Susan Mary Malone's Blog: Happiness is a Story, page 35

DOES QUALITY MATTER IN BOOKS TODAY?

If so, why?

With the seismic shift in publishing these days, and the reality that virtually anyone can publish a book, one of the odd changes has of course been that the gatekeepers no longer exist. I.e., you don’t have to impress agents and publishing-house novel editors to see your book in print. Gone are the days of writers quietly honing their craft, learning the art of great fiction (and non), toiling for years in obscurity, striving for that one “yes” from someone in the industry—someone who can make their dreams come true.

Now, what I hear from a huge majority of new writers is: “I just need someone to proof my book. I’ve already spent a ton of money on the cover, the website, the PR . . .” Book development gets tossed out the window. And the books, of course, are absolutely abysmal.

Does it matter?

Those serious writers, the ones who care about their craft, the ones who still aspire to leap over publishing’s slush pile and be published by traditional houses, or just strive to put out the very best book they possibly can—in any format—know that quality still matters. Yes, we can all point to exceptions. Fifty Shades of them, which has spawned an entire industry (not to mention an entire industry of parody as well). Is that disheartening to serious writers? You bet. But what sells in the marketplace has to do with a plethora of factors, and often isn’t about quality.

So, why on earth does quality matter?

Another odd shift is occurring. Readers are getting fed up. In this day of a vast sea of self-published books (and most readers can’t tell from which venue a book is published), readers are downloading free books and discarding. They tell me this every single day: “I can’t find anything decent to read.” The point of a free download is to build an audience for a writer. If the reader can’t get through the first page before tossing it, that goal just fizzled to a quick death.

Last year, a half a million e-books were published. The estimate for this year is one million. And for next? Fifteen million books. Fifteen million. It boggles the mind! In that huge ocean, how will yours be seen and not drown?

Unless it takes off like a tornado straight from the sky, a book and its author must build the audience—one reader at a time. Well-written books—those from writers who still strive to learn and grow and master the art of fiction (and non)—find some traction, as time goes on. I’ve seen this happen over and over and over again. While the newbies’ books languish and die, the serious authors’ have a long life, building over time. Word of mouth is a slow process, but one that doesn’t stop.

Will you still be writing five, ten years from now? Or have become disgruntled with the whole industry (easy to do)? Those book authors who yearn to write from the depths of their souls, who want not only to publish but also to write the very best they have within them, will still be around. And their books will still be selling.

READING IN GENRE

Does genre fiction possess the merits of, say, Literary fiction?

You’ll get answers across the board. Of course, genre sells hugely. In all the categories and subcategories of Traditional publishing (and self-publishing now as well), loyal readers argue vehemently that what they read tops the charts. Which, of course, genre does. Fantasy of all sorts now holds the top spot (vampires and such having eaten the competition for many years), but Romance still sells, perennially, the most. Although, don’t tell that to Dan Brown! Anyone can manipulate the numbers, but over the years, agents and novel editors know what actually does sell best, and what they need to fill their lists in order to succeed. In fact, the moniker of Mainstream or Literary makes those same professionals’ blood run cold, unless of course the author is already famously successful (and, as a NY editor buddy of mine always says, preferably if they’re dead:).

Many readers tell me they couldn’t get through touted Literary novels—too highbrow, they say. The author is showing off, is another oft-repeated phrase. What the heck was it about? folks ask. Or, why should I work while reading? I want to be entertained.

Of course, the point of a great novel is to entertain. But many readers want more (and have a precious hard time finding that). The devil, as we say, is in the book development.

Full disclosure here: When I read strictly for pleasure, I read Literary. That’s what makes my own heart sing. I want depth and internal conflict and some piece of meaning to this existence. That said, I read widely, and through the genres, as, well, that’s what I do. I keep up with what’s selling to stay abreast of the market. And most times—like many of the folks keep saying—the writing is abysmal. We can all recount a litany of titles off the top of our heads of bestsellers that are cringe worthy. At best. Yet, they sell like cold beer on a hot Texas day.

But sometimes (and when all is perfect), genre accomplishes exactly what Literary does—including that same depth, inherent internal conflicts as well as external ones, providing a clue into the human condition that makes it all worthwhile.

