Will our hope return, /
or has the bloated sky, /
made one more refugee?
Monthly Archives: August 2017
Haiku to you Thursday: “Will hope”
Will our hope return, /
or has the bloated sky, /
made one more refugee?
Filed under 2017, Haiku to You Thursday, poetry by author
cARtOONSdAY: “bLOCKING tHE gLARING”
It also hid the occasional tear.
Filed under 2017, cartoon by author, CarToonsday
Monday morning writing joke: “Tart”
There once was a woman named Tart /
who thought she would be rather smart. /
She wore her bra on her head /
so when she took men to bed, /
they’d start near head, not her heart.
Filed under 2017, Monday morning writing joke, poetry by author
Haiku to you Thursday: “Sanded edges”
Time piled up as sand, /
the edges, then the center, /
undertaking dreams.
Filed under 2017, Haiku to You Thursday, poetry by author
Writing tip Wednesday: “Creating a Series Character”
5 Secrets to Creating a Compelling Series Character
By Barry Lancet
When I began my first book starring Jim Brodie, my goal was simply to write the best book I could. I didn’t have visions of a series. Then, as I polished the final draft, readying the manuscript for submission to an agent, new story ideas for Brodie began to pop into my head.
I took a step back to consider the possibility of making Brodie a series character, realizing that a lot depended on how Japantown was received. But I decided to give myself a little more breathing room just in case.
It’s vital to point out that even as I contemplated the idea of a series, I held nothing back from Japantown. Why? Because to make the team you have to bring your best game. That’s what I did and the book sold to Simon & Schuster and would go on to make a number of “best-of” lists and win the Barry Award for Best First Mystery.
By the time Japantown reached print, I was immersed in writing my second novel, Tokyo Kill, again with Brodie at the helm of another contemporary tale that, this time, veered back to the days of World War II. Why another Brodie book instead of a standalone? I’ll get to that in a minute, but first let me tell you what I did to create a little “breathing room.”
Over the years, I’d gleaned from interviews with other authors that the planning of their series characters followed one of two paths: either they allowed themselves flexibility for the future, or they moved hastily, and inadvertently penned themselves in. With this information at hand I made the following moves, and offer them here for you to think about:
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Keep the backstory detailed but open-ended enough to give yourself maneuverability.
For example, Brodie is an American born in Japan to American parents, an art dealer with a struggling antiques shop in San Francisco, and half-owner of a security firm built by his father in Tokyo. He’s also the father of a six-year-old girl. All of this gives me plenty to work with. He has the need to travel so I’m not pinned down with my setting. Two careers provide a multitude of opportunities for trouble; and he’s a single parent, which offers the chance for emotional exploration. Each of my books takes advantage of Brodie’s backstory.
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But you shouldn’t give too many extended details about the backstory.
Backstory, by nature, slows a story down, so for that reason alone it should be parsed out in drips over time. And when you do, make sure not to pin yourself down too much.
Which leads us to the next point: What should a series character be? Much will be specific to the setting, goals, and genre you choose, but here are three major aspects to consider:
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Make your character attractive to both male and female readers.
(Unless you’re working in a genre that zeroes in on one over the other.)
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Avoid common character clichés.
If your hero is a spy, steer away from the melancholy, burned-out agent, or the slick, overly smooth operator. If your protagonist is a private investigator, avoid the recovering alcoholic trope (it’s been done hundreds of times), or the lady’s man with an ex-wife or two.
That said, no rule or suggestion is all-inclusive, nor goes unbroken. If you must approach a stereotype, do so with the freshest point of view you can muster. Jeffery Deaver brilliantly turned the “wounded cop/private investigator” trope on its head in The Bone Collector by making his hero a nearly complete paraplegic, mentally fit but able to move little more than a finger. Michael Connelly handled the ex-wife syndrome with humor and pathos in the Lincoln Lawyer.
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I’ve saved the most intriguing item for last:
You don’t have to stray too far from home to find at least a portion of your protagonist’s personality, and here’s why.
