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"We all know things are bad -- worse than bad -- they're crazy."
- Howard Beale's "Mad as Hell" speech from the movie, Network
This is how I feel about the chronic rhetoric attacking the blog waves regarding the face of today's publishing world. So many opinions, blame-pointing fingers, and the how's and why's publishing isn't like it used to be.
Enough already! Or, in the words of Howard Beale, I'm mad as hell and I'm not going to take it anymore. Might I suggest the real reason publishing has gone the way of Kodak film? It's not because digital self-publishing is going to be the new trend and that soon all books will be self-published...
It's because more and more people are NOT READING books. There. I said it. Excuses as to why publishers are closing are like those that have affected any other business. If no one is buying your product, then changes are made. In America reading has taken a back seat to video games, texting and television.
Simple.
Yet the part that angers me the most are those going "indie" (better known as self-publishing) bashing and putting down the publishing world as if it killed itself. More and more blogs are featuring the reasons why self-publication is so much better than traditional publishing. They'll say that writers can skip the heartache of rejection if they self-publish. True. It's a direct route to seeing your name in lights. It's also a slippery slope to the devaluation of good writing.
Point to consider: Through traditional publishing, a writer's work receives an unvarnished edit by an editor. Yet, I have recently learned that even some larger NYC publishers have had lousy editors. But I'm willing to wager that those editors receive walking papers after their first performance review. Also, let’s not forget the writers who feel they know more than editors and therefore deem them useless.
Another point to consider: Read this article. Just the first few paragraphs, it's about Harper Lee. After reading it you'll then perhaps see the importance of not only good editing, but having a good agent as well.
Something else to think about: Francis Ford Coppola’s The Godfather. If you've seen the unedited version you'll recognize the importance of an editor. They are the people behind the scenes who helped take the film to Oscar winning levels. Same goes for music recordings. After the artist spends his/her time in the studio, a sound engineer goes to work, and long before the artist enters that recording studio, a music arranger has played a hand in making the product better. And sure, critics will have at it once the movie or CD is out, but that's their job. Some of the biggest grossing movies have had the worst reviews, and vice versa.
Literary editors aren't there to hold your hand and tell you that you are a genius. They are the guardian angels that take the soul of your work and escalate it. A really great editor has studied writing and posses writerly credentials proving their skills. Writing IS their living. They don't have a day job at the local hospital, legal clinic or the elementary school down the street.
Recently I received my first experience with a well credentialed professional editor. Her remarks were unexpected and literally stunning. She took me to school hitting nearly every single line indicating ways they could improve. She offered no words of encouragement and none of discouragement. It was a "Just the facts, ma'am," experience. After fully digesting her words, I sat down and followed her lead, made the suggested revisions and returned the pages to her. That's when I received the most valuable compliment in my writing career. She wrote back, "You nailed it!" She not only lifted my writing skills to a new level, but broadened my understanding of the importance of an editor.
Yes, the many going the indie route will say they don't need an editor because they have a critique group. But for those who don't have a critique partner, or perhaps realize that sometimes critique partners don't always have the skills of an editor, the self-publication route might deplete a writer’s self-esteem worse than the standard rejection letter.
Nothing personal. I'm good with digital publishing. It saves trees. And nothing against self-publishing. I'm merely offering food for thought. It's beneficial to understand all sides and utilize sound critical thinking before drawing conclusions.
*****
Kath Calarco maintains the belief that it’s never too late in life for anything. Having returned to school at age 53, she’s currently studying for a degree in Liberal Arts with a focus on Humanities and English Literature. She writes contemporary literature and poetry, and maintains two blogs, Writeful Mumblings and Five Minute Sprint.
My writer-friends and editing clients have been begging me for a Twitter how-to specifically tailored for writers/authors. So: here it is! For newbies, the Twitter-verse can be a confusing jumble of 140-character-length nonsense. Often, I hear writers whining, “Why? What’s the point?”
The simplest answer is this: You just can’t afford to avoid or ignore Twitter any longer. Not if you are serious about your writing career. An author/writer might say that she is on Facebook, LinkedIn, Authonomy, GoodReads, Blogger, etc., and another social network will take too much time. This might be a valid point. But the most important social network of all? Twitter. If you do nothing else, use Twitter and create a Web site. Why? Let me count some ways.
Reasons to join the Twittersphere:
Twitter isn’t as insular as Facebook. Anyone in any free country can follow you (unless you block them). Not so with Facebook. You have to accept friendship requests there. It makes the process more clunky.
Authonomy.com is also an insular world. A site built for and frequented only by writers. Authonomy is for critiquing and learning to market your work. It is a microcosm of the book marketplace, but ultimately, it isn’t where your potential buyers are.
Blog sites like WordPress, Blogger, TypePad, and LiveJournal have an important place in the writer’s marketing toolkit. But some of us aren’t good bloggers, either due to lack of time or lack of a sufficient platform. Blogging can be quite time consuming. I know my blog posts usually take me a week to publish because I have very little time and they require a great deal of research and thought.
Twitter’s best value? You can tweet anytime anywhere. Yup. That’s its greatest feature.
For the naysayers
Who cares?
You’d be surprised who you’ll find on Twitter. Granted, some folks who come to Twitter feel they have to participate “because everybody’s doing it.” But a great many are on there exchanging pub info and articles as well as tweets about their daily writing lives. Who are they? Pubbed and aspiring authors. Agents. Editors. Publishers. They have information to share—why not exchange ideas? I, myself, have been corresponding with agents and editors on Twitter lately. It’s amazing that they’ll take the time to share and answer questions. That’s micro-blogging for you. Most of us do have time for a 140-character conversation. It’s quick. That’s Twitter’s staying power.
Why do I want to listen to people blab about what they had for breakfast?