We can all point to many examples as well. One such is J. Nelson Aviance’s Fantasy work, about vampires and werewolves and mages. His recent collection, Three by Moonlight, includes brilliant writing, compelling characters (I’d follow Eyulf the werewolf across eight galaxies), and gripping stories. And this is just a tease for his novel in progress. A young author to watch, Aviance drew me into a genre that, as all who know me can attest, is not something I’d normally pick up for pleasure and insight. But that’s exactly what I found there. And it’s smart—a key ingredient to what I love.

Kevin Don Porter’s Missing is a Mid-Grade Reader, so obviously not something most adults would peruse. But said adults would be missing the boat. This lovely read contains a depth of insights into the human condition that spans generations, while also being laugh-out-loud funny, entertaining, and a gripping Mystery. This young book author not only has a stellar career ahead of him, but is selling well now. Which just warms my heart!

So, is genre fiction as noteworthy as Literary? Mostly not. But exceptions occur all over the place, and to shy away from the different categories is to limit your reading experience. Great books can be found spanning all genres. And of course, that just adds to the riches of reading!

THE 4 TRAITS OF A HERO

With the protagonist being the most important person in your story, a ton is riding on his shoulders. Miss this character and your book flops—no matter how beautiful your voice or compelling your tale. The entire novel development revolves around this person, so she has to have traits that draw us in, for she is the one with whom we sign on to travel the course of the story.

What makes a great hero? It depends of course somewhat upon what you’re writing. Different genres require different traits. If a Romance, I always think of the Bonnie Tyler song:

I need a hero, I’m holding out for a hero ’till the end of the night

He’s gotta be strong and he’s gotta be fast

And he’s gotta be fresh from the fight

If a Thriller, we need someone handsome and capable, or beautiful and bright. The Western hero is strong and fast and noble. In Literary or Mainstream, she’s more real, more fallible, but overcomes her weaknesses to save whatever day in a manner in which we can all relate.

But every main character has things in common. First off, we meet him very early on (page one is best, but if a Prologue is used, Chapter One works fine). This signals to your readers that this person is our guy. If you begin with another, the reader gets confused. And a confused reader will quit your story in a flash. Again, if you’re writing say, a Murder Mystery, where you need to begin with the actual murder, your reader will snap to the fact that the murderer is not our hero (again, exceptions exist where that person is the protagonist, but you know that up front as well). The thing is, even after the murder occurs, we need to meet our hero right after. When you begin with your oh-so-compelling main character, your reader grabs the reins and runs with you right out of the starting gate.

Second, we spend about 75% of our time in her viewpoint. Again, she’s the one readers trust to take them through the novel. She’s the one with whom we want to spend our time. And when we’re away from her with secondary-character viewpoints, we should have a semi-nagging sense of wondering and wanting to get back to what she’s doing. The back and forth of that heightens tension, which quickens the pace and moves the tale along.

Third, the Protagonist has the most effect on the story. If not for him, the grail would not be reached, the wrong righted, etc. Your main character simply cannot be one to whom events happen and someone else saves the day. Rather, he directs the plot, the action, changing and growing as events occur, surely, but then he moves the storyline in another direction as he assimilates the pitfalls and learns from them. If someone else finds the Holy Grail, well, we have a whole different set of problems entirely! In effective book development, the plot influences the characters and then the characters drive the plot. The cycle is never ending, until we indeed reach the finale.

And finally, the Protagonist is the one who grows and changes the most. This story is about her. There’s a reason the book exists, and it’s because this compelling person has drawn us into her tale. We go through the tasks and trials along with her, learning as she does. We feel the same fears, longings, hopes, and dreams. The same embarrassments and failures. And ultimately, the same successes as she finally succeeds, at least somewhat, in her quest, whether that quest is saving the planet from invading aliens or stopping drinking in order to raise a child.

And that’s a lot of the point—this identification. Even if we aren’t hobbits, we feel the weight of vast responsibility on our shoulders to save the world from power that can be used for nefarious means. Even if we’re not private investigators or litigators or addicted doctors for that matter, we feel the fear of what will happen if we don’t find or put away the serial killer, or operate successfully on the dying child.

As a novel editor, the goal I teach of great fiction (and narrative nonfiction as well) is for the book to move us, to entertain us, and to make us feel as though we’re a part of the story. To accomplish that, we need a hero who speaks to us. And in doing so, to feel as if we’ve taped into for that short time, as Abraham Lincoln said, the better angels of our nature.

A WRITER’S BREAK

We all need them. But odd advice, no? When the prescription is usually write, write, write. Read, read, study, learn. Write, write, write.

