Michelle Hauck's Blog, page 112
March 14, 2014
Short Cuts- When Are They Okay?
In writing you can't take short cuts. You have to learn the rules. Have to spend the time on the research. Have to read your writing again and again to perfect it with edits.
But there is one area where short cuts aren't frowned upon, but encouraged. I'm talking about dialogue!
When creating dialogue to put in the mouths of your characters, you need short cuts. You want your conversations to feel like they could actually be spoken by real people.
You don't want characters to sound unnatural or even worse stiff. (Exception if you're showing the character is stiff and awkward.) There are a couple of obvious tricks to accomplish the natural feel.
Experts recommend doing a little eavesdropping. Listen in on stranger's conversations. Pay attention to your own. What will you notice?
First off, you'll hear that people take short cuts when they speak. People are lazy. Why spell everything out when you can shorten? They leave out words. They use contractions.
Next you'll learn people use slang to make conversations even shorter. Why say a whole phrase when one word covers it all?
And if something is understood between the parties speaking, they're not going to mention it all.
For example these people use reasonably correct grammar:
"Hello. How are you doing?" he asked. "I am good," she said."Do you want to come to the basketball game at our high school this Friday night with me?"She blushed. "That would be fun."
It's very stiff. Very unnatural.
Now here it is again with shortcuts:
"Hey. How's it?" he asked."Good." she said."Wanna go to the game Friday?"She blushed. "Awesome!"
The better people/characters know each other, obviously, the more shortcuts they will take when speaking with each other. Shortcuts can clue the reader in to the depth of a relationship, showing how well characters know each other. You want it to be more formal with strangers, more informal with friends and family.
What kind of game and where it takes place is something understood between them. For it to actually be included in the conversation is to lead or clue the reader. Sometimes it's necessary to throw out clues for the reader. In this case, it might be better to add 'basketball' back into the equation.
"Hey. How's it?" he asked.
"Good." she said.
"Wanna go to the basketball game Friday?"
She blushed. "Awesome!"
An exaggerated example of leading the reader:
Mom says, "Do not forget to pick up the paper and get the mail while we leave you alone and go to Niagara Falls in New York for the whole weekend."I roll my eyes. "Yes, Mom."
Would Mom really have to mention where they are going and for how long? Wouldn't daughter know this fact already? Putting this information in dialogue is a clumsy way to clue the reader.
Here's a different option:
Mom says, "Don't forget to get the mail and the paper while we're gone."I roll my eyes. Did Mom think thieves were going to break in while her parents went to Niagara Falls for one weekend? "Yes, Mom."
Leading in dialogue rarely comes across as natural. It just feels hokey and forced. But if you can manage the same thing by using internal thoughts you can also add voice and attitude to your character. Letting the reader get to know the character and her opinions is a bonus.
So to be short ('cause I feel I know ya'). Take shortcuts in dialogue. Drop words. Use contractions. Use slang. Don't lead.
Have fun.
But there is one area where short cuts aren't frowned upon, but encouraged. I'm talking about dialogue!
When creating dialogue to put in the mouths of your characters, you need short cuts. You want your conversations to feel like they could actually be spoken by real people.
You don't want characters to sound unnatural or even worse stiff. (Exception if you're showing the character is stiff and awkward.) There are a couple of obvious tricks to accomplish the natural feel.
Experts recommend doing a little eavesdropping. Listen in on stranger's conversations. Pay attention to your own. What will you notice?
First off, you'll hear that people take short cuts when they speak. People are lazy. Why spell everything out when you can shorten? They leave out words. They use contractions.
Next you'll learn people use slang to make conversations even shorter. Why say a whole phrase when one word covers it all?
And if something is understood between the parties speaking, they're not going to mention it all.
For example these people use reasonably correct grammar:
"Hello. How are you doing?" he asked. "I am good," she said."Do you want to come to the basketball game at our high school this Friday night with me?"She blushed. "That would be fun."
It's very stiff. Very unnatural.
Now here it is again with shortcuts:
"Hey. How's it?" he asked."Good." she said."Wanna go to the game Friday?"She blushed. "Awesome!"
The better people/characters know each other, obviously, the more shortcuts they will take when speaking with each other. Shortcuts can clue the reader in to the depth of a relationship, showing how well characters know each other. You want it to be more formal with strangers, more informal with friends and family.
What kind of game and where it takes place is something understood between them. For it to actually be included in the conversation is to lead or clue the reader. Sometimes it's necessary to throw out clues for the reader. In this case, it might be better to add 'basketball' back into the equation.
"Hey. How's it?" he asked.
"Good." she said.
"Wanna go to the basketball game Friday?"
She blushed. "Awesome!"
An exaggerated example of leading the reader:
Mom says, "Do not forget to pick up the paper and get the mail while we leave you alone and go to Niagara Falls in New York for the whole weekend."I roll my eyes. "Yes, Mom."
Would Mom really have to mention where they are going and for how long? Wouldn't daughter know this fact already? Putting this information in dialogue is a clumsy way to clue the reader.
Here's a different option:
Mom says, "Don't forget to get the mail and the paper while we're gone."I roll my eyes. Did Mom think thieves were going to break in while her parents went to Niagara Falls for one weekend? "Yes, Mom."
Leading in dialogue rarely comes across as natural. It just feels hokey and forced. But if you can manage the same thing by using internal thoughts you can also add voice and attitude to your character. Letting the reader get to know the character and her opinions is a bonus.
So to be short ('cause I feel I know ya'). Take shortcuts in dialogue. Drop words. Use contractions. Use slang. Don't lead.
Have fun.
March 13, 2014
Query Questions with Cate Hart
Writers have copious amounts of imagination. It's what makes their stories so fantastic. But there's a darker side to so much out of the box thinking. When a writer is in the query trenches, their worries go into overdrive. They start pulling out their hair and imagine every possible disaster.
Here to relieve some of that endless worrying is a new series of posts called Query Questions. I'll ask the questions which prey on every writer's mind, and hopefully take some of the pain out of querying. These are questions that I've seen tossed around on twitter and writing sites like Agent Query Connect. They are the type of questions that you need answers for the real expert--agents!
If you have your own specific query question, please leave it in the comments and it might show up in future editions of Query Questions as I plan to rotate the questions.
I'm really happy to have the newest agent from Corvisiero Literary Agency, Cate Hart! Among other wishes, she is looking for historical in YA, MG and Adult, along with other genres of YA and MG.
Is there a better or worse time of year to query?I won’t say any time is a bad time, but mid-November until the end of the year is going to add length to general response times. Many agents close for the holidays and publishers and editors are either closed or on vacation, too. The first of the year is probably a good time to query. I like to start the year with a sort of clean plate, trying to respond to anything I’m still considering, or finish reading any manuscripts I have.
Does one typo or misplaced comma shoot down the entire query?No. I’m reading for a concise story, for voice, for a hook. I realize typos and stray commas happen.
Do you look at sample pages without fail or only if the query is strong?I pretty much always read the sample pages. I read for two reasons, because sometimes a query can really pique my interest, sound authentic and unique, but the pages fall flat, and vice versa the query might not present the story in a succinct manner but the pages, the voice blows me away.
Do you have an assistant or intern go through your queries first or do you check all of them?We do have interns who read through the queries and make suggestions, but I always read the queries as well.
If the manuscript has a prologue, do you want it included with the sample pages?Oooh, the prologue question. If there is a prologue, yes include it as part of the first five pages. I personally prefer that authors really think about their prologue. So many times I’ve found it’s not needed.
Some agencies mention querying only one agent at a time and some say query only one agent period. How often do you pass a query along to a fellow agent who might be more interested?When I was an intern, I did this several times. If I find a well-written query that just isn’t a fit for me but may be something another agent is looking for, then I will certainly pass it on. Of course we all have grabby hands for amazing writing.
Do you prefer a little personalized chit-chat in a query letter, or would you rather hear about the manuscript? I don’t mind a brief sentence or two of personalization. But the quicker I can get to the query, the quicker I can get to the sample pages.
Most agents have said they don’t care whether the word count/genre sentence comes first or last. But is it a red flag if one component is not included? I do consider it a red flag. I don’t reject based on that, but I do wonder how much thought and work was put into the query letter and into the professional aspect of writing.
Writers hear a lot about limiting the number of named characters in a query. Do you feel keeping named characters to a certain number makes for a clearer query?I do believe it makes the query less confusing. I think no more than two to three characters need to be included, the protagonist, the antagonist, and if appropriate the love interest.
Should writers sweat the title of their book (and character names) or is that something that is often changed by publishers? When I’m reading queries, I’ll admit I am drawn to unique and interesting titles first. So yes, authors should put a fair amount of thought into the title. I will say editors very frequently ask for title changes, and I may suggest a change as well. So, while I do think you should spend time on a title, don’t become fixated because it will most likely change again. I think the same can be true of character names.
How many queries do you receive in a week? How many requests might you make out of those?I just opened to queries, so I’m currently receiving about 20 a day. The good news is, I’m building my clients and will be asking for more requests than an established agent with clients might.
Many agents say they don't care if writers are active online. Could a twitter account or blog presence by a writer tip the scales in getting a request or offer? And do you require writers you sign to start one?I can’t say that having a social media presence would tip the scale toward a request or offer. I’m more interested in the writing. I do follow up on authors’ websites and social media, as I think many agents do, for more of a personality fit. Being active online and in social media can be a great way for authors to network. I don’t require an author to start an online presence, but I’ve seen what interacting online can do and I highly recommend it if done correctly.
