I'm a little tired of writing and with sending out query letters. I hear the novel screaming in my ear to get it out into the world but there is only so much I can do. And I read everything on each agent I intend to query, which is tiring. Plus they can provide conflicting information on what they want from one source to another.
I am telling you all this to show that being an aspiring author is exhausting. There is so much work to do, on both the creative and business ends. And it seems endless.
But it is the weekend. I am going to enjoy a nice dinner at a Japanese restaurant tonight and relax for as much of the weekend as I can. (I cut the grass several days ago.)
When I started blogging in December 2007, I intended to post three times each week, and thus have blogs 12 times a month. That didn't work out. For a variety of reasons, I slacked off. But I am trying to get back to my original goal. And with this posting, I will have 12 postings this month. That hasn't happened since March 2008.
Being a writer is a journey, and this blog is about that journey. I hope you enjoy it.
Thanks for reading and keep writing.
Friday, April 30, 2010
Thursday, April 29, 2010
Is she white?
I got a funny and surprising question last Saturday from the members of my critique group, all of whom, it turns out, are middle-aged white women. Someone asked me if a particular character in my current novel, AN UNTIDY AFFAIR, is white. The character's name is Samantha and she is the secretary/clerical assistant to my protagonist David Blaise, and a former Ho (a.k.a. Baby Cakes). What was so surprising to me is that everyone in the group was wondering the same thing.
Writing fiction to me is like having a long, elaborate daydream and writing it all down. I see each character in my head as I write them in each scene. I describe who they are and how they look and try to demonstrate things about their character by the actions I also describe.
Samantha is a fun but minor character. I give her something to do in this novel but plan to show more of who she is in my next David Blaise novel, which will be a prequel. I know what Samantha looks like and I thought I described her well, including mentioning something about her race.
But looking back through the text I now realize that I don't clearly state her race. It is vague, which is what prompted the question. I also found another character, also a woman, about whom I don't provide a firm indication of race.
I like my critique group and I take their suggestions seriously and, in return, I make serious suggestions when it is my turn to discuss someone else's work. I don't always use the suggestions I get -- nor do I expect someone to always take my suggestions -- but I have learned to rely on their objective judgments.
I know what race Samantha is and can clarify the point with just one sentence in the text, and probably with even less than a sentence. But it is the collective judgment of the group that I do nothing. I should leave it as it is and allow the reader to decide, if they wish.
Samantha's race doesn't play a role in the story. It only provides some detail about her. So is it necessary to state which race she is. No, I don't think it is.
For now, I am leaving it the way it is. But what do you think?
You can leave comments here or on my Facebook page.
Thanks for reading and keep writing.
Writing fiction to me is like having a long, elaborate daydream and writing it all down. I see each character in my head as I write them in each scene. I describe who they are and how they look and try to demonstrate things about their character by the actions I also describe.
Samantha is a fun but minor character. I give her something to do in this novel but plan to show more of who she is in my next David Blaise novel, which will be a prequel. I know what Samantha looks like and I thought I described her well, including mentioning something about her race.
But looking back through the text I now realize that I don't clearly state her race. It is vague, which is what prompted the question. I also found another character, also a woman, about whom I don't provide a firm indication of race.
I like my critique group and I take their suggestions seriously and, in return, I make serious suggestions when it is my turn to discuss someone else's work. I don't always use the suggestions I get -- nor do I expect someone to always take my suggestions -- but I have learned to rely on their objective judgments.
I know what race Samantha is and can clarify the point with just one sentence in the text, and probably with even less than a sentence. But it is the collective judgment of the group that I do nothing. I should leave it as it is and allow the reader to decide, if they wish.
Samantha's race doesn't play a role in the story. It only provides some detail about her. So is it necessary to state which race she is. No, I don't think it is.
For now, I am leaving it the way it is. But what do you think?
You can leave comments here or on my Facebook page.
Thanks for reading and keep writing.
Wednesday, April 28, 2010
Electronic querying
Although it is best to write a query letter for a specific agent or editor, it is impractical to start from scratch every time you have to send one. It is possible you will send scores of letters before finding an agent. You can't sit down with a blank page each time.
I have a basic letter, one that covers all the areas agents commonly want to see. There's the hook for the story, the body and the resolution, a paragraph stating the genre and length of the book, something about me -- what I have written, what organizations I am in -- and a conclusion asking for representation and thanking them.
I vary this a little but each letter has all those elements.
After that, I try to customize the letter for a given agent. It is generally only a line or two at most. Then it is cut and paste into an e-mail -- no attachments. No one wants attachments -- and a push of the send button.
But last night I was on the website of an agent on my B-list and they wanted responses pasted into a form already on their website. It had all the elements I mentioned before but separated into categories on their formatted form.
It was all okay. Took me quite some time cutting and pasting and tailoring my responses and, after nearly an hour, I was nearly done when, BANG!, their form disappeared from my screen and everything I had done was gone. It was after midnight at that point and I was faced with a choice of doing nothing and going to bed, querying another agent or going back and starting again with this agent.
