Robin Murphy's Blog, page 15
March 25, 2012
Great Post from Jane Friedman’s Blog on Author Platform
Platform is one of the most difficult concepts to explain, partly because everyone defines it a little differently.
But one thing that I know for sure: Editors and agents are attracted to authors who have this thing called “platform.”… http://janefriedman.com/2012/03/13/author-platform-definition/
Great Post from Jane Friedman's Blog on Author Platform
Platform is one of the most difficult concepts to explain, partly because everyone defines it a little differently.
But one thing that I know for sure: Editors and agents are attracted to authors who have this thing called "platform."… http://janefriedman.com/2012/03/13/author-platform-definition/
March 20, 2012
How to Write a Manuscript – 5 Key Tips – Writer’s Digest Post
Getting started on any writing project is always the toughest. For years I talked about turning an idea I had from college into a novel so amazing that Oprah would beg to have me on—probably twice! I had notes for the novel in my head and, once in a blue moon, I’d actually sit down to try to write the damn thing. Only, the most I could ever hammer out was about 2,000 words. Considering most first-time novels fall between 80,000-100,000 words, I think it was safe to say that I was more likely to publish a sneeze than this book. It wasn’t until I got serious about it that I started to make real progress (not on that manuscript, mind you, but on a nonfiction project). I don’t think I would have had any luck writing a manuscript if I hadn’t learned these five tips. I recommend them to anyone who is serious about writing a manuscript or has even toyed with the idea of writing novels. Here they are.
1. Don’t worry about format until you are finished. Details like this only stand in your way from writing a great story. Worry about cooking the meal first before concerning yourself with presentation. You can wait until much, much later to adjust your manuscript and adhere to formatting guidelines. And, when you are ready, read this piece on how to format a manuscript.
2. Set aside 45-60 minutes a day to write your novel. Who are we kidding, we all have super busy lives of driving kids to soccer, caring for sick parents, paying bills, posting witty Facebook status updates (after all, we are writers so our updates are the best), and who knows what else. But the dirty truth is if you can’t carve at least 45 minutes out of your day to dedicate to writing, then you aren’t serious about writing a manuscript. It’s time to take it seriously. If you need extra help, check out 90 Days to Your Novel—it’s a great resource.
3. Outline your novel. Some people are able to freewheel it and write from beginning to end with just a general idea. I find that those people are few and far between. By creating an outline, you not only give your novel or nonfiction book structure, you also give yourself a much needed map. It’s much easier to stick with your goal of writing a manuscript when you have a structure in place. If you’re not sure which is the best outline method for you, check out this piece on how to write an outline. Also, here’s additional advice on how to turn your outline into a first draft.
4. Write the beginning sentence and last sentence to each chapter. Much like a road trip, your goal of each chapter is to get from point A to point B. Write up and plug a first sentence and a last sentence into your Chapter Writing GPS, then watch as it guides you throughout each section of your manuscript. Like any fun trip, the coordinates may change a bit, but by having them you’ll be able to get to where you need to go
5. Have some freaking fun. No one is forcing you to write. You’re doing it because you love creating, informing and inspiring. You love the twists and turns you create out of thin air. You love the challenge of making interesting characters grow and change. (You also secretly love being able to bump people off without the threat of serious jail time). Remember that—even during the most difficult times (like when facing writer’s block or when you realize a scene isn’t working and you need to rewrite it). Just by reading these tips you’ve shown your hand: Writing is in your blood. Enjoy it. Brian Klems
How to Write a Manuscript – 5 Key Tips – Writer's Digest Post
Getting started on any writing project is always the toughest. For years I talked about turning an idea I had from college into a novel so amazing that Oprah would beg to have me on—probably twice! I had notes for the novel in my head and, once in a blue moon, I'd actually sit down to try to write the damn thing. Only, the most I could ever hammer out was about 2,000 words. Considering most first-time novels fall between 80,000-100,000 words, I think it was safe to say that I was more likely to publish a sneeze than this book. It wasn't until I got serious about it that I started to make real progress (not on that manuscript, mind you, but on a nonfiction project). I don't think I would have had any luck writing a manuscript if I hadn't learned these five tips. I recommend them to anyone who is serious about writing a manuscript or has even toyed with the idea of writing novels. Here they are.