Some writers have asked about including links to their blogs or manuscript-related artwork. I’m sure it’s not appropriate to add those links in a query, but are links in an email signature offensive?I’m not bothered by it, and it is helpful to include your website link. Social media links aren’t as necessary.
If a writer makes changes to their manuscript due to feedback should they resend the query or only if material was requested?Hard question, because as an author I’ve done this. But don’t do this! Send only the best version of your manuscript. If you’ve made revisions, I prefer only to be notified if I requested the material, preferably with a nudge after an appropriate time frame.
What bio should an author with no publishing credits include?The best thing to include is affiliations or writing groups, such as a member of RWA or SCBWI, even online writing groups like Romance Divas. This lets me know you’re a member of an organization devoted to helping authors at all stages to become knowledgeable about the business of writing and developing craft.
What does ‘just not right for me’ mean to you?It’s so very is subjective. I have to fall in love with the manuscript. For me, it’s a gut feeling, a story I just can’t let go, constantly thinking about. When something isn’t for me, it means I just didn’t connect with either the characters, or the premise or maybe even the genre. It may be something I can’t put my finger on. The writing could be great and another agent could feel completely different, but for me I didn’t get that gut reaction.
What themes are you sick of seeing?In YA and MG, the main character finding out they are “super humans” (i.e. they have hidden powers, they are the long, lost/secret child of a super species/god, the Chosen One, ect) and have to save the world or a fantasy realm or another planet.
Do you consider yourself a hands-on, editorial type of agent?Yes. My favorite part of reading a good manuscript is finding where as a team we can make it great. Though, being hands-on doesn’t mean that the manuscript you submit isn’t as polished as can be.
What’s the strangest/funniest thing you’ve seen in a query?Someone querying their entire collection of self-published works. Actually, I’ve had a few queries like this.
What three things are at the top of your submission wish list?Middle Grade Mystery, like the Three Investigators. I devoured those books in middle school and still love them. Three boys who had an “office” hidden in the middle of a junkyard with secret entrances. Love it.I’d love to find a YA or NA magical realism, something like Practical Magic where the magic is a part of the character but not the overall plot.And I’d love, love, love an adult romance a la Downton Abbey meets Agatha Christie.I’m really on the hunt for any historical set at the Turn of the Century.
What are some of your favorite movies or books to give us an idea of your tastes? I used to manage a video store; I have so many favorites. Titanic, A&E’s Pride & Prejudice, Pirates of the Caribbean, Star Wars, Breakfast Club, Never Been Kissed.
Favorite Books: Where The Red Fern Grows, Outlander, The Infernal Devices, Harry Potter. And most recently read: ‘Twas The Night After Christmas, Fan Girl, The Girl With The Iron Touch.
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Cate is all about guilty pleasures. She loves salted caramel mochas, Justin Timberlake, Fox’s Sleepy Hollow, and Steampunk. As a native Nashvillian, Cate’s biggest guilty pleasure is watching Nashville.
When she’s reading, Cate looks for character-driven stories, a distinguished voice, and intriguing plots.She loves characters that surprise her, like the pirate with a heart of gold, and plots that keep her guessing until the very last page.
When she’s not reading queries, Cate works with clients to build their platform, works on PR projects to help promote clients’ books, and reads manuscripts with an editorial eye.
Here to relieve some of that endless worrying is a new series of posts called Query Questions. I'll ask the questions which prey on every writer's mind, and hopefully take some of the pain out of querying. These are questions that I've seen tossed around on twitter and writing sites like Agent Query Connect. They are the type of questions that you need answers for the real expert--agents!
If you have your own specific query question, please leave it in the comments and it might show up in future editions of Query Questions as I plan to rotate the questions.
I'm really happy to have the newest agent from Corvisiero Literary Agency, Cate Hart! Among other wishes, she is looking for historical in YA, MG and Adult, along with other genres of YA and MG.
Is there a better or worse time of year to query?I won’t say any time is a bad time, but mid-November until the end of the year is going to add length to general response times. Many agents close for the holidays and publishers and editors are either closed or on vacation, too. The first of the year is probably a good time to query. I like to start the year with a sort of clean plate, trying to respond to anything I’m still considering, or finish reading any manuscripts I have.
Does one typo or misplaced comma shoot down the entire query?No. I’m reading for a concise story, for voice, for a hook. I realize typos and stray commas happen.
Do you look at sample pages without fail or only if the query is strong?I pretty much always read the sample pages. I read for two reasons, because sometimes a query can really pique my interest, sound authentic and unique, but the pages fall flat, and vice versa the query might not present the story in a succinct manner but the pages, the voice blows me away.
Do you have an assistant or intern go through your queries first or do you check all of them?We do have interns who read through the queries and make suggestions, but I always read the queries as well.
If the manuscript has a prologue, do you want it included with the sample pages?Oooh, the prologue question. If there is a prologue, yes include it as part of the first five pages. I personally prefer that authors really think about their prologue. So many times I’ve found it’s not needed.
Some agencies mention querying only one agent at a time and some say query only one agent period. How often do you pass a query along to a fellow agent who might be more interested?When I was an intern, I did this several times. If I find a well-written query that just isn’t a fit for me but may be something another agent is looking for, then I will certainly pass it on. Of course we all have grabby hands for amazing writing.
Do you prefer a little personalized chit-chat in a query letter, or would you rather hear about the manuscript? I don’t mind a brief sentence or two of personalization. But the quicker I can get to the query, the quicker I can get to the sample pages.
Most agents have said they don’t care whether the word count/genre sentence comes first or last. But is it a red flag if one component is not included? I do consider it a red flag. I don’t reject based on that, but I do wonder how much thought and work was put into the query letter and into the professional aspect of writing.
Writers hear a lot about limiting the number of named characters in a query. Do you feel keeping named characters to a certain number makes for a clearer query?I do believe it makes the query less confusing. I think no more than two to three characters need to be included, the protagonist, the antagonist, and if appropriate the love interest.
Should writers sweat the title of their book (and character names) or is that something that is often changed by publishers? When I’m reading queries, I’ll admit I am drawn to unique and interesting titles first. So yes, authors should put a fair amount of thought into the title. I will say editors very frequently ask for title changes, and I may suggest a change as well. So, while I do think you should spend time on a title, don’t become fixated because it will most likely change again. I think the same can be true of character names.
How many queries do you receive in a week? How many requests might you make out of those?I just opened to queries, so I’m currently receiving about 20 a day. The good news is, I’m building my clients and will be asking for more requests than an established agent with clients might.
Many agents say they don't care if writers are active online. Could a twitter account or blog presence by a writer tip the scales in getting a request or offer? And do you require writers you sign to start one?I can’t say that having a social media presence would tip the scale toward a request or offer. I’m more interested in the writing. I do follow up on authors’ websites and social media, as I think many agents do, for more of a personality fit. Being active online and in social media can be a great way for authors to network. I don’t require an author to start an online presence, but I’ve seen what interacting online can do and I highly recommend it if done correctly.
Some writers have asked about including links to their blogs or manuscript-related artwork. I’m sure it’s not appropriate to add those links in a query, but are links in an email signature offensive?I’m not bothered by it, and it is helpful to include your website link. Social media links aren’t as necessary.
If a writer makes changes to their manuscript due to feedback should they resend the query or only if material was requested?Hard question, because as an author I’ve done this. But don’t do this! Send only the best version of your manuscript. If you’ve made revisions, I prefer only to be notified if I requested the material, preferably with a nudge after an appropriate time frame.
What bio should an author with no publishing credits include?The best thing to include is affiliations or writing groups, such as a member of RWA or SCBWI, even online writing groups like Romance Divas. This lets me know you’re a member of an organization devoted to helping authors at all stages to become knowledgeable about the business of writing and developing craft.
What does ‘just not right for me’ mean to you?It’s so very is subjective. I have to fall in love with the manuscript. For me, it’s a gut feeling, a story I just can’t let go, constantly thinking about. When something isn’t for me, it means I just didn’t connect with either the characters, or the premise or maybe even the genre. It may be something I can’t put my finger on. The writing could be great and another agent could feel completely different, but for me I didn’t get that gut reaction.
What themes are you sick of seeing?In YA and MG, the main character finding out they are “super humans” (i.e. they have hidden powers, they are the long, lost/secret child of a super species/god, the Chosen One, ect) and have to save the world or a fantasy realm or another planet.
Do you consider yourself a hands-on, editorial type of agent?Yes. My favorite part of reading a good manuscript is finding where as a team we can make it great. Though, being hands-on doesn’t mean that the manuscript you submit isn’t as polished as can be.
What’s the strangest/funniest thing you’ve seen in a query?Someone querying their entire collection of self-published works. Actually, I’ve had a few queries like this.
What three things are at the top of your submission wish list?Middle Grade Mystery, like the Three Investigators. I devoured those books in middle school and still love them. Three boys who had an “office” hidden in the middle of a junkyard with secret entrances. Love it.I’d love to find a YA or NA magical realism, something like Practical Magic where the magic is a part of the character but not the overall plot.And I’d love, love, love an adult romance a la Downton Abbey meets Agatha Christie.I’m really on the hunt for any historical set at the Turn of the Century.
What are some of your favorite movies or books to give us an idea of your tastes? I used to manage a video store; I have so many favorites. Titanic, A&E’s Pride & Prejudice, Pirates of the Caribbean, Star Wars, Breakfast Club, Never Been Kissed.