And nothing is more important than the above, no? But once you’ve finally finished that novel or book-length non-fiction, and hopefully have sent it off to that developmental editor, taking a break from writing follows next.

Working with a true editor takes time. And the very best thing you can do at this point is to forget entirely about that work, and inhale long and deep. And not a drive-around-the-lake kinda breath, or a quick trip to Starbucks. Nope, now’s the time for an extended one; a place for your mind to cool a bit from the frenzy and let the chaotic miasma unravel and come back to rest.

Otherwise—and I promise you this—you’ll maim the baby on the page. This is where writers so often tell me they want to revise the manuscript one more time even though they’re unable to process the words and find themselves doing some version of paragraph one above. But they just can’t let go, can’t back away, are afraid everything is not exactly right and if that’s the case, the writing police will find and cite them for some awful unforgivable infraction. Yep, the root of all this is fear, and fear such as this does not accomplish one good thing.

Writers freak at this extended break! Eight entire weeks? Of not working? And I know I have just sprouted horns in their images of me. But, in a word, yes. Once you’ve devolved to circling your brain with words you don’t remember knowing, that break is mandatory.

I always take this time to just read. You know—all those books and stories you’ve been meaning to get to but haven’t had the time? The perfect antidote for not writing is reading great books. Of course, in my world, that’s pretty much the perfect antidote for everything up to and including a nuclear holocaust, but that’s another story!

Or see all those friends/family who’ve been wondering if you still exist or have literally become a vampire since you’re never seen in daylight and your skin’s turned ghostly pale. You know—those folks you ostensibly love and who’re now doubting that fact.

In other words, go play. Take a cooking class. Hike Mt. Everest (okay, you’ve ostensibly just done that, so maybe scale back to the Appalachian Trail J Let your creative psyche decompress and heal and remember what joy is. Partake of life and all its abundance again, and feel the gratitude that comes with that. Which is exactly how you dispel the guilt piled on by the demons of writing who crucify you for not working. Being grateful shuts them smooth up

Because when the time comes to dig back into rewrite and revision, when the novel editor sends back your manuscript dripping in red blood, with a critique that reads like a mini-book, you’re going to need your resources. Being fresh, feeling strong, champing again at the bit to dive back into book development will serve you in more ways than I can count.

And the funniest result of your extended time off? When you get back to it, your subconscious creative mind has actually been working all that time, and what bubbles up from there is better, stronger, more wonderful and delightful than you ever thought you could write. Now, that’s something be thankful for.

GETTING ‘THE CALL’

(We’re honored this week to have this post from Kevin Don Porter, whose YA Mystery debut novel, MISSING, will be released in May, 2013!)

It’s the moment nearly every writer hopes for. Dreams of. Works toward. Getting…“The Call.” The call from a literary agent, a “gatekeeper” of the publishing world, which says, “You’re good enough, welcome to the club.” A call that, for many writers, validates years of toil.

When I first tried my hand at fiction about 10 years ago, I knew absolutely nothing—or so I came to realize. Nothing about the craft of writing. Nothing about composing query letters. Nothing about how to properly solicit a literary agent. All I knew was that I wanted to write. I had the desire to tell a good story that would captivate and enlighten readers.

After I finished my first novel, I composed what I thought was a good query letter and mailed off several to literary agents who fit my genre. From the moment my envelope hit the bottom of the mailbox the countdown began. When would it land on someone’s desk? What would they think? Would they love it? Would I be plucked from obscurity and swept into a Cinder-fella whirlwind of success? First the agent, then the six-figure book deal? Publicity, sales, jaunts to Hollywood to pick actors to star in the movie adaptation. I was already on my way.

After days and weeks of agony, because absolutely nothing happens fast in the publishing industry, a thin letter arrived in the mail. One of my return SASEs. This was it. The moment. For a while I just stared at it, wanting to be suspended in the possibility—the chance that my dreams might suddenly come true. Looking at the agency name on the envelope, I tried to remember their submission policy. Did they reply only if interested? Had I sent off sample pages or only a query? I couldn’t remember. My mind raced. Was a thin letter a good sign? Maybe a thicker letter would’ve meant that they were returning my sample pages. They didn’t return sample pages, did they? Maybe this was a request for sample pages? Wouldn’t they have just emailed me for that?