I said they are on my B-list but they are high on the list. So, I started again.
I don't particularly like formatted forms on an agent's website. It's impersonal and you get the feeling that it's only going to get read my some guy in the cyberspace equivalent of a mail room. In fact, that's one of the reasons this agent's firm is on the B-list.
But I did it anyway. And I got an automatic response from the agency saying they got the query. So, we shall see. It's on to the next.
Just wanted to drop a word today. I hope you are enjoying your day and are being productive.
Thanks for reading and keep writing.
I have a basic letter, one that covers all the areas agents commonly want to see. There's the hook for the story, the body and the resolution, a paragraph stating the genre and length of the book, something about me -- what I have written, what organizations I am in -- and a conclusion asking for representation and thanking them.
I vary this a little but each letter has all those elements.
After that, I try to customize the letter for a given agent. It is generally only a line or two at most. Then it is cut and paste into an e-mail -- no attachments. No one wants attachments -- and a push of the send button.
But last night I was on the website of an agent on my B-list and they wanted responses pasted into a form already on their website. It had all the elements I mentioned before but separated into categories on their formatted form.
It was all okay. Took me quite some time cutting and pasting and tailoring my responses and, after nearly an hour, I was nearly done when, BANG!, their form disappeared from my screen and everything I had done was gone. It was after midnight at that point and I was faced with a choice of doing nothing and going to bed, querying another agent or going back and starting again with this agent.
I said they are on my B-list but they are high on the list. So, I started again.
I don't particularly like formatted forms on an agent's website. It's impersonal and you get the feeling that it's only going to get read my some guy in the cyberspace equivalent of a mail room. In fact, that's one of the reasons this agent's firm is on the B-list.
But I did it anyway. And I got an automatic response from the agency saying they got the query. So, we shall see. It's on to the next.
Just wanted to drop a word today. I hope you are enjoying your day and are being productive.
Thanks for reading and keep writing.
Monday, April 26, 2010
Hooray for Megan
I planned to post on my blog tomorrow but today I got some of the most wonderful news --that is short of the wonderful news of me getting a publishing contract. And so I had to write today.
My friend Megan Messina Bostic has a contract and is on her way to being published!
I have never seen Megan face-to-face. We met online during the 2009 Amazon Breakthrough Novel Award contest. But I have always felt a certain kinship with her. She was an aspiring novelist, like me, only further along. She has a blog, plus a video blog, plus read and reviewed books. All that was in addition to writing, and being a mother, wife, sister, daughter, friend, and a host of other things.
The woman is a superhero. I wouldn't be surprised if she has a cape hidden somewhere in her house.
But more importantly than all that, she has always been a terrific online friend -- encouraging and supportive.
Unlike some who took part in ABNA last year and, perhaps, this year as well, Megan has never been one to belittle another writer. She has never seen one writer's success as a threat to her own. She has always been a cheerleader for writers struggling against the long odds of success.
I also feel that way and have said so at other times in my blog. As we all fight to succeed, one writer making it isn't a blockade for those left behind. They are a trailblazer paving the way for others to hopefully follow.
I couldn't be happier for someone's success. It nearly brought tears to my eyes. Megan is a person who deserves it. So, in her honor this afternoon, I did a Happy Dance.
I don't know the details of Megan's deal or when her book comes out. I suspect some time next year or in 2012. But regardless, I am going to get my copy of MENDING FENCES -- I read part of it last year and liked what I read -- and will make sure my friend signs a copy, even if I have to drive all the wat to the West Coast to have her do it.
Megan, well done. Well done, indeed!
Thanks for reading and, like Megan Bostic, don't give up on writing.
My friend Megan Messina Bostic has a contract and is on her way to being published!
I have never seen Megan face-to-face. We met online during the 2009 Amazon Breakthrough Novel Award contest. But I have always felt a certain kinship with her. She was an aspiring novelist, like me, only further along. She has a blog, plus a video blog, plus read and reviewed books. All that was in addition to writing, and being a mother, wife, sister, daughter, friend, and a host of other things.
The woman is a superhero. I wouldn't be surprised if she has a cape hidden somewhere in her house.
But more importantly than all that, she has always been a terrific online friend -- encouraging and supportive.
Unlike some who took part in ABNA last year and, perhaps, this year as well, Megan has never been one to belittle another writer. She has never seen one writer's success as a threat to her own. She has always been a cheerleader for writers struggling against the long odds of success.
I also feel that way and have said so at other times in my blog. As we all fight to succeed, one writer making it isn't a blockade for those left behind. They are a trailblazer paving the way for others to hopefully follow.
I couldn't be happier for someone's success. It nearly brought tears to my eyes. Megan is a person who deserves it. So, in her honor this afternoon, I did a Happy Dance.
