The Edit Has Landed

(photo via GoDaddy stock)

 

The edit has landed. I repeat: The edit has landed. This is not a drill.

This refrain runs through my head every time I get an initial editorial letter from my editor after I’ve sold a manuscript. For the uninitiated, the editorial letter contains detailed comments and suggestions for changes the editor would like to see in the next version of a contracted manuscript.

On Sunday evening, the editorial letter for One Last Secret, my next suspense novel, arrived in my inbox.

I’m going to gloss over the agonizing hour or so I spent actually analyzing my letter. Imagine cheers or tears or cringing or reallys?! or ack–how did that get through? or yays! It’s a private moment that you are already familiar with if you’ve workshopped your own writing, or have had editors or truthful friends comment on it.

There’s a fine line when it comes to accepting or rejecting an editor’s suggestions. Ego can get in the way. Unless we’re collaborating with another writer, our stories have incubated in our own heads for months or years. Perhaps the initial drafts have been read by friends or spouses, etc, but they’re still essentially ours. It can be hard to let go, to be willing to let the manuscript change. But while an editor is also a reader, and often a fan, they are not just any reader/friend offering suggestions. They’re professionals who have a financial interest in seeing that the story appeals to a large number of readers.

An editor or reader is attracted to a novel or story as a result of the writer’s ability to successfully communicate a vision of the story that exists in the writer’s head.

But as we know, no two visions of a story are even close to identical. The best writing speaks loudly to people for myriad reasons, and tugs at the chords deeply anchored to our souls. And no two souls are alike. It’s a huge compliment for a writer to have a reader say a writer’s work resonates with them, whether it’s something as simple as a character with whom they identify, or a whole new world into which they can escape for an afternoon  and beyond.

An editor is an agent of the re-visioning process. (I’ve probably mentioned re-visioning before as a concept mentioned by Joyce Carol Oates.) In a re-vision, the vision of the story becomes something totally new for the writer. This new vision will change with each new addition or deletion or deepening of the story. It can be brought about with mechanical precision by making sure the story has all the necessary beats, or meets and even enhances the conventions of the genre. Or it will change when the writer combines characters, kicks the hero(ine) into higher gear, or tweaks the emotional impact of a scene. It’s a birth process that goes on and on until both the editor and the writer agree that their mutual visions meet on the page and are compatible enough to be presented to the world. They’re both happy. (Or they run out of time!)

For me it’s both wrenching and exciting to work with an editor. In theory—and it’s a theory I extoll frequently—I want to write and edit in service of the story. I write toward that Platonic ideal that exists for every story. The ideal we can only ever express as a shadow. But I want to at least make it a shadow that lives and makes other people see it as an ideal thing in their heads. It should have no visible seams, no dull moments, no unnecessary details, clear ideas, smart dialogue, and compelling images. In other words, as close to an ideal as possible.

Occasionally though, the old ego wants to dig in its heels when the suggestions come. My story! it cries. Mine! Mine! Mine! It begs me to leave it alone. Very occasionally there are story elements that I feel are integral and necessary to the story, and I try to negotiate their continued existence. Now that I think about it, the very few times that has happened, various editors have been very supportive. But I generally keep my ego in check. It really is all about the story. And a good editor knows how to balance the writer’s need for respect/story integrity with her own need to make the story more appealing to the marketing department and readers.

Not everyone likes the revision process. As I said, it’s both wrenchingly difficult and exciting for me at the same time. Change is hard, and changing our stories can be particularly tough because edits often feel like judgments. I just keep telling myself that an edited story is something shiny and brand new in the world. A new creation. And who doesn’t like the feeling of having created something new?

 

How do you approach the editing process—whether suggestions are from reader friends or paid editors? Do you love it, hate it, or see it as just one more step to be endured?

Or tell us about an editor you’ve loved working with…

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First Page Critique: Legend of the Wild Ones

Photo courtesy of GoDaddy

Greetings and salutations, TKZers! Today a brave, anonymous writer has sent us the opening to a deliciously dark, supernatural tale. My comments are below. Hope you’ll weigh in, too.

Legend of the Wild Ones

Red covered the holly flour. A shadow was standing in the middle of the room red covering its hands, a corpse at its feet, a knife in its hand. The shadow leaned over the corpse and with its free hand checked the pulse of the body. Dead. Pleased the shadow walked over to the rope that hung next to the bed and pulled. It then sauntered back to the corpse, sat down next to it and waited.

At the other side of Woodrest Manor Ryker flew through the halls with a speed most humans would marvel at. His long blonde hair swishing behind him. His destination: the room of the master of the forest. He opened the holly door and for a while just stood their gawking at the sight before him. He shook himself out of his trance. No matter how many times it had happened he would never get used to this sight.

The room was basked in moonlight. In the middle of the room there was a big puddle of blood. In the midst of it lay a corpse with a shadow sitting next to it. Slowly the shadow turned around to face Ryker. Though its face didn’t show any emotion it’s ember eyes showed enough. They twinkled with a sadistic kind of joy, that send a shiver down Rykers spine. Slowly he began to make his way over to the dead body. As if approaching a wild animal, not breaking eye contact with the shadow for a second. He crouched down to check for a pulse, there was none. Sighing Ryker relaxed and looked at the shadow with questioning eyes. “So Kaenia how did he get in this time?” Anyone knew that whoever even dared to think about breaking into Woodrest would be killed. And trying to get into Kaenias room was only for the suicidal.

Dear Brave Writer:

There’s a handy quote from an unlikely quarter—President William Howard Taft—that all writers should keep in mind: “Don’t write so that you can be understood, write so that you can’t be misunderstood.”

After reading this opening scene a couple of times, I think I understand what’s going on. But it would be much clearer on a single reading with clarification and correct punctuation. Readers—this one included—will sadly stop reading very quickly if they have to work too hard to understand what’s on the page.