I finally opened the letter, my gaze scanning for words like “intriguing,” “interesting,” and “love.” Instead I found words like “unfortunately” and “pass,” and the phrase that most writers have come to know at some point in their writing life, “writing is a subjective business…” What had happened? Several more form rejections like that would roll in, some the size of little squares and rectangles—apparently my story hadn’t been worth a rejection that was printed on an entire sheet of paper. This wasn’t going to be as easy as I had thought. Success wasn’t going to be an American Idol-style whirlwind.

Instead, success for me unfolded in a gradual process over the course of 10 years. Deciding to work with Developmental Editor Susan Malone was the first, and most important, step in that journey. Susan taught me everything—not only how to find my own voice and how to write characters that leapt from the pages, but about the mechanics of a great story, how to write a query letter, how to interact with literary agents and publishers, and most importantly how to not give up. When I would receive one of her detailed critiques of my stories, I quickly realized that if I really wanted this thing I would have to put in the time and do the work. I read books that Susan referred to me. I read and I continued to write. Over the years, story after story, my writing steadily grew stronger until I finally had a manuscript that showed true promise. One that Susan and I were really excited about.

Although the quality of my stories and query letters had improved drastically so that I could finally be on equal footing with other aspiring authors, I was still at the whim of agents’ tastes and workload. Having a manuscript that didn’t include zombies, vampires, or faeries, and wasn’t considered steampunk or dystopian sure didn’t win me any cool points either. But, instead of form rejections from agents, I began to get several requests for sample pages and full manuscripts—two, sometimes three agents at a time would be reading my work and loving it. Once again, I was on my way. But they all turned out to be close calls. Many agents didn’t feel that they had the right connections to be able to sell the book. Discouraged, I grew wary of the process and wondered if it was time to call it quits for the novel.

But all it takes is one “yes.”

One day a letter had arrived at my dad’s home—where I often sent my mail. When he handed it to me I froze. I had forgotten I had even sent it off. It had to have been mailed six months ago. Another thin letter. I hadn’t had good experiences with thin letters—the memories of rejection came pouring in. When I finally opened it I scanned for the negative buzz words, but didn’t find any. I would actually have to read through to learn my fate. Seconds in, I began to think it was just a courtesy letter offering feedback on my manuscript. How nice. But the last line caught my eye, “…your manuscript can be our Spring release.”

A publisher—an industry gatekeeper—had given me a “yes.” Instead of “The Call” I had gotten “The Letter.” My debut YA mystery novel, MISSING, will be released by the Artists’ Orchard on May 7.

It takes a whole lot of writing, a whole lot of faith and perseverance, and just one thin “yes!”

SHOW, DON’T TELL, by Randy Mitchell

(This week we have a guest post by Novelist Randy Mitchell, whose beautiful Romance, SONS IN THE CLOUDS, will be published this year by TJT Designs and Publications, 2013.)

The title above contains some of the most valuable words in the English language, and in the world of creative writing, they’re probably the most effective ones an author will ever use.

To an unknown writer like myself, I was virtually lost while attempting to craft my first manuscript. I had a story and characters in mind, scenery where dramatic action and conversations would happen, along with various feelings, sensations, passions, and other crazy emotions I wanted the reader to experience. In my mind, I knew what the story would look like, say, on television or up on the silver screen. It had already played out before me after lots of time and thought. I wanted to tell the tale, and so I began. What happened over the next few months, and years, was like getting a PhD in learning to make the reader feel and believe the words I was creating.

I began typing one evening, not knowing if what I was creating would turn to mush or literary gold. The words came, the pages started turning, and the story began taking shape. First fifty pages, then a hundred. Then, months later, over four hundred before I felt as though I’d finished my dreamed-up storyline.

I didn’t really know what to do next, so I drove to the local book store and purchased a popular book on getting published. As I skimmed the chapters the same advice kept coming across: never ever submit anything to anyone in the literary community unless your work is polished, finished, and well-edited by a professional editor. And not just any editor either, a developmental editor, one who does far more than crossing the T’s and doting the I’s. One who’s capable of taking the naked bones of a story and help craft, shape, mold, and sculpt it into all it can be. One who isn’t afraid to express criticism, point out flaws, and draw through whole pages of non-relevant text with a fierce, bright-red pen. And in my case, one who’s willing to teach a beginner the elusive concepts of great storytelling. My editor showed me that giving a book a shot at getting published involved lots of pain, work, and determination. That it wasn’t easy. That it was going to require plenty of patience on my part for the reader to actually see and imagine what I did while writing the story.

