Tag Archives: conference

All about character arcs!

This last weekend, I taught a class on character arcs at the LDStorymakers Writers’ Conference. I was really pleased with how it went!

Today I’m sharing the presentation itself as well as links to all the articles I referenced in my presentation. So, here we go!

The Presentation

via Prezi


I’ve left it so that you can zoom in/out on whatever you’d like. (Sorry, no sound effects 😉 .)

The References

A lot of the presentation came from my series on character arcs:

My character arcs series is also available as a free PDF! (More free writing guides.)

Other awesome references:

Alicia Rasley’s articles on character arcs:

Blog posts on Michael Hauge’s classes:

These are the articles I referenced directly, but I studied a lot of great information on character arcs. I’ll be sharing more about character arcs later this week on my newsletter—be sure to join for the latest news & writing resources!

With a brand new baby, attending a conference is always a challenge. My husband was wonderful enough to take care of her at home until after my presentations, and then I took her after that.

JR and baby at conf
Baby’s first writers’ conference! (She was 5.5 weeks.)

It’s always so good to hang out with “my people”: writers!

What do you think? What’s your favorite part of writers’ conferences? Were you at Storymakers? What was your favorite part?

Photo credits: Character arcs—Riccardo Romano

Good news for me—and for you!

Over the weekend, I had the privilege of attending the LDStorymakers writers’ conference for the third time. And for the second time, I pretty much panicked whenever I thought about the results of the first chapter contest.

In fact, I even told people (like, I don’t know, my own husband) that I hadn’t entered at all. (I told him to view this as evidence of only my own insecurities and the fragile state of my ego, not any reflection on him. Plus, I’d told him I entered months ago and he just forgot.)

But, as you may have guessed from the title of the post, I had the honor of receiving an award in their first chapter contest:

Mystery/Suspense Category: First Place for Façade!

And you can read that chapter here!

Thank you to everyone who helped me get my first chapter in shape—and thank you for all the feedback I’ve received on the chapter since then.

(And yes, if you’ve been here a while, I actually won the same award last year.)

Okay, so, obviously, that news isn’t “good” for you so much—but this next one is. Today I’m guest blogging at Romance University. It’s the fourth installment on a series on author websites:

And if that’s not good news for you, maybe this will be—three lucky commenters on Romance University will have their websites critiqued (critiques to be posted on Thursday)!! So head on over!

How to get out of the slush pile – Lisa Mangum – The Book Academy

We interrupt our series on plotting to bring you notes from The Book Academy, a conference I attended last week. We’ll pick up with plotting—including a guest post—later this week!

In a lot of ways you’re already doing the right things, but a little extra polish can make a big difference.

Sometimes you find slush pile gems—her company found Jason Wright in the slush pile (and he became a NYT bestseller). Everybody’s a first time author at some point in his/her career.

5 things you can’t control about submitting your MS

  1. Publishing is a business. We need a book that will sell.
  2. How many other MSs submitted in a given year.
  3. How many slots the publisher has available for new writers.
  4. Other MSs submitted that are like yours [oh the agony]
  5. Editor’s mood—they have bad days, too. It’s not personal.

Writing is a personal expression—you have a story that’s in you and you’re writing it down.
Buying books is an emotional decision, based heavily on the cover and back cover copy. Editors are the same when they buy books for their companies—cover letter = cover copy. Cover letter might be most important page in whole submission—give them an emotional investment in what we have to say.

paper_pileHer employer, Deseret Book, gets a good amount of submissions—last year, the received 1700 manuscripts. They published 12 of those from the slush pile. Odds don’t sound good—but of those 1700, they only seriously considered 100-150. Others: wrong place, copy cats, not very good. [For you not-so-math-whizzes, they published <1% of the slush pile, but at most 9% of the slush pile was even publishable. Of the publishable works, they published 8-12%.)

Deseret Book does, on average, 150-160 products a year—books (fiction, nonfiction, adult/ya/kids), audio, music, backlist reprints. Every year, they want Christmas books, mysteries, picture books—the door is always open, try again next year. (Right now they’re slotting for Late Summer 2010-Early 2011).

Why do they reject MSs? It’s not personal—there are plenty of other reasons. For example, a phenomenon she calls “There’s something in the water”—manuscript submission trends—they once received 4 commentaries on Revelations in the same month. They could only publish one, so while all four were good, they had to pick the best one and reject the other three.

Usually by the time a trend is IDed, it’s waning (b/c they work so far in advance). Don’t be the next Dan Brown/Stephenie Meyer—be the first you. Start the trend. That does mean taking a risk for the publisher (is this new b/c people aren’t buying it or b/c it just hasn’t been done before?)