I’m sure some Twitterers do this on a daily basis, but I don’t follow their tweets. I follow those who are tweeting about their daily writing ritiuals and trials though. Why? Because I like to know how others work on their craft. I might learn new insights and better ways of working and reworking a novel draft. And it’s nice to know that others find the process difficult too. Tweets are small windows into individual worlds. Sometimes the tweets are irrelevant to me, sometimes they are just what I need to hear.
I don’t have time for Twitter.
Blogging generally falls through the cracks for me. It’s difficult for me to fit into my schedule because it usually requires several hours of research, writing, editing, and uploading to make one go live. Every hour of my day is usually accounted for. However, tweeting fits much, much more easily into my on-the-go lifestyle. As I mentioned before, I can tweet from my phone, which means I can tweet any time, anywhere. I can give real-time updates on conferences I’m attending (I recently uploaded video and pictures I had taken of Ursula le Guin speaking at a conference while it was happening), retweet breaking industry news from insiders, and share the latest info about my novel. There are a number of powerful Twitter apps that allow more flexibility and the ability to update multiple social networking sites at once, so that speeds up the process as well.
As of January 2010, Twitter has skyrocketed to 75 million users, according to RJMetrics Inc., but 80 percent of those have tweeted 10 times or less. (Check out a Twitter expert Brian Solis’s blog post “The State of the Twittersphere 2010” for more detailed statistics.) What does this all mean for you? Get talking! Twitter is pointless unless you are joining the conversation. You want to talk with those in the publishing industry who are using Twitter too. You are engaging with an audience that takes iPhones on the Subway, that joins literary hashtag discussions. These folks are comfortable with emerging technologies and social media. These are the folks you want to learn from and talk to. So get on it. No more excuses!
Twitter Success Stories
Read these Twitter success stories to see how Twitter has worked for other writers:
Writer Debra L. Schubert (@dlschubert) found her agent on Twitter. Guess who? Bernadette Baker-Baughman of Baker’s Mark Literary Agency—the same lovely lady who signed me just this year! Debra also co-hosts #yalitchat. Here’s her inspiring story: “Did I mention I’ve Got an…”
Author Karen Rivers (@karenrivers) shared her story with me via E-mail: “After letting go of my old agent last summer, I was looking around for someone new and specifically someone in the US (I’m Canadian). It seemed almost impossible to figure out who I liked and who I didn’t until I stumbled on a few agents on Twitter. I submitted to Colleen [Lindsay] because I liked her Twitter personality and she seemed incredibly well-connected, frequently tweeting back and forth with editors, etc. The rest is history!
I also found an editor who I already knew of and really liked and started following her on Twitter. While I was waiting to sign with an agent, I subbed to her and she ended up also offering (but I can’t tell you who it is because the deal hasn’t been announced yet). So, two Twitter success stories in one!”
@StirlingEditor’s cool story: I attended Writers Digest Editor Jane Friedman’s (@janefriedman) fascinating talk on publishing online at a local conference last year. We got to talking before her talk, I participated in a discussion about Authonomy.com during the workshop, and about 20 minutes after the talk, she found me on Twitter and started following me. Wow!
Step 1: Sign up
First off, sign up for an account at Twitter.com. I don’t think you can sign up anywhere else actually. Feel free to post a comment in my comments section if that’s not the case. The three most critical items at this point are your username, bio paragraph, and avatar.
@Username
Writers should probably choose their pen name, or whatever name they will publish under. Mine should be CheriLasota (usernames are case sensitive), but I started my Twitter account originally for Stirling Editing, so I went with StirlingEditor at the time. I might change it in the future though. That said, here are some non-name usernames that I certainly found intriguing:
@PublishingGuru
@CheekyReads
@PublishingSpy
TIP: If the username you are thinking of using is difficult to spell or pronounce when spoken aloud, consider something else. You never know when you’ll be talking in person to an agent, editor, or writer who wants to follow you on Twitter.
Bio
Your bio is critical. In a few short seconds, potential followers will make a judgment call about whether to follow you. In my opinion, the best bios inform, entertain, and provide links. Let me explain. First off, tell us what you’ll be tweeting about in your bio. That will let us know whether we’ll find your topics relevant to our interests and help us rule out whether you are a spammer. Be sure to include a link to your blog, Web site, or Facebook fan page as well.
Example: @LiaKeyes — British writer Lia Keyes pens tales of murder, magic, mystery and mayhem for teens with curious minds. Host: #ScribeChat on Thursdays.
Example: @DebraLSchubert — YA & Women’s Fiction writer represented by Bernadette Baker-Baughman of Baker’s Mark Literary Agency. Slave to six feline captors and http://debralschubert.blogspot.com.
Example: @AudryT — Go away—I’m wrestling with my muse, and I’ve almost got his pants off.
Your avatar, or profile picture, is important as well. If you are actively seeking an agent or publisher, upload a high quality headshot. You want to look professional yet approachable. I was lucky enough to work with a brilliant, up-and-coming local photographer (Beth Furumasu) recently, but that isn’t necessary. If you have a great amateur photo that captures the essence of your personality—whether serious or funny, quirky or dark—try and clean up the color, etc., in a photo program, and then upload it.
Step 2: Customize your background
Rather than blather on about this particular topic, I’ll defer to SocialMediaExaminer’s fantastic and comprehensive article on the subject: “How to Create a Custom Twitter Background Design.” What I will say is this: I highly recommend differentiating your Twitter.com page with a new background—either a photo or custom design of some kind. The main reason for this is because you want potential followers to see in an instant that you aren’t a spammer. You are a legitimate Twitterer, with quality information and conversation to share. I hope to have my own custom background up soon, but in the meantime, I am using a free picture I found on TwitrBackgrounds.com.
Step 3: Sign up for HootSuite.com
Don’t just use Twitter.com to access Twitter. It is woefully lacking in features. Shop around and try a couple of different Twitter applications to find out which one works best for you. I tried many before settling on TweetDeck (laptop), Echofon (iPhone), and Hootsuite (both iPhone and laptop). Here is my personal take on the ones I’ve tried.