The books we all buy, read, and love weren’t created by just one person, they rarely ever are. Rather, most are produced by both, authors and their editors. It’s always a collaborative effort, hopefully drawing out the best from more than one creative mind.

Much has been written about the Author/Editor relationship. I’ve read that many can be temperamental, combative, argumentative, and confrontational. After all, when creativity is the name of the game, many believe that their way is the best way, or the desolate highway. Most editors are writers themselves, and many writers think their words are gospel, and not open to interpretation. But for those attempting to go it alone in the super-competitive literary world we live in, electing to self-edit can be a costly mistake.

Speaking from my limited experience, I’ve been lucky, and I couldn’t have finished my first novel without my editor’s talents. When I first handed over the four hundred plus pages, I didn’t know what to expect. All I knew was I wanted to make it the best it could be, and prepare it well for the agents and publishers I was about to query. I’m the type to never do anything halfway when it comes to projects, so having a true professional dissect my work, for better or worse, agreed with my way of thinking.

Initially, my editor took the rough stack of pages and let me know it’d be a while before hearing from her. During the days and weeks afterward, my mind began to wonder; is she laughing while reading my pathetic dribble, is her pen running low on ink correcting the mistakes, is this the worst she’s ever seen, is she going to call and say, “Don’t quit your day job, buddy!” while snickering and rolling atop the floor? Thankfully, for my sanity, none of that happened.

After her initial read she wrote and said she could help, that the manuscript was workable, but not without numerous corrections to be made. Then later, it came back. At first, I was amazed at what she found. It wasn’t just basic typos and spelling corrections that were needed. It was a whole range of things including storyline flow, character development, and overall tightening of the text. But the biggest item brought to my attention: Learning to show the story instead of telling the story, and keeping my omnipresent voice out of the equation.

When you think of doing anything in a creative field always imagine the support that’s required. The actor needs his directors, the athlete his coaches, the musician his songwriters, and the writer, his editors. Very few have the talent to go it alone unless your last name is Hemingway, Picasso, Jordan, or Jackson. And even they had someone either sitting in the bleachers or standing behind the scenes giving them needed support.

My Writer/Editor relationship has continued since the beginning, even helping to support me through social media, answering questions, and counseling me when a traditional publisher finally called. I consider her a great friend and mentor, the type all writers need throughout their careers. Personally, I’m looking forward to opening the creative veins and letting the blood flow onto the pages one more time, together.

A big, “Thank You” to Author/Editor, Susan Mary Malone for her invitation to guest blog this month. Her advice, expertise, and knowledge have been invaluable to me, and other aspiring and established authors.

3 VITAL TIPS FOR E-BOOK CONVERSION

Everyone who knows me would hoot about me writing about technology. Being your basic neo-Luddite, I’m lucky to get my Word program going without glitches! But one of the wonderful things about being in this business so long, is knowing exactly who to call in for help.

Doris Booth, CEO of Authorlink, constantly stays on the cutting edge of technology, and specifically, technology that applies to books of all sorts. While we were both speaking at the Harriett Austin Writer’s Conference at the University of Georgia, I had the pleasure of attending her session on e-book conversions. Most of it of course was like Russian to me, but a few points really caught my attention. So I contacted her again to get the scoop of what writers truly need to know before diving into that vast sea.

First off, do be ready for a ton of work. “E-book publishing is a highly complex process,” Ms. Booth said, “so when you go in, be patient. There’s a lot of proofing at every step—including the actual conversion itself. The flow isn’t stable, the process itself isn’t stable.”

Yikes, I thought. I’d run up against this issue years ago, with a traditional publisher that actually scanned a manuscript to its printer. Boy, was that a nightmare of catching “be” that should have been “he,” etc. Apparently, this process is worse when doing e-book conversions.

“For example,” Ms. Booth continued, “hyphens can appear in the middle of a sentence because of the flow. You just have to proof and proof and proof some more.”

Okay, so you have this part done. Then comes the issue of metadata, which is the longer description of the book. “Again, getting this right is extremely complex and critical—it will determine whether your book is ever seen,” Ms Booth said. “If it’s not done correctly, your book will have less visibility.”