5 things you CAN control about submitting your MS to make a BIG difference:

  1. Do your homework
  2. Follow guidelines
  3. Write a killer cover letter
  4. Show case your talent
  5. Deal with rejection letters

Yes, there is homework—this isn’t just a glamorous lifestyle, LOL. Here’s your assignment:
Six Q you should ask about your own MS/submissions before sending out:

  1. Am I even in the right slush pile? Sending it to the publisher where it will have the best chance to shine?
  2. Who’s going to buy my book? Audience in mind as writing—YA fiction, mystery, w/e—help by presenting market in cover letter (NOT 8-80 year olds)
  3. How is your book different? Not “just like” X or “the next” Y—how is it different, better? Use touchstones as shorthand. Be clear about what’s special about your book. What is it about your book that will make it so your book will rise to the top of the charts? Why will they BUY it?
  4. What are people buying? Know what the market is doing, but don’t follow/copy it—knife edge. Know what the trends are and what people are buying and how much people are buying. Right now, how many people have disposable income to buy books? (Paperbacks, digital, etc.)
  5. What is your marketing plan? Get the book off the shelf and into someone’s hand and money in the register. The publisher might not have a large marketing budget for your book—how will you get the word out to get your book sold? Know where your connections are, who you can talk to, who you can bring on board.
  6. Have I let 5 honest people give me feedback? Is your Mom really going to say that she hated it? If so, then you can have confidence that you’ll jump to the front of the line, having gotten rid of many mistakes.

It’s so much easier if she doesn’t have to work to read it—she’s more likely to read it! Guidelines are there for a reason—know if your MS is in the right slush pile, how not to put editor in a bad mood, to whom you should direct the MS, idea of the wait, how that company works—free cheat sheet or “get out of jail free cards.”

The first impression in hard copy submission (which they prefer) is the envelope. Include complete name and address including ZIP code (don’t make her work to find you!!). Did the author use the right size envelope or is it jammed in there, and duct taped up to hold it together? Have you included the correct size SASE? Always nice to at least include a letter size (size 10) envelope. Most publishers don’t write comments on your MS, so you can ask for it back if you include an-appropriate size envelope. Immediate, easy way to get back in touch with you.

Most important page in your submission package:

THE COVER LETTER

Publishers/editors will make a decision on a cover letter the same way you make a decision on back cover

  • Business letter
  • Not too intimate
  • Simple
  • Formal
  • Professional
  • Representing a product as a business
  • Tell me who you are (complete contact information)
  • Tell me what you’re selling—write your very own back cover blurb—make me buy your book!
  • A good MS deserves a good title. Most publishers will change your title, so don’t stress too much over it, but a kind of dumb title is better than UNTITLED. Titles can change, but having something makes it easier for them to talk about it, ID it in the office.
  • Back cover blurb—can you sum up your book in one sentence? What’s your tag line? What’s your log line?
  • Why should we buy it? Why should we do business with you? Are you famous? Have you written a really great book? Is it a book we’ve never seen before? Does it fill a niche? Why out of all the books we’ve seen should we pick yours?—short bio, what writing awards you’ve won, how serious you are about your craft, not a one-book person. Can we establish you as a brand and give you a guaranteed slot in the future—do you have more than one book in you, are you a professional, do you meet commitments/deadlines?
  • Elusive—the “it” factor. You’ve acknowledged the things you can’t control, you’ve done all you can and you still get rejected. Sometimes there’s no good explanation—it’s just people on the other side of the desk. It’s subjective.
  • When it comes back, make revisions, keep it alive, don’t take it personally, keep sending it out.

Your most important sentence in your manuscript is the first one! Its only job is to make me read the next sentence—if the next sent is really good, I’ll read the whole paragraph, etc., etc.—we don’t read “until it gets good.” EX of Kay Lynn Mangum—she sent in a 600 page book, which was shelved. A few weeks later, Lisa had some free time at work and she picked it up—and pretty much fell right into that world. But they cut book by 50% and then it got published.

It’s okay to follow up to ask for a status report once you’ve waited the prescribed time in the guidelines. (DB = 6-8 weeks) Then it’s okay to call. Caveat: there’s nobody easier to say no to than a high-maintenance author. Don’t call daily. Don’t call the day you submit. Often in publishing, no news is good news. Unless they’re a huge publisher. 😉 Their guidelines should say that, though. If they’re taking time, they’re talking to sales and calendaring and marketing and and and.

What should you do while waiting? Write another book. Revise. Send it to someone else. Keep working on something—they might ask if you have anything else ready—bump to head of the line for guaranteed spots!

Questions
Are most publishers okay with simultaneous submissions?
Most people are. Guidelines will say so. Guidelines should be on publishers’ websites.

Illustrations—are they a plus/minus?
Few are author/illustrators—if you do both well, send them in. If not, usually it’s not the author’s responsibility to find an illustrator. Publisher finds professional, awesome illustrator to go with it. The author should have a vote on illustrations.

How do you discover the trends?
Go to the bookstore, come to writers’ conferences, follow Publishers’ Weekly, industry magazines. To be first, see what’s not on the shelf. How do you find out where all the publishing houses are? Writers Market. Local library, reference section. Or WritersMarket.com subscription, up-to-date. Pulse on what’s going on.

What’s the first thing you look at besides cover letter?
The plot. Is it interesting? An original take? She’s more forgiving on fiction b/c it’s harder to evaluate character development in just paragraph or two. Fiction = decision on content. Nonfiction = decision on topic [and platform]. Strong characters, clear voice, interesting situations, believable dialogue.

