I wasn't able to post any of my own Friday Flash today, but I've read some really good ones this morning and wanted to share them with you.
I'll update the post later in the day as I read more. Happy reading!
Kate's Wings by @FARFetched58
Unsweetened Murder Part 3 by David Robinson @DW96
Displacement Anxiety by Jeffrey Hollar @Klingorengi
The Journey by Janelle R. Jensen @Janelle_Jensen
Second Chance by Tania Dakka @TaniaDakka
A Dutiful Gardener by LM Stull @LMStull
Immaculata Dentata by @dijeratic
Sinful Flash Fiction: Lust by Rebecca Clare Smith @jocastalizzbeth
Xeric (a poem) by Anne Michaud @annecmichaud
Caldera Rats by Aidan Fritz @Xeroverse
Showing posts with label novel. Show all posts
Showing posts with label novel. Show all posts
10
Friday Flash Favorites!
Friday, July 8, 2011
Labels: flash fiction, fridayflash, novel, social media, Stacy Green, twitter, writing
2
Post Three - Denial
Genre: Mystery/Thriller/Suspense
WARNING: Graphic Content
Jaymee Nichols had some attitude, Nick Samuels thought as he watched the petite woman stand defiantly against his Impala, arms crossed and lower lip jutting out.
His mother had always warned him a pouty lower lip made a great place for a bird’s toilet. Somehow he didn’t think Jaymee would appreciate that nugget of wisdom.
“The prophet?” She said. “That’s biblical.” A sour expression twisted her pretty face and darkness clouded her eyes. “What’s the good book got to do with this fucking mess?”
“You’ve got quite a mouth on you,” Nick said.
She flushed. “Only when I’m nervous.”
“Nothing to be nervous about. I know you’ve had a terrible experience and just want to get away from the scene.”
“Can’t go too far.” She pointed to the east. “My trailer’s just over there.”
Jaymee’s trailer looked more like the old too shed his father had torn down when the roof caved in. Dingy white on top and ugly, disco-gold on the bottom, the trailer looked like it had been sitting in the lot since the seventies. Two cracked concrete steps led to the front door, and wilted petunias clung to life in their dilapidated wooden box beneath a small window. Although the grass sported patched of brown, her lot appeared tidy. Jaymee’s place was four-star quality compared to most of her neighbors.
Nick wanted to ask her what a girl like her was doing in a place like this. He’d been an agent for ten years. Experience and instinct told him Jaymee was no working girl, no druggie or petty criminal. She was a decent person stuck in a bad situation—one that had gotten much worse today.
“Who’s the prophet?” She pushed her dark blonde hair out of her face. Jaymee couldn’t be more than twenty-five. Her skin still had the fresh glow of youth. The fine lines and wrinkles hadn’t yet surfaced.
“A serial killer we’ve been tracking the last few months,” Nick answered. “He started in downtown Minneapolis. Killed a prostitute and left her in a dumpster. Same M.O as the scumbag who killed your friend. Same signature.”
“What’s the difference?”
“M.O. is how they do it. A perp will change it if necessary. A signature is part of their ritual. The killer is driven by an inner need to complete the task. He can’t enjoy the experience if he doesn’t.”
“So what’s this douchebag’s signature?”
“He’s got two. One’s the reason for the nickname. You can think the Star-Tribune for that. He leaves a proverb with every body.”
“I suppose he’s doing God’s work,” Jaymee snapped. “Typical upstanding churchgoer.”
Nick wondered what made her detest the church, but kept his thoughts to himself.
“Maybe,” Nick conceded. “He’s organized, methodic. Leaves very little trace evidence.”
“What’s the second signature?”
The mark of sick individual, Nick thought. “That’s confidential. It’s one detail we’re keeping out of the press, but I’m told it’s visible at this crime scene.”
Jaymee winced at the words and sagged back against the Impala. Her small shoulders slumped, her mask of bravado slipped. “I always knew Crystal was headed for disaster.”
“I’m sorry for your loss,” Nick said. “What can you tell me about her?”