Personally, I don’t even want to know what metadata is (even if I could comprehend it!). Those kinds of terms give me the hives. But back to issues number one and two.

“To get the conversion done correctly and the metadata targeted specifically to your book, truly does take a professional conversion company—not one of the do-it-yourself conversion tools, which usually don’t work.”

My only experience with this is through many of my writers, who have self-published via e-book, and the nightmares they’ve faced. Of course, since they, too, are speaking Russian (and not the Dostoyevsky kind, which I actually love), I cannot convey exactly what those nightmares were. But I do know the results—books drowning in that vast sea of 400,000 e-books published just last year!

“Finally,” Ms Booth said, “you can have parts one and two, and your book still not go anywhere without good marketing. You need to have your marketing going six months to one year before you publish.”

Some things about this business never change, even as the technology does. Writing a good book in the first place (my bailiwick!), fashioning a marketing plan—the backbone of success before tackling the technological age!

5 THINGS THAT MAKE A BOOK COMPELLING

It’s funny what draws us to a book. But even those we wait for with great anticipation often disappoint. More to the point is what causes one to take hold of us, to think about long after turning the final page. The characters, the story, the voice; that unique something, which grabs us and won’t let go.

Editors are notoriously jaded. We read, after all, tons of manuscripts and stories. A good buddy who’s a VP at Kensington, and one of the most irreverent people I’ve ever met (and who will remain nameless here so he doesn’t shoot me , confessed that he cried watching Titanic in the theater. It still gives me a chuckle today. Although a softy at heart, it literally takes the Earth moving for a story to get to him.

And as a novel editor, I understand entirely. You can’t read as much as we do and be moved all the time or we wouldn’t get anything done! And yes, the old, “Ya gotta grab ‘em on page one,” applies. The hook is vital. Editors know on the first page whether this is for them. The company line is that they read the first fifty pages. In some parallel universe! That’s why writers come to me daily, saying that they’ve received rejection after rejection that says, “This just wasn’t compelling enough for me.” Agents mean that literally.

Yet and still, stories grab us for so many reasons. And often, they don’t fit any sort of mold.

I’m a big John Nichols fan. If nothing else (and there’s always a boatload else), I know I’m gonna laugh myself off the chair. On Top of Spoon Mountain, his latest, had me rolling. And it’s not a funny premise—an aging, infirm man who’s as dysfunctional as they come, the fruit of that bearing out with his grown children and disastrous romantic relationships, simply must climb the mountain of his youth (preferably with said children in tow) to prove, well, whatever it is aging men must prove, no matter how they couch it in “family.” A slim novel, it’s the antithesis of the book and film that made him famous, The Milagro Beanfield War, which rambled for 800 or so pages and made me laugh on every one of them. The thing about Nichols is that under all the comedy, lies the essence of what makes us people, community, cohabitants of this planet Earth.

I recently finished editing a slender, literary work that just haunts me. Almost all the action occurred in the beginning. A huge crash, actually, seen by the three narrators, none of whom were involved in the event, although each reacted in character. And each stayed in character for the remainder of the story, which was one of quiet desperation for all, leading to the climax that took my breath away. It will haunt you too, once published.

So what it is that “compels” us to get involved in a book? To not put it down?

1. That hook. That thing up front that’s different, unique, too funny not to keep on reading, so poignant without being purple that it grabs us. Done well, the hook doesn’t have to be about major crashes or aliens or the murder of a celebrity, although McCarthy’s The Road, which opens after the Earth burns up, the reason for which isn’t even of great importance, will clutch you by the throat and not let go. Yet, as with all McCarthy’s work, the hook isn’t even what forces you to keep reading.

2. The Voice does. And that term is so nebulous, it’s tough for writers to grasp. Voice isn’t something you’re born with, really. It’s something you hone from years and years and years of learning your craft. Most new writers imitate the authors they love. And that’s actually fine. It’s like trying on different dresses to find those that fit your body best. And you’ll never really sound like the authors you emulate anyway. They’ve already spent those years and decades perfecting that voice. But you can pick out a Conroy, a Nichols, an Atwood, and of course this list could go on from here to eternity.

