06T05:29:00.000-07:00

Great new books coming out from Greyhaus authors. Put these on your wish lists!!!!

Creative Writing Programs Need To Change Focus

2011-10-05T05:31:00.000-07:00

Teaching creative writing courses is a lot of fun. This is a chance, as an instructor, to really get out there and watch people, who haven't been corrupted by money, who haven't been told they can't write, who haven't seen a rejection letter, really thrive and grow. Creative writing classes truly are places where we can see the human experience coming alive on the page and in front of us.

With that said, I do believe that many of these programs need to find a way to make some small tweaks in how they approach the business. This is especially true for many of the MFA Writing programs out there. What seems to be missing in many of these programs is the element of reality. Writers going through these programs, more often than not, are seeing a world through rose colored glasses. In an effort to encourage creativity and writing, programs are forgetting the reality of what it takes to survive in the world of professional writing.

I do want to stress that not all teachers and programs are bad. I am however, looking at the big picture and seeing too many missing the mark.

I started thinking about this as I sat next to a couple of adjunct instructors at a community college I do some work with. These two were talking about the MFA programs they were part of the works they were crafting. The enthusiasm and excitement was incredible. Their passion was over-flowing as they talked about the "novels" they were writing. The problem I head though, was the sense that they knew, the combination of this MFA and the completion of their novel would equal immediate success in publishing.

Wow!

I had the opportunity to teach a creative writing class last year and I was equally as shocked when I saw the textbooks assigned for the course. As you know, I am always saying there is no one right way to do something. Your story will dictate the course of action you need to take to get the message across. And yet, the curriculum being taught focused on stressing there really is only one way to do something. Along the same lines, the curriculum even went so far as perpetuating the myth that if you have a plot, character, setting, conflict and so forth (note I didn't say quality here) then the story would be good.

I would also add that many of the creative writing programs are being taught by instructors that might not necessarily be prepared to teach the class. Universities have professors who are published, but the works they are creating are being published within their own university presses. They already had someone who was going to "buy" the work because of their contracts. Others are using POD programs or even programs that many in the publishing industry refer to as rip-offs and scams. Students see these instructors as "being successful" however, and then translate that to their own writing.

As someone who has been on both sides of this equation - someone who works in professional publishing and someone who works in academia - I would call for these creative writing programs to reconsider their approaches. No, I don't want them to eliminate the creative element, and the drive to bring in the human experience, but please, add some reality.

Scott

Remind Yourself Why You Write

2011-10-04T05:22:00.000-07:00

Every now and then, a reader needs to sit back and really think about what they are doing and why they are doing it. I am always frustrated when I hear writers, who once had a great passion for writing, suddenly forget that whole element. Now, it is all about the money and the glory.

I was listening to a great story on NPR yesterday about the Chelsea Hotel in New York. I've put the link here in case you missed it. I think what amazed me the most, no, maybe the word is inspired me the most, is that these residents truly keep that perspective of what they do at the forefront of everything.

NPR ARTICLE

I think part of the reason I like working with new authors is that they have not be ruined by the thoughts of money and glory. They write because they like to create. They love storytelling. Don't get me wrong though. These authors are not just throwing their writing out there without a desire to get something for what they do, but the focus is not on the money.

I do believe this is one of those reasons why I am frequently against many (please note I did not say all here) writers who dive into the lure of the self-publishing model. I do believe that many have forgotten why they write. They have forgotten the desire to produce a great piece of writing. What is motivating them is not the creation process, but "seeing their work published." Again, sure getting published is the thing we are all shooting for, but the question to all of this is simple.

"Do you write to create or do you write to make money?"

You can do both. But what is the driving purpose?

Just something to contemplate today.

Scott

Don't Rush Your Submissions

2011-10-03T10:22:00.000-07:00

Every now and then I will receive multiple submissions from a single author either all on one day or in several consecutive days. I personally don't have any problems with the multiple submissions, but the author is making a huge mistake and really (in most cases) wasting a huge amount of time. The problem is simple. The author has not waited to hear back from the first submission.