My interpretation: Ryker, of the long blonde hair, is a kind of factotum for Kaenia, the shadowy master of the forest (and perhaps for others, as well), at Woodrest Manor. Someone—a “he”— broke into Kaenia’s room, and was subsequently killed (possibly by Kaenia, but we’re not certain). Kaenia rings for Ryker, who attends right away. Ryker is sickened, but Kaenia is pleased with itself (if it is a supernatural creature—here no gender is implied). Ryker bravely questions Kaenia, and the reader is left wanting to know if it will answer. (Cliffhangers are always good!)

First paragraph:

Let’s talk about the first line: “Red covered the holly flour.” I’m not trying to be silly, but I was immediately brought up short. At first I wondered if Red was a person who was covering up holly flour. As in flour made from holly. But further reading told me that definitely wasn’t the case. I’m guessing “flour” is meant to be “floor?” (Typos happen to us ALL, and breed like rabbits. We just move on.) But then I’m left to wonder at the image of a “holly floor.” A holly floor sounds really, really painful. If this detail is terribly important, give it more weight. It might be woven from the finest, oldest holly trees in the entire forest. Then we’ll know it’s botanical holly, and that the room is very special in a way we might be curious about.

We don’t want to the reader to be at an immediate disadvantage. As writers, we have very strong images in our heads, but we need to interpret those images clearly for readers so that they understand very quickly what we want them to see. We are their eyes, but also their guides.

About the corpse: If we’re talking about a victim, it seems okay to me to refer to it as a body, but best to be more specific, identifying it as a “person” or “man” or “woman” or “creature,” as appropriate. It’s not a corpse until we know for a fact the creature is dead. So the shadow can lean over the creature, check the creature’s pulse, and then when the shadow discovers the creature has no pulse, the creature can appropriately be called a corpse.

Second paragraph:

“At the other side of Woodrest Manor Ryker flew through the halls with a speed most humans would marvel at. His long blonde hair swishing behind him. His destination: the room of the master of the forest.”

Perhaps:

“At the sound of the bell from the Master’s room, Ryker flew through the halls of Woodcrest Manor with inhuman speed, his blonde hair streaming behind him.”

Rather than the floating third person narrative voice the piece now has, you might consider keeping a tight focus on Ryker, who is the most natural character to act as observer for the reader. Beginning the story with his responding to the bell, or even opening the holly door to see the shadow standing over the body, will invest the reader in the story right off the bat.

Third paragraph:

The third paragraph has great interaction between Ryker and the shadow. I love the detail of him approaching the shadow as one might a wild animal.

“The room was basked in moonlight.” “Bathed” would be a more natural choice than “basked.”

“So Kaenia how did he get in this time?” This is confusing. The use of “he” implies that whoever is dead on the floor has broken in and been killed before. While this could be possible in a supernatural story, it needs to be clear if this is the case. If the victim is simply one in a long line of intruders, it should be stated differently. Possibly: “We need to know how they’re getting in here, Kaenia. Did you see where this one came from?”

Finally, Brave Writer, be sure to check your punctuation, including comma and apostrophe usage. There are many, many books out there, and lots of online resources. This website has free online rules.

Thanks for sharing your opening chapter with us!

Dear TKZers, what are your ideas for this piece?

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Writers on Social Media: Does It Even Make a Difference?

 

Posting on social media can feel like you’re sending up hundreds of trial balloons. Which will return?

Today I want to share some thoughts with you about a writer’s role on social media. I’ll start with my experience and understanding of it, but I’m very curious to know what your thoughts and experiences are, so there are lots of questions for you at the end.

I’ve been very active in social media since 2006 and MySpace. I liked MySpace a lot. It was new and fun, and I dove right into it as soon as I signed my first book contract. Author book promotion was in its infancy, and I gained reader, writer, and social connections. Other emerging writers and I were all trying to figure out book promo/social networking together. I blogged there several times a week, usually writing long, long pieces that were very essay-like. Telling stories on myself. Talking about learning to write, and the publishing process. When MySpace began to wane, I—and many other folks—drifted to Crimespace and eventually Facebook. Group blogs like Jungle Red Writers and Murderati sprang up. (Forgive me if I don’t know when Kill Zone began, but I know someone here will be able to say.) I started my own Blogspot blog, where I added interviews and book reviews. Last year, I moved my blog to my (fourth) website.

That all sounds like ancient history doesn’t it? Maybe I’m just old, but the pace of change on the Internet sometimes feels inconceivably fast. The rules—especially the rules for author promotion–change constantly. But the biggest rule is that there are no rules because things move so quickly that there’s little time for non-professionals to figure out what works before things change again. You would think publishers would have entire departments full of professionals that have this stuff figured out, but you would be wrong.

There’s a genuine expectation—sometimes stated, sometimes just understood—for authors to be active on social media. For now, author social media outlets have stabilized: Facebook, LinkedIn, Twitter, Pinterest, Instagram, Goodreads. I don’t know many authors who are very active on Google +, or Snapchat—well, I tried Snapchat and it made me crazy. If there are other very active platforms, please let us know. (Oh, and if someone could help me figure out Instagram Stories so I don’t end up just taking live video of my shoes until I freak out and turn it off, I’d be eternally grateful.)

While many people in the writing/publishing business strongly believe that social media doesn’t sell books, some folks disagree. I’ve put up a lot of links here, but if you want to save a few clicks, here’s the gist: Social media is there to build relationships. People with whom you have relationships will like you. If they like you AND you spend at least 80% of your time giving them great “content” they will tolerate the 20% of time you spend promoting your work. But the conversion rate will be less than 2%, which means you’re selling yourself and your time very, very cheaply. But folks truly dislike a hard sell. Many of the people who say you can sell books through social media want you to pay them to tell you how to do it, and they won’t give you quantifiable forecasts.

(Traditionally published books still sell best through tried and true methods like word-of-mouth, tv, radio, magazine, and web ads, vertical marketing to influencers like librarians and booksellers, hand-selling, and peer reviews. But almost none of those methods is free, and it’s only rational that publishers would prefer free methods that rely on author execution to methods that cost money.)