“She was wild. Drank too much, smoked too much. And I’m not talking about cigarettes. She was also a good friend and a shoulder to cry on.” She pursed her lips as she clung to her emotions.
“You said she wasn’t a hooker. Where did she get her clients from? The strip club?”
“Yeah.”
“Did she ever go down to the Cities to earn some extra cash?”
“I have no idea,” Jaymee said. “There were times she’d be gone a few days, and I’d look after Mutt, her dog. She never said where she was going, and I never asked. Guess I didn’t want to know.”
“Interesting,” Nick said.
Jaymee’s blue eyes flashed to his. “Why?”
“I’m trying to figure out why our serial killer traveled four hours north of his hunting grounds. I’ve got four other victims in Hennepin County. Every one met the same fate as Crystal. Every one was a known prostitute.”
“Crystal wasn’t hooking.” Jaymee’s voice jumped half an octave. “She had a specific clientele of guys she trusted. That’s it.”
Nick knew he had to tread carefully. He needed Jaymee to trust him. “I’m just trying to figure out what brought him here. You said yourself she left for days at a time and you had no idea what she was doing.”
He waited a few seconds to let the words sink in. “Is it impossible she went down to the city for work?”
“If by work you mean walking the streets, then yes, it’s Goddamned impossible.”
“Why?”
“Because she wasn’t stupid,” Jaymee gritted out. “She knew how to work smart.”
“She also had a drug habit,” Nick said softly. “Coke or meth?”
Jaymee flinched. “Meth. Coke was too expensive.”
“Meth’s not cheap either. It also messes with your head, makes you lose control and make bad decisions.”
Jaymee looked down at the ground, digging the toe of her canvas sneakers into the dirt. His words made sense, Nick thought. She just didn’t want to accept them.
“No,” she finally said. “Not Crystal.”
Her jaw was set, her gaze defiant. She’d made up her mind.
“All right,” Nick said. “Can you think of any time she was afraid? Worried she might have a stalker? A guy at the club who got too handsy?”
Jaymee shook her head. “No. She never complained. Life was all good and all about the next high.”
Nick couldn’t understand why Jaymee didn’t believe Crystal would hook in the Cities. The girl had a serious drug habit and little fear. The combination didn’t make a cautious person.
Adams waddled toward them, sweating through his polyester shirt. His round belly suffered from serious dunlap disease, hanging so low over his belt Nick wondered how he could see to fasten it.
“Samuels,” Adams huffed. “Something you need to see.”
“I need to go home,” Jaymee said. “Please.”
“Go,” Nick said. “But expect to hear from me soon.”
She waved him off, moving across the lots with her arms clenched tightly around her waist and her shoulders hunched.
With a sigh, Nick headed for Crystal’s trailer. What fresh hell awaited him today?
The Prophet Post 1
The Prophet Post 2
Flash Fiction/Web Fic: The Prophet
Friday, June 10, 2011
Labels: female protagonists, flash fiction, fridayflash, novel, serial killers, writing
Post Three - Denial
Genre: Mystery/Thriller/Suspense
WARNING: Graphic Content
Jaymee Nichols had some attitude, Nick Samuels thought as he watched the petite woman stand defiantly against his Impala, arms crossed and lower lip jutting out.
His mother had always warned him a pouty lower lip made a great place for a bird’s toilet. Somehow he didn’t think Jaymee would appreciate that nugget of wisdom.
“The prophet?” She said. “That’s biblical.” A sour expression twisted her pretty face and darkness clouded her eyes. “What’s the good book got to do with this fucking mess?”
“You’ve got quite a mouth on you,” Nick said.
She flushed. “Only when I’m nervous.”
“Nothing to be nervous about. I know you’ve had a terrible experience and just want to get away from the scene.”
“Can’t go too far.” She pointed to the east. “My trailer’s just over there.”
Jaymee’s trailer looked more like the old too shed his father had torn down when the roof caved in. Dingy white on top and ugly, disco-gold on the bottom, the trailer looked like it had been sitting in the lot since the seventies. Two cracked concrete steps led to the front door, and wilted petunias clung to life in their dilapidated wooden box beneath a small window. Although the grass sported patched of brown, her lot appeared tidy. Jaymee’s place was four-star quality compared to most of her neighbors.
