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 #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 #434 - A Stumbling Block

Guest blogger Eve Paludan on Ten Ways to Bust Writer's Block...by Writing!

Writer's block is a stumbling block to productivity. Once in a while, it hits almost all writers, even the ones who are passionate about the craft. Since writers are introspective, emotional creatures, external forces, such as financial worries, illness, conflict with another person, or lack of sleep can stall the best writers and cause their motivation to go AWOL. Here are some tried-and-true methods that I use to break through a serious halt in my productivity.

1. Ensure that you always have more than one project in progress. If you get tired of working on one project, switch to another one for a day or so until you find yourself longing for the project that got stalled. Then go back to it with a fresh eye and a renewed passion.

2. If you are itchy, cold, hungry or annoyed, take your laptop to someplace where you don't usually write. Make yourself comfortable and write in that new place, whether it's McDonalds or the kitchen table, until you are tired of it and want to get back to your usual writing location. Sit in a different chair, take your laptop to the couch, go hide under a shady tree, or sit in a recliner chair. Move your office for a little while and write something. Then, when you get antsy again, return to the usual place where you write.

3. If you are stalled in a fiction project, then write a little nonfiction to get your hands moving on the keyboard again. Some examples are guest blogs, twitter tweets about your books or a friend's books, book announcements on Facebook, or book review for someone else's book on Amazon. The idea is to go through the motions of word creation, even if you are in a different head space about your novel manuscript.

4. If a particular scene of your work-in-progress is the cause of halting and scratching your head because you don't yet know how to handle the scene, write a note to yourself in the manuscript, such as insert love scene here and then go onto the next scene where you DO know what you want to write. You can always return to write the hard parts later. Keep your writing productivity in motion!

5. If you usually write without music, put on some music, especially something instrumental, and let it inspire you. I do not suggest turning on the television as it seems to engage all of the senses, instead of just the ears. I think TV is too distracting, but that's just me.

6. If you know where the keys are without looking, type for a few minutes with the lights off or with your eyes closed. Just channel the words and let your automatic writing take over. Wild things can happen on your pages! Peek every so often to make sure that your fingers are on the right keys.

7. If you usually type and hit writer's block, try using pen and paper for an hour or so. My favorite place to write longhand is at the beach or on my front steps. Or if you usually write longhand, try using your computer. The idea is to write something using a different physical process.

8. If you hit a plot wall, then work on writing quick character sketches of the hero's or heroine's physical, emotional and intellectual traits.

9. Write your Amazon catalog description of your book or what you would put on the back of a print book. Without giving away whodunnit or howdunnit, write five to seven sentences that describe the characters, main conflict, and obstacles that your hero or heroine must overcome. Jazz it up with some excerpts of book reviews from readers.

10. Read your characters' dialogue out loud, without any dialogue tags, and expand their conversation by typing it while you talk. Keep it going as long as you can until the scene plot points are resolved or lead into more questions or another chapter.

Oh, and about number 10 – I once had my front door open and was reading dialogue aloud, not realizing my landlord was kneeling in the flower bed out front, listening. I got up to go check on my laundry and he was startled when I found him right outside my front door. Apparently, my characters' dialogue brought him to his knees.

Good luck with these writer's block busting tips. I hope they work for you, too. Feel free to add some of your own tips in the comments below.

You can check out Eve’s novels and stories here and her newest novel is Finding Jessie: A Mystery Romance. You can also connect with Eve on Facebook or Twitter.

Saying for Writers #123 - Lawrence Block

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

“One thing that helps is to give myself permission to write badly. I tell myself that I’m going to do my five or ten pages no matter what, and that I can always tear them up the following morning if I want. I’ll have lost nothing. Writing and tearing up five pages would leave me no further behind than if I took the day off.” — Lawrence Block

Dixon says: This sounds much more sophisticated than the advice I received years ago from novelist and screenwriter Dennis Foley: "Allow yourself to write crap."

Lawrence Block has experienced two towering achievements in his life so far: he was named Grand Master by the Mystery Writers of America, and he and I became friends on Facebook. I imagine he's most proud of the Grand Master designation but maybe not...

This is a photo of Indian Paintbrush taken by a friend somewhere in northwest Montana, and has nothing to do with today's literary quotation.

Tip O'Day #347 - "Consistently Varied"

Guest blogger Stephanie Osborn on “Things They Don’t Tell You In Author’s School – Part 1.” (Eighteen months ago, when I invited fellow writers and book lovers to submit guest posts, Stephanie was the first to climb aboard – with not one but eight Tip O’Day suggestions. I thought it might be interesting to revisit those early posts from the third week in January, 2011.)