I don't know the details of Megan's deal or when her book comes out. I suspect some time next year or in 2012. But regardless, I am going to get my copy of MENDING FENCES -- I read part of it last year and liked what I read -- and will make sure my friend signs a copy, even if I have to drive all the wat to the West Coast to have her do it.
Megan, well done. Well done, indeed!
Thanks for reading and, like Megan Bostic, don't give up on writing.
Saturday, April 24, 2010
Query news
No, this isn't to tell you I have a very good, positive query response. Actually, I hesitated writing this blog because in my last posting I was about to send out another letter -- one to the top agent I hoped to attract. And in the end of the blog, I indicated I might wait another day. I admitted to being gun shy.
The ballsy thing to do was send the letter. But, I waited. So file a lawsuit!
Actually, however, it was a good thing. At least I believe it was. As I stated before, I have poured over every word of my query letter numerous times. It was a good as it could get.
Or so I thought.
That night, I was daydreaming about being interviewed in Philadelphia about my novel, AN UNTIDY AFFAIR, and the first question the interviewer asked was why I picked the MOVE confrontation to write about. In my daydream response, I clarified that MOVE was an important element of the novel but not a crucial element. I used the May 13, 1985, MOVE bombing and fire as a backdrop for telling a murder story. I could have used a different incident in a different place and, with a few changes, had the same story. The most important contribution of using MOVE was that it established both time and place -- May 1985 in Philadelphia.
Then it occurred to me, I don't use the dramatic elements of MOVE very well or high enough in my query letter. So, that's why I re-wrote the letter and I truly do think it is stronger. It's a grabber at the top.
What do you think:
It wasn't a typical Monday for struggling private eye David Blaise. He got two, new important cases to solve and Philadelphia was burning to the ground.
That is a strong start. At least it should attract attention and get someone -- a potential agent -- to read on.
A query letter is about sales and marketing, which is often difficult for authors. Our focus is on the creative. But to be successful, you need a strong business sense because that is what is required for the job.
I'm glad I waited one additional night. Now, come Monday morning when the next round of letters goes out, I will feel confident that I am setting the world on fire, figuratively, of course.
Thanks for reading. And keep writing.
The ballsy thing to do was send the letter. But, I waited. So file a lawsuit!
Actually, however, it was a good thing. At least I believe it was. As I stated before, I have poured over every word of my query letter numerous times. It was a good as it could get.
Or so I thought.
That night, I was daydreaming about being interviewed in Philadelphia about my novel, AN UNTIDY AFFAIR, and the first question the interviewer asked was why I picked the MOVE confrontation to write about. In my daydream response, I clarified that MOVE was an important element of the novel but not a crucial element. I used the May 13, 1985, MOVE bombing and fire as a backdrop for telling a murder story. I could have used a different incident in a different place and, with a few changes, had the same story. The most important contribution of using MOVE was that it established both time and place -- May 1985 in Philadelphia.
Then it occurred to me, I don't use the dramatic elements of MOVE very well or high enough in my query letter. So, that's why I re-wrote the letter and I truly do think it is stronger. It's a grabber at the top.
What do you think:
It wasn't a typical Monday for struggling private eye David Blaise. He got two, new important cases to solve and Philadelphia was burning to the ground.
That is a strong start. At least it should attract attention and get someone -- a potential agent -- to read on.
A query letter is about sales and marketing, which is often difficult for authors. Our focus is on the creative. But to be successful, you need a strong business sense because that is what is required for the job.
I'm glad I waited one additional night. Now, come Monday morning when the next round of letters goes out, I will feel confident that I am setting the world on fire, figuratively, of course.
Thanks for reading. And keep writing.
Wednesday, April 21, 2010
Submissions
When I am ready to query agents (and even some editors), I compile of long list taken from several sources, both online and in print. (I love JEFF HERMAN'S GUIDE TO BOOK PUBLISHERS, EDITORS & LITERARY AGENTS, and got a 2010 copy as a birthday gift last month.) And among the online sources, I particularly love AgentQuery, though I also view others.) I rank each agent according to a purely subjective set of criteria that can change from day to day, and I pour over their websites for every hint or clue as to what they are looking for. (But what they say can be so obscure, which I hate. I was just looking at a listing for an agent in a well-established agency in New York who stated that among her areas of interest were "exceptional fiction" and "anything outstanding." What does any of that mean? And who would be looking for 'unexceptional fiction'?)
After I do the research, I start sending queries -- e-mails first to those who accept them, snail mail later.
I have A, B and C lists of agents, with, of course, the A-list as the top. But I don't always start with the A-list. When I send several queries at a time, I try to pick someone from each list.
In a sense, I suffer from both a fear of rejection and a fear of success. If I haven't sent a query to an A-list agent I particularly hope to attract, I also haven't been rejected by them. It's stupid, I know. So sue me.