Her final thing: What do you do? What can you do? A quotation she saw at Disneyland (a friend of Disney’s encouraging him on building the theme park) seemed to answer these questions perfectly—don’t worry, don’t hurry, don’t stop.

Don’t worry if it’s not very good, don’t worry if it’s taking a long time. Don’t worry if you get lots of rejections. Don’t hurry your craft. Take your time. Make it the best you can. Don’t worry if you make a mistake. Don’t worry. Keep writing. Keep submitting. There will always be a need for books, new writers, new ideas, new voices. I wouldn’t have a job if you guys didn’t do your work. I want to read what you’re writing because you’re writing new and interesting things.

About the presenter
Lisa Mangum is an Assistant Editor at Deseret Book, which she admits is a little different than the NY publishers. She’s been in publishing for twelve years, and most of that time, she was in charge of sorting, maintaining and taming the slush pile. This spring, her first novel, The Hourglass Door (my review) was released by Shadow Mountain books, an imprint of Deseret Book. As per conference guidelines, I obtained written consent from Lisa to blog the content of her presentation.

What do you think? Are there any “tricks” to getting out of the slush pile? What weird guidelines have you come across?

Photo credit: Richard Dudley

Building a Writing Community by Josi S. Kilpack, LDStorymakers

Writing is a very lonely thing—we exist in our own world most of the time. It’s very different when we decide to put that world out there. We need a connection and a response.

Different writing communities serve different purposes.

Before you’re published you can ask others for feedback & technique training.

Once you’re published, you realize “Oh, that’s not the end.” It’s the beginning of a very different journey. You’re on a whole new plane now—now you have to be a public figure. In marketing—networking has been amazing—comparing notes, etc. And then you have your next project.

So, where do we start?

  1. At home! Often the hardest place to get the support that we want in our writing.
    • It’s a risk—reaching out to people for support. But it’s a vital support.
    • Make sure you’re giving the same support that you want to receive—you give as good as you get.
    • Don’t expect more than is reasonable—have other people to help support you.
  2. Books—the Salt Lake public library was my friend! When I first started writing, I had so much to learn, and some amazing books on writing really helped me.
  3. Others—again, a risk—not always a good fit. Can be frustrating and discouraging.
    • Physical groups—crit groups, classes, conferences. (If you’re outside of Utah and you want LDS authors, go to the Stake. If you can’t find any, try any other (ie non LDS) group.)
    • Online: email, blogs, social networks, etc. Rules:
      1. Play nice in the sand box! This is a small sandbox; it’s not as big as we think. We meet these people face-to-face later on and remember what we’ve said to them online. Remember people (potential writer friends, readers, etc.) can find all these comments. Even if they don’t remember, even if you make up, you will remember this when you meet them.
      2. Reciprocate! You go to a community to get something, yes, but if everyone’s there just to get, no one’s there to give.

“People ask you for criticism, but they only want praise.” —Somerset Maugham. When someone argues with a critique (or when you disagree with a comment): weigh it out. Give it a chance. Don’t follow the initial impulse to argue. We have to realize people want to help us!

Example: Shelley, Keats, Lord Byron, Coleridge were in a writing group together. Maybe it’s NOT a coincidence…

Questions
How do you stay positive with criticism and with critiques?

  • Point out the positive—good dialogue, good chapter length, good use of dialogue tags, good setting, etc.
  • Refer them to specific books or resources that will also help explain.

What are your favorite writing books?
Jack Bickham: The 38 Most Common Fiction Writing Mistakes, Scene & Structure
James N. Frey: How to Write a Damn Good Novel
Orson Scott Card: Characters & Viewpoint

What size writing group is best?
I prefer them small because when we meet, we can get through everyone’s stuff in 2-3 hours.

How do you learn to critique?
By doing. [side note: I’m thinking about doing a series on this—any ideas/questions?]

Overview of an appropriate session:
We get together, 20-30 minutes chatting, then do one chapter a piece (10-15 pages). The author reads through those pages aloud. And then we go around the circle and give feedback aloud. We’ve also exchanged manuscripts—then we can blurb each other.

You can also try having each other read it (because they don’t do the inflection, you can see where people trip up on your writing).

You can also time responses if people tend to go on too long.

About the conference: LDStorymakers is a writing contest geared to LDS writers. The conference covers both the niche, regional publishers that cater to the LDS market as well as national publishers.

How to Write and Still be a Good Parent by Tristi Pinkston, LDStorymakers

Presented by Tristi Pinkston (blog)

The most important thing to keep in mind—as parents we have the divine right to receive divine inspiration about your family. If I make a suggestion that doesn’t fit within with your circumstance, you can be given ideas for how to make it all work.

Now, The Family: A Proclamation to the World came out in September 1994, and I had just been married a month previously. My husband and I used it as a template for what we wanted our family to be. Now, we’ve always been taught the traditional roles that father is to support family, mothers raise the family. The proclamation made this into not just “this is our goal” but “this is what we believe.”

