How to Get Published

A Rerun

by Al Kalar

“The bad guy is never a villain in his own eyes.”

There were some other things I wanted to address before we got here, but I noticed that we haven’t gotten into any of the “fun” stuff. So, I’ll skip a few things (we’ll get back to them) and get into the actual writing.

Every story needs to start somewhere. So does a report or a textbook.

Reports and textbooks should probably start out with the “tell ‘em what you’re gonna tell ‘em” (especially the report). However, if you can start out with a story, even if it’s just an anecdote, you’ll get more interest; especially from a bored student.

Unless you have a loyal following of fans, your start is going to help to sell your book or kill a sale. Remember, we’re learning how to write a “salable” book. If it won’t sell, you may as well go to a vanity press, have a few copies printed and give them to your friends and relatives. If you want to be a real-live “author” your stuff needs to sell. (more…)

by John Bowers

If you’re anything like me, nothing is more fun than writing a novel. Just the idea of starting a new one fills you with giddy anticipation, and you can hardly wait to get started. But once you begin, sometimes you run into problems you didn’t anticipate - how should my character react to this or that situation? Should he run or fight? Is he smart or dumb, assertive or indecisive? Does he know first aid? Can he handle a gun? Would he call the cops or take the law into his own hands? Is he smooth with the ladies or painfully shy? Can he dance? Can he swim? What color are his eyes?

These and many other details are important to your story, and if you haven’t answered those questions before you start writing, you can screech to a halt in a hurry. The problem may be that you haven’t defined your characters before you started writing, and without some ground rules you, the author, simply don’t know how they should react to given situations.

What you need, before you start writing, is backstory. (more…)

by John Bowers

Writers hear a lot of talk about grabbing the reader’s attention on page 1. Editors, agents, and publishers aren’t likely to look at your manuscript if you don’t grab their attention right away, and if they don’t look at it, they won’t publish it - and if they don’t publish it, no one else will ever have a chance to put it down because it just didn’t grab them.

So it’s a no-brainer that you need to get that reader’s attention right away. And the only way to do that is to hook them immediately - which is why this part of your novel is usually called the “hook”.

Some hooks, of course, are better than others. It is generally agreed that you have until the end of the first paragraph to sink that hook, but that in itself can be a problem. If the first paragraph is too long, or poorly constructed, the reader might not even last that long. So I say, Bait the hook. (more…)

by D. Keith Howington

It’s your responsibility to feed dialog into your readers’ minds without causing them to do a double-take and have to go back and read a bit again. When that happens, you’ve lost the mood, and lost the reader. Too much of that can lose them permanently.

We all know the basics: that “said” is essentially invisible, that using adverbs like “angrily” to convey feeling is risky, and that using speech tags such as “he smiled” are physical impossibilities and jarring to the reader. (more…)

by Al Kalar
One of the pieces of advice I give writers is, “join a writing workshop”. No, not a one-day “become a best-selling author” given by Famous Writer. I’m talking about a peer-to-peer workshop that’s really a club.

Well, I do follow my own advice. I’ve been a member of an online workshop since the late 90’s and I learned a LOT. I still learn more on a regular basis, but I also dispense advice (everyone does from the day they join).

This last weekend, I critiqued a submission from one of our members. The writer is a big fan of “classic” pulp science fiction and decided to write his book in a similar style, including a rather lengthy “foreword”. I took him to task over the forward (it violated my favorite “rule”: get right into the story, explain later if at all). I also objected to the fact that he started with four separate story lines (part of the reason for the forward). (more…)

by Michelle Gagnon

During our first page critiques, we discussed the danger of incorporating strong language on page 1 of your manuscript. Encountering an f-bomb at the outset of a novel can turn off a lot of readers, so editors are understandably leery of acquiring works with it.

However, I think that strong language does have a place in novels- at least in mine. I frequently get emails or reviews from people who say things like, “I loved this book, but wish that someone had gone through and crossed out all the f-bombs for me.” Equally perplexing to me are the people who claim that they “didn’t mind the f-bombs, but at times Gagnon takes the name of the Lord in vain.” (more…)

The art of what I call “the big grab” – getting the reader hooked from the start.

By James Scott Bell

Last time, I wrote about what not to do on your opening page. Today, I want to suggest to you an opening strategy that works for any type of fiction.

At the outset, please note that what follows is not a formula. This isn’t painting by the numbers. But it is a principle, and thus has infinite possibilities for application. No matter what your style or genre, this principle will work its magic for you, every time.

Recall that my last post was triggered by something an agent said at a recent conference, to wit: “If you cannot write a compelling opening scene, from the opening sentence, I’m not going to finish your proposal.”

I assume you do want agents — and editors — to finish your proposal. If so, you must grab them on page one. How can you do that?

By beginning your novel with a disturbance to the Lead’s ordinary world.

Why disturbance? Because: Readers read to worry. They want to be lost in the intense emotional anticipation over the plight of a character in trouble. Only when that connection is made does reader interest truly kick in.

But in their opening pages many writers fall into what I call the “Happy people in Happy Land” trap. They think that by showing the Lead character in her normal life, being happy with her family or dog or whatever, we’ll be all riled up when something bad happens to this nice person, perhaps at the end of chapter one, or beginning of chapter two.

Or they fall into the “I’m the Greatest Literary Stylist of Our Time” trap. This is where a writers desires to display brilliance via pure prose before, somewhere down the line, something like a plot kicks in.