Tweetie: Not bad. Hard to follow live chats. Not as many features as HootSuite or TweetDeck, but easy to switch between multiple Twitter accounts. Currently available on Mac, iTouch, iPhone. Tweetie 2 is coming soon for iPhone and iPad.
TweetDeck: Until I found HootSuite, this was my Twitter app of choice. I still love it. Works great for streaming live chats. Robust, with lots of cool features. Available on PC, Mac, Linux, iPad, and iPhone.
HootSuite: My favorite app thus far. It’s main draws are scheduled tweets and the ability to post to multiple social networks—such as Facebook, LinkedIn, and your blog—with one click. It also has feature-rich integration with Facebook. Available on PC, Mac, Android, and iPhone.
Echofon: I have used Echofon extensively on my iPhone. While it doesn’t have scheduled tweeting, I prefer looking up users on Echofon as opposed to HootSuite on my phone. Available on iPad, iPhone, Mac, Firefox, and Facebook.
There are many more applications, I’m sure. Feel free to weigh in on them in the comments section of this post.
I thought about doing a tutorial on HootSuite, and then realized others had already done so in a much more erudite fashion. Here are some links to orient you to HootSuite.com’s feature-rich application:
A direct message is private, not public. When you select “direct message”, only the person you call out in the message will see it. This can be helpful when you want to take a conversation offline—whether because it is of a personal nature or you are discussing business details about a potential working relationship, etc. Depending on the program you are using, there are a variety of ways to send a direct message. Echofon says “Send a DM,” HootSuite says “Send DM,” and TweetDeck says “Direct Message.” Twitter.com requires you to click on your own direct messages link from your home page and then search for a follower with a handy drop-down menu.
NOTE: You cannot DM a Twitterer unless he/she is following you. Keeps down the spam messages, you know.
NOTE 2: You can easily direct message somebody by simply typing a d + space before a person’s username, like so:
d @StirlingEditor: Yo, wassup!
RT = Retweeting
Retweeting is good twetiquette as well as a quick way to share information or inspirational snippets of conversation among your Tweeps (see below for definition). Retweeting is simply forwarding someone else’s tweets to your followers. I highly recommend this as a way to join conversations and get to know people. We’re always grateful for a retweet. =)
According to Solis, “120 is the new 140. If you leave room at the end of your tweet for @username and potential commentary, you make it effortless for someone to RT you.”
Tweep
A variant of the word “peeps;” as in “Gonna go hang with my peeps.” Peeps and Tweeps are shorthand for friends.
Twittersphere/Twitterverse
The world/universe of Twitter, or anywhere you can tweet using any application.
Twitter Dictionary A lingo list, but scroll to the bottom and you’ll find a cool hyperlinked list of Twitter-related tools, widgets and applications.
Who do I follow?
Don’t start following others until you have around ten tweets of value under your belt. When you do start following others, the first thing potential followers will do is look at your bio and your tweet stream to ensure that you aren’t a spammer and that you have something of value to add to their Twitter home feed.
Before you start searching for Tweeps, think about what you want to use Twitter for. Do you want to network with those in the publishing industry? Start following other writers/authors first and foremost. Join a live chat about the industry once in a while. Start discussing topics of interest to you and other writers. Retweet their tweets. Once you have a healthy following of writer Tweeps, start following agents you are interested in querying as well as those who agent outside of your genre. All will have great information to share. Also check out #askagent.
You don’t have to follow everyone who follows you. It is best to check their bios and tweet feeds briefly to ensure the topics they tweet on are relevant to you. You’ll also want to make sure they aren’t spammers (easy to spot because they usually only have one tweet in their feeds or multiple spam tweets).
But what do I talk about?!
Ah, yes. The perennial question. Easy answer? Whatever you want. Longwinded answer? Here we go . . .
Dos
Do let us in on your day’s happenings. Did you go to a conference, get some writing done, go to an author reading? We want to know about it! Really. We do. Why? Because we’re all voyeurs. Don’t you want to know what a typical day is like for an agent, an editor, a NYT Bestselling author? Of course. Doesn’t everyone?
Do pay attention to what others are tweeting and how they are tweeting. Most of us are kind retweeters, which allows the original Twitterer to potentially gain a new audience among your followers. Most all participate in #WW (Writer Wednesdays) and #FF (Follow Fridays), which are two ways Twitterers like to get the word out about their fellow Tweeps. Do people share links to articles and blogs about industry news? Yes! You should too. Spread the news and spread the love.
Do participate in live chats about the publishing industry when you have time. They increase your visibility and allow you to find new folks to follow. Here are some of my favorites:
#LitChat: Mondays, Wednesdays, Fridays, 1-2 p.m. PST/4-5 p.m. EST
#YalitChat: Wednesdays, 6-7 p.m. PST, 9-10 p.m. EST
#ScribeChat: Thursdays, 6-7 p.m. PST, 9-10 p.m. EST
#AskAgent
#SciFiChat: Fridays, 11 a.m.-1 p.m. PST/2-4 p.m. EST
Don’t let your Twitter feed rule your life. I don’t want to be responsible for social networking breakdowns . . . Here, check out this nifty blog post by Dr. John Grohol, founder of PychCentral.com: “The Psychology of Twitter.” It might put things into perspective. Yes, the conversation is always on, always running. And yes, you may eventually have hundreds, even thousands, of followers, but you can’t follow everybody’s feeds all of the time. Not humanly possible. If you want to find out what a particular person is tweeting about, simply check out his or her feed updates. No need to browse the slush to find it. But if you have a five-minute break, why not scroll through a bit of your home feed and see what everyone’s talking about? That way you can retweet or respond to tweets that interest you.
