tag:blogger.com,1999:blog-13633111131246489682024-03-14T00:45:04.953-07:00Algonkian Writer ConferencesDedicated to Discussions With Professionals in the Publishing World and To Helping New Writers Become Published in Today's Tough MarketElizabeth Brodyhttp://www.blogger.com/profile/11685452125287825479noreply@blogger.comBlogger27125tag:blogger.com,1999:blog-1363311113124648968.post-20511384744082269552023-06-01T09:16:00.001-07:002023-06-01T09:16:16.622-07:00The Publication of Terrible Writing?<b><span style="font-family: helvetica;">
A question that comes up time and time again in workshops and with editorial clients, and it's always difficult to answer.
</span></b><br /><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjglPTPM-zvj_pDh7b0go9ErrWr4_WWTn4LYxiSEZ0IoR73vtphneHWe3MzYQekm11JrMz_CDOa8wCyul5g61y_d9SgDo1y9WvSe2B-7dVAZKTc2O-WQXjsXj2aLxlk1fUWsNVJqyvpjjM/s308/we-pic5.png" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="266" data-original-width="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjglPTPM-zvj_pDh7b0go9ErrWr4_WWTn4LYxiSEZ0IoR73vtphneHWe3MzYQekm11JrMz_CDOa8wCyul5g61y_d9SgDo1y9WvSe2B-7dVAZKTc2O-WQXjsXj2aLxlk1fUWsNVJqyvpjjM/s0/we-pic5.png" /></a></div>
<span style="font-family: trebuchet ms, arial; font-size: 16px;">Ultimately, the publication of bad novels, i.e., novels in any given genre deemed poorly written by any reasonable reader of that genre, is certainly not the fault of the reader, but of those involved in the actual publication process, from agent to publisher. How can it not be? Can one blame the gods or the stars in this matter?
<br /><br />
After working with scores of agents, I've met a few who <em><strong>really</strong></em> don't have a clue what makes for a good story. Ok, so let's just assume that only 20% of active literary agents currently pushing projects in the marketplace are a bit short on taste and knowledge. Well, what of it? That's still a lot of projects being pushed in the face of editors at major houses.
<br /><br />
Hopefully, editors, who are generally pretty sharp, will see through these loser manuscripts, but what if they are overworked, or too inexperienced, or don't get to read the whole novel? What if they trust the agent too much because they work for a respectable agency? What if their assistant or intern who "reads" the ms is fearful of saying no because he or she detects an atmosphere of optimism for it that will reflect badly on them if the truth gets told? What if the novel has been written by a name author and the reader knows he or she will lose their job if they raise a red flag and point out, for starters, those three glaring grammatical errors on the first two pages? Any number of scenarios are possible. After all, how can one possibly explain the publication of magnificent monstrosities over the years like <em>Fan Tan, The Magicians,</em> and <em><strong>The Emperor's Children, </strong></em>three of the worst novels ever written. </span>
<br />
<div><blockquote><span style="color: #cc0000; font-family: helvetica; font-size: 18px;"><b>What if the novel has been written by a name author and the reader knows he or she will lose their job if they raise a red flag and point out, for starters, those three glaring grammatical errors on the first two pages?</b></span></blockquote></div>
<span style="font-family: trebuchet ms, arial; font-size: 16px;">If you get a chance, read the one and two star reviews written by real readers, not sock puppets of the publisher. It's a real eye opener. And there are many more, many more novels on the shelves not quite as bad those ancient ones above, but horrible enough that someone, somewhere, should have said something. But they did not, and yet, they were all, all represented by literary agents who are supposed to be the gatekeepers for the industry. Badly designed autos sometimes make it to the dealer floor, and heads roll, but bad novels rise to public attention far more often. Do heads roll?
<br /><br />
<span style="font-family: trebuchet ms, arial; font-size: 16px;">Perhaps the managers and successful agents at major agencies should keep a closer eye on employees who are doing a questionable job. Perhaps they should methodically use an independent <em><strong>reader critique group</strong></em> made up of experienced and unbiased readers, answerable only to top management and forbidden to interact with agency staff.<br /><br />
Perhaps a few simple changes at the source will help winnow out some of the worst loser novels, even by name authors, before they make their way to the shelves, so to speak.
So what is the alternative? Biz as usual?
<div><br /></div><div>Let's be realistic. How many times can you falsely praise a bad novel before buyers as a whole become fatigued and wary?
</div></span></span>Michael Neffhttp://www.blogger.com/profile/01758475229435510284noreply@blogger.com0tag:blogger.com,1999:blog-1363311113124648968.post-27474817972746257502023-05-23T19:06:00.011-07:002023-05-24T09:18:47.786-07:00Algonkian Writer Conference Reviews - Circa 2009 - 2012<p> </p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://algonkianconferences.com/images/algonkianpark.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: 1em;"><img border="0" data-original-height="423" data-original-width="564" height="149" src="https://algonkianconferences.com/images/algonkianpark.jpg" width="214" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Algonkian Park Trail Hike</b></td></tr></tbody></table><b><span style="font-family: arial;">As of this date, we've been at this for a few years. The following are representative reviews of <a href="https://algonkianconferences.com" target="_blank">Algonkian Writer Conferences</a>. The writers attended mostly intensive novel workshops and pitch events, as opposed to retreats. </span></b><div><span>________________________________<br /></span><p><span style="background-color: #f6f6f6;"><span style="font-family: arial; font-size: medium;">I've been to three of these Algonkian Writer Conferences, including both writing conferences and a Pitch Your Book session in New York City, and on the whole, they provide very good education for a reasonable price... As the publishing business gets more and more difficult, I'm not convinced agents and editors have the time to read queries very easily. </span></span></p><p><span style="background-color: #f6f6f6;"><span style="font-family: arial; font-size: medium;">Being in front of them is a definite way to improve your odds of at least getting decent feedback. The Algonkian Writer Conferences provide, IMHO, far better value than some of the much larger conferences where the interactions are increasingly staged and short-lived.</span></span></p>
<p><span style="font-family: arial; font-size: medium;">- John Arnold</span></p><p><span style="font-family: arial;">____________________________ </span></p><p>
<span style="background-color: white; font-family: arial; font-size: medium;"><span>I also think it is a good idea to check out writer conferences before investing your money and time in them. I have been to the Algonkian Writers conferences in Virginia and in NYC. </span><br /><br /><span>As a beginning writer, I was looking for technique training and how to develop a good story that I would enjoy writing and that would sell. I found that and more at the Algonkian conferences. The Virginia conference is 5 days of intense discussion, writing exercises and pitch development. I learned a lot about these topics from this conference, and so much more. I also made incredible writer friends who continue to support me and my writing every day.</span><br /><br />
<span>The <a href="https://newyorkwritetopitch.com" target="_blank">NYC conference</a> was amazing in that I was able to meet one on one with very well known and creditable publishers and agents. Each agent and publisher took their time with me and gave me some extremely helpful advice on my plot development and pitch.</span><br /><br /><span>I don't think I could say enough good things about the Algonkian conferences. Each time I finished one, I was more inspired to reach my publishing goals and become a better writer. When I am ready to start the process of publishing, I feel confident that my manuscript will be professionally completed with a story written to the best of my abilities. </span></span></p><p><span style="font-family: arial; font-size: medium;">- April Forer</span></p><p><span face="Verdana, Helvetica, sans-serif"><span style="font-family: arial; font-size: medium;"></span></span></p><span face="Verdana, Helvetica, sans-serif"><span style="font-family: arial; font-size: medium;">____________________________ </span></span><div><span style="font-family: arial; font-size: medium;"><span face="Verdana, Helvetica, sans-serif"><span><br style="background-color: #f6f6f6;" /></span></span>
<span face="Verdana, Helvetica, sans-serif" style="background-color: white;">Hi Lance et al,</span></span><div><span style="background-color: white; font-family: arial; font-size: medium;"><br /><span face="Verdana, Helvetica, sans-serif">I've been to two of the <a href="https://algonkianconferences.com" target="_blank"><b>Algonkian writer conferences</b></a>, each very different from the other, both very valuable (to me). I started with terrible query letters and, despite hours and months of reading and researching on the internet, no real understanding of the business of writing.</span><br /><br /><span face="Verdana, Helvetica, sans-serif">From the two conferences, I met or was connected with:</span><br /><span face="Verdana, Helvetica, sans-serif"> - an editor (an EDITOR!) who wants to read my manuscript</span><br /><span face="Verdana, Helvetica, sans-serif"> - an agent who I believe may give me a second glance</span><br /><span face="Verdana, Helvetica, sans-serif"> - an excellent book doctor to whom I'm sending my manuscript</span><br /><span face="Verdana, Helvetica, sans-serif"> - a MUCH better query/pitch</span><br /><span face="Verdana, Helvetica, sans-serif"> - a rewrite that I probably wouldn't have done otherwise</span><br /><span face="Verdana, Helvetica, sans-serif"> - a much better understanding of the agent-writer experience, and what I need to do</span><br /><span face="Verdana, Helvetica, sans-serif"> - contacts, contacts, contacts, and serious writer friends</span><br /><span face="Verdana, Helvetica, sans-serif"> </span><br /><span face="Verdana, Helvetica, sans-serif">If that sounds as if it's worth the money, go for it. The Algonkian writer conferences got my feet planted firmly on the path where I want to be going. Is it hard? Yes. Is Michael Neff brutally honest? Yep. But he really, really wants you to succeed, and he doesn't scorn tough love.</span><br /><br /><span face="Verdana, Helvetica, sans-serif"><span>- Michael Ashton</span></span></span></div><div><span style="background-color: #f6f6f6;"><span style="font-family: arial; font-size: medium;">____________________________ </span></span></div><div><span style="background-color: white; font-family: arial; font-size: medium;"><br /></span></div><div><span style="background-color: white; font-family: arial; font-size: medium;">I have to echo what Skate and Eir and John Arnold said about Algonkian Conferences. I went to the one in San Francisco, and it was radically different from any other workshop or conference I had attended. The approach is simple and pragmatic - you are taught to understand the perspective of the agent or editor, whose job to sell your novel. In my case, I showed up at the workshop with a completed novel. In the workshop, we had to write a pitch and rewrite it, then we got to practice it on a real, live agent who gave us feedback. Bad pitch? Rewrite it and try again a couple days later on MORE agents... I found it tremendously difficult to switch gears like this, from hardcore novel-writing to hardcore market analysis - but once I got it I felt great. Totally worth the price of admission, and I won't hesitate to go again. </span></div><div><span style="background-color: white; font-family: arial; font-size: medium;"><br /></span></div><div><span style="background-color: white; font-family: arial; font-size: medium;">- Rebecca W. Ransom</span></div><div><span style="background-color: white; font-family: arial; font-size: medium;"><span></span><span face="Verdana, Helvetica, sans-serif"><span>____________________________ </span></span></span></div><div><span style="background-color: #ecedf3; font-family: arial; font-size: medium;"><br /></span></div><div><span style="background-color: white; font-family: arial; font-size: medium;">I got two invaluable things out of the recent Algonkian Writers Conference. One was the repeated admonition to utilize all the tools of the craft. Even those of us who've written for a living forever can always use this reminder. A carpenter wouldn't attempt to frame a house without tools and neither should a writer ever sit down without his or her full arsenal at hand. Secondly, The Algonkian Writers Conference is a no-nonsense primer on all that need be done to prepare a manuscript for presentation. Faculty consistently underscore the fact that publishing is a hard-hearted racket driven solely by the profit motive. Agents are deluged with thousands of MS yearly and only a few are ever advanced to a publisher. Hence, a pitch, a log line and a synopsis must be absolutely sensational to garner even the slightest attention. </span></div><div><span style="background-color: white; font-family: arial; font-size: medium;"><br /></span></div><div><span style="background-color: white; font-family: arial; font-size: medium;">In that regard, this is not a feel-good seminar. </span></div><div><span style="background-color: white; font-family: arial; font-size: medium;"><br /></span></div><div><span style="background-color: white; font-family: arial; font-size: medium;">Some hearts were broken and some treasured ideas were trashed by the agents who attended. But from the first hour of the first day, the faculty emphasized the cold facts and discouraging numbers of the trade, urging us to beat the odds by avoiding the errors and pitfalls of the amateurs. Now, there is some unavoidable tedium associated with such a gathering, when people are working on projects that seem silly or meaningless to you, but I found it helpful to pay attention to everyone's presentation in order to hone mine to a better polish. In doing so I discovered that the focus of my project needed to be compressed and a new angle of attack implemented. Honestly, I'm returning to work energized by the five days I spent and the aspiring writers I befriended.</span></div><div><span style="background-color: white; font-family: arial; font-size: medium;"><br /></span></div><div><span style="background-color: white; font-family: arial; font-size: medium;">- Burr Snyder</span></div></div><div><div><span face="Verdana, Helvetica, sans-serif" style="font-size: medium;"><span style="background-color: white; font-family: Montserrat;">____________________________ </span></span></div></div><div><span face="Verdana, Helvetica, sans-serif" style="font-size: medium;"><span style="background-color: white; font-family: Montserrat;"><br /></span></span></div><div><span face="Verdana, Helvetica, sans-serif" style="font-size: medium;"><span style="background-color: white; font-family: arial;"><span style="background-color: #f6f6f6;">The <a href="https://algonkianconferences.com" target="_blank">Algonkian Writers Conference</a> is equal parts:</span><br style="background-color: #f6f6f6;" /><br style="background-color: #f6f6f6;" /><span style="background-color: #f6f6f6;">• a PITCH-IT-TO-ME BETTER, FASTER, STRONGER WORKSHOP in which the faculty will help you hone your novel and thus how you talk about/describe your story (your pitch) so that you can pique an agent and/or reader interest in your work effectively.