Friday, October 29, 2010
Contest Update
Publishing Pulse: 10/29/2010
After hearing 200 webinar pitches, Kristin Nelson compiles ten likely reasons your pitch may have been rejected. (Many of which are avoidable.)
And author Bill Morris gives a reflection on the changing face of rejection in The Sorry State Of The Rejection Letter.
Literary Quote Of The Week
"I never write exercises, but sometimes I write poems which fail, and then I call them exercises." -Robert Frost
Jane Lebak is the author of The Guardian (Thomas Nelson, 1994), Seven Archangels: Annihilation (Double-Edged Publishing, 2008) andThe Boys Upstairs (this December from MuseItUp). At Seven Angels, Four Kids, One Family, she blogs about what happens when a distracted daydreamer and a gamer geek attempt to raise four children. She is represented by Roseanne Wells of the Marianne Strong Literary Agency.
Thursday, October 28, 2010
Contest Closed
The response time and announcement of the winners (who will receive full and partial requests from Ms. Paquette) will depend on the number of entries. The more entires, the longer it will take--one of the pitfalls of not having an entry cut-off.
Ms. Paquette hopes to have the results within two weeks. I'll give updates as to her progress, and the winners will be notified directly via email as well.
Good luck to all who entered!
If you have any questions or comments, feel free to post them in comments or email me at marytlindsey@gmail.com
Wednesday, October 27, 2010
Agent Judged Contest Has Begun!
Our agent-judged one-line pitch contest began today, Wednesday, October 27th at 9:00 am Eastern Standard Time.
Joan Paquette of the Erin Murphy Literary Agency is judging the contest.
The contest entry window is 24 hours and will end at 9:00 am Eastern Standard time on Thursday, October 28th.
You may pitch more than one project, but be certain all projects are complete, edited and polished enough to present to an agent.
Submissions must be made via our online submission form. (A free QueryTracker.net membership is necessary to use the form and can be accessed from the form page.) Only entries received through the online form will be accepted. Entries emailed directly to the agent or agency will be disqualified.
This contest is for completed children’s projects only. The genres include children’s literature from picture books and chapter books through middle grade and young adult novels of all sub-genres. NO ADULT NOVELS OR PROJECTS as this agency only represents children’s fiction including YA.
Ms. Paquette wants to receive one-line pitches and the first 100 words of your manuscript (+ or – half a sentence. Don’t just end mid-sentence).
Details for this contest were posted yesterday and have been in the contest widget in the sidebar for several weeks.
The response time and announcement of the winners (who will receive full and partial requests from Ms. Paquette) will depend on the number of entries. The more entires, the longer it will take--one of the pitfalls of not having an entry cut-off. Ms. Paquette hopes to have the results within two weeks. I'll give updates as to her progress and the winners will be notified directly via email as well.
If you have any questions or comments, feel free to post them in comments or email Mary at marytlindsey@gmail.com.
Best of luck to everyone and special thanks to Ms. Paquette for judging.
Tuesday, October 26, 2010
Agent Judged Contest Begins Tomorrow!
Agent Joan Paquette from the Erin Murphy Literary Agency will judge our contest that opens tomorrow, Wednesday October 27th at 9:00am Eastern time and ends 24 hours later at 9:00am Eastern time on Thursday, October 28th.
EMLA represents children's literature only, so no adult projects in this contest, please.
Ms. Paquette wants to see a one-line pitch and the FIRST 100 words (plus or minus 1/2 sentence--don't just cut it off mid sentence) of completed children's picture books, chapter books, middle grade novels, or young adult novels.
Wishing everyone the best.
The how-to of one-line pitches.
http://querytracker.blogspot.com/2009/04/dreaded-pitch-what-to-include-in-that.html
Examples of excellent pitches:
http://querytracker.blogspot.com/2009/04/one-line-winners.html
http://querytracker.blogspot.com/2010/05/from-chris-richman-winners.html
http://querytracker.blogspot.com/2010/04/from-jason-yarn-winners.html
* Please note: Sometimes the email notifications from this blog do not go out right when the post is published (a Google Blogger issue we cannot control). If you are an email subscriber, please realize this email might arrive after the contest has begun. We have given weekly reminders of the contest on the Friday Publishing Pulse. In addition, the information has been posted in the sidebar of this blog for close to a month.