Don’t just complain about life or work on Twitter. If you are perpetually negative or whiny, your followers will start to drop you. Wouldn’t you want to unfollow someone like that? Just think about what you’d want to read, and that will be a great guide as you begin tweeting.
Don’t discuss very personal details about yourself, such as your home address, phone number, bank account numbers(!?), etc. It’s just commonsense.
What does @StirlingEditor tweet about, one might dare to ask . . .?
Here’s a small sampling of some of my recent tweets below to give you an idea of what you might tweet on.
Imparting thoughts on writing
@StirlingEditor: Fiction writing is such a gift. A way to express our most intimate thoughts in the guise of an imaginary and invincible self.
Discussing the process
@StirlingEditor: I’m missing my writing a little bit today. But I’m doing my marketing and editing work like the good girl I am. *polishes halo*
Sharing news
@StirlingEditor: Watch the book trailer for my YA historical romance, Artemis Rising, at www.cherilasota.com.
This post is getting ridiculously long, but as you can see, I’m merely scratching the surface when it comes to what Twitter and Twitter apps can do. Feel free to share your two cents’ worth in the comments section or post a link to helpful blog posts/articles/apps you’ve tried and love.
Share your Twitter stories in the comments!
Tweet away, my writerly Tweeps!
*****
Over the course of her thirteen-year career, Cheri Lasota has edited fiction, nonfiction, screenplays, and short stories for publication. Clients include McGraw-Hill Publishing Company as well as individual fiction writers and screenwriters. She has five years of experience editing various types of fiction, including genre fiction, children’s books, and screenplays.
Cheri has recently published an e-book, Outlining: The Published Novelist’s Secret for Success, and her short story, "Mending Time" will be published in an upcoming anthology. She has recently finished revisions on her first novel, an historical novel set in the Azores Islands, Portugal, where she lived for two years. Cheri is currently represented by literary agent Bernadette Baker-Baughman of Baker’s Mark Literary Agency, LLC. Visit her author website at www.cherilasota.com and her editing website at www.stirlingediting.com.
Don't forget to follow @Bksp_org to get all kinds of writerly tweets. And, you'll be the first to know what's new on STET!
Some people have asked if my novels, which contain violence, aren’t exacerbating the problem of violence in the world. If they are not desensitizing people even more to violence and perhaps even inciting it as people imitate what I write about.
Here are my thoughts on the issue, and I’d love to hear your comments.
First of all, I agree that our world is desensitized to violence. I believe this happens when evil is mute and sanitized (TV shows where people get shot, fall over, there is no blood, no grief, no mourning), glamorized, or ignored. I think we become more sensitized to violence when it is portrayed with honesty.
So first, muting evil. Some books and television shows do so by diminishing the value of human life. A person will be killed and no one grieves. Cut to commercial. Come back and solve the crime. This is not real life. Death hurts because we are people of dignity and worth. Death matters because life matters. Unfortunately, this muting of violence often happens in books that are labeled “religious fiction.”
This also frequently happens in the news media. Think of a news program: “A suicide bomber killed 62 in Iraq.”
When you hear that do you weep? Do you mourn? No, because it is sanitized. Only when you see the screaming three-year-old children with shrapnel in their face, the desperate widows, the bodies in the street do you feel, do you recognize the impact of the violent, evil act.
Movies such as the Saw or Friday the 13th films glamorize violence. The most interesting person is the serial killer. This desensitizes people to violence. And since we tend to emulate those we admire, I believe movies or books that glamorize or celebrate violence draw people toward it.
In my books I want people to look honestly at what our world is like, both the good and the evil. The evil in my books is not senseless, people’s lives are treated as precious and I want my readers to hurt when an innocent life is taken. The only way to do that is to let them see it on the page and then reflect on its meaning.
I think that an effective way of dissuading someone from doing something is to make them see it as deeply disturbing. And the only way to make people disturbed by evil is to show it to them for what it really is.
Thoughts? Questions? Comments? I'd love to hear back from you.
*****
Critically acclaimed author Steven James has written more than twenty books, including the bestselling thriller series The Bowers Files. One of the nation's most innovative storytellers, Steven developed his skill as a performer at East Tennessee State University (MA in storytelling). He lives in Tennessee with his wife and three daughters.
I read best-sellers, bargain books, literary fiction, memoir, historical fiction, chick lit, up-market women's fiction, (some) thrillers, cozy mysteries, cookbooks, young-adult, middle grade, humor and the occasional romance.
But I'm Jewish so I don't read Christian fiction.
Or do I?
Oy! Let me explain.
My friend, Tina Ann Forkner, writes Christian fiction. Her novel, Rose House, was on my TBR (to-be-read) list. For over a year. I was nervous. I wanted to be supportive. I wanted to like the book. Tina and I had just launched our friendship right before her first book was published, and while I read it, I didn't contemplate it. I didn't feel vested in the friendship at the time like I do now.
I decided if I read Tina's book and it preached, proselytized or put-down my own beliefs, I'd tuck it under the leg of a wobbly table and Tina would never be the wiser. I'd just never mention it, and being the class-act she is, she'd never ask.
This isn't a book review, it's more a review of my limited understanding of Christian fiction. I was surprised to be delighted with the book from the start. Complex characters in real life situations, quandaries and questions, intrigue, a little romance, family dynamics, cultural anthropology and a dynamite setting. The characters -- most of them -- were Christian. Some had fallen-off church's wagon but the premise of the book was not to get them back on. The theme of the book was hope. These characters drew their hope from their faith, but never once did I feel like any character was inauthentic in his or her actions and words. Their beliefs were organic to the story.
I was really surprised.
Then, I wondered -- why is this Christian fiction if Jennifer Weiner's Good in Bed and Certain Girls aren't Jewish fiction? How about Snow in August, The Red Tent, Sarah's Key, Sophie's Choice or Marjorie Morningstar? I've written a yet-to-be-published novel and the characters are Jewish. None of the agents who've commented on my manuscript have said its audience will be only Jewish. Just because the characters are one religion -- perhaps steeped in belief, culture and heritage -- does it mean only people just like them should read the book?