I’m a fairly decent writer, with a good half-dozen popular books to my credit. (Not bad for a couple years in the business.) And long before I submitted a novel manuscript for publication, I did my homework. I knew about query letters, slush piles, and house formats. I knew some publishing houses don’t take unagented submissions and some do. I knew how to find the correct name and address for a submission, and to address the query letter TO that person. I knew how to make my query letter POP.

But once I got into the industry (translated – once I had a novel under contract), I discovered there are some little details they don’t tell you in author’s school.

Sub-thing: Everybody knows not to trust spelling and grammar checkers, right? They don’t know there from they’re from their… (finish the statement on your own). Good. ‘Nuff said. On to the serious stuff.

Thing One (with apologies to Dr. Suess): Different publishers have different definitions of what constitutes novel length. For some, it’s anything over forty thousand words. For others, it’s sixty, and for most in my genre (science fiction slash mystery) it’s around one hundred thousand. This is a rough rule of thumb, and generally the bigger the number, the more leeway you have, plus or minus, in your word count. But make sure you know what the definition is for your genre, and MAKE IT LONG ENOUGH, or you could run into problems.

Tip O'Day #341 - Gender Bender

Guest blogger John DeDakis asks, “Can a man write effectively as a woman?”

I'm a guy, but I write in the first person as a woman.

When my first mystery/suspense novel Fast Track was published in hardcover in 2005, one of my male friends said in astonishment to one of our mutual female friends, "I didn't know John was a closet woman!"

I inscribed his book: "Welcome to my closet."

My CNN colleague and cone-of-silence friend Carol Costello once told me after reading an early draft of the manuscript, "You have a very well-developed female side." I suppose some guys might be freaked to be told that, but Carol meant it as a compliment, so I accept it, even though I'm still not totally sure what she means (but I think it has to do with nuanced emotional depth, or something).

Writing as a woman started when I first began toying with writing fiction nearly twenty years ago. Someone suggested that I choose a point of view that would be different for me -- and a challenge. It was only later that I realized that most people who buy books are women. Cool.

I found that writing from the female perspective hasn't been as tough as I thought it would be, for a number of reasons:

• I had a great relationship with my mom (a third grade school teacher, incidentally) -- I could talk with her about anything.
• Cindy, my wife of 33 years, is one of those quality people who have a lot of substantive things to say. She's smart, compassionate, articulate, and never boring.
• My 30-year-old writer/daughter Emily is never shy about offering an opinion on just about everything. She has a PhD in Creative Writing from Queens University in Belfast, Northern Ireland, and edited both my novels.
• I work in a newsroom surrounded by twenty-something young women who tell me about their boyfriend, career, and family issues, probably because I'm much more comfortable asking questions and listening than pontificating.

I asked a lot of women to read the Fast Track manuscript before I found my agent -- also a woman (Barbara Casey) -- and their feedback helped me make tweaks that rendered the text authentic to the female psyche. For example, I had a line of dialogue in which Lark Chadwick, my protagonist, says, "I'll just jump into the shower." The women of the Princeton Lakes Book Club in Marietta, Georgia, who let me sit in and listen as they critiqued the manuscript, said, as one: "Women do NOT just 'jump' into the shower. We savor the sensuality of the experience."

Got it. Lark no longer jumps into the shower.

After that first novel came out, Kris Kosach of ABC Radio wrote, "DeDakis crawls inside the mind of a twenty-something female, authentically capturing her character, curiosity and self-expression in this can't-put-down thriller." Nice.

And I continue to be amazed at the numerous 5-star reviews I get on Amazon from women who don't seem to mind that a man is writing as a woman. See for yourself here.

Bluff, the second novel in the Lark Chadwick series, came out a year ago. Veteran investigative journalist Diane Dimond (NPR, NBC, and now Newsweek/TheDailyBeast.com) writes, "Lark reminds me of me in the early days of my career.... DeDakis can so accurately write from a woman's point of view -- with all the intrinsic curiosity, emotion and passion -- [that it's] nothing short of astounding."

Conversely, I think it goes without saying that women, too, can effectively write as men. In fact, I would venture that all authors have at least some experience writing characters of the opposite sex because most novels contain male and female characters.

Yes, there is probably still plenty of prejudice out there among people who don't believe it's possible for a writer to be able to bridge the gender gap, but I've found that emotions are universal. Women, as well as men, experience fear, joy, anger, and sadness. Neither gender corners the market on having feelings, it's just that I've found women express them more interestingly and articulately.

So, I'm proud to be a woman -- if only on the printed page.

John DeDakis is a Senior Copy Editor for CNN’s “The Situation Room with Wolf Blitzer” and the author of the Lark Chadwick mystery-suspense series “Fast Track” and “Bluff.” He is currently at work on books three and four in the series (“Troubled Water” and “Bullet in the Chamber”). John will be a guest speaker at the Flathead River Writers' Conference, Oct. 6-7, 2012 in Kalispell, Montana. You're also invited to visit John's website.