But that’s too long to wait. You need to stir up the waters immediately.

A disturbance is something that causes ripples in the placid lagoon of Happy Land. It can be anything, so long as it presents a change or challenge to the Lead. (It’s important to note that this disturbance need not be “big” as in, say, a thriller prologue. The opening disturbance can be a jolt, however slight, that indicates to the Lead she is not having an ordinary moment here).

And you need to have that jolt on page one, preferably paragraph one.

This is true for both commercial and literary fiction, BTW. Compare the following two openings, the first a commercial example, the latter a literary one.

They threw me off the hay truck about noon.

(The Postman Always Rings Twice by James M. Cain)

The world outside the window was in flames. The leaves on the pistachio trees shone fire-red and orange. Mattie studied the early morning light. She was lying on the side of the bed where her husband should have been sleeping.

(Blue Shoe by Ann Lamott)

Notice that Cain starts with a character in motion at a point in time that is obviously a disturbance to him. In this case, the disturbance is physical.

In Lamott’s example, we have two lines of description, then the Lead is introduced, and the last line is a ripple of disturbance, this one emotional: where is her husband?

Dialogue, if it indicates immediate conflict, is another way to create an opening disturbance. I’ve heard more than one agent say they like to see dialogue in the first pages. Why? Because it means you are writing a scene. Not exposition or description or backstory, but a real scene. Like this:

“The marvelous thing is that it’s painless,” he said. “That’s how you know when it starts.”

“Is it really?”

“Absolutely. I’m awfully sorry about the odor though. That must bother you.”

“Don’t! Please don’t.”

(”The Snows of Kilimanjaro” by Ernest Hemingway)

From these examples it’s plain to see that there are countless ways to grab readers right away through this wonderful thing called disturbance.

Now why wouldn’t you want to do that?

Perhaps you have a reason. Maybe style is what you’re after most of all. A mood. Or maybe you’re writing a grand epic, and want to “set the scene” as it were. But before you abandon the disturbance principle, look at the opening lines from a couple of “big” novels:

The boys came early to the hanging. (The Pillars of the Earth, Ken Follett)

The gale tore at him and he felt its bite deep within and he knew that if they did not make landfall in three days they would all be dead. (Shogun, James Clavell)

I don’t know about you, but that’s enough narrative energy to propel me through the next few pages. If I get a long weather report up top, or two pages on the sunlight over Rio (no matter how beautifully rendered) I will be sorely tempted to put the book down. If you tell me how the character got to the scene, via backstory or flashback, I’m definitely moving on.

But if you indicate there’s a character here facing change or challenge, uncertainty or conflict, I’m going to want to know why. I don’t need to know the background info yet. I’ll wait for that if trouble is brewing.

John LeCarre once said, “The cat sat on the mat is not the opening of a plot. The cat sat on the dog’s mat is.”

Mr. LeCarre has it right. The opening page of a novel has to draw the reader in with an indication of trouble to come.

Do that by disturbing your characters from the very start.

by Michelle Gagnon

Yesterday, Joe discussed knowing where you’re headed before getting started. I received an email from a college friend this week who’s writing his first novel, and he asked me a few questions about my process. I thought I’d share some of what I said in reply. Of course, there is no one “right way” to write a book; everyone has to find his or her own path. But after hammering out four books, I’ve learned what works for me.

1) At what point do you seek formal feedback, rather than just cranking it out?

I don’t show my work to anyone until I’ve completed two drafts. And then I send it to my “Beta readers,” 5-7 people whose opinion I trust. What I’ve discovered, however, is that they’ll all like different aspects of the story, and they’ll all criticize different aspects. I always take that feedback with a grain of salt. If more than one person is saying the same thing, I know it’s time to go back and figure out where I went wrong. (more…)

By James Scott Bell

The opening page of your novel is your big introduction. It’s what an agent will read with most interest, to see if you can write (which is why page 1 is often the first thing read in your proposal. You may have spent 100 hours on a killer synopsis, 50 on an irresistible query, but if the writing itself is not up to snuff, the busy agent can save time by tossing the whole thing aside without reading the rest of the proposal).

Think of it this way. You are at a party and the man or woman of your dreams is across the room. The host offers to introduce you. You walk over. There is great anticipation, even from Dreamboat, who is there to meet people, too. So Dreamboat extends a hand, you take it, and say, “Nice to meet you.”

Only you have a horrendous case of garlic breath. Dreamboat winces, whips out a phone and walks quickly away, muttering, “I have to take this.”

Well, that’s what it’s like for an agent reading your first page. He or she wants to like you, but if you’ve got garlic breath, it’s all over. Bad first impression. See you later. (more…)

by Al Kalar

Keep the action going. I know we’ve discussed this before, but it bears repeating because we still receive manuscripts with “info dumps” scattered throughout the story. Worse, many start out with an info-dump that is the author’s lame attempt to bring the reader up to speed. I’m not referring to recaps of previous books in a series designed to remind the reader of what s/he read six months ago.

Any time you stop the flow of the story to tell the reader something, you risk losing that reader. You yank him out of the story itself. The action stops with an arrow frozen in mid-air while some “off-screen” voice describes the developmental history of the bow and the flight characteristics of various types of arrows. By the time the arrow starts flying again, the reader has forgotten why it was shot and is certainly “sitting in her chair” rather than “swinging a sword on a rain-soaked crag in 10^th century Scotland”. (more…)