What is content? Content is added value, often in the form of information: lists, quizzes, articles, expertise, audio or video entertainment, memes, blogs, observations. Given the 80/20 rule, if you do fifty posts in a week, the theory is that at least forty of them should be content and not mention your work at all. Ideally, the content should be at least tangentially related to your field of expertise or the lifestyles of your audience. But even if you automate those posts with Buffer or HootSuite or some other social media-scheduling program, it takes time to curate that content.

A brief cautionary tale: A self-published writer I know spends a lot of time posting on Instagram, but I’d say 80-90% of the writer’s posts are specifically about the book. They’re quotes formatted as memes, or pictures of the cover, or bits of dialogue taken out of context and framed with artistic graphics. The posts are careful and attractive, but I gloss over them, and even find myself a little angry at having to scroll past them every time I log onto Instagram. If the 80/20-percentage figure is at all valid, it’s completely upside down. And the writer uses a blue million hashtags, but only ever gets 10 or 11 likes. I can only imagine how much time the writer spends creating those posts (or perhaps the writer pays for them). Plus, even though it almost looks like content, it’s not, and is off-putting.

There are two big dangers for me when it comes to content. I spend a lot of time crafting my blog posts. This one (I’m adding this bit in editing) has taken me about 3.5 hours, and I’ll spend at least another 45 minutes editing and posting it. On my own daily blog, it’s a challenge to come up with fresh concepts. Then there’s finding the right photos, adding links, and pumping up the SEO. Unfortunately there’s no way to quantify the ROI on publishing blog posts. Another particular danger for me is rabbit holes. Ideally, I like to spend about thirty minutes online in the morning checking out news stories and resources for my own amusement and edification—but I often spend an hour or more. Usually, I’ll manage to bookmark only one or two links to pass on to social media. But which ones to choose?

I read a lot of crime news stories—many are too sensitive or explicit to share without grossing people out over their morning coffee. But I also read some politics (no, never post about that), bits of history and archeology, and stories about textiles or architecture. I’ll occasionally post about writing and books. Nearly everyone likes books. But I don’t think of my personal blog audience as being full of writers. I’m not selling books on writing, and few people who aren’t writers care about writing motivation, or how to build a character. So I save the writer-centric stuff for here or my own blogs about the writing life.

Making content choices is tough. And how much me should my audience have to bear? Where is the balance between plucking out articles that might interest the people who might be interested in my writing, and sharing bits of my life that might actually make me human and likeable? The whole thing feels a bit cynical to me.

I do like this quote from Amy Cuddy’s deservedly influential book, Presence: Bringing your Boldest Self to your Biggest Challenges. “When we are trying to manage the impression we’re making on others, we’re choreographing ourselves in an unnatural way. This is hard work, and we don’t have the cognitive and emotional bandwidth to do it well. The result is that we come across as fake.”

Coming off as fake is never, ever good.

Be an individual. Be yourself.

As someone born in the sixties at the tail end of the baby boom, I grew up reading books and newspapers, and watching television and films. No one knew anything about authors. They rarely showed up on television, and if they did, they were already super famous. It was a time when public images were carefully crafted by publicists, agencies, network people, and record labels. Image crafting now begins at birth. Children—and not just celebrity children—have their own Snapchat and Instagram accounts curated by their parents. Soon after, kids learn how to use phone cameras, and take selfies. And they’re not posting pictures of their dirty bedrooms. They’re curating their lives, using images for complaints (school lunches) or self-gratification (I’m wearing blue and puce eyeliner every day this week, and check out my #hairfail hahaha!). They learn early to make their lives appear as they want them to appear. Who knows what’s real?

An entire generation is learning to promote without actually having something to promote. We writers have a LOT of competition for time, interest, and dollars. (Because a lot of people on social media are selling something, or their sponsors are.)

Personally, I don’t remember ever purchasing a book after seeing it on the author’s social media, unless I had already planned to buy the book. Fiction writers seriously are not the best representatives of their own writing—and, of course, their ultimate goal is always to sell me their books. I’m more likely to buy books after reading reviews, associated news stories or essays, coming upon compelling covers, or listening to word-of-mouth from booksellers or friends (sometime even social media friends), or other people I respect.

I buy into the notion that maintaining an active social media presence—including one on one contact through newsletters—is part of a professional writer’s job. But how little is not enough, and how much is too much?

All right. I asked for your help, but I’ve done a whole lot of talking. Now it’s your turn. I have many discussion questions, so feel free to pick and choose. I can’t wait to read what you have to say.

How important is it for a writer to have a strong social media presence?

If you participate, are you programmatic about it?

Do you enjoy it?

How much time do you spend on it daily, and/or weekly?

Who are some writers that you see doing a great job at social media?

And the $64,000 question: Have you ever bought a book because of an author’s social media posts?

 

**Photos via GoDaddy Stock

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First Page Critique: The Last White Rose

Photo by Laura Benedict.

 

Cheery good day, TKZers! It’s time for a critique of an anonymous author’s work. The Last White Rose is an excerpt from a novel that appears to be a modern gothic with both horror and romantic elements. But it might be a thriller.  I’m anxious to know what you think.

 

THE LAST WHITE ROSE

Epigraph

In my dream, I see my own green eyes, filled with terror and tears.I fall to my knees, submitting to the command of invincible blue eyes raging with white fire.His face twists into something else, something evil. He is ending my life. I wake with a strident scream… and stare into the same blue eyes.

Chapter One

Stonington, Connecticut

He was elusive, a ghost I needed to catch. The stranger whose face I’d never seen lurked around town, maintaining enough distance to mask his features in shadow. I saw his face for the first time in late July after the annual Blessing of the Fleet. His bold gaze burned into mine from the opposite side of Water Street. The highland band, piping loud and marching through the center, drew the post-ceremony procession to a close, granting me an unobstructed view.

A shiver slid through me despite the stifling summer heat.

He was magnificent. The kind of man you’d never find living in small-town New England. Imposing height and broad, muscled shoulders defined his stature. He wore jeans and a faded indigo tee shirt that exposed cut biceps and forearms. Sun-streaked, dark blond hair in a classic front wave and a commanding jawline framed his handsome, smirking face.

“Parade’s over,” someone shouted.