After an author submits a story to and editor or agent, make sure to take the time to wait for a response. Each editor or agent has a time period that they say you should hear back from them. WAIT! The rationale is simple. If you get some comments back, you can either adjust your new submission to meet those parameters, or decide that the other projects may not work at all for what the person was looking for.

This last week, I had an author submit three projects to me. The first project wasn't romance or women's fiction, so therefore, it was an automatic rejection. The next day, the author submitted two more projects. I still hadn't responded to the first one so this author really didn't know that the next two projects were never going to work. Hmmmm? What does this say.

Now yes, I do understand that following this guideline does rely on whether or not the agent or editor sent you a response that wasn't a form letter, or even sent you one. Still. you can save yourself a bit of time.

There is another factor though that you should consider. Due to human nature, if we see multiple submissions showing up like this, we start having negative thoughts about your approach to submissions. If you are sending these out in this rapid fire approach to me, are you doing the same with other editors or agents? Along the same lines, if you are doing this, what does this tell us about your knowledge of the business? Regardless of the answer to those two questions, you are starting to leave us with some questions and some doubts over how much work you might be as a client.

The stronger approach is simple. Take what you learn, adapt to it and then show me that you learned and mastered my comments in the next project. Doing so will demonstrate to that editor or agent that you can take critique and apply those revisions to your future projects.

Scott

Question from a Writer - Multiple Agents?

2011-09-30T04:57:00.000-07:00

I have several manuscripts that fall into different categories. (children's picture book, romance, paranormal romance, erotica) When querying agents, should I look for an agent who lists all of my categories, or is it ok to look for agents for each of my manuscripts individually?

This is a great question and one that comes up frequently.

I will say that there probably isn't one right or wrong answer here. Every agent out there might have a different opinion on this one. If you there are agents that visit the blog today, please chime in with your thoughts on this one.

First of all, I would stress that it is important to find an agent that understands the genre you write. Each one of us specializes in specific areas. We have strengths and we have weaknesses. Having an agent is one thing, but you do need to have someone that can provide the feedback to you and the guidance to really make your career head in the right direction. This, of course, seems obvious.

Now, if you can find an agent (or an agency) that specializes in all of these areas, you have a great resource working for you. The agent would know the deadlines you are working with and guide you in such a way to make sure you have time and focus for each of the areas. In many ways, it is like having multiple doctors. You want to make sure each of them is not giving you some prescription that might work against the prescription of the other doctor.

For this reason, I would personally recommend having one agent that takes care of all this and not looking for an agent in each of those areas. Of course that might not be possible. So, with that said, you might want to consider finding an agent that represents most of the genres. You might not get them all, but come close. As you continue with your career, you and your agent might expand into those other areas. He or she might also pair you up with another colleague at another agency that is familiar with that other genre.

I guess I would also add, and this goes with something I say frequently here. In my humble opinion, I think it is important for all writers to specialize in one area. Really take the time to learn, know and become successful in that one area before jumping into a new genre. My bet is that you have some genres you are stronger in than others. Use your gut instinct and stick with that genre.

Let me know how all of this plays out!

Scott

On Contract Negotiation

2011-09-29T04:52:00.000-07:00

One of the fun tasks of being an agent is getting to deal with contract negotiations. O.K. maybe it isn't fun, but it is a necessary evil. As a writer, I do think it is very important to understand what really goes on during the negotiations and why agents will push for some things and not push for others.

First of all, remember that every agent does things differently. Along the same lines, each time there is a chance to look over a contract, there are different variables at play. These might include the type of book, the author, the publisher and the things the author represents. With this in mind, while looking over contracts from other authors is interesting and will give you some insight into what is happening, you simply can't argue, "but they have it in their contract!" Things will always be different.