Favorite Books: Where The Red Fern Grows, Outlander, The Infernal Devices, Harry Potter. And most recently read: ‘Twas The Night After Christmas, Fan Girl, The Girl With The Iron Touch.
-------------------------------------------------------------------------------
Cate is all about guilty pleasures. She loves salted caramel mochas, Justin Timberlake, Fox’s Sleepy Hollow, and Steampunk. As a native Nashvillian, Cate’s biggest guilty pleasure is watching Nashville.
When she’s reading, Cate looks for character-driven stories, a distinguished voice, and intriguing plots.She loves characters that surprise her, like the pirate with a heart of gold, and plots that keep her guessing until the very last page.
When she’s not reading queries, Cate works with clients to build their platform, works on PR projects to help promote clients’ books, and reads manuscripts with an editorial eye.
March 11, 2014
Getting the Call: Aimee Hyndman
I'm so happy to bring you another story of inspiration and also confirmation that contests do help. Can I get a Whoop Whoop for a former Minion from Nightmare on Query Street--Aimee Hyndman! (See her contest entry here.) Congrats on getting an agent, Aimee, and good luck on submission. I can't wait to read Hour of Mischief!
I've wanted to write a story like this for some time. Mostly because 'How I Got the Call' posts were always really inspiring to me. Every time a rejection got me down, I read a success story and I felt a little better. And I thought maybe, just maybe, I might get to write a post like this someday.
Well, here we are, and as I sit here typing this, I am floating in surreal clouds of happiness.
I was a sophomore in high school when I finished my first book and decided to get it published. Not that I had any knowledge of what publishing entailed. For all I knew, the magic book fairies came by and *poof* a book was made. But, just in case book fairies didn't exist, I plunged into research. I wanted to educate myself before sending my query into the great unknown. I wanted to find the best agents for me, write the best query, and have the very best book. So when I finally sent off my query, I was sure I would get a positive response. After all, I'd done everything, right? I'd done my research and it was going to pay off.
Well, I didn't get any bites. Because no matter how much research I did, my first book really wasn't ready. It belonged to a saturated genre and the pacing wasn't where it needed to be. In the end I got two partial requests in all: one from the slush pile and one from a contest. But both partials were rejected because, honestly, the writing wasn't ready. No matter how many stories I heard about failed manuscripts from other querying writers, I never considered that mine might also fail. I thought I had done everything. I had gone through all the motions. But it didn't matter. I still needed practice. I loved my first book but in the end I set it aside, deciding to work on other projects before I took it back to the editing stage.
I wrote HOUR OF MISCHIEF, the YA Steampunk Fantasy that would eventually be my winning manuscript, for fun in the fall of my senior year of high school. I expanded it off of a short story I had written at a writing camp and planned to expand later on. I started typing and before the month ended, the manuscript stood completed at just over 60,000 words. I edited the novel over the summer, but I hadn't really considered querying it any time soon as I wasn't sure I wanted to jump into the fray again. After all, it was my freshman year of college and I had a lot to focus on, so querying would just cause undue stress and--
Yeah, that lasted about two weeks. And within those two weeks I stumbled across #pitmad, a twitter pitch contest. Without giving myself much time to think about it, I cast my story to the wind. Just like that, I was back in the trenches.
This time, I was met with different results. Agents actually requested partials and fulls, a phenomenon which I hadn't been expecting at all. I mean, HOUR OF MISCHIEF was something I wrote for fun because I liked the characters. I didn't consider the possibility of it being my winning manuscript.
I guess that shows you what I knew.
The surprises continued with one too-good-to-be-true event after another. I entered in the Nightmare on Query Street contest, hosted right here on this blog. Again, I expected nothing. Again I was surprised. Michelle selected me for her group of minions. The contest was better than I'd ever hoped for and I walked away with several requests. And the same weekend I got a full request from another agent with my partial. I didn't even know how to handle myself.
I didn't know it at the time, but my road to an agent started with that weekend. As the end of the year hit and things slowed down, I tried to distract myself from the waiting game with homework and more writing. But a few agents had had my manuscript for longer than their stated response time so I figured I should nudge. I'm so glad I did. The agent who requested my full during the weekend of the contest had never gotten my email. In fact, I had email problems with this same agent, with my initial submission back in the fall. Apparently our emails didn't want her to see my MS. From the get go, this agent was super helpful and communicative. When I nudged her about the full, she told me that her email had eaten it. And, even more excitingly, that she had been thinking about my MS the other day, wondering why she rejected it.
Wait really? Thinking about my manuscript? Really?
I was over the moon as I resent the full MS to her and she promised to get back to me quickly. My mind flip flopped endlessly between 'maybe this is the one' and 'maybe it isn't'. A few weeks later, I woke up to an email asking to schedule a call. Perhaps THE call. I recall rolling out of my bed, crawling over to my roommate's bed and poking her until she woke up so I could scream about it with her. Then I breathed and tried to keep a level head (which worked for two seconds), and emailed back to schedule a time. Then I waited for the call, trying to convince myself that I shouldn't get my hopes up and this was probably a revise and resubmit at best.
I was surprisingly coherent for the call. I didn't black out which I think was a good sign. Not even when she offered me representation, though I came close to swooning at that point. I certainly started belting Let it Go at the top of my lungs as soon as I hung up (As that is the only proper expression of happiness).
In the end, this agent did up being the one. I only received one offer but several congratulatory step asides. And I was fine with that. Because my now agent, Laura Zats of Red Sofa Literary, was the perfect fit for HOUR OF MISCHIEF.
When I look back on my querying process, I realize that ALL of my major success came from contests. Laura found me through #pitmad and most of my partial requests came from Nightmare on Query Street. I got a few bites from the slushpile but not nearly as many as I got from contests. My point is: enter in contests. They help you stand out from the pack and they help you connect with other writers. They're subjective of course (I entered into several contests with HOUR OF MISCHIEF and only got in one/ THANKS MICHELLE!) but they can really pay off. Take a risk and enter. You might find the beginning of your own success story.
And now what everyone wants: Query Stats-
Books queried: 2 Books picked up: 1 Queries Sent: 52 (27 for first book, 25 for second book. I am not a mass querier) Contests Entered: 6 (2 for first book, 4 for second book)Contests Accepted into: 2 (1 for first book, 1 for second book) Partial Requests: 12 (2 from first book, 10 from second book) Full Requests: 4 (0 from first book, 4 from book second book)
Offers of Rep: 1 Offers Accepted: 1
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Aimee picked up a pencil as soon as her toddler fingers could and started writing stories in the underappreciated language of gibberish scribbles when she was four years old. Since then, she has always known she wanted to create, and whether on stage, in video editing software or on a blank word document, she has done just that.
Aimee is currently a freshman at Coe College, attempting a triple major in Creative Writing, English, and Film Studies because, according to friends, she is crazy. She is also an intern to the Kimberley Cameron Agency and enjoys reading the work of other aspiring writers every day. She is now, of course, represented by Laura Zats and crossing her fingers for good things in the future.
Links: On Twitter: @AimeeHyndman On Pintrest: http://www.pinterest.com/AimeeHyndman/ Website: Kallypsowrites.blogspot.com
I've wanted to write a story like this for some time. Mostly because 'How I Got the Call' posts were always really inspiring to me. Every time a rejection got me down, I read a success story and I felt a little better. And I thought maybe, just maybe, I might get to write a post like this someday.
Well, here we are, and as I sit here typing this, I am floating in surreal clouds of happiness.
I was a sophomore in high school when I finished my first book and decided to get it published. Not that I had any knowledge of what publishing entailed. For all I knew, the magic book fairies came by and *poof* a book was made. But, just in case book fairies didn't exist, I plunged into research. I wanted to educate myself before sending my query into the great unknown. I wanted to find the best agents for me, write the best query, and have the very best book. So when I finally sent off my query, I was sure I would get a positive response. After all, I'd done everything, right? I'd done my research and it was going to pay off.
Well, I didn't get any bites. Because no matter how much research I did, my first book really wasn't ready. It belonged to a saturated genre and the pacing wasn't where it needed to be. In the end I got two partial requests in all: one from the slush pile and one from a contest. But both partials were rejected because, honestly, the writing wasn't ready. No matter how many stories I heard about failed manuscripts from other querying writers, I never considered that mine might also fail. I thought I had done everything. I had gone through all the motions. But it didn't matter. I still needed practice. I loved my first book but in the end I set it aside, deciding to work on other projects before I took it back to the editing stage.
I wrote HOUR OF MISCHIEF, the YA Steampunk Fantasy that would eventually be my winning manuscript, for fun in the fall of my senior year of high school. I expanded it off of a short story I had written at a writing camp and planned to expand later on. I started typing and before the month ended, the manuscript stood completed at just over 60,000 words. I edited the novel over the summer, but I hadn't really considered querying it any time soon as I wasn't sure I wanted to jump into the fray again. After all, it was my freshman year of college and I had a lot to focus on, so querying would just cause undue stress and--
Yeah, that lasted about two weeks. And within those two weeks I stumbled across #pitmad, a twitter pitch contest. Without giving myself much time to think about it, I cast my story to the wind. Just like that, I was back in the trenches.
This time, I was met with different results. Agents actually requested partials and fulls, a phenomenon which I hadn't been expecting at all. I mean, HOUR OF MISCHIEF was something I wrote for fun because I liked the characters. I didn't consider the possibility of it being my winning manuscript.
I guess that shows you what I knew.