Even so, Jess and I held our advantageous spot at the curb. My best friend soaked in the late morning sun, sipping her raspberry lemon mimosa, watching me stare at him.

She elbowed me. “Who’s he and why are you staring at each other? Wait—Ellie, is he…”

My eyes skipped to Jess to deliver a dirty look. When I refocused across the street, he was gone. “The guy who followed me home the other night. Yes, I think so. There’s no one else as tall. Maybe I’m wrong. Maybe he’s just staying nearby.”

“And maybe you should say something to someone.”

“Not until I’m certain. Paranoia is my sister’s thing, not mine. Besides, aren’t you always saying I should be more open to meeting new people?”

“You do need to get out of your artsy little head. Just be careful.”

I struggled, trying to reconcile his presence in town and the sense that he watched me. After all, it was summertime. Stonington was a historically rich town, the only one in Connecticut to face the open Atlantic waters, so it attracted countless visitors. It was common to see strangers around town. Drunken tourists wandered the streets at night, unaware most businesses closed before ten. It was a colonial fishing town, and outsiders came from far and wide to work for the commercial fleet. It wasn’t the first time a man from one of the crews or a tourist had looked my way, I reasoned.

Then I saw him again.

The next day after the last of my noisy day-campers had gone, I locked the art studio door and headed for the fishing pier to sketch. It was either that or listen to another of Jess’s lectures. She’d go on about how I wallowed in self-imposed loneliness, and how it left her alone to test the waters in the pool of dateable men. The pool was small—blue plastic toddler swimming pool small—and I didn’t need to dip a toe to know there was nothing left in it for me.

The pier was a respite from my grandmother and sister’s intrusiveness as well. Gran and Isobel were all I had, and they meant well. Trysts with my art kept me sane, human.

I looked out over the harbor and spotted Neptune trudging her way in. The sailboats beyond paled in her presence. I don’t know what it was about the old girl, but I loved that fishing boat. Her emerald green hull had become chalky over time, and the once black and white hoists and booms were covered in rust, but she was still glorious against the backdrop of the sea. I lost myself in the sketch at once.

Photo by Laura Benedict

 

Dear Anonymous Author of The Last White Rose:

What a pleasure it was to critique this novel opening. There’s so much to work with here: you’ve obviously read a great deal of fiction and have a practiced hand in basic mechanics. Your grammar and sentence structure are strong, and even your barely-mentioned characters are vivid and distinctive. You also know how to structure a scene, which is no small feat, and your first person POV is flawless.

I like the Connecticut setting. It gives the story an immediate New England gothic feel. Gothic is one of my most beloved genres, so I’m particular.

Jess and Ellie have good chemistry. Jess is a lot of fun, though she falls down a bit on the best friend front. (More on that later.) These cracked me up: “My best friend soaked in the late morning sun, sipping her raspberry lemon mimosa, watching me stare at him.” And “She’d go on about how I wallowed in self-imposed loneliness, and how it left her alone to test the waters in the pool of dateable men. The pool was small—blue plastic toddler swimming pool small—and I didn’t need to dip a toe to know there was nothing left in it for me.”

And the scene with the Neptune was completely charming and nicely visualized. I could picture the boat “trudging” its way in. Your descriptions are—for the most part—very nicely done.

Please, dear Anonymous Author, read all of the above twice, because I know that, like most writers, you will forget it immediately as you read my criticisms and suggestions.

 

Here we go:

I’m not sure what sort of novel this is, and that distresses me. It contains gothic and demonic elements and is set in an old New England town. But there’s some romance as well. I need a few more hints. Does our heroine feel strangely attracted to the giant hot guy stalking her? Or is there some menace in the town that he might be connected to? The strong emphasis on the stalking makes me think it’s trying to be a thriller, but the stalker’s attractiveness makes me wonder if he’s a demi-god or paranormal beast or demon. Another mystery is that we don’t know if he’s the guy in the epigraph or not.

There’s a phrase that I learned from my mother-in-law very early in my marriage: “too much of a muchness.” That’s what you have in this opening section. You need to take a breath. Don’t try to tell us everything in 672 words, and definitely only tell us things once. Readers are smart. This section has too many repeated actions, too much stalking, and way too many characters. It’s important to mention or introduce all of your significant characters in the first thirty pages of a novel, but if you try to do it in the first three, your reader is going to be very confused. Fortunately, you can look at this as an embarrassment of riches because you can use much of this detail in other parts of the novel.

It’s also important for you to balance the light and dark. You can have both.

The last thing I want to address is your heroine, Ellie. Good heroines can be tough to write. Sidekicks get to be fun, villains get to be fun. Heroines can be a bit dull. Thoughts on Ellie below.

 

Epigraph

This is a dream: check.

I’m a bit confused as to how Ellie’s seeing her eyes in one line, then is falling to her knees in the next. Is she watching herself? Or is she experiencing it? Just clarify. Even if it’s a dream, it has to have its own dream physics and dream logic.

Perhaps reframe it so we know she is watching it as a scene, wondering at her own complicity.

“Strident” is awkward. As is “invincible blue eyes raging with white fire.” There’s an awful lot happening in those eyes all at once.

“He is ending my life.” Simple and to the point, but “ending” feels a bit tame since she’s about to be devoured/murdered by what appears to be a demon.

Clarify the last line and be specific:

“I wake, screaming, to find those same blue eyes—now watchful and worried (or laughing and scornful, etc)—gazing into mine.”

Chapter One

First paragraph:

The opening lines are confusing. He’s a ghostly elusive guy that has been skulking around the shadows for…some period of time. Months? Weeks? Two days? Then in the next sentence she gets to the immediate scene: “I saw his face for the first time…”

Instead, get right into it.

We’re prepped by the epigraph for scary and dubious. Give us something new at the top of chapter one. I’d much rather read: “The first time I saw Jeremy Porter’s* handsome face, he was smirking at me from the opposite side of Water Street.” Something straightforward adds a bit of levity, and keeps the story from being so frontloaded with ominosity (technically not a word, but ominousness is clumsy). I confess that I’ve been guilty of over-ominosity myself, so I know whereof I speak. He seems more condescending than threatening. If you want to make him threatening, change “smirking” to “staring.”