1. Don't worry about format until you are finished. Details like this only stand in your way from writing a great story. Worry about cooking the meal first before concerning yourself with presentation. You can wait until much, much later to adjust your manuscript and adhere to formatting guidelines. And, when you are ready, read this piece on how to format a manuscript.
2. Set aside 45-60 minutes a day to write your novel. Who are we kidding, we all have super busy lives of driving kids to soccer, caring for sick parents, paying bills, posting witty Facebook status updates (after all, we are writers so our updates are the best), and who knows what else. But the dirty truth is if you can't carve at least 45 minutes out of your day to dedicate to writing, then you aren't serious about writing a manuscript. It's time to take it seriously. If you need extra help, check out 90 Days to Your Novel—it's a great resource.
3. Outline your novel. Some people are able to freewheel it and write from beginning to end with just a general idea. I find that those people are few and far between. By creating an outline, you not only give your novel or nonfiction book structure, you also give yourself a much needed map. It's much easier to stick with your goal of writing a manuscript when you have a structure in place. If you're not sure which is the best outline method for you, check out this piece on how to write an outline. Also, here's additional advice on how to turn your outline into a first draft.
4. Write the beginning sentence and last sentence to each chapter. Much like a road trip, your goal of each chapter is to get from point A to point B. Write up and plug a first sentence and a last sentence into your Chapter Writing GPS, then watch as it guides you throughout each section of your manuscript. Like any fun trip, the coordinates may change a bit, but by having them you'll be able to get to where you need to go
5. Have some freaking fun. No one is forcing you to write. You're doing it because you love creating, informing and inspiring. You love the twists and turns you create out of thin air. You love the challenge of making interesting characters grow and change. (You also secretly love being able to bump people off without the threat of serious jail time). Remember that—even during the most difficult times (like when facing writer's block or when you realize a scene isn't working and you need to rewrite it). Just by reading these tips you've shown your hand: Writing is in your blood. Enjoy it. Brian Klems
March 14, 2012
Expert Tips on How to Get a Literary Agent & Impress Publishers and Editors – Writer’s Digest
Writers of all levels aspire to see their work published. Whether you are in the process of writing, editing, or submitting your novel or book, you’re on the path to becoming an author. This week’s editor’s pick is the Land an Agent and Get Published premium collection, which consists of a mix of books, OnDemand webinars, and critiques to guide you through the publishing process. Here’s a quick overview of what this special collection includes.
Search For a Literary Agent and Publishing Editor For Your Work
One of the biggest mistakes writers make is by sending a query to the wrong literary agent or publishing editor. Knowing who to submit your work to is essential, which is what you will learn in this OnDemand webinar hosted by Scott Eagan. He teaches you how to effectively search for a literary agent or publisher who is right for your work and how to showcase your writing in a pitch–giving you the best chance of success.
Secrets to How to Land a Literary Agent
This OnDemand Webinar with guest speaker Chuck Sambuchino, editor of the best selling book Guide to Literary Agents, goes through the process of how to land a literary agent, including researching your niche market, initiating contact with book editors and agents, and writing a query letter. He teaches you insider secrets to what agents look for from writers, and shares some of the best websites and resources about literary agents.
2nd Draft Writing Critique Service: The Best Way to Improve
Nothing is worse than sending in your query letter before you have perfected it. As they say, you only get one chance to make an impression on an agent or editor, so make it your best by taking advantage of our 2nd Draft Critique Service. You’ll receive detailed feedback and writing advice on a one page query letter from our critique editors. Pay attention to their suggestions and revise your query letter accordingly. We’ve also included the Writer’s Digest Guide to Query Letters book to help you write your best letter. Once your query letter is at its best, free of grammar or spelling errors, you can send it out to a literary agent or book editor.