I didn't think so.
But Tina explained to me that there are books published by Christian publishers which are more religious in nature, with more faith and church in the storyline, where the purpose of the story is to impart beliefs. Tina enjoys reading these books, but shared with me that Christian fiction has evolved to include more mainstream stories as well, where the beliefs are organic to the character arc and plot lines.
In Rose House, the sisters, Lillian and Geena, remember growing up as pastor's kids and have fond memories of church services of their youth. I have fond memories of synagogue services of my youth. I related to Lillian and Geena's memories. The similarities outweighed the differences.
Unlike some authors of all kinds, Tina wants to branch out. She wants to write general market fiction. I think she already has, but I understand that being published by a Christian publisher might pigeonhole her books in some stores and with some readers.
It's hard to step outside our circle of familiar.
I recently took my teenage daughter on a shopping trip where she promised she was going to shop outside her comfort zone. Last year she wore jeans and T-shirts, sweatpants and T-shirts, the occasional hoodie and infrequent shirt without words. This year she wanted something different. My advice was to try on anything she thought she might like and go from there. No one in the fitting room, especially not I, was going to force her to go home with something she'd never wear or didn't like.
And while the pile of new shirts was mostly gray, black and white -- she did come away with a purple sweater and a plaid (plaid!) button-down with a belt and there was nary a T-shirt or a cute quote or retro-character in the collection.
She wouldn't have known she liked something different unless she tried it on, stepped back, looked in the mirror from different angles.
And I'm thinking it's the same reading new genres and new authors.
I'm not suggesting every Jewish person read a novel published by a Christian publisher, but I am thinking if you see or hear of a book of any kind that is a little outside your ordinary, try it.
You might find it's something very familiar.
A good story.
*****
Amy Nathan is the editor of STET! and the monthly Backspace newsletter, as well as organization's social media liaison. She is a published freelance and fictionwriter, editor, mom and lifelong writer and reader.
She is fortunate to have friends with varied abilities, personalities, backgrounds and beliefs. She'd be really bored if we were all the same.
To write fiction is to write lies, is it not? And yet, though our readers have full knowledge we lie to them, they must, and do, willingly suspend disbelief with every novel they enjoy. How does that work?
If we get right to the nub, the secret to a good novel is this willingness to suspend disbelief, isn't it? Here's evidence of that. Would you enjoy a novel that contained an exciting plot, magnificent characters, compelling conflict and effective dialogue, if it's base premise said, without equivocation, all humans are vile, worthless creatures? Probably not.
Why not?
Because no author will ever convince you all people, including you, are contemptible and have no value whatever. It's simply beyond belief.
Herein lies one secret to have your readers suspend disbelief. It's important writers understand there exists an unspoken agreement between him and his reader. This agreement says the reader will suspend disbelief, to a point, and the writer won't go past that point.
What "that point" is, differs by genre. For example, if you write a modern day romance, readers won't believe the lovers met on an interstellar cruise ship. In contrast, if you write sci-fi, it's a distinct possibility the character's could meet on a cruise to the moons of Jupiter.
This leads us to the first skill a writer must master if his reader is to suspend disbelief. Your novel must stay true to its genre. That is, if something must be true in your genre, you maintain its truth throughout your novel. The secret to the truth of your genre is research.
The classic example in historical fiction is the roman centurion who checks his watch. Watches didn't exist in that day, so it's use is untrue to the genre.
Another example is the detective story where the chain of evidence doesn't exist.
The next principle to which an author must adhere goes by the technical name, "Step Away from the Stupidity." That is, if it simply can't be, don't try to push it on your readers. A good example of stupidity is trying to convince your readers no humans having intrinsic value. Readers won't buy it. If they can't make a logical leap to where you want to take them, they won't jump.
Consistency is yet another key to have your reader suspend disbelief. Consistency of character, plot, magic, rational and all the rest must transpire though the novel for the reader to accept your lies as fact, at least for a time.
Last night I watched a rerun of Friends where Rachel came on to Joey and Joey backed off. Where else in that ten-year series did Joey back down from a close encounter? And that's the point. All of a sudden, Joey's character changed without explanation, and a bit of the consistency suffered.
The real secret to the willing suspense of disbelief is found in the phrase, "Details do it." People believe what they can see, so paint that evocative verbal picture. Be sure to infuse enough real details to enhance the believability of your false ones. If you have an odd character, make him three-dimensional by infusing him with attitudes, emotions and other characteristics real people might have. The same applies to setting and any other aspect of your novel that bends the bonds or reality.
Now for one last thought to ensure your readers suspend disbelief. If you can't write a story in the first place, people won't belief anything you have to say, period. Your best weapon to convince your readers to suspend disbelief, is to learn how to write.
Now, what did you read that made you stop suspending your disbelief?
Until we speak again, know I wish for you only best-sellers.
***** C. Patrick Schulze is the author of the emerging novel, BORN TO BE BROTHERS. He is married with two daughters, enjoys walking Civil War battlefields, writing and photography. Yes, his wife puts up with it all.
There I am, walking out of the library, and I run into an old friend. That’s nice, you say. It would be, if not for the fact that I had, under my arm, a copy of this friend’s latest travel memoir. And here’s where many of you might wonder: What is the problem?
People unaware of how publishing works may not realize it, but being caught this way is not a good thing—because the question on the mind of the author of said memoir will certainly be: Why didn’t she buy my book?
Possible answers are that even though I have plans to buy it, I saw the book on the library shelf and couldn’t resist it, or that I have already bought it and this copy is for my sick mother-in-law. On this occasion, I chose the former, and my writer friend pretended to believe me.