</span></span></span></div><div><span face="Verdana, Helvetica, sans-serif" style="font-size: medium;"><span style="background-color: white; font-family: arial;"><br style="background-color: #f6f6f6;" /><span style="background-color: #f6f6f6;">• a KNEE JERK REACTION SESSION WITH LITERARY AGENTS in which </span><span class="bbc_u" style="background-color: #f6f6f6; text-decoration-line: underline;">working</span><span style="background-color: #f6f6f6;"> literary agents will give you feedback on your pitch, your premise and how they might react to your work. Additionally, they'll probably tell you if they think you're putting it in the wrong genre or if it sounds too much like something they've already seen (or seen a lot of). If your lucky, they'll love your idea, give you a business card and ask you to please send your work when it's ready (this alone is worth the price of admission).</span><br style="background-color: #f6f6f6;" /><span style="background-color: #f6f6f6;"><br /></span></span></span></div><div><span face="Verdana, Helvetica, sans-serif" style="font-size: medium;"><span style="background-color: white; font-family: arial;"><span style="background-color: #f6f6f6;">• a PANORAMIC PICTURE OF THE PUBLISHING WORLD so that when the conference is over, you know exactly what's going for you, what your up against and what it's going to take to become a published author.</span><br style="background-color: #f6f6f6;" /><br style="background-color: #f6f6f6;" /><span style="background-color: #f6f6f6;">Additionally, between the different sessions, writing exercises and discussions, you'll get a good sense of your strengths and weaknesses as a writer. Is your description sloppy/boring? Do your stories lack tension (ahem ... does your story </span><em style="background-color: #f6f6f6;">lack story?!</em><span style="background-color: #f6f6f6;">)? Are you revealing secrets too early or making things too convenient for your protagonist? </span></span></span></div><div><span face="Verdana, Helvetica, sans-serif" style="font-size: medium;"><span style="background-color: white; font-family: arial;"><span style="background-color: #f6f6f6;"><br /></span></span></span></div><div><span face="Verdana, Helvetica, sans-serif" style="font-size: medium;"><span style="background-color: white; font-family: arial;"><span style="background-color: #f6f6f6;">A Guy Named Macho</span></span></span></div><div><span face="Verdana, Helvetica, sans-serif" style="font-size: medium;"><span style="background-color: white; font-family: arial;"><div style="font-family: "Times New Roman"; font-size: medium;"><span face="Verdana, Helvetica, sans-serif" style="font-size: medium;"><span style="font-family: Montserrat;">____________________________ </span></span></div><div><span face="Verdana, Helvetica, sans-serif" style="font-size: medium;"><span style="font-family: Montserrat;"><br /></span></span></div></span></span></div></div>Michael Neffhttp://www.blogger.com/profile/01758475229435510284noreply@blogger.com0tag:blogger.com,1999:blog-1363311113124648968.post-50635308721784623432020-10-05T09:49:00.002-07:002020-10-05T09:49:50.925-07:00Read Gail Godwin - Your Interior Monologue Guide<div dir="ltr" style="text-align: left;" trbidi="on"><div><b><span class="Apple-style-span" face="Arial,Helvetica,sans-serif" style="color: #76a5af;">by Michael Neff</span></b></div><div><b><span class="Apple-style-span" face="Arial,Helvetica,sans-serif"><br /></span></b></div><div><b><span class="Apple-style-span" face="Arial,Helvetica,sans-serif" style="font-family: arial;">The Ruminations of Gail Godwin</span></b><br />
</div><div><b><span class="Apple-style-span" face="Arial,Helvetica,sans-serif"><br /></span></b></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisY86QdAhotHwmZRdNV4jiWGwFx9n7m-UGscMhZ16RyAIpi6RsrNkgy4mDVRrPuCOovVARFFn0sxcTADrMQeAnjiLe21uYYzP5gSPAZYxPEBgz3j1ySlOV6q-yJB6H1LeURn0KaZ_gT0Bg/s1600/gail.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisY86QdAhotHwmZRdNV4jiWGwFx9n7m-UGscMhZ16RyAIpi6RsrNkgy4mDVRrPuCOovVARFFn0sxcTADrMQeAnjiLe21uYYzP5gSPAZYxPEBgz3j1ySlOV6q-yJB6H1LeURn0KaZ_gT0Bg/s1600/gail.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisY86QdAhotHwmZRdNV4jiWGwFx9n7m-UGscMhZ16RyAIpi6RsrNkgy4mDVRrPuCOovVARFFn0sxcTADrMQeAnjiLe21uYYzP5gSPAZYxPEBgz3j1ySlOV6q-yJB6H1LeURn0KaZ_gT0Bg/s1600/gail.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisY86QdAhotHwmZRdNV4jiWGwFx9n7m-UGscMhZ16RyAIpi6RsrNkgy4mDVRrPuCOovVARFFn0sxcTADrMQeAnjiLe21uYYzP5gSPAZYxPEBgz3j1ySlOV6q-yJB6H1LeURn0KaZ_gT0Bg/s1600/gail.jpg" /></a></div><div><b><span style="font-family: trebuchet;">Gail Godwin excels at observing and ruminating on the human condition. Much of the power of her narrative depends on her ability to create interesting characters whom she then dissects. The following excerpts are from her novel, Evensong, the story of Margaret Bonner, the pastor of a church in a small town, and how she interprets and reacts to the characters in her life.</span></b><br />
<br />
"Would Gus and Charles, as involved in their building and doctoring as Adrian and I were in our school mastering and pastoring, be able to live up to the words better than we were doing? I hoped so. I hoped so for their sakes. I sketched a Celtic cross in the left-hand corner of the card and began shading in the background. What had happened to Adrian and me? In my more pragmatic moods, I tried to settle for the practical explanation: our jobs were making so much of us that we had not time left to make much of each other. But by nature I wasn‘t a pragmatist; I was a digger, a delver into complexities."</div><div><br />
"At the bottom of my father‘s Slough of Despond, I now realized, had burbled a dependable tiny wellspring of lugubrious self-love: somehow he had been at ease lolling in his melancholy. Whereas at the bottom of Adrian‘s despondence, I had discovered, lay a flinty bedrock of self-hatred. But if my father had been something of a loller, my husband was a fighter: his whole history testified to this. He‘d work hard and achieve a profession, then heed a call to a fuller use of his potential, bravely pull himself up by the roots, and expand his skills: from Chicago to Zurich, from Zurich to seminary, from seminary to the church, from church to this experimental school in the mountains of western North Carolina. ―A falling short of your totality‖ was how he had defined sin on the day I met him in my father‘s garden, and he was still at work trying to fill out his own totality. But then there‘d be an emotional setback—the death of my father, the death of our unborn daughter, the death of Dr. Sandlin—and, whereas anyone would be plunged into grief, he plunged beyond grief, right back down to that hard, cold floor of self-hate."</div><div><br />
"As I laid aside the new sermon note card before I cluttered it with doodles, my gaze was arrested by old Farley‘s moon painting, which hung between the two windows in my study: Every time I looked at it I of course thought of Madelyn and the changes she had wrought on our family simply by walking into our house and being Madelyn Farley and walking out again the next morning with my mother. But the painting itself remained a rich source of contemplation for me. That round white disk riding the night sky between its trail of bright clouds had been created on a dark, freezing porch by an ill-humored old man who in his last years had become fixated on the moon. Why? Because its fast-rising, elliptical variations were so hard to trap in pigment and water? Or were all his moonscapes (conscious or unconscious) an exercise in self-portraiture: obsessive studies of a cold, hard, cratered, dark thing, like himself, that nevertheless had been endowed with the capacity to reflect light and beauty?"</div><div><br />
</div></div>Michael Neffhttp://www.blogger.com/profile/01758475229435510284noreply@blogger.com0tag:blogger.com,1999:blog-1363311113124648968.post-72020398770957812582016-12-31T13:24:00.000-08:002016-12-31T13:25:24.817-08:00Manuscripts to Market - The New York Pitch Launches Novel Editing Service<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga7KxBD2Qa0yzYm5ZlH7MT-fiV0eZ4qwo1cwkzv8MuoFm09rExAyA-1kUTCkpMSyHsmSQT-4zKxt6MQ7UfpQzxxrnMac_7YV6nhnKxBEnoJAeAy1zhyFO72tKGYLjhOA98cFfNuIMABtUV/s1600/logo.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga7KxBD2Qa0yzYm5ZlH7MT-fiV0eZ4qwo1cwkzv8MuoFm09rExAyA-1kUTCkpMSyHsmSQT-4zKxt6MQ7UfpQzxxrnMac_7YV6nhnKxBEnoJAeAy1zhyFO72tKGYLjhOA98cFfNuIMABtUV/s1600/logo.jpg" /></a></div>
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: serif;"><i>By Julie Field</i></span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: serif;"><i> </i></span> </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">Faculty of the New York Pitch Conference, Michael Neff and Paula Munier, have launched a boutique novel editing service. The service is "boutique" because, according to Neff and Munier, they have no intention of turning TNE into a manuscript critique factory.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">As it states on the <a href="http://manuscriptstomarket.newyorkpitchconference.com/" target="_blank">TNE website</a>:</span><br />
<blockquote class="tr_bq">
<span style="color: #939298; font-family: "georgia" , "times new roman"; font-size: 16px;"><span style="color: #434248; font-family: "tahoma" , "palatino linotype" , "century gothic" , "times new roman"; font-size: 14px;"><i><span style="font-family: "tahoma" , "palatino linotype" , "century gothic" , "times new roman";">W</span>e do not portion out our services like dim sum, and neither are we a
manuscript editing factory dependent on large volume to stay in
business. We only take on a few clients each month so that dedicated and
careful editorial work on your novel or nonfiction can be accomplished
by not one, but two highly experienced editors (bios below) working in
tandem.</i></span></span></blockquote>
<span style="font-family: "Trebuchet MS",sans-serif;">Let's not fool ourselves. This is the way to do it. In truth, could there be a better approach? Pay peanuts and you get monkeys, as witnessed by the so-called professional reviewers of the manuscript editing industrial complex (whose credentials you almost never get to examine in advance) who get paid to "critique" 300+ page manuscripts; and surprise, <b>the bulk of the critique turns out to be proofing and line editing with only a small portion being "development notes" (much of which is questionable) plus a paragraph or so of false praise and personal flattery</b> added for good measure. The management pockets $800 to $2000 per ms--the entire structure dependent on acquiring a score of manuscripts per week.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">Most writers come away feeling good and hopeful, few realizing they've basically been duped. </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><a href="http://manuscriptstomarket.newyorkpitchconference.com/" target="_blank">The Manuscripts to Market Novel Editors</a>, however, working in a very opposed dimension, utilize not one but two highly experienced editors to work on each manuscript, thereby enabling a more realistic and balanced approach to the complex task of novel editing:</span><br />
<blockquote class="tr_bq">
<span style="color: #939298; font-family: "georgia" , "times new roman"; font-size: 16px;"><span style="color: #434248; font-family: "tahoma" , "palatino linotype" , "century gothic" , "times new roman"; font-size: 14px;"><i><span style="color: #939298; font-family: "georgia" , "times new roman"; font-size: 16px;"><span style="color: #434248; font-family: "tahoma" , "palatino linotype" , "century gothic" , "times new roman"; font-size: 14px;">In
our case, two editors equal your single best chance to become
published. We possess over thirty years experience working on the
publishing side of the business as well as on the literary agent side.
As a result, we are networked with many literary agents and publishers
in New York, and on the west coast, but just as importantly we have a
solid track record of working with authors to produce books published by
major commercial publishers and/or signed by major agencies. </span></span></i></span></span></blockquote>
<span style="font-family: "Trebuchet MS",sans-serif;">If you review the bios of the boutique editors of TNE, Neff and Munier, you'll see they do have the solid track record noted above.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">The choice is obvious, but yes, we're biased on this end<span style="color: #434248;"><span style="font-family: "tahoma" , "palatino linotype" , "century gothic" , "times new roman";"><i>.</i></span></span> </span><br />
<br />
<br /></div>
Elizabeth Brodyhttp://www.blogger.com/profile/11685452125287825479noreply@blogger.com0tag:blogger.com,1999:blog-1363311113124648968.post-28445271984821537232016-07-28T16:23:00.000-07:002016-07-28T16:23:26.573-07:00How Not To Get Blacklisted! OMG!<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIuMsg8yUWhyphenhyphenGFK48zs31H48rj7wvUd8c9EuALlmeOhxIab-y4-bZr0DSSYbO1u67D2GRIRUM2xqAOFOeoW8ekZKBq7CqNsIQ55xZmD5h3t9ZE9U8orzMXNcCSKGzxKLlWqNC48WmUN5Xf/s1600/shutterstock_259163579.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIuMsg8yUWhyphenhyphenGFK48zs31H48rj7wvUd8c9EuALlmeOhxIab-y4-bZr0DSSYbO1u67D2GRIRUM2xqAOFOeoW8ekZKBq7CqNsIQ55xZmD5h3t9ZE9U8orzMXNcCSKGzxKLlWqNC48WmUN5Xf/s320/shutterstock_259163579.jpg" width="320" /></a></div>
<div class="MsoNormal">
By <a href="http://www.facebook.com/ChrisStewartTheRealWriter" target="_blank">Chris Stewart</a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
As someone who organizes readings and a large literary arts
festival with workshops, author appearances, and exhibitors, over the last ten years I
have developed a list of writers who I will not work with again. And rest
assured, I’m not the only one who does this. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Why? Because they didn’t follow directions. It’s that
simple. Who's on it? Writers who acted like the organizer/staff were their personal assistant/manager. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Take note of the following ways to avoid this blacklist and
be a true professional!<br />
<br style="mso-special-character: line-break;" /></div>
<div class="MsoNormal">
<b>KNOW YOUR OWN SCHEDULE</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Double booking is such a big no-no we can’t believe you’re
not aware of this already yourself. Whatever you have to do to make sure you
know the days you are already booked: DO IT. Back out of our event at the last
minute because you “forgot” you already had a gig? You’re on the list. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>SEND THE REQUIRED INFORMATION</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It should be no surprise to you that we need your bio and
right away—possibly a short one <u>and</u> a long one. We also need a high resolution
digital photo of the appropriate size with good lighting, not a selfie taken in
the bathroom with your cell phone or with the light behind you. We need ordering
information for your book. Possibly your dietary restrictions or lunch/dinner
order. Special seating or parking needs. Have that at the ready to send right
away. Don’t have them? Get them together and email them to yourself now so you
will. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Have a publicity team? Great! They are usually more
organized than authors. But pick only ONE person for us to work with. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>SEND THE REQUIRED INFORMATION <i style="mso-bidi-font-style: normal;">AS REQUESTED</i></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
If we ask for your short bio, we mean about 100 words.
