Tip O'Day #459 - Just Say "No"

Guest blogger Karin Kaufman on “Jumping the Publishing Curve.”

In early 2011, I sent a query letter to a literary agent. One of those “if you don’t receive a reply, it’s a no” agents who haven’t the time, energy, or inclination to send even a one-line rejection via email.

I thought, OK, fine. I can deal with no reply. I’ve spent hours on the synopsis and query — properly formatting the latter to avoid being disqualified from the get-go by an assistant whose job it is to scour queries for obedience to format — and I’ve jumped through numerous hoops, some justified, some silly, but big deal. If I don’t hear from the agent, I’ll move on. I’d been told it could take years to land an agent, and after all, this was only my first query letter. I had many dues to pay.

Two months later, realizing that, indeed, I’d scored a big red no on my query, I turned to the next agent on my list. This one wanted the following: (1) a query letter of three (no more, no less) paragraphs, (2) a short synopsis, (3) a long synopsis, (4) a jacket blurb, (5) a tag line for my novel, and (6) a marketing plan.

In other words, he wanted me to do his job for him. With very little chance that my work would pay off. I calculated how many hours it would take for me to jump his gates like a good little pony and laid down my own big red no.

No, I will not start down this path. No, I will not make sure my email subject line is just right so that your automated system doesn’t kick it out. No, I will not spend the next three years sending queries by the score in hopes one agent will deign to respond. No, I will not sign with an agent only to find he can’t market my book and has decided to retire to North Carolina. No, I will not take a $3,000 advance (if I’m lucky) and be consigned to the back shelves (if I’m lucky) of a dying bookstore chain. No, I will not accept a 7.5 percent royalty rate when I’m the one supplying the content. No, I will not confine myself to one genre. No.

I’m lucky. It took me one query letter and a brief, wavering moment as I considered writing the next to decide to go Indie. That moment happened to coincide with the explosion in Indie publishing. Other writers have spent years searching for an agent—and years more waiting for a publisher to come along.

In July 2011, I published my first novel, The Witch Tree, on Amazon. So began the Anna Denning mystery series. In 2012, I uploaded the second book in the series, and last year I published All Souls, a speculative thriller that, had I been beholden to an agent and publisher, never would have been written.

God bless agents, with their hoops and gates, for pointing me toward Indie publishing. If you’re considering going Indie, I encourage you to give it a try. These days you have nothing to lose. After all, agents are beginning to call Amazon the “new slush pile.”

You have to laugh.

Karin Kaufman is author of the Anna Denning cozy mystery series and the Gatehouse Thriller series (under the name K.T. Kaufman). Her first novel, The Witch Tree, was a 2011 Grace Award finalist. When she’s not causing mayhem in the lives of her characters, she enjoys reading, drinking far too much coffee and tea, and taking walks in the foothills of the Colorado Rockies with her two rescue dogs, Sophie and Cooper. The Amazon Kindle link to All Souls is http://goo.gl/pbuKqx.

Tip O'Day #458 - There's Still Room

Guest blogger Donna Levin on “The Last Endangered Species.”

The novel 1984 is one of my favorite books, and I’ll leave you to wonder what that says about moi. In 1984, George Orwell predicted many horrors that have come to pass: government spying, “enhanced interrogation,” and strangling political correctness. The prediction that hasn’t come true – yet – is factory-produced fiction (Winston Smith’s lover, Julia, repairs “the novel-writing machines”). But when I saw how the auto-correct capability on my iPhone changed cyxt to Hi there, I realized that this final abomination cannot be far away.

My anxiety seemed even more justified last week when I read about the HemingwayApp: a program that will scan your prose for adverbs and the use of passive voice. Not that we shouldn’t be able to do this for ourselves, but we used to make our own clothes, too.

Throughout the ages, many jobs have disappeared. There are no more elevator operators. There are still blacksmiths, but according to WikiAnswers, “they are few and far between.” And your average town crier has been out of work a long time.

I don’t know anything about computer programming, but I know what they can already do, and any kid in junior college familiar with javascript could install a MadLibs-type program for a Regency romance outline:

HEROINE has __ eyes __ hair __ is ___ tall and is: spoiled and willful/beautiful but unappreciated by her family/was rich but just lost her fortune and now must become a governess….
HERO has __eyes__hair and will obviously be six feet or taller with broad shoulders. He: is mysterious and aloof/is ardent and affectionate/has a bad reputation …
He also has a secret: he’s already married/has murdered someone, but justifiably/is closely related to a famous criminal/has insanity in his family…
HEROINE and HERO meet: on the moors/at a ball/in a creepy castle/at her father’s house when he appears looking for a place to stay in the middle of a violent storm…
They fall in love. Total, pure, eternal loooove. But:
They face an obstacle: parents objects/financial difficulties/hero goes away (to war, to care for elderly relative, charged with a crime (he didn’t commit)…
Then: Good fortune intervenes to bring them together: the parents see the light/the person in the way dies from illness or in a fire (or is murdered, but by villain)/a previously unheard-of relative dies and leaves a large inheritance…

Sentence structure in English has only so many possibilities, and with all due respect I’ll bet computers can compete with Georgette Heyer or Barbara Courtland in that arena.

It’s a long, long leap from writing formula fiction to the genre we think of as literary. (A genre that can be just as awful as it can be inspiring. Ever try to read Marilynne Robinson’s Gilead?) But last week on The Daily Show a scientist was predicting that our entire brains could be uploaded onto CDs. That particular idea doesn’t hold much appeal, but as Walt Whitman wrote, “every inch of common air throbs a tremendous prophecy, of greater marvels yet to be.” And Whitman didn’t even have a laptop.

Novelists have always lived on the edge of unemployment. The computer-produced novel will be to writers what automotive repair has been to the blacksmith. As with blacksmiths, there will always be room for a craftsperson or two.

Donna Levin is the author of the novels Extraordinary Means and California Street, as well as two books on the craft of fiction, Get That Novel Started and Get That Novel Written. Learn more at her website.

Tip O'Day #456 - The Voice Behind the Book

Guest blogger Kellie Kamryn on the challenges of narrating an audio book.

When I first began my writing career, I was fortunate to be asked to guest on this Wredheaded Writer blog, and I’m very pleased to be back. Thank you, Dixon!

Since that time, I’ve written and published twelve romances ranging from very erotic to sensuous and sweet, plus a story featured in a holiday anthology. I’m also a narrator of audio books for Romance Divine and The Killion Group, as well as for freelance clients.

Narrating is a lot of work. I absolutely adore my jobs, but as all authors know, writing a book isn’t simply typing words into the computer. Figuring out your process, plotting, grammar, following sentence structure rules, and polishing a manuscript all take focus and determination, not to mention being your own sales staff, which is a whole other process.