Get Publishing Savvy: How to Find a Literary Agent
Writers both new and old often wonder how to find a literary agent for their novel or book. You will learn the answers to this question and other related ones from How Do I Find an Agent?, edited by Jane Friedman, a published author and former publisher for Writer’s Digest. Learn valuable writing advice to find the right agent for you and take the next steps to contacting publishing agents and perfecting your query letter.
An Expert’s Guide to Literary Agents
Every writer aspires to get a book deal. Chances are you might not know the ways to accomplish this, which is why we recommend the 2012 Guide to Literary Agents. This new edition includes updated contact information for thousands of literary agents in every genre and guides you on how to find a literary agent. Plus, you’ll have access to writing advice from the industry’s top literary agents and articles on writing a query letter, composing a book proposal, how to write a novel synopsis, and more.
An Inside Look at Publishing & How to Get a Literary Agent
The WD Editors take you inside the publishing industry in this bestselling digital issue. Read about what an book publishing agent does, how to publish a book, 10 tips for polishing your manuscript before submitting it to agents, the best hooks for a story, and about self-publishing. The issue features literary reps who are accepting new work, and success stories from published authors. Plus, you’ll learn ways to get your foot in the door, how to get a literary agent, hear from some of the industry’s leading agents, and tips on the submission process.
Noteworthy Tips on What Publishers and Editors Look For
Every writer wants to know what publishers and editors look for. After all, getting your work rejected is not fun. This OnDemand webinar with literary agent Rachelle Gardner is great for fiction and nonfiction writers who are either writing a book or developing a book proposal. She speaks extensively about how book publishers evaluate potential books with a detailed approach and suggests ways for writers to review their own writing. As an added bonus, we have also included a digital download of exclusive interviews with literary agents who give their take on the publishing industry, ways to get your work seen, and more.
Expert Tips on How to Get a Literary Agent & Impress Publishers and Editors – Writer's Digest
Writers of all levels aspire to see their work published. Whether you are in the process of writing, editing, or submitting your novel or book, you're on the path to becoming an author. This week's editor's pick is the Land an Agent and Get Published premium collection, which consists of a mix of books, OnDemand webinars, and critiques to guide you through the publishing process. Here's a quick overview of what this special collection includes.
Search For a Literary Agent and Publishing Editor For Your Work
One of the biggest mistakes writers make is by sending a query to the wrong literary agent or publishing editor. Knowing who to submit your work to is essential, which is what you will learn in this OnDemand webinar hosted by Scott Eagan. He teaches you how to effectively search for a literary agent or publisher who is right for your work and how to showcase your writing in a pitch–giving you the best chance of success.
Secrets to How to Land a Literary Agent
This OnDemand Webinar with guest speaker Chuck Sambuchino, editor of the best selling book Guide to Literary Agents, goes through the process of how to land a literary agent, including researching your niche market, initiating contact with book editors and agents, and writing a query letter. He teaches you insider secrets to what agents look for from writers, and shares some of the best websites and resources about literary agents.
2nd Draft Writing Critique Service: The Best Way to Improve
Nothing is worse than sending in your query letter before you have perfected it. As they say, you only get one chance to make an impression on an agent or editor, so make it your best by taking advantage of our 2nd Draft Critique Service. You'll receive detailed feedback and writing advice on a one page query letter from our critique editors. Pay attention to their suggestions and revise your query letter accordingly. We've also included the Writer's Digest Guide to Query Letters book to help you write your best letter. Once your query letter is at its best, free of grammar or spelling errors, you can send it out to a literary agent or book editor.
Get Publishing Savvy: How to Find a Literary Agent
Writers both new and old often wonder how to find a literary agent for their novel or book. You will learn the answers to this question and other related ones from How Do I Find an Agent?, edited by Jane Friedman, a published author and former publisher for Writer's Digest. Learn valuable writing advice to find the right agent for you and take the next steps to contacting publishing agents and perfecting your query letter.