Today I am at the top of my A-list and I'm about to send a query to by No. 1 draft pick. I really want this agent, though she has rejected me before (for DEATH AT THE JUNGLE-BUNNY JOURNAL). She has editorial experience and says she likes to help a new author get their book in the best shape it can be in before it goes to an editor. She represents a number of mystery writers and is a member of MWA. I love her blog. It is informative and witty, as well as well-written. And I have gone over and over her website, writings and blogs for just a little something to help me get her attention.
Right now the book is as a good as I can make it. I have poured over every word of my query numerous times and it is as good as I can make it for this agent. Now it's time to let it fly.
Like most writers, I hate sending out query after query with little hope of a positive response. But I know I will never get this agent (or any agent) unless I willing to risk rejection. Am I ready for a response from this agent? I don't know.
Maybe I will sit on it one more night and send it tomorrow morning. And maybe I will just have the balls to send it now.
Who knows?
In any event, thanks for reading and don't give up.
After I do the research, I start sending queries -- e-mails first to those who accept them, snail mail later.
I have A, B and C lists of agents, with, of course, the A-list as the top. But I don't always start with the A-list. When I send several queries at a time, I try to pick someone from each list.
In a sense, I suffer from both a fear of rejection and a fear of success. If I haven't sent a query to an A-list agent I particularly hope to attract, I also haven't been rejected by them. It's stupid, I know. So sue me.
Today I am at the top of my A-list and I'm about to send a query to by No. 1 draft pick. I really want this agent, though she has rejected me before (for DEATH AT THE JUNGLE-BUNNY JOURNAL). She has editorial experience and says she likes to help a new author get their book in the best shape it can be in before it goes to an editor. She represents a number of mystery writers and is a member of MWA. I love her blog. It is informative and witty, as well as well-written. And I have gone over and over her website, writings and blogs for just a little something to help me get her attention.
Right now the book is as a good as I can make it. I have poured over every word of my query numerous times and it is as good as I can make it for this agent. Now it's time to let it fly.
Like most writers, I hate sending out query after query with little hope of a positive response. But I know I will never get this agent (or any agent) unless I willing to risk rejection. Am I ready for a response from this agent? I don't know.
Maybe I will sit on it one more night and send it tomorrow morning. And maybe I will just have the balls to send it now.
Who knows?
In any event, thanks for reading and don't give up.
Saturday, April 17, 2010
Anthology
I wrote a whole new scene yesterday for AN UNTIDY AFFAIR. It was a bit of backstory between the main character, David Blaise, and a former love interest. And while I was doing it, I was surprised by some of the developments that came out of it.
It always amazes me when I am writing something and something surprising comes out. In this case, there is a definite connection between Blaize's ex and the missing person's case he is working on. And I didn't know any of that until I was writing it.
Amazing.
Also I am making progress in promoting BEDLAM AT THE BRICKYARD, the anthology being put together by the Speed City chapter of Sisters in Crime. It is being published in two weeks, though pre-orders are being taken on Amazon. There are a couple of libraries interested in having signings, one of the anthology's editors get them dates for a local TV show, I'm close to getting some coverage in a local community paper and a local book club is interested in having a couple of authors come to talk. The launch party date is May 22.
It is still slow-going but things are moving ahead.
Next will be really getting stuff online. I will do something in my blog, of course, but I want a greater presence via Facebook, Twitter and YouTube, and on the chapter's website.
Not sure if we can have video on our website but I am working on that. I definitely know we can do something on the chapter's Facebook page.
Like I said before, this is an exciting time. I am looking forward to seeing what we can do.
Thanks for reading and keep writing.
It always amazes me when I am writing something and something surprising comes out. In this case, there is a definite connection between Blaize's ex and the missing person's case he is working on. And I didn't know any of that until I was writing it.
Amazing.
Also I am making progress in promoting BEDLAM AT THE BRICKYARD, the anthology being put together by the Speed City chapter of Sisters in Crime. It is being published in two weeks, though pre-orders are being taken on Amazon. There are a couple of libraries interested in having signings, one of the anthology's editors get them dates for a local TV show, I'm close to getting some coverage in a local community paper and a local book club is interested in having a couple of authors come to talk. The launch party date is May 22.
It is still slow-going but things are moving ahead.
Next will be really getting stuff online. I will do something in my blog, of course, but I want a greater presence via Facebook, Twitter and YouTube, and on the chapter's website.
Not sure if we can have video on our website but I am working on that. I definitely know we can do something on the chapter's Facebook page.
Like I said before, this is an exciting time. I am looking forward to seeing what we can do.
Thanks for reading and keep writing.
Wednesday, April 14, 2010
B.I.C.
Yesterday, I wasn't in the mood to write, or do much of anything else. And I blogged about that.
Now today I have the same problems I had yesterday -- unpublished, tight finances, poor freelance prospects at the moment, weeds in the yard, nutty children, a dog that peed in the sunroom -- and the day before that and all of last week. I am listening to the same music (which I still love, by the way).