*Don’t be afraid to name the guy. We know he has a name. As Ellie’s telling the story, she already knows his name because she’s telling it in the past tense. As it is, it’s cheap suspense. If the story were all in present tense/present action, then we wouldn’t find out his name until she learns it. But the cat’s already out of the bag.

By making the opening of Chapter One just another in a series of stalking incidents, you’ve taken away the power of the epigraph, which could be very compelling. The epigraph hints that she dreams of a man who might be a demon, but she wakes to find him watching her in real life. My assumption is that she becomes romantically involved with sexy stalker guy during the course of the novel…? But we still don’t know if epigraph guy and stalker guy are the same.

The epigraph has already set your tone. Let it rest. We get it.

“He was magnificent.”

Our guy is obviously a gorgeous, eye feast of a man, and the word “magnificent” is striking. I kind of imagine him as a blond Gaston, from Beauty and the Beast. Is he unreal in his perfection? Some small flaw would make him more believable—unless you’re going for supernatural perfection.

Let’s break it down:

Why would we never find someone like him living in small-town New England? Where would we see a man like him? Hollywood? The cover of a magazine or romance novel?

Imposing height—how tall? Ellie says: “There’s no one else as tall.” What does that mean? Significantly taller than everyone else in town? Wilt Chamberlain tall? If so, someone would have surely noticed him by now. A man that tall would be a very poor skulker.

Instead of using an indefinite phrase like “defined his stature,” let’s see him through Ellie’s editorial filters:

“I’d never seen a man so tall in real life, at least not one with shoulders so broad that they made me wonder for a moment if he had to have his dress shirts specially made. But he wasn’t wearing a dress shirt. His taut, cut biceps emerged from the sleeves of a beautifully faded black tee that just reached the waist of his indigo jeans. And his black motorcycle boots looked comfortably worn. Most women I knew would pay a fortune to have their stylist give them highlights like the ones that seemed to flow naturally through the waves of his dark blond hair. His jaw was strong and commanding, reminding me of paintings I’d seen of ancient Roman centurions on my last trip to the Louvre.

“Parade’s over,” someone behind me shouted.

I startled, and felt my face flush. The slow smile of the man I came to know as Jeremy Porter told me he’d caught me staring.”

Then you can go on and have her interact with Jess. But let’s have some more urgency and concern in their exchange. Is Jess implying Ellie should call the authorities? Who is the “someone” of whom she speaks? Be specific.

In this next section, we get a lot of new characters introduced: noisy day-campers, dateable men, Gran and Isobel, an anthropomorphized fishing boat, drunken tourists, sailors. It’s overwhelming.

And, suddenly, skulking sexy guy appears again.

What is this book about? Right now I’m just reading stalking scenes, and I’m feeling fearful that they will just go on and on…

Three scenes (including the epigraph, if it is the same guy), three appearances. Actually four, because we learn he followed her home on some other night (super alarming to have a giant follow you home!). We have no resolution of his parade appearance in Chapter One before the pier scene. He has now let her see his face, and he’s still obviously stalking her. Please give Ellie some spunk. She seems incredibly unaffected by his stalking—her friend acts alarmed but then apparently lets her go home and go about her business and go to work the next day without any further investigation of the guy. It’s one thing that Ellie’s not paranoid. It’s quite another to make her seem not very bright. And I think she is bright.

Your opening chapter has to do more than establish the tone, and Chapter One tells us little more than that Ellie is living in a historic small town and is being stalked by a hot guy. It’s an ominous situation, but she’s reacting in a way that’s not credible. And we still don’t know if this is a romance, a thriller, or a paranormal story. Give us better clues.

My first suggestion would be to work on the epigraph and just let it set the tone. Then in your opening chapter, have Ellie confront hot stalker guy after the parade. It will make her the real protagonist rather than a woman who seems to be setting herself up as a victim. I love the sketching scene on the pier, but it’s too much with what you have already. Save the setting and scene—maybe it happens after they’ve actually met.

Having her confront the guy right off puts us immediately into the story, and will surprise the reader. Even if he is our villain, he will be put momentarily off-balance. Ellie and the hot guy instantly become equals, and thus more interesting adversaries. Or a more interesting couple. Therefore it becomes a more compelling story. Be bold.

That’s my two cents. I think this story could go far.

Chatter over, TKZ friends and bloggers. What say you?

 

 

 

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When Is It Time to Let Your Old Work Go?

What do you do with your unpublished/unsold work? Where is your juvenilia? Do you treasure it, or let it go?

I’m a let-it-go person. My first two unpublished, and probably unpublishable novels are around here…somewhere. Well, the second one might be in a box in the mudroom. At least I think it made it onto the moving truck eleven years ago. I kind of hope it’s not, because I really don’t want anyone finding it and reading it when I die. (Let alone trying to publish it–that never works out well for the dead writer. I’m put in mind of some of Shirley Jackson’s early story drafts that were published posthumously. And isn’t there 3/4 of a Hemingway novel out there somewhere?) There are probably also drafts of that second novel on 3.5″ floppy disks in my office closet.

My very first unpublished novel may not even have made it onto a 3.5″ disk. I think I finished it in 1998. Before I wrote it, I read a Somerset Maugham autobiography that suggested that all writers should finish their first novel and then immediately put it away in a drawer. It’s only just this minute that I realized he said, “a drawer,” and not, “the trash.” So perhaps I shouldn’t have completely lost track of it.

I have a 17-year-old son who is embarrassed by everything he’s done in the past–the past being fifteen minutes ago, or longer. I’m not that bad, but I don’t feel the desire to go too far back and look at the writer I was. It took years and years and years for me to get that (third) first novel published. To get it good enough. While I’m very comfortable with reflecting on my own work, or poking fun at my old habits–the first 3 short stories and first 2 novels I wrote all had old-fashioned silver-handled vanity hand-mirror and brush sets in them!–in workshops or, well, here, I don’t necessarily care to see them on paper.