As an agent, we are working hard to make sure that not only do you get the best deal, but, more importantly, you are set up for some great progress in the future with your career. We never want to look at contracts in isolation and out of context. In other words, what happens with this deal will affect things for future deals.

Negotiations are not simply about looking at making a lot of money on that advance. We will take some time to look at how much you will make on royalties later on and in all of the various versions of your book. We also take a look at how many books will need to be sold before those royalties take effect. In some cases, agents may even recommend taking a lower advance or a different advance set-up to get you better royalty rates later on.

One big element we take a look at is the infamous "Options Clause." There are a lot of writers that panic when they see this; however, if we really understand the purpose, you can see why this is beneficial to both the publisher and the author. For the publisher, they want to make sure they get to keep you as an author if your story is pretty darn amazing and does well. They simply don't want you to run off to someone else with that 2nd and 3rd book. For you, as an author, you want to make sure you still have a foot in the door for those later books. This doesn't mean they will sign the book, but you will not have to go through the whole submission process a second time.

When it comes to the wording of the option clause, an agent might narrow the focus a bit more. Instead of the publisher having the right to the next book your write, the publisher might only look at something similar to the work you are contracting at that moment. This approach will allow a writer to actually write for different publishers with different genres.

Agents may also argue for maintaining certain rights for the book. Again, this all depends on the book and the agent. Some agents want the option to do ALL of the marketing of foreign sales. Some will allow the publisher to do it and just adjust the royalty breakdown a bit more. The same goes for movie rights, e-book rights and so forth. There are also times when an agent knows getting those rights might not be worth the fight. The key is to understand, everything is different.

We need to remember though, in these negotiations, you might not get everything you want. While in a perfect world, you might want it all, sometimes the best approach is a little give and take.

Scott

Stand Out In A Crowd

2011-09-28T05:08:00.000-07:00

You have all read time and time again about the number of submissions agents and editors receive daily, weekly and monthly. I remember specifically when Kensington Editor, Hillary Sares once described the weekly stack over 4 foot tall in the corner of her office of submissions. Now, we might not have that physical stack any more, but we do have emails that seem to go on for pages and pages. With that said, you need to think about how your first impression comes across in that query and in that submission.

I always love receiving submissions following a major conference such as the RWA National conference. Suddenly, all of the submissions start looking alike. No, I am not talking about the stories, I'm talking about the queries and the synopses. It becomes very clear which session the writers attended. In fact, I can often go so far as knowing who the presenter was based on the information. Although the information the presenter provided to the group was accurate, and the submission certainly contained all of the necessary information, there was one huge downfall. Each of those submissions looked exactly like each other and therefore, didn't stand out as something unique.

While I am not personally a big fan of the movie LEGALLY BLONDE, I do think there is something we can pull from this movie that relates perfectly to this. Remember how she submitted her resumes? Pink paper and scented. Her goal was simple. She wanted the potential employer to remember her as they waded through the tons of other applicants.

Please note, I am not saying to start scenting your submissions or doing something stupid. What I am saying is to find a way to make that submission stand out. You want me to not only see the story as being well written and exciting, but also something fresh and new. What you don't want is for me to look at your project and log into my data base "same old same old."

So how do you do it? The answer is simple.

First of all, go ahead and use those seminar notes. Make sure you have, ready to go, all of the necessary elements for that submission. Now, think of how YOU want to tell your story. What is unique about YOU as a writer. What makes YOUR voice different (and yet not psychotically strange) compared to all of those other stories out there.

I will tell you, that in some cases the problem does lie with the story. Carbon copies of things already out there are not going to make it. Sure some slip through the cracks, but we're talking about the long term life of your career here.

Find a way to stand out and you may see more requests (and hopefully even some more offers).

