How to Get Published

by Victory Crayne

Ah, that sweet spot when you’ve completed the first draft of a new story. In your excitement, you may want to show others your creation. After all, if you had so much fun writing it, it MUST be good, right?

Hold it right there!

First drafts can always use some revisions and, in some cases, SERIOUS rewriting. You wouldn’t want people to read your half-baked draft and think that it is your BEST work, would you? (more…)

by Al Philipson

A good story often involves a number of details. Plots, people, and things that often come together at the end to produce the all-important climax.

Along the way, you’ll include a number of things which may or may not be important to the story. Keeping track of these things over the months it takes to write a novel can be daunting at best and impossible at worst, especially if, like me, you forget things easily (why did I come into this room?). (more…)

by Al Kalar

Good writers get all they can out of a verb.

For instance, when a character moves from one place to another in a scene, he doesn’t “move across the room”. He “plunges”, “saunters”, “minces”, “charges”, “slinks”, etc. across the room.

Let’s look at an example:

Jim moved over to Henry and hit him in the face.

[yawn]

Jim charged Henry and smashed a fist into his face.

So, what happened to Henry?

Henry fell to the floor. His nose was bleeding.

[Wake me when it's over]

Henry crashed to the floor, blood flowing from his mangled nose.

Remember to review your verbs when you edit your own work. Not just action verbs, but any verb. Victims aren’t afraid, they “quake”; their knees shake, their stomachs churn, and their bowls threaten to disgrace them.

Your thesaurus (often built into your word processor) can be a good friend, but your mind and a command of a wide range of verbs are your main weapons.

by Al Kalar

Head Hopping:

You’ve seen it in the writings of even established writers. The scene is being played out from the viewpoint of one character, when suddenly you’re given the internal reaction of another character. Some writers can do this without confusing the reader, but often the reader is left hanging, wondering who’s thinking or feeling something.

“Head hopping” is the result of sloppy writing. New authors (who get rejected because of this) and established writers who have become lazy are the most frequent offenders. The established writer gets away with it because his work will sell in spite of it and his publisher knows this (but still dislikes putting the story out that way). (more…)

by John Bowers

One of the hardest things I face when writing a novel is keeping the story consistent. Writing a book-length story may take from a few weeks to a few months, and you put the story down a few hundred words at a time. Over a period of several weeks, it’s sometimes hard to keep track of what happened earlier, and consistency can suffer.

If you’re writing from a detailed outline it may be easier, but if you’re like me, outlines are too restrictive. When I start a novel I usually have a general idea of what the book is about, three or four high points I want to hit, and a couple of characters. From that starting point, the adventure begins, and I usually don’t end up where I thought I might. But the journey is fantastic-I discover the story as I go, just as the reader does later on.

The problem with writing that way is that things will often happen that I didn’t anticipate. Characters may make decisions on their own (don’ t laugh, this actually happens), and I find myself on a side road heading for a different horizon than the one I had aimed for.

That isn’t always a problem, but when you get into the details, consistency can get lost. (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…)

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…)

by Al Kalar

Paragraphs:

Steinbeck wrote in short, simple, declarative sentences.

John Norman could fill multiple pages with one boring paragraph. Some of his sentences rambled on forever.

Steinbeck won a Pulitzer prize. Norman didn’t.

There are no clear-cut rules as to how long a sentence or paragraph should be. A sentence should cover one thought only. A paragraph should cover one subject only.

If you find yourself using semi-colons (;) instead of periods, you may have a problem. (more…)