When we make the decision to become wives and mothers, we know we’ve done the right thing. We know this choice will make us eternally happy, it has an eternal purpose. But then, we also start getting these ideas that since we’re a wife and mother we’ll never be anything else (because the world tells us motherhood is stupid. Mothers are schlumpy and worthless. [Oh. Man. I have a whole blog about rejecting the world’s view and finding fulfillment in motherhood. Don’t even get me started over here!]) We feel like we’re not making a contribution.

I put my writing aside when I got married because I believed I couldn’t be a good wife, a good mother and a writer. I was going to wait until my children were all grown up, and I was at peace with that because it was based on the Proclamation. But the little devil on my shoulder was saying: “Because you’re a mother, you shouldn’t have any other hobbies. You are a mother and that is so eternally important that you can never do anything else. If you take a single moment to yourself, you’re selfish and you’re bad.”

I hear “I want to be a writer, but I can’t ’cause I’m a mom” so often. You don’t have to put your dreams on hold just because you’re a parent.

I find it impossible to teach about writing without linking it to the spiritual because writing is spiritual. Creation of anything is a spiritual gift.

One of the missions of the church is to perfect the saints. How do we do that?

  • Exercising our talents—let’s not bury them, eh?
  • McConkie—each soul developed its talents as desired in first estate
  • Embracing our talents and learning to use them is part of our missions on Earth.
  • Some day we will be judged based on what we’ve done with the abilities the Lord has given us
  • We can reach out and touch the hearts and souls of people—Proclaim the Gospel (another mission of the church)
  • Hearts can be touched by arts in glorifying, edifying ways.
  • Moroni 10:8: Deny not the gifts of God. Gift of tongues doesn’t just mean speaking. Extends to written word—form of communication
  • Boyd K. Packer—b/c members with special gifts reach out with them, we learn some spiritual things very quickly
  • Our talents are for consecration, but that doesn’t mean that you can’t make money on it.
  • D&C 82:18: And all this for the benefit of the church of the living God, that every man may improve upon his talent, that every man may gain other talents, yea, even an hundred fold
  • Thomas S Monson: the Lord’s storehouse includes the time, talents, resources, etc.
  • See supplemental links on her blog
  • M. Russell Ballard: “Find some time for yourself to cultivate your gifts and interest Pick one or two things that you would like to learn or do that will enrich your live, and make ties for them. Water cannot be drawn from an empty well, and if you are not setting aside a little time for what replenishes you, you will have less and less to give to others, even until your children.”

Personal struggles with motherhood—I love my children but it’s hard to be a mother [I hear ya!]. I was pondering this once when I had a clear image come to my mind: a puddle and a fountain. Both are sources of water, but they’re different. People walk through puddles and track the water out. Puddle gets smaller and smaller until it’s dry. A fountain has a core of strength in the center. The water shoots out, goes to a pool in the bottom, and is recycled. It’s constantly producing, not losing anything of itself from having given the water. As mothers, we need to be like fountains and not like puddles.

We need to feed ourselves the things that we need spiritually, socially, physically, etc., so that when people come to us seeking water, we’re not depleted. If we persist in being puddles, our effectiveness to Him is diminished.

Calls up Keith Fisher—talk to me about “Dad Guilt.”
You go to work—that is your divine responsibility. Providing for the family is tied to a man’s self-esteem.
Keith: Most men feel that what they do is who they are.
When you do something that may or may not make you money for the family, do you ever feel guilty about that? Do men take a writing hobby and feel as guilty about it as women??
Keith: Oh, of course, yeah. There are times when I should be on a Daddy Daughter date and I’m editing.
Just wanted to double check that this applies to the men, too.
Other guy, Randy: I came in here specifically because of that.

Men need to have the same sources of renewal as women do. While their stresses are different—stressing about providing for family—they need to understand it’s okay for them to do something for them, too. We need a personal space for ourselves so we can give our best to our families.

Keep your priorities straight: As you immerse yourself in your writing, you are going to want to stay immersed in your writing. Your children will need things—we must keep in mind that the family is the most important thing.

At the same time, there are boundaries we can establish with our families to show that we need a little time—true needs vs. things that can be put off till later. The Spirit will dictate which is which.

M. Russell Ballard:

There is no one perfect way to be a good mother. Each situation is unique. Each mother has different challenges, different skills and abilities, and certainly different children. The choice is different and unique for each mother and each family. Many are able to be “full-time moms,” at least during the most formative years of their children’s lives, and many others would like to be. Some may have to work part-or full-time; some may work at home; some may divide their lives into periods of home and family and work. What matters is that a mother loves her children deeply and, in keeping with the devotion she has for God and her husband, prioritizes them above all else.

At the same time, we have to balance this—I have seen good women become very focused on what they want to accomplish and they pull away from the Spirit. As Dallin H. Oaks said:

By the same token, a woman’s righteous and appropriate desires to grow, to develop and to magnify her talents—desires strongly reinforced by current feminist teachings—also have their extreme manifestations, which can lead to attempts to preempt priesthood leadership, to the advocacy of ideas out of harmony with Church doctrine, or even to the abandonment of family responsibilities.