Only slightly less embarrassing is being caught by the remainder table—a.k.a. Bargain Bin—of your favorite bookstore, with a book authored by your old friend (perhaps now it would be more appropriate to say “ex-friend”). Yes, it’s true that in this situation you are intending to actually buy the book, but the fact is, this book was once $30 and is currently selling for $1.95 because the publisher dumped it. And this is something that you and your writer-friend don’t want to acknowledge. And how’re the kids? you ask her, chastising yourself because you should have bought the damn book when it was selling for full price, so that your now-ex-friend could collect the royalties on it. (Just so you know, she likely isn’t making a dime off that $1.95.)
I do buy books written by my closest friends, unless those books are ones I know I’ll never read. (I’m not interested in underwater hockey. I’m just not.)
Here’s the thing. If you know a lot of writers, you have a lot of books to buy, but being a writer yourself—especially one like me who earns income mainly from magazine articles and teaching—you don’t have much discretionary income. And what you have, you might prefer to spend on the latest novel by Margaret Atwood, whom you have never met.
Other than book-shopping/library borrowing early on Sunday when none of my friends, ex- or current, are likely to be awake, I don’t really have a tactful solution to this problem.
Do you?
*****
Sharleen Jonsson's articles have appeared in numerous publications in print and online, including Canadian Living and Globe and Mail, and her short fiction has been published by Mississippi Review. She teaches a course on "reading like a writer" at University of Victoria and is working on a novel. She blogs about writing and reading at http://sharleenjonsson.com/.
It’s Friday the 13th but I’m going to steer around the Freddie Kruger references, duck away from the don’t-walk-under-ladder clichés and get right to where writers want to go.
What’s luck got to do with writing success?
Something.And nothing.
There’s no luck involved with writing well.Whether you believe its organic talent, a learned skill or a combination; crafted, polished prose is deliberate. But, if you stumbled across an online article that inspired you to write a certain piece…there might be a bit of luck (or Kismet or coincidence or intervention – whatever your preference) involved.There is no luck involved with aligning yourself with other writers, on blogs or on a site like Backspace.But it’s lucky that so many writers put themselves out there and are generous with their time and advice and friendship – although I’ve also run across some rude, obnoxious people online. I’ve learned that being nice to others has nothing to do with luck, it has to do with character.And again, that’s deliberate.
When it comes to publishing, disgruntled as well as hopeful writers might say that they’re unlucky.That The Published Ones have all the luck, were in the right place at the right time, knew the right folks.Fact is – they wrote the right book. But is it luck that makes someone choose to write vampire story on the upswing of the vampire rage – or is that smart?I tend to think that some of the bloggers who are discovered by internet surfing literary agents and who are offered book deals when they never intended to write books might have luck on their side.But was it luck that led them to the internet and prompted them to write something stylish and possibly witty or profound enough to attract attention?To me that sounds smart, not lucky.
Elements of luck permeate our writing world every day, especially on the internet.We’respoiled-for-choice with so many links and sites, who’sto say what's worth a click and what’s not.And where that click leads, we don't know until we get there. I always feel lucky when I find a literary gem online, be it a story, a blog, a new friend.
But, I’d rather believe that my writing success – however I define success on any particular day – is of my own doing.
The truth is, I am fortunate to do what I enjoy.And with all life’s ups and downs and sideways turns, that makes me lucky -- no matter what day it is.
Amy Nathan is lucky to be the editor of STET! and the Backspace newsletter. She is also the organization's social media liaison, a published freelance and fictionwriter, editor, mom and lifelong, non-repentant, chocoholic.
I’m lucky because my boys, ages 6 and 9, still let me read to them each night before bed. They’ve graduated from children’s picture books to novels that develop psyches – Narnia, Harry Potter, the wild, wondrous world of Roald Dahl. Recently I convinced them to let me read one of my own childhood favorites, From the Mixed-up Files of Mrs. Basil E. Frankweiler, a mouthful of a title that has stuck with me since I read it when I was probably just a little older than my oldest son is now.
At first I wondered if the book would hold up. Would the story be as absolutely captivating as I remembered? Would it hold my boys’ wall-bouncing attention, more recently used to fast-action novels like Rick Riordan’s Percy Jackson series?
But as I read the book aloud, I found myself quickly swept into my own memory. Almost at once I recognized myself in the main character, Claudia Kincaid, a perfectionist, a planner, intent in school, arrogant about grammar, with a determination and innate curiosity that only well-planned but ill-advised action could satisfy. Claudia sets her sights on New York City for a runaway escape from her invisible life. New York represents independence and adventure to her and promises to “change her” in some indelible way. It was this same expectation that I embraced many years ago, so long that I’d forgotten its origins until I reread these pages.
Claudia and her brother Jamie spend a week hiding out in the Metropolitan Museum of Art. To this day, I still look for the 16th century canopy bed where they slept and expect to find the sprite-laced bronze fountain where they bathed and gathered wishing pennies to fund their adventure, though both have been removed from the museum’s exhibit halls for at least a decade.
Somehow this novel informed my childhood and determined my trajectory, as did others I’ve since placed on my sons’ bookshelves: Island of the Blue Dolphins about an Indian girl who survives alone on a Pacific Island. Perhaps my passion for unfamiliar subsistence cultures stems from that book written 50 years ago.
Then there’s The Secret Garden, the very first book I ever stayed up all night to read. I can still feel the embrace of its Gothic setting, the constancy of mists drifting over the lonely moors. I see Mary Lennox arriving orphaned from India, abandoned and neglected, wandering the cold, echoing halls of a mansion haunted by disembodied moans. Then I feel the moist breath of perilous, unfolding friendship and freedom, and the mystery and joy of the rich soil of the secret garden.
How can I help but recognize in all this the first kernels of my own imaginative urgings – characters haunted by abandonment or longing for escape, mostly women who make of their lives what they can against odds and often alone? These themes are deeply seeded in my own stories, as are their atmospheres, cultures and climates filled with loneliness and uncertainty.