Not half a page, a full page, or two pages. Put your current, key publications, awards, job in there and include your website so people can find out more. You should not send a link to your
website or write back “it’s on my website which is in my signature block.” You will be asked again to send the bio and if you again don’t comply, you
won’t have a bio listed.<span style="mso-spacerun: yes;"> </span>Same with the
photo and book order info. If we give you the format in which we want these and
you send a link to your book on Amazon, Barnes & Noble, or your publisher’s
website you will be asked again, etc. If you're a "famous writer" we will chase you for the info but you'll go on the list.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>MEET THE DEADLINE</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
When we tell you the deadline by which we need the
information we are not picking a random date. We have a deadline for ordering
your book and/or getting it to the host so he/she can read it before your
reading or interview. We are collecting information to layout and send to the
printer for marketing materials: brochures, programs, postcards. For posting on
the website and social media. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Decided at the last minute you want to change or send your picture now that it’s too late? Yeah,
no. Not changing the program which is already at the printer and would incur fees. </div>
<div class="MsoNormal">
<br /></div>
<b>PUBLICIZE!</b>
<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Organizers count on participants publicizing the event they
are part of, which helps extend the organization’s reach and hopefully means
high attendance on the day/evening. Post our event on your website, your
Facebook/Twitter/Tumblr/wherever pages. Follow our social media pages and share
info from them. Let people know about your part, but also share the info about
other writers, exhibitors, etc. if it’s a larger event or festival.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>DON’T EMAIL WITH 101 QUESTIONS</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We are aware of our own schedule. We know when we want to
release final details to authors, etc. Don't stalk us for weeks before asking where you’re parking, what
building/room you’re in, or asking if your book has arrived yet. We will send out the logistics email when everything is finalized and in plenty of time.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Please don’t “check in.” If we wanted to check in we would
have. Basic information is, by now, on the organization’s website: location,
day, time, parking. Do your own homework until you hear from us. That’s what
websites are for. If it’s a few days before and no email, check your spam
folder, then call.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
How a reading works or an interview or a Q&A is not
rocket science. You shouldn’t need a minute by minute breakdown of what is
expected.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>BE ON TIME—NOT EARLY AND NOT LATE</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
On the day of the event, don’t show up two hours before your reading if you’re part
of an event that runs for several hours, or a festival, wanting to check in or
with questions. Check in at the appointed time—an hour before is best. Wait
until the session before yours has started so it’s quieter and we can focus on
you.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Don’t wander off to other sessions, to lunch,
whatever, and not be there on time for the start of your event. Keep track of
the time and return at least fifteen minutes before your part starts. </div>
<span style="font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 115%;"><br clear="all" style="page-break-before: always;" />
</span>
<br />
<div class="MsoNormal">
<b>CHECK IN</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Always check in! Otherwise, you are considered a “no show”
and we are scrambling to figure out what to do without you, sending people to
look for you, spending time calling/texting you when there are ten other things
requiring our attention. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>NO TEXTS/CALLS WITH QUESTIONS ON THE DAY</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We simply do not have time to take your call. The ringer on
our cell is mostly likely turned off. If you want to reach us because you’re
going to be late due to traffic or a car breakdown, text us and give us your
name and ETA. If there is a host for your session, text them as well. Don’t
text us and ask us to tell them. We may not see them in time and guess what? We have ten other things requiring our attention.<span style="mso-spacerun: yes;"> </span>What? You don’t have their phone number? You
know my response to that.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>DON’T GO ROGUE</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
If we didn’t offer or ask about your tech needs then please don't email asking if you can show a short film the day before the event. Or even weeks
before. Tech has already been decided. We’ve had the final walk-though. We would have to hire a tech person at the venue which
is not in our budget. You also may not call the venue yourself and ask for them
to do this for you. We have a contract with them and you are not part of it. Put whatever you want to show on your website and have
people view it on their smartphones during or after the session.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>STICK TO YOUR TIME LIMITS</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We probably gave you a time limit for your reading or, if
you’re a host of a reading/session at a festival for us, how long your session
is. If you’re a writer, choose appropriate material and practice reading it to
make sure you are just under your time. So if we said seven minutes that’s what
you prepare. Not three minutes. Not nine minutes. Your running under/over
screws up the schedule. Minutes add up. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
If you’re a host, don’t run over. Manage/track your time. If
the host of the session before you didn’t do that and their session ran into
yours, let us know later (they will go on the list!), but that doesn’t mean you
can do the same to the session’s host and authors after you.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>STAY THE WHOLE TIME – PARTICIPATE!</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Go to other sessions if you’re at a festival. Stay the whole
evening if it’s a larger event/reading. Take pictures. Post on social media
using the event hashtag and quote writers/speakers. Tag people. Share other
people’s posts. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
If you just do your part and leave you were not really a
participant making a contribution to our event and community. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>IF SOMETHING GOES WRONG, BE GRACIOUS</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Organizers are juggling more than you know depending on the
size of the event: partners and their expectations, venues, catering,
audio/visual recording, marketing, publicity, security, tech, tables, chairs, signage, exhibitors, book
orders, the schedule, volunteers, parking, transportation/hotel for visiting
writers, walk-throughs, last minute changes. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We are horrified that your name was spelled wrong or the
parking lot was closed or someone else took your vegan lunchbox. We didn’t do
it on purpose and we can’t fix it now. Don’t call/text us asking for restaurant
recommendations or the nearest parking lot. These are all accessible to you via
your own phone.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>BOTTOM LINE</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We are doing our best to make everyone comfortable and happy
while dealing with the banner falling off of the front of the building, microphones with dead
batteries, a famous writer needing directions over the phone instead of using
their GPS, volunteers who didn’t show up, the session room that’s locked so no
one can get in, obvious questions from people who could answer them by simply
opening and reading the program or checking the map.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
There are plenty of people ready to criticize every aspect
of an event with massive amounts of know-it-all disdain. People who have never
organized anything in their life but who think they’d be geniuses at it.<span style="mso-spacerun: yes;"> </span>Don’t be that person. You have no idea what
was discussed, promised by venue/partners/caterers/etc., not allowed or
not available, or didn’t work on the day. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Be a help, not a hindrance. How? Remember that the event is
not about you (unless you’re the headliner, in which case, still be gracious,
not a diva). Do your homework. Do your prep. Bring your own water and a granola
bar, just in case. Leave early, map out additional parking, check in, tweet
about how much fun you’re having, smile. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We are excited to have you at our event! We think you’re
fantastic! But be responsible for yourself. If you can’t be, hire someone who
will be able to handle your needs/details or risk not being invited back and
word getting around that you are not a professional or too much work. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Your call. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="mailto:therealwriter@gmail.com" target="_blank">Chris Stewart</a> is Editor-in-Chief of Del Sol Press (<a href="https://twitter.com/DelSolPressBks" target="_blank">@DelSolPressBks</a>), which has
a First Novel Competition deadline this Friday, May 13<sup>th</sup>. Judge is
Madison Smartt Bell.<span style="mso-spacerun: yes;"> </span>Prize is $1500, 20
copies. Second and third place winners receive free tuition to the <a href="http://newyorkpitchconference.com/" target="_blank">AlgonkianNew York Pitch Conference</a>. Published already but retained the copyright? You’re
eligible! Check it out:<a href="http://www.delsolpress.org/DSP-NovelCompetition.htm" target="_blank">Del Sol Press First Novel Prize</a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Chris tweets <a href="https://twitter.com/EditorStewart" target="_blank">@EditorStewart</a> and provides manuscript editing and critiques. Find tips, tools, information, and inspiration on her website: <a href="http://www.therealwriter.com/" target="_blank">The Real Writer</a>. </div>
</div>
Michael Neffhttp://www.blogger.com/profile/01758475229435510284noreply@blogger.com0tag:blogger.com,1999:blog-1363311113124648968.post-21815026688421443602015-04-24T07:36:00.000-07:002015-04-24T07:36:02.757-07:00Algonkian Writers Conference Critique Criteria for Groups<div dir="ltr" style="text-align: left;" trbidi="on">
<div dir="ltr" style="text-align: left;" trbidi="on">
<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="color: #0b5394; font-size: small;"><b><span style="font-family: verdana, arial;">by Michael Neff</span></b></span><br />
<br />
<b><span style="color: black; font-family: verdana, arial; font-size: 12px;">Below are some categories and criteria for engaging in critique of novel-length fiction. This will help guide your writer's group and make the critique more focused and less arbitrary.</span></b><br />
<br />
<hr size="1" width="250" />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="color: black; font-size: 12px;">
<span style="color: #b45f06;"><span style="font-size: large;"><b>Premise and Plot</b></span></span><br />
</span></span>
<ul>
<li><span style="font-family: "Trebuchet MS",sans-serif;"> Does the premise or story concept sound high concept?
Original? If so, why? Defend your conclusion. What makes it unique when compared to published novels or nonfiction in the genre? You must effectively argue this case for or against. If against, present examples why it might not be sufficiently original to capture the interest of an agent or publisher.</span>
</li>
<li><span style="font-family: "Trebuchet MS",sans-serif;">Are you able to discern the primary source of dramatic tension and complication that creates the major plot line(s)? Can you or the writer create a
conflict statement for the novel that demonstrates, for example:</span></li>
<br />
<span style="color: black; font-family: verdana, arial; font-size: 12px;"><b>The Hand of Fatima</b>
<br /><br />
A young Moor torn between Islam and Christianity, scorned and tormented by both, struggles to bridge the two faiths by seeking common ground in the very nature of God.
<br /><br />
<b>Summer's Sisters</b>
<br /><br />
After sharing a magical summer with a friend, a young woman must confront her friend's betrayal of her with the man she loved.
<br /><br />
<b>The Bartimaeus Trilogy</b>
<br /><br />
As an apprentice mage seeks revenge on an elder magician who humiliated him, he unleashes a powerful Djinni who joins the mage to confront a danger that threatens their entire world.
</span></ul>
</div>
</div>
<br />
<span style="font-family: "Trebuchet MS",sans-serif;">Part II</span><br />
<ul>
<li><span style="font-family: "Trebuchet MS",sans-serif;">Is the first major plot point that changes the course of action and begins the second act of this novel clearly defined? Can you state it? Keep in mind that the first major
plot point begins the plot line noted above, i.e., the rising action of
the story as a whole.</span>
</li>
<li><span style="font-family: "Trebuchet MS",sans-serif;">Insofar as you know, does the story as presented to you display the mandatory tropes of the genre? If so, how? Be
inclusive with your response. Demonstrate knowledge of your genre and
its tropes. Does the author do anything to present or frame the tropes
in a unique manner? </span>
</li>
<li><span style="font-family: "Trebuchet MS",sans-serif;">Does the novel possess a setting and/or unique
world that works to high-concept the novel, or at least make the story
much more interesting and unique? If so, what features of this setting
do you find unique or valuable to the story when compared to others? Do
specific circumstances or characters evolve from the setting that make
it valuable? If so, what or who are they?</span>
</li>
<li><span style="font-family: "Trebuchet MS",sans-serif;"> What novel(s) published in the last few years does this story
most closely compare to? Why? This must be supportable with specifics
and not general statements. Does it compare favorably? Is it
sufficiently unique despite the comparison? If so, why?</span>
</li>
<li><span style="font-family: "Trebuchet MS",sans-serif;"> Why is this story, as presented, one
that publishers will buy? To put it more simply, why is this story one
that readers will pay to read? Respond to this with clarity and detail.</span></li>
</ul>
<hr size="1" width="250" />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="color: #b45f06;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: large;"><b>Narrative, Scenes and Style</b></span></span></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">How does the story read? Each one of the following bullet points must be addressed.</span><br />
<ul>
<li><span style="font-family: "Trebuchet MS",sans-serif;"> Is the prose itself completely free of errors and ambiguity? Does
the writer say more with less or is she/he wordy? Are the verbs
sufficiently active or too much variation of "to be"? Also, is the
writer good at description? Not sure? Ask them to provide examples of
description of objects, events and people.</span>
</li>
<li><span style="font-family: "Trebuchet MS",sans-serif;"> Is the reader oriented spatially or do characters feel disembodied? If this narrative were film, would it make sense?</span>
</li>
<li><span style="font-family: "Trebuchet MS",sans-serif;"> Is the narrative sufficiently engaging? If yes, what makes it
engaging? If no, what should be done to make it engaging? Be specific.</span>
</li>
<li><span style="font-family: "Trebuchet MS",sans-serif;">Does the narrative include, as a whole, the three primary levels of
conflict, i.e., internal, social, and
plot related? If so, list them one at a time, and their context. If
not, what should be done to include them?</span></li>
</ul>
<span style="font-family: "Trebuchet MS",sans-serif;"> Part II</span><br />
<ul>
<li><span style="font-family: "Trebuchet MS",sans-serif;"> Are the scenes set properly? Do they have a defined beginning,
middle and end? Do we get a clear concept of who/what/where, etc?</span>
</li>
<li><span style="font-family: "Trebuchet MS",sans-serif;"> Does the prose itself evidence mastery of the form given the
demands of the genre? If so, how? If not, why? What can be done to
improve it?</span>
</li>
<li><span style="font-family: "Trebuchet MS",sans-serif;"> Does the narrative present situations, issues, circumstances, characters or plots that seem too predictable or stale from overuse? Or
would you term the narrative more unpredictable and original, insofar
as possible given the demands of the genre? </span></li>
<li><span style="font-family: "Trebuchet MS",sans-serif;">If more than one point of view, does the writer juggle the
multiple POVs with skill? If so, how? If not, why not? Ask for more
narrative samples as necessary.</span></li>
</ul>
<hr size="1" width="250" />
<span style="font-family: "Trebuchet MS",sans-serif;"></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: large;"><span style="color: #b45f06;"><b>Characters</b></span>
</span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">The main thing here is to focus on the manner in which the characters
reveal themselves in the course of the narrative, via dialogue and
action. </span><br />
<ul><span style="font-family: "Trebuchet MS",sans-serif;">
</span>
<li><span style="font-family: "Trebuchet MS",sans-serif;">Do they feel real or simply two dimensional? </span>
</li>
<span style="font-family: "Trebuchet MS",sans-serif;">
</span>
<li><span style="font-family: "Trebuchet MS",sans-serif;">Do we observe them at their best or worst in the course of performing an action? </span>
</li>
<span style="font-family: "Trebuchet MS",sans-serif;">
</span>
<li><span style="font-family: "Trebuchet MS",sans-serif;">Is the author using show-don't-tell techniques to portray them or simply delivering exposition?</span>
</li>
<span style="font-family: "Trebuchet MS",sans-serif;">
</span>
<li><span style="font-family: "Trebuchet MS",sans-serif;">Do you feel any sympathy or empathy towards them? </span>
</li>
<span style="font-family: "Trebuchet MS",sans-serif;">
</span>
<li><span style="font-family: "Trebuchet MS",sans-serif;">Is there anything unique about them or do they feel overly stereotypical?</span></li>
</ul>
</div>
Michael Neffhttp://www.blogger.com/profile/01758475229435510284noreply@blogger.com0tag:blogger.com,1999:blog-1363311113124648968.post-12302750889275535132014-07-14T14:43:00.000-07:002015-04-22T11:24:53.946-07:00Samples of Algonkian Pre-Event Assignments<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: arial, helvetica, sans-serif;"><span style="font-size: 18px;"><b><span style="color: #990000;">From The Algonkian Study Guide</span></b> </span></span>
<br />
<span style="font-family: arial, helvetica, sans-serif;"><span style="font-size: x-small;"><b><span style="color: #660000;">PLOTTING AND STORY DEVICES</span></b></span><br /><br /><span style="font-size: xx-small;"><b>For
our purposes here, we define the novel as a long and interesting story
that must make sense, no room for artifice or clunkiness, only
phenomenal yet natural flow. During the course of pathing plot and
story, the crafty author employs a variety of devices to smooth the
flow, deliver necessary information, create a pause in the action, and
more. Having knowledge of these methods in advance allows the author to
storyboard with more creative flexibility, to push forward past problems
that would otherwise confound and frustrate the inexperienced writer.</b></span><br /><br /><span style="font-size: small;"><b><span style="color: #990000;">No Verisimilitude Without "Masking" : Foreshadow, Aftermath, Discussion, and Repercussion Application</span></b></span><br /><br />
Certain events must take place to move the novel forward, and often the
author must use skillful storytelling technique to produce
verisimilitude, i.e., to make the occurrence of the event seem natural
rather than too convenient or contrived. "Masking" refers to the sum of
this technique, the cumulative effect rendering a necessary yet
potentially awkward event believable. Proper utilization of this
indispensable technique allows the author more freedom to explore the
introduction of unusual and/or surprising events and/or endings.<br /><br />
In Nabokov's <i>Lolita</i>, the wife of Humbert conveniently dies so that Humbert can proceed with his plans to seclude himself with Lolita:<br /><br />
First, the event is foreshadowed - Humbert receives a phone call from a
neighbor stating that something has happened to his wife. Next,
(beginning a new chapter) Humbert goes outside and witnesses the
aftermath carnage of the accident - the scene is complex with objects
and nearly surreal in portrayal. The police show him the body, he
observes the details of it, etc. All of this lends credibility to the
event. A few pages later, as a repercussion of the event occurs: a
discussion ensues with a man who arrives to hash over accident details
with Humbert—the question of the event's verisimilitude is settled.<br />
____________ </span><br />
<div>
</div>
<div>
<br />
<span style="font-family: arial, helvetica, sans-serif;"><span style="font-size: 18px;"><span style="color: #990000;"><b>Sample of Assignments Emailed to Workshop Attendees</b></span></span></span><br />
<br /></div>
<div>
<span style="font-family: arial, helvetica, sans-serif; font-size: small;">For
this event you must purchase and read, or re-read "One Flew Over The
Cuckoo's Nest" by Ken Kesey and "The Great Gatsby" by Fitzgerald. Both
make important and fundamental points concerning plot structure, theme,
dramatic complication, scene construction, narrative composition, and
more. Both are utilized in the Algonkian Study Guide, along with other
important works. We cannot overstress the importance of this.<br /><br /><u>For your first assignment</u>,
go to your nearest library or book superstore. Read the first ten pages
of at least five new literary novels (no genre, i.e, SF, mystery,
etc.). Once you've spent a few hours, take out a laptop, or sheet of
paper, and note bullet by bullet precisely what the author did within
those first ten pages to make the protagonist appear sympathetic,
original and interesting. Also, note how the information was delivered
in "the hook" of the novel. Was the author telling us, or showing us the
character's qualities in a vivid scene?<br /><br /><u>For your second assignment</u>,
examine the book jacket of each novel. Write the book jacket you would
like to see for your novel (see your pitch model assignment upcoming).