Gordon B. Hinckley pleaded that we work at our responsibilities as parents as if everything in life counted on it. Because in fact, everything in life does count on it.

About a year ago, I sat down and analyze my mothering. I realized I was micromanaging everything. I thought I had to be in control or there would be no control. I was doing things for my kids that I didn’t need to (and vice versa). Transferring some of her responsibilities to her kids—laundry, dishes, other chores. (AND it’s okay if things aren’t done “right.”)

We have a lot of jobs as parents, but are these among them?

  • forget to educate ourselves as we educate them
  • forget to feed ourselves when we feed them
  • sacrifice health, sleep and sanity because we do this for them
  • make all their decisions for them
  • pour milk for our 10 year old

What to do!

[Can you tell I’m excited to see practical application?]
First thing we’re going to do:
Sit down and think about our kids. What are we doing for them that they could be doing for themselves? What do we need to do for them that maybe we’re not?

I asked my kids: “What do you need from me?” Every single response had to do with taking time for them. I realized I hadn’t been emotionally giving of myself to my children. I had to take down my emotional wall and become vulnerable—but you can’t have those walls with your kids. Must be emotionally available.

Second thing: take a daily schedule and chart out time they’re otherwise occupied that week: school, nap, playdate, fave show. 15 min chunks. You can have your kids watch shows of value that you can let your children watch for certain times of the day without guilt.

Think about your time—get up earlier? Stay up later? (her time is 10 PM – 2 AM). Candace E. Salima gets up at 4 AM to write. Sometimes we can do with a little less sleep. If you hold down full time jobs, sometimes that’s our only writing time.

Don’t feel guilty if you can’t get everything done that you want to. Your house doesn’t have to sparkle. Your family doesn’t care what dinner as as long as it’s hot. I advocate make-ahead freezer meals.

Rearrange the furniture so your computer is in the flow of traffic—this prevent fights. Learn how to write with chaos. Be accessible to your children so they don’t feel neglected.

Get Ziploc containers with snap-on lids. Every other day, fill them with snacks, and stack them in fridge. Get sippies and fill them with water. Make a whole loaf of sandwiches and put them in the bread bag. Your child comes to you during your writing time—you say, “You can have one of your SPECIAL snack bowls!” Put it on his level, in containers he can open and access.

Older kids can help younger kids, too. Kids feel validated and get what they need.

If you’re not writing, but in a quiet time (driving, standing in line, etc.), use it to think of the next time you’ll write. Think through your next scene, plot (this happened with her new release, Agent in Old Lace [read my review!]).

Find ways to work writing into her life. As you think about this, you will be given ideas for how to work them into your own system. You will be given strength in your own parenting. As you keep the family as your priority, your time with them will improve. Your experiences will improve. But don’t turn your back on your writing. There are some people for whom this is not their time and their season, but the fact that you’re here [at the conference] says that your time is now. Heavenly Father knows us and has our interests and our children’s interests at heart. As we go to Him for help, you will have ideas flow into your mind—organizational ideas she’s had.

You are a steward over these spirits, but also over yourself.

About the conference: LDStorymakers is a writing contest geared to LDS writers. The conference covers both the niche, regional publishers that cater to the LDS market as well as national publishers.

What Will Get You Rejected: Mistakes Not to Make by Janette Rallison, LDStorymakers

Presented by Janette Rallison (blog)

There are six basic types of problems that will get you rejected: point-of-view problems, tag-line problems, motivation problems, story question problems, goal and conflict problems and sentence structure problems.

POV problems—avoid head hopping or authorial insertions. [The trend these days is deep POV in 3rd person—we’re seeing the character’s inmost thoughts, but using 3rd person pronouns. So use your character’s thoughts and vocabulary for . . . well, everything! Never put in something that character can’t know and add a scene break if you’re changing POV characters. Janette probably said all of this, but I missed the beginning of her presentation because I had to run home to feed my baby!]

Tag lines—”90% of the time, tag line should be ‘said.'” Also acceptable, when situation calls for: ask, answer/reply. [But the trend these days is to not use dialogue tags most of the time, instead using action beats to identify speakers.]

Rarely use others—if the dialogue itself can’t show how the words are said, maybe it needs to be revised. Janette gave an example of when one of her characters said something that wasn’t true, but the reader wouldn’t know that, so the line went: “I can dance ballet,” I lied. [Personally, I think it’s acceptable when you have to call attention to the manner in which it was said—specifically whispering, since there really isn’t a way to choose your words to make it read like a whisper.]

Instead of using adverbs or specialized dialogue tags, let the dialogue speak for itself and translate it into actions [those action beats I was telling you about earlier!]. These show so much more powerfully! Janette’s example:

DON’T: “I never want to see your cheating face again,” he yelled angrily.

DO: He ripped the alimony check out of the checkbook with numb hands. He’d written checks a thousand times—for piano lessons, Girl Scout cookies, every elementary school fundraiser that came along. This time it felt as though the ink had come from his own veins. “I never want to see your cheating face again.”