The same can be said of narrating. A publisher invited me to narrate a book I had written, and since I enjoy a challenge, I accepted. The learning curve was HUGE! Narrating is not just about reading a book. Proper pronunciation, enunciation, inflection, drama, along with use of software and equipment set-up are all part of the job. Over the past two years, I’ve learned the production end of things, and how time consuming that is as well.

I never discourage anyone from learning something new, so if you are serious about voice acting, ask questions of other professionals. Take acting classes, as I did, to learn more about the art of voice acting, vocal hygiene, and warm-ups to keep your voice in shape. Auditioning for other voice acting jobs taught me that I had more to learn about the industry. While I plan to keep on learning, for now I’ve got a full roster of audio books, along with my own writing to keep me busy.

Just as in writing, where not every publisher or agent will like your work, don’t take it personally when someone doesn’t feel your voice is right for their piece. Ask all the questions you want, but at the end of the day, remember that you are responsible for your career.

Following is a blurb for the re-release of erotic romance Pleasure Island, available in audio and eBook:<

Chelsea Hunter didn’t come to the resort looking for sex. Jake Davis intends to change her mind. Will they be able to turn up the heat, or will their visit to Pleasure Island leave them cold?

After finalizing her divorce, Chelsea Hunter came to the resort island of Paradise for some peace and quiet so she could figure out what her next step would be. She hadn’t expected to find herself at an exotic hotel dedicated to pleasures of the flesh. Too bad she doesn’t want sex.

Jake Davis is back in Paradise after visiting a year ago when his own marriage fell apart. This time his fantasy is to guide a woman through her sexual journey. He hadn’t counted on being paired with the only woman in Paradise who prefers privacy over pleasure! Will Jake be able to discover what Chelsea truly needs, or will their journey to Paradise remain unfulfilled?

Comment on this blog post for a chance to win one of Kellie’s backlist in audio or eBook (depending on available format). You can check out her website at www.kelliekamryn.com or her novel Pleasure Island on Kindle here.

Tip O'Day #454 - It Sounds Easy Because It Is.

Guest blogger Hayden Chance on "Five Habits That Will Murder Your Chances of Ever Finishing a Novel."

Writing is like catching fireflies in a jar. If you don’t grab the spark when the opportunity arises, the sunrise will come and the magic will all be gone. No shit. It’s really true. Every idea has a shelf life and if you don’t use it before its expiration date, your writing will do the same thing milk does when it’s been sitting on the counter for several days. It will sour and stink and no one will want anything to do with it. That means if you want to write a novel, you’ve got to get it done when the creative impulse strikes, and then get it out there for people to read. This sounds simple, and really it is, but writers like to develop all sorts of convoluted habits that complicate simplicity.

When people find out I’ve written seven books, six of them novels, invariably I get asked the same question: “How the hell do you write one novel, much less six?” I say the same thing every time: Process. A process is something that has steps, creates success and can be repeated over and over again. I have a definite process I employ every time I write a book, but since there’s not enough space in this brief blog entry to outline that process, I’ll give you these five poisons that are sure derail any novel writing process you choose to use:

One: Journaling constantly. If you continuously journal every thought, hope and feeling you ever have, you’re a diarist. That’s fine if you’re writing just for yourself or as a coping mechanism; however, if you want to write novels, then write novels. Not about how your favorite Adele song enhances your orgasms. Not about how that turkey sandwich you ate last week made you too tired to pick up the kids from school, so they had to hitch a ride with the creepy dude three houses down who smells like fish, and who’s wife disappeared mysteriously three months ago, even though someone still comes out of their house late at night wearing her dresses… (OK, maybe you do wanna write that last thing down. It might be good to give to the cops later.)

Without fail, when people ask me why they can’t finish creating a novel, and I ask them, “Are you writing?” They respond: “Um…well, I’m journaling a lot.” It’s great to have a diary. It’s just that if you’re not some sort of nympho like Anaïs Nin, no one but you is likely to ever want to read it.

Two: Talking about writing, rather than writing. For God’s sake, if you’re gonna tell everyone about what you someday hope to write, at least record the freaking conversations. The more you’re talking about writing, the less you are actually writing. Writing’s like making love. It’s your job to bring that reader to the heights of ecstasy. Put your energy into making that happen ON PAPER FOR YOUR AUDIENCE. Don’t be some cheap literary whore in random conversations with everyone you know. (For one thing, you will bore them all and they will hate you like taxes.) You don’t want to shoot your wad in conversational foreplay before you’ve even unbuttoned your jeans. Save some energy for the actual fictional act. Otherwise you’ll be snoring in self satisfaction while your audience is lying next to you, worked up, unsatisfied, and thinking of how they might poison your omelet in the morning without leaving any evidence.

Three: Constantly “work-shopping” everything. Lack of confidence kills your authority. Trust your own voice, your experience and your ability to tell a story. If you don’t believe in your work, no one else will. Getting someone to read your work for clarity is fine. Hitting workshops like a junky riding a twelve-step circuit damages your ability to determine your self-worth as a writer.

Four: Taking too long to finish. The longer you take to finish a novel, the further you go from the original creative impulse. You will change. Your views will change. The continuity, clarity and integrity of your story will suffer. Your audience will know it.

Five: Endless rewrites. Write it. Rewrite it. Get it the hell out there. Endless rewrites are just fear of success.

Hayden Chance is the bestselling author of the Urban Fantasies Taboo, Forbidden, Year of the Bull and the Amazon bestseller, Anatomy of a Wish. His latest sci-fi novel, Dream Oblivion, recently hit #1 on the Amazon’s Hot New Releases. You can check out his latest work here.

Tip O'Day #452 - Lessons to Unlearn

Guest blogger Margaret Callow tells the lessons you must learn, and then unlearn.

What I know of the craft we call writing has been sourced to me by learning along the way. I’ve gathered up suggestions, advice and knowledge. Add to these copious reading. It seems there is not a writer around who is not willing to guide another, often based on their own ideas and assumptions. It is a support system I think most writers cherish. I know I do.

On the road to getting published, prospective friends are met, some only to be discarded. Others are kept and nurtured, like all good friendships. While always grateful for input and help from others, for me this is also a cautionary tale. Learning can be confusing. I offer you some simple examples. Beware of too many adjectives and adverbs; distance yourself from had and the; be warned of purple prose; never info dump; be wary of prefaces. No matter the genre, it all applies. If like me, you are a willing learner, all of this will be assimilated eagerly like food for a hungry chick in a nest, but here’s my dilemma: be ready to throw it out the window at a moment’s notice.

There will probably be many experienced writers who on reading this will nod knowingly, but I am sure there are some less confident who like me have had quite a rude awakening. Or is it only me? Surely not. When my first novel was picked up with an offer to publish, I spent many a weary hour with the editor writing back in all the missing hads, extending description, adding adjectives and adverbs which I had so carefully avoided, and numerous other small adjustments which I had considered no-no's.