The surprises continued with one too-good-to-be-true event after another. I entered in the Nightmare on Query Street contest, hosted right here on this blog. Again, I expected nothing. Again I was surprised. Michelle selected me for her group of minions. The contest was better than I'd ever hoped for and I walked away with several requests. And the same weekend I got a full request from another agent with my partial. I didn't even know how to handle myself.
I didn't know it at the time, but my road to an agent started with that weekend. As the end of the year hit and things slowed down, I tried to distract myself from the waiting game with homework and more writing. But a few agents had had my manuscript for longer than their stated response time so I figured I should nudge. I'm so glad I did. The agent who requested my full during the weekend of the contest had never gotten my email. In fact, I had email problems with this same agent, with my initial submission back in the fall. Apparently our emails didn't want her to see my MS. From the get go, this agent was super helpful and communicative. When I nudged her about the full, she told me that her email had eaten it. And, even more excitingly, that she had been thinking about my MS the other day, wondering why she rejected it.
Wait really? Thinking about my manuscript? Really?
I was over the moon as I resent the full MS to her and she promised to get back to me quickly. My mind flip flopped endlessly between 'maybe this is the one' and 'maybe it isn't'. A few weeks later, I woke up to an email asking to schedule a call. Perhaps THE call. I recall rolling out of my bed, crawling over to my roommate's bed and poking her until she woke up so I could scream about it with her. Then I breathed and tried to keep a level head (which worked for two seconds), and emailed back to schedule a time. Then I waited for the call, trying to convince myself that I shouldn't get my hopes up and this was probably a revise and resubmit at best.
I was surprisingly coherent for the call. I didn't black out which I think was a good sign. Not even when she offered me representation, though I came close to swooning at that point. I certainly started belting Let it Go at the top of my lungs as soon as I hung up (As that is the only proper expression of happiness).
In the end, this agent did up being the one. I only received one offer but several congratulatory step asides. And I was fine with that. Because my now agent, Laura Zats of Red Sofa Literary, was the perfect fit for HOUR OF MISCHIEF.
When I look back on my querying process, I realize that ALL of my major success came from contests. Laura found me through #pitmad and most of my partial requests came from Nightmare on Query Street. I got a few bites from the slushpile but not nearly as many as I got from contests. My point is: enter in contests. They help you stand out from the pack and they help you connect with other writers. They're subjective of course (I entered into several contests with HOUR OF MISCHIEF and only got in one/ THANKS MICHELLE!) but they can really pay off. Take a risk and enter. You might find the beginning of your own success story.
And now what everyone wants: Query Stats-
Books queried: 2 Books picked up: 1 Queries Sent: 52 (27 for first book, 25 for second book. I am not a mass querier) Contests Entered: 6 (2 for first book, 4 for second book)Contests Accepted into: 2 (1 for first book, 1 for second book) Partial Requests: 12 (2 from first book, 10 from second book) Full Requests: 4 (0 from first book, 4 from book second book)
Offers of Rep: 1 Offers Accepted: 1
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Aimee picked up a pencil as soon as her toddler fingers could and started writing stories in the underappreciated language of gibberish scribbles when she was four years old. Since then, she has always known she wanted to create, and whether on stage, in video editing software or on a blank word document, she has done just that.
Aimee is currently a freshman at Coe College, attempting a triple major in Creative Writing, English, and Film Studies because, according to friends, she is crazy. She is also an intern to the Kimberley Cameron Agency and enjoys reading the work of other aspiring writers every day. She is now, of course, represented by Laura Zats and crossing her fingers for good things in the future.
Links: On Twitter: @AimeeHyndman On Pintrest: http://www.pinterest.com/AimeeHyndman/ Website: Kallypsowrites.blogspot.com
March 10, 2014
WINTER'S REGRET
To be human is to have regrets, to question decisions, even to doubt our own abilities and capacities. Whether it’s because of a path not taken or a decision made for selfish or – perhaps worse – unselfish reasons, we all have had moments and decisions we regret. We might regret not recognizing an opportunity. In the end, the choices we make help shape our future.
The final anthology in Elephant’s Bookshelf Press’s “Seasons Series,” Winter’s Regret includes stories from P.S. Carrillo, Liz Coley, Sakura Q. Eries, Morgan George, Michelle Hauck, Kelly Heinen, Amanda Hill, Precy Larkins, Robert Wayne McCoy, Mindy McGinnis, A.T. O’Connor, Jeff O’Handley, Paul Parisi, Matt Sinclair, A.M. Supinger, Charlee Vale, and Cat Woods.
The anthology WINTER'S REGRET is now available for purchase. You might recognize some of the authors who contributed. Say for instance ... ME!
You can check out my very short story The Unfinished Task which features a dragon and a girl. Can an untrained, unarmed girl defeat a rampaging dragon?
CreatespaceKindleSmashwordsAmazon
If you're interested in a free Kindle copy in exchange for an honest review, please sign up for my newsletter in the right sidebar. You'll also be entered to receive a query critique from Sarah Negovetich.
March 7, 2014
Published Copy of BLADES OF THE OLD EMPIRE Missing a Chapter
This is a notice to readers that the recently released fantasy book BLADES OF THE OLD EMPIRE is missing chapter 49. To make an unfortunate situation worse, chapter 49 is the end of the book big scene which resolves all the threads.
Needless to say the author, Anna Kashina, is devastated.
If you have purchased a copy please notify the publisher for a free replacement. You can go to the Angry Robot website to see the details.
I'm hoping that everyone else will show Anna how writers ban together in tough situations. Please help spread the word and show your support for BLADES OF THE OLD EMPIRE! You can follow Anna on twitter under @annakashina and hear from her here. Maybe we can make up for some of this accidental misfortune.
Kara is a mercenary - a Diamond warrior, the best of the best, part of the Majat Guild. When her tenure to Prince Kythar comes to an end, he wishes to retain her services, but must accompany her back to her Guild to negotiate her continued protection.
When they arrive they discover that the prince's sworn enemy, the Kaddim, have already paid the Guild to engage her services - to capture and hand over the prince (who she has grown very fond of).
A warrior brought up to respect both duty and honour, what happens when her sworn duty proves dishonourable?
You can find Blade of the Old Empire on Amazon.
March 6, 2014
Valuable Links: Naming Characters
So you need to come up with a name that means sunshine and has African origins. One of the hardest tasks in writing a book can be creating enough names, especially if you have an epic fantasy or a historical fiction on your hands. As the number of side characters goes up, so does the difficulty.
And as writers we are perfectionists. We want not just any name, but the perfect fit of a name. Many times I will have a first letter I want to use but I need a place to go to generate names to go with that letter.
Try this
So give yourself a helping hand and generate a name.
And as writers we are perfectionists. We want not just any name, but the perfect fit of a name. Many times I will have a first letter I want to use but I need a place to go to generate names to go with that letter.
Try this
So give yourself a helping hand and generate a name.
March 5, 2014
Query Questions with Lana Popovic
Writers have copious amounts of imagination. It's what makes their stories so fantastic. But there's a darker side to so much out of the box thinking. When a writer is in the query trenches, their worries go into overdrive. They start pulling out their hair and imagine every possible disaster.
Here to relieve some of that endless worrying is a new series of posts called Query Questions. I'll ask the questions which prey on every writer's mind, and hopefully take some of the pain out of querying. These are questions that I've seen tossed around on twitter and writing sites like Agent Query Connect. They are the type of questions that you need answers for the real expert--agents!
If you have your own specific query question, please leave it in the comments and it might show up in future editions of Query Questions as I plan to rotate the questions.
I'm happy to have a new Query Questions with Lana Popovic of Zachary Shuster Harmsworth.
Is there a better or worse time of year to query?
January and September are so busy for us that I’d recommend not querying during those months, although timing doesn’t make that much of a difference. An excellent query will always get noticed.
Does one typo or misplaced comma shoot down the entire query?
If the rest of the query is fantastic, definitely not. However, consistently wrong usage of commas has always been a pet peeve.
Do you look at sample pages without fail or only if the query is strong?
Our online form doesn’t allow for sample pages, so I only see them if I request a partial. I request partials when I’m intrigued by the premise but not entirely sold, based on the quality of the query, that the writing will be strong.
Do you have an assistant or intern go through your queries first or do you check all of them?
I check all of them myself!
If the manuscript has a prologue, do you want it included with the sample pages?
If I were to have sample pages, definitely yes.
Some agencies mention querying only one agent at a time and some say query only one agent period. How often do you pass a query along to a fellow agent who might be more interested?
My colleagues and I do pass queries on to each other if we think the subject matter is better suited to another agent, although I’ll usually at least look at the manuscript itself first. Even if it’s not my usual speed, if something is exceptional I’ll still want to represent it myself, or possibly offer to co-represent with another agent at ZSH.
Do you prefer a little personalized chit-chat in a query letter, or would you rather hear about the manuscript?
I quite like personalization—it shows me that the writer has done their homework and knows at least a little about me and what I like.
Most agents have said they don’t care whether the word count/genre sentence comes first or last. But is it a red flag if one component is not included?
It definitely strikes me as strange if the genre isn’t included, and I like to have both components in a query. I prefer to see them first, but don’t mind at all if they come last. Also, this is such a small thing but makes a big difference to me: always present your title in all caps. This immediately sends the impression that the writer is professional and knowledgeable when it comes to querying.
Writers hear a lot about limiting the number of named characters in a query. Do you feel keeping named characters to a certain number makes for a clearer query?