Over the last five years, I’ve met and listened to any number of bestselling authors. What I’ve noticed (sometimes despite claims to the contrary) is that their series characters often exhibit a number of personality traits they themselves possess.
I’ve seen this too many times to ignore. The character may drive a different car, wear different clothes, and live in a different state, but, whether consciously or unconsciously (as in my case too), underlying similarities often emerge. At the same time, I saw the upside. These similarities give the authors a solid grasp on their characters, and their character a solid anchor in reality.
The lesson here is that you don’t have to bend over backwards to divorce yourself entirely from your character. Which is another way of saying you don’t need to be nervous about borrowing a part of yourself for your character.
The five factors above helped bring Jim Brodie to the printed and digital page. And how did that turn out?
After I finished Japantown, I sent it out to agents. Soon thereafter, I was fortunate enough to land my top choice in a list of ten (Robert Gottlieb of Trident Media Agency). Japantown was preempted by Simon & Schuster and optioned for TV for two years by J.J. Abrams (the series is now under consideration with a new producer).
When the dust settled, a contract for two books landed on my desk, soon to be followed by a second contract for two more books. The additional three books were contingent on Brodie putting in an appearance as the main character. His name appeared prominently in the contract, and he is the focus of each book. Brodie’s most far-flung adventure to date is his most recent, The Spy Across the Table, where his backstory has been fleshed out a tad more to include a choice secret.
In more ways than one, Jim Brodie has taken on a life of his own.
Filed under 2017, writing tip, Writing Tip Wednesday
FutureScapes: Write your story, change the world
Novelist Robert A. Heinlein autographing one of his works.
FutureScapes is an annual writing competition that asks writers to envision a particular future, and tell us its story. We could run projections and publish reports, but there’s a reason why Oscar Wilde didn’t say, “Life imitates empirical studies.” We want to help writers of excellent potential find their voice while shaping tomorrow.
2017 Theme
For 2017, the Futurescapes Contest theme is “Blue Sky Cities.” We’re seeking stories set in a near-future city where significant strides have been made toward improving air quality, climate adaptation, or even net positive impacts on climate and air quality.
We want to see your vivid ideas and concepts, but don’t forget the basics of story: strong voice, compelling characters driven by real desires, facing serious obstacles that sum to an engaging plot and story.
You need not paint us a utopia – we don’t really believe in those. We believe that at any given time, depending on individual perspective, every city has dystopian and utopian aspects. The key is to show us a solution, but don’t strip it of realistic political, scientific, or logistical obstacles, and don’t neglect the possibility and ramifications of unintended consequences from even the best solution.
Source: http://www.futurescapescontest.com/
Contest Rules
-NO ENTRY FEE FOR SINGLE ENTRY, OPTION TO SUBMIT SECOND ENTRY FOR A FEE
-FINAL AWARDS DETERMINED BY PROFESSIONAL AUTHORS
-$2,000 PRIZE FOR FIRST PLACE
-5 RUNNERS UP EACH RECEIVE PRIZE OF $500
-PUBLICATION IN ANTHOLOGY DISTRIBUTED TO MAYORS, GOVERNORS & MEMBERS OF THE U.S. CONGRESS
- No entry fee is required to submit one (1) entry to the contest. However, an author may opt to submit a second story for consideration in the contest for a fee of twenty-four dollars ($24).
- By entering the contest, contestants acknowledge that they have read the instructions.
- Prize money constitutes compensation to the winning authors in exchange for the purchase by the contest of exclusive print and electronic rights of the story for a period of one (1) year following the first date of publication of the story.
- All entries must be original works written in English. Plagiarism of any kind will not be tolerated.
- Professional authors are not eligible to enter the contest. A professional author is defined as someone who has accepted payment and/or signed contracts for published fiction in the amount of either; a) four paid published works of short fiction at a minimum average compensation rate of 6 cents per word with a total compensation of at least $1,000; or b) a work of long fiction (40,000 words or greater) for which the author was paid at least $2,500 in compensation.