Please don't take this as any form of criticism of the editor, far from it. So grateful was I that she liked my work, I would have gladly written these things in my own blood, had she asked.

So for any would-be writers out there, just remember nothing is written in stone. Personal preferences often play a part in editing. Hopefully, just as you know the story you wish to tell, so your editor knows all about editing.

Learning never stops, that I do know. Last autumn, I signed a contract with Holland House Books. They are interested in my three early Medieval rebellions and a novel which is based on a true Norfolk story, about the last man to hang as a public spectacle at Norwich Castle in 1849. Working with H.H. editing is almost done and once again, I have absorbed a lot of new information. I hope this work will be published sometime this year. It is only a working title at the moment, but when there is a link, you can be sure you will see it somewhere!

Tip O'Day #451 - From Lullaby to Novel

Guest blogger Christine Columbus on writing the perfect C&W story.

Well, I was drunk the day my Mom got outta prison. And I went to pick her up in the rain. But before I could get to the station in my pickup truck, she got runned over by a damned old train.

"You Never Even Called Me by My Name" is a song written and recorded by Steve Goodman and John Prine, and later became a hit for country star David Allan Coe. The song is considered the perfect country song because it has mama, trains, trucks, prison and getting drunk. So when I set out to write The Perfect Country and Western Story, I knew I needed to include those same elements, which of course I did...

Cinderella with a twist - instead of a prince with a glass slipper, we have the heroine Alexandra with Stetson hat, and all she needs is a cowboy. But with three days and over 50,000 faces to search at the Midwest's largest country music concert, will she be able to find the man who stole her heart?

Ben still can’t believe he was foolish enough to let the beautiful thief walk away with his autographed cowboy hat. If the heartbreaker dares to show up at Country Time again this year, he’ll not only be looking to get his hat back, but aiming for a little payback as well. Of course, included in the story will be mama, trains, trucks, prison and getting drunk along with romance.

I grew up in a home where Mom rocked the babies to sleep singing, "...had me a drink about an hour ago and it went straight to my head..." For the longest time I thought she was singing a lullaby. Turns out she was singing an all-time perfect country song, and plotting my future novel.

Dixon says: People often ask writers, "Where do you get your ideas?" This is a good example of how a creative person can turn a song, or a poem, or a newspaper headline into a book. Check out www.ChristineColumbus.net to learn more about Romance writer Christine Columbus (yes, that’s her real name) and her perfect book.

Tip O'Day #450 - Embrace Failure

Guest blogger M.L. Hamilton wonders whether the Olympics should give a medal for last place.

Recently, I applied for an academy to study Shakespeare in London. I made it through the first round and was asked to come in for an interview. I didn’t feel nervous as I walked into the interview and met the four people who were conducting it. They explained what the requirements were and told me they would be asking me four interview questions.

That’s where everything went south.

The first question threw me. I blanked and once I blanked, the rest of the interview went rapidly downhill like a luge run. Mostly what I remember is babbling. I’m one of those people who babbles when I get rattled as if I think that the more I talk the more I might work myself into something that makes sense. At that moment, I had an out-of-body experience, where I could see myself sitting at the head of the table, talking like a madwoman, wondering why I just didn’t shut up. Oh, for the love of humanity, just shut up.

I remember I said Hamlet a lot.

Now don’t get me wrong. Hamlet is my favorite Shakespearean play, but the way I went on about him, you’d think I wanted to marry the guy.

So, what was the question that rattled me so?

The first interviewer asked me how teaching Shakespeare related to my students’ acquisition of the Common Core. For those of you not in academia, the Common Core is the national standards for each subject area in American public school classrooms. Why did this throw me? After all, I’ve been told that I need to embrace the Common Core, that I need to know it, inside and out, and I think I have a pretty good handle on it. It isn’t that different from what we’ve had as standards for years. What I couldn’t articulate at the time was the idea that I had to justify teaching Shakespeare. That a number and a purpose statement were required to expose my students to one of the most enduring poets of any age.

It wasn’t until I was home, watching television, that I had a moment of clarity. The new iPad Air commercial came on with Robin Williams reading lines from the Dead Poet Society. These lines in particular struck me: “We don’t read and write poetry because it’s cute. We read and write poetry because we are members of the human race. And the human race is filled with passion. And medicine, law, business, engineering, these are noble pursuits and necessary to sustain life. But poetry, beauty, romance, love, these are what we stay alive for.”

If I had been quicker, if I had been more centered, I would have articulated this. I would have articulated that we study Shakespeare not because he trips some arbitrary construct politicians and academics created in an office space somewhere. We study Shakespeare because he shows us a mirror to ourselves, he shows us universal truths about humanity that transcend time and culture. We study Shakespeare because he is art.

But I said none of this. I stumbled ungracefully through the interview and left feeling defeated.

So, what’s the take away? As humans, we laud our successes and we should. Success should be commended, it should be celebrated. But perhaps it is our failures that are more important. Our failures give us a chance to reflect, to have clarity, to truly learn who we are as people.

Like art and music and poetry, failure is what makes us human.

M.L. Hamilton has taught high school English and Journalism for over 20 years, and saw her first novel, Emerald, published in 2010. She’s been a busy lady since then, with three more books in the World of Samar series, and about a half-dozen Peyton Brooks’ mysteries. The latest is Murder on Treasure Island, and the Amazon Kindle link is here.

Tip O'Day #448 - Change the POV?

Guest blogger and fellow Montana author Ann Minnett on Acceptance and Point of View:

How do you accept what you can’t change? Maybe you don't even try, preferring to fight until you’re forced to surrender. I get that. I make myself and others miserable when trying to control noncompliant people, places and things. Every time, acceptance is the key for me.

Writing helps me gain acceptance. It happened initially through journaling, but more recently in my fiction. When I write a story about the thing I can’t change, I dump all my feelings about why it’s wrong, evil or insulting. The first draft is always awful and usually in first person — we’re talking about my problem, after all. For example, I wrote this about a difficult co-worker: "His beady eyes twitched under greasy brows, avoiding me when we talked. Like a bug on a bubble, his torso kept perpendicular to me no matter how I shifted into his line of sight. It felt like he searched our break room for a woman more worthy of his time…"

Once I got over the guilty pleasure of bleeding on the page, I played with the scene. Eventually a richer story surfaced. I rewrote it in the inattentive co-worker's point of view. As a result, the story expanded from the tunnel vision of ‘first person pissed off’ into a short story with depth and character development for both people. He was not only uninterested in the female character, but unwilling to make nice with an adversary. His behavior reflected their uneasy relationship, but she pretended, nearly bullying him. My protagonist and antagonist switched characters along with POV.

Try changing the POV in a scene that gives you trouble, if not with a life situation you can’t control. You’ll have a better story, and you might experience the gift of acceptance in the process.