Scott

Why Harlequin IS The Place To Be

2011-09-27T05:02:00.000-07:00

I was working with a couple of my authors recently and I started to realize something. I think I knew it all along but it suddenly hit me. Working with the authors and the editors at Harlequin ROCKS!!!! Now don't get me wrong. I love working with a lot of other publishers and editors out there, but there is simply something that I think a lot of writers fail to see when they are looking at this company.

Let's start first with the authors. These people are true authors. They write for the joy of writing. They love storytelling. They know that success in this company is going to take time and they are willing to work and wait for it. Yes, the money is nice, but to these authors, the writing really does come first.

Now let's talk about the editors. I have not found an editor yet within the Harlequin system that doesn't know what they are talking about. They are beyond knowledgeable about what goes into a great story and they know how to provide the right guidance to their authors to make it a great piece of writing. Whenever I talk to an editor, they always seem to refer to their authors really as family members. Even when they move on to work with other lines, they still watch over "their" authors.

As far as a business model and publicity, again, I love the Harlequin model. Right after that last financial crash, it is interesting to note that Harlequin continued to make money. They knew how to maintain sales and do so without sacrificing signing new authors or cutting programs. They work to make sure their authors are selling and don't just rely on wishful thinking or catalogue sales. They are beyond proactive in terms of making sure their authors are seen and noticed.

Now, while many my "poo poo" the company and the writers, those involved with the company no better. all I can say is, I applaud the company, the editors and certainly the writers. This is also the reason why I am committed to finding the great writers out there interested in making this career move.

Scott

Don't Limit Your Story - An example: UP ALL NIGHT

2011-09-26T05:13:00.000-07:00

So, we are now seeing the new line-ups for TV. Among the list, and getting a lot of big publicity is the comedy UP ALL NIGHT with Christina Applegate. If you have ever had kids, the things these two are going through is truly a riot and brings back a lot of memories (both good and bad). I was thinking about this though, and it got me thinking about writing stories. Clearly, these writers and producers missed a point in their planning. There is simply no longevity for this show.

Regardless of how good the show might be, how great the writing is, this show has a limited lifespan. Why? Think of the premise... This story is about a couple and the trials and tribulations of having a newborn in the house. Now, unless these characters are going to discover that the baby is an insomniac, the show is over when the baby grows up.

I bring this up because too often, we ahve a great idea for a story, but fail to think of how quickly the story can come to an end. This all deals with the conflict. In other words, if we can fix the conflict in the first chapter of the book, you simply don't have anything to write about. The story is over. As an author, you simply cannot drag something out over the course of 75,000 plus words when the solution happens too quickly. The writers will get tired of it and you lose your credibility as an author.

Just something to think about for the day.

Scott

Digital Sales Means You Have To Be Better Than Amazing

2011-09-23T05:05:00.000-07:00

This is one of those circular arguments so bear with me.

Authors, in an effort to increase sales of their books moved to finding ways to give readers another way of purchasing books other than going to the local bookstore. I fully get this. Technology is great this way. If I need a book by a specific author or in a specific research area, I can do this from the comfort of my own home and in my bunny slippers. The book can be shipped to me and life goes on as normal. But there is a downfall to all of this.

Now, as an author, those people who used to "browse" the bookstore and would have found your book can no longer do that. They may have gone to the bookstore to find a book on Humbolt Squid and happened to stumble across your book. We don't stumble on those now. Even with the search engines, when you look for a book, the server will often provide you other books in that same area "people who bought this also bought..." Finding something outside of the genre is not going to happen.

The effect of this on the author is significant. Now, to be noticed, your story has to be AMAZING. Editors have to love it to such a level that they make sure the book sellers are promoting it on their lists. Magazines have to see this as such a "break out novel" that they feature it in the articles. Mid-listers are now going to struggle even more.

Now, we take this to a new level. This is part of the reason why publishers are sticking with their current authors more than loking at those new authors. They know people will find their names. They know what to expect. Readers can find them. Those new authors become just impossible to place.