Since agents are eternally pressed for time, I always recommend minimizing confusion as much as possible. Three or four named characters are all we need.
Should writers sweat the title of their book (and character names) or is that something that is often changed by publishers?
Both are frequently changed by publishers, but in terms of attracting an agent’s attention, a captivating, beautiful title can certainly make the difference between a request and a pass, so I would definitely recommend spending that extra time work-shopping titles. Also, overly fantastical character names invariably make me grind my teeth.
How many queries do you receive in a week? How many requests might you make out of those?
It varies considerably from week to week. Some weeks I get close to a hundred, and others only ten or fifteen. With that range, it’s tricky to tell how many requests I make, but I’d say I request about 20% of the queries I receive.
Many agents say they don't care if writers are active online. Could a twitter account or blog presence by a writer tip the scales in getting a request or offer? And do you require writers you sign to start one?
I like seeing writers tweeting and blogging, but that’s never been a deciding factor in whether or not I offer representation. I do encourage authors to build up an online presence if this is something that seems like a natural and good fit for them, as publishers do like to see that an author has self-promoting capacity, but it doesn’t sway my decision to sign one way or the other.
Some writers have asked about including links to their blogs or manuscript-related artwork. I’m sure it’s not appropriate to add those links in a query, but are links in an email signature offensive?
Nope, link away! No problem at all.
If a writer makes changes to their manuscript due to feedback should they resend the query or only if material was requested?
I’d say only if the material was requested, unless the changes were so major they would have altered the query itself significantly.
What bio should an author with no publishing credits include?
A very simple one including any other credits—involvement with writer’s groups, education, contest wins—they might have.
What does ‘just not right mean for me’ mean to you?
That one covers a multitude of sins! It can mean anything from me not liking the way the premise was executed, to the voice, character development, and the quality of the writing itself. Unfortunately, like most agents, I don’t have the time to provide personalized feedback on why I’m passing on a project, unless I think it’s really excellent save for one concern too major to be handled by a request to revise and resubmit. And sometimes, “just not right for me” means I didn’t think the writing was exceptional, and this isn’t feedback that any aspiring writer wants to hear.
What themes are you sick of seeing?
Girls with prophetic dreams and girls who wake up on their sixteenth/seventeenth birthday with a magical ability. In general, I would also strongly recommend against starting a manuscript with either a dream or a car accident.
Do you consider yourself a hands-on, editorial type of agent?
Definitely! I go through at least two rounds of edits with all of my clients, and usually more rounds than that. It’s my responsibility to make sure the manuscript isn’t submitted until it’s as gorgeous and perfect as possible.
What’s the strangest/funniest thing you’ve seen in a query?
There are, as you might expect, lots of contenders for that one. But one of my favorites was a writer—also clearly not a native English speaker—who spent a full paragraph extolling the virtues and beauty of my first name. The following query was almost like an afterthought to the Ode to Lana.
What three things are at the top of your submission wish list?
1. A gorgeous contemporary fantasy that draws on Slavic mythology. 2. A YA contemporary or fantasy set in New Orleans. I don’t know why I want this so badly, but there it is. 3. A historical fantasy with romantic/erotic elements that could be likened to Jacqueline Carey’s KUSHIEL’S DART series.
What are some of your favorite movies or books to give us an idea of your tastes?
I love Battlestar Galactica, Supernatural, Orphan Black, BBC America’s Sherlock, Mad Men, Masters of Sex, Shameless, and House of Cards. I adore Dexter and Hannibal in theory, but in practice they give me fierce nightmares, so I can’t ever marathon those. And books, so many! SUNSHINE by Robin McKinley, THE MAGICIANS by Lev Grossman, urban fantasy by Jim Butcher, Richard Kadrey, and Mike Carey, THE NAME OF THE WIND by Patrick Rothfuss, anything by Tana French and Gillian Flynn, and NORTH OF BOSTON by ZSH author Elisabeth Elo.
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Lana holds a B.A. with honors from Yale University, a J.D. from the Boston University School of Law, and an M.A. with highest honors from the Emerson College Publishing and Writing program. She joined Zachary Shuster Harmsworth in 2012, after interning at the Perseus Book Group foreign rights department and the Kneerim & Williams Literary Agency.At ZSH, Lana works closely with authors on a wide range of both fiction and nonfiction projects, and is committed to providing extensive editorial guidance. She is particularly interested in edgy Young Adult and New Adult works, running the gamut from from realistic, gritty novels and exquisitely beautiful, powerful teen voices to contemporary fantasy, crime, and horror. She is also keen to represent literary thrillers, and well-crafted projects for adults in the areas of fantasy, horror, mystery, and dark, unconventional romance. In terms of nonfiction, Lana is looking for fresh perspectives on popular culture and science from bloggers, academics, and journalists.- See more at: http://www.zshliterary.com/lana-popov...
Here to relieve some of that endless worrying is a new series of posts called Query Questions. I'll ask the questions which prey on every writer's mind, and hopefully take some of the pain out of querying. These are questions that I've seen tossed around on twitter and writing sites like Agent Query Connect. They are the type of questions that you need answers for the real expert--agents!
If you have your own specific query question, please leave it in the comments and it might show up in future editions of Query Questions as I plan to rotate the questions.
I'm happy to have a new Query Questions with Lana Popovic of Zachary Shuster Harmsworth.
Is there a better or worse time of year to query?
January and September are so busy for us that I’d recommend not querying during those months, although timing doesn’t make that much of a difference. An excellent query will always get noticed.
Does one typo or misplaced comma shoot down the entire query?
If the rest of the query is fantastic, definitely not. However, consistently wrong usage of commas has always been a pet peeve.
Do you look at sample pages without fail or only if the query is strong?
Our online form doesn’t allow for sample pages, so I only see them if I request a partial. I request partials when I’m intrigued by the premise but not entirely sold, based on the quality of the query, that the writing will be strong.
Do you have an assistant or intern go through your queries first or do you check all of them?
I check all of them myself!
If the manuscript has a prologue, do you want it included with the sample pages?
If I were to have sample pages, definitely yes.
Some agencies mention querying only one agent at a time and some say query only one agent period. How often do you pass a query along to a fellow agent who might be more interested?
My colleagues and I do pass queries on to each other if we think the subject matter is better suited to another agent, although I’ll usually at least look at the manuscript itself first. Even if it’s not my usual speed, if something is exceptional I’ll still want to represent it myself, or possibly offer to co-represent with another agent at ZSH.
Do you prefer a little personalized chit-chat in a query letter, or would you rather hear about the manuscript?
I quite like personalization—it shows me that the writer has done their homework and knows at least a little about me and what I like.
Most agents have said they don’t care whether the word count/genre sentence comes first or last. But is it a red flag if one component is not included?
It definitely strikes me as strange if the genre isn’t included, and I like to have both components in a query. I prefer to see them first, but don’t mind at all if they come last. Also, this is such a small thing but makes a big difference to me: always present your title in all caps. This immediately sends the impression that the writer is professional and knowledgeable when it comes to querying.
Writers hear a lot about limiting the number of named characters in a query. Do you feel keeping named characters to a certain number makes for a clearer query?
Since agents are eternally pressed for time, I always recommend minimizing confusion as much as possible. Three or four named characters are all we need.
Should writers sweat the title of their book (and character names) or is that something that is often changed by publishers?
Both are frequently changed by publishers, but in terms of attracting an agent’s attention, a captivating, beautiful title can certainly make the difference between a request and a pass, so I would definitely recommend spending that extra time work-shopping titles. Also, overly fantastical character names invariably make me grind my teeth.
How many queries do you receive in a week? How many requests might you make out of those?
It varies considerably from week to week. Some weeks I get close to a hundred, and others only ten or fifteen. With that range, it’s tricky to tell how many requests I make, but I’d say I request about 20% of the queries I receive.
Many agents say they don't care if writers are active online. Could a twitter account or blog presence by a writer tip the scales in getting a request or offer? And do you require writers you sign to start one?
I like seeing writers tweeting and blogging, but that’s never been a deciding factor in whether or not I offer representation. I do encourage authors to build up an online presence if this is something that seems like a natural and good fit for them, as publishers do like to see that an author has self-promoting capacity, but it doesn’t sway my decision to sign one way or the other.
Some writers have asked about including links to their blogs or manuscript-related artwork. I’m sure it’s not appropriate to add those links in a query, but are links in an email signature offensive?
Nope, link away! No problem at all.
If a writer makes changes to their manuscript due to feedback should they resend the query or only if material was requested?
I’d say only if the material was requested, unless the changes were so major they would have altered the query itself significantly.
What bio should an author with no publishing credits include?
A very simple one including any other credits—involvement with writer’s groups, education, contest wins—they might have.
What does ‘just not right mean for me’ mean to you?
That one covers a multitude of sins! It can mean anything from me not liking the way the premise was executed, to the voice, character development, and the quality of the writing itself. Unfortunately, like most agents, I don’t have the time to provide personalized feedback on why I’m passing on a project, unless I think it’s really excellent save for one concern too major to be handled by a request to revise and resubmit. And sometimes, “just not right for me” means I didn’t think the writing was exceptional, and this isn’t feedback that any aspiring writer wants to hear.
What themes are you sick of seeing?
Girls with prophetic dreams and girls who wake up on their sixteenth/seventeenth birthday with a magical ability. In general, I would also strongly recommend against starting a manuscript with either a dream or a car accident.