3. The Story. Well of course, you say, the plot’s the thing! But again, story in novel development isn’t as easy to define as the beginning, middle, and end. What I see most often from new writers is a rambling, sprawling work where the story exists, but it’s buried deep under all the verbiage and didactic opinion. It’s tough, as a writer, especially learning your sea legs, to not let your characters and story be just mouthpieces for your personal opinions. Those will always be there, but that beating-your-reader-over-the-head with how the world should be is the biggest way to turn said reader off. We all have opinions. I’m quite certain the world would be a much better place if I were Queen of Earth. But that doesn’t at all stop me from hearing what others think, seeing life in a different way. And to do that, a writer has to paradoxically put predilections aside, at least as much as possible, and speak to the human condition in an offering, rather than a preaching way.

4. Characters who seem real, but so compelling we want to know them, to bring them into our worlds, if just for the time. Even if they’re evil. They intrigue and interest us. They can exasperate us—but only to a point, especially in a protagonist. They breath from the pages. We want them to succeed (or not! based on the author’s intent). Or we want to rise to their heights.

5. The Human Condition. Across all genres, the best books speak to something within us. The more universal this is, the more a book succeeds (even if the rest of it is pretty much crap!). The biggest bestseller in recent years (spawning its own industry), plugged into women’s dissatisfaction in their love lives. Who knew! LOL. (Okay, so actually, as a developmental editor, I’ve seen this trend rise for well over a decade.) None of the above really mattered—the book hit the hot spot (no pun intended). On the other hand, it’s no quandary why dystopian novels have been all the rage—we live in precarious times.

All of these of course deserve much deeper attention. I’ve written entire articles on tiny points of each one. But in toto, they’re what cause a book to worm its way under the skin and call to us when we put it down. To make me reach the end and say, “I wish I’d written that.” And thank all the writing gods we still have authors who do that!

BOOKS ON WRITING

People ask me all the time to recommend books on writing. I mean, all the time. As they struggle to slog through the ambiguous mud of writing well—and it most certainly feels that way up to a point—they search for ways to make the process easier, or at least help to make some sense of it. The real truth is, you’re pushing water uphill if you want this to fall into some sort of one, two, three scenario. As with all art, the path is winding and circular and includes hills and valleys and the deep recesses of the ocean floor. In other words, the one, two, three of book development doesn’t exist, so go ahead and lay that aside.

I’m not big on how-to books for writers. As a developmental editor, I’ve perused about a zillion of them, and most give you very little real help. They’re pedantic or mundane or sometimes downright scary in their recommendations. Or, they focus on something such as voice, and say everything else isn’t important, which leads to lots of writers using wonderful language with no story to tell. Most of the time, though, they’re just so basic that you’d have already gleaned the information by writing enough in the first place.

Often, these books do teach the basics. The result being that they teach you to write-by-numbers, which is what I see from many writers who have studied them.

All that said, however, good how-to books do exist. I’m a proponent of a very few good books, so what follows is the short and long list.

First off, for understanding language and style, grammar and syntax and sentence structure, Strunk and White’s The Elements of Style can’t be beat. It’s the old standby, which still eclipses all of the subsequent books on the topic, and applies equally well for all forms of writing—fiction, nonfiction, essays, etc.

On the marketing side, if you’re writing nonfiction, you have to have a bang-up proposal (which is quite different from your fiction synopsis). These proposals are their own beasts, and many a wonderful writer has pulled her hair out trying to get it right. Mike Larsen’s How to Write a Book Proposal is the best guide I know, and truly takes away the headache from all of this.

Next, we bring to life novels especially, but narrative nonfiction as well, through the use of scenes. When you break down a chapter, you do so by studying the scenes involved—where they hit, where they missed, what’s flat, what’s beside the point, etc. Jack Bickam’s Scene and Structure does a great job of clearing the page about this. What constitutes a scene? What are the elements involved? How do you get from point A to Point Z, and set up the next point A? Bickam’s book will help you make sense of that.

Noah Lukeman’s The Plot Thickens is more than the title conveys. Yes, it’s a how-to about plot. But it goes much deeper (which is where 99.9% of books concerning plot fail). What Lukeman explains from the get-go is true character development, and how that affects and defines plot. He gives great tips and exercises for asking questions of your characters that make them come alive—which is the point of all good fiction. This book is about story building, from the most basic level to depth instruction, by creating plot through characters. It’s the antithesis of write-by-numbers.