I want to stress that this is probably the biggest change we are seeing right now in publishing. It isn't the fact that we see the e-reader technology taking over, but a change in the way the readers are finding the books. Just remember though. This happened not so much because of the publishers, but the authors changing their game plans.

Scott

Keep Trying and Keep Writing

2011-09-22T05:21:00.000-07:00

I am going to keep this one short today. I have a lot on my to do list but I wanted to give you something to think about.

So, you got a rejection letter. It sucks. I know it! But it is the nature of the business. Now the question is, what do you do?

We always talk about keeping your motivation going and writing, but I want to throw a bit of a spin on this. Do you contact the same agent or editor again?

The answer is yes (unless they have a restraining order against you). But don't rush it. Take the time to really look over the comments you received on the first rejection letter and see what you can do with it. Do some more research on the editor or agent and make sure this new project is really what they are looking for.

We get a lot of projects every year. Sometimes, the story just doesn't work for us, or it comes in at a time when we aren't looking for that genre. So what! Keep trying. You may find something a second time around.

I do have an author that I signed, not on her first project but a later one. We are now going back and working through that first project to see what we can do with it. We have the time to work on it and things are heading in the right direction.

Scott

why Do Your Characters Do What They Do?

2011-09-21T05:12:00.000-07:00

Character motivation is a big thing when it comes to storytelling. Actually, what I should say is that poorly executed character motivation is a big reason for seeing the big rejection letter coming back from me.

This is really a bit pet peeve of mine, but too often, I see stories that initally have some great potential, but, in the end, the entire project is brought to a screeching halt with all of the backstory and drama the writer has added just to give the characters motivation. I do think much of this comes from critique partners who are giving authors bad advice.

Think of the real world here. Why do you do the things you do? If you are overly organized or a neat freak, where did you get that from? Was it because you came from a disfunctional family and an abusive relationship? Did it result from paranormal activity that forced you to behave this way? Probably not. In all liklihood, it stemmed from your personality. It is just how you are.

Now think about your stories. If your heroine is tough and wants to take charge, she doesn't have to come into the story with a lot of baggage. Maybe she was just raised that way. Her present day life doesn't have to be something she is out to prove because of her past.

I always recommend to authors to keep things simple. We don't need the extra stuff to make the story interesting. You can simply have the character, or someone else make the comment "she has always been this way." That's it.

Now, with all of that word count you have gotten rid of, you can spend it on great character development.

Scott

2011 Alien Vampire Bunny Contest is Coming!!!

2011-09-20T04:58:00.000-07:00

In honor of my first mentor, Kate Duffy, the 2011 Alien Vampire Bunny Contest is returning. Details can be found on the Greyhaus Literary Agency website. http://www.greyhausagency.com/Alien-Vampire-Bunny-Contest.html

Please make sure to read the rules carefully.

Winner will receive 2 partial critiques of their choice.

Scott

We Have To Like Your Characters

2011-09-19T05:05:00.000-07:00

I don't care how good the storyline is, if the characters in your story are people we don't like, then your story is dead in the water immediately.

I think that too often, there are writers out there that know where their story is going to. They know how things will turn out in the end of the story and, we as readers, will come to like the ending. With that said, however, if we don't have a "buy in" from the very beginning of the story, we won't want to wait around until that happy ending shows up.

I have been reading a lot of submissions lately that are really making some efforts to find issues and characters that people may have steered clear from in the past. I applaud these authors. In a way, they are trying to carve a new niche in the market. The problem, however, is that the things the character does in the beginning - the way they behave, and the things they say - become huge roadblocks for that real story to be told.

Now maybe your goal is to tell a redemption story. The character has made some mistakes in the past and we want to see the change. That approach is fine and I don't want you to throw the idea out. But, with that said, you have to somehow show the reader there is a glimmer of something good hidden inside. The other characters might not see it, but the reader has to see part of it. Even if the person is really bad.