It’s a lot like travel. If I am not overburdened with luggage, I’ll take my SLR camera with me because I love, love, love to frame the world through the camera’s lens. But if I can’t take it, I don’t stress about it. The things I see and do live in my memories. There are times when I’ve consciously said, “I will remember how this looks and how it feels.” And I do. That’s enough.

I remember how it felt to write those books and stories. They are landmarks on my journey through the writing life, and I don’t need physical evidence of them. Bits and pieces of them survive in other work. Creativity is never, ever wasted. The words and ideas make their way through my fingers and travel out into the world. I guess I could go full-on dork and say I set them free and they take on their own lives. Or not. And I get to make new ones. Always new ones.

What’s your relationship with work from your past?

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A Bear Won’t Eat What A Bear Can’t Smell: When Real Life Provides the Dialogue

 

(purchased from IStock)

I’m currently living in the limbo that inspires fear and loathing in many writers, and drives others to query random Magic 8 Balls with the seriousness of a sugar-drunk eight-year-old at a slumber party: I have a manuscript on submission. For the sake of my sanity, let’s step away from the constant checking of email, the extra glass of wine after dinner, and the cold-sweat certainty that there should have been One More Edit before it went out.

So, tell me things, please. Specifically, I want you to think about the sayings you have in your family. They might be well-known sayings, or something you and your siblings picked up from a long lost television episode that stuck with you for whatever reason. Or it might be a saying whose origins are lost to history, but you still use it. These sayings don’t necessarily have the gravitas or moral spin of an aphorism, but when you use colorful or shocking or sweet sayings occasionally and appropriately in your dialogue, they immediately give your reader important information about your characters.

I’ll start. Here are some that show up again and again in the Benedict family, or came from my childhood:

People in hell want ice water. (my dad)

Smooth move, Ex-Lax. (also my dad)

Sleep tight, don’t let the bedbugs bite. (my mom)

We like the moon, because it’s close to us. (this video is at least 10 years old)

Biggie fries, biggie drink. (no comment)

Pretty makes up for bad. (this showed up around the time my daughter was five)

Pretty is as pretty does. (this one gives me the same hives it gave me when was five)

Does a bear poop in the woods? (dad, again)

Is the Pope Catholic? (yep, dad)

A bear won’t eat what a bear can’t smell. (from a Saran Wrap commercial–could only find the ad with a tiger)

Measure head size before ordering. (appropriate whenever, well, ordering something–I picked it up from an Elmore Leonard novel)

Same poop, different flies. (from husband’s family)

Cam down, Linwood. (MIL’s family–she said she has no idea where it came from)

Hold ‘er, Newt. She’s headed for the barn! (also from MIL’s family–she doesn’t know where this is from either. but I did find versions online)

Scratch your ass and get happy. (heard this at a family reunion–acquired it immediately)

These three came from workshop students:

It’s a poor ass rabbit that only has one hole. (meaning is fairly obvious)

You can’t look up a hog’s ass and tell the price of lard. (heh)

She’s a real Corinthian. (wish I’d written down the origin of this one–so many possible interpretations)

Your turn!

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Writers’ Camp, Anyone?

I’m curious: what do you think about writing workshops–specifically workshops that are a few days to a week long?

I met my husband at the Appalachian Writers’ Workshop, in Hindman, Kentucky. He was teaching fiction and I was a newbie writer. (It’s okay. You can smirk. Lots of people have over the years!) I’d never workshopped stories outside the classroom. I’d also never slept in a cabin dormitory, 4 sleepers to a cubby, or washed dishes in a camp kitchen, so the whole week was full of new experiences.

Workshops are intimate. (No, not that kind of intimate, though sometimes there’s, um, activity between consenting adults that can be awkward for everyone. Think of summer camp, or high school. But it doesn’t have to be that way.) Participants work with the same teacher, and the same group of writers, for several days in a row. You get to know each other, and group dynamics emerge quickly. If the instructor is good at their job, it becomes a space where people feel comfortable sharing their work, and receiving and giving thoughtful criticism.

It’s nice spending time with like-minded writers in real life, as opposed to hanging out online. In a well-run workshop, the writer must listen to everyone’s critique before they speak about their own work. Because a writer needs to learn that they can’t be on the shoulder of every reader to explain what they meant if something isn’t clear or understandable to that reader. The work has to speak for itself. BUT the good news is that most workshops schedule plenty of downtime. Often the real learning happens over dinner, around a campfire, or over a glass of wine or two. It’s good to share the journey. And don’t forget the networking thing. It’s important. At a workshop, you can meet professionals (often agents and editors), and form friendships with other writers that can last for a lifetime.

Am I trying to sell you on workshops, or a particular workshop? No. While I encourage you to give one a try, they’re not for everyone. I was scheduled to teach at a workshop in June, but money is tight all around, and my class didn’t fill. It’s disappointing, but I look forward to staying home and writing. Maybe next year.

There are many more glamorous spots for writers’ conferences than Eastern Kentucky–I went there because the mountains were home to my grandfather, and because it was economical. If you want to get exotic, you could go to the workshops at Positano. But you must take me with you.

Tell us your thoughts on writing workshops. Are there any you would recommend to other writers?

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Betting On The Muse

 

A couple of weeks ago I started writing my post for today, and said, I need to think more on this before I put it out there. So I put it aside, and didn’t get back to it right away because I’m an all-or-nothing kind of gal. As in, I can only focus well on one thing at a time and I had a pretty big thing to focus on: I finished my ninth novel on Monday morning. May I qualify that? I finished my ninth novel, but the first two were practice novels, and I never sent them out. (But now that I’ve typed that out loud, I wonder why I so easily discount those two just because they haven’t been published.)

Number nine is a mess. It’s quite possibly the messiest first draft I’ve ever written. The Intruder is something new for me: a suspense novel without a hint of supernatural in it, and I’m not ashamed to tell you that it has been a little difficult to switch gears. It’s not like I’ve only written supernatural stories. Fully half of my published short stories are straight crime, i.e. contain nothing surreal or supernatural, and those first two “practice” novels didn’t contain any supernatural elements, either. But when my third novel (first one published), Isabella Moon, which was all about the ghosts, sold for actual money, I figured I should stick with what worked. I didn’t look back until about a year ago.