Ann Minnett’s first novel, Burden of Breath, is available here. Also you can follow her blog at http://annminnett.blogspot.com

Tip O'Day #447 - Writing Without a Net

Guest blogger Jamie DeBree on NoNoWriMo, Past & Future

Last November I set out to write a novel for National Novel Writing Month (NaNoWriMo), as I often do. I gathered my things - my trusty computer, a blank character and a great first line - and I started writing.

I hear the collective gasp out there as writers everywhere shake their heads sadly. No outline? No synopsis? No ending? No plot? No way!

Actually, it's quite possible. I call it "Writing Without a Net," and it's really the only way I can write without losing interest in the story before it's done. If I have an outline, it means I already know the story, and I have no interest in (re)writing it. If I know how it ends too soon, aside from the general ending certain genres dictate, I see no reason to explore the rest of the story. That's just how my brain works. If I know too much about the story before I start, I lose interest in actually writing it. The fun is in the discovery for me, and the discovery is in the writing.

I can start with a general idea as long as I don't have too many details - for example, this particular story led to an idea for another based on a supporting character that I'll probably turn into a trilogy of stories just for fun. And for the second story, I know the main character's name and basic personality, as well as the main conflict (as set up in the first story). That's what I'll start with, and just see where it goes from there.

When I write, I let the characters just tell me the story. I don't tell them who they are or what they're doing or where they're going - they run the show. It's more interesting that way, because I'm usually just as surprised at what happens next as the reader will (hopefully) be. Once I get to know my characters personalities, I can generally predict the decisions they'll make, and thus start predicting where the story is headed. Scenes start forming earlier, and I normally have a good idea of how things will end by the time I'm two-thirds of the way done.

So what happened with my would-be NaNo novel last year? It's my latest release, Sleep With Me - a contemporary romance novella. Why a novella instead of a 50k NaNo novel? Because it didn't need to be any longer. When I start a story, I write until it's done, whether it ends up being shorter or longer than I'd originally thought it would be. I won't force a story to be longer than necessary - and likewise, I won't cut a story off short just to hit a certain word count.

Can anyone write like this? I'd say yes, but most writers won't. You really have to trust yourself to keep going, especially when you have no idea *where* you're going...and I think most writers are unable or unwilling to give up control to that extent. But I'd encourage all writers to be brave and try it, even just once. I think you might be surprised at just where this method of writing can take your stories - and your confidence as well.

Webmistress for local government by day, Jamie DeBree writes steamy romantic suspense by night, along with horror and erotica by her two alter-egos. From her world headquarters in Billings, Montana, she's published over twenty books through her own independent press, Brazen Snake Books. Connect with Jamie at http://JamieDeBree.com and check out her novel Sleep With Me at http://tinyurl.com/dxrxsud.

Tip O'Day #446 - The Writing Comes First

Guest blogger Jennifer Allis Provost on being a writer.

So, you wanna be a writer.

Maybe you want to be a full time writer. Maybe it's just a hobby for you. Or maybe you just want to write your memoirs and preserve your family history for generations to come. No matter the type of writer you want to be -- full time, part time, fiction, nonfiction -- there is one thing you must do before all else.

You need to write.

Obvious, huh? But, not everyone realizes the obvious. In this day and age, everyone talks about building platforms, social media, queries and such. None of that matters if you don't have a finished product.

As for me, I've been pretty lucky. I've published a few fantasy books, been included in several anthologies, and my latest novel, Copper Girl, book one of the Copper Legacy series, was released two months ago. But there are quite a few other things I want to accomplish. Here's a list, in no particular order of importance:

Finish the rest of the Copper Legacy series
Re-release my fantasy series
Complete my historical fantasy and shop for agents

Okay, the above list encompasses twelve (!!!) books! Holy crap!

Now, it's not such a daunting task; four are complete, and five are in varying stages of completion. Still, that means I have to find the time to complete those five books, start (and finish) three more, shop for agents and publishers, and somehow promote my existing work. Add that to my day job, caring for my husband and children, and those pesky little tasks like eating and sleeping, and my little list takes on an aspect not unlike Mount Everest.

What's a writer to do?

Me, I made a schedule. I fired up Excel and laid everything out, from soup to nuts. I started with three columns -- one for each major project -- and listed completion timeframes for each. For instance, in 2013 I will have the first draft of book three of the Copper Legacy series, Copper Veins, completed by July, and the first draft for book four, Copper Princess, completed by December. With regard to my fantasy series, I have a rewrite due in December. The outline for my historical fantasy is due by June, and its first draft by December.

Okay, so that's three first drafts, one outline, and one rewrite between now and December. And you know what? I can do that. Now, are those the only things I need to complete to remain on track? Not by a long shot. Will I make all of my due dates? Hopefully, but I did schedule things a bit more tightly than necessary to account for little things like life getting in the way. For instance, I scheduled the first draft of Copper Princess for December 2013, but it won't be released until May 2016.

Still, unless I write the books (any by write I mean write, edit, revise, re-edit, re-revise, etc), I can't acquire an agent, or submit my work to publishers. Make no mistake, while all this is going on I'll still be promoting, building my platform, and generally being a nuisance across all aspects of social media. But you know what? The writing comes first.

Jennifer Allis Provost spends her days drinking vast amounts of coffee, arguing with her computer, and avoiding any and all domestic behavior. Her novel, The Chronicles of Parthalan, is available now, and Copper Girl was released in June from Spence City. You can learn more about Jennifer at her website.

Tip O'Day #444 - Really? Did I Ask For That?

Guest blogger Gary Ponzo on “Do You Really Need an Editor?”

Recently I've had some opportunities to work with editors for my published novels. Now, I've always worked with a critique group who would line-edit each chapter as I was writing, so I've been conscious of the importance of a keen eye to scrutinize my work. After I finished each book I would have an editor go through the manuscript for grammatical errors and that was helpful as well. But as time went on my books began to expand to Germany and audio rights and print options, I felt compelled to have my work fully edited by a professional editor. Why not?

Well, here's what happened with me. And let me state right now, these opinions are completely my own and have no bearing on the competence or abilities of editors. I truly believe they serve a real purpose, especially in a day when Indies are trying to compete with traditionally published books. There's a real need to look and sound and smell professional.

First of all, I had one editor go through my work and I noticed a trend. The editor kept adding semicolons. Everywhere. No kidding, maybe one every other page. My eyes began to gloss up from the interruption of rhythm. My sentences no longer flowed into each other. They now had a “;” to remind us we were actually reading words instead of a story. Okay, that's a personal choice, I get it. Maybe even technically correct. But that wasn't how I intended the prose to sound to the reader's ear.

