by Joyce
One of the pitfalls of being a writer is having to deal with rejection. I can't think of any other profession where it's possible to get slammed down on a regular basis. Even actors don't get those dreaded letters in their email or mailbox.
And talk about mood swings! Euphoria when the email arrives--you're sure she's asking for more material, or she wants to know a good time to call because she loves your book. You click and start reading. Bam! Another rejection. You go looking for chocolate or alcohol--or both.
Even bestselling authors have had their share of rejection. J.K. Rowling and Stephen King were rejected numerous times before their first books found a home. Gone With the Wind was rejected 38 times. Jonathan Livingston Seagull was rejected a whopping 140 times. The list goes on and on. (Google "writer rejections" sometime. You wouldn't believe the number of sites that come up.)
Believe me, I've had my share of rejections. Over the years they've ranged from the typical form rejection to the send-me-your-next-book kind. Some have been helpful and gave me specific advice on what needed to be fixed. Some were just a "No" scribbled across the top of my query letter. Others were downright blunt ("I thought it would be better.").
There's no doubt that rejections hurt. Even the "good" ones. But no matter what kind of rejection you receive, learn not to take it personally. I know our manuscripts sometimes feel like our babies. We've poured our hearts and souls into them for months, and in many cases, years. Try and remember that what we've written is only a product. Some will like it--others not so much. Some might even hate it. Remember that the agent or editor is rejecting the product, not you. It's not always easy, but it's part of the process.
I'm not sure where the saying came from, but remember--what doesn't kill you makes you stronger. Polish up that next query and send it off.
Does anyone have any rejections stories to tell? What is the worst rejection you've received? The best?
Showing posts with label writing advice. Show all posts
Showing posts with label writing advice. Show all posts
Thursday, March 25, 2010
Wednesday, March 24, 2010
Calling in the Experts
By Annette Dashofy
On Monday, Gina wrote about critique groups. I love my critique buddies. But reading one chapter at a time has its limitations. Therefore, I have a second line of defense, known as my first readers.
Currently, I’ve completed my second draft, and am now sending that complete manuscript to this select group of “experts” to read and vet the story as a whole.
How do you go about choosing your own first readers? There are probably as many answers to that question as there are writers. But here is a list of who I’ve chosen and why.
A friend who writes in another genre and who also happens to work in the field of psychology. There is a psychological aspect to my story and I want to know that my characters are reacting and responding in an appropriate manner for the circumstances.
A non-writer friend who works in the computer field. Part of my story revolves around an old computer and some data contained within it. I need to know if my technological details are correct. I’ve done the research in advance, but does it work in the context of the story?
A non-writer friend who is an avid reader of all genres. She can tell me if the story works for her as a reader. Does it flow? Does it make sense? Have I answered all the questions and wrapped up all the loose ends to suit her?
Then I have three mystery writer friends who will vet the story from their trained perspective. Did I play fair? Are the necessary clues hidden well enough? Too well? Plus, they will also comment on the same stuff that my non-writer/avid reader does.
I should mention that our own Joyce Tremel is in that last group and I expect her to vet my police secretary character and thread, too. What did I get wrong? What wouldn’t happen that way, even in a fictional department where I have some leeway to make up the rules and procedures? And, yes, what did I get right?
So my last bit of advice for the month is this: find a good critique group, finish the book, and THEN compile a group of experts to be your first readers.
On Monday, Gina wrote about critique groups. I love my critique buddies. But reading one chapter at a time has its limitations. Therefore, I have a second line of defense, known as my first readers.
Currently, I’ve completed my second draft, and am now sending that complete manuscript to this select group of “experts” to read and vet the story as a whole.
How do you go about choosing your own first readers? There are probably as many answers to that question as there are writers. But here is a list of who I’ve chosen and why.
A friend who writes in another genre and who also happens to work in the field of psychology. There is a psychological aspect to my story and I want to know that my characters are reacting and responding in an appropriate manner for the circumstances.
A non-writer friend who works in the computer field. Part of my story revolves around an old computer and some data contained within it. I need to know if my technological details are correct. I’ve done the research in advance, but does it work in the context of the story?
A non-writer friend who is an avid reader of all genres. She can tell me if the story works for her as a reader. Does it flow? Does it make sense? Have I answered all the questions and wrapped up all the loose ends to suit her?
Then I have three mystery writer friends who will vet the story from their trained perspective. Did I play fair? Are the necessary clues hidden well enough? Too well? Plus, they will also comment on the same stuff that my non-writer/avid reader does.