But I don't feel the same way today about life or about work. True, I felt a little down this morning but a drive on a sunny day to vacuum out the car and some strawberry ice cream at lunch cured that. This morning I spent time on a freelance project and this afternoon I called an editor with a couple of story ideas. I am also going to work on the marketing for the anthology and do some writing.
Yesterday I chalk up as a Personal Day.
Now it seems that Nathan Bransford, a literary agent whose blog I sometimes read, posted a blog entry yesterday on the work of writing. He called it Willpower and he mentioned B.I.C. -- Butt in Chair. I didn't see the posting until today after I saw my wonderful friend Megan Bostic post it on Facebook. It was the right topic for me on the right day.
Writing is hard, whether you enjoy it or now. And Nathan is right. If you only write when you feel inspired, it will take 100 years to write a novel.
Janet Evanovich, an author I enjoy and admire, says that writing is a job. And to get it done, you have to show up at work. That means you work when you feel inspired and you work when you don't.
Non writers do have this romantized view of the craft in which the writer is struck by a certain inspiration and goes off to the typewriter to bang out something brilliant. And regardless of the length they stay there writing until it's done. That, of course, isn't how things generally work. Writing is more perspiration than inspiration. As Nathan said, If writing is always fun you may be doing it wrong.
Now as for yesterday, let me put it into perspective.
Every 9-to-5 job I have ever had gave you days off. Holidays, sick days, personal days, vacation days. I work for myself and I have decided that yesterday was a personal day. And I am only allowing myself one. Today is a work day.
Thanks for reading. Now get off your butt and get back to work.
Now today I have the same problems I had yesterday -- unpublished, tight finances, poor freelance prospects at the moment, weeds in the yard, nutty children, a dog that peed in the sunroom -- and the day before that and all of last week. I am listening to the same music (which I still love, by the way).
But I don't feel the same way today about life or about work. True, I felt a little down this morning but a drive on a sunny day to vacuum out the car and some strawberry ice cream at lunch cured that. This morning I spent time on a freelance project and this afternoon I called an editor with a couple of story ideas. I am also going to work on the marketing for the anthology and do some writing.
Yesterday I chalk up as a Personal Day.
Now it seems that Nathan Bransford, a literary agent whose blog I sometimes read, posted a blog entry yesterday on the work of writing. He called it Willpower and he mentioned B.I.C. -- Butt in Chair. I didn't see the posting until today after I saw my wonderful friend Megan Bostic post it on Facebook. It was the right topic for me on the right day.
Writing is hard, whether you enjoy it or now. And Nathan is right. If you only write when you feel inspired, it will take 100 years to write a novel.
Janet Evanovich, an author I enjoy and admire, says that writing is a job. And to get it done, you have to show up at work. That means you work when you feel inspired and you work when you don't.
Non writers do have this romantized view of the craft in which the writer is struck by a certain inspiration and goes off to the typewriter to bang out something brilliant. And regardless of the length they stay there writing until it's done. That, of course, isn't how things generally work. Writing is more perspiration than inspiration. As Nathan said, If writing is always fun you may be doing it wrong.
Now as for yesterday, let me put it into perspective.
Every 9-to-5 job I have ever had gave you days off. Holidays, sick days, personal days, vacation days. I work for myself and I have decided that yesterday was a personal day. And I am only allowing myself one. Today is a work day.
Thanks for reading. Now get off your butt and get back to work.
Tuesday, April 13, 2010
Discouragement II
I haven't written about discouragement for some time and that's probably because I haven't particularly felt that way and I had other things I wanted to say.
Today, however, is different. I am feeling discouraged and I can't seem to shake a degree of sadness.
I have no real reason to feel this way. I didn't get a rejection today. In fact, I have several reasons to feel upbeat. BEDLAM AT THE BRICKYARD is close to publication and I learned today the two editors will be interviewed on a local television station four days before our launch party in May.
I didn't arrange for the interview but I am making progress with other promotions I have for the book.
But I was also doing some research today in Jim Herman's book guide to publishers and agents and once again was struck with the enormity of the task of getting published.
Money is tight and I don't have any new freelance writing prospects. I am playing music I love but it isn't particularly cheerful. Normally, that isn't a problem but today . . .
I don't feel like reading. I don't feel like writing. I don't feel like driving my MG. I am just down.
(And I can't seem to get the weeds out of the yard.)
I don't know what I am going to do, except possibly reread some favorite part of one novels or short stories. That generally helps but I don't feel like doing that either.
Writing is hard. But feeling like I am not progressing is harder.
I know this feeling will go away sooner or later. I am generally an optimistic person. But today I can't shake that ugly feeling.
So there is my tale of woe. Now you get back to writing.
Today, however, is different. I am feeling discouraged and I can't seem to shake a degree of sadness.
I have no real reason to feel this way. I didn't get a rejection today. In fact, I have several reasons to feel upbeat. BEDLAM AT THE BRICKYARD is close to publication and I learned today the two editors will be interviewed on a local television station four days before our launch party in May.