Nick wanted to ask her what a girl like her was doing in a place like this. He’d been an agent for ten years. Experience and instinct told him Jaymee was no working girl, no druggie or petty criminal. She was a decent person stuck in a bad situation—one that had gotten much worse today.
“Who’s the prophet?” She pushed her dark blonde hair out of her face. Jaymee couldn’t be more than twenty-five. Her skin still had the fresh glow of youth. The fine lines and wrinkles hadn’t yet surfaced.
“A serial killer we’ve been tracking the last few months,” Nick answered. “He started in downtown Minneapolis. Killed a prostitute and left her in a dumpster. Same M.O as the scumbag who killed your friend. Same signature.”
“What’s the difference?”
“M.O. is how they do it. A perp will change it if necessary. A signature is part of their ritual. The killer is driven by an inner need to complete the task. He can’t enjoy the experience if he doesn’t.”
“So what’s this douchebag’s signature?”
“He’s got two. One’s the reason for the nickname. You can think the Star-Tribune for that. He leaves a proverb with every body.”
“I suppose he’s doing God’s work,” Jaymee snapped. “Typical upstanding churchgoer.”
Nick wondered what made her detest the church, but kept his thoughts to himself.
“Maybe,” Nick conceded. “He’s organized, methodic. Leaves very little trace evidence.”
“What’s the second signature?”
The mark of sick individual, Nick thought. “That’s confidential. It’s one detail we’re keeping out of the press, but I’m told it’s visible at this crime scene.”
Jaymee winced at the words and sagged back against the Impala. Her small shoulders slumped, her mask of bravado slipped. “I always knew Crystal was headed for disaster.”
“I’m sorry for your loss,” Nick said. “What can you tell me about her?”
“She was wild. Drank too much, smoked too much. And I’m not talking about cigarettes. She was also a good friend and a shoulder to cry on.” She pursed her lips as she clung to her emotions.
“You said she wasn’t a hooker. Where did she get her clients from? The strip club?”
“Yeah.”
“Did she ever go down to the Cities to earn some extra cash?”
“I have no idea,” Jaymee said. “There were times she’d be gone a few days, and I’d look after Mutt, her dog. She never said where she was going, and I never asked. Guess I didn’t want to know.”
“Interesting,” Nick said.
Jaymee’s blue eyes flashed to his. “Why?”
“I’m trying to figure out why our serial killer traveled four hours north of his hunting grounds. I’ve got four other victims in Hennepin County. Every one met the same fate as Crystal. Every one was a known prostitute.”
“Crystal wasn’t hooking.” Jaymee’s voice jumped half an octave. “She had a specific clientele of guys she trusted. That’s it.”
Nick knew he had to tread carefully. He needed Jaymee to trust him. “I’m just trying to figure out what brought him here. You said yourself she left for days at a time and you had no idea what she was doing.”
He waited a few seconds to let the words sink in. “Is it impossible she went down to the city for work?”
“If by work you mean walking the streets, then yes, it’s Goddamned impossible.”
“Why?”
“Because she wasn’t stupid,” Jaymee gritted out. “She knew how to work smart.”
“She also had a drug habit,” Nick said softly. “Coke or meth?”
Jaymee flinched. “Meth. Coke was too expensive.”
“Meth’s not cheap either. It also messes with your head, makes you lose control and make bad decisions.”
Jaymee looked down at the ground, digging the toe of her canvas sneakers into the dirt. His words made sense, Nick thought. She just didn’t want to accept them.
“No,” she finally said. “Not Crystal.”
Her jaw was set, her gaze defiant. She’d made up her mind.
“All right,” Nick said. “Can you think of any time she was afraid? Worried she might have a stalker? A guy at the club who got too handsy?”
Jaymee shook her head. “No. She never complained. Life was all good and all about the next high.”
Nick couldn’t understand why Jaymee didn’t believe Crystal would hook in the Cities. The girl had a serious drug habit and little fear. The combination didn’t make a cautious person.