Then I had another editor actually change the language one of my characters spoke in dialogue. This character was in the mafia and the editor was correcting his grammar. Changing his words to the point where he sounded like an English professor instead of a hitman. I began having questions thrown at me from the editor like, "I don't understand his motive here? Why can't you explain this better?" Well, the truth is, it would've ruined the plot. So then I started second-guessing my plot. Should I change it so the reader has full understanding? But I've left plenty of foreshadowing? It was paralyzing. I wrote three page over the next month because I was afraid to write freely.

So, do you need an editor? Almost certainly, but I would set some parameters. Tell the editor what you're looking for and exactly what you're not looking for. I think I've found someone who fits that description and I will use that person on the remainder of my novels.

When you work with an editor, just know what to expect when that page full of red ink paralyzes you. Trust yourself to know when the advice is sound and when it's opinion. Sometimes, that's not easy to distinguish.

Tip O'Day #443 - Secret Formula for Success

Guest blogger Kim Shaw on ‘writing well enough to be published.’

Now there’s an idea to chill the blood of any aspiring author. Writing well enough. It’s the monster under the bed. It prowls the murky fringes of our psyche, just waiting to shred our self-belief - for what exactly is ‘well enough,’ and how do we achieve that? Do I? Can I? Will I ever? And that’s before we even get to the P-word, that magical talisman to rescue us from the pits of aspiration and transform us into a Real Author. Did you guess yet that the fantasy genre is my comfort zone?

So is there some alchemic formula that will turn our base scribblings into the golden nuggets that publishers dream of? I sincerely doubt it. The multitudes of published how-to and rule books might be a place to start, or the myriad online writers’ sites or critique groups, where opinions are as varied as the membership. It will get you thinking critically about your own writing.

Actually, no - don’t start here. It’s bound to be confusing, and certain to awake the monster. Come back later, preferably armed with a torch and a broadsword. My torch is called Story and my sword, Passion. I know - it doesn’t quite have the ring of Excalibur, but together they might have something going on. Story + Passion = Real Published Author? Maybe...

Here is the formula I’m brewing up. It’s a regular sorcerers’ potion of analogies, but alchemy is all about trial and error, right?

Read. Simple. Read for pleasure, as much as you can, as often as you can. Read outside your comfort zone. Learn by osmosis. It’s much more fun that way. Then, when you do apply fingers to keyboard, all the basic tools you need will already be at your command. Having made the decision to write, you might then go back later (much later - once you have your own story and new-born voice) and try to figure out what exactly it was that you loved about a certain author’s style. It adds to the tool-kit. If I could pick just one ingredient for writing ‘well enough’, reading would be it.

Write your story. Story trumps all, in my book. Give yourself permission to fall in love with it, with your characters, their world. If you don’t love them, who else will? This is the arcane magical ingredient in the formula. Be passionate - there’s plenty of time to get cold and ruthless later. We all have some poetry in us when we are in love.

Write everything, now. I’ll borrow Steven King’s analogy here, since it appeals to the archaeologist in me. Excavate the entire thing from the depths, every last bone and tooth. Marvel over this wondrous thing you discovered, without trying to define what type of dinosaur you have until you can lay the whole thing out on the slab. Then switch on those unflattering lab-lights and proceed to the science - but don’t forget to hurry back to Read.

Learn the Rules at some point - it doesn’t have to be before you start writing, but know them well before you submit that manuscript, or make a conscious choice to break them. Invite the Rules in for coffee, slouch around in comfy chairs and debate the merits and applications, take some notes. Take note of the notes, and edit hard. But don’t let them Rules overstay their welcome. You have better things to do - writing and reading for passion and pleasure.

A final thought... The world of publishing is changing so fast that the keepers of that P-talisman are having serious trouble with their own formulas. It would not surprise me in the least if something were to explode - messily, and quite soon. I try to keep that in mind as I chase the big P. For now, I’m going with S + P = RPA.

Tip O'Day #442 - Slang in Literature

Guest blogger Uvi Poznansky on Pyramus and Thisby.

You may recall the play-in-a-play, performed by the rude mechanics at the end of Midsummer Night's Dream, aptly described in their own words as 'The most lamentable comedy, and most cruel death of Pyramus and Thisby.' These would-be actors, whose ability to express themselves is unabashedly mocked by their audience, are used by Shakespeare mainly for comic relief. The play they perform is merely a farce of the Romeo and Juliet love story. Why, you may ask? Because like most artists and playwrights of that era, the Bard knew only too well that he ought to entertain and compliment his patrons, the most important of which were members of the royal court. This is the reason that characters who speak in slang were nearly never placed center-stage, as the hero of the story. Such characters were portrayed as simpletons, and by no means were they given any depth of feeling.

It was only later in the history of literature that characters of the lower class were taken seriously, and their point of view began to resonate, despite much controversy, with readers and theatre goers. For example, between 1961-1982, The Catcher in the Rye was the most censored book in high schools and libraries in the United States. Yet now it is recognized as an American classic, giving voice to teenage confusion, angst, alienation and rebellion. Even today, there are two clashing views about the use of slang-talking characters, one from those who see themselves as upscale, educated nobility -- and the other, the more democratic one, from the rest of us.

Recently I was reminded of this clash, when I posted an excerpt from Apart From Love in Anita's voice. You would be hard-pressed to find a three-syllable word in anything she says. The lack of long words is compensated by descriptive sequence of short words (see the replacement for ‘magnifying glass’ below.) You can spot a liberal use of the dreaded double-negative, and of the word like. In the excerpt she describes the memory of her first kiss with Lenny. Some readers told me, tongue-in-cheek, that they would need a cold shower by the time she completes her story. But one reader found the style of the excerpt inconsistent. He complained that at times Anita is lyrical, and at other times her thoughts are expressed in slang.

As a side note, let me share a little secret: even though that reader rejected the excerpt on intellectual grounds (which he is entitled to do), he did get it on an intuitive level. How do I know this? Because the very same day I got a 'romantic' invitation from him to join a social network for setting up dates. So, Anita's hot description did its charm on him, and for some reason, he must have combined to two of us in his mind. I had a little chuckle about this, as did my loved one...

So why can't a character combine both? Are we still bound to write for the Pyramus and Thisby audience? Even if your grammar is atrocious, even if your vocabulary is somewhat lacking, does that mean you can't feel the throes of pain, or the exhilaration of joy? Does it mean you can't paint what you see, feel and think? As you form your own answer, I invite you to sense the texture and the power of unrefined language, by listening to Anita's voice once more:

What matters is only what’s here. I touch my skin right under my breasts, which is where the little one’s curled, and where he kicks, ‘cause he has to. Like, he don’t feel so cosy no more. Here, can you feel it? I reckon he wants me to talk to him. He can hear me inside, for sure. He can hear every note of this silvery music.

It ripples all around him, wave after wave. I can tell that it’s starting to sooth him. It’s so full of joy, of delight, even if to him, it’s coming across somewhat muffled. Like a dream in a dream, it’s floating inside, into his soft, tender ear.