I didn't arrange for the interview but I am making progress with other promotions I have for the book.
But I was also doing some research today in Jim Herman's book guide to publishers and agents and once again was struck with the enormity of the task of getting published.
Money is tight and I don't have any new freelance writing prospects. I am playing music I love but it isn't particularly cheerful. Normally, that isn't a problem but today . . .
I don't feel like reading. I don't feel like writing. I don't feel like driving my MG. I am just down.
(And I can't seem to get the weeds out of the yard.)
I don't know what I am going to do, except possibly reread some favorite part of one novels or short stories. That generally helps but I don't feel like doing that either.
Writing is hard. But feeling like I am not progressing is harder.
I know this feeling will go away sooner or later. I am generally an optimistic person. But today I can't shake that ugly feeling.
So there is my tale of woe. Now you get back to writing.
Monday, April 12, 2010
On-site research
I was in Philadelphia for a hot second over the weekend but was able to do some on-site research that directly affects two of my current unpublished works -- THE DEATH OF ART and AN UNTIDY AFFAIR, particularly the latter.
The last time I was in Philadelphia was last August and I wrote AFFAIR in November. There were several important things that I remembered incorrectly about the city where I lived for 20 years. Some places and locations were different and the differences are important to the story. Or at least they are important to me.
As a working journalist, I have lived with the knowledge that a reporter's credibility is the only thing he or she really has. So getting the facts right is of utmost importance to me as a journalist -- and as a fiction writer. I know as a novelist there are things I can -- and do -- just make up. But it is still best to get the verifiable facts correct.
I had a couple of locations wrong in AFFAIR and in other ways I could have written better descriptions.
So I am going to make some changes which I hope will also improve the quality. On-site research is not necessarily necessary or at times even possible. But where it is, I think it can only serve to improve the credibility of a work.
Thanks for reading and keep writing.
The last time I was in Philadelphia was last August and I wrote AFFAIR in November. There were several important things that I remembered incorrectly about the city where I lived for 20 years. Some places and locations were different and the differences are important to the story. Or at least they are important to me.
As a working journalist, I have lived with the knowledge that a reporter's credibility is the only thing he or she really has. So getting the facts right is of utmost importance to me as a journalist -- and as a fiction writer. I know as a novelist there are things I can -- and do -- just make up. But it is still best to get the verifiable facts correct.
I had a couple of locations wrong in AFFAIR and in other ways I could have written better descriptions.
So I am going to make some changes which I hope will also improve the quality. On-site research is not necessarily necessary or at times even possible. But where it is, I think it can only serve to improve the credibility of a work.
Thanks for reading and keep writing.
Wednesday, April 7, 2010
NaNoWriMo Part III
I hadn't intended for this subject to have so many parts but this last installment is the one that most profoundly affected me as a writer.
I have been a working journalist for more than two decades. On more than one occasion -- generally when I'm walking Pluto -- I have tried to calculate in my head how many words I have written over my career as a reporter. I really haven't an idea but I'm sure it's well over a million words.
As a reporter, I have generally been an observer, not a participant. I have never been a columnist. Thus, the vast majority of the articles I have written were in third person. I can count on one hand the number of articles I have written from a first-person singular point of view.
(I need to clarify a point here. When I was an editor at The Philadelphia Tribune, I was on the editorial board and wrote editorials at least once a week for nearly four years. And the editorials were written in first person. But I was writing for the group -- and not necessarily expressing my own opinion -- and it was first-person plural, not singular.
One final word. The awards I have as a professional journalist were all for editorials. Now that is ironic!)
My point is that as a reporter and an author, I am most familiar and comfortable with writing in third. As an author (as with being a reporter) it has allowed me to be intimate with the story and the characters but still able to stand back and separate myself from the elements of the story. I could get caught up in a story but it was never MY story. I was just an observer, not a participant.
POV is the story-telling element about which members of my critique group criticize me the most. They say my POV shifts a lot. I rarely see it. To me, I am always the fly on the wall viewing the action. And I always know if the Marines are coming from around the corner to save the hero. You can't do that in first-person POV.
But in AN UNTIDY AFFAIR, I was immediately faced with the prospect of a story from a single POV, that of the novel's hero, private eye David Blaise. The entire story would be in first person.
I didn't plan for it that way. It just developed in my head that way and I couldn't get it out of my head. So, I went with in, although I knew it would be a tremendous challenge for me to write that way.
In this story, I identified with the main character more than I have with any other character I have created -- and there have been some in earlier works I have identified with a lot. I was in Blaise's head all the time. I, in essence, was him. I could no better determine the motives and actions of others in the novel than he could. Certainly not immediately. His life was very intimate to me. I felt uncertain when he was uncertain.
And, as a writer, I felt far more exposed, although I also felt that writing from that POV was limiting.
Members of the writing group who have seen the novel said it was the best they had seen of my writing. I'm not so sure of that but it was interesting and personal to me. Not sure if I will do it again. I may just retreat to the familiar. But I have mentally outlined two additional David Blaise stories, and, if I write them, they will be in first person.