Adams waddled toward them, sweating through his polyester shirt. His round belly suffered from serious dunlap disease, hanging so low over his belt Nick wondered how he could see to fasten it.
“Samuels,” Adams huffed. “Something you need to see.”
“I need to go home,” Jaymee said. “Please.”
“Go,” Nick said. “But expect to hear from me soon.”
She waved him off, moving across the lots with her arms clenched tightly around her waist and her shoulders hunched.
With a sigh, Nick headed for Crystal’s trailer. What fresh hell awaited him today?
The Prophet Post 1
The Prophet Post 2
18
Your Book in One Sentence.
Monday, June 6, 2011
Labels: agents, antagonist, editors, female protagonists, novel, querying, thriller, twitter, work in progress, writing
We’ve all heard it before. Writing manuals, experts, and most importantly, agents and editors, insist if you can’t describe your novel in once sentence, you don’t have a good grip on it. Between the keyboard and your creative mind, something’s muddled.
A small part of me believes this is a bit extreme, but I understand the premise. When querying, we’ve got about a nanosecond (maybe two) to grab an agent’s attention. The one-sentence rule is not only a way for them to judge your concept but also your writing ability. Effectively jamming a 100K(ish) book into one sentence takes skill.
It dawned on me that while we all support each other’s writing, most of us don’t know much about what we’re all working on. We talk about word count and plot issues on Twitter, but always in generic terms. So I thought it would be fun to put our skills to the test and share our novels – in one sentence.
Of course as I write this, I’m already wondering if I’m supposed to include the title and genre in that one sentence. A lot to learn before querying time, obviously.
Here’s my first attempt:
Psychological thriller Light and Dark follows Emilie Davis, the victim of an attempted kidnapping, as she fights the demons of her past while searching for her stalker, a man known only as ‘The Taker.’
This sentence shows the gist of the story but leaves a lot of the meat out. There’s no mention of my co-protag or the Taker’s outstanding escape. The sub-plot of Emilie’s past issues and her big secret are barely touched. This one sentence thing is even harder than it looks. I know my book. I know it’s a plot that works. Maybe I’m over thinking as usual. What is Light and Dark really about? That’s a working title, by the way.
Second attempt:
After a strange and frightening stalker bungles a kidnapping attempt and makes one of the most daring escapes in modern Las Vegas history, Emilie Davis must face the darkness of her past to outwit the man known only as ‘The Taker.’
I like this better. I still wonder if the title and genre should be in the sentence, but this tells more about the book than my first attempt. There’s still no mention of the second protag, but Emilie is the driving force of the book. It’s her experiences that shape the second protag’s thoughts and actions.
I could have included more about where the Taker escaped two and talked about the underground world he visits, but that’s a subplot. It’s a definite point of interest and makes for a great twist, but it’s not really what the book is about.
What do you guys think? I would love feedback and constructive criticism, and I definitely want to read your one-sentence novels. Let’s help each other!
Happy Monday!
A small part of me believes this is a bit extreme, but I understand the premise. When querying, we’ve got about a nanosecond (maybe two) to grab an agent’s attention. The one-sentence rule is not only a way for them to judge your concept but also your writing ability. Effectively jamming a 100K(ish) book into one sentence takes skill.
It dawned on me that while we all support each other’s writing, most of us don’t know much about what we’re all working on. We talk about word count and plot issues on Twitter, but always in generic terms. So I thought it would be fun to put our skills to the test and share our novels – in one sentence.
Of course as I write this, I’m already wondering if I’m supposed to include the title and genre in that one sentence. A lot to learn before querying time, obviously.
Here’s my first attempt:
Psychological thriller Light and Dark follows Emilie Davis, the victim of an attempted kidnapping, as she fights the demons of her past while searching for her stalker, a man known only as ‘The Taker.’
This sentence shows the gist of the story but leaves a lot of the meat out. There’s no mention of my co-protag or the Taker’s outstanding escape. The sub-plot of Emilie’s past issues and her big secret are barely touched. This one sentence thing is even harder than it looks. I know my book. I know it’s a plot that works. Maybe I’m over thinking as usual. What is Light and Dark really about? That’s a working title, by the way.