Ask yourself after you write it: WILL THIS MAKE SOMEONE WANT TO BUY MY
BOOK? And if so, why? Note: limit the number of words to the average
number you count on the jackets. Try to limit to 150-200 words.<br /><br />____________________________________<br /><br /><b>Please
use the following examples as models for your agent pitch session. Keep
your pitch to 150-200 words, no more than a minute. Have the pitch
written before the conference begins. Note that the pitch is a
diagnostic tool to determine the strong and weak points of your novel.
If you do not have enough novel for a pitch, then no problem. Now is the
time to start thinking about it!<br /><br />
Take special note of dramatic tension and plot points, rising action, character qualities.</b><br /><br />"The English Teacher" by Lily King:<br /><br /><b>(HOOK
- the entire first paragraph) Fifteen years ago Vida Avery arrived
alone and pregnant at elite Fayer Academy. She has since become a
fixture and one of the best English teachers Fayer has ever had. By
living on campus, on an island off the New England coast, Vida has
cocooned herself and her son, Peter, from the outside world and from an
inside secret. (SCENE SET) For years she has lived largely through the
books she teaches, but when she accepts the impulsive marriage proposal
of ardent widower Tom Belou, the prescribed life Vida has constructed is
swiftly dismantled. (PLOT POINT creates COMPLICATIONS or DRAMATIC
TENSION)<br /><br />
Peter, however, welcomes the changes. Excited to move off campus, eager
to have siblings at last, Peter anticipates a regular life with a
"normal" family. But the Belou children are still grieving, and the
memory of their recently dead mother exerts a powerful hold on the
house. As Vida begins teaching her signature book, Tess of the
D'Urbervilles, a nineteenth-century tale of an ostracized woman and
social injustice, its themes begin to echo eerily in her own life and
Peter sees that the mother he perceived as indomitable is collapsing and
it is up to him to help. (SECOND PLOT POINT creates MAJOR COMPLICATION
and RISING ACTION leading to CLIFFHANGER: will Peter save his mother?)</b> <br /><br />Another example from "Close Case" by Alafair Burke:<br /><br /><b>Investigating
the brutal murder of a hotshot journalist, Samantha Kincaid finds
herself caught in the middle of an increasingly personal and potentially
dangerous struggle between Portland's police and the DA's office.(HOOK,
SCENE SET, SUBPLOT COMPLICATION).</b></span><br />
<span style="font-family: arial, helvetica, sans-serif; font-size: small;"><b> </b><br /><b>For Deputy District
Attorney Samantha Kincaid's thirty-second birthday, she gets an unusual
gift: a homicide call out. (PLOT POINT begins MAJOR COMPLICATION: solve
the crime) The crime scene: the elite Hillside neighborhood in Portland,
Oregon. The victim: hotshot investigative reporter Percy Crenshaw, who
has been bludgeoned to death in his carport.<br /><br />
Tensions in the city have been running high. The previous week, a police
officer shot and killed an unarmed mother of two in what he claims was
self-defense; in the aftermath, protestors have waged increasingly
agitated anti-police protests. Crenshaw's death, it seems, is not
unrelated: within a matter of hours, police arrest two young men who
appear to have embarked on a crime spree in the aftermath of the
protests. The case looks straightforward, especially when one of the
suspects confesses. But then the man recants, claiming coercive police
tactics, and Samantha finds herself digging for more evidence. (PLOT
POINT, RISING ACTION, MORE SUB-COMPLICATIONS)<br /><br />
Following Crenshaw's steps, her search leads her through an elaborate
maze of connections between the city's drug trade and officers in the
bureau's north precinct. Samantha's pursuit of the truth puts her in the
middle of city political battles and on the outs with the cops,
including her new live-in boyfriend, Detective Chuck Forbes. Worse yet,
the path left by Crenshaw could lead Samantha to the same fatal
end.(CLIFFHANGER: will Samantha save her own life, solve the murder in
the process, and later, recover her love interest? <u>THREE QUESTIONS BEGGED</u>!)</b>_____<br /><br />
Now, go and write the PITCH for your novel. And please, take your time!<br /><br />
Once done, put it aside for two days, then read it and ask yourself this question:<br /><br />
WILL THIS MAKE SOMEONE WANT TO BUY MY BOOK?</span></div>
<div>
<span style="font-family: arial, helvetica, sans-serif;"><span style="font-size: x-small;">_____________________________________________________</span></span></div>
<div>
</div>
<div>
<span style="font-family: arial, helvetica, sans-serif;"><a class="bbc_url" href="http://porttownsendalgonkian.blogspot.com/" rel="nofollow external" title="External link">http://porttownsendalgonkian.blogspot.com</a></span></div>
</div>
Michael Neffhttp://www.blogger.com/profile/01758475229435510284noreply@blogger.com0tag:blogger.com,1999:blog-1363311113124648968.post-75876552800315050422014-03-15T14:28:00.001-07:002015-04-22T11:15:19.335-07:00Monterey Writers Retreat in 2015<div dir="ltr" style="text-align: left;" trbidi="on">
<h2 style="text-align: left;">
A Retreat for Fiction Writers, Authors, and Memoirists<span style="color: black; font-family: trebuchet ms, arial, verdana; font-size: 15px;"><b><u> </u></b></span></h2>
<h3 style="text-align: left;">
<span style="color: black; font-family: trebuchet ms, arial, verdana; font-size: 15px;"><b><u>November, 2015</u></b></span><br /><br />
<span style="color: #2c3a43; font-family: Century Gothic; font-size: small;"><b>The Mission of The Monterey Writers Retreat in California</b></span>
</h3>
<br />
<img align="left" src="http://montereywritersretreat.com/mwr4.jpg" height="136" hspace="5" vspace="6" width="200" /><span style="color: black; font-family: trebuchet ms, arial, verdana; font-size: 12px;">Writers,
poets, authors and aspiring authors have journeyed for over a century
to this most scenic and literary location on the California west coast
known as <a href="http://www.seemonterey.com/things-to-do/historic-attractions/" target="_new">the Monterey Peninsula</a>.
They come in search of inspiration, individuality, purpose and vision,
but more importantly, they all eventually come to share an understanding
that art has preceded their arrival in the form of a brutally beautiful
sea and windswept white shore, in the poetry of the twisted cypress,
and in the kaleidoscope of abundant wild life. It is this setting that
inspired the poet Robinson Jeffers to pen:
<br /><br /><i>Fresh as the air, salt as the foam, play birds in the bright wind,
fly falcons<br />
Forgetting the oak and the pinewood, come gulls<br />
From the Carmel sands and the sands at the river-mouth, from<br />
Lobos and out of the limitless<br />
Power of the mass of the sea ...</i><br /><br />
Steinbeck found the material for his dozen volumes of California fiction
in the Salinas and neighboring valleys, along the shores of Monterey
Bay, in the Corral de Tierra, and on the Big Sur. Even the Monterey
sunsets illuminate the secrets of Robert Louis Stevenson's "Treasure
Island" which served as a stage for the lives and times on which Jack
London and George Sterling composed their allegories. Don Blanding,
Henry Miller, Mary Austin, Ambrose Bierce, Upton Sinclair, Sinclair
Lewis, Nora May French and countless others have nurtured their creative
intellect here for years on end, all of them fondly recalling their
Monterey days in the years to come.
<br /><br />
<img align="left" src="http://montereywritersretreat.com/mwr1.jpg" height="130" hspace="5" vspace="3" width="170" />In
keeping with their spirit, and the spirit of the place, you can be as
goal-focused at the retreat, or as hesitant in approach as you wish. You
can talk novel, memoir, or short story publication with us, show us your manuscript,
improve your skills, clear your head, have your work read by our onsite
writer mentors, whatever you wish, whatever helps you grow and find your
vision as a writer. You tell us ahead of time via the <a href="http://algonkianconferences.com/MontereyWritersRetreat/MontereyApplication.htm" target="_new">Monterey Writers Retreat Application</a>
about the goals you wish to focus on and we'll work with you to make it
happen. Do you wish a review of your memoir, short stories, or flash fiction? Do you need to discuss the
reality of the market, your plot and characters, your prose narrative, or
perhaps get feedback on the opening hook and sample chapters from your novel? Or would you simply like a
relaxed and productive dialogue about your goals as an aspiring author?
<br /> </span><br />
<span style="color: black; font-family: trebuchet ms, arial, verdana; font-size: 12px;">Twelve hours of one-on-one morning sessions will take place each day of
the retreat for five days. In other words, the on-site writer
professionals Michael Neff, Paula Munier, and Andrea Hurst will meet with each writer,
based on each writer's needs.</span><br />
<br />
<span style="color: black; font-family: trebuchet ms, arial, verdana; font-size: 12px;">More information can be found on the <a href="http://montereywritersretreat.com/">Monterey Writers Retreat home page</a>. </span><br />
<br />
<span style="color: black; font-family: trebuchet ms, arial, verdana; font-size: 12px;">__________________________________________</span></div>
Michael Neffhttp://www.blogger.com/profile/01758475229435510284noreply@blogger.com0tag:blogger.com,1999:blog-1363311113124648968.post-37944109564138675502014-01-28T06:43:00.001-08:002014-01-28T06:51:48.286-08:00Director and Founder Michael Neff Interviewed by Authornomics<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNcQNkpVCpVj_dxcT9D4HLHE9qLcUcJ_dlhGyZSQLUlAJbE4mr1p5K5lkybPq1zaqrHzeq5FV6nmsZEYvf00wSeGPG9r2SNwXLTiQycchIng4ikDEsBm-fkIdpfQSc4T5W1cas1r-DsTU/s1600/neff2.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNcQNkpVCpVj_dxcT9D4HLHE9qLcUcJ_dlhGyZSQLUlAJbE4mr1p5K5lkybPq1zaqrHzeq5FV6nmsZEYvf00wSeGPG9r2SNwXLTiQycchIng4ikDEsBm-fkIdpfQSc4T5W1cas1r-DsTU/s1600/neff2.jpeg" height="200" width="152" /></a></div>
<span style="font-family: "Trebuchet MS",sans-serif;"><b>Sample from the Authornomics Interview. More can be <a href="http://www.andreahurst.com/blog/authornomics-interview-with-conference-director-editor-and-author-michael-neff/" target="_blank">found here</a>.</b></span><br />
<br />
<span style="font-family: "Trebuchet MS",sans-serif;"><b>What do you usually look for in a pitch? What’s one of the biggest turn-offs for you in a pitch?</b></span><br />
<br />
<span style="font-family: "Trebuchet MS",sans-serif;">
</span>
<span style="font-family: "Trebuchet MS",sans-serif;">A pitch that is imprecise, muddled, or way too long, or some combo
thereof, creates a condition of frustration for all concerned—unless and
until a way can be found to correct it. For many, this actually
involves a rewrite of the novel. The pitch is simply a method of
artfully communicating what your novel or nonfiction is about. If you
can’t communicate a project that will sell, it usually means you have
not written a project that will sell. At this juncture, we use the pitch
as a means of driving further into the story. The intent is to discover
what is working, what is not, and what, if anything, is missing. Plot,
premise, characters, theme, everything is out on the table. Many of our
writers have completely rewritten their novels as a result of the pitch
process, and several have been published because of it. A good example
is Kim Boykin, the author of <i>The Wisdom of Hair</i>.</span><br />
<br />
<span style="font-family: "Trebuchet MS",sans-serif;">
</span>
<span style="font-family: "Trebuchet MS",sans-serif;"><b>What does your position as an associate for AEI Film Productions involve? How did you first get into this area?</b></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">
</span>
<span style="font-family: "Trebuchet MS",sans-serif;"> </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;">I moonlight as an agent and developmental editor for AEI and
StoryMerchant. I’m now the AEI Associate for the SF Bay Area. The owner,
Ken Atchity, became acquainted with Algonkian and attended some of our
events. Recently I have helped develop, edited and agented, or
co-agented, two important books: <i>Rise of the American Corporate Security State—Six Reasons to Be Afraid</i>, a nonfiction by Beatrice Edwards (Berett-Koehler), and <i>Killer on the Wall</i>,
a “social media cozy” by Wendy Eckell (Thomas Dunne). Several more
novels are on the way, including another high-concept cozy mystery and
an adult fantasy novel with series potential. Also, several Algonkian
books have been ushered into contracts with AEI/SM, most recently <i>The Last Scribe</i> by Rachel Walsh, currently in development.</span><br />
<br />
<span style="font-family: "Trebuchet MS",sans-serif;">
</span><span style="font-family: "Trebuchet MS",sans-serif;">On the film side, we are working to produce F<i>irehouse Shih-tzu</i>, a comic film about a hero “firehouse dog” out to stop a dangerous arsonist in Brooklyn. I co-wrote the script. The sequel, <i>Up Shih-tzu Creek Without a Poodle</i>,
is being written. It’s amazing what inventiveness can erupt from three
bottles of Napa Cabernet. Additionally, we are also working to produce <i>Message to Shigatse</i>,
a controversial humanist film from NextPix productions about the
Chinese kidnapping of the Panchen Lama. The hunt for a lead actress is
underway. We have feelers out to Kate Winslett’s camp at the moment.
Fingers X’d!</span><br />
<br />
<span style="font-family: "Trebuchet MS",sans-serif;">
</span><span style="font-family: "Trebuchet MS",sans-serif;"><b>What are some of the biggest challenges you find in transforming books into films? Can a film ever be as good as a book?</b></span><br />
<br />
<span style="font-family: "Trebuchet MS",sans-serif;">
</span><span style="font-family: "Trebuchet MS",sans-serif;">High-concept genre books are generally easy to convert to the
three-act film structure. They hit the same plot points and notes. But
we all know that the film medium is limited to what it can display or
provoke. Novels are not. The great novel will always outweigh the film
because it can contain so much more, go more places, reveal more things.