Writing about ghosts and demons is enjoyable to me. It’s fantasy. An escape. As writers—may I speak for us all here?—we spend lots of time in alternate realities. For me, at least, it’s not much of a stretch to envision realities in which the presence of perceivable ghosts is not only possible, but probable. And why not? There’s certainly a market for it.

Why write something different this time? I wanted to try something new, and my muse said, “Let’s go for it.”

I was struck by something the estimable James Scott Bell said in his January 29th post (in fact, the entire post was very timely for me):

“One of the nice things about short fiction is that you can get an idea and just start hitting the keys to see what happens. It’s fun. You can write whatever the heck you want to, without a huge expenditure of time.”

That feels very true to me about short stories. They’re low risk. If a new story in a new genre works out, you’ve just opened up a new door for yourself with attendant readers. On the other hand, if you’ve written five thousand words of uneditable dreck, it’s only cost you a few hours’ commitment. No big deal, and you’ve (it is to be hoped) had a good time. Hello, one night stand of the writing life.

But thinking about making such a big jump from one genre of novels to another was, dare I say, hard for me. In fact, it slowed my writing down considerably because I was afraid of screwing it up. Of looking like an idiot. I don’t like to admit it when things are hard. (Insert years of therapy here.) It felt BIG.

On the one hand, it is big. I just spent most of a year writing something very new for me. One hundred and five thousand words of new. If I thought of myself as a brand—and, seriously, I have a very hard time with that concept—then this book would be considered off-brand. My answer to that is that all of my published books are similarly suspenseful mysteries, it’s just that they also contain ghosts. How that plays with the buyer for Barnes and Noble, I’m not sure. Marketing myself as a part of a category has never been my forté, and you don’t even want to get me to hop onto my literary vs. commercial fiction soapbox. (Literary fiction is just a genre. Way too many MFA programs are still teaching people to write for Esquire magazine, circa 1972. The End.) But I digress.

On the other hand…really? I’m a writer. The words I put on the page are just words and ideas. Not pearls of wisdom or gold bricks. They aren’t even fully formed until I play with them and shape them into something readable. Writers who think that every word they spew out, or squirt out, or precisely place with the tiniest, cutest pair of word tweezers in the world is some precious, permanent thing are delusional. We are creating. Playing. And if we don’t write what we want to write (again, thanks, JSB and Mr. Bradbury), then it’s our own fault and shame on us.

Here I am, in between hands. Today I print out the manuscript to see it on paper. That’s my first step of editing. You can’t edit a blank page, but you certainly can edit four hundred pages with words on them. Wish me luck.

As I was working on this, I read a post on Facebook (I know. I get distracted.) that asked if writers found it hard to talk publicly about their writing, and I had to laugh at how many people said, “Oh, I just couldn’t.” I love that TKZ folks talk openly and honestly about their work and experiences. It’s very refreshing.

So that’s my vein-slicing for today. What about you? What’s the biggest, most public risk you’ve taken as a writer?

 

 

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To Count or Not to Count (Words, that is)

Because* I’m a writer who is thisclose to completing the draft of her next novel, I was telling someone today about how many words I wrote when I went off on a writing retreat this past weekend. (I know, I know. Another writer talking about her book. You’re yawning already. But do try to stay awake, because I promise I do have a point. And a question for you.) It’s the second January in a row I ran away from home for a weekend to write, and while I can’t yet call it a tradition or habit, I think I shall make it both.

The person I was telling isn’t a writer, and so the numbers–2K words late Friday night, 9K on Saturday, and 2K Sunday morning for a total of 13K—meant nothing to him. But he did ask me a question that surprised me: “Why in the world do you keep track of the number of words you write? Are you in some kind of competition?”

I definitely did not see that coming.

One of my best friends, an enormously successful writer, has kept track of her words on spreadsheets for well over a decade. But I also know a writer who has been writing for a half-century and couldn’t tell you precisely how many stories she’s published, let alone the number of words.

The subject of word counts comes up frequently when you’re an emerging writer. Agents only want to see a certain number of pages, and competitions, magazines, and writing workshops all set limits. When you sell that novel, there will be a word count mentioned in the contract, and when it comes time for delivery, it better be close: if there aren’t enough, it won’t meet the contract; if there are too many, it could negatively impact the production schedule and projected costs. Word counts are relevant.

But should word counts have a place in your creative life? What do word counts mean to you?

This might sound a little crazy, but keeping track of my words satisfies the voice in my head that says, “use your time well.” Word counts are by nature quantifications. Proof that I’ve written. It doesn’t matter if I’ve written badly. It doesn’t matter if I throw them out later. It doesn’t matter if I don’t even like them. I’ve written. I’ve worked. It sounds a little cold, but sometimes you have to feed the voice. (Now, these are only my thoughts. If you don’t have that scary neurosis voice in your head telling you she’s watching how you use your time, good for you.)

The softer, more right-brained view is that the more words you write, the more practiced you become. A friend of mine is fond of saying, “Writing begets writing.” This is so true. When I write, I work things out on the page. The more words I get down on paper, the more room there is in my brain for birthing new ideas. My brain feels larger, happier when it’s planning new words.

At the end of December, I started tracking my word counts in my daily blog. The person who asked me why I tracked words wondered if I was in some kind of competition. The answer is yes. I am in competition with myself. I like to know how much I’ve written, and it keeps me motivated—not just to improve the numbers as I go along, but to have some markers along the way.

What about you?

(Oh, and I wanted to share a bit of news with you all: I’m excited to have a story, A Paler Shade of Death, nominated in the Best Short Story category for 2017 Edgar Awards. I’m thrilled and honored and a little freaked out to be nominated alongside four of my writing heroes!)

*Yes, I opened this blog with the forbidden word, “because.” Please don’t try this at home.

(Photo by George Hodan, PublicDomainPictures.net)

Laura Benedict’s latest dark suspense novel is The Abandoned HeartVisit her at laurabenedict.com and get a free ebook when you sign up for her newsletter.