Second attempt:
After a strange and frightening stalker bungles a kidnapping attempt and makes one of the most daring escapes in modern Las Vegas history, Emilie Davis must face the darkness of her past to outwit the man known only as ‘The Taker.’
I like this better. I still wonder if the title and genre should be in the sentence, but this tells more about the book than my first attempt. There’s still no mention of the second protag, but Emilie is the driving force of the book. It’s her experiences that shape the second protag’s thoughts and actions.
I could have included more about where the Taker escaped two and talked about the underground world he visits, but that’s a subplot. It’s a definite point of interest and makes for a great twist, but it’s not really what the book is about.
What do you guys think? I would love feedback and constructive criticism, and I definitely want to read your one-sentence novels. Let’s help each other!
Happy Monday!
8
Flash Fiction/Web Fic: The Prophet
This is my first attempt at Friday Flash. It's an idea that's been churning in my head as I finish my suspense novel, and I wanted to share it with others. Hope you enjoy it!
Genre: Mystery/Thriller/Suspense
Adult Content
“I don’t understand.” Jaymee slapped the pink paper onto the manager’s desk.
Cigarette dangling from his mouth, he glared up at her. “What’s not to understand? You’re a month late with the lot rent. Now you got two weeks to come up with the money or get out.”
“But my boyfriend paid you,” Jaymee argued. “I gave him the money three days ago.”
Mr. Shaw crushed his Marlboro Light into an overflowing ashtray. “I didn’t get it.”
Jaymee frantically dug into her bag. “I can post-date a check.”
Shaw laughed showing his yellowed teeth. “Right. Then it’ll bounce. Cash or money-order only.”
She didn’t have it. Jaymee was barely able to put food on the table let alone replace rent money. Furious, she grabbed the pink slip and stormed out of the manager’s office.
That bastard. Wade had promised he’d pay the lot rent. What had he done with the cash she’d given him? Spent it on hookers? More drugs? Probably both.
She trudged down the winding dirty path grimacing as her worn heels began to fill with sand. Fawn Lake Court was much less beautiful than it sounded. Forty or more dilapidated mobile trailers lined the park. Children played in the empty lots and neighborhood dogs roamed free along with raccoons and other night bandits.
Jaymee’s trailer was at the south end of the park. One of the “newer” models, the paint was only moderately chipped and the tiny back deck was only partially rotted.
Her life was never going to change. The child of a factory worker and born-again Christian, a pregnancy at sixteen had killed Jaymee’s dreams of becoming a lawyer, and her righteous parents had thrown Jaymee out when they heard of her condition.
“Good Christian girls don’t get themselves in trouble,” her mother shouted. “How could you do this to us?”
Her father had clutched his Bible to his heart. “You’ve shamed this family, girl. There’s no place in God’s house for whores.”
Jaymee wondered what her father would think if he knew his own brother had fathered her child in the backroom of his dingy laundromat, holding Jaymee down while she fought in vain against his considerable weight.
Good ole’ Christian Joe would probably still find a way to blame her.
The hot August sun bore down on her soaking the roots of her shoulder-length brown hair in sweat. A single bead of perspiration trickled down her neck and into the crevice of her bra.
So much for northern Minnesota not having any humidity. Today was miserable.
Suddenly, a rotting stench wafted through the summer air. Jaymee gagged and covered her mouth. Two doors down from her trailer, her neighbor’s trashcans were knocked over, debris spread everywhere.
“What the hell did she put in her garbage?” Jaymee muttered.
All the windows of the trailer were open—couldn’t the woman smell that? “Crystal, you in there?” Jaymee shouted. “You got a big ass mess out here, girl!”
Loud barking was her only answer. Crystal’s dog, an ugly stray mixed-breed she’d name Mutt, stood at the back window, yapping urgently.
“Shit. Crystal must’ve forgot to let him out.”