Again, the exception is to use adverbs when the dialogue contradicts tone/facts (like when someone says something cutting in a sweet tone or vice versa).

Motivation problems—Put as little backstory in first chapter as you can. In chapter one, the main character should have a problem and there should be action.

Is your main character an idiot? [We have an acronym for this: TSTL—it means does your character do things that, say, if you saw them in a movie, you would be screaming at the television, “No! Don’t go into that dark attic!”? (Exception: law enforcement officers, who willingly run into danger for us every day. But even they don’t go looking for it if they don’t have to!)]

Story question problems
Your story should have:

  1. Character
  2. Problem—start story on the day your character’s life changed.
  3. Goal—the character has to be proactive, to have direction in life, instead of merely reacting
  4. Obstacles—don’t use coincidence to get people past their obstacles—use it to get people into trouble, but not out!
  5. Antagonist—someone or something that opposes main character’s goals: man v. man, man v. nature, man v. self. The stronger the antagonist, the more intense and exciting the story will be.
  6. Consequences of failure—there has to be a reason why they can’t just give up (this can be the antagonist)

“Fiction is a very dangerous neighborhood to live in.”

You can put these all together into a story question from Techniques of the Selling Writer by Dwight Swain:

When [MC] finds herself in [situation], she [goal]. But will [antagonist and obstacle] make her [consequences of failure]?

This story question should be answered at the climax.

Goal and conflict problems—Don’t let your characters wander through your books without goals. Somebody has to have a goal in every scene. [Even better—all major characters have goals in a scene and they conflict!]

No goals or conflict in a scene? Throw in obstacles, highlight the consequences of failure, hearken back to the antagonist [or give other characters in the scene conflicting goals].

Sentence structure problems—Watch for repeated backward sentences—too many get awkward. [Always vary your sentence structures. Reading aloud is the best way to find repetition like this!]

About the conference: LDStorymakers is a writing contest geared to LDS writers. The conference covers both the niche, regional publishers that cater to the LDS market as well as national publishers.

Self-editing and Revision presentation by Julie Coulter Bellon

Highlights of the presentation by Julie Coulter Bellon

CLAW—the 4 secrets for self-editing

Check off your basic editing checklist
Let someone else read it for you that will give you good feedback
Always print it out and read a hard copy
Walk away for a few hours, days or weeks and come back with fresh eyes.

Check off your basic editing checklist:
Never rely solely on your spell/grammar check (“Misspellers of the world, untie!”; see also “Always print it out and read a hard copy”). Watch your tenses and subject/verb agreement.

Avoid too many adverbs/adjectives [emphasis mine: some people read this advice without reading the examples and think you can never use adjectives or adverbs. Also note that repetitive adjectives like “green grass” below are also something to watch for]—laundry lists of description: Julie called this “the laziest writing”:

  • “It was a beautiful sunny June day and the lush, emerald green grass reflected the bright yellow sunlight and hurt my eyes.”
  • “She desperately wanted to kiss him passionately.”
    • Telling versus showing!

Shun redundancy and repetitiveness [I am HILARIOUS]—on the micro level (crutch words, using obscure/unusual words over and over, and empty words “just,” “actually,” “really,” etc.) and the macro level (do you have two chapters that serve the same function? Cut one).

Balance: break up really long paragraphs (never more than a page!!), balance narrative and dialogue. (But leave out unnecessary dialogue tags.)

Let someone else read it for you:
Get more than one brutally honest reviewer—no mothers or grandmas!

Always print it out and read a hard copy [To which I add: read it OUT LOUD.]
Changing the font can be helpful [Also helpful, from Stein on Writing: change the author’s name to one you either love or hate.]

Have a pen with you to jot down notes as you read [and also as you were writing—change a character’s backstory on page 127? Make a note of things to fix and fix them in this edit].

Walk away for a few hours, days or weeks and come back with fresh eyes
Take time to enjoy having finished. [Dance of joy!] But seriously, leave it alone—the changes will come to you.

Leaving it can also give you the emotional distance necessary to cut anything that doesn’t advance the story, even if it’s your favorite part. (Julie points out that you can put deleted scenes on your website!)

Now what?

The deep edit: down & dirty with the editor’s checklist

Looking at the big picture with the editor’s checklist:

  • Show us what your character is experiencing in that moment
  • Avoid passive voice
  • Stick to one POV per scene, please!
  • Make sure you have hooks to keep them turning pages, especially at the beginning and end of chapters
  • Does each character have a motivation? (villains, MCs, not so much a concern for secondary characters)
  • Does the setting contribute to the piece?
  • Is the story timeline consistent?
  • Does the conflict keep the tension throughout the story? (don’t resolve things too quickly)
  • Natural flow—nothing contrived [no deus ex machinas!]—to keep believability, don’t pull the rug out from underneath your readers. [That makes people throw books.]
  • Is there a balance of narrative, action and dialogue?

