To begin is human . . .

By Heather Moore

I’ve been to many writers conference over the past eight years, and listened to maybe close to 100 presenters. I’m at the point where I’ve heard pretty much everything, so I rarely take notes anymore. Mostly I’m interested in publishing stories—as in how did this bestselling author get his/her start?

At the Book Academy conference held at Utah Valley University this past week, Brandon Sanderson was the keynote speaker. If you are a fantasy writer, for children, YA, or adult, his books are a must-read. He writes the Alcatraz series for middle-grade readers (they are hilarious for adults as well. Also, for you omniscient pov writers, this series is a classic example). He also writes epic fantasy. Elantris is his first published, and the Mistborn trilogy has propelled him to pretty much stardom. I'm dying to read Warbreaker, his newest release, but I'm trying to get my WIP progress drafted first.

Brandon talked about how he wrote novel after novel (I think it was 12-13) before he finally got his #6 book a publishing contract. When he heard from the editor who wanted to buy his book, he contacted an agent who he’d gotten to know over the years through various writers conferences. The agent signed him.

Brandon gave some advice on things he wished he would have known before he tried to follow market trends (which wasn’t successful for him). I won’t reiterate it here since I don’t want to plagiarize, although I did ask him if it was okay to blog about it. And I think he said yes. Or maybe I just told him I was going to, and he looked at me funny. I’m not sure (since when I'm around famous people I'm lucky to remember my name), so to be on the safe side, I’ll just tell you about one of the things he emphasized.

“Write what you like to READ.”

This sounds so simple, but when you really think about it, it makes a whole lot of sense. This can solve some of our writer’s angst when we are trying to think of a new genre to break into. Say you are published in historical fiction (like me!) and you see all of your friends getting huge advances in children’s lit. Hmmm. Should I switch genres? Catch the tide? Do I love children’s lit or am I just trying to copycat?

So I pause and ask myself: “What do I READ?” That’s the answer. If I don’t like to read what I’m writing, then guess what? The passion will fizzle out all too soon.

So, like Brandon, who decided to not follow the tide and write what he was passionate about (Epic Fantasy), I think I’ll do the same—not the same genre, but you know what I mean.

One last quote from Mr. Sanderson, which I thought about putting on my whiteboard in my office, but then didn’t want to be reminded of a big revision in my near future:

“To begin is human.
To finish is divine.
To revise is hell.”

Spilling the Beans

by Heather Moore



This past weekend I attended the League of Utah Writers Conference in Midway, Utah (think Heber or Park City—it’s beautiful up there).

It was one of those full circle moments. In 2002, I attended my first writers conference ever—the LUW conference. There I heard from writers that I had admired for years. I entered the contest with a manuscript and earned a 3rd place award. I used the validation to keep me motivated as I waded through plenty of rejections in the months to come.

This year—2009—I attended the conference as a presenter. Even though I felt that I had a lot of insights to share—especially my own bumpy road to publication—I was there to learn. On the side, I was also there as a fan.

I was excited to meet Sandra Dallas. I also took a workshop from Richard Paul Evans, a local author who has been a NY Times Bestseller most of his career. In Evans’ “former” life he was an advertising executive—a very successful one. Transitioning from an ad ex to a successful author is something to note, and believe me, I was writing down every word he said.



So I decided to spill the beans. Some of it you’ve probably heard before, but when Richard Paul Evans says “When I get up in the morning, I go to work against John Grisham,” you suddenly sit up and take more notice.

Evans said to ask yourselves these questions when writing your book:
-Is there an audience?
-Is that audience big enough to earn success?
-Who will purchase the book (i.e. parents purchase books for their children; women purchase books for their husbands, etc.)
-Can you create perpetual motion with your sales? In other words, will you get more energy (sales) out of the product than what you put into it (marketing)?

He also advised:
Find your unique selling proposition and market to it! He gave the example of a book that was published called Compact Classics. It was a glorified and condensed version of Cliff Notes in which you could read a summary of a classic in just a couple of minutes. Sales lagged. Then it was discovered that people were reading this book in the bathroom . . . and the book was renamed: The Great American Bathroom Book. Sales skyrocketed.

Listen to your reviewers. What are they saying about your book? What is the main theme they restate? This is your unique selling proposition.