I am compiling a list of the books I’ve adored, whose reading burned impressions in my memory that surely I am following in my work and life even now. How will it feel to reread A Tree Grows In Brooklyn after living in that borough for those many years? Of that story, I particularly recall that the only books in Francie Nolan’s childhood home were the Bible and Shakespeare. I recall gobbling Shakespeare like a greedy beggar not long after reading her tale.
And what about A Wrinkle in Time – a novel so keenly influential on my young, impressionable mind that, sometime in my mid-20s, I found myself climbing the creaking stairs of an Upper West Side convent to absorb the sage guidance of its author, Madeleine L’Engle? She directly and indirectly influenced the path of my creative life. How will it feel to reopen those pages and understand the depths of an eleven-year-old girl’s wonder?
Make a list of your own. Go back and reread some that still flash in your memory. You might find a key to your own creative heart, tucked away in a dusty corner where it had almost been forgotten.
A likeable antagonist? Say what? Why would I want my antagonist to be likeable??? I mean, he’s the one the protagonist wants to defeat, right?
Yes and no. The antagonist is the character who is trying to stop the protagonist from reaching her goal, but that doesn’t mean he should be all bad. According to Donald Maass, the scariest antagonists are not the ones lurking in the corner, cackling Mwoo-ha-ha. No, the scariest antagonists are the ones that are smart, likeable, and right. Here are some of Maass’s tips for creating a three-dimensional antagonist:
1) Give the antagonist a goal of his own and make it one the protagonist could agree with on some level.
For example, the antagonist wants to steal the Mona Lisa. This is wrong. But make him want to steal it because he needs the money to pay for his mother’s cancer treatment and suddenly, the goal seems justified. The protagonist may not agree with the antagonist, but she will understand him and maybe even sympathize with him.
2) Find one way to make the antagonist’s “way of looking at things” right.
For example, despite being a hardened criminal, the antagonist might believe in universal health care. The protagonist will be able to agree with him on this point, making it harder to hate him full stop.
3) Right before the climax, get the protagonist to agree with the antagonist.
Using the example above, maybe the protagonist is about to stop the antagonist from stealing the painting, but she sees his dying mother in the hospital and can’t do it, at least for a moment. Yes, the protagonist will eventually have a change of heart when she realizes that innocent people may die during the heist. But by making the decision difficult for the protagonist, you will create more tension in the pull.
What likeable antagonists in literature pop to mind? In film? What makes them work for you, or not?
***
Holly Bodger lives in a small town outside of Ottawa, Canada. When she is not trying to stop her children from killing their cat or each other, she writes Middle Grade and Young Adult fiction.
Currently on submission, Holly’s first novel, BLYTHE OF BROWN STABLES, is a tween romance about a troubled girl whose parents try to reform her by sending her to Anne of Green Gables camp. For more information, contact Holly’s agent, Joanna Volpe of Nancy Coffey Literary, or see her web site, www.hollybodger.com.
I attended a murder mystery play that was written by a member of my old writers' group. Many friends from the old group were there to show their support, and most urged me to return to the monthly meetings. I haven't been to a writers' group meeting in over a year for a variety of reasons, one of the most significant being that I'm conflicted about how helpful they are. In my experience, you'll meet three types of people in writers' groups.
The Nice Writer is sweet and supportive. She will love everything you write. This feels good until you realize she loves everything everyone else does, too, which makes you start to question her honesty and/or taste after awhile.
The Know-It-All Writer is also The Best Writer Who Ever Lived, except he's not published, or if he is, it's with a very small press. Perhaps a vanity one. He is there for three reasons: to get the ego strokes from The Nice Writers; to give the poor lesser writers the benefit of his wisdom; and three--to hear himself talk.
The Helpful Writer is the most rare of the critique group members. This person usually has more experience than you, or just a really good eye for editing. She can help you make your work better without making it sound like her own. You may find one of these Helpful Writers in your group. If you're lucky, you'll have two or three. Rarely are there more than that. If you think your entire group is comprised of Helpful Writers, chances are you're mistaking Nice for Helpful.
However, there is another great advantage to being part of a writers' group. It's the simple camaraderie that comes from being with like-minded people. Writing can be the most isolating, lonely exercise in the world, and being able to discuss the challenges and triumphs with people who truly get it is priceless. Some of the closest friends a writer will ever have will inevitably be other writers. It makes all the Know-It-Alls and bad writing worth it.
Hmm...maybe I will attend a meeting next month after all.
What type of writers' group member are you? Have you ever been a member? And if so, what has your experience been like?
***** Holli Moncrieff has published hundreds of articles in national and international magazines and newspapers. She is currently working on her third psychological suspense novel, and actively seeking a new agent. You can read Holli's blog about writing and kick boxing at www.thekickboxingwriter.blogspot.com.
Eight hundred thriller writers and fans converged on New York in July for the fifth annual Thrillerfest. Convening at the Hyatt at Grand Central Station, the crime writers attended panels and classes, lectured, networked, and had at least one cocktail party every night.
The International Thriller Writers Association was founded in 2004, after a crime writing conference at a Scottsdale, Arizona bookstore attracted way more people than expected.
Spy novelist Gayle Lynds and Rambo creator David Morrell were the first co-presdients. “It became evident to us that readers wanted a conference that celebrated the thriller,” Lynds said at Thrillerfest. While thrillers have long been on the bestseller lists, the books are often dismissed as “beach reads,” and some of their writers have wee chips on their shoulders about being seen as sub-literary. Lynds said thriller writers wanted their own convention and awards. Thanks to the ITW, they’ve had both for five years running.
Many writers come to Thrillerfest year after year, though the price of the convention and New York lodgings can be prohibitive. Established writers come to see their colleagues and agents. Aspiring writers attend to meet famous writers and agents. Quite a few readers and fans come to drink cocktails while chatting with Ken Follett, Lee Child, Tess Gerritsen, and other thriller luminaries.