The drive-thru edit vs. the seven-course meal edit
The combo meal story: a string of clichéslike ordering your usual at the drive thru: you hardly have to look at the offerings anymore. It’s like an editor’s slushpile. They will spot your combo meal story a mile away.

Critique partners/readers describe it as “familiar” and “predictable.” Lots of unnecessary “fat”—characters that aren’t vital, characters that are one-dimensional, too much description, loose ends.

To fix the combo meal story: give it a twist, dig a little deeper. Expand your writing menu. Conversely, be prepared to cut extra words, descriptions, narrative, even characters, even if they’re good. Instead, use active, powerful scenes and action verbs.

On the other end of the spectrum: 7 course meal story: some of later courses smelled so good your mouth watered, but you couldn’t enjoy it because you were too full. Lots of characters, twists and turns, complexities—lots of places to lose your reader (and yourself in your editing!).

To fix the seven-course meal story: Again, cut unnecessary words, descriptions, narrative and characters. Strive for simplicity and clarity—and focus on the compelling story. Maintain a character notebook.

When do you stop editing?

  • When you’ve done CLAW and a deep edit
  • When you’ve addressed your readers’ concerns
  • When you’ve gone through it for plot, continuity and characterization and setting errors
  • When you’re sick of it.

Find a happy medium

  • enjoy what you’ve created
  • dont’ beat yourself up over mistakes [Do you get the self-referential joke I put in there? Totally on purpose 😉 ]
  • realize that the writing and editing process is a journey and some trips are longer than others.
  • Keep learning—figure out your weaknesses and now to combat them—be willing to do the work

A polished piece with an author who is still teachable is valuable to an editor, agent and publisher. [Aside from the great editing advice, the word teachable was my biggest takeaway from this session. It’s something I know I need to work on—and I guess acknowledging that is a good start!]

I put my MS back together—where do I go from here?
Pat yourself on the back, remember that writing—and editing!—can rejuvenate and SUBMIT IT!

About the conference: LDStorymakers is a writing contest geared to LDS writers. The conference covers both the niche, regional publishers that cater to the LDS market as well as national publishers.

Self-Publishing Panel, LDStorymakers

I’ll continue posting my notes from the 2009 LDStorymakers conference, with fun with verbs coming on Tuesdays and Thursdays!

Self-Publishing panel
Moderator: CS Bezas
Panel Members: Gary Hansen, Joyce DiPastena (blog), Marsha Ward (blog), Sarah Eden, Tanya Parker Mills

Panelists’ intros:
Sarah Eden: Writes historical fiction, author of Seeking Persephone. Published 9 novels, from Arizona, Print on Demand (POD) expertise. As a fiction author, she makes things up, so she may lie at any time on this panel. Whitney finalist 2008

Joyce DiPastena: 2007 Whitney finalist Loyalty’s Web
self-published, picked up by Leavenwood Press and republished.

Marsha Ward: Western fiction (The Man from Shenandoah, Ride to Raton and Trail of Storms) Journalism background with LDS newspapers, over 900 publishing credits, national contest wins, came to self publishing in a unique way (whiche she touches on later).

Tanya Parker Mills: The Reckoning Whitney finalist 2008, had her first novel rejected and found herself blocked in her second novel, and knew she had to get it out there. From Washington.

Gary Hansen: Wet Desert, a Novel, Whitney 2007 finalist, suspense/thriller (national, but “LDS-friendly”).

Something pertinent to know about self-publishing

  • Gary: Once he’d been frustrated on national market, he took the “go into the bookstore and find your section—genre, cost, etc.” Picked price point and went through self publishers to find a cost-effective place: found a self-pubbed book in Costco and contacted author—actually printed it himself. Sold through first print run (2600) and into second.
  • Tanya: POD, Booksurge because of its Amazon ties. It’s so hard to get pubbed by traditional publishers (mainstream contemporary fiction, non LDS, going for national market). Self-pub has increased b/c it’s more affordable now. Rarely do you get picked up like Eragon did. Tremendous marketing as self-pub plus lucking out in a coincidence. What she would have done differently: she would’ve done differently: set up a distributor.
  • Marsha: the valid reasons to self-publish:
    • Poetry collections (for friends and family and other interested parties)
    • Family histories
    • Autobios/memoirs (unless you’re famous!)
    • You’re giving seminars, how-to books, public speaking—tremendous back-of-the-room sales.
    • Personally: she had a health crisis and thought she was running out of time. Getting good responses editorially, but negative marketing reports (Western novels are too niche). Chose not to become her own publishing company—POD/Publish assistance people. Researched to know what they would and wouldn’t give her, looked at customer feedback, went with iUniverse. Was going to go through traditional publisher for 3rd in series, but too mch lag time for her fans (guy came up to her in the grocery store)
  • Joyce: also writing to national market but “LDS friendly”—Medieval romance. Lots of positive response on national market, but they didn’t know what to do with it. Agent called her: too much plot to be a romance and not enough pageantry to be a historical. She put it away for years and years and kept trying to write a straight romance, but it wasn’t working—she kept throwing in other plot lines (I guess non romance plot lines). Ended up with these books sitting around, and she realized she could die with books in drawer or take a chance on self publishing to see if there’s an audience. She turned to Marsha for help, also went with iUniverse POD—knew she couldn’t go out and sell her own books (Gary has a garage full of books!). To her surprise, she began attracting a readership of people that were interested in the cross-genre. Finalist at Whitneys: editor took notice of that and reprinted her book. Be realistic about your marketing talents. Can you push the books on your own, or are you too shy? Online?
  • Sarah—Butter pecan is the best therapy for writer agony. Cheetos can be consumed at VERY large quantities at 3 AM. You need to do your research. There are so many options in self-pub—diff companies, methods. Traps: vanity presses. Options: book sizes (bigger book: more words per page, fewer pages, lower cost). Know what you want first so you can find a company that will provide that in a way that is affordable and satisfying to you. Talk to people who’ve done it before because they know things that the companies won’t tell you. Look at their books in person.
  • Marsha: google [“company name” sucks] to check them out.