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How Not to Treat a Writer (and a Bonus Guide on Building Good Anthologies)

Let me tell you a story.

On December 19th, I received an email through my website contact link suggesting that I might submit a story to an upcoming anthology of “dark and speculative fiction.” Okay, I thought. Sounds like me. Reprints were okay (if the work was requested, and it appeared that mine had been), and there was actually money involved. The stated theme of the anthology was vague and used the phrase “we may be looking for…” But I’m always game for submitting work, and women’s sexuality was one of the mentioned subjects. Okay, I thought. That sounds like me, too. Knowing that the publisher was a legit literary fiction house, I clicked through to the open call for submissions page.

I don’t want to embarrass anyone in this story, so I’m not going to get specific about all of the submission details. The story I had in mind was one I had published in Patricia Abbott’s Discount Noir, and I had long thought of expanding it. I was pretty sure it fit the women’s sexuality/female protagonist bill. Except: The deadline was to be December 30th. Yes, twelve days after I received the email, and only eighteen days after the date on the submission page.

Twelve days! It’s madness to think anyone but a few very motivated writers could put out a finished 2-5K word story in that brief amount of time. Still, I had the story on hand and was thinking of adding only a thousand words or so. As I said, I’m game. Christmas got busy, and I put it on the back burner. After a very relaxing holiday, I worked on it on the 29th and 30th. I’ll confess that I submitted it after midnight on the 30th, but it was still the 30th in Alaska, so I figured I was good. And, if not, no big deal. It was a fun exercise to work on the story.

I received the acknowledgement immediately. All was well. Then, later that same day, the 31st, I received a polite form rejection email.

There’s nothing like receiving a rejection for a story on New Year’s Eve. It was disappointing, as all rejections are. I had a lot of confidence in the story, so it was a little surprising. I went through six stages of story rejection grief, and enjoyed the seventh (an extra glass of wine), and decided the story would be a good addition to the ebook short story collection I want to do later this year.

But, wait! Less than an hour later, I received an email that I had been sent the wrong form email. They actually meant to send the one telling me they were considering the story and would get back to me in a month. They were sorry for the confusion, they said.

Ha! Ha! said I. And forgot about it the very next day.

This past Monday, nine days later, I received my response. They “love” the story, but “have since decided on a theme” that this story doesn’t quite fit. Oh, by the way, maybe I have another one that would suit their newly chosen theme? They only need it by January 16th.

*sigh*

There are so many possible responses. But the one that immediately comes to mind is a less lovely version of WTH? (That’s not the one I sent.)

My work has been in quite a few anthologies the past few decades, and I’ve edited five and published two of those myself. Yet I have never been involved in such an unprofessional exchange.

Publishing isn’t, “Hey, kids! Let’s put out a book!” Well, it can be, but the process needs to stay professional. And it would seem to me that a primary tenet of professionalism would be: Try not to alienate prospective writers.

Here’s a handy list for creating an anthology:

  • Define your theme. Make it broad, or make it narrow. Be flexible enough to push the boundaries a bit if you need to. The narrower your focus, the smaller your natural audience will be.
  • Put together a budget. Will you pay the writers in cash or copies or both?
  • Get a few writers on board that you know well so that if you will be going to a publisher, you have committed work from writers they recognize.
  • Write a proposal whether you will be shopping it to publishers or not. It will give you good guidelines against which you can measure submissions.
  • Find a publisher or, if you’re game and have some knowledge of publishing, put it out there yourself. How will it be distributed? Through regular distributors? Online vendors?
  • Decide if you want all original work or reprints or both.
  • Plot out a schedule backwards from your desired pub date. Give yourself three-four months before the actual pub date to assemble, edit, copyedit, and format the stories. Writers often miss deadlines. Build in an extra month for dawdlers or disaster. Allow writers three to six months for writing. It might as well be three because 90% of them will write the story in the last available month.
  • Scheduling six to nine months to put the whole thing together is reasonable. This is variable of course. Using all reprints may be faster—but often the writer will need to get permissions from another, larger publisher. And the larger they are, the slower they are. (It took seven weeks to get permission from one publisher for a Surreal South anthology, and we almost had to drop the story.)
  • Establish who will be the contact for all authors. Who will do the mailings and keep track of the files?
  • NOW open submissions for your slush pile, and give folks a few months to come up with stories and write them. If you have a solid core of committed writers, you have a head start. If you give everyone three months to write and submit, you’ll have plenty of time to read and choose.
  • Acknowledge submissions.
  • Get someone working on the cover art.
  • Draw up a contract. Do you want exclusive, or non-exclusive rights?
  • Choose the stories. Have a couple runners-up in case some submissions get pulled.
  • In the name of all that’s holy, send the appropriate rejection and acceptance emails to all of the writers.
  • Assemble the manuscript. Make sure all the rights are covered.
  • Plan advertising (or work with marketing dept.)
  • Write cover copy.
  • Have someone write an introduction that teases the theme and mentions all the accepted stories by name.
  • Make any necessary edits and okay them with the writers.
  • Copyedit the stories, send the manuscripts back to the writers for approval. Give them a deadline for getting back to you.
  • Get a blurb or two if you can. Put galleys up on NetGalley, etc. to encourage reviews.
  • Format, print, distribute.

NOTE: This is not a hard and fast schedule for every anthology. Big ones will take longer. Working with inexperienced writers will take longer. If you’re doing an ebook anthology of reprints or one that is very small, you may be able to do all this stuff in a few weeks.

Lisa Morton, Carolyn Haines, and I all wrote our stories for Haunted Holidays: Three Short Tales of Terror and had the book out in paper and ebook on multiple platforms in three months.

 

The point is, take your time. Think it through at the beginning of the project. Be friendly but professional in your communications with your writers. Admit it if you screw up, but don’t set yourself up for failure by setting unrealistic expectations for yourself and everyone else involved.

As a writer, what’s the worst submission experience you’ve ever had?

Have you ever put together and anthology? How did it go?

 

Laura Benedict is the author of the Bliss House trilogy of novels. She blogs daily at her website. Visit her on Twitter, too.

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