Monday, October 25, 2010
Tuning Up Your Mechanics
Here are some tips to help your readers enjoy the ride rather than worying about the springs sticking out of the seats.
1. Mechanics
You’d never take your car on the road if the tires were full of holes. So don’t send out your manuscript without perfect mechanics: grammar, punctuation, and spelling.
I see a lot of writers who expect their crit buddies or beta readers to fix their mechanics, but those writers are cheating themselves. They’re never going to get an in-depth critique that will help them make their story better. Nobody worries about critiquing plot, characterization, or dialogue when they’re reading work by someone who misuses every other homonym.
If you’re not good at grammar, that’s okay. Take a class at your local community college or buy/borrow some reference books. Strunk &White's The Elements of Style and The Chicago Manual of Style are great resources to rely on until great grammar and punctuation becomes second nature to you.
2. Tightening
When a reader says you need to tighten your writing, she means you need to remove clunky, extraneous words and phrases. Often they're hard to see until you know what to look for, but they rattle around like loose screws. Here are some tips to help you find and get rid of them.
a. Use strong verbs rather than adjectives and adverbs.
Example: She flung the door open is better than She pushed the door open forcefully.
b. Remove redundancies.
Example: “What were you thinking, you idiot?” he said irritably tells us that the person is angry twice — once through dialogue and once through a verbal tag. Just stick with the dialogue and cut the verbal tag completely.
c. Say everything as efficiently as possible. Pretend that you’re being charged for every word you use. Don’t you want to make sure you’re getting your money’s worth?
Example: He walked right up to her, so close they were nearly touching, trying to intimidate her with his size becomes He moved closer, using his size to intimidate her.
d. Avoid cliches. We often use cliches because they so often fit. "Prim and proper" or "tall, dark, and handsome" may very well fit your characters. The problem is, they fit a lot of other people's, too, and since you want your story to stand out from the rest, you need to make your descriptions unique.
Example: It was raining cats and dogs becomes It was raining, huge warm droplets that pattered on the blacktop like thousands of tiny feet.
3. A Fresh Coat of Paint: Being Unique
When you go to buy a car, you want the most mechanically sound car you can find, but if you're like most people, you also care how it looks. You can really make your writing stand out if you can find unique ways to say things. Don't be afraid to indulge in a little wordplay, trying out unusual turns of phrase or comparisons.
a. Indulge in the sensory details. For each scene, you need to close your eyes and imagine how the situation smells, tastes, sounds, looks, and feels. You probably won't describe each sense in most scenes, but knowing will help you choose the most relevant and striking details.
Example: Like soft, dark wings, his voice folded around me. I was at once enveloped by warmth and aware of coldness at the base of my neck. Legs stretched out in front of him, feet braced apart, he was watching me.
b. Use metaphors and similes. Don't be afraid to compare something to something else, directly or indirectly, as long as you do it in your own words.
Example: A traffic light flashed by; the wire that had once held it aloft eddied across the road in a black tangle. Green and red and gold chips were spattered across the asphalt like misplaced casino currency.
Want to learn more? A few books that have really helped me get better at editing my work include
* Write Tight
* Revision and Self-Editing
* Self-Editing for Fiction Writers: How to Edit Yourself Into Print
* Make Your Words Work: Proven Techniques for Effective Writing
Carolyn Kaufman, PsyD writes fantasy, scifi, and nonfiction. She loves helping writers "get their psych right" in their stories, and her book on the same topic, THE WRITER'S GUIDE TO PSYCHOLOGY: How to Write Accurately About Psychological Disorders, Clinical Treatment, and Human Behavior is now available for pre-order. Learn more about the book at the WGTP website or ask your own psychology and fiction question here.