Do you consider yourself a hands-on, editorial type of agent?
Definitely! I go through at least two rounds of edits with all of my clients, and usually more rounds than that. It’s my responsibility to make sure the manuscript isn’t submitted until it’s as gorgeous and perfect as possible.
What’s the strangest/funniest thing you’ve seen in a query?
There are, as you might expect, lots of contenders for that one. But one of my favorites was a writer—also clearly not a native English speaker—who spent a full paragraph extolling the virtues and beauty of my first name. The following query was almost like an afterthought to the Ode to Lana.
What three things are at the top of your submission wish list?
1. A gorgeous contemporary fantasy that draws on Slavic mythology. 2. A YA contemporary or fantasy set in New Orleans. I don’t know why I want this so badly, but there it is. 3. A historical fantasy with romantic/erotic elements that could be likened to Jacqueline Carey’s KUSHIEL’S DART series.
What are some of your favorite movies or books to give us an idea of your tastes?
I love Battlestar Galactica, Supernatural, Orphan Black, BBC America’s Sherlock, Mad Men, Masters of Sex, Shameless, and House of Cards. I adore Dexter and Hannibal in theory, but in practice they give me fierce nightmares, so I can’t ever marathon those. And books, so many! SUNSHINE by Robin McKinley, THE MAGICIANS by Lev Grossman, urban fantasy by Jim Butcher, Richard Kadrey, and Mike Carey, THE NAME OF THE WIND by Patrick Rothfuss, anything by Tana French and Gillian Flynn, and NORTH OF BOSTON by ZSH author Elisabeth Elo.
---------------------------------------------------------------------------------------------------------------------------
Lana holds a B.A. with honors from Yale University, a J.D. from the Boston University School of Law, and an M.A. with highest honors from the Emerson College Publishing and Writing program. She joined Zachary Shuster Harmsworth in 2012, after interning at the Perseus Book Group foreign rights department and the Kneerim & Williams Literary Agency.At ZSH, Lana works closely with authors on a wide range of both fiction and nonfiction projects, and is committed to providing extensive editorial guidance. She is particularly interested in edgy Young Adult and New Adult works, running the gamut from from realistic, gritty novels and exquisitely beautiful, powerful teen voices to contemporary fantasy, crime, and horror. She is also keen to represent literary thrillers, and well-crafted projects for adults in the areas of fantasy, horror, mystery, and dark, unconventional romance. In terms of nonfiction, Lana is looking for fresh perspectives on popular culture and science from bloggers, academics, and journalists.- See more at: http://www.zshliterary.com/lana-popov...
March 4, 2014
Cover Reveal and Giveaway for Thereafter
Welcome to my good friend Terri Bruce. I'm so happy to see her publishing journey resume after a rocky road. In case you are unfamiliar, the short version is there was editing trouble with Terri's publisher and she has moved forward and taken her book into her own hands. In her own words:
I am THRILLED beyond all measure to finally be able to bring you Thereafter, and I want to thank all the fans who have waited (more or less patiently) an extra year for this book to finally come out. Thereafter would not have been possible without your support—thank you all! I hope you love this beautiful new cover as much as I do, and I hope you find Thereafter to be worth the wait.
When recently-deceased Irene Dunphy decided to “follow the light,” she thought she’d end up in Heaven or Hell and her journey would be over.
Boy, was she wrong.
She soon finds that “the other side” isn’t a final destination but a kind of purgatory where billions of spirits are stuck, with no way to move forward or back. Even worse, deranged phantoms known as “Hungry Ghosts” stalk the dead, intent on destroying them. The only way out is for Irene to forget her life on earth—including the boy who risked everything to help her cross over—which she’s not about to do.
As Irene desperately searches for an alternative, help unexpectedly comes in the unlikeliest of forms: a twelfth-century Spanish knight and a nineteenth-century American cowboy. Even more surprising, one offers a chance for redemption; the other, love. Unfortunately, she won’t be able to have either if she can’t find a way to escape the hellish limbo where they’re all trapped.
Here's your chance to win a $25 Amazon giftcard or a THEREAFTER swag package! And keep reading because below the Rafflecopter is an excerpt from THEREAFTER.
a Rafflecopter giveaway
Her hand touched a rock, one of the flat beach stones she’d seen on graves. She picked it up, laying it flat in her palm. She didn’t remember picking this up. In fact, she had been careful not to take any. It had seemed disrespectful and too much like stealing to remove them, and while she’d seen a few here—both loose and piled in cairns—she hadn’t picked any of them up. There had been no point. What would she do with a rock?No wonder her bag was so heavy.She tossed the rock over her shoulder and heard it hit the ground with a satisfying thud some distance away. It felt good to be rid of something, to make a decision and be sure it was the right one.She surveyed the pile again and then grabbed a small handful of paper animals. She picked one up between a finger and thumb. It was a horse. Irene had been in Chinatown during Chinese Ghost Festival, a holiday in which the living left offerings for the dead. These offerings included paper replicas of things people thought the dead would need in the afterlife—money, clothes, television sets, and even animals. Irene had admired the precise and delicate folds of the Origami figures and had picked some up to admire them more closely. Without thinking, she had dropped them into her bag and apparently been carrying them ever since.Well, even Jonah couldn’t argue with her on this—there was no way she was going to need a paper horse on her journey through the afterlife. Plus, these didn’t hold any sentimental value. She cast the horse onto a nearby fire and watched as the paper curled and blackened in the low-burning flames.The fire leapt and seemed to glow blue for a moment. Irene tensed—what was happening?Thick black smoke began to rise slowly from the flames, spiraling upward in a thickening column. The smoke grew denser and then elongated sideways. Irene leapt to her feet and backed away, her heart pounding. Something was forming in the fire.The smoke was taking shape now; there was purpose and design in its movements. She could see a long, horizontal back, four legs, a neck, and finally a head and a tail. The smoke swirled with a final flourish and then shuddered into the solidity of a smoke-colored horse. The animal blinked passively. Then it violently shook its head, blew out a breath, and delicately picked its way forward out of the fire. It immediately put its head down and began to lip the ground, looking for food.
Irene stared stupidly at it. “Are you shitting me?”
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Terri Bruce has been making up adventure stories for as long as she can remember. Like Anne Shirley, she prefers to make people cry rather than laugh, but is happy if she can do either. She produces fantasy and adventure stories from a haunted house in New England where she lives with her husband and three cats.
Website/Blog: http://www.terribruce.netGoodreads Profile: http://www.goodreads.com/author/show/6450132.Terri_BruceFacebook Fan Page: http://www.facebook.com/pages/Terri-Bruce-Fan-Page/325830544139030Twitter: http://www.twitter.com/@_TerriBruceAmazon Author Page: www.amazon.com/author/terribruce
I am THRILLED beyond all measure to finally be able to bring you Thereafter, and I want to thank all the fans who have waited (more or less patiently) an extra year for this book to finally come out. Thereafter would not have been possible without your support—thank you all! I hope you love this beautiful new cover as much as I do, and I hope you find Thereafter to be worth the wait.
When recently-deceased Irene Dunphy decided to “follow the light,” she thought she’d end up in Heaven or Hell and her journey would be over.
Boy, was she wrong.
She soon finds that “the other side” isn’t a final destination but a kind of purgatory where billions of spirits are stuck, with no way to move forward or back. Even worse, deranged phantoms known as “Hungry Ghosts” stalk the dead, intent on destroying them. The only way out is for Irene to forget her life on earth—including the boy who risked everything to help her cross over—which she’s not about to do.
As Irene desperately searches for an alternative, help unexpectedly comes in the unlikeliest of forms: a twelfth-century Spanish knight and a nineteenth-century American cowboy. Even more surprising, one offers a chance for redemption; the other, love. Unfortunately, she won’t be able to have either if she can’t find a way to escape the hellish limbo where they’re all trapped.
Here's your chance to win a $25 Amazon giftcard or a THEREAFTER swag package! And keep reading because below the Rafflecopter is an excerpt from THEREAFTER.
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Her hand touched a rock, one of the flat beach stones she’d seen on graves. She picked it up, laying it flat in her palm. She didn’t remember picking this up. In fact, she had been careful not to take any. It had seemed disrespectful and too much like stealing to remove them, and while she’d seen a few here—both loose and piled in cairns—she hadn’t picked any of them up. There had been no point. What would she do with a rock?No wonder her bag was so heavy.She tossed the rock over her shoulder and heard it hit the ground with a satisfying thud some distance away. It felt good to be rid of something, to make a decision and be sure it was the right one.She surveyed the pile again and then grabbed a small handful of paper animals. She picked one up between a finger and thumb. It was a horse. Irene had been in Chinatown during Chinese Ghost Festival, a holiday in which the living left offerings for the dead. These offerings included paper replicas of things people thought the dead would need in the afterlife—money, clothes, television sets, and even animals. Irene had admired the precise and delicate folds of the Origami figures and had picked some up to admire them more closely. Without thinking, she had dropped them into her bag and apparently been carrying them ever since.Well, even Jonah couldn’t argue with her on this—there was no way she was going to need a paper horse on her journey through the afterlife. Plus, these didn’t hold any sentimental value. She cast the horse onto a nearby fire and watched as the paper curled and blackened in the low-burning flames.The fire leapt and seemed to glow blue for a moment. Irene tensed—what was happening?Thick black smoke began to rise slowly from the flames, spiraling upward in a thickening column. The smoke grew denser and then elongated sideways. Irene leapt to her feet and backed away, her heart pounding. Something was forming in the fire.The smoke was taking shape now; there was purpose and design in its movements. She could see a long, horizontal back, four legs, a neck, and finally a head and a tail. The smoke swirled with a final flourish and then shuddered into the solidity of a smoke-colored horse. The animal blinked passively. Then it violently shook its head, blew out a breath, and delicately picked its way forward out of the fire. It immediately put its head down and began to lip the ground, looking for food.