And finally:
Take Prisoners! You need to capture your audience by creating a mailing list. Evans shared story after story of authors who had their first books sell like crazy. But they didn’t capture their audience (collect addresses or emails), and they weren’t able to market their next books to the audience that loved the first one. When Rick goes to a signing or event, he hands out sign-up cards where the reader can sign up for his email letter, or be on his postal list. Readers can also go to his website to sign up for his newsletter. He also recommended that as a writer, we should sign up for other authors’ newsletters so that we can learn how they are marketing their books.

Nothing But Trouble

By Julie Wright

I read a book several years ago where the characters did a great job of avoiding trouble. They skirted around it in all sorts of creative ways, but never actually confronted trouble head on. I never finished the book. I gave it a good shot--way more than it deserved and read 200 pages before frustration took over and I gave up.

Nothing was happening. YAWN.

Your characters have to get into trouble because that's what creates conflict. Conflict is interesting. Trouble is interesting. Trouble can also be . . . well . . . trouble.

I don't know about you, but sometimes my characters are great at getting into major trouble, but not so great at getting out again. They can wind up in all sorts of huge calamities, the entire world can be falling to piece around them and I agonize over how to piece that world back together again.

Over time I've learned that if my characters can get into a fine mess, they'd better just get themselves out.

Convenience is a writer's enemy. It's tempting to help your characters out and throw them the olive branch of convenience, but you aren't doing them (or yourself) any favors. Convenience looks just like it is--too convenient. You lose your reader's trust when you start making your characters do things that don't make sense to the character you've developed. You can't betray the persona's you've created simply because you NEED the character to get up in the middle of the night and go downstairs for leftover cheesecake so they can overhear a conversation that will lead them to the murderer when your character is a deep sleeper and they're allergic to cheesecake.

Stay away from convenience.

And your character got into their own trouble . . . make them smart enough and resourceful enough to get out of it. We like characters who can think on their feet. The damsel in distress who always needs to be taken care of by the hunky hero is really not compelling. A butt-kickin' chick who can break out of her own prisons? She's someone we want to read about, even if it is her own fault she landed herself in prison.

Also stay away from false conflicts.

The kind where the character thinks they are in all kinds of life threatening peril but in reality the character's best friend is in control the whole time. It's the difference between the tummy tickle of a roller coaster while you're strapped into the train car and the tummy tickle you get when jumping out of an airplane dependant only on a parachute that you packed yourself. Did you pack it right? Do you know how soon to pull the cord? That is the parachute on your back, right? You didn't grab your backpack by mistake?

That real peril--way more interesting.

At least in books. I don't personally make habits out of jumping out of perfectly good airplanes. I don't care who packed the chute.

Monday Mania--Query

One of our readers submitted 2 query letters for critique. Feel free to make comments, but please keep them constructive.

Critique Archive 0025:

#1

A female Prophet. A Transmigrator. A Seeker, a Weaver and a Unifier. These are the elements of reincarnation. When Jane enters her Junior year of High school she's expecting the same old routine: boring classes and continued harassment from the female bullies, the Termies. Little does she know, that's the least of her worries. What Jane will soon learn is that her new love interest, Alexander Anderson, has secrets from his past. As a Transmigrator, he recalls his former lives and has come for Jane in one last attempt to fulfill the prophecy. With the help of the other elements of reincarnation, Jane will discover her own hidden strengths and find her long lost Eden buried beneath the depths of the reservoir. Unfortunately, it all comes at a cost.

This novel, for young adults, is complete at 83,000 words. It should appeal to a broad range of readers, including fans of The Hourglass Door and The Time Traveler's Wife. It combines elements of fantasy, the paranormal and romance.

My writing experience includes a self-help article about advocating for special needs children at www.iser.com and two soon-to-be published religious self-help articles at www.bellaonline.com

May I send you a copy of The Reservoir for your review?

Thank you for your time and I look forward to hearing from you.