- Entries must be works of prose not to exceed 8,000 words in length.
- Excessive or gratuitous violence, language, or sexual content will not be tolerated.
- The story must be written on and conform to the official theme of the contest year. The theme for the 2017 contest year is: Blue Sky Cities.
- All entries must be submitted electronically through the submission form available on the contest website.
- Entries must be double-spaced, follow standard manuscript format, with the title and page number on each page. The entry should include a cover page listing the author’s name. The author’s name should appear nowhere else in the document.
- Each contestant may submit only one entry per contest year.
- The prizes for the contest shall consist of one (1) first place prize in the amount of $2,000, and five (5) runner up prizes in in the amount of $500 each. As noted, prize money is considered compensation in exchange for the purchase of story publication rights by the contest. As such, compensation will consist of a minimum amount of $.0625 (6.25 cents) per published word.
- Winners will be individually notified by contest staff.
Source: http://www.futurescapescontest.com/
Photo finish Friday: “Ant-sy”
“The world was built by ants,” the first ant said.
The second ant didn’t disagree, but added, “We are not alone.”
“We are never alone,” the first ant said, “but that makes our triumph all the more delicious.”
“Like these leaves,” several ants said, including the second.
I guess the second overthrow of the world can wait, the first ant thought. Can’t do it on an empty stomach. He bit of a section of the leaf he was one.
Filed under 2017, photo by David E. Booker, Photo Finish Friday
Writing tip Wednesday: “Agents offer advice”
16 Agents Share 34 Tips for Success: From Studying the Market to Proper Querying
Below, 16 of our agents share tips that didn’t make the issue. Continue reading for advice on doing agent research, working with beta readers, establishing yourself as part of a community, writing query letters, and more:
The Market:
- Read, read, read! The best way to become a successful writer is to be a passionate reader. —Susan Hawk, Upstart Crow Literary
- Study the market and submit your best story for that market. Read the type of books you want to write to get a feel for the type of voice, story, and tone those publishers want. Put together the best proposal you can, including a professional head shot with your author biography. Write the proposal in third person. —Tamela Hancock Murray, The Steve Laube Agency
- Read as much as you can in your genre. —Jennifer Johnson-Blalock, Liza Dawson Associates
- Be aware of the market, but don’t spend too much time worrying about it – write the story that only you can write. —Susan Hawk, Upstart Crow Literary
- Walk into a bookstore. Go to the section you think your book would go in. If you have a hard time deciding what section your book belongs in, you probably have some editing to do. It’s always better from a marketing standpoint if you can concretely place your book in a genre, or in this case on a shelf. —Vanessa Robins, Corvisiero Literary Agency
Research:
- Do all the research you can. There are so many brilliant sources out there for free on how to pick an agent, how to write a query, and how to stay positive in a business that can be stressful and (at times) discouraging. And there are a lot of very friendly people in the community who like to give back and offer advice. —Jim McCarthy, Dystel, Goderich & Bourret
- Do your research. You want to learn as much as you can about publishing, from how to query agents to how to promote your debut. —Jennifer Johnson-Blalock, Liza Dawson Associates
Beta Readers and Critique Groups:
- I think the best thing a writer can do when they finish their first or second draft is solicit the help of fellow writers, critique partners, and beta readers in revising the manuscript. Agents can always tell when a book has or has not been workshopped and polished with the help of other writers and editors, so this is not a step to be missed! —Hannah Fergesen, KT Literary
- Join a writer’s group. Getting supportive feedback on your work is invaluable. And, writing can be lonely. Finding your writing family is key to a long-term writing career. —Susan Hawk, Upstart Crow Literary
Community:
- A literary community is probably your strongest ally. Join writing groups, go to open mic nights, follow other authors online, and just be present. —Vanessa Robins, Corvisiero Literary Agency
- Writers should get in the habit of giving back to other writers as often as possible. It’s good karma, and it makes you a part of a community that, when you do publish your book, will help you support it. Your end game isn’t just to be published; it’s about having a career and about being a good member of the community you’ve chosen. Writers are amazing people, and you don’t need an agent or a book deal to be a part of the writing community. —Jenny Herrera, David Black Agency