Maybe I am changing. May not. But it was interesting, though not necessarily comfortable. Good thing it only took me 19 days to write it.
Thanks for reading and keep writing.
I have been a working journalist for more than two decades. On more than one occasion -- generally when I'm walking Pluto -- I have tried to calculate in my head how many words I have written over my career as a reporter. I really haven't an idea but I'm sure it's well over a million words.
As a reporter, I have generally been an observer, not a participant. I have never been a columnist. Thus, the vast majority of the articles I have written were in third person. I can count on one hand the number of articles I have written from a first-person singular point of view.
(I need to clarify a point here. When I was an editor at The Philadelphia Tribune, I was on the editorial board and wrote editorials at least once a week for nearly four years. And the editorials were written in first person. But I was writing for the group -- and not necessarily expressing my own opinion -- and it was first-person plural, not singular.
One final word. The awards I have as a professional journalist were all for editorials. Now that is ironic!)
My point is that as a reporter and an author, I am most familiar and comfortable with writing in third. As an author (as with being a reporter) it has allowed me to be intimate with the story and the characters but still able to stand back and separate myself from the elements of the story. I could get caught up in a story but it was never MY story. I was just an observer, not a participant.
POV is the story-telling element about which members of my critique group criticize me the most. They say my POV shifts a lot. I rarely see it. To me, I am always the fly on the wall viewing the action. And I always know if the Marines are coming from around the corner to save the hero. You can't do that in first-person POV.
But in AN UNTIDY AFFAIR, I was immediately faced with the prospect of a story from a single POV, that of the novel's hero, private eye David Blaise. The entire story would be in first person.
I didn't plan for it that way. It just developed in my head that way and I couldn't get it out of my head. So, I went with in, although I knew it would be a tremendous challenge for me to write that way.
In this story, I identified with the main character more than I have with any other character I have created -- and there have been some in earlier works I have identified with a lot. I was in Blaise's head all the time. I, in essence, was him. I could no better determine the motives and actions of others in the novel than he could. Certainly not immediately. His life was very intimate to me. I felt uncertain when he was uncertain.
And, as a writer, I felt far more exposed, although I also felt that writing from that POV was limiting.
Members of the writing group who have seen the novel said it was the best they had seen of my writing. I'm not so sure of that but it was interesting and personal to me. Not sure if I will do it again. I may just retreat to the familiar. But I have mentally outlined two additional David Blaise stories, and, if I write them, they will be in first person.
Maybe I am changing. May not. But it was interesting, though not necessarily comfortable. Good thing it only took me 19 days to write it.
Thanks for reading and keep writing.
Monday, April 5, 2010
NaNoWriMo Part ll
When I decided to enter National Novel Writing Month last November, I faced two challenges that meant I would have to change how I write.
The first was obvious. The idea of writing a novel of at least 50,000 words in 30 days scared me to death. Granted, 50,000 words is not a long novel. For most fiction, editors and publishers are looking for 75,000 t0 95,000 words in most categories, although some books top well over 100,000. But unless I was writing a children's or young adult novel, where 50,000 words is the upper range, I needed to think about a novel longer than 50,000 words.
That's a lot given my usual output. Let's do the numbers. That's an average of 1,667 words to write EVERY DAY for 30 days. Generally when I'm writing, I do about 1,800 words a day but don't do that everyday. The general goal is about 5,000 words a week. I could then plan to complete a first draft of a 75,000-word novel in three months. But at that rate, I wouldn't hit NaNoWriMo-targeted quantity for 10 weeks, not the roughly four weeks required. To reach the NaNoWriMo target I would need more discipline than I have exhibited to date.
But more important than mere discipline, I would need to change how I execute a novel. In this case, it meant I would have to outline the book ahead of time. I would have time to write but wouldn't have enough time to think about what to write.
As you know, there is a large debate being raged in the writing community regarding outlining. Some writers agree with one of my heroes, John Grisham. I saw in Writers Digest over the winter where he said outlining was "crucial." I think most writing academics would agree with that (though it is not hard to understand why). That argument says an un-outlined novel is likely to be unfocused, and it's more likely to go unfinished.
Others say outlining is constraining and takes away a novel's spontaneity, which helps make the novel fun to write as well as to read.
My opinion is that writing a novel is difficult no matter how you cut it. In the end, the writer must do what feels most natural. That's not really for someone else to judge.
I generally don't do outlines. I have an idea of how the novel will begin and end before I start writing. But I like the novel to develop on its own. I want to come to it in much the same way a reader would for the first time. I want to be surprised by the developments and with the introduction of new characters. Plus, I have a hard time visualizing an entire work ahead of time.
I will outline a few scenes ahead sometimes when I think I have some really good ideas I don't want to forget but generally I wing it.