Friday, October 22, 2010
Publishing Pulse: 10/22/2010
So I was in Michaels (the craft store) the other day, and they were setting up the Christmas stuff. I guess I should be impressed that it took them almost to Halloween to get to it -- a lot of places start getting out the trees come the first week in October.
In any case, whether you celebrate Christmas, Hanukkah, Kwanzaa, or something else, holidays are the season for gifts! If you (or a writing buddy) have always wanted a premium membership to QueryTracker, the holidays are a good excuse to get one! Did you know that you can purchase, print, snail mail, or email a QueryTracker.net gift certificate from http://querytracker.net/gifts.php?
Around the Web
Jane Friedman has a couple of great posts for you to check out over on There Are No Rules: First, find out 5 Things Writers Should Know About Rights; then, head on over to Kindle Singles: A Big Opportunity for Smart Writers to find out about a new opportunity through Amazon.com.
Ever wanted to use symbols in your story, but just weren't sure how to do it right? Now you can find out thanks to Novel Journey's fantastic Symbols for Everyone post.
Adventures in Children's Publishing shows you when it's okay to tell -- as long as you've got great voice -- in Voice and the Art of Telling vs. Showing.
Finally, over on the Blood-Red Pencil, read about how one author learned that Sex is Revealing...about, to her surprise, character.
Did you find any posts (written by other people) this week that you thought were particularly good? Share them in the comments!
Carolyn Kaufman, PsyD writes fantasy, scifi, and nonfiction. She loves helping writers "get their psych right" in their stories, and her book on the same topic, THE WRITER'S GUIDE TO PSYCHOLOGY: How to Write Accurately About Psychological Disorders, Clinical Treatment, and Human Behavior is now available for pre-order. Learn more about the book at the WGTP website or ask your own psychology and fiction question here.
Wednesday, October 20, 2010
Stories, Frogs, and Kisses
One of my favorite things about fairy tales is that all of the princes tick off not-so-innocent old women, and end up as frogs. There's something wonderful about the journey. Boy starts out as a prince, sometimes spoiled, and looking for adventure. Then the boy finds adventure in the temper of a little old woman with a pointed stick. Many times he finds that his idea of adventure is not the same as living one. And of course, True Love's Kiss makes things better. Eventually.
story's all about: taking a character and a set of circumstances, knocking them off their feet, and watching to see what happens.
Which brings us to a true fact of life: not all frogs are princes in disguise. Not all stories exist to be published. Some exist to show the author that they can sit down and hammer out thousands of words from "Once upon a time," all the way to "And they lived happily ever after." Some exist to show the author how much effort is truly required to find a prince. And some exist as guideposts in the author's life, small maps that show the past, and what the future can hold.
What are some of your frogs? Ones that have become tall, dark, and handsome, or simply remained small, green, and slimy?
Do your characters change through the story? And does the story change you?
Danyelle collects dragons, talking frogs, and fairy godmothers in her spare time. She is currently getting ready to query SLIPPERS OF PEARL, a YA fantasy. She also enjoys making new friends, and can be found at http://myth-takes.blogspot.com.
Monday, October 18, 2010
Guest Blogger Christine Fonseca: Understanding The Imposter In Us All
Have you ever noticed that we writers tend to lack confidence in our abilities? We often feel like frauds, terrified that someone will figure out we have no actual idea how to write. We think that because we don’t outline the way someone else does, or have perfect grammar within our phrases that we are somehow flawed. We equate our rejections with failure, and the time it takes us to get an agent or sell a book as proof that we have no idea what we are doing.
In short, we feel like an imposter.
This Imposter Syndrome, as it is sometimes called, happens frequently with gifted women and creative types – and I think the cause may lie in the actual attributes of both giftedness and creative personalities.
Like gifted people, writers and other artists struggle with a level of emotional intensity that can make ordinary feelings very overwhelming. This applies to the positive feelings – joy, happiness, bliss, satisfaction – and the negative feelings – anxiety, bitterness, jealousy, and anger.
