Susan Mary Malone's Blog: Happiness is a Story, page 36

AGAINST ALL ODDS

Breaking into Traditional publishing has always been tough. Always. In this day of instant publishing, sometimes we forget that in days of yore, a writer could struggle for years, decades to finally sell that manuscript and become a real book author. Indeed, if that ever happened at all. This road has always been long and perilous, with the vast majority of writers dropping by the wayside, later if not sooner. Monsters and gargoyles and trolls block every single turn, both internally and externally. But then, grasping for the brass ring has humbled the greatest of us to our knees.

And, nothing has changed, really. Although the technology and the business model and all of that have taken off in directions unforeseen when I began in this business, getting Traditionally published is similarly difficult today as it always has been. More so, yes. Due to sinking print sales and burgeoning self-pubbed books, the Traditional market has shrunk some. Lists are tighter. Competition more fierce. As a book editor buddy of mine at a major house is fond of saying, “We’re only publishing existing authors—and preferably if they’re dead.” He says this with a straight face too. And their sales numbers bear it out.

Yet and still, folks are getting Traditionally published every day. So, how do they do it?

Hard work, fortitude, and persistence. Is it that simple? Yes.

The hard-work part comes in up front. It’s tough to write well. It’s really tough. The vast sea of self-pubbed work out there is actually pretty awful. I get complaints from readers every single day: “I can’t find anything decent to read.” And while this has been the case for some time now (don’t get me started on the Bestseller’s List), it’s a million times worse now. Literally. As I’m fond of saying: “Writing really IS rocket science.” And this hard work never ends—you must keep growing and learning and improving as a writer. Mastering book development is a life-long process.

If you don’t have fortitude, you won’t have the persistence to keep at it. I know so, so many writers with talent who finally quit, unable to bear the soul-wrenching rejection time after time, year after year. Yes, humbling. But we all know fifty stories about famous authors who wallpapered their offices with rejections. It really does, in the end, just take one “yes.”

I began working with a new novelist a few years ago, Randy Mitchell, who self-published his novel, Sons in the Clouds. Randy wanted a Traditional contract, but decided to get the book out there, promote it, and see where it went. First he honed his craft, revising and revising. Once the book came out, he’s been relentless, persistent, unbowed by the pressure. Well, okay, so perhaps it has bothered him, but not one time has he whined or complained—he just keep digging in. He got on top of social-media, and kept banging away. And lo and behold, his novel sold to a Traditional house, and will be published in 2013! Great job, Randy!

About ten years ago, I began working with a talented young man (he was just a kid at the time. Okay, so he’s still just a kid to me, at 30!). Kevin Porter had written a good YA novel, and had worked and worked to learn the craft. We never got that one sold, but Kevin kept writing. He wrote a Mid-Grade novel, which is indeed beautifully done. Unfortunately, it has no vampires or werewolves in it. Which of course made his battle a steep uphill one. Did that bother Kevin? All I can say is he never whined or complained. He kept querying and kept sending and built up a social media presence with his blog at The Examiner http://www.examiner.com/writing-in-wa... And also in 2013, his wonderful Mid-Grade novel, Missing, is being published by a Traditional house. Great job, Kevin!

Did it take ten tons of work for both of these talented writers to get published? You bet’cha. Did they succeed, seemingly against all odds? Oh, lordy yes. But the point is, they did it. Never, ever let anyone tell you it can’t be done. You have two great guys right here who say it can.

CREATIVITY AND EDITING

One of the most important aspects of working with a great book developmental editor is an intangible one. Writing is such a solitary endeavor. We strive, sweating blood and tears and losing pounds of proverbial flesh in the process, wondering whether the work is good or awful, great or terrible; should we chunk the whole thing and start over. And while authors need outside eyes regarding the nuts and bolts, the elements of plot and characterization and style, these simply provide the framework for the editing and revision. Great insight comes from seeing not only what works, but also what doesn’t, and quite importantly, why on both. Most vital here is guidance on how to fix the problems.

But all of that said, perhaps the most helpful of all aspects that a good editor provides is an emotional one.