I should mention that our own Joyce Tremel is in that last group and I expect her to vet my police secretary character and thread, too. What did I get wrong? What wouldn’t happen that way, even in a fictional department where I have some leeway to make up the rules and procedures? And, yes, what did I get right?
So my last bit of advice for the month is this: find a good critique group, finish the book, and THEN compile a group of experts to be your first readers.
Thursday, March 11, 2010
Write What You Love
by Joyce
Everyone's heard the old piece of writing advice, only write what you know.
Hogwash. Or if you prefer something stronger, bullshit.
If I sat down to write a book, or short story, or even an article, and only wrote what I know, it would be terribly boring. I'd have to write about a middle-aged woman living in the suburbs with a husband and two grown sons, whose days consist of checking email, reading blogs, writing, cleaning, cooking, and on occasion, cleaning up cat puke. Not exactly a compelling story.
A better piece of advice is to write what you love.
What are your passions? Let's say you love boats and water. Your nearest body of water is a tiny creek a mile away, and owning any kind of boat, let alone a large one would require hitting the Powerball jackpot. But in your daydreams you can feel the warm ocean breeze on your face as you glide over the sparkling turquoise water. You look stunning in your white capris and striped navy and white tank. Or if you're a man, you look just like Tom Selleck in his Magnum days. Personally, I'd look stunning in the capris and Tom would be standing beside me. Or better yet, behind me. His hands touch my shoulders. He turns me around to face him... Oops. Sorry. Got carried away there.
Ahem. Back to my point.
In your real life, the above would never happen. You don't know a thing about boats or boating. If you stick to the only write what you know theory, you shouldn't write it. But if you really think about it, how many successful writers follow that principle? I counted zero. Zero. Most writers incorporate what they know with what they love, or at the very least, things that interest them. After all, anything can be researched.
Do you think Nancy Martin is a bad girl with mobsters for relatives? Wrong. Nancy's a nice, happily married woman, and as far as I know, there are no mobsters in her family. Nancy is a Pittsburgher, so she's combined that real-life setting with her penchant for creating interesting characters and situations.
Do you think Jennie Bentley remodels houses with a hunky guy named Derek? Not that I know of. Unless that's her husband's name. I'm pretty sure she's never found bones buried in her basement, or been locked in a tunnel room with a corpse. Jennie has a background in real estate and combines her knowledge of houses with her vivid imagination.
And what about Wilfred Bereswill? His protagonist is a female. Even though Will looks fabulous in a dress (yes, I had to bring that up again!), he's not a woman. I'm sure his wife will verify this. Will uses his environmental engineering background to come up with fascinating terrorists and worst-case scenarios.
I could go on and on.
Think about your favorite authors. How do they write what they love? How do they combine that with what they know?
How do you do that in your own writing?
Be sure to come back tomorrow when we're joined by guest blogger Kate Douglas, who will be giving us all advice on never giving up. Kate is the author of the paranormal romance, DemonFire, the first in a new series.
Everyone's heard the old piece of writing advice, only write what you know.
Hogwash. Or if you prefer something stronger, bullshit.
If I sat down to write a book, or short story, or even an article, and only wrote what I know, it would be terribly boring. I'd have to write about a middle-aged woman living in the suburbs with a husband and two grown sons, whose days consist of checking email, reading blogs, writing, cleaning, cooking, and on occasion, cleaning up cat puke. Not exactly a compelling story.
A better piece of advice is to write what you love.
What are your passions? Let's say you love boats and water. Your nearest body of water is a tiny creek a mile away, and owning any kind of boat, let alone a large one would require hitting the Powerball jackpot. But in your daydreams you can feel the warm ocean breeze on your face as you glide over the sparkling turquoise water. You look stunning in your white capris and striped navy and white tank. Or if you're a man, you look just like Tom Selleck in his Magnum days. Personally, I'd look stunning in the capris and Tom would be standing beside me. Or better yet, behind me. His hands touch my shoulders. He turns me around to face him... Oops. Sorry. Got carried away there.
Ahem. Back to my point.
In your real life, the above would never happen. You don't know a thing about boats or boating. If you stick to the only write what you know theory, you shouldn't write it. But if you really think about it, how many successful writers follow that principle? I counted zero. Zero. Most writers incorporate what they know with what they love, or at the very least, things that interest them. After all, anything can be researched.