I think it’s the intensity of the feelings that, when unmanaged, can lead to a lack of confidence and self-doubt.
Let’s look at the few trends I see when my writer friends and I chat:
- Self Esteem – A lot of us struggle in this area. We tend to measure our successes against each other, allowing the rejections to get the better of us. We forget to seek our strength inside.
At these moments, we need to remind ourselves why we write in the first place – remind ourselves of the courage it takes to not only craft a story, but put it out there and query it. It we cherish that courage and strength, we can refocus our perspective and a lot of the esteem-zappers we face day-in and day-out will melt away.
- Praise – Yeah, we don’t get a lot of constructive praise in this business. Sure, most of us have our cheerleaders that pick us up when we are down. But they tend to offer general praise, which feels good but really does not help us when we are feeling like a fraud. What we need is specific feedback on our skills.
Objectively looking at both our strengths and the areas we can work on is a great way to combat some of the problems with lack of constructive praise. Creating an action plan that allows us to build on our strengths and work on our weaknesses is another great way to combat our lack of confidence.
- Emotional Intensity – As I mentioned before, gifted people are not the only group prone to intense emotions. Creative, artist types are as well. This level of emotional intensity will often tip the scales, making the natural struggles with confidence that most people feel into something huge and overwhelming. At these times we will often fall into the trap of comparing ourselves with others, connecting rejection with “I’m a lousy writer.” Trust me, I know how easy it is to do this.
Instead we need to remember to be objective. Ask our CPs and other writer friends for specific feedback. Ask them to remind us about ourselves, especially when we can’t find it ourselves. We will still be intense, but that intensity can be harnessed as creative energy instead of a confidence vortex.
So what’s the bottom line here? I believe that it is the very nature of being an artist tends to lend itself to periods of waning confidence. Talking about it with friends, remembering why you write in the first place and having a realistic view of your abilities is a great way to combat these moments and let them go.
* * *
You can learn more about Christine Fonseca and emotional intensity on her website, blog, and in her book, EMOTIONAL INTENSITY IN GIFTED STUDENTS.
Friday, October 15, 2010
Publishing Pulse 10/15/10
QT started a new monthly email newsletter and the first issue came out August 1st. The newsletter contains agent information, articles of interest to authors seeking representation, and highlights ways to use QT in your agent search. If you haven't subscribed already, it's free at http://QueryTracker.net/index.php.
Wednesday, October 13, 2010
Targeting Agents Who Will Want Your Partial
Here's how we do it: By tracking which agents have requested particular manuscripts, we can compile a list of agents who tend to like the same books. In other words, since Agent A liked your query enough to request a partial, and since these other agents like the same kinds of things as Agent A, you know that querying these other agents should result in some read requests.
Even better? You can filter the Similar Tastes results by genre, making it possible to get even more detailed results.
The Similar Tastes Report is available to premium members, and can be viewed by going to an agent's profile and clicking the "Reports & Statistics" tab. From there, select the Similar Tastes Report and your chosen genre and click "Generate Report".
Have you used the Similar Tastes Report yet? Let us know what you think, and of course we're always open to your suggestions for new QT features!
Carolyn Kaufman, PsyD writes fantasy, scifi, and nonfiction. She loves helping writers "get their psych right" in their stories, and her book on the same topic, THE WRITER'S GUIDE TO PSYCHOLOGY: How to Write Accurately About Psychological Disorders, Clinical Treatment, and Human Behavior is now available for pre-order. Learn more about the book at the WGTP website or ask your own psychology and fiction question here.
Monday, October 11, 2010
Cobwebs Got Your Story?
Image courtesy of relliott3 |
- oft repeated phrases
- flat description, stilted dialogue
- inconsistencies
- places where it's clear the characters are as clueless as their author
- crutch words: felt, there were/was, it, smiled, nodded, blinked, that, bit, etc.
