The Place For My Writers Notes

Original posting 2 Feb 2010

Writers' Digest, October 2004, pages 26 to 33, has a collection of short "nuggets of wisdom" related to getting published. Maria Schneider is the author of the compilation. Take a deep breath, and here we go:

"You have to be very clear and straightforward so an editor knows exactly what you're proposing, how well you're equipped, what material might be there, etc. But at the same time, they're listening to your voice. I think it's the voice as much as anything that really sells the story." Caroline Alexander

Now that's an interesting observation -- voice, not story, is what sells? I suppose if we consider music, many of the classical operas and other pieces are well-known, so it is the voice, the performance, that really sells. But normally we consider that writing is somewhat different. Still, the basic plots, many of the characters, settings... so much of it is tried and true. That's when the writer's voice becomes important. I see arguments that many of Shakespeare's plays are based on older material, and yet... it's Shakespeare's plays that we all remember.

Craft and art? There's a tension between the craft side of writing, where we want to make the words and the structure almost transparent to the reader, so that they submerge themselves in the story, and the art side, where the words and sentences and the arrangement sings to the reader, calls them into enjoyment, seduces them. Not too much, or someone will notice the powder on your characters' cheeks, the paper moon, and the other bits and pieces of the setting. But not too little, either, because it is your story, after all.

Write?

Original posting 5 Jan 2010

Writers' Digest, October 2004, pages 26 to 33, has a collection of short "nuggets of wisdom" related to getting published. Maria Schneider is the author of the compilation. Take a deep breath, and here we go:

"Try narrowing your focus or offering a unique point of view, then offer as much detail as you can about how you'd organize the piece and whom you'd interview. List actual names you know you can get, instead of vaguely referencing 'experts in the field.' Then tell the editor why you're just the writer to do it." Kristin D. Godsey

Another quote that seems to be aimed at the nonfiction side of the house -- although it's probably good advice for fiction writers too. Instead of telling us the history of the universe in three pages or similar wide views of the world, focus on a human-size story. Tell us about someone that we can identify with, doing something that is believable. In a particular place, with very real surroundings and characters. If your little town is in Kansas, we may not be able to find it on Google maps, but we should have the feeling that is an error in the maps -- that is just in between those other three little towns, and it's got that willow tree on the bank of the stream, and the ice cream shop on the main street. Avoid generics -- there may be cheaper, but you want reader recognition. Which means details, specifics, someplace that is waiting just around the edge of your page.

OK? Not a big city, but New York City, Milwaukee, Chicago, San Francisco, or some other particular place. Small towns -- make us feel as if we would recognize it, if we drove through it. And make the people live and breathe.

Original posting 19 Dec 2009

Writers' Digest, October 2004, pages 26 to 33, has a collection of short "nuggets of wisdom" related to getting published. Maria Schneider is the author of the compilation. Take a deep breath, and here we go:

"Surprise the editor. I'm amazed by the blandness of many queries. Remember: your proposal is sitting in a stack of proposals, being read by editors who don't want to bother with it. Everything about your query -- the subject, the ways it's written -- should make an editor say, 'Wow, this is really different.'" Ken Budd

What's funny about this one is the contrast -- after all those suggestions that you make sure to use a standard format, same old font, and all that, here's Ken Budd recommending that you surprise the editor? Of course, I think he's pushing at a different level -- make the query/proposal/idea REALLY GOOD! Not strange paper, not odd typography, but a story that needs to be told, an idea that makes the editor sit up and say "I WANT THAT STORY!" Which is hard, because these are professionally bored people, who have seen it all before... but if it is your story, told from your heart, it can do it.

Anyway -- make your tale something that the editor wants to read. Even after reading all day.

original posting 8 December 2009

Just a quick exercise. Take this phrase and build on it -- a story, a poem, a reminiscence, a musing -- whatever takes your fancy. It's up to you.

The phrase: "petty secrets sharpened against hard and stony regret..."

Go ahead. What kind of an edge, what kind of point, and what do you do with petty secrets sharpened against hard and stony regret? Can you shave with them? What are you likely to cut with those petty secrets? And what kind of bandages will you need to bind up the wounds?

Write!

The phrase was found in a collection of random quotations at http://www.quotationspage.com/random.php3 -- the particular quotation was, "Success is meaningless if you can't sleep at night because of harsh things said, petty secrets sharpened against hard and stony regret, just waiting to be plunged into the soft underbelly of a 'friendship.'" Margaret Cho

Original posting 4 Dec 2009

Writers' Digest, October 2004, pages 26 to 33, has a collection of short "nuggets of wisdom" related to getting published. Maria Schneider is the author of the compilation. Take a deep breath, and here we go:

"While waiting for a response, one of the best ways to relieve the anxiety is to dive into your next book. Not only does it take your mind off the wait, but it also prepares you for the possibility that the editor will want to buy your next book, too." Robin Gee

This is especially important given the kinds of response times for the publishing industry. It takes a while for your story or novel to move through the slush pile to get read, and if it doesn't get an automatic first rejection, well, you're probably looking at even longer. So don't expect instant responses. And while you're waiting -- keep writing!

Another trick here is that having one golden egg out there being looked at makes it more painful when there are rejections or even comments. Having several pieces making the rounds reduces that anxiety, and provides you with some alternatives when an editor says "I liked this piece, but it wasn't quite what I was looking for." Now you've got something to send them while they still have a chance of remembering who you are.

So... write, submit, and keep submitting. And while you're waiting -- write some more!

Just a story every week makes the editors go round, editors go round, editors go round... well, okay, it isn't great verse or even a spoonful of sugar, but...