Irene stared stupidly at it. “Are you shitting me?”
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Terri Bruce has been making up adventure stories for as long as she can remember. Like Anne Shirley, she prefers to make people cry rather than laugh, but is happy if she can do either. She produces fantasy and adventure stories from a haunted house in New England where she lives with her husband and three cats. Website/Blog: http://www.terribruce.netGoodreads Profile: http://www.goodreads.com/author/show/6450132.Terri_BruceFacebook Fan Page: http://www.facebook.com/pages/Terri-Bruce-Fan-Page/325830544139030Twitter: http://www.twitter.com/@_TerriBruceAmazon Author Page: www.amazon.com/author/terribruce
March 1, 2014
Newsletter and a Mini-Contest
News! Get it First!
It's not easy to try something new, but I always say what the heck. It could be fun. So I'm going to try and gather a list of people who'd be interested in a newsletter from me.
What this newsletter would be is a way to get early notice of any contests I might have up my sleeve or any writing news that springs at me like a tiger from the bushes. It will be a heads up that something interesting is going to happen. For example: I might notify you of the release of my newest short story or send you an advance preview of the agents for Query Kombat. (QK is coming in late spring.)
What this newsletter will not be is a weekly or even a monthly thing to clutter your inbox. I plan to only use it sparingly. Nor will the information I collect be used for any other purpose. (Disclaimer Disclaimer Legalese terms here)
All you have to do is fill out the information in the right sidebar. Which means your name and email address, along with any message you want to leave me.
To unsubscribe, leave that message in the same contact widget and I'll take you off the list. Or shout at me on twitter or anywhere else.
Almost forgot! Published/agented writers, if you're interested in being a mentor or judge in a future contest, fill out the form and put mentor/judge in the comment section.
To start things off with a mini-contest, I'll pick one person who signs up for the newsletter to receive a private query critique from me and an ebook copy of Winter's Regret with my latest short story. (When Winter's Regret becomes available.)
And as a second and even better prize, my agent Sarah Negovetich is offering a query critique as well! Sarah reps YA and MG, but she has great insight to offer on any query.
I'll take entries until midnight on March 14, 2014. Your manuscript does not need to be completed.
So that's it. Let's see if this idea sinks or floats. Thanks everyone! Questions can go in the comments.
It's not easy to try something new, but I always say what the heck. It could be fun. So I'm going to try and gather a list of people who'd be interested in a newsletter from me.
What this newsletter would be is a way to get early notice of any contests I might have up my sleeve or any writing news that springs at me like a tiger from the bushes. It will be a heads up that something interesting is going to happen. For example: I might notify you of the release of my newest short story or send you an advance preview of the agents for Query Kombat. (QK is coming in late spring.)
What this newsletter will not be is a weekly or even a monthly thing to clutter your inbox. I plan to only use it sparingly. Nor will the information I collect be used for any other purpose. (Disclaimer Disclaimer Legalese terms here)
All you have to do is fill out the information in the right sidebar. Which means your name and email address, along with any message you want to leave me.
To unsubscribe, leave that message in the same contact widget and I'll take you off the list. Or shout at me on twitter or anywhere else.
Almost forgot! Published/agented writers, if you're interested in being a mentor or judge in a future contest, fill out the form and put mentor/judge in the comment section.
To start things off with a mini-contest, I'll pick one person who signs up for the newsletter to receive a private query critique from me and an ebook copy of Winter's Regret with my latest short story. (When Winter's Regret becomes available.)
And as a second and even better prize, my agent Sarah Negovetich is offering a query critique as well! Sarah reps YA and MG, but she has great insight to offer on any query.
I'll take entries until midnight on March 14, 2014. Your manuscript does not need to be completed.
So that's it. Let's see if this idea sinks or floats. Thanks everyone! Questions can go in the comments.
February 28, 2014
Finding Your Genre
Here is a list of Sci-fi/Fantasy subgenres thanks to Joyce Alton who introduced me to Chuck Sambuchino's the 2009 Guide to Literary Agents:
Alternate History: speculative fiction that changes the accepted account of actual historical events, often featuring a profound "what if?" premise.
Arthurian Fantasy: reworkings of the legend of King Arthur and the Knights of the round Table.
Bangsian Fantasy: stories speculating on the afterlives of famous people.
Biopunk: a blend of film noir, Japanese anime and post-modern elements used to describe an underground, nihilistic biotech society.
Children's Fantasy: a kinder, gentler style of fantasy aimed at very young readers.
Comic: fantasy or science fiction that spoofs the conventions of the genre, or the conventions of society.
Cyberpunk: stories featuring tough outsiders in a high-tech near future where computers have produced major changes in society. It typically has countercultural antiheroes who find themselves trapped in a dehumanized future.
Dark Fantasy: tales that focus on the nightmarish underbelly of magic, venturing into the violence of horror novels.
Dystopian: stories that portray a bleak future world. Stories where the apocalypse occurs, whether in the form of a nuclear bomb, asteroids, disease, or even a political regime, fit this genre.
Erotic: SF or fantasy tales that focus on sexuality.
Game-Related Fantasy: tales with plots and characters similar to high fantasy, but based on a specific role-playing game like Dungeons and Dragons.
Hard Science Fiction: tales in which real present-day science is logically extrapolated to the future.
Heroic Fantasy: stories of war and its heroes, the fantasy equivalent of military science fiction.
High/Epic Fantasy: tales with an emphasis on the fate of an entire race or nation, often featuring a young "nobody" hero battling an ultimate evil.
Historical: speculative fiction taking place in a recognizable historical period.
Mundane SF: a movement that spurns fanciful conceits like warp drives, wormholes and faster-than-light travel for stories based on scientific knowledge as it actually exists.
Military SF: war stories that extrapolate existing military technology and tactics into the future.
Mystery SF: a cross-genre blend that can be either an SF tale with a central mystery or a classic whodunit with SF elements.
Mythic Fiction: stories inspired, or modeled on, classic myths, legends and fairy tales.
New Age: a category of speculative fiction that deals with occult subjects such as astrology, psychic phenomena, spiritual healing, UFOs and mysticism.
Post-Apocalyptic: stories of life on Earth after an apocalypse, focusing on the struggle to survive.
Romance: speculative fiction in which romance plays a key part.
Religious: centering on theological ideas, and heroes who are ruled by their religious beliefs.
Science Fantasy: a blend in which fantasy is supported by scientifc or pseudo-scientific explanations.
Social SF: tales that focus on how characters react to their environments--including social satire.
Soft SF: tales based on the more subjective, "softer" science; psychology, sociology, anthropology, etc.
Space Opera: a traditional good guys/bad guys faceoff with lots of action and larger-than-life characters.
Spy-Fi: tales of espionage with SF elements, especially the use of high-tech gadgetry.
Steampunk: a specific type of alternate history in which characters in Victorian England have access to 20th century technology.
Superheroes: stories featuring characters endowed with superhuman strengths or abilities.
Sword and Sorcery: a classic genre often set in the medieval period, and more concerned with immediate physical threats than high or heroic fantasy.
Thriller SF: an SF story that takes on the classic world-at-risk, cliffhanger elements of a thriller.
Time-Travel: stories based ont he concept of moving forward or backward in time, often delving into the existence of parallel worlds.
Urban Fantasy: a fantasy tale in which magical powers and characters appear in an otherwise normal modern context, similar to Latin American magical realism.
Vampire: variations on the classic vampire legend, recently taking on many sexual and romantic variations.
Wuxia: fantasy tales set within the martial arts traditions and philosophies of China.
Young Adult: speculative fiction aimed at a teenage audience, often featuring a hero the same age or slightly older than the reader.
And because some people crossover into the Horror/Paranormal genre:
Horror Subgenres:
Child in Peril: involving the abduction and/or persecution of a child.
Comic Horror: horror stories that either spoof horror conventions or mix the gore with dark humor.
Creepy Kids: horror tale in which children--often under the influence of dark forces--begin to turn against the adults.
Dark Fantasy: a horror story with supernatural and fantasy elements.
Dark Mystery/Noir: inspired by hardboiled detective tales, set in an urban underworld of crime and moral ambiguity.
Erotic Vampire: a horror tale making the newly trendy link between sexuality and vampires, but with more emphasis on graphic description and violence.
Fabulist: derived from "fable," an ancient tradition in which objects, animals or forces of nature are anthropomorphized in order to deliver a moral lesson.
Gothic: a traditional form depicting the encroachment of the Middle Ages upon the 18th century Enlightenment, filled with images of decay and ruin, and episodes of imprisonment and persecution.
Hauntings: a classic form centering on possession by ghosts, demons or poltergeists, particularly of some sort of structure.
Historical: horror tales set in a specific and recognizable period of history.
Magical Realism: a genre inspired by Latin-American authors, in which extraordinary forces or creatures pop into otherwise normal, real-life settings.
Psychological: a story based on the disturbed human psyche, often exploring insane, altered realities and featuring a human monster with horrific, but not supernatural, aspects.