- illogical parts
- awkward phrases that need tightening
- wordiness that must die
- verbs that are okay, but could be stronger
- verbs that are so full of pip and vinegar they burn a hole through the page
- grammatical accidents
- places that lose both me and the reader
- characters not acting like themselves
And then I see a gleam. A very small, very weak, bit of light. I crawl forward, hoping that whatever made the webs has either cleared out or is lying among the plot bunny remains. I rub my thumb across the surface, revealing something golden and gleaming beneath. Aha! There is something here. I knew it. But then I look around in despair. How on earth am I going to clear everything away until the story gleams like a newly made star?
- Go through the manuscript two to three times. The first sweep is to gauge the effort that's going to be required to fix the story up. Make notes and doodle faces at myself. Then go through a second and third time to employ those changes. The story transforms before my eyes. And while it maybe wasn't as good as I thought at first, this is where I learn that the story isn't nearly as bad as I feared.
- Employ the first round of betas. I cannot stress how important it is to have a trusted group--large or small--that can go through and point out all the cobwebs and corners I missed. Something that's really helped me, both with the query and the story, is to send the query first and see what they think before I send out the manuscript. Not only does this help me see whether I've got the right focus or a gaping hole in a mildewed wall for the query, but it also forces me to determine whether I've paid attention to the right things for the right amount of time in the story itself. While they're letting in the light, so to speak, this is where I start tightening my query.
- Go through the manuscript again. Evaluate the suggestions and ideas. Don't shirk from the ones that mean the most work simply because more effort is required, but don't incorporate them unless they serve to strengthen the story overall. This is when I remind myself that what doesn't kill me can be put in my next novel and used to torture my characters.
- Listen to my story. There's nothing like hearing the story out loud. This can be done a number of ways. I could read it out loud, employ one of my minions to read it to me, or have my laptop read it out loud. Check the query again. Is it breathing yet or still lying there on the table all bent limbs and smelling worse than the dump at the height of summer?
- Send it off to another group of betas. For some reason, whenever I send out a manuscript, my confidence heads for parts unknown. This is generally a good time to focus on the Other Things as well as returning the beta favor.
- Read through the critiques. Part of me is smacking my forehead that there are still cobwebs I missed, but the other part is feeling elated that the cobwebs are now more like a few forgotten doilies than a force to be reckoned with that clogs the story. Check the quer--is it me or did the query just twitch?
- Go through and make the changes that scrub and polish the story to a high gloss. This is generally where I print the story out and go through chapter by chapter, hunting for even the suggestion of dust. And then I peer out and realize I'm standing at the edge of a cliff my arms full of imaginary people stuffed full of paper hearts. Do I open my arm and give them a chance to fly or pull them back and give them a few more lessons on aerodynamics first? This stage is always the tricky one for me, but ultimately it comes down to listening to my gut and those I trust most--not because they tell me what I want to hear, but because they tell me what I NEED to hear.*
And that's it. What once began as a hodgepodge of various bits and pieces of my internal universe now blazes out of the sky at me. The cobwebs and dust incinerated in the soft glow of the sunset.
Danyelle collects dragons, talking frogs, and fairy godmothers in her spare time. She is currently getting ready to query SLIPPERS OF PEARL, a YA fantasy. She also enjoys making new friends, and can be found at http://myth-takes.blogspot.com.
Friday, October 8, 2010
Publishing Pulse 10/8/10
We know you're dying for the new agent-judged contest (judged by literary agent Joan Paquette) but you'll have to wait for October 27th. Use that time to polish up your first hundred words and your one-line pitch! You can read the details here.
QT Speed Boost
Submitting to agents may be a long process, but at least searching for them has gotten faster. On Thursday, the QT server was upgraded. It now has double the RAM and computing power as before, making it that much faster for you to find your future agent.
Kevin Winchester http://QueryTracker.net/kevinwin.php
Jane Lebak is the author of The Guardian (Thomas Nelson, 1994), Seven Archangels: Annihilation (Double-Edged Publishing, 2008) andThe Boys Upstairs (this December from MuseItUp). At Seven Angels, Four Kids, One Family, she blogs about what happens when a distracted daydreamer and a gamer geek attempt to raise four children. She is represented by Roseanne Wells of the Marianne Strong Literary Agency.