I close my eyes and hold myself, wrapping my arms real soft — around me around him — and I rock ever so gently, back and forth, back and forth, with every note of this silvery marvel. You can barely hear me — but here I am, singing along. I’m whispering words into myself, into him.

You can learn more about Uvi Poznansky at her Amazon author page or her blog.

Tip O'Day #441 - Marketing Yourself

Guest blogger Cara Brookins on self-promotion, and when it becomes shameless.

Writers write. We’ve heard that statement countless times and of course it’s true. But writers also promote. It doesn’t sound as glamorous as creating exotic worlds or listening to the mysterious voices of our characters, and maybe that’s why we keep it on the down low. If writing and editing are something like a 10%/90% time split for most writers, where does promotion time come from? The well-guarded secret is that it comprises all the other waking moments of our life.

Your life is your promotion. That’s a bold statement, but my definition of promotion is broad. As a writer, you are marketing yourself, which turns every word and move into a part of your marketing platform. But here is where the balance comes in. This doesn’t mean that you should promote yourself and your book in every conversation — both real and digital. It’s a real problem if your Facebook posts, tweets, and visits to the dentist all begin and end with things like:

The one thing missing in your life today is… my book!
Here is a quote from my book that divulges the meaning of life.
In my book you’ll learn the proper way to extract a molar.
My book is for sale today… just like I reminded you it was yesterday, and the day before, and the day before that.

The only thing this sort of person makes me want to buy is Chinese finger cuffs for each of their digits.

You must tweet. Of course, some of the shameless digital promotion is necessary. Asking your cyber friends to like your author page or review your book is all part of a good marketing strategy. Do this with obvious taste and respect. Be subtle. Be classy. Most of all, be organized by keeping track of your requests. For example, when I ask a group of people to read an ARC and post an early review, I keep extremely detailed records. I create a spreadsheet showing who I asked and on what date. If they agree, I enter the date I provided them with a copy of the ARC. Another column shows the date (about a month later) when I send a link to the review sites. Finally, I list the date of their review post which is followed by my thank you email. If they fail to post a review within two weeks of the link being sent, I send a single reminder before marking them as complete - and ceasing my requests for reviews, likes, or anything else I’ve asked for.

Writing is a business. If you want to be perceived as a professional, this sort of organization is the only way to build respect as a professional author.

Show don’t tell. I know what you’re wondering, if you aren’t telling people how much they need your book every third second, how are they going to know how wonderful it is? The best way to explain my belief is in writer speak. When you develop a character for a novel, you try hard not to narrate the character’s personality to the reader. You want them to discover the character’s type by watching their actions and listening to their words. Promotion should be handled in much the same way. Use Facebook, Twitter, your website, and your blog to show (not tell) your writing ability and your personal character. Write posts that are eye catching, well formed, and thought provoking. Make your cyber mates think, “I love the way this author writes, and I really need to buy one of those books!”

Buy me. In short, instead of promoting some author character you want people to think you are, be the author who you would like to read. This step is the primary way to turn writing from a hobby or a job into a vocation. If writing is your calling, then learning to be a better, more rounded, and complete person through your writing is the only way to find success.

Now start the count on those promotion hours by displaying the character of an author whose work you would enjoy reading.

Cara is a fulltime senior programmer/systems analyst by day and a writer by night. In between these passions she creates works of art including paintings, mosaics, concrete structures, jewelry, paper-mâché wall art – and her home. See Cara’s website for more information.

The shift has hit the fan. The first in Cara Brookins’ Timeshifters trilogy was released on May 14, 2013. Check it out at https://www.Timeshiftersbooks.com or https://www.facebook.com/TimeshiftersBooks

Tip O'Day #440 - What Makes a Thriller?

Guest blogger Gary Williams on “Pacing.”

We’ve all heard the real estate adage when buying property. The three most important things are location, location, location. Well, when you embark on writing a thriller, there’s a similarity. The three most important traits of a successful thriller are pacing, pacing, pacing.

Aside from an interesting story, good writing and meticulously editing, a successful thriller must launch the reader on a path. It’s a slow progression in three acts. Act one sets the story up by building the character, settings and mysteries. Act two is where the protagonist and antagonist begin to feel each other out, and small battles are won and lost. Act three ratchets up the tension. The stakes have been clearly defined. The protagonists are usually in dire situations and the antagonists appear to have the upper hand. It all builds to a staggeringly swift pace as the two sides clash in a pulse-pounding finale that usually involves life and death.

So you think I’ve over simplified it? Maybe, but think of any great thriller you’ve ever read. Either the story started slow and turned on the jets, or kicked off with a bang and never let up. Either way, when you got to those last 100 pages, you couldn’t stop reading. You were so entrenched in the characters and learning their fates that you couldn’t put the book down. Laundry, yard work, school homework, walking the dog, and everything else became secondary until the final resolution was revealed. And it’s all because the pace of the story sucked you in, refusing to let up.

As a writer, what are things you can do to ensure your thriller is paced properly?

Limit scenery descriptions

I’ve read thrillers that were exceptionally well-written, the prose glistening off the page. Yet the story was marred, bogged down in scenery details or a character’s rambling thoughts to such an extent that it not only interrupted story-flow, it brought it to a grinding, teeth-rattling halt. A thriller is not the time to get flowery with your descriptions. Describe what’s important to the story, and move on. Extensive scenery descriptions should only be done if it’s vital to the storyline, if something about the scene will come into play later, or if you plan to have an action scene occur there later in the story.

Let me expound on this last point. Action sequences, especially late in the story when the pace should be amped up, are not the times to elaborate on scenery details. It bogs down the frenetic pace. You can get around this is by describing the location earlier in the story, if possible. Then, when the action heats up at the end, the setting has already been presented to the reader. All that’s necessary is brief setting reminders. Of course, sometimes this isn’t possible. The crescendo chapter might be the first time a location is visited in the story. In this case, describe it briefly. Remember, action (and pacing) is paramount. Don’t lose the reader because you were more interested in writing about the specific art work that adorns the walls at the Elizabethan home, instead of focusing on the antagonist tied up in the chair in the parlor with a ticking time bomb.

Limit Character thoughts

As writers we always want readers to relate to characters. This is accomplished primarily by displaying character actions and allowing readers to hear their inner thoughts. Caution must be taken as to the extent a writer allows the reader inside a character’s mind. Again, early on in the story is a good time to expose his/her thoughts and provide insight into their personal history. But once you reach the last third of the novel, keep the character’s musings in check. (Unless, of course it’s a delusional character and his thoughts are germane to the storyline!)