I think the best thing to consider here is the idea of first impressions. What you show to the reader in the very beginning sets the tone for everything. If, for example, the first image we see of your hero is someone who is a male chauvenist and a punk, how can you expect us to see him in any other way? If we see the characters acting in immoral or illegal acts, then this is how we see them.

Where I have seen this more often than not has been when writers try to show us a flashback for either a prologue or chapter 1. They felt there was a need to see what happened in their past for us to understand them now. Yes, we need to know this, but that sequence you just showed us cast a bad light on them.

Simply think of what you want us to know about your characters. How do you want us to see your characters? Make that your first image for the readers.

Scott

We Don't Have To Like Everything: We can reject it because we don't like it

2011-09-16T05:53:00.000-07:00

As agents we frequently will receive letters back from authors we have rejected complaining of short-sightedness, or an unwillingness to be open to new projects. Now, while these authors, in my humble opinion, have other issues to deal with besides their writing, they are missing an important point.

Being an agent is more about simply selling books. We have to really love a project to want to represent it. We don't simply look at stories and say "this is marketable and I can make money." We have to have a connection to it. This is that human nature element that we are always talking about in publishing. Sometimes, a project will come across our desk and it simply doesn't connect with us. It isn't because the synopsis was messed up. It isn't because the opening chapter didn't have a hook. It is simply because we didn't like it.

In many ways, this is the same response parents will give to kids "because I said so." there was that gut instinct that didn't resonate with us.

Does this mean the story will not sell or won't be a big success? Absolutely not! It just meant as an agent, I will be missing out on all the success later on. But remember, as agents, we work with writers and not just stories.

Scott

You Can Only Control Your Writing

2011-09-15T08:09:00.000-07:00

When it comes to writing, authors have a lot of control. That control, however, is limited to what happens on the pages of their stories. Unfortunately, that control ends right there. Once that story is out there on the market, either in the initial stages to find a home, or even after it is signed with an editor, there are far too many variables that come into play.

It is important to remember that agents, editors, publicists, marketing departments, art departments and everyone associated with the book are all gambling. They look at trends, they look at what works and doesn't work, and then make attempts to either ride waves or start something new. But again, this is all a guess.

We have to remember that sales of books depends on the readers. It depends on the release date. It depends on the stores selling the books. This list goes on and on.

For example. during this last summer, if a book was released at that time, the book now had to contend with the closure of the Borders stores. Now, while many say it really doesn't matter, they fail to realize that there are many individuals that ONLY shopped at Borders, due to loyalty, location and what not. Those potential buyers are now gone. Books that might have done well are now faced with a huge uphill battle simply due to timing.

We see the same thing when it comes to movie releases. Your movie might be the perfect flick but if another production company releases one at the same time, you might have just lost 1/2 of your audience (or maybe more). If you look back at the movies that came out with GONE WITH THE WIND, there were a ton that had potential. These included: LOVE AFFAIR, STAGECOACH, MR. SMITH GOES TO WASHINGTON, WUTHERING HEIGHTS (w/ Lawrence Olivier), GOOD BUY MR. CHIPS... you get the idea. How did they know that the GWTW would have done so well?

Even simple issues of book covers can control a lot. If we think about it, most readers buy books based on the covers, the titles and the author's names. If the book doesn't look "appealing" from the outside, the human nature of the reader will take over and they will pass on the book.

What about for those of you submitting stories to agents and editors. Catch us on a wrong day, submit right after we signed someone with a similar story??? The same things goes here. You may have the best dang story out there, but there are NO promises.

I do have to stress here that saying you are going into self-publishing just to avoid this issue isn't going to work. ALL authors, regardless of where or how they publish will face these same issues. Sure, you might have all of the control over the book, but that doesn't mean you put together the right variables.

We all wish we had the capability of knowing a "sure thing" but that is simply not going to happen. All we can do is write the best story you can and hope you have timed it right.

I do want to say, I am not wanting to depress all of you out there. Just know that you have chosen a career that requires taking risks.

Scott