An Expert's Guide to Literary Agents
Every writer aspires to get a book deal. Chances are you might not know the ways to accomplish this, which is why we recommend the 2012 Guide to Literary Agents. This new edition includes updated contact information for thousands of literary agents in every genre and guides you on how to find a literary agent. Plus, you'll have access to writing advice from the industry's top literary agents and articles on writing a query letter, composing a book proposal, how to write a novel synopsis, and more.
An Inside Look at Publishing & How to Get a Literary Agent
The WD Editors take you inside the publishing industry in this bestselling digital issue. Read about what an book publishing agent does, how to publish a book, 10 tips for polishing your manuscript before submitting it to agents, the best hooks for a story, and about self-publishing. The issue features literary reps who are accepting new work, and success stories from published authors. Plus, you'll learn ways to get your foot in the door, how to get a literary agent, hear from some of the industry's leading agents, and tips on the submission process.
Noteworthy Tips on What Publishers and Editors Look For
Every writer wants to know what publishers and editors look for. After all, getting your work rejected is not fun. This OnDemand webinar with literary agent Rachelle Gardner is great for fiction and nonfiction writers who are either writing a book or developing a book proposal. She speaks extensively about how book publishers evaluate potential books with a detailed approach and suggests ways for writers to review their own writing. As an added bonus, we have also included a digital download of exclusive interviews with literary agents who give their take on the publishing industry, ways to get your work seen, and more.
February 27, 2012
5 Simple Steps on Creating Suspense in Fiction – Info from Writer’s Digest
To keep the readers’ attention through the long midsection of your book, you’ll need to continually develop the conflict and advance the plot in logical steps without making the story predictable. What keeps readers turning pages is suspense, which you can create using a variety of techniques, including tension, pacing and foreshadowing.
The suspense we’re discussing here doesn’t necessarily involve the characters being in peril; it’s created whenever there’s something the reader wants to know. Will Joe kiss Brenda? Will Sally give in to Brad’s demand that she work for him? Will Jared answer Katherine’s question or dodge it?
Whenever you cause readers to be curious about what comes next, you’re creating suspense in writing. Suspense arises naturally from good writing—it’s not a spice to be added separately.
In fiction, you create suspense by withholding information, and the best type of information to withhold is often the backstory. You, as the author, can create suspense in three main ways:
By withholding information from readers. As the author, you know the entire hidden story behind the plot and characters: the backstory and the plot twists that are yet to come. You might be tempted to spill out the backstory and hidden story right away, but most stories are improved when at least some of that information is held back—sometimes up to the very end.
By withholding information from the main characters. This is the Hitchcock effect—so called because Alfred Hitchcock was a master of it in his films. By reading between the lines and applying common sense and experience, the readers (like Hitchcock’s movie audience) can draw conclusions about what’s likely to be coming up. But, like the movie audience, the readers are powerless to prevent a character from stepping into a yawning trap that only readers can foresee.
By having the characters withhold information from the readers—and from one another. Just because a character knows something doesn’t mean he has to share it (even if he’s a POV character). And even hidden motives will affect how a character acts, cluing in alert readers to what’s really going on.
When you’re writing scenes in which suspense is crucial, you also need to know what to avoid. Keep in mind that putting too much backstory early in the book, or using too much introspection to divulge information about your characters, is a great way to bore the readers and destroy any suspense you may have established.
There are, however, five simple steps you can take to increase the level of suspense in your scenes.
Keep the action intense.
If significant amounts of time go by without suspenseful action—which is often most powerfully motivated by backstory—the story loses momentum and readers lose interest.
Make the danger feel real.
If the hero and heroine stop in the middle of a chase to share a passionate interlude while trusting dumb luck to keep them from being discovered, it’s going to be hard to convince readers that they have reason to be fearful. If readers are to believe the danger, then the characters must act as if they’re threatened. Even if the danger isn’t physical, keep pressure on the characters. Don’t stop for backstory; weave it in.
Keep the emotion high.
Even if the story doesn’t involve physical danger for the characters, their lifelong happiness is at stake. Keeping emotions at the core of the story reminds readers how important the situation is.