And I don’t mean this in a hand-holding sort of way, although absolutely that must be part of the scenario. We all need encouragement; an outside voice that comes in and says, “Truly, you can do this.” All writers need to know that someone, somewhere, sees the potential of their characters, their story. That’s one of the things that gives you an often much-needed shot in the arm to continue slogging on.

Usually by the time a writer sends me his work, he has exhausted his skill set, or is stuck, or just plain sick of it all, and doesn’t know how to make the book better. The idea of one more revision or even polish, much less attention to book development, makes him consider taking up baccarat instead. “I just can’t look at this one more time,” is a common refrain. And often the thought of another revision once I’m done proves a sticking point to even sending it to me. “You do it,” I hear a lot!

But the oddest thing happens when I send a package home to a writer, including the detailed edit of his book along with an in-depth, comprehensive, and very specific critique. I cannot explain why this happens, but it universally does. And it always makes me smile.

I’ll invariably get a call from a very different person from the hesitant one who originally contacted me. Although the first reaction is usually a sense of being overwhelmed, that quickly passes. Excitement fills her voice, the tempo growing more and more upbeat. “I see what you’re saying! And I could use this suggestion, or what if I did this instead? Would that work?” Glee tinges her voice.

When you work with a true novel editor—one who attends to all aspects and elements of great writing—for whatever reason, creativity gets cracked smooth back open. Inspiration floods the airwaves, and the keyboard. Characters take off in entirely different directions, deepening, expanding, broadening both themselves and the story they’re now impacting. And the writer who was stuck or sick of it all has just flown over the moon.

Writers are so very appreciative of this numinous turn of events. It’s a joy to see. They thank me profusely, but I benefit almost as much. Few things are more gratifying than to hear that excitement in the voice, that quickening of the pulse, and to know—because it always happens—that a new and better writer has been born. And with that, the beginnings of a great book as well.

STRUCTURE AND THE NOVEL: Those Dreaded Sagging Middles

We’ve discussed a good bit about novel’s structure, focusing so far on writing a bang-up opening line, the first fifty pages, and getting through Act One. If you’ve set those up well, then segueing into the middle section proves much easier. Now, your story and characters are progressing nicely, and you’re cookin’!

But what trips up more writers than anything is the middle section. This comprises over half of your book. It’s the meat, where the story and characters deepen. Where you take off on different tangents that all come back, eventually, into the mainstream, the main theme, the raison d’etre. In other words, the middle section of the book will make or break your novel.

What we see most often here is sagging middles. Yep, the book’s setup is great. And it comes to a satisfying conclusion. But the middle is either so jumbled and convoluted, or, more often, very little happens here. The pacing lags, the characters take paths that don’t lead back to the story question, the book’s middle sags, and your reader has just gone off to make a sandwich. Once lured away, he rarely comes back.

So, how to keep this from happening? In a phrase, Plot Points. A lot needs to be going on through this section, so let’s just go over the high points.

The beginning of Act Two transitions our hero from one world to another (no matter in what sort of genre you’re writing). In myth and metaphor, the character would go through an actual gate, often with a guardian in front of it, and have to pass some test to do so. The hero is stepping into the brink of the unknown, and some have to be kicked through it!

In the next stage, she meets tests, allies, and enemies. Here the hero faces little tests, which train her in specific skills. Many have to do with the formation of a group, or allies. The polarity/duality again rises as the hero aligns with one side or another. This is the place where the hero learns about the other world. He’s a freshman here, and learns the idea of grace under pressure.

The next stage has her approaching the heart of the story—the outside conflict mirroring the inside one. Somehow the hero must penetrate this. It will test her defenses. The masks of everyone also shift at this stage. It’s a shifting of power. Sometimes people rise and fall here. It’s also about preparation, reconnaissance, rehearsal, planning. Many doubts and fears arise. The hero braces himself, and calls all resources together.