Platform:
- Try to have an online platform. You don’t have to have ten thousand followers or know how to market inside and out, but just seeing that you have a workable start helps! —Kaitlyn Johnson, Corvisiero Literary Agency
Editing:
- A clean query is the mark of an attentive writer. While a small typo probably won’t lead to an automatic “no,” getting the agent’s name wrong from the get-go might. —Amelia Appel, Triada US
- Put your differences aside and become besties with editing. Even when you polish the thing shiny, your beta readers will have edits, then your agent, then more beta readers, then your agent again, then editors, and more editors. Basically, even when you think you’re done editing, you’re probably not. —Vanessa Robins, Corvisiero Literary Agency
- Your manuscript is your resume. It should be as polished as possible and show exactly what your talent is as a writer. —Quressa Robinson, Nelson Literary Agency
Queries:
- If you’re querying you should be making regular trips to bookstores. There’s so much to learn just by browsing displays. —Steven Salpeter, Curtis Brown
- When it comes time to query, make sure your pitch is crystal clear and to the point. It’s said over and over again, but it’s true that agents won’t have the time or patience to read a long wind-up to the book’s description. —Rachel Vogel
- Once you’re ready to query, try to remember you’re attempting a working relationship with someone. It’s no different than a job interview: practice respect, give your best work, and follow directions given. Agents notice when a writer proves they’d be great to work with, but they also take note when they see the opposite. —Kaitlyn Johnson, Corvisiero Literary Agency
- Make sure you are ready to query and make sure you know what you’ve written. There’s nothing as disheartening for an agent as requesting a full manuscript only to be told it isn’t ready yet. —Joanna MacKenzie, Nelson Literary Agency
- When mapping out your sections on marketing and promotion, think outside the box: Who is this book written for? Who will those readers recommend it to? Don’t limit your readership by believing only one type of reader would be interested in it such as “romance readers” or “history buffs.” Readers are hungry for new experiences and your book could be just what they’re looking for—but they need to find it first. The more options you add to your proposal, the better armed your editor will be to go in and fight for your book in the war room. —Stacey Graham, Red Sofa Literary
- I don’t read queries that aren’t specifically addressed to me; that are written in the voice of a character; that admit the manuscript isn’t complete (for fiction only); that are intentionally disrespectful. Your goal is not to shock me with your query, but to get me to read your sample pages. And in those pages, novels that begin with a dead body, a sweeping panorama of an exotic locale, a first person introduction (“Hi reader, my name is…), a character waking up, commentary on the weather or a dump of expository information are not interesting to me. —Noah Ballard, Curtis Brown
- Even if you’re not certain something would be of interest to me if it falls within my ranges of interests I would always rather see something and decide for myself. When in doubt, query me. —Steven Salpeter, Curtis Brown
- Agents are notorious for having a wide variety of guidelines. Oftentimes they will be in correlation to the overall guidelines for their specific agency, but they can also be guidelines that the agent has specifically created to further help writers with their submissions. It’s important to remember that these guidelines are there to help you. I understand that it can sometimes feel like a lot of hoops to jump through, but having guidelines allows for you as the writer to be able to create stronger and more impactful queries. When you’re working on your queries, always remember to include the submission guidelines within your overall research. The lack of effort when following submission guidelines is one of my biggest pet peeves as an agent, and if I can tell that a writer blatantly disregarded my guidelines, it results in an automatic dismissal of the query. —Justin Wells, Corvisiero Literary Agency
Agent-Author Relationship:
- Whether you receive one offer of representation or ten, ask questions of the offering agent to make sure you are a good fit. Speak to them via video call in you’re not in the same city and don’t be afraid to ask for references. An author-agent relationship is a lot like a marriage and you want to make sure you’re partnering with someone who can sell your book and who you trust to advocate for you. —Joanna MacKenzie, Nelson Literary Agency