Cindy Barton Rabe, one of the four attendees from Oregon, came to make contacts and find an agent to represent her first science thriller. “Thrillerfest is incredibly supportive for aspiring thriller writers,” she said “It’s just like in any other business. A huge percentage of the likelihood of success comes from networking.”
What is it about thrillers that has put so many on the top seller list? This week, seven books on Publisher’s Marketplace’s top ten list are thrillers. Lisa Scottoline, who has published eighteen books, calls it, “a no bullshit genre. Get to the point. Tell the story.”
Over the course of the conference, many writers remarked on the public’s demand for stories to be quicker and snappier. Younger generations are more at home juggling three electronic devices than sedately turning pages in a book. According to Karen Harper, when she began publishing historical fiction in the 1980s, “you could take four paragraphs to describe a castle.” She said now people are used to USA Today, and reading data points prefaced by bullets.
In keeping with the electronic revolution, mass market paperbacks are down and Kindles are up. Writer Stephen Coonts emphasized the need to connect with readers both over the Internet and in person. “Fans are made one at a time,” he said. He emphasized that writers need to look their fans in the eye, personalize autographs and spell the reader’s name right. Publicity is up to the author; you can’t count on the publishers anymore. “Fifteen years ago they put me on the road for a month,” he said. “Now they don’t want to buy me lunch.”
Writers today are pressured to think of elevating their names into brands. After Jonathan Maberry published several martial arts textbooks, he decided to write some vampire folklore. People in publishing advised him to use a pseudonym. The vampire book far outsold the martial arts books, leaving him in the strange position of playing second fiddle to his pseudonym. He decided to use his real name for his next folklore book. But not only did he have to start over rebranding his name, he wound up in competition with his pseudonym, and occasionally even accused of imitation. Worse, his real identity was snubbed; his pseudonym got invited to speak at conferences which didn’t invite him.
Thrillerfest’s biggest draw for aspiring authors is an afternoon of speed dating with literary agents. This year, almost 50 agents participated. Each sat at his her or his own table. Writers formed lines, waiting for their chance to spend three minutes pitching their thrillers. Most writers pitched between twelve and twenty agents during the allotted time.
Scott Fleuter, former police chief of Ashland, attended Thrillerfest to pitch his tale of a vengeful psychiatrist who manipulates his patients to commit murder. According to Fleuter, meeting agents was well worth the entrance fee. “It’s so hard if you don’t know anybody, to make that human to human contact,” he said. Fifteen agents requested a look at his manuscript.
Publishing is a grim business. Literary agent Barbara Poelle said that out of 100 queries she receives by mail, she only asks to read one manuscript. And out of 100 requested manuscripts, she only offers to represent one author. Several agents said if your thriller is set in Iraq or Afghanistan, forget it. Those are glutting the market.
One thing that many of the thriller writers disagreed passionately over was whether or not to outline a book. Paranormal thriller writer Allison Brennan and Eric Von Lustbader, who writes the Bourne series, fell strongly on the no outline side. RL Stine, of Goosebumps fame and Gayle Lynds are pro-outline. “Push yourself to outline,” Lynds urged. “The hardest part of writing is thinking.”
Less contentious was the “write what you know” versus the “write what you want to know” debate. While many thriller writers have special expertise – careers as attorneys, cops or intelligence agents – many don’t. As writer Steve Alten, who was a PE major, put it, “If I wrote what I knew, it would be a really boring book about pushups.”
Harlan Coben doesn’t outline but knows his ending. He likened his method to driving from New Jersey to Los Angeles. While many routes are possible, he knows he’ll wind up in L.A. He emphasized that excessive outlining and researching are ways writers often avoid writing. “Outlining, creating characters, and researching, are not writing,” he said. “Even conferences are bad if they stop you from writing.”
Many writers expressed concern and confusion over electronic publishing formats. But keynote speaker Gina Centrello, publisher and president of Random House, emphasized that ultimately what writers need to produce is a good story.
For aspiring authors, attending Thrillerfest is a gamble. It can easily cost two thousand dollars to pay for the conference, lodging and airfare. A few will probably become well known writers. Many will not. It’s kind of like the old Calvinist religion. Many are going to hell no matter what they do, but they have to persist in being good if they want to find out if maybe they’re slotted for heaven. Writers, too, must persist if they are going to have any chance for success. Some of the writers will feel dejected and overwhelmed by the odds against them. But many others go home feeling inspired. After four days of Thrillerfest, Ray Plotecia of Baltimore, who is seeking a publisher for his maritime ecothriller, falls into this category. “I actually feel like I love writing more right now than I have for a while,” he said. ***** Teresa Bergen has a BA in journalism and an MFA in fiction writing.Her articles and stories have been published in many periodicals,including River City, Ms. and the South China Morning Post. She lives in Portland, Oregon, where she writes thrillers.
Etymology: Latin, let it stand, from stare to stand
Pronunciation: \ˈstet\
: to direct retention of (a word or passage previously ordered to be deleted or omitted from a manuscript or printer's proof) by annotating usually with the word stet
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by Kath Calarco
Kath Calarco maintains the belief that it’s never too late in life for anything. Having returned to school at age 53, she’s currently studying for a degree in Liberal Arts with a focus on Humanities and English Literature. She writes contemporary literature and poetry, and maintains two blogs, Writeful Mumblings and Five Minute Sprint.
But I’m doing my marketing and editing work like the good girl I am. *polishes halo*
– a novel so keenly influential on my young, impressionable mind that, sometime in my mid-20s, I found myself climbing the creaking stairs of an Upper West Side convent to absorb the sage guidance of its author, Madeleine L’Engle? She directly and indirectly influenced the path of my creative life. How will it feel to reopen those pages and understand the depths of an eleven-year-old girl’s wonder?