That’s not to say a good movie can’t be better than the novel upon
which it was based. There are always exceptions. I’ve heard competing
opinions re SIDEWAYS, for example.</span><br />
<br />
<span style="font-family: "Trebuchet MS",sans-serif;">[ <a href="http://www.andreahurst.com/blog/authornomics-interview-with-conference-director-editor-and-author-michael-neff/" target="_blank">More</a> ]</span><br />
<br />Michael Neffhttp://www.blogger.com/profile/01758475229435510284noreply@blogger.com0tag:blogger.com,1999:blog-1363311113124648968.post-30934223720512289012013-11-05T14:27:00.000-08:002013-11-05T14:27:12.372-08:00Algonkian Writers Conference - The Pitch Model Letter<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: Arial; font-size: x-small;"></span><br />
<div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Arial; font-size: x-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGyNLHJpaCJrciiLJWnDT-OE0MvffM8fEAjFloS4FodPu8NIGZFo1OMq9zG0zhIqWsYxbb5AxicaT7f5xZshf2txZLzFuw6pDeS4EDFA9HQq4R31sV8nHnrYL1q4NueHhjPOfaI_nbM73H/s1600/writetomarket-banner.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGyNLHJpaCJrciiLJWnDT-OE0MvffM8fEAjFloS4FodPu8NIGZFo1OMq9zG0zhIqWsYxbb5AxicaT7f5xZshf2txZLzFuw6pDeS4EDFA9HQq4R31sV8nHnrYL1q4NueHhjPOfaI_nbM73H/s1600/writetomarket-banner.jpg" /></a></span></div>
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">Please use the following examples as models for your agent pitch session. Keep your pitch to 150-200 words, no more than a minute. Have the pitch written before the conference begins. Note that the pitch is a diagnostic tool to determine the strong and weak points of your novel. If you do not have enough novel for a pitch, then no problem. Now is the time to start thinking about it! <br /><br /><i><b>Take special note of dramatic tension and plot points, rising action, character qualities</b></i>.<br /><br /><b>An example as follows, from "The English Teacher" by Lily King:</b><br /><br />(HOOK - the entire first paragraph) Fifteen years ago Vida Avery arrived alone and pregnant at elite Fayer Academy. She has since become a fixture and one of the best English teachers Fayer has ever had. By living on campus, on an island off the New England coast, Vida has cocooned herself and her son, Peter, from the outside world and from an inside secret. (SCENE SET) For years she has lived largely through the books she teaches, but when she accepts the impulsive marriage proposal of ardent widower Tom Belou, the prescribed life Vida has constructed is swiftly dismantled. (PLOT POINT creates COMPLICATIONS or DRAMATIC TENSION)<br /><br />Peter, however, welcomes the changes. Excited to move off campus, eager to have siblings at last, Peter anticipates a regular life with a "normal" family. But the Belou children are still grieving, and the memory of their recently dead mother exerts a powerful hold on the house. As Vida begins teaching her signature book, Tess of the D'Urbervilles, a nineteenth-century tale of an ostracized woman and social injustice, its themes begin to echo eerily in her own life and Peter sees that the mother he perceived as indomitable is collapsing and it is up to him to help. (SECOND PLOT POINT creates MAJOR COMPLICATION and RISING ACTION leading to CLIFFHANGER: will <br />Peter save his mother?)<br /><br /><b>Another example from "Close Case" by Alafair Burke:</b><br /><br />Investigating the brutal murder of a hotshot journalist, Samantha Kincaid finds herself caught in the middle of an increasingly personal and potentially dangerous struggle between Portland's police and the DA's office.(HOOK, SCENE SET, SUBPLOT COMPLICATION).<br /><br />For Deputy District Attorney Samantha Kincaid's thirty-second birthday, she gets an unusual gift: a homicide call out. (PLOT POINT begins MAJOR COMPLICATION: solve the crime) The crime scene: the elite Hillside neighborhood in Portland, Oregon. The victim: hotshot investigative reporter Percy Crenshaw, who has been bludgeoned to death in his carport.<br /><br />Tensions in the city have been running high. The previous week, a police officer shot and killed an unarmed mother of two in what he claims was self-defense; in the aftermath, protestors have waged increasingly agitated anti-police protests. Crenshaw's death, it seems, is not unrelated: within a matter of hours, police arrest two young men who appear to have embarked on a crime spree in the aftermath of the protests. The case looks straightforward, especially when one of the suspects confesses. But then the man recants, claiming coercive police tactics, and Samantha finds herself digging for more evidence. (PLOT POINT, RISING ACTION, MORE SUB-COMPLICATIONS)<br /><br />Following Crenshaw's steps, her search leads her through an elaborate maze of connections between the city's drug trade and officers in the bureau's north precinct. Samantha's pursuit of the truth puts her in the middle of city political battles and on the outs with the cops, including her new live-in boyfriend, Detective Chuck Forbes. Worse yet, the path left by Crenshaw could lead Samantha to the same fatal end.(CLIFFHANGER: will Samantha save her own life, solve the murder in the process, and later, recover her love interest? THREE QUESTIONS BEGGED!)<br />_____<br /><br />Now, go and write the PITCH for your novel. And please, take your time!<br /><br />Once done, put it aside for two days, then read it and ask yourself this question:<br /><br />WILL THIS MAKE SOMEONE WANT TO BUY MY BOOK?<br /><br />Take into account all the major elements above. Follow the step-by-step evolution of HOOK/SCENE SET, PLOT POINT/COMPLICATION(s), RISING ACTION, and CLIFFHANGER.<br /><br /></span></span></div>
<span style="font-family: Arial; font-size: x-small;"><div>
</div>
</span></div>
Michael Neffhttp://www.blogger.com/profile/01758475229435510284noreply@blogger.com0tag:blogger.com,1999:blog-1363311113124648968.post-4888850125878577802011-09-26T18:16:00.001-07:002011-09-26T18:43:20.899-07:00Why Do Passionate Writers Fail to Publish - Part VI - Impatience Equals Tragedy<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO8y50GkDmsi85YvpLqZFz43U0crhD4qZn3aljz_FOrbagvPBCRfmcD2PDRgfNr0JhX44eBd1sjjodqKCYWqrszEmH2vURObGIB6ssWJV2nx6Dunx2yeUY7MslXrDI5YT8UPPPSCqaJj_Y/s1600/pinkslip.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO8y50GkDmsi85YvpLqZFz43U0crhD4qZn3aljz_FOrbagvPBCRfmcD2PDRgfNr0JhX44eBd1sjjodqKCYWqrszEmH2vURObGIB6ssWJV2nx6Dunx2yeUY7MslXrDI5YT8UPPPSCqaJj_Y/s1600/pinkslip.jpg" /></a></div>
The story might actually be pretty good, fairly original, perhaps even high concept, and the writing as a whole might even be fantastic, however, the writer is impatient and sends out the ms too soon. Agents and editors will stumble from page to page a few times before alerting the intern to crank out the standard rejection letter.<br />
<br />
There are so many nuances to writing a successful novel, so many ways things can go wrong. It is actually inconceivable to someone who isn't a veteran of the ms wars, who hasn't been at it for years and years, who hasn't made <i>all the mistakes</i>, who hasn't reached that point when their writer group earnestly believes the ms child they helped to raise is clean and spiffy, and then sadly, discovered many rejections later that the child needs a year or two more of prep. When will it ever end?<br />
<br />
You have to be patient, but you can't be patient unless and until you know just how patient you must be, and that requires a realistic knowledge of precisely what is required of you, what it takes on every level to write a successful novel your market will embrace, regardless of genre.<br />
<br />
And btw, don't set arbitrary deadlines for completion of the novel, or any part. Just stick to a schedule, and let it come in due course. <br />
<br />
<br />
<br />
<br />Michael Neffhttp://www.blogger.com/profile/01758475229435510284noreply@blogger.com0tag:blogger.com,1999:blog-1363311113124648968.post-52565520057674122052011-08-05T17:14:00.000-07:002011-08-05T17:14:02.957-07:00Algonkian Writer Conferences Tale: Kim Boykin's Pitch Rewrites and Contracts "The Wisdom of Hair" and Boy Can She Cook!<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimpqKNgYQKFYShSM_2zI6BzD848rSZ-lpR1np_N1cd9qYY3Z75s9gkSF6pf0X0qjhg4ld4S2vhz75Qe_3-qsACLdqgZ-SS-kFHXeegtjATwSFL7HXEm0zPXjZLg54JAeg8Yk4trMJ1s-8Y/s1600/kimboykin.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimpqKNgYQKFYShSM_2zI6BzD848rSZ-lpR1np_N1cd9qYY3Z75s9gkSF6pf0X0qjhg4ld4S2vhz75Qe_3-qsACLdqgZ-SS-kFHXeegtjATwSFL7HXEm0zPXjZLg54JAeg8Yk4trMJ1s-8Y/s1600/kimboykin.jpg" /></a></div>
<b>AWC:</b> What is the backstory of Kim Boykin? You’re working with the South Carolina writers group and editing the <a href="http://myscww.org/the_quill.php"><i>Quill</i></a>? How long have you been writing fiction?<br />
<br />
<b>Kim:</b> How far back do you want to go? Growing up, I learned how to tell a story from my grandpa in rural Georgia who held court under an old Mimosa. When the weather was too rough to farm, people would come in droves just to hear him tell tales and share his unique take on the world. As a child, I was enthralled, but when I started to write, really write, I realized what a master teacher of pacing and sensory detail he was. I wrote and tossed, not to be confused with pitched, two novels, then wrote a version of THE WISDOM OF HAIR ten years ago. <br />
<br />
I got an agent but she died after the first round of submissions; the agent I inherited didn't get southern fiction at all. When it was clear she had no intention of selling my novel, I left and just kept writing books. I turned 53 this year, which doesn't mean anything other than I've been at this a really long time. I've dabbled with queries and attended a conference or two, but nothing really happened until I attended the <a href="http://newyorkpitchconference.com/">New York Pitch Conference</a>.<br />
<br />
I'm on the board of the <a href="http://myscww.org/">South Carolina Writer's Workshop</a>, which is an statewide organization dedicated to helping its member develop as writers and publish. We have a very well respected conference in Myrtle Beach, SC every year. As a matter of fact I pitched the same novel to four agents last year, but I didn't have a clue as to what I was doing. Part of the pitch is finding out what works and doesn't work in your story itself. I didn't really understand that until I went to New York.<br />
<br />
<b>AWC:</b> Kim, do tell, what is the origin of THE WISDOM OF HAIR? How did you arrive at this concept, and having arrived, how did you evolve it into an entire novel?<br />
<br />
<b>Kim:</b> Well, the title came from one of the editors at the pitch conference and it just stuck. But the story came to me like all my stories, voices in my head, telling me what to write. It didn't hurt that I spent a lot of time when I was growing up hanging out at my mother's beauty salon. She had a lot of interesting clients--war brides, a Zigfield girl, all kinds of women with all kinds of stories but the one thing they had in common was their hair and the belief that if they could change their hair, they could change their life.<br />
<br />
Funny thing is, until I had to write a pitch and figure out what made my common story uncommon, I didn't see that. But that's exactly what had the editor's nodding their heads and asking to see the script.<br />
<br />
<b>AWC:</b> Who is your readership for this book? Are you working on marketing plans now?<br />
<br />
<b>Kim:</b> If I had to dust off my marketing degree and figure out that kind of stuff, I'd say Women 35-54 would be the core demo. But the concept of fix your hair/fix your life is universal among women, which is why I've created a blog, thewisdomofhair.com and a Facebook page by the same name. The idea is to get women talking about their hair. The first entry has the thoughts from two women, a dyed in the wool Baptist from South Carolina and a Muslim student from Canada. So what does it mean when their views about hair coincide? It means we've found something universal, a common wisdom that can change the world or at least change our world. How cool is that? <br />
<br />
<i>So the takeaway is social media is huge.</i> When the blog is ready for prime time, my agent's going to tweet about it, and I've got other folks out there ready to spread the gospel of HAIR. I also have another blog boykinshecook.com and a website kimboykin.com. One thing the editors made clear at the Pitch Conference in NY was, if you don't have a blog or a website, get one.<br />
<br />
<b>AWC:</b> How long were you looking for an agent before you found your current agent?<br />
<br />
Following the conference, I queried 57 agents between July 9 and the 24th. Sixteen agents asked to read; ten asked for the whole manuscript, and five asked for exclusives, which of course I couldn't give them because so many agents were reading. On July 25, I had my first offer for representation. I sent out a letter to the other agents to let them know and heard from three who said they were going to read the script that night. One of the three called my house and left a message not to sign with anyone until I talked to her, but I did talk to <a href="http://www.marsallyonliteraryagency.com/">Kevan Lyon</a> and signed with, and that was that. <br />
<br />
How long was I looking for an agent before that? Seven years!<br />
<br />
It's great to pitch a book, but you also have to have written a good story. If the writing isn't good, you've wasted a huge opportunity. I felt good about the writing but even that changed after the New York Pitch Conference when I talked to the editors and saw things in my pitch they responded positively to. For example, in the story the protagonist's mother is an Appalachian version of Judy Garland (the lounge singer, not Dorothy Gale.) The editors <i>really</i> liked that, so I came home and punched that up throughout the book and opened the first chapter with a great scene complete with Mama, which got me a lot of looks from agents.<br />
<br />
<b>AWC:</b> What series of events got this over the top and signed with a top literary agency?<br />
<br />
<b>Kim:</b> What made the difference for me was the conference. After having an agent who passed away and then inheriting one who really didn't want me, the idea of pitching directly to publishing house editors in New York was very appealing. I was able to finally sign with a great agent because of the first paragraph of my query letter which noted the publishers at the conference who were enthused about my novel. And she's interested in the new book I'm writing about a lady cop down in the Low Country who finds redemption from her own past by helping a victim of black market adoption. Lots of strong Southern women, snappy dialogue, and set in the Charleston, SC area which is hot thanks to Pat Conroy, Dorthea Benton Frank, and everybody in between who writes about the Low Country.<br />
<br />
<b>AWC:</b> What is your next book about? It feels like a series could develop from this. <br />
<br />
<b>Kim:</b> There might be, the protagonist and her best friend were very appealing to all the agents who read the story. <br />
<br />
<b>AWC:</b> When can the staff of Algonkian Writer Conferences come to South Carolina and sample some of your cooking?<br />
<br />
<b>Kim:</b> Boykinshecook.Com is about two of my great obsessions, WRITING (check out my new post "Lessons From My Childhood About Writing") and FOOD. So if you all make it down this way, just give me a little heads up so I set enough places at the table. Y'all come!<br />
<br />
<br />
<br />Michael Neffhttp://www.blogger.com/profile/01758475229435510284noreply@blogger.com0tag:blogger.com,1999:blog-1363311113124648968.post-1500905758857081262011-08-04T11:51:00.000-07:002011-08-04T11:51:47.762-07:00Why Do Passionate Writers Fail to Publish - Part V<br />
<span style="font-size: x-large;"><b>MORALE LOSS.</b></span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoyhOBow8ce3upNRhIplWgPUl0E485z9VwhnWFsZ0pJ0UM1muLyWciamOqOriVkpKKgynCSCjMld4sYt6nBryJ13xPp_BDgWQRynoqh9o3tDHHYEsMgUOOPgebiUYxKymmcQMDHeYCMGHE/s1600/moraleloss.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoyhOBow8ce3upNRhIplWgPUl0E485z9VwhnWFsZ0pJ0UM1muLyWciamOqOriVkpKKgynCSCjMld4sYt6nBryJ13xPp_BDgWQRynoqh9o3tDHHYEsMgUOOPgebiUYxKymmcQMDHeYCMGHE/s1600/moraleloss.jpg" /></a></div>
The most common form of morale loss occurs at such time the writer finally realizes their efforts are not nearly as good as they suspected. The writer returns to a favorite slice of scene or prose, seeking to admire, build confidence, only to discover their source of confidence has gone stale and awkward, perhaps even offensive. <i>So what has happened?</i><br />
<br />
Writers who fail to understand that such realizations are necessary watersheds (and they happen to all writers!) and indicators of growth, become disillusioned. They quit ... Even worse, they might fail to see the shortcomings in their efforts and proceed to infect everyone with the work, thus resulting in rooms full of averted eyes and frozen smiles.<br />
<br />The second biggest cause of morale loss results from zero success in selling the novel. It's been dragging on for years. The novel ms has been shopped around to thousands of agents. No one is buying and feedback is confusing (because boilerplate comes in various forms). The "novel" now rests like a one ton anchor on the writer's desk (awaiting rope and neck)--eight years later and still not ready despite several restarts and who knows how many total drafts!<br />
<br />
So it's time to find an able assist or else start a new project. It's rare that a first-time author gets published without having endured several novel projects ahead of time. They keep at it till something works. Tenacity wins in this biz.<br />