Write, okay?

Original posting 21 November 2009

Writers' Digest, October 2004, pages 26 to 33, has a collection of short "nuggets of wisdom" related to getting published. Maria Schneider is the author of the compilation. Take a deep breath, and here we go:

"Some general formatting rules for book manuscripts: use 1-inch margins all around. Double-space to get about 25 lines per page. Avoid fancy fonts; stick to Courier New or Times New Roman font in 12-point size. Don't make page headers or chapter headings boldface, and don't bother putting fancy artwork beside the book title (or anywhere else in the manuscript)." Kim Campbell

Another comment about being your manuscripts boring. Just use standard formatting. Normal margins, double-spaced, regular fonts in regular sizes. Keep the headings normal. No art...

Its almost like a frame for your story. You don't want the frame to be fancier than the story, to pull the attention away from the story. So you use a plain frame, just the standard stuff.

Of course, this also means that your story needs to be very good. You want the editor or slush reader to find the story exciting, to be drawn into that world that you are showing them, to find the characters sitting next to them, to be drawn into that plot and fighting to overcome the conflict, to win once more... so the plain frame (the manuscript) and even the words and sentence structure just vanish as they read. That's the point. To make everything transparent, so that your story shines.

Write!

Original posting 25 April 1994

"And of course, as everybody knows who has ever played at games, the ones that are the most fun - to lose as well as to win - are the ones that are the hardest, with the most complicated, even dangerous, tasks to accomplish. ... The artist seeks the challenge, the difficult thing to do; for his basic approach to life is not of work but of play.
...
"Life as an art and art as a game - as action for its own sake, without thought of gain or loss, praise or blame - is the key, then to the turning of life itself into a yoga, and art into the means to such a life."

Myths To Live By
Joseph Campbell

Does he mean life is like a yoyo - it has its ups and downs?

[OWC: compare life with other toys - frisbee, surfboard, whatever - in a humorous way (I would say ironic, but I can't quite pin it down:-)]

original posting 26 September 2009

Writers' Digest, October 2004, pages 26 to 33, has a collection of short "nuggets of wisdom" related to getting published. Maria Schneider is the author of the compilation. Take a deep breath, and here we go:

"Think about the fact that well-known authors become well-known by starting out, sending their work as new writers to publications with well-known authors. Everyone has to start somewhere. Also, even the best writers don't always create the best work -- they usually just keep at it longer and more consistently." Naomi Horii

Interesting point. Even well-known authors started out as new authors once upon a time. And as for consistency... some of the long-term authors have certainly had their ups and downs. I certainly think there are some authors whose later books needed editing.

And even in writing, there's a certain macabre truth in that notion that artists are often worth more after they are dead. The same work that wasn't worth all that much when the artist (or writer) is alive often jumps dramatically in value when there will be no more work from that brush, pen, or typewriter.

But... everyone has to start somewhere. And persistence is the name of the game, because it isn't likely to be a quick trip to the top.

So why wait? Write now, write repeatedly, and keep on writing.

Original posting 10 September 2009

Writers' Digest, October 2004, pages 26 to 33, has a collection of short "nuggets of wisdom" related to getting published. Maria Schneider is the author of the compilation. Take a deep breath, and here we go:

"It isn't easy to get 500 pages of manuscript down to one page for a book proposal. This can take weeks to do. Look at the cover jackets of books that are similar to yours. Write a book jacket for your manuscript -- except tell the entire story." Bob Mayer

There's that book jacket again. Imagine walking into a book store, and there's this book there... and you pick it up, and glance at the description. Wow! What a story. And you decide you just have to write that book...

Since of course, the story is yours. But what's the cover have on it? Quotes from people? Okay, what do they say? And the blurb that describes what's inside? What's it say? What about the dreaded cover picture? What is it? Fabio (isn't that the guy's name)? Or what? A sprawling canvas full of...

Go ahead. Write the book jacket. Write the book proposal. Write the publicity blurbs. Use those hints and scraps to help decide what should be in your story. And then, of course, there's the hard work... write, write, write so that the pages are there to fill in the book jacket.

Original posting 30 August 2009

Writers' Digest, October 2004, pages 26 to 33, has a collection of short "nuggets of wisdom" related to getting published. Maria Schneider is the author of the compilation. Take a deep breath, and here we go:

"Knowing who reads the publication you're querying is crucial if you want to write for magazines. That's why many magazine writers often don't start by thinking up ideas and then looking for a magazine to suit them. Rather, they study a magazine to devise ideas appropriate to its readers." Writer's Market Companion

A different suggestion as to where to start. Rather than coming up with ideas, writing the stories or articles, and then trying to find a market, start with the market. Read the magazine, read the writer's guidelines, try to figure out what kind of readers ... what is the audience? Then write to the market.

Who reads this? What kind of stories, what kind of interests do they already have? Now can I write something that appeals to that? Or perhaps, in some cases, one decides that this magazine, this market, really is not what one wants to write, and moves on to other venues closer to one's heart?

Market research, one way or another. Do I want to write the kind of story that this magazine publishes? Then I can target that market. If I don't really want to write... zombie romances? or whatever... then perhaps I choose to avoid that market.

What do you want to write? What does the audience want to read? How much of a match (or mismatch) is there in those two pictures? Do you really want to try to convince readers that they should change their habits, or does it make better sense to look for readers that match your preferences? After all, there is nothing forcing readers to read your writing, is there? So you need to appeal to their interests, their desires...

Know your audience. Second-hand reflections in a magazine's selections are better than nothing?