Repeat an action, phrase or event.
The first use of the action or line of dialogue may be almost casual, doing little more than getting the readers’ attention. The second use makes it clear that this bit of information is important (though readers may not quite see why) and foreshadows the important action to come. The third use is the most emphatic: The stakes have grown enormous since the backstory first laid the groundwork, and the readers, having been properly prepared, are on the edge of their seats waiting to see what will happen.
Hide what characters are thinking.
If the heroine assesses the hero’s clenched jaw and assumes he’s mad at her, and then you show him thinking about his aching molar, the heroine doesn’t know she’s wrong, but readers do—and all the suspense is gone from the scene. In this example from Claire Cross’ novel Double Trouble, we see the heroine drawing conclusions about the hero based on his backstory, but we have no idea whether or not she’s correct:
I never could figure out why he married my sister. Unless a wife and kids were necessary accessories for the lawyer-destined-for-Great-Things—and she was as good a choice as any. They never seemed to have much in common, but maybe it was something basic between them. Like lust. Marcia used to be quite a looker, and I say that with the undue modesty of an identical twin.
Tonight, James looked surprisingly haggard and annoyed for a man made of granite, and as I mentioned, that expression didn’t improve when he saw me.
“What the hell are you doing here?”
Oooh, a vulgarity. Of course, the strumpet sister had invaded the last bastion of propriety in the Free World. That, at least, conformed to our usual script. His job was to make sure I didn’t feel welcome enough to hang around too long and taint the precious boys. I knew my lines by heart.
Too bad I hadn’t worn something really skimpy, just to tick him off. I slouched harder, knowing that perfect posture was a household holy grail. “You should be more gracious to the one doing your dirty work.”
The man glowered at me. “What are you talking about?”
“Your kids called me from the pool when no one picked them up.”
James flicked a glance up the stairs, some parental part of him clearly reassured by the ruckus coming from the bathroom. “Where’s Marcia?”
“Where were you? Takes two for the fun part. Why should one be left with all the work after that?”
What’s going on with James? We don’t know why he’s haggard and annoyed. We know what conclusions the heroine has drawn—but is she correct? Why does the heroine have a reputation as the strumpet sister? Why are these two in so much conflict that they have a “usual script” for their interactions?
We will have to turn the page and go on if we want to find out.
5 Simple Steps on Creating Suspense in Fiction – Info from Writer's Digest
To keep the readers' attention through the long midsection of your book, you'll need to continually develop the conflict and advance the plot in logical steps without making the story predictable. What keeps readers turning pages is suspense, which you can create using a variety of techniques, including tension, pacing and foreshadowing.
The suspense we're discussing here doesn't necessarily involve the characters being in peril; it's created whenever there's something the reader wants to know. Will Joe kiss Brenda? Will Sally give in to Brad's demand that she work for him? Will Jared answer Katherine's question or dodge it?
Whenever you cause readers to be curious about what comes next, you're creating suspense in writing. Suspense arises naturally from good writing—it's not a spice to be added separately.
In fiction, you create suspense by withholding information, and the best type of information to withhold is often the backstory. You, as the author, can create suspense in three main ways:
By withholding information from readers. As the author, you know the entire hidden story behind the plot and characters: the backstory and the plot twists that are yet to come. You might be tempted to spill out the backstory and hidden story right away, but most stories are improved when at least some of that information is held back—sometimes up to the very end.
By withholding information from the main characters. This is the Hitchcock effect—so called because Alfred Hitchcock was a master of it in his films. By reading between the lines and applying common sense and experience, the readers (like Hitchcock's movie audience) can draw conclusions about what's likely to be coming up. But, like the movie audience, the readers are powerless to prevent a character from stepping into a yawning trap that only readers can foresee.
By having the characters withhold information from the readers—and from one another. Just because a character knows something doesn't mean he has to share it (even if he's a POV character). And even hidden motives will affect how a character acts, cluing in alert readers to what's really going on.