Sex

Thrillers sometimes have a heavy element of sex. If it’s necessary to the story, that’s fine. Yet gratuitous sex can be overkill. If the theme of the story is sexual in nature, then by all means, describe it how you see fit. But the same rules apply as mentioned with scenery details. Unless it’s critical to something in the story or shows a character trait, readers don’t need graphic details.

Self edit until it hurts

Writers write. It’s what we do. Yet we have to recognize when text is superfluous. Some of my best descriptive work never made it into print because it simply wasn’t necessary and caused the story to drag. It’s very important to ensure all scenes are core to the story. Although not a book, as an example, I own the Director’s Cut version of the 80’s action movie Lethal Weapon. It contains deleted scenes that never made it to the theatrical release. One such scene early in the movie shows Mel Gibson’s character, Riggs, dealing with a crazed gunman who is holding a classroom full of school children hostage. The intent was to display Riggs' suicidal nature. The scene itself takes several minutes and, ultimately, was cut because Riggs’ suicidal obsession was best presented while he was in the presence of his new partner Murtaugh, and not in a stand-alone scene that had no bearing on the rest of the story. In this same fashion, writers must truly evaluate scenes that can be edited from the story to help the pacing. Remember, thrillers are typically shorter in length that other genres. It’s not about word count. It’s about gripping the reader and keeping them craving more.

A thriller combines stellar writing with whirlwind pacing. This pacing should grow rabid by the time the reader reaches the last third of the book. That is not the time to gum up the works with unnecessary descriptions.

Gary Williams writes with Vicky Knerly. They have co-written four thrillers, including Indisputable Proof, named as one of the top fiction books of 2012 by Rosa St. Claire of the Miami Examiner. Their latest thriller, Manipulation, was released just last month.

Saying for Writers #160 - Tom Clancy

A Quote which Might (or Might Not) Inspire You to Write:

“I do not over-intellectualize the production process. I try to keep it simple: Tell the damned story.” — Tom Clancy

Bear grass is not a grass and has nothing to do with bears, but it is everywhere you look in the higher altitudes of NW Montana. Every 5-10 years, there's an explosion of the plant, and this is one of those years. Naturally, this has nothing to do with the above literary quote...

Tip O'Day #439 - Dig in Your Own Garden

Guest blogger Pamela Foster on herself and her characters.

At the recent Northwest Arkansas Writers’ Conference, someone asked me, “How do you keep all your characters from being nothing more than parts of yourself?”

“I don’t. And why on earth would I want to?”

The essence of the joy and pain and addiction of writing is exploring parts of myself that I keep hidden. Sometimes these treasures are buried deep, covered with false memory and justifications. Sometimes they exist within me for one brief moment of joy or terror or comprehension.

I’m not telling you I don’t base characters on individuals in my family or my friends or the guy in line behind me at Walmart. What I’m saying is that the quirky or evil or selfish or saintly characteristics I am attracted or repulsed by in others, are within me. If these emotions were not within me, I would not be drawn to them in others.

Jesus told us, “Do not say to your brother, ‘here, let me remove the splinter from your eye,’ when you have not yet removed the plank from your own.”

Or, as my grandma was fond of saying, “Go dig in your own garden.”

Let me show you what I mean.

I’m writing a western with two point of view characters who are mirror opposites of one another. Jeremiah is an emotionally deadened, haunted civil war veteran. Adeline is a naïve, innocent young girl. Jeremiah rides up a hill, kills three men, reloads his weapon and gets on with another in an endless series of dull, gray days. Adeline nurtures an abandoned baby, cares for a wounded man, and wakes each morning to a new dawn.

Both of those characters reside within me, everything beautiful and everything ugly in each of them.

Creativity demands I dig deep, find and then expose myself to the reader, in all my emotionally naked glory. The trick is the balance. Nobody wants to read 80,000 words of an author wading through muck; I certainly don’t want to write that book. Very few people will tolerate an entire novel of sunshine and roses; I certainly cannot pretend the world is always a joyful wonderland.

So, all my characters are me. I bleed all over every page while recognizing the beauty and joy within myself, as well as the darker side. I struggle daily to find the balance, to share all of myself with my readers, in the guise of my characters.

Pamela has written Redneck Goddess and co-wrote Bigfoot Blues along with Chris Simpkin. You can learn more about her at her Wordpress page found at http://pamelafosterspeakerwriter.wordpress.com/.

Tip O'Day #438 - More Writing Rules

Author, blogger, columnist and writing teacher HMC is today’s guest blogger on “Don’t Tell Me What to Write” (Part II of II).

Killing a New Scene: Do you want to be the next Scorsese? No? Then here is how to move away from dialogue overkill. Atmosphere is crucial.

Before my students write a story (oh, I’m a teacher by the way, can you tell?) I always get them to imagine. I ask where they are and get them to write everything that they see, then hear, smell, taste, touch and feel. If you are ever stuck on describing a setting, this is a wonderful exercise.

Setting: Graveyard

See: stone, grey, cracks, shadows.
Hear: wind, trees rustling.
Taste: salt from tears.
Smell: damp earth.
Touch: hard and smooth.
Feel: sorrow, mourning, heavy.

Becomes

Long shadows were cast over the stone graves, and I could taste the salt of my tears as I mourned for my father. The wind rustled the trees. I smelt the damp earth underfoot. Cracks formed in the older graves, but his was smooth and new. The heaviness of his passing weighed a tonne upon my shoulders and it was difficult to drag myself away.

Building Suspense with a Packed-Punch: Ever feel deflated by a climactic scene? Perhaps the story was there, but why did the suspense not quite peak as it should have? It could be to do with the sentences — shorter, sharp sentences pack-a-punch. Also, try to end some sentences with a strong word. Take a long, descriptive piece and slash it. See what happens.

The corridor seemed endless and he could hear the soft engines of the station wagons, work-utes and family vans that purred along the street in front of the old, Fairholmes, arcade building. Perhaps he could make it out in time, and perhaps the daylight would be his saviour from the man who was chasing him. Close now, he could feel a rush of adrenaline, but it was too late; the man was gaining on him now. Damon wrapped an arm around his throat and took him to the ground, scattering the resident cockroaches.

‘Relax, Doc. I’m not gonna hurt you. We just have some questions for you.’ The doctor’s body went limp and he let his assailant win the battle.

Becomes

The corridor seemed endless. He could hear the soft engines of the station wagons, work-utes and family vans. They purred along the street in front of him. If he could just make it out into the daylight, visibility might be his saviour. Close now, he felt one last rush of adrenaline. Too late. He felt the heat and smelled the sweat of the man gaining on him. Damon wrapped a strong arm around his throat and took him down. The two men grappled, raising clouds of dust and scattering the resident roaches.

‘Relax, Doc. I’m not gonna hurt you.’ His body went limp. Damon won the battle. ‘We just have some questions for you.’