Michael Neffhttp://www.blogger.com/profile/01758475229435510284noreply@blogger.com0tag:blogger.com,1999:blog-1363311113124648968.post-890300712664550972011-07-08T15:04:00.000-07:002011-07-08T15:04:01.103-07:00New York Pitch Writers Score With Publishing House EditorsA film from Algonkian Writer Conferences re The New York Pitch. Writers here use the pitch tail to wag the novel dog, i.e., by the time they've run a gauntlet of editors all dissecting their work, they've got a pretty good idea of how to write the kind of novel they can finally pitch.<br />
<br />
Link at <a href="http://www.youtube.com/watch?v=NtVFhjTAlnU">http://www.youtube.com/watch?v=NtVFhjTAlnU</a><br />
<br />
<center><br />
<iframe width="640" height="490" src="http://www.youtube.com/embed/NtVFhjTAlnU" frameborder="0" allowfullscreen></iframe><br />
</center>Michael Neffhttp://www.blogger.com/profile/01758475229435510284noreply@blogger.com0tag:blogger.com,1999:blog-1363311113124648968.post-26728732574763174292011-06-28T20:39:00.000-07:002011-06-29T08:26:43.925-07:00Algonkian Writer Conferences Interview With Celia Johnson of Grand Central<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitcBYe8XAPk1424L7qLpAOXCwGGHgSZkP6BLXDK9isa-fcwERtA9oWfe6HXbc6eODsHLVG8ivIT05UZo1DOwDwE1KPFfI1H_KT2WriIDxtkINM4Frl3e1Kj4i71RYTkSdoyLLIDFdUA10W/s1600/celia.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitcBYe8XAPk1424L7qLpAOXCwGGHgSZkP6BLXDK9isa-fcwERtA9oWfe6HXbc6eODsHLVG8ivIT05UZo1DOwDwE1KPFfI1H_KT2WriIDxtkINM4Frl3e1Kj4i71RYTkSdoyLLIDFdUA10W/s1600/celia.jpg" /></a></div><i><b> Celia Johnson is an associate editor at Grand Central Publishing. She focuses on suspense, mysteries, commercial nonfiction, and even dabbles in high concept horror.</b> Her titles include </i><i>M.C. Beaton's cozy mysteries, </i><i>legendary director George Romero's novels inspired by the universe of his classic films</i><i>, as well as an examination of the "zombie world" by a Harvard professor, and an oral pop culture history of the Mickey Mouse Club, WHY? BECAUSE WE LIKE YOU! She's currently looking for suspense novels and mysteries that have the potential to crossover successfully into the general fiction marketplace. She's also on the lookout for quirky pop culture titles and narrative nonfiction with high commercial appeal.<b> </b></i> <br />
<div class="MsoNormal"><b><span style="color: #333333; font-family: "Verdana","sans-serif";"> </span></b></div><b>AC:</b> Do you see platform becoming more important these days for certain types of fiction. And if so, what kinds? What do you look for in the way of platform when in the office, or at a conference listening to a writer pitch you their work? And can you give us writers some tips in this area?<br />
<br />
<b>CJ: </b>Unfortunately, platform is important for every type of fiction. It isn’t simply a matter of writing a terrific book (though that doesn’t hurt). From a publishing perspective, editors have to take platform into consideration because our goal is to sell as many books as possible. If an author has a strong platform, it means that they have already assembled a group of potential readers. That said, we also help authors build platforms (by reaching out for blurbs, establishing a presence for them online, etc) if we think a book is truly amazing. So there is still hope if you don’t have a strong platform just yet.<br />
<br />
<b>AC:</b> As you know, we train writers to examine the most vital fictional elements in their novels from the inside out, and quite frequently, if the premise or plot or characters are lacking in some manner, that fact comes through in workshop discussions and presents itself in need of a fix. Though we can't always fix everything, which fictional elements do you like to hear clicking soundly in a pitch communication, those that enable you as an editor make a decision as to whether or not the project has commercial potential? Can you summarize the elements and tell us which ones are most important to you, and why? <br />
<br />
<b>CJ: </b>I’m always on the lookout for a strong, unique narrative voice <i>and a great premise</i>. Everything else, in my mind, is malleable. An editor can help you add depth to your characters by pointing out what elements are missing. If you have a meandering plot, an editor can help you streamline the story. But an engaging narrative voice is something that should come directly from the writer. And I think a unique voice is what sets bestsellers apart from midlist titles—readers gravitate to a fresh narrative perspective. <i>Similarly, a strong hook helps a book stand out in the crowded fiction marketplace.</i><br />
<br />
<b>AC:</b> Have you found it a valuable or rewarding experience to engage in discussions with writers about their projects? Do you feel such discussions about characters and plot, etc., help the writers focus on the truly vital issues they need to hash through before they can become published authors? <br />
<br />
<b>CJ: </b>I always find it valuable to speak directly with writers, and I hope they feel the same way. It’s important for writers to understand who editors are and what they value. I also think that when a writer is forced to speak about their work, they discover more about what they feel is vital and important. Every editor is going to have a different opinion about what ingredients are necessary for a great book, so it is important to establish your own set of values too.<br />
<br />
<b>AC:</b> It seems axiomatic over time that publishers prefer, if possible, to market novels with great stories and characters, and that it behooves an aspiring author in most genres to attempt, insofar as possible, to create a story that is "high concept", i.e., commercially viable yet not sounding like a tale you've heard a few thousand times, or worse yet, one that everyone knows has failed in the marketplace. Can you discuss this? How important is a story that sounds unique while also flying a banner of potential commercial success? Or is "mid" or "low concept" equally acceptable as long as the prose is superb, as one might find in more literary novels? Or does it naturally depend on the genre?<br />
<br />
<b>CJ:</b> I don’t think that “high concept” is absolutely necessary. A great hook does help a book stand out in the fiction marketplace, which is why<i> editors tend to look for high concept material</i>. That said, great storytelling is also valuable. <br />
<br />
<b>AC:</b> How important are a writer's fiction writing credentials in the genres you represent? Are you more or less likely to ask to see a project if the writer has strong fiction creds? What are your standards? Do you balance creds against a great story or are both equally important?<br />
<br />
<b>CJ: </b>Even though I said that platform is important, I’ll take an excellent manuscript by an author with no platform over a lackluster novel by a big name any day. I concentrate on mysteries and thrillers at Grand Central, and I’m always on the lookout for authors that we can grow. In order to really build a debut writer, you need an incredible manuscript, the type of book that you can tell your publicists and sales force that they won’t be able to put it down. So, while credentials might help me take notice of a writer, I won’t skip over a manuscript just because an author doesn’t have a long list of awards, publications, or degrees.<br />
<br />
<b>AC:</b> What other great advice can you give the aspiring authors out there? What is important to you that we have yet cover?<br />
<br />
<b>CJ: </b>Don’t let rejection get you down. It’s part of the business. All of the great writers out there were rejected again and again. To be successful in publishing, you need to believe in your writing and forge ahead.<br />
<br />
<b>AC:</b> In general, what do you see as the future of novel-length fiction, both in terms of quality, and in terms of evolution away from paper? Will bookstores always have a place in American culture? <br />
<br />
<b>CJ: </b>I think novel-length fiction will always have a place in the marketplace and American culture. That said, the online realm is opening exciting new opportunities for short fiction, and that’s where the next frontier of publishing lies.Michael Neffhttp://www.blogger.com/profile/01758475229435510284noreply@blogger.com0tag:blogger.com,1999:blog-1363311113124648968.post-50610624038186821132011-06-27T10:49:00.000-07:002011-06-29T08:17:00.758-07:00Reasons That Passionate Writers Fail to Publish - Part IV<div dir="ltr" style="text-align: left;" trbidi="on"><div><b>BAD ADVICE</b><br />
</div><div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj525r21Pjs6y2kVTZTSTYfIejGxL0m7ZRB2OmoUOhHWtl8_dbomyqbL9m5UL7K0L0e52DjrrLtR-mwQkr6b1pTUHyZ8aYQnuJdNBrLhwrarLmrzoIvmtlu8ymtjkcpgUQC8RYXTrO3kJX6/s1600/bad.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj525r21Pjs6y2kVTZTSTYfIejGxL0m7ZRB2OmoUOhHWtl8_dbomyqbL9m5UL7K0L0e52DjrrLtR-mwQkr6b1pTUHyZ8aYQnuJdNBrLhwrarLmrzoIvmtlu8ymtjkcpgUQC8RYXTrO3kJX6/s1600/bad.jpg" /></a></div><div>Whether the source is an article, a friend, spouse, another writer, or panel at a writer's conference, the writer has been told something that steered them wrong, or built a false expectation, or made them believe a man-bites-dog story will happen to them. For example, a writer with a manuscript in need of a good final editing once told us, "Not to worry. The publishing house editor or the agent will complete the edit for me." We explained that would not happen--not for a first novelist with zero track record (plus the story was uninspiring and loaded to ache with deja-vu). This woman needed pragmatic advice on the subject of ms prep (among other things). Without it, she was doomed.</div><div><br />
Another piece of incredibly bad advice often heard from egoistic writers or agents: "Writers are born, not made." This is simply not true. A clever, determined writer who shelves the ego and seeks to research and learn their craft will succeed. Tenacity wins.<br />
</div><div></div><div>A few more painful burrs:</div><div><ul style="text-align: left;"><li>Don't do flashbacks (imperative to use them artfully, not reject them out of hand!)</li>
<li>Don't use italics (tell Faulkner or Joyce--also use artfully, not overdo)</li>
<li>Don't worry about the setting of your narrative hook (wrong--if your opening scene is a cliche your ms will die on the first page, e.g., please don't open at a funeral or in a car or plane)</li>
<li>Don't switch viewpoints in the same scene (wrong--it can be done, artfully, and as long as the reader understands the rules--read <a href="http://www.webdelsol.com/Del_Sol_Review/dsr9/gomes.htm">THE BED OF NAILS</a> by Luisa Gomes.</li>
<li>Editors are less concerned with the novel premise than they are with the writing itself (wrong--you can write like a cross between T.S. Eliot and Annie Proulx, but if the premise doesn't sound sufficiently market friendly or high concept, it doesn't make a jot of difference--the concept cajoles the read, then the words take over). More than ever, editors are focused on the bottom line and the book stores howl for commercial sales!</li>
</ul></div><div></div></div>Michael Neffhttp://www.blogger.com/profile/01758475229435510284noreply@blogger.com0tag:blogger.com,1999:blog-1363311113124648968.post-5800781480433168102011-06-22T02:39:00.001-07:002011-06-27T11:36:07.375-07:00Should Your Characters be Likable?<div dir="ltr" style="text-align: left;" trbidi="on"><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdZcPDHlL7rVJ-PCohFtRPSrEuBTtU3KWcy4vqt-xGFQt0GnXOo_xqiO1A47UUsuxyN3ZW-CR4ZYbAokoUaGXTQ3mX_YJ1MYK6mHb89ZRWhs_GCpFdHq39bBYlaWSd3DZEarRX7GEOFgIX/s1600/unlikable.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdZcPDHlL7rVJ-PCohFtRPSrEuBTtU3KWcy4vqt-xGFQt0GnXOo_xqiO1A47UUsuxyN3ZW-CR4ZYbAokoUaGXTQ3mX_YJ1MYK6mHb89ZRWhs_GCpFdHq39bBYlaWSd3DZEarRX7GEOFgIX/s1600/unlikable.jpg" /></a></div>Touching on this matter of one or more characters turning a reader off, I want to say a few things. You NEVER have to worry whether or not the reader "likes" your main character--or any of your characters for that matter. You only have to worry that the reader "knows" enough about your character to have an emotional investment in what happens to her. Readers who put down books because they don't like the characters are not very good readers, so you don't want them anyway. I've heard editors at major publishers say they do not want a particular book because the character is not "likable," so the philistines are on the march and it's clear the woods are burning. But it's a rigorously stupid idea that we should "like" the characters we read about. If that were actually true, we could instantly eliminate fully half of the world's great literature and forget about it, starting with Richard The III, and coming forward to Portnoy and "Rabbit" Angstrom.<br />
<br />
I worked really hard to make the main character in<i> A Hole in the Earth </i>a 39 year-old case of arrested development. And I've had people tell me they threw the book across the room they disliked him so much. One former teacher (and grandmother, she hastened to tell me) said, "I don't want to waste my time reading about such a person." I said to her, "What do you want? Stories about wonderful people and the nice things they do and think, and where they went to do them and all the things they saw and what they ate?" Really serious fiction, humorous or not, is about real people--human, flawed and quirky people--in real trouble and it traces what they try to do about it, or not do. It isn't about success, or goodness, or badness, or justice or mercy, or love, or kindness, or cruelty or bestiality, or any other thing. It's about life. All of it. Good and bad. And it does not concern itself with whether or not the reader is either comfortable or happy. It only concerns itself with what is true, pure and simple. John Updike once said that the action of reading is so private, and such a quiet exchange between writer and reader that as writers we have an obligation to be as truthful as we can; as truthful as we'd be in our own thoughts to ourselves.<br />
<br />
I am so tired of the pea-brained idea that the reader has to be made happy or pleased by what we write. Readers who believe that are people who make demands on their reading: they say things like, "I only read mysteries," or "I like detective stories," or whatever. They are narrow, usually not very interesting, and what they say and think about other kinds of work is almost always not worth listening to. We should let our reading make demands on us; we should read as widely and eclectically as we can, as many different kinds of books as we can: poetry, fiction of every stripe and kind, non-fiction, biography, history, anthropology and so on. <br />
<br />
It is how we prepare as writers.<br />
<br />
If I’m reading a novel about a young woman named Elizabeth, I will care about her if I feel like I know her. I don't have to be a woman, a young girl, or even American, to respond to her. I will want what she wants because SHE wants it; I will fear what she fears, because SHE fears it; I will hope for what she hopes for because SHE hopes for it, and so on.<br />
<br />
Here are six basic principles to remember and apply in order to read wisely and well:<br />
<br />
1.) An author is usually NOT his narrator, or any of his characters.<br />
<br />
2.) An author does not put things in his story or poem to stump the reader. Or to “get a point across.” What we find in stories and poems—the metaphors or symbols, or themes or whatever—comes from a waking dream, the author’s unconscious mind at work. Most authors don’t insert secret meanings or messages any more than you insert those things in your dreams. When you dream, what is there, is there. You respond to it by dealing with its possible meanings, without asking yourself what you intended. You didn’t intend anything. You didn’t put anything in your dream on purpose. You simply dreamt something. The author doesn’t intend anything either.<br />
<br />
3.) You don’t have to like or approve of a character to identify with him or her.You only have to be engaged in what happens to the character. We become engaged in the characters of a work of fiction the more we know about them. Rembember the O.J. Simpson trial? We were interested in that not because our interests are puerile, (if he were an obscure plumber who lived out there we never would have heard of him or the crime) but because most of us felt we knew him--or at least enough about him to be interested in what happened to him.<br />
<br />
4.) Most authors work very hard to make their characters real, human, quirky and alive. And, in some cases, deeply flawed. The character’s flaws are not the author’s flaws. I have had people tell me they put a book down or threw it across the room because of what a character did or said in it. This is a profound act of closed mindedness and misunderstanding about the purposes of literature. We do not read literature so that it will present us with characters we approve of, who say things we like to hear and tell us wonderful things about ourselves, and how beautiful and perfect the world is; we don’t read literature to recognize our own vision of the world. Literature is about people in trouble, and it is usually trouble where action makes no difference; where we are helpless. And if it is worthy literature, it is peopled with characters who we don’t like and who say things we don’t like to hear.<br />
<br />
5.) Most novels and poems are not autobiographical. Unless study proves otherwise, we should assume a writer writes with his experience, not about it.<br />
<br />