When you're writing scenes in which suspense is crucial, you also need to know what to avoid. Keep in mind that putting too much backstory early in the book, or using too much introspection to divulge information about your characters, is a great way to bore the readers and destroy any suspense you may have established.
There are, however, five simple steps you can take to increase the level of suspense in your scenes.
Keep the action intense.
If significant amounts of time go by without suspenseful action—which is often most powerfully motivated by backstory—the story loses momentum and readers lose interest.
Make the danger feel real.
If the hero and heroine stop in the middle of a chase to share a passionate interlude while trusting dumb luck to keep them from being discovered, it's going to be hard to convince readers that they have reason to be fearful. If readers are to believe the danger, then the characters must act as if they're threatened. Even if the danger isn't physical, keep pressure on the characters. Don't stop for backstory; weave it in.
Keep the emotion high.
Even if the story doesn't involve physical danger for the characters, their lifelong happiness is at stake. Keeping emotions at the core of the story reminds readers how important the situation is.
Repeat an action, phrase or event.
The first use of the action or line of dialogue may be almost casual, doing little more than getting the readers' attention. The second use makes it clear that this bit of information is important (though readers may not quite see why) and foreshadows the important action to come. The third use is the most emphatic: The stakes have grown enormous since the backstory first laid the groundwork, and the readers, having been properly prepared, are on the edge of their seats waiting to see what will happen.
Hide what characters are thinking.
If the heroine assesses the hero's clenched jaw and assumes he's mad at her, and then you show him thinking about his aching molar, the heroine doesn't know she's wrong, but readers do—and all the suspense is gone from the scene. In this example from Claire Cross' novel Double Trouble, we see the heroine drawing conclusions about the hero based on his backstory, but we have no idea whether or not she's correct:
I never could figure out why he married my sister. Unless a wife and kids were necessary accessories for the lawyer-destined-for-Great-Things—and she was as good a choice as any. They never seemed to have much in common, but maybe it was something basic between them. Like lust. Marcia used to be quite a looker, and I say that with the undue modesty of an identical twin.
Tonight, James looked surprisingly haggard and annoyed for a man made of granite, and as I mentioned, that expression didn't improve when he saw me.
"What the hell are you doing here?"
Oooh, a vulgarity. Of course, the strumpet sister had invaded the last bastion of propriety in the Free World. That, at least, conformed to our usual script. His job was to make sure I didn't feel welcome enough to hang around too long and taint the precious boys. I knew my lines by heart.
Too bad I hadn't worn something really skimpy, just to tick him off. I slouched harder, knowing that perfect posture was a household holy grail. "You should be more gracious to the one doing your dirty work."
The man glowered at me. "What are you talking about?"
"Your kids called me from the pool when no one picked them up."
James flicked a glance up the stairs, some parental part of him clearly reassured by the ruckus coming from the bathroom. "Where's Marcia?"
"Where were you? Takes two for the fun part. Why should one be left with all the work after that?"
What's going on with James? We don't know why he's haggard and annoyed. We know what conclusions the heroine has drawn—but is she correct? Why does the heroine have a reputation as the strumpet sister? Why are these two in so much conflict that they have a "usual script" for their interactions?
We will have to turn the page and go on if we want to find out.
February 16, 2012
6 Tips To Resuscitate a Dying Author Blog – Writer's Digest
Maintaining an Author Blog is no cakewalk…follow this link for some great insightful information: http://www.writersdigest.com/editor-blogs/guide-to-literary-agents/6-tips-to-resuscitate-a-dying-author-blog
January 30, 2012
Writer's Digest Self-Published Book Awards
Here's a great way to win some money and get your self-published book noticed.
http://www.writersdigest.com/competitions/selfpublished
Each year, Writer's Digest honors self-published authors with the Annual Self-Published Book Awards.We're proud to be in our 20th year of spotlighting today's self-published works. This could be your year. Whether you're a professional writer, a part-time freelancer or a self-starting student, here's your chance to enter the only competition exclusively for self-published books.