- The Call is when you and the agent assess each other. Do you fit? Are they really offering what you’re looking for? They are wondering the same things. This is a business partnership and like after any interview either party can decide that they aren’t a good match. But when the stars align, you both know it’s a good match, and now you have an agent! —Quressa Robinson, Nelson Literary Agency
- Be polite and professional. When an agent takes on a client, they do so knowing that there is going to be a lot more to that relationship than just the written work. If an agent wants to work with you, it’s because they believe in your writing, but also in you. Agents want to take on clients they can see themselves successfully working with throughout their career. Given that, keep in mind that your query letter is your first impression, so it’s to your benefit to make it a good one. —Amelia Appel, Triada US
- Be prepared to be a partner in your success. Your work as an author isn’t finished when you type, “the end.” It’s not over when you sign a publishing contract, either. Publishers love authors who are willing to learn how to be on social media, who will bring promotional ideas and opportunities to the table, and who can network. Don’t worry, if this sounds daunting, your agent will be there to walk you through it all. —Joanna MacKenzie, Nelson Literary Agency
Perseverance:
- Patience is by far the most important thing, for agents and authors. Even if you finally snag your dream agent, the process can be like a sloth using crutches, slow and painful (okay, only slightly painful). —Vanessa Robins, Corvisiero Literary Agency
- Just like with finding a job it can be a long road before you get an offer and find the right spot, but it happens. Perseverance, dedication to your craft, adaptation, and a bit of gumption will lead you to success. —Quressa Robinson, Nelson Literary Agency
- Hang in there! We completely understand that querying can be a nerve-wracking process and that rejection can be extremely disheartening. But, this is a super subjective business—what’s not right for one agent might be perfect for the next. Be open to feedback and don’t give up! —Amelia Appel, Triada US
- Prepare for rejection. It happens to everyone, authors and agents alike (editors tell us no, too) and is part of the process of being published. As clichéd as it sounds, this is a marathon, not a sprint—this is especially true if you want to be a career novelist. —Joanna MacKenzie, Nelson Literary Agency
- Rejections are opportunities. They teach us about the marketplace, and sometimes reveal insights about a manuscript that can be used to make a book better and bring an author to another level in her or his career. —Steven Salpeter, Curtis Brown
- As with any job, an agent may read your query letter and decide from there that they are not interested in moving forward to your manuscript (typically a partial). This could be subjective. It doesn’t speak to them. Or you may not have conveyed your knowledge and story in the best light. If an agent does move onto the manuscript and still decide to pass, again this is the subjective part of the job. Your writing could be solid, the story well plotted, but if the agent doesn’t connect to it, if they don’t have passion for it, if they don’t love it, then they know they need to move on. And you should want them to! If they pass on your manuscript this means that you don’t get to move on to the interview stage of the process, which is the call. —Quressa Robinson, Nelson Literary Agency
- As cliché as it might sound, I will always encourage writers to never give up. I discuss the subjectivity of publishing, and the agent world a lot with other agents. Once you get your manuscript to the point where you start seeking an agent you really need to remain determined throughout the entire process. The idea that all agents look at manuscripts differently can never be stated enough. Don’t let an agent passing on your manuscript keep you from pursing your goal. I’ve heard of quite a few cases where agents have passed on manuscripts because it personally wasn’t a good fit for them, and another agent felt it was a great fit and was able to land a deal for the author. It all comes down to finding that one agent who falls in love with your manuscript, and will work to get it out there to editors. —Justin Wells, Corvisiero Literary Agency
Filed under 2017, writing tip, Writing Tip Wednesday
Monday (morning) writing joke: “Stuck”
First writer: “Why is there music coming from the printer?”
Second writer: “That would be the paper jamming again.”
Filed under 2017, Monday morning writing joke
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