6.) We don’t have to approve of what a writer’s vision is to appreciate it. One does not have to be an athiest, to appreciate the work of Albert Camus, who was. One does not have to adopt Camus’ rejection of God, in order to understand that he is doing that. It is foolishly ignorant to reject Camus’ work because he rejects God; or to condemn Hemingway’s novels because he was “macho.” It is rigorously stupid to disapprove of Kate Chopin’s work because she was a feminist, or Ann Rynd’s novels because she was a materialist. I hope I don’t have to tell you how small a mind has to be to reject Walt Whitman’s poetry because he was gay. We read to understand the other, as well as ourselves in relation to the other. We do not read to have everything we believe about the world confirmed, but rather to test what we believe against all of its opposites and oppositions. We read to widen our awareness of the world, not to constrict it. In other words we read to learn not to name things so readily, and to see what we can see, and we judge a work of literature based on what IT is, not on what WE are. <br />
<br />
</div></div>Robert Bauschhttp://www.blogger.com/profile/11021121579888887793noreply@blogger.com2tag:blogger.com,1999:blog-1363311113124648968.post-70235032857302101532011-06-14T09:01:00.000-07:002011-06-14T09:01:51.108-07:00Algonkian Writer Conferences: Narrative Enhancement via Nabokov<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgI7YVWcLFEu193j6_axPA8csI-PEI7DsSnxo5eHnGSZXfeC8Vt1x-MuOrlrBDWF_dUe1jn4ZYrZL-H9AYwaF9fu4XYjZ9gRQa6kixtulxtI-BfGVOBCYsXao4sYMy0aHrauvEE9ZjX64O/s1600/nabokov.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgI7YVWcLFEu193j6_axPA8csI-PEI7DsSnxo5eHnGSZXfeC8Vt1x-MuOrlrBDWF_dUe1jn4ZYrZL-H9AYwaF9fu4XYjZ9gRQa6kixtulxtI-BfGVOBCYsXao4sYMy0aHrauvEE9ZjX64O/s1600/nabokov.jpg" /></a></div>A snapshot below from the Algonkian Writer Conference Competitive Fiction Guide on the subject of learning the craft of narrative enhancement from a variety of successful authors. This example features Nabokov.<br />
<br />
Nabokov’s narrative in <i>Lolita</i> pushes forward largely due to his gift for discerning meaning and detail in everyday life (which is necessary since Humbert H. is a hard character to cheer on) and reporting it with the flair of a phenomenal writer. Basically, however, you can break Nabokov’s categories into observations, ruminations, and fantasy. Here we see examples as Humbert wanders a department story looking to buy underwear for Lolita:<br />
<br />
<b>Narrator observes the behavior and quirks of others:</b> "The painted girl in black who attended to all these poignant needs of mine turned parental scholarship and precise description into commercial euphemisms, such as <i>petite</i>. Another, much older woman in a white dress, with a pancake make-up, seemed to be oddly impressed by my knowledge of junior fashions; perhaps I had a midget for a mistress …"<br />
<br />
<b>Fantasy:</b> "I sensed strange thoughts form in the minds of the languid ladies that escorted me from counter to counter, from rockledge to seaweed, and the belts and the bracelets I chose seemed to fall from siren hands into transparent water."<br />
<br />
<b>Reporting bits and bits, things upon things</b>: "Goodness, what crazy purchases were prompted by the poignant predilection Humbert has in those days for check weaves, bright cottons, frills, puffed-out short sleeves, soft pleats, snug-fitting bodices … Swimming suits? We have them in all shades. Dream pink, frosted aqua, glans mauve, tulip red, oolala black."<br />
<br />
<b>Ruminations on the ability of objects and organizations to affect human life</b>: "There is a touch of the mythological and the enchanted in those large stores where according to ads a career girl can get a complete desk-to-date wardrobe, and where little sister can dream of the day when her wool jersey will make the boys in the back row of the classroom drool."<br />
<br />
<b>Surreal metaphor:</b> "Lifesize plastic figures of snubbed-nosed children with dun-colored, greenish, brown-dotted, faunish faces floated around me. I realized I was the only shopper in that rather eerie place where I moved about fish-like, in a glaucous aquarium."<br />
<br />
The type and quality of narrative here is obviously dependent to a large extent on the personality of the narrator continuously engaged in filtering and interpreting the environs. The narrator chooses to focus on things which interest him, comments on behavior he finds odd or objectionable, reveals his fantasies, etc. So what do you as a writer learn from this? By placing a specific character with well defined traits at an event, or in the presence of something which must be described or experienced, you render that event or object in such a way as to reflect the character’s mindset, biases, emotion, beliefs, and perceptions.<br />
<br />
Also, when considering the creation of complex narrative filtered through the mind of a suitable character, you would be well advised to use the Nabokov approach we see above. In other words, before you begin to write the scene, first sketch the scene and it's parts, then brainstorm each nuance and part by creating a fantasy, an observation, an associative flow of thought, etc. Keep a journal of these author ruminations and parcel them into the scene as necessary at such time you write the first draft. Later, this manner of brainstorming a narrator's mind will come naturally to you.<br />
<br />
Therefore, choice of character viewpoint when rendering an entire work, or a scene, or a chapter can be critical. Consider carefully!<br />
<br />
It could make the difference between a mediocre novel and a great novel.Michael Neffhttp://www.blogger.com/profile/01758475229435510284noreply@blogger.com0tag:blogger.com,1999:blog-1363311113124648968.post-55739365940095256592011-06-11T15:07:00.000-07:002011-06-11T15:07:34.482-07:00Reasons That Passionate Novel Writers Fail to Publish - Part III<div style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: large;"><b>EGO TIMES TEN. </b></span></div> <i><span class="body">Hubris itself will not let you be an artist.</span></i> <br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxf2sH7TOoek7rReVG2tHONEfFiyMJdHghNsBfPIfZDyjhAW2uRUFmvO6y5Im1NqXH9q28l7BMryUYsQx64oXWkbqmSQjuhyphenhyphenrbOLJW20gcZ0A1Im5DdFSedBG7Rg3cZ6ImlGiYYpzuMLJ8/s1600/part3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxf2sH7TOoek7rReVG2tHONEfFiyMJdHghNsBfPIfZDyjhAW2uRUFmvO6y5Im1NqXH9q28l7BMryUYsQx64oXWkbqmSQjuhyphenhyphenrbOLJW20gcZ0A1Im5DdFSedBG7Rg3cZ6ImlGiYYpzuMLJ8/s1600/part3.jpg" /></a></div>We realize a certain amount of ego is necessary to propel a writer forward, but too much ego is a disaster waiting to happen. The overly egoistic writer is puffed, living in a state of I-know-better. She or he is therefore incapable of successfully editing their work. Friends, relatives, or agents printing out boilerplate replies have told them their writing is good, and their story interesting; and to make the situation even more complicated and susceptible to causing delusion, perhaps the writer is a big success in their other career, so why shouldn't they also know-it-all when it comes to writing a novel? See our video post on this blog: <a href="http://algonkianwriterconferences.blogspot.com/2011/06/so-you-want-to-write-novel-comic-video.html">SO YOU WANT TO WRITE A NOVEL</a>.<br />
<br />
We once had a successful venture capitalist person hand us their 15 page synopsis and the first few pages of their novel. The synopsis was absurdly long and unable to summarize the story in any interesting way; and the first couple of novel pages needed a good line editing because the prose was inadequate and one tended to speedbump over at least one awkward sentence per paragraph. Of course, these facts were unknown to the venture capitalist (and forever will be--who is going to tell him, IUniverse?). This person presented us the work with a grand TA DAH!, expecting corroboration. Isn't that what he received from everyone else in the universe?<br />
<br />
Well, of course, irritation set in when we tactfully pointed out shortcomings. This person also did not believe us when we explained that the vast majority of agents would not, repeat NOT read that 15 page synopsis regardless (and if they did somehow manage to muck through it, the novel ms was DOA regardless).Michael Neffhttp://www.blogger.com/profile/01758475229435510284noreply@blogger.com0tag:blogger.com,1999:blog-1363311113124648968.post-59640925586519815002011-06-11T12:05:00.000-07:002011-06-11T12:05:52.888-07:00So You Want to Write a Novel? Comic Video Portrays Writer Ego Mania.This is funny, but it drives home some points. A must see.<br />
<br />
<center><br />
<object height="370" width="575"><param name="movie" value="http://www.youtube.com/v/c9fc-crEFDw?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/c9fc-crEFDw?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="575" height="370"></embed></object><br />
</center>Michael Neffhttp://www.blogger.com/profile/01758475229435510284noreply@blogger.com1tag:blogger.com,1999:blog-1363311113124648968.post-40326998220714171262011-06-11T11:48:00.002-07:002023-06-01T10:02:19.788-07:00Reasons That Passionate Novel Writers Fail to Publish - Part II<b><span style="font-family: helvetica;">MISUNDERSTANDING THE MARKET - REV UP THE TIME MACHINE</span></b><br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiOqwFVMw1n7_WFJmq81otqMpSX6b9owraMToxyQ5YF56RDVJiBeQZNdmZ2zbrdKccfiV8FpXO6_jum5l8ZXiEMkNM9AGiAGv-opY9GYCx9G65EycCfj5wQQ0k4ZusQQoMal0rUyYCnoBv/s1600/part2.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="157" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiOqwFVMw1n7_WFJmq81otqMpSX6b9owraMToxyQ5YF56RDVJiBeQZNdmZ2zbrdKccfiV8FpXO6_jum5l8ZXiEMkNM9AGiAGv-opY9GYCx9G65EycCfj5wQQ0k4ZusQQoMal0rUyYCnoBv/s200/part2.jpg" width="200" /></a></div><span style="font-family: helvetica;">Virtually every time you speak with a new writer (especially genre writers) you discover that she or he has not sufficiently researched their market. In other words, they don't have a clue as to what types of first novels are currently being published in their genre. Why is this important? Because first novels provide the writer with a concept of what the market is looking for. Also, it helps steer the writer away from starting a project that will be DOA on arrival due to being way way too deja-vu. </span><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">Though old news, far too many writers still make what I call the <i>Dan Brown mistake</i>, i.e., they attempt to emulate a well published author, falsely believing this decision will result in success. They don't understand that a only a very privileged few can get away with horrible crimes and still become published. Instead, the writer needs to forsake folly and examine what types of first novels have been published in their genre over the past few years. What are publisher's looking for? The writer must investigate story types, settings, protagonists, etc. The research always yields productive results.<br />
<br />
btw, we're not telling you to chase trends, but you must understand that certain types of story premise and characters, preferred viewpoints and more, change and evolve over time. For example, the typical gumshoe detective of the ancient past has been replaced by protagonists more exotic and diverse. Terrorists, dragons, and Covid stories are pretty much dead on arrival, and Miss Marple clones have caused countless sad writers to shelve their manuscripts and return to their wage slave existence. <br />
<br />
Keep in mind too that providing good comparables in your query letter can prove difficult if you are not well read in your genre. Also, if you ever meet with an agent or editor and they question you about your genre, or what you've read lately, you'll fall flat if you don't appear knowledgeable on the subject of what is hot and/or upcoming.<br /></span>
<br />
</div>Michael Neffhttp://www.blogger.com/profile/01758475229435510284noreply@blogger.com1tag:blogger.com,1999:blog-1363311113124648968.post-59115276506993395192011-06-11T11:18:00.000-07:002011-06-11T11:18:30.174-07:00Reasons That Passionate Novel Writers Fail to Publish - Part I<b style="font-family: "Trebuchet MS",sans-serif;">INADEQUATE WRITING SKILLS OR STORYTELLING/ STRUCTURE PROBLEMS.</b><br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4ojuUuYK7ydBGCPamu5T4sCq8H_Jx-7BslOqZ_ERW24GmCeJc6_Q1TUJ9ca2b6yPu-z-N1JwXvkCVon8Uol6JcTSvpIfqb5dcgmh3Gn-GkYI938JtbwiqKnNvQ-n3RkJgeKdrtAqCRSvA/s1600/part1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="130" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4ojuUuYK7ydBGCPamu5T4sCq8H_Jx-7BslOqZ_ERW24GmCeJc6_Q1TUJ9ca2b6yPu-z-N1JwXvkCVon8Uol6JcTSvpIfqb5dcgmh3Gn-GkYI938JtbwiqKnNvQ-n3RkJgeKdrtAqCRSvA/s200/part1.jpg" width="200" /></a>In the case of the former, the writing itself does not display the energy, creativity, and polish necessary to convince an agent to go deeper. This is perhaps the number one cause of failure (and obvious on the first page). Usually, the writer is not aware--or at least, not sufficiently aware to enable productive change. Perhaps this is a first stab at fiction, she or he not realizing that tech or law or medical writing ill prepares one. Also, the writer does not know a good editor or reader, and therefore, has never received truly helpful crit. Or perhaps an ego obstacle is the issue. Also, we have the "birthed baby" phenomenon: the writer has produced a passage, a character, or scene they can't possibly do away with. It is sacred to them. So it remains, defacing the narrative like a major pothole, jolting agents and publishers alike each time they meet it.<br />
<br />
In the case of the storytelling/structure issue, the writer may be very accomplished at connecting the word dots. The agent or publisher gives it a good read then backs off. Why? Well, the story goes nowhere. It is insufficiently interesting, quiet, or perhaps even confusing. Just recently a fine writer handed us a sample of his ms. His prose skill kept us turning, but finally, we bogged down on characters who spun endlessly in place, who never really took action or engaged in any reaction worth noting.Michael Neffhttp://www.blogger.com/profile/01758475229435510284noreply@blogger.com1tag:blogger.com,1999:blog-1363311113124648968.post-72066735108636096392011-06-11T11:00:00.000-07:002011-06-11T11:06:42.107-07:00The Novel Structure Checklist - Issues to Consider When Writing Your Novel<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs5fR29A65d2ybxaToJ7nPIGcSuubA1qEFyqQcUmavoKZrvu90osFX4ykh5GppUsjDjBSSTvpbY1MCEXaecwyihMsL6fUan2lcH3vKB9BXQDVdI7kUtiqmiGu_3oAfUSIkumCilx10Ekpm/s1600/novelwriting.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs5fR29A65d2ybxaToJ7nPIGcSuubA1qEFyqQcUmavoKZrvu90osFX4ykh5GppUsjDjBSSTvpbY1MCEXaecwyihMsL6fUan2lcH3vKB9BXQDVdI7kUtiqmiGu_3oAfUSIkumCilx10Ekpm/s1600/novelwriting.jpg" /></a></div>Some basics here for thinking about your novel. This works for all genres.<br />
<ul><li>Is your novel hook the best you can create? Is your very first line a thud or a grabber?</li>
<li>Do you have sufficient story for a whole novel? Many writers have a story, but not enough for a novel, and they begin to stretch it too thin just to fill up the white space.</li>
<li>Are the major plot lines mapped? Do you at least have a general idea of the major source of dramatic tension or complication? </li>
<li>Have you sketched out your major scenes or at least have a good idea how many and what type of major scenes you will need to portray the major novel elements and characters?</li>
<li>How does theme relate? Do you have a firm theme statement? Is it relevant to the major complication of the story? </li>
<li>Have you used narrative enhancement techniques and devices as necessary and appropriate given the scene, story, and relevant circumstance?</li>
<li>Are suspense devices injected as appropriate and necessary, both on a macro and micro scale? (Remember the value of a good topic sentence, something even experienced writers sometimes forget! Ideal for setting suspense tone.) </li>
<li>Have you satisfied the "Art of Fiction"? If your wordsmithing is less than Annie Proulx-like, is your content original and dynamic enough to drive the narrative forward, to keep the reader reading? Especially important for genre writers.</li>
<li>Are your most important events within the story crafted in fictive present? </li>
<li>Is padding eliminated? Does every character, slice of dialogue, and scene serve a purpose?</li>
<li>Is your story original, high-concept for your genre market? If you're not sure, why not?</li>
</ul>Michael Neffhttp://www.blogger.com/profile/01758475229435510284noreply@blogger.com0tag:blogger.com,1999:blog-1363311113124648968.post-59291118791323220712011-05-16T17:43:00.000-07:002011-05-16T17:43:25.072-07:00Algonkian Writer Conferences Interviews Christine Pride of Broadway Books<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN7vzlTDbmcAZckvnZcNWrQ5MCsZIGdAqx1vMrCZ-NVUxBQugMBlWvNLMmR59CYoAMz2U-7YcDH860cOnLHIG8EkhEgqgF5X0i3esmIz4tHXYxOmxw978a0w_4gVIZD9j2mnYFEfZI3uIM/s1600/headshot.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN7vzlTDbmcAZckvnZcNWrQ5MCsZIGdAqx1vMrCZ-NVUxBQugMBlWvNLMmR59CYoAMz2U-7YcDH860cOnLHIG8EkhEgqgF5X0i3esmIz4tHXYxOmxw978a0w_4gVIZD9j2mnYFEfZI3uIM/s320/headshot.jpg" width="213" /></a></div><i><b>Christine Pride is an Editor at Broadway Books, where she publishes a range of fiction, memoir and narrative non-fiction</b> including the </i><i>New York Times bestseller, TELL ME WHERE IT HURTSs by Nick Trout, the </i><i>SF Chronicle bestseller THE CRYING TREE by Naseem Rakha, Commonwealth Prize winner, THE END OF THE ALPHABET by SC Richardson and the critically acclaimed MR. SEBASTIAN AND THE NEGRO MAGICIAN, by Daniel Wallace. She loves powerful storytelling and discovering and nurturing exciting new voices. </i><br />
<b><br />
</b><br />
<b>AC:</b> These days it appears more and more true that for various genres of fiction aspiring authors often have an edge in getting a first novel published if they possess an authentic platform for telling the story, i.e., a media platform, or at least one of sufficient experience and expertise that applies in a significant way to the essence of the work. For example, the author of one of our recent successes at the NYC Pitch, Lipstick in Afghanistan, would fit easily into the category above. <br />