Wednesday, October 6, 2010
QT Success Story Michael Onesi Discusses Four Word Film Reviews
When I tell people I’ve co-edited a book called Four Word Film Reviews, the reaction is usually the same – confusion. Most people can’t believe you can sum up or review a movie in four words or less.
But the book, which I co-edited with Benj Clews (founder of the Four Word Film Review website), is proof that Roger Ebert’s and Leonard Maltin’s 800-word reviews are about 796 words too long. A good writer can say a lot with a little.
“Not super, not bad” for Superbad. “Transforms $9 into disappointment” for Transformers. “Heath Ledger’s clowning glory” for The Dark Knight.
Get it now? All it takes is a few examples and people start to understand.
Anybody can come up with a four-word film description, such as “Big boat hits iceberg” for Titanic or “Balloons lift senior’s home” for Up. But those are easy and boring.
The real challenge is to create a four-word masterpiece. The book is filled with funny puns (“Icy dead people” for Titanic), double meanings (“Inflation causes housing crisis” for Up), clever word play (“Shrink shrinks Damon’s demons” for Good Will Hunting), and opinionated reviews (“Four? Yes. Fantastic? No.” for The Fantastic Four). Some reviews aren’t reviews at all, merely four-word jokes (“I bet Kramer wins” for Kramer vs. Kramer and “Actually, mission is possible” for Mission: Impossible) but they make readers laugh so they were included in the book.
Novels can be summed up quickly, too. Here are a few examples of reviews of movies based on books:
“Apes understand. I didn’t.” 2001: A Space Odyssey
“Orwell’s notorious P.I.G.” Animal Farm (1954)
“The Good-Buy Girl.” Confessions of a Shopaholic (2009)
“Much credit to Isla.” Confessions of a Shopaholic (2009)
“Stephen King unleashes terror.” Cujo (1983)
“Pitt turns life around.” The Curious Case of Benjamin Button (2008)
“The Immaculate Deception.” The Da Vinci Code (2006)
“Greatest Story Never Told.” The Da Vinci Code (2006)
“Hanks: You’ve Got Grail!” The Da Vinci Code (2006)
“Wolf in Streep’s clothing.” The Devil Wears Prada (2006)
“Room with a spew.” The Exorcist (1973)
“Doctor making a living.” Frankenstein (1994)
“Better Rhett than debt.” Gone With the Wind (1939)
“A Farewell to Farms.” The Grapes of Wrath (1940)
“Students take up spelling.” Harry Potter and the Sorcerer’s Stone (2001)
“School for wiz kids.” Harry Potter and the Sorcerer’s Stone (2001)
“Slaved by the Bell.” The Hunchback of Notre Dame (1939)
“Claude Rains is unwatchable.” The Invisible Man (1933)
“Gone with the Fin.” Jaws (1975)
“T-rex isle dysfunction.” Jurassic Park (1993)
“Peter Jackson shoots JRR.” The Lord of the Rings: The Fellowship of the Ring (2001)
“Sequel with familiar ring.” The Lord of the Rings: The Two Towers (2002)
“Three. Ring. Serkis.” The Lord of the Rings: Return of the King (2003)
“You’re watching Big Brother.” Nineteen Eighty-Four (1984)
“Nut tries to bolt.” One Flew Over the Cuckoo’s Nest (1975)
“Typical male never matures.” Peter Pan (1953)
“Nicholson: stark raving dad.” The Shining (1980)
“Teens have necking issues.” Twilight (2008)
So my fellow Query Tracker writers, if you are looking for a break from cranking out your 100,000-word manuscript, try writing a few four-word film reviews and submit them to www.fwfr.com.
Who knows, you may be published in the next FWFR book.
* * *
You can find out more about Michael Onesi on the FWFR website. The book can be purchased on Amazon and in bookstores across North America.
See ya on the forum, Michael!