But I knew that wouldn't work at NaNoWriMo. There was too much writing to do very quickly. If I was going to make my goal, I would have to outline.
So, several days ahead of time, I wrote out a 10-page outline of the novel. And at about 12:30 in the morning on Nov. 1, I started writing. And I surprised myself. The first sentence in my outline translated into more than 850 words of text. And that first day, I wrote 3,500 words.
Over the next several days, I continued to produce twice as much as would be required. Other NaNo writers I met were surprised at, and quite supportive of, the output.
But outlining in some ways was also constraining. But Day 4, I needed to deviate slightly from the outline. That caused more deviations until by Day 7, I had to stop and write another totally different outline based on where I was at the time.
(Also, halfway through, I realized the person I thought was the killer wasn't the true bad guy. Fortunately, it didn't require any changes.)
So I pressed on and at 7:23 p.m. on Nov. 15, two weeks after I started, I reached 50,084 words.
I did it without having to give up my life. I still worked, had dinner with the family every night, got to go out to dinner on the weekend and still had to walk the dog.
I had planned for a novel of about 70,000 words but I was tired after two weeks and ultimately finished it off on Nov. 19, at 54,000 words. I knew I could go back and flesh it out later. But at the time, I needed the rest.
There was another more profound challenge I faced and it was harder than just outlining. But I will touch on that later.
For now, you should do what feels natural to you. If you do, you are more likely to finish your draft. You can re-write and edit later. But first you must finish.
Thanks for reading and don't give up on writing.
The first was obvious. The idea of writing a novel of at least 50,000 words in 30 days scared me to death. Granted, 50,000 words is not a long novel. For most fiction, editors and publishers are looking for 75,000 t0 95,000 words in most categories, although some books top well over 100,000. But unless I was writing a children's or young adult novel, where 50,000 words is the upper range, I needed to think about a novel longer than 50,000 words.
That's a lot given my usual output. Let's do the numbers. That's an average of 1,667 words to write EVERY DAY for 30 days. Generally when I'm writing, I do about 1,800 words a day but don't do that everyday. The general goal is about 5,000 words a week. I could then plan to complete a first draft of a 75,000-word novel in three months. But at that rate, I wouldn't hit NaNoWriMo-targeted quantity for 10 weeks, not the roughly four weeks required. To reach the NaNoWriMo target I would need more discipline than I have exhibited to date.
But more important than mere discipline, I would need to change how I execute a novel. In this case, it meant I would have to outline the book ahead of time. I would have time to write but wouldn't have enough time to think about what to write.
As you know, there is a large debate being raged in the writing community regarding outlining. Some writers agree with one of my heroes, John Grisham. I saw in Writers Digest over the winter where he said outlining was "crucial." I think most writing academics would agree with that (though it is not hard to understand why). That argument says an un-outlined novel is likely to be unfocused, and it's more likely to go unfinished.
Others say outlining is constraining and takes away a novel's spontaneity, which helps make the novel fun to write as well as to read.
My opinion is that writing a novel is difficult no matter how you cut it. In the end, the writer must do what feels most natural. That's not really for someone else to judge.
I generally don't do outlines. I have an idea of how the novel will begin and end before I start writing. But I like the novel to develop on its own. I want to come to it in much the same way a reader would for the first time. I want to be surprised by the developments and with the introduction of new characters. Plus, I have a hard time visualizing an entire work ahead of time.
I will outline a few scenes ahead sometimes when I think I have some really good ideas I don't want to forget but generally I wing it.
But I knew that wouldn't work at NaNoWriMo. There was too much writing to do very quickly. If I was going to make my goal, I would have to outline.
So, several days ahead of time, I wrote out a 10-page outline of the novel. And at about 12:30 in the morning on Nov. 1, I started writing. And I surprised myself. The first sentence in my outline translated into more than 850 words of text. And that first day, I wrote 3,500 words.
Over the next several days, I continued to produce twice as much as would be required. Other NaNo writers I met were surprised at, and quite supportive of, the output.
But outlining in some ways was also constraining. But Day 4, I needed to deviate slightly from the outline. That caused more deviations until by Day 7, I had to stop and write another totally different outline based on where I was at the time.
(Also, halfway through, I realized the person I thought was the killer wasn't the true bad guy. Fortunately, it didn't require any changes.)
So I pressed on and at 7:23 p.m. on Nov. 15, two weeks after I started, I reached 50,084 words.
I did it without having to give up my life. I still worked, had dinner with the family every night, got to go out to dinner on the weekend and still had to walk the dog.
I had planned for a novel of about 70,000 words but I was tired after two weeks and ultimately finished it off on Nov. 19, at 54,000 words. I knew I could go back and flesh it out later. But at the time, I needed the rest.
There was another more profound challenge I faced and it was harder than just outlining. But I will touch on that later.
For now, you should do what feels natural to you. If you do, you are more likely to finish your draft. You can re-write and edit later. But first you must finish.
Thanks for reading and don't give up on writing.
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