A book that covers the most important aspects of fiction (although it was written for screenplays) is Christopher Vogler’s The Writer’s Journey. It breaks down stories into plot points—why they’re important, how they further the story, where and why pacing lags—by illustrating characters’ journeys through plot. Its mythological structure likens the characters to archetypes, and why the trials and tribulations involved make for great storytelling. I must issue a disclaimer here, however. This is a very sophisticated writing book, and you have to have written a good deal to be able to relate to the discussion. I’ve had lots of writers come back confused from reading it, so I only recommend it once you’ve reached a certain point. Write first. Get critiqued or edited by top-notch book editing services. Study some of the other books. Write some more. Then read this one.

Read Rilke’s Letters to a Young Poet for deciding if you really must undertake this endeavor. Because it is an ordeal. Finding your sea legs is hard, hard work. Unforgiving work. I cannot convey how many writers get back edited books and say, “Man, this looks like work!” It is. Rilke’s book will help you decide whether you’re in this for the long haul, or would be better off learning to fly jet airplanes.

My very favorite writing book ever is Sharon Creech’s Love That Dog. It is about finding your voice (although not at the exclusion of everything else!), which of course cannot be taught. Your voice is your voice—unique to you. It has to be uncovered, but it can be understood on this most basic of levels, which’ll help in the beginning to know what you’re looking for. And later, it’ll remind you why you do what you do. The book is so beautifully done. It’s a kid’s book, actually. Ms. Creech is a Newberry Medal winner. But DO NOT let that stop you. If you are to read one book on writing, let this be it.

Okay, there’s my list. Short. So use these books and they will help. But what will then help the most is for you to do two things: First and foremost, read. Read good books. I’m still amazed at how many writers tell me they don’t read (and it shows in their work). Forget today’s bestsellers. They won’t teach you much. Read instead the best books in your market. Read the classics. Read them all the time. The second thing is to write. Write, read, read, read. Write, read, read, read. That formula’ll work every time.

Now, take up your proverbial pen and write.

INSPIRATION

The New Year always seems to start with new goals, new projects, even resolutions to better ourselves in some way or another. But of course, a few weeks in, many of those fall by the wayside and we’re left in a funk, compounded by feelings of failure for capitulating so soon!

Especially in a creative endeavor such as writing, those little demons can wreak havoc on our psyches. And there is, really, only one antidote to all of that: Inspiration. Elusive at times, but oh-so-joyful when we’re in the midst of her spell.

The word tracks back to mean, literally, in spirit. Those times when our fingers take off on their own, whirling through the keyboard (or pen to paper) and some outside force drives the story, the characters, and we find ourselves in the zone. Everyone knows this feeling. We live for it.

But of course, so much of our time as writers is spent slogging through the muck and the mire, cubby-holed-up in a quiet office somewhere, alone, trying to cajole that dang muse to get us back to the song and dance. As we all know as well, writing is a lonely endeavor. It’s a lot of hard work. From that point of initial inspiration to finishing a manuscript, well, we pretty much all could write a book on what’s required. And sometimes I wonder why I just didn’t take up basket weaving (not that, mind you, I have any knowledge that it’s easier!).

I often think, when in that sort of trudging through the slough of despond, about a little book I read a zillion years ago called Hind’s Feet on High Places. The main character slogs metaphorically and literally through, and every time she’s about to give up, she’s told, “Call the shepherd!” This is a spiritual book, and I’m not here to proselytize for any religion. In fact, I tend to think of the shepherd as that illusive muse called Inspiration.

And when she just won’t seem to come, I’ve learned to submit to the slogging. Yep, to just keep putting one foot in front of the other, to quit putting an emotional value (such as, ‘You can’t write your way out of a paper sack!’ etc.) on the process, and to just write. Of course, often in revision I can easily tell those un-inspired places. Big deal. They can always be rewritten, with renewed vigor, and funny enough, often end up some of the best pieces of all. When Inspiration leaves, I’ve come to trust that she always at some point returns.

I’m mentioning all this now because after two years of that slogging, our new book, WHAT’S WRONG WITH MY FAMILY? And How to Live Your Best Life Anyway came out this week! What fun. And yep, a new book published always causes Inspiration to sing. It makes all the drudgery worth it, all the blood, sweat, tears (and wanting to shake my co-author! LOL) now be viewed with rose-colored glasses. A book!

Of course this gives a shot in the arm for new writing projects as well. But I know, sometime down the road, I’ll again hit a big ocean of mud. When I do, I’ll “feel” my way back to this day, the emotions surging up to propel me into this place of euphoria. And then, once again, Inspiration will sing.