Quiet Horror: subtly written horror that uses atmosphere and mood, rather than graphic description, to create fear and suspense.
Religious: horror that makes use of religious icons and mythology, especially the angels and demons derived from Dante's Inferno and Milton's Paradise Lost.
Science-Fiction Horror: SF with a darker, more violent twist, often revolving around alien invasions, mad scientists, or experiments gone wrong.
Splatter/Splatterpunk: an extreme style of horror that cuts right to the gore. This subgenre, which first appeared in the '80s, lives up to its name--explicit, gruesome violence.
Technology: stories featuring technology that has run amok, venturing increasingly into the expanding domain of computers, cyberspace, and genetic engineering.
Weird Tales: inspired by the magazine of the same name, a more traditional form featuring strange and uncanny events (Twilight Zone).
Young Adult: horror aimes at a teen market, often with heroes the same age, or slightly older than, the reader.
Zombie: tales featuring dead people who return to commit mayhem on the living.
As you can see, the choices are staggering. What that list can show you better than I can put into words is how hard it can be to nail down your subgenre. There are just so many possibilities. And this list only covers the fantasy/science fiction side of things.
Obviously it's much easier to just say fantasy or science fiction in your query letter and leave it at that. But so many stories are a little bit of this and a little bit of that when it comes to genre. A little romance, a little scariness, a little action thrills. A little contemporary mixed with a little of the weird. And suddenly your head is spinning. What genre do I pick?
So a couple of points: First off, other writers can give you pointers. I've learned this writing community is a wonderful place. Trust in friends and friends will help you out every time. Describe your stories to other writers and they can at least get you a consensus.
Next, YA, Adult, MG, and PB are not genres. They are age categories. When someone wants to know your genre for a contest or a query letter, saying YA doesn't answer the question. It's YA paired with Thriller or Horror or Historical Fiction, or whatever your genre may be. MG Adventure, Adult Science Fiction, YA Mystery are examples of the full and complete answers you need to give.
And last, it's not the end of the world if you get the genre wrong. Do the best you can to define the genre of your story, but the agent is the expert. When you sign with them, they can guide you on where your story fits.
---------------------------------------------------------------------------------------------------------------------
Here's a more complete list of subgenres from Writer's Digest. And another list to muddy the waters from Cuebon.
Alternate History: speculative fiction that changes the accepted account of actual historical events, often featuring a profound "what if?" premise.
Arthurian Fantasy: reworkings of the legend of King Arthur and the Knights of the round Table.
Bangsian Fantasy: stories speculating on the afterlives of famous people.
Biopunk: a blend of film noir, Japanese anime and post-modern elements used to describe an underground, nihilistic biotech society.
Children's Fantasy: a kinder, gentler style of fantasy aimed at very young readers.
Comic: fantasy or science fiction that spoofs the conventions of the genre, or the conventions of society.
Cyberpunk: stories featuring tough outsiders in a high-tech near future where computers have produced major changes in society. It typically has countercultural antiheroes who find themselves trapped in a dehumanized future.
Dark Fantasy: tales that focus on the nightmarish underbelly of magic, venturing into the violence of horror novels.
Dystopian: stories that portray a bleak future world. Stories where the apocalypse occurs, whether in the form of a nuclear bomb, asteroids, disease, or even a political regime, fit this genre.
Erotic: SF or fantasy tales that focus on sexuality.
Game-Related Fantasy: tales with plots and characters similar to high fantasy, but based on a specific role-playing game like Dungeons and Dragons.
Hard Science Fiction: tales in which real present-day science is logically extrapolated to the future.
Heroic Fantasy: stories of war and its heroes, the fantasy equivalent of military science fiction.
High/Epic Fantasy: tales with an emphasis on the fate of an entire race or nation, often featuring a young "nobody" hero battling an ultimate evil.
Historical: speculative fiction taking place in a recognizable historical period.
Mundane SF: a movement that spurns fanciful conceits like warp drives, wormholes and faster-than-light travel for stories based on scientific knowledge as it actually exists.
Military SF: war stories that extrapolate existing military technology and tactics into the future.
Mystery SF: a cross-genre blend that can be either an SF tale with a central mystery or a classic whodunit with SF elements.
Mythic Fiction: stories inspired, or modeled on, classic myths, legends and fairy tales.
New Age: a category of speculative fiction that deals with occult subjects such as astrology, psychic phenomena, spiritual healing, UFOs and mysticism.
Post-Apocalyptic: stories of life on Earth after an apocalypse, focusing on the struggle to survive.
Romance: speculative fiction in which romance plays a key part.
Religious: centering on theological ideas, and heroes who are ruled by their religious beliefs.
Science Fantasy: a blend in which fantasy is supported by scientifc or pseudo-scientific explanations.
Social SF: tales that focus on how characters react to their environments--including social satire.
Soft SF: tales based on the more subjective, "softer" science; psychology, sociology, anthropology, etc.
Space Opera: a traditional good guys/bad guys faceoff with lots of action and larger-than-life characters.
Spy-Fi: tales of espionage with SF elements, especially the use of high-tech gadgetry.
Steampunk: a specific type of alternate history in which characters in Victorian England have access to 20th century technology.
Superheroes: stories featuring characters endowed with superhuman strengths or abilities.
Sword and Sorcery: a classic genre often set in the medieval period, and more concerned with immediate physical threats than high or heroic fantasy.
Thriller SF: an SF story that takes on the classic world-at-risk, cliffhanger elements of a thriller.
Time-Travel: stories based ont he concept of moving forward or backward in time, often delving into the existence of parallel worlds.
Urban Fantasy: a fantasy tale in which magical powers and characters appear in an otherwise normal modern context, similar to Latin American magical realism.
Vampire: variations on the classic vampire legend, recently taking on many sexual and romantic variations.
Wuxia: fantasy tales set within the martial arts traditions and philosophies of China.
Young Adult: speculative fiction aimed at a teenage audience, often featuring a hero the same age or slightly older than the reader.
And because some people crossover into the Horror/Paranormal genre:
Horror Subgenres:
Child in Peril: involving the abduction and/or persecution of a child.
Comic Horror: horror stories that either spoof horror conventions or mix the gore with dark humor.
Creepy Kids: horror tale in which children--often under the influence of dark forces--begin to turn against the adults.
Dark Fantasy: a horror story with supernatural and fantasy elements.
Dark Mystery/Noir: inspired by hardboiled detective tales, set in an urban underworld of crime and moral ambiguity.
Erotic Vampire: a horror tale making the newly trendy link between sexuality and vampires, but with more emphasis on graphic description and violence.
Fabulist: derived from "fable," an ancient tradition in which objects, animals or forces of nature are anthropomorphized in order to deliver a moral lesson.
Gothic: a traditional form depicting the encroachment of the Middle Ages upon the 18th century Enlightenment, filled with images of decay and ruin, and episodes of imprisonment and persecution.
Hauntings: a classic form centering on possession by ghosts, demons or poltergeists, particularly of some sort of structure.
Historical: horror tales set in a specific and recognizable period of history.
Magical Realism: a genre inspired by Latin-American authors, in which extraordinary forces or creatures pop into otherwise normal, real-life settings.
Psychological: a story based on the disturbed human psyche, often exploring insane, altered realities and featuring a human monster with horrific, but not supernatural, aspects.
Quiet Horror: subtly written horror that uses atmosphere and mood, rather than graphic description, to create fear and suspense.
Religious: horror that makes use of religious icons and mythology, especially the angels and demons derived from Dante's Inferno and Milton's Paradise Lost.
Science-Fiction Horror: SF with a darker, more violent twist, often revolving around alien invasions, mad scientists, or experiments gone wrong.
Splatter/Splatterpunk: an extreme style of horror that cuts right to the gore. This subgenre, which first appeared in the '80s, lives up to its name--explicit, gruesome violence.
Technology: stories featuring technology that has run amok, venturing increasingly into the expanding domain of computers, cyberspace, and genetic engineering.
Weird Tales: inspired by the magazine of the same name, a more traditional form featuring strange and uncanny events (Twilight Zone).
Young Adult: horror aimes at a teen market, often with heroes the same age, or slightly older than, the reader.
Zombie: tales featuring dead people who return to commit mayhem on the living.
As you can see, the choices are staggering. What that list can show you better than I can put into words is how hard it can be to nail down your subgenre. There are just so many possibilities. And this list only covers the fantasy/science fiction side of things.
Obviously it's much easier to just say fantasy or science fiction in your query letter and leave it at that. But so many stories are a little bit of this and a little bit of that when it comes to genre. A little romance, a little scariness, a little action thrills. A little contemporary mixed with a little of the weird. And suddenly your head is spinning. What genre do I pick?
So a couple of points: First off, other writers can give you pointers. I've learned this writing community is a wonderful place. Trust in friends and friends will help you out every time. Describe your stories to other writers and they can at least get you a consensus.
Next, YA, Adult, MG, and PB are not genres. They are age categories. When someone wants to know your genre for a contest or a query letter, saying YA doesn't answer the question. It's YA paired with Thriller or Horror or Historical Fiction, or whatever your genre may be. MG Adventure, Adult Science Fiction, YA Mystery are examples of the full and complete answers you need to give.
And last, it's not the end of the world if you get the genre wrong. Do the best you can to define the genre of your story, but the agent is the expert. When you sign with them, they can guide you on where your story fits.
---------------------------------------------------------------------------------------------------------------------
Here's a more complete list of subgenres from Writer's Digest. And another list to muddy the waters from Cuebon.