Because now, we get to the crux. Here the character faces all of the stuff she’s been denying. Her greatest fear. This is the heart of the story, and the most important piece. It’s the borderline between life and death (literally or figuratively–for example, when an addict truly decides to become sober), and puts a different focus on life. The character may even experience a metaphorical death. It’s empowering. The hero is painted into a corner, and has to face what she doesn’t want to face about herself.

And she has to master this, for your book to be satisfying. Which brings us to the next stage–rebirth. This is the reward stage. Metaphorically, the hero finds the sword, and it’s usually broken and is up to the hero to fix it. The sword is symbolic of power. After confronting the most fearful thing though, the hero can now pick up the sword and use it effectively. The story comes to a head–this recalls the point of the story! When the hero gets through the preceding ordeal, many possibilities present themselves. He can turn back, go sideways, forward, etc. But it’s a pause for celebration, and remembering what he’s been through. It’s a feeling of reprising the story just a bit, so your reader can catch up, along with the character. This is often an opportunity for a love scene. She gleans her reward–new insight, intuition, new self-realization, etc.

Act Two ends, and we’re ready to surge into Act Three and the finale.

So, lots to accomplish here! Focusing on all of this, bringing in plot points to keep the story going, will get you through this vast section splendidly—with no sagging middles!

WRITER’S CONFERENCES IN THE BRAVE NEW WORLD

Last weekend I spoke at the first annual Lexicon Writer’s Conference, which promises to be a big player as time goes on. I’m a conference proponent, as I’ve blogged about before. The information is almost always useful, and the networking, a huge boon.

But as the publishing world changes, so too do writers conferences. Yes, they still offer sessions on the nuts-and-bolts of writing, author panels that address experiences, expert sessions on technical issues such as police procedures or poison deaths in mysteries, research for historical novels, etc. The focus is still on writing great and believable books. But a seismic shift has occurred in the “business” angle these days. Because before, the focus regarding that was on agents and publishing-house editors. And now, given equal billing (and sometimes more), that focus is on self-publishing—addressing book printers and book covers and e-book conversions and marketing the finished product. Today, as we’ve seen the e-book revolution turn traditional publishing on its head, writers come looking for not only writing tips, but also entrepreneurial skills and business acumen.

Wow, what a brave new world it really is! We’ve all watched our “revolution” spin publishing in a 180-degree different orbit, in such a very short time. And this was the first conference at which I’ve spoken that has changed direction with it.

While so very many of the old stand-by conferences have shrunk to mere skeletons of themselves, or disappeared entirely, Mitch Haynes, the mastermind behind Lexicon, has formed a new model. And that model was not only successful last weekend, but will be hugely so in the future.

We are in a new world. And as has happened since time immemorial, those who adapt progress. I won’t talk about the dinosaurs regarding everyone else

Another thing that was in stark contrast with this conference was the camaraderie. At so many in the past, writers entered wide-eyed with terror at having to convince agents and editors of their books’ worth. Because, those folks spelled life or death for any writer’s dream. And while I always work with my writers about letting go of that fear (agents and editors are just normal folks, trying to make a living as well), it’s an uphill battle. The thing in most stark contrast for me, however, was that at conferences of old, you could feel the competition between writers, as if there were only a precious few seats at the table (which in reality, there were), and one had to “best” another writer to grab that spot. This isn’t true, of course, as agents and editors just look for something they can sell! But writers felt the pressure nonetheless, and often left feeling jaded and unappreciated.

At Lexicon, the attitude was 180 degrees opposite. The feeling was that everyone was in this insanity together, and I can’t even list all the times I saw folks helping one another, making connections, touting each other. “You’re selling how many books? How’d you do that?” Response, “Let me show you!”

I’ll confess to being a true Pollyanna; I like for us to all get along. But you have to remember I’m a pretty danged jaded editor myself, so when the converse happens, I’m not surprised. However, when the true spirit of cooperation and support occurs, it makes my heart sing.

Writing and publishing have always been such difficult endeavors. And that remains—getting a truly publishable book out there requires copious amounts of blood, sweat, and tears. No way around that. But how fabulous to watch writers finally be on the same team, cheering and helping one another along.

Now, that’s a brave new world I’m proud to be a part of!