Do you think Nancy Martin is a bad girl with mobsters for relatives? Wrong. Nancy's a nice, happily married woman, and as far as I know, there are no mobsters in her family. Nancy is a Pittsburgher, so she's combined that real-life setting with her penchant for creating interesting characters and situations.
Do you think Jennie Bentley remodels houses with a hunky guy named Derek? Not that I know of. Unless that's her husband's name. I'm pretty sure she's never found bones buried in her basement, or been locked in a tunnel room with a corpse. Jennie has a background in real estate and combines her knowledge of houses with her vivid imagination.
And what about Wilfred Bereswill? His protagonist is a female. Even though Will looks fabulous in a dress (yes, I had to bring that up again!), he's not a woman. I'm sure his wife will verify this. Will uses his environmental engineering background to come up with fascinating terrorists and worst-case scenarios.
I could go on and on.
Think about your favorite authors. How do they write what they love? How do they combine that with what they know?
How do you do that in your own writing?
Be sure to come back tomorrow when we're joined by guest blogger Kate Douglas, who will be giving us all advice on never giving up. Kate is the author of the paranormal romance, DemonFire, the first in a new series.
Monday, March 08, 2010
BUILDING A BOOK
by Gina Sestak
This month, we're focusing on the best writing advice we've received. I have received so much good writing advice that it's hard to know what to repeat here, so I decided to start with the most basic advice to writers: Read. Read the kind of book you're working on. Read other kinds of books. Read magazine articles. Read poetry. Read short stories. Read the ingredients on the ketchup label. Read everything.
Reading as a writer differs from reading for pleasure, although it can still be fun. When we read for pleasure, we want to be entertained. We ask, "Why did that character do that?" or "What will happen next?" When we read as writers, we ask, "How did the writer do this -- create the scene, engage my interest, make the character come to life?" It's a lot like looking at houses.
When we look at houses for pleasure, we may think, "What pretty wallpaper." When we are considering building a house ourselves, however, we need to know about those things that run behind the walls, the pipes and wires and ducts without which the house would be only a non-functional shell. We need to know how to use tools.
We need to know how to make a thin brick wall stay upright and where to place the lathes. We need to become familiar with dry wall and spackle, pvc and switchplates. We need to learn how to build a firm foundation that will support the structure, and to install a basement that won't leak. We need to pick the right small things, the nails and bolts and nuts, and to place them just exactly right.
Writing a book is similar. One page of pretty paper will not be enough. We have to understand how to intermesh plot and character to form the strong supporting structure, and to allow our characters to change and grow. We have to learn the arcane rules of grammar and spelling. We have to broaden our vocabularies so the perfect word will be there when we need it. We have to understand the tools of our trade, the pen and the paper and the word processing software. We have to know how to find information on the internet or in the library. We have to eavesdrop on ordinary conversations to learn how people express themselves. We have to immerse ourselves in real-life experiences to give our characters authenticity.
We have to build a book the way we would build a house. Brick by brick and word by word.
This month, we're focusing on the best writing advice we've received. I have received so much good writing advice that it's hard to know what to repeat here, so I decided to start with the most basic advice to writers: Read. Read the kind of book you're working on. Read other kinds of books. Read magazine articles. Read poetry. Read short stories. Read the ingredients on the ketchup label. Read everything.
Reading as a writer differs from reading for pleasure, although it can still be fun. When we read for pleasure, we want to be entertained. We ask, "Why did that character do that?" or "What will happen next?" When we read as writers, we ask, "How did the writer do this -- create the scene, engage my interest, make the character come to life?" It's a lot like looking at houses.
When we look at houses for pleasure, we may think, "What pretty wallpaper." When we are considering building a house ourselves, however, we need to know about those things that run behind the walls, the pipes and wires and ducts without which the house would be only a non-functional shell. We need to know how to use tools.
Writing a book is similar. One page of pretty paper will not be enough. We have to understand how to intermesh plot and character to form the strong supporting structure, and to allow our characters to change and grow. We have to learn the arcane rules of grammar and spelling. We have to broaden our vocabularies so the perfect word will be there when we need it. We have to understand the tools of our trade, the pen and the paper and the word processing software. We have to know how to find information on the internet or in the library. We have to eavesdrop on ordinary conversations to learn how people express themselves. We have to immerse ourselves in real-life experiences to give our characters authenticity.
We have to build a book the way we would build a house. Brick by brick and word by word.
Subscribe to:
Posts (Atom)