Streamlining Sentences: I’ll be the first to admit that I have to work hard at my writing. Stories come to me easily, though, which is lucky. Some people are the other way around. My sentence structure often needs work as I am a waffler. It’s why I received mixed marks at uni — some liked my waffling, others didn’t. As a rule now, I check each sentence and remove excess. Streamline is the word my editor uses, and I love it.

Freddy started to sneak out the door to evade any trouble that would come, if Anne were to notice them missing, but Sam caught him.

Becomes

But before he could make good his escape, Sam caught him.

You see, the readers already knew that Freddy was sneaking around and that Anne might catch him. So the first sentence is not only confusing, it’s redundant. Using ‘started to’ or ‘began to’ is useless… either they are doing it or they are not. These tentative words bog writing down.

Well, that’s all for now. I could keep going, but I’ll pass it over to you. If you have any more that you know of, please, add them to the comments section!

You can learn more about HMC at her website http://www.hmcwriter.com/ with links to her blog as well as the trailer for her thriller White Walls, which is having its online release during June 21-23.

As a reminder, guest bloggers wanting to share tips or stories of their writing triumphs/ordeals are always welcome. Please email me at montananovels@yahoo.com

Tip O'Day #437 - I've seen how the rules worked for you...

Guest blogger author, columnist and teacher HMC on “Don’t Tell Me What to Write” (Part I of II).

I am overwhelmed with writing rules, just like I was when my daughter was born and all of a sudden everyone was an expert at parenting. No offense, loves, but I’ve seen how your kids turned out.

There are rules that some writers should follow and others should not. You know your capabilities. Take the rules that work for you. Someone once told me that it’s lazy to use brackets (as if I’d listen…I love brackets).

I am going to talk about what I have personally learnt from my amazing editor and mentor, Carson Buckingham, and some others here and there along the way. These are MY rules, not yours, so follow them… or don’t. I honestly don’t care.

You guys are getting an exclusive peek at my book today, as I use some short excerpts as examples — lucky.

Here are some nerdy things I’ve been practicing lately, in order to become a better writer.

The Adverse Adverb: We all know how terrible adverbs are when you can use a stronger verb instead — well I didn’t, but I do now. Take a verb and adverb, and then try to create a stronger verb. Then, the adverb becomes redundant (What? Can you repeat that?) Here ‘tis:

Hit hard = slammed
Touched softly = caressed
Moved clumsily = clattered

And backwards for fun:

Stressed = terribly concerned
Gawked = looked closely

Sentence play:

The door slowly opened = the door creaked open
The nurse was overly round = the rotund nurse

See the difference?

Underestimating Dialogue: Dialogue shmialogue! No, really, dialogue is your friend, not your enemy. If you find yourself reading a book and think ‘booooooooring,’ take the challenge and write the scene as dialogue between the characters. If you already do this too much (and your stories read like scripts) skip this one and go straight to ‘Killing a New Scene’ (in Part II tomorrow). Here is one — just for fun.

The policeman stood outside the building and waited to be buzzed-in to the apartment building. He argued forever with George, who simply refused to let him in. The policeman was getting mad as a hornet’s nest, and would soon crack it, and kick the door in.

Becomes

‘What do you want!’ George snapped through the speaker.
‘Let me up. I have a warrant.’
‘Do you have donuts too? How about bacon?’ George cackled.
‘Not funny. You have thirty seconds before I kick this door in.’
‘Go ahead officer, make my day.’

Ha! I threw that last line in for good measure. Dialogue tells a story and notice that I didn’t have to use ‘he said’ all the time? Good dialogue shows who the speaker is.

Look for Part II of HMC's writing advice tomorrow.

Has anyone noticed that Dixon hasn't been blogging lately? The Wredheaded Writer blog froze up harder than a banker's heart and it took nearly a month to fix it. But now, life is good once more.

Tip O'Day #432 - Singin' Them Rejection Blues

Guest blogger Faye Rapoport DesPres on “Submitting to Literary Journals? Expect, then Conquer Rejection.”

Rejection and discouragement: if you are submitting your work to literary journals, chances are you will experience both. There’s no way around it – rejections happen, and they happen a lot. Not every editor is going to love your work, and the chances of hitting the right editor on the right day at the right journal are slim. However, those chances improve greatly if you research the journals you are interested in, get to know the type of work they publish, send your very best work, and pay careful attention to the journal’s submission guidelines.

Even after you get hardened to the process (which is likely after you’ve been submitting for a while), it can be tough to read those dreaded words: “Thank you for sending us your work. Unfortunately, it does not suit our present needs.” Each time you get this message, as hard as you try not to care, it will probably feel like a kick in the gut. After a while you might get so used to this feeling, in fact, that you’ll do that odd thing that writers do – distinguish “bad rejections” (form letters) from “good rejections” (personal notes from editors, rejections that invite you to submit again, or, let’s face it, anything that isn’t a form letter).

I started submitting personal essays to literary journals about three years ago, after I completed my degree at the Solstice MFA Program in Creative Writing. The first year of submitting was torture; after one acceptance from a magazine, I received rejection after rejection from literary journals. I used to write to my former teachers in despair, only to have them respond by saying something to this effect: “Keep writing and keep trying.” Remember, they said, the only way to guarantee failure is to give up.

The first time one of my essays was accepted by a literary journal, I nearly missed the news. I was so sure I was receiving another rejection that I had to do a double take and re-read the editor’s note. I was riding in the passenger seat of our car (my husband was driving), and I put my hand over my mouth and said, “Oh, my God, one of my essays was accepted!” I think I was in shock.

Thankfully, over time, more acceptances arrived. For me, as for most writers, there continue to be many more rejections than acceptances. I maintain a spreadsheet in Excel to help me remember what piece I submitted where (and when). The sheet is color coded: plain black for submissions in play, red for rejections, blue for rejections that invite more work, and green for acceptances. Red far outweighs every other color (although the blue is getting more prominent with time). Green is the least common color on the sheet (when a submission turns green, I happily allow myself put the type in bold).

Like many writers, I have very thin skin. I can’t deny that it has been a huge challenge to stay confident in the face of all of those “Thanks but no thanks” rejections. Occasionally I even give myself a break from submitting just so I can catch my breath.

I once read a piece of advice from Joy Castro (www.joycastro.com), one of my faculty mentors and the author of several books, including the recent crime thriller, Hell Or High Water. Joy wrote: “You wanted this. You chose it. Get back up.”

Stick with it. I’m rooting for you.

Faye’s website is www.fayerapoport.com and her blog is http://blog.fayerapoportdespres.com/. Her essays, fiction, poetry, interviews, and reviews have appeared in a number of literary journals and magazines, including Ascent, Connotation Press: An Online Artifact, Eleven Eleven, Hamilton Stone Review, Platte Valley Review, Prime Number Magazine, Superstition Review, In the Arts, Fourth Genre, and The Writer’s Chronicle.