Best regards,
Amie Borst


#2

She's a prophet, but is completely unaware. When Jane enters her Junior year of High school she's expecting the same old routine: boring classes and continued harassment from the female bullies, The Termies. Little does she know, that's the least of her worries. What Jane will soon learn is that her new love interest, Alexander Anderson, has secrets. He is a Transmigrator, a reincarnated spirit that recalls his past lives. With the help of the other Elements of Reincarnation, the Seeker, the Weaver and the Unifier, Jane will discover her own hidden strengths and find her long lost Eden buried beneath the depths of the reservoir. Unfortunately, it all comes at a cost.

This novel, for young adults, is complete at 83,000 words. It should appeal to a broad range of readers, including fans of The Hourglass Door and The Time Traveler's Wife. It combines elements of fantasy, the paranormal and romance.

My writing experience includes a self-help article about advocating for special needs children at www.iser.com and two soon-to-be published religious self-help articles at www.bellaonline.com

May I send you a copy of The Reservoir for your review?

Thank you for your time and I look forward to hearing from you.

Best regards,
Amie Borst

Keep the Doors Wide Open

by Annette Lyon

I imagine if you talk to virtually any published writer, they'd tell you straight out that their publishing life hasn't turned out exactly like they expected. Twists and turns and unexpected bumps happen along the way.

And so do massive shifts . . . like taking on a new genre. Or changing publishers. Or parting ways with an agent. Or finding success where you least expected it.

For example, when I first began seeking publication, it was with a YA fantasy. But I first got published with a contemporary romance. The shift happened after chatting with a friend at a conference and realizing that I had stories to tell that her publisher might be interested in. Several rejections (and one acceptance!) later, I was one of their writers.

Another shift happened when, two books later, **SURPRISE!** I found myself writing historical fiction. At the time, it was a shock to me. Now, that genre is what I'm best known for, and people laugh when they hear I didn't always plan on writing it.

And now? My next book is contemporary women's fiction (not a romance), and, on my publisher's request, I'm working on a (get this!) a COOKBOOK.

Sure didn't see that one coming.

I recently thought through the stable of PEG editors. Each and every one of us has had major shifts in our careers.

Lu Ann slaved for years on YA manuscripts and suddenly found her big break ghost-writing a memoir for the Herrin Twins' mother. She has since been hired to write a second and then a third memoir. Not what she initially planned on, but she's published and continuing to be published. I still think she'll get her own novel out there some day, but what if she'd said no to that first memoir? She'd have missed out on several fantastic opportunities (and the royalty checks that go with them!).

Heather began writing a bunch of different kinds of stories, not sure what genre what she wanted to focus on. I remember one book set in the Puritan era and another that was more of a mystery/suspense. She's since found huge success targeting the historical/religious fiction market. She didn't plan that right out of the gate.

Julie's first two books were with one publisher. She changed publishers midstream and suddenly vaulted into the spotlight with an amazing novel that got her massive acclaim. And then she had to switch publishers again. Talk about a roller coaster ride. Now she's got a new book out (yay!) plus an agent for her YA fantasy work, and we may well see her her science fiction books on shelves in the near future.

Josi got a name for herself writing books with "meat" dealing with serious issues like molestation, prescription drug abuse, and Internet predators. By a giant quirk of fate (that maybe she'll tell here sometime), she ended up writing the beginning of what turned into a culinary mystery, which has now turned into a culinary mystery series, and now she's got two novels for that series out with more to come. Again, didn't see that coming.

I could go on with more examples showing several of our other writer friends who aren't part of this blog and how they've had to morph and change with the industry, their publisher/s, their editor's demands, their audience, and so forth. Things change.

The point is that as a writer, if you 1) hope to be published and 2) hope to keep being published, you have to be willing to bend. Granted, you don't want to write just for the market, just what "will sell."

Don't sell out. Of course not. But be flexible. I couldn't write what Heather or Julie or the others do, but I can write a variety of different things that I am personally good at, in my own way.

I need to be willing to put my toes into different waters and try them out. I shouldn't be afraid of something just because it's different and I might be scared of it. (I was terrified of historical fiction the first time!)

Try it out anyway. Because guess what? See that new puddle of water? That might just be your big break. You never know.

As for me, aside from the contemporary women's title coming out next spring and the cookbook, take a wild guess what my next novel will be?

Nope, not another historical.

My editor suggested I pull out an old murder mystery I wrote years ago and revise it.

Bet you didn't see that coming. Frankly, neither did I.