<br />
Do you see platform becoming more important these days for certain types of fiction. And if so, what kinds? What do you look for in the way of platform when in the office, or at a conference listening to a writer pitch you their work? And can you give us writers some tips in this area?<br />
<br />
<b>CP:</b> Yes, I would agree that for better or for worse, platform is more important than ever in giving debut writers an edge in the publishing process. As editors and publishers, when we fall in love with a book, our very first questions are, “who is the audience?” and “how will we reach them?” When an author has a built-in fan base already, via their blog, twitter feed or the popularity of their freelance writings, it gives us that initial leg up and foundation which is an attractive element to the overall package. Having a platform also proves to the publisher that the author is a savvy self-promoter and will be a vital partner with the publishing house in terms of promoting the book in traditional and social media outlets. Which is not to say that you can’t write and successfully publish a beautiful book without a platform or without 20,000 twitter followers—that can and does happen every day-- it just means that if you are able and inclined to do some social media networking in advance of trying to sell your book, it could really work to your advantage.<br />
<br />
<b>AC:</b> As you know, at the New York Pitch we train writers to examine the most vital fictional elements in their novels from the inside out, and quite frequently, if the premise or plot or characters are lacking in some manner, that fact comes through in workshop discussions and presents itself in need of a fix. Though we can't always fix everything, which fictional elements do you like to hear clicking soundly in a pitch communication, those that enable you as an editor make a decision as to whether or not the project has commercial potential? Can you summarize the elements and tell us which ones are most important to you, and why? <br />
<br />
<b>CP:</b> As an editor, when I sit and listen to or read pitches/queries I am looking for three things. <b> 1. A unique idea that appears to be well thought out </b>in terms of why (as precisely as possible) an intended audience will respond to the book. <b>2. A summary/query which itself is written in such a way so as to indicate that the author has the chops to write the proposed book</b>. If there are grammar issues or misspellings in the pitch or the summary itself is not cogent and if the three or so paragraphs aren’t written in such a way as to entice me, then I won’t be left with the confidence that the writer could write 300 more paragraphs that would entice me. <b> 3. The author is confident, personable and open to feedback.</b> In this day and age, authors are required to interact with their readers and fans more than ever before to be successful, so it’s important to have a sense that a potential author can relate well to other people and will be comfortable speaking in front of audiences. And that he or she is going to be open to editorial feedback and be a willing participant in the collaborative nature of the whole publication process. <br />
<br />
<b>AC:</b> Have you found it a valuable or rewarding experience to engage in discussions with writers about their projects? Do you feel such discussions about characters and plot, etc., help the writers focus on the truly vital issues they need to hash through before they can become published authors? <br />
<br />
<b>CP:</b> Absolutely, one of the joys of being an editor is to work with writers on refining their ideas and think creatively about plot and characters. I love brainstorming the what if’s when it comes to a particular character’s journey or motivations and brainstorming plot ideas. A good editor, based on experience and instinct, will know intuitively what will work and what won’t in terms of a plot point or premise. We also have an understanding of the marketplace as a whole and know what ideas and sensibilities are “trending” so to speak—what particular types of works and conceits will meet with an enthusiastic response from readers. So yes, it’s very rewarding to click with an author and feel that you’ve helped them shape an idea or inspired them to try a different approach—that sort of collaborative effort is the very cornerstone of the author/editorial relationship. <br />
<br />
<b>AC:</b> It seems axiomatic over time that publishers prefer, if possible, to market novels with great stories and characters, and that it behooves an aspiring author in most genres to attempt, insofar as possible, to create a story that is "high concept", i.e., commercially viable yet not sounding like a tale you've heard a few thousand times, or worse yet, one that everyone knows has failed in the marketplace. Can you discuss this? How important is a story that sounds unique while also flying a banner of potential commercial success? Or is "mid" or "low concept" equally acceptable as long as the prose is superb, as one might find in more literary novels? Or does it naturally depend on the genre? <br />
<br />
<b>CP:</b> It may be too idealistic of me, but I like to think truly good books find their way. Sure, we’re all looking for something that has a stand out angle or a high concept approach because that can make the marketing of the book a little more clear cut and easier. But there are only so many new stories, and what’s important is being able to tell a story, any story, well. For me, that involves great prose, a strong emotional resonance and compelling story-telling (good pacing, strong characters, a narrative drive that keeps me turning pages). I always tell authors not to worry so much about whether their book is “literary” or “commercial” or if it’s “romance” or “women’s fiction”—writers should write the very best book they can, that comes from a creative, organic place—the story that is bursting out of them-- and leave it to editors and publishers to figure out how to package and market that book to an audience. <br />
<br />
<b>AC:</b> How important are a writer's fiction writing credentials in the genres you represent? Are you more or less likely to ask to see a project if the writer has strong fiction creds? What are your standards? Do you balance creds against a great story or are both equally important?<br />
<br />
<b>CP:</b> Fiction writing credentials can be an attractive part of a writer’s overall platform. Getting published in established and respected literary journals is a nice component to an author’s resume—not essential but it helps. A very compelling and well-written story? That is first and foremost what is essential.<br />
<br />
<b>AC:</b> What other great advice can you give the aspiring authors out there? What is important to you that we have yet cover?<br />
<br />
<b>CP:</b> It’s harder than ever to be a writer these days. I don’t say that to be discouraging but because it’s the hard truth. I think you have to balance that reality with a commitment to your craft, a whole, whole lot of patience and perseverance and a true sense of *fun*. You should write because you enjoy writing, first and foremost. You should also read a lot (I’m shocked by the number of aspiring writers who aren’t themselves avid readers) and you should be committed to refining your craft. As with singing, or playing the piano, or skiing, practice and dedication is the only path towards improvement. But mainly, again—have fun and enjoy the process.<br />
<br />
<b>AC: </b>In general, what do you see as the future of novel-length fiction, both in terms of quality, and in terms of evolution away from paper? Will bookstores always have a place in American culture? <br />
<br />
<b>CP:</b> As I said, I’m a true optimist. I think physical books will always exist and be cherished by readers and I think bookstores will always exist to sell the books and to serve as a gathering place for communities of readers. I simply can’t bear to think of a world where they don’t and everyone reads off machines. Yuk.Michael Neffhttp://www.blogger.com/profile/01758475229435510284noreply@blogger.com0tag:blogger.com,1999:blog-1363311113124648968.post-51555656479567701502011-05-16T17:22:00.000-07:002011-05-16T17:22:46.866-07:00Algonkian Writer Conferences Interviews Caitlin Alexander of Random House<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYLwX-VajVCBWSV8iRMzVddx3n9mwnH04ZhKBZxnw_2RfqHb1EgvELlgW_6DZa8vjatX0_J7L6ekUcH-Td4K5xoe8BzjqLsBlt0_aXZCzuZ-0bT3fzJOKgjK5DTSs4Chh9QR1MDrVHQOQq/s1600/RandomHouse_logo1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYLwX-VajVCBWSV8iRMzVddx3n9mwnH04ZhKBZxnw_2RfqHb1EgvELlgW_6DZa8vjatX0_J7L6ekUcH-Td4K5xoe8BzjqLsBlt0_aXZCzuZ-0bT3fzJOKgjK5DTSs4Chh9QR1MDrVHQOQq/s1600/RandomHouse_logo1.jpg" /></a></div><i><b>Caitlin Alexander is a senior editor at the Random House Publishing Group, where she acquires and edits a variety of fiction and nonfiction.</b> Her authors include New York Times bestsellers Michelle Richmond (THE YEAR OF FOG), David Gibbins (THE LOST TOMB), Andy McDermott (THE HUNT FOR ATLANTIS), and Gwen Cooper (HOMER'S ODYSSEY); Angela Davis-Gardner (PLUM WINE and the forthcoming BUTTERFLY'S CHILD), Sally Koslow (the forthcoming WITH FRIENDS LIKE THESE), national bestseller Elizabeth Joy Arnold (PIECES OF MY SISTER'S LIFE), and International Thriller Writers Award winner Tom Piccirilli (SHADOW SEASON). </i><br />
<br />
<b>AC: </b>These days it appears more and more true that for various genres of fiction aspiring authors often have an edge in getting a first novel published if they possess an authentic platform for telling the story, i.e., a media platform, or at least one of sufficient experience and expertise that applies in a significant way to the essence of the work. <br />
<br />
Do you see platform becoming more important these days for certain types of fiction. And if so, what kinds? What do you look for in the way of platform when in the office, or at a conference listening to a writer pitch you their work? And can you give us writers some tips in this area?<br />
<br />
<b>CA:</b> I do see a platform as being more important for fiction these days—for general fiction or literary fiction more so than for genre fiction. One of the first questions I ask a writer I'm considering is: What inspired you to write this book? What I'm looking for is some kind of personal or professional connection to the subject that's going to make an interesting story in and of itself and that we can use to help promote the book, including pitching essays to media outlets and blogs. There's a lot of competition for readers' attentions, so anything that can make the book stand out will help.<br />
<br />
The corollary is that readers and reading groups want—and expect—to connect with authors personally these days—so, having a great personal story is going to make someone feel like they've gotten to know you a little bit and probably make them more interested in reading your book. Social networking is a big part of that—an author is going to really have to put him or herself out there these days and become as visible and networked—both within the literary community and with readers—as possible. I also consider that to be part of the "platform" necessary for fiction authors these days—if a writer comes to me as an active participant in a blogging community relevant to their book, or with other similar ongoing activities, I know I don't have to worry about whether or not they'll be an asset in spreading the word about their book when it's published—it automatically gives a writer a leg up.<br />
<br />
Advice: Presumably your novel contains a topic you are passionate about (baking, photography, a medical disorder, traveling to Paris, etc.)--or at least one you were interested enough in to spend several months or more writing about. Don’t wait for a book deal to seek out other people online or organizations who are interested in the same topic(s) you are. And just as every writer should be an expert reader, reading the books that are similar to yours and studying why they’re working (or not), check out what kinds of things published writers are doing and which seem to be garnering the most response.<br />
<br />
<b>AC: </b>Which fictional elements do you like to hear clicking soundly in a pitch communication, those that enable you as an editor make a decision as to whether or not the project has commercial potential? Can you summarize the elements and tell us which ones are most important to you, and why?<br />
<br />
<b>CA:</b> As I’m listening to a pitch, I’m listening for characters who grow over the course of a novel, a plot that has something big at stake (which can equally be something in the characters’ personal lives or saving the world from a disaster), and button pushers, by which I mean the things that I’m going to be able to put in the cover copy that are going to make someone reading the description instantly want to pick that book up: a missing child, three generations of women, a famous historical or literary figure, a boyhood secret suddenly resurfacing—to name just a few of my favorites. Of course, the catch is that I’m also listening for what an author brings to the story that’s unique and is going to make it stand out from dozens of other books with similar hooks.<br />
<br />
<b>AC: </b>Have you found it a valuable or rewarding experience for you, the editor, to engage in discussions with writers about their projects? Do you feel such discussions about characters and plot, etc., help the writers focus on the truly vital issues they need to hash through before they can become published authors?<br />
<br />
<b>CA:</b> Absolutely—if the author is listening and is open to feedback. I think the writers who benefit most are the ones who are interested in improving their craft and their chances of being a successful author—not just a published author.<br />
<br />
<b>AC:</b> It seems axiomatic over time that publishers prefer, if possible, to market novels with great stories and characters, and that it behooves an aspiring author in most genres to attempt, insofar as possible, to create a story that is "high concept", i.e., commercially viable yet not sounding like a tale you've heard a few thousand times, or worse yet, one that everyone knows has failed in the marketplace. Can you discuss this? How important is a story that sounds unique while also flying a banner of potential commercial success? Or is "mid" or "low concept" equally acceptable as long as the prose is superb, as one might find in more literary novels? Or does it naturally depend on the genre?<br />
<br />
<b>CA:</b> Aha, I think I touched on this above—“a story that sounds unique while also flying a banner of potential commercial success” is critical, in my opinion. But superbly written literary novels that don’t initially appear to have that high concept usually do—it’s in the breathtakingly resonant insights those novels offer into our lives and our interactions with those around us; the way they make us think “I knew that” and “I never thought of it that way” at the same time. There’s a way to position and sell those novels, too.<br />
<br />
<b>AC:</b> How important are a writer's fiction writing credentials in the genres you represent? Are you more or less likely to ask to see a project if the writer has strong fiction creds? What are your standards? Do you balance creds against a great story or are both equally important?<br />
<br />
<b>CA:</b> Unless those credentials are for top-notch literary publications or well known movies or TV shows (or, even for fiction, journalism for top magazines or newspapers), it doesn’t make a difference. Regardless of past writing, it’s going to come down to how strong this particular book is. Past writing credentials are an asset if it’s an affiliation with a publication that’s going to have a meaningful impact on publicity, but otherwise they don’t play a significant role. That said, it never looks bad, so always include them!<br />
<br />
<b>AC: </b>What other great advice can you give the aspiring authors out there? What is important to you that we have yet cover?<br />
<br />
<b>CA</b>: The opportunity to pitch your novel at a conference or participate in a writing group—in general, to get any sort of objective feedback on your writing—is invaluable. It’s easy for an author to self-publish these days if they don’t immediately find an agent or publisher, and while for some that’s a good route, I think too often writers want to rush to publish and use it as a substitute for honing their craft. Perseverance is key—and there are a lot of inspiring stories out there of successful authors’ routes from unpublished to published; for most of them it wasn’t their first (or sometimes second or third) manuscript that got them an agent or editor, because they took the time to become the best writers they could be.<br />
<br />
<b>AC:</b> In general, what do you see as the future of novel-length fiction, both in terms of quality, and in terms of evolution away from paper? Will bookstores always have a place in American culture?<br />
<br />
<b>CA: </b>I don’t think novel-length fiction is in any danger of disappearing. One thing I’ve been fascinated by over the past few years is the increase in novels which are actually, in structure, linked short stories—there’s been a wealth of really terrific ones, and I’m loving that writers have figured out a way to work around the difficulties of selling short story collections.<br />
<br />
Will bookstores always have a place? I would certainly like to think so, and that physical books and e-books will coexist for a long time to come. The more our interactions move into online and digital, the more special those opportunities to get out and connect in person become.Michael Neffhttp://www.blogger.com/profile/01758475229435510284noreply@blogger.com0