Questions:
Don Lee: How do you distribute your books?
Gary: In order to get into big stores, you have to go through distributors—Ingram or Baker and Taylor. In the bookstore, they’re very worried about Returns—they don’t want any obligations—they can return unsold books to them without cost. You have to have that method or they won’t take it. Getting a distributor—just like getting an agent or editor. BIG step. If you get there, bookstores can at least order it from any bookstore in the country. Distribution is critical.

Roger Nielsen: What was your initial investment, Gary?

  • Gary: Obviously, POD has big advantages, but his goal was a low cost (equal to trad pubbed books)—you have to sell cheap to distributors ($4.50 for a $10 book). 363 pages with small font to keep page count down—setup fee ~$3000, and then the books are cheap. The more you print, the cheaper they are per book. You’re tempted to print like 10,000 so they’ll be $1.50.
  • Tanya: with POD and digital presses, you pay upfront. I decided to get the total design freedom package—control cover design and copy, paid a little more. $1367 including that package. No warehousing, order from Amazon and they print and send it. $1367 is for set up and a few books she’d ordered for herself.
  • Comment from LC Lewis: Sometimes booksurge gives you a promo pkg with 30 free books if you sign up for marketing.
  • Marsha: Paid iUniverse. Purchased rights to cover images from Corbis $300, royalty-free to use forever. Last package cost $399. Commissioned painting for second book at $300. Ordered 200 copies of her first and 25 each of the others. Distribution: website, blog, building writing community, a lot of contacts, list of people who wanted her next book. Sell autographed copies from her website, you can get it from bookstores, Amazon, iUniverse, ebook on Books on Board. Book trailer.
  • Comment from Roger again: BYU is getting a very specialized machine to do this—prints from PDF $0.04/pg, 300 p book in 4 minutes.
  • Sarah: That’s the kind of machine most PODs use. initial fee (CreateSpace, connected to BookSurge) just under $2/book, plus $0.008/pg. Printing only—$39 per title—gets your ISBN number, per-page cost below $0.01/pg. Economies of scale.

LC Lewis—Amazon sets price for BookSurge?

  • Tanya—yes. I wanted it at $14.99, they set it at $17.99.
  • Gary got to set his own MSRP (retail), they set their discount. Amazon has to get their margin, 55%—you have to sell it at $6.79 for a $14.95 price.
  • Sarah—CreateSpace—you set your own prices. Take into account shipping costs! Supply and demand. CreateSpace, part of Amazon, qualifies for SuperSaver shipping (her original POD company was too expensive with shipping)
  • Tanya—Two issues ago Writers’ Digest was all about self-publishing

I know some people have said it’s a good idea to create a separate company that isn’t you to be the publisher. Does that help?

  • Sarah—In a way it does. One of the cons of self-publishing—people pick up a book that’s self pubbed, they think it’s self pubbed because it’s bad. If it says “Published by Sarah Eden,” it’s not good in their minds.
  • Gary—I came up with a press. I named it Hole Shot Press—I didn’t want people to be able to tell it’s self-pubbed.

Any tax tips?

  • Gary—You have to keep track of your income if you make money (which has not been an issue for me yet). When you sell direct to a customer in your state, you have to pay sales tax. You have to get a state sales tax number.
  • Sarah—I get royalties instead of profits with CreateSpace. It’s a 1099. But don’t forget to subtract your expenses.
  • Cindy—As always, consult your tax advisers.

Roger—WriteWise or any of these other groups experience?
No

Any marketing tips so people can hear about your book?
Joyce—[dubbed marketing guru by . . . Marsha at the beginning of the panel] Websites, blogs. I like to do contests because that builds up a mailing list of people who enter. Then she can send them info. One tip she read: a reader who has never head of an author before needs to see the title of the book at least 10 times before they’ll consider buying a book from an unknown author. Her goal isn’t always a sale, it’s to get her book’s name out there.

About the conference: LDStorymakers is a writing contest geared to LDS writers. The conference covers both the niche, regional publishers that cater to the LDS market as well as national publishers.