Jaymee sidestepped the trash, holding her breath as the smell grew worse. Thick and putrid, it seemed to be emanating from the trailer. “Mutt, did you crap in there? I’m not cleaning up after you.”
She shoved her spare key into the flimsy lock and pulled open the door. “Holy fuck!” Bile rose in her throat as the stink intensified. Mutt scrambled past her with a yelp and made a beeline for the empty lot.
He’d made a mess of the trailer, knocking chairs over and digging at the flimsy door.
But he didn’t leave those cabinets standing open.
On edge, Jaymee stepped further into the small trailer. A kitchen drawer lay on the floor, mismatched silverware scattered around it.
Survival instincts told her to run; she was getting herself into something she wanted no part of. But something propelled Jaymee forward. She reached the closed bedroom door and slowly pushed it open.
Nothing could have prepared her for what she saw.
Genre: Mystery/Thriller/Suspense
Adult Content
“I don’t understand.” Jaymee slapped the pink paper onto the manager’s desk.
Cigarette dangling from his mouth, he glared up at her. “What’s not to understand? You’re a month late with the lot rent. Now you got two weeks to come up with the money or get out.”
“But my boyfriend paid you,” Jaymee argued. “I gave him the money three days ago.”
Mr. Shaw crushed his Marlboro Light into an overflowing ashtray. “I didn’t get it.”
Jaymee frantically dug into her bag. “I can post-date a check.”
Shaw laughed showing his yellowed teeth. “Right. Then it’ll bounce. Cash or money-order only.”
She didn’t have it. Jaymee was barely able to put food on the table let alone replace rent money. Furious, she grabbed the pink slip and stormed out of the manager’s office.
That bastard. Wade had promised he’d pay the lot rent. What had he done with the cash she’d given him? Spent it on hookers? More drugs? Probably both.
She trudged down the winding dirty path grimacing as her worn heels began to fill with sand. Fawn Lake Court was much less beautiful than it sounded. Forty or more dilapidated mobile trailers lined the park. Children played in the empty lots and neighborhood dogs roamed free along with raccoons and other night bandits.
Jaymee’s trailer was at the south end of the park. One of the “newer” models, the paint was only moderately chipped and the tiny back deck was only partially rotted.
Her life was never going to change. The child of a factory worker and born-again Christian, a pregnancy at sixteen had killed Jaymee’s dreams of becoming a lawyer, and her righteous parents had thrown Jaymee out when they heard of her condition.
“Good Christian girls don’t get themselves in trouble,” her mother shouted. “How could you do this to us?”
Her father had clutched his Bible to his heart. “You’ve shamed this family, girl. There’s no place in God’s house for whores.”
Jaymee wondered what her father would think if he knew his own brother had fathered her child in the backroom of his dingy laundromat, holding Jaymee down while she fought in vain against his considerable weight.
Good ole’ Christian Joe would probably still find a way to blame her.
The hot August sun bore down on her soaking the roots of her shoulder-length brown hair in sweat. A single bead of perspiration trickled down her neck and into the crevice of her bra.
So much for northern Minnesota not having any humidity. Today was miserable.
Suddenly, a rotting stench wafted through the summer air. Jaymee gagged and covered her mouth. Two doors down from her trailer, her neighbor’s trashcans were knocked over, debris spread everywhere.
“What the hell did she put in her garbage?” Jaymee muttered.
All the windows of the trailer were open—couldn’t the woman smell that? “Crystal, you in there?” Jaymee shouted. “You got a big ass mess out here, girl!”
Loud barking was her only answer. Crystal’s dog, an ugly stray mixed-breed she’d name Mutt, stood at the back window, yapping urgently.
“Shit. Crystal must’ve forgot to let him out.”
Jaymee sidestepped the trash, holding her breath as the smell grew worse. Thick and putrid, it seemed to be emanating from the trailer. “Mutt, did you crap in there? I’m not cleaning up after you.”
She shoved her spare key into the flimsy lock and pulled open the door. “Holy fuck!” Bile rose in her throat as the stink intensified. Mutt scrambled past her with a yelp and made a beeline for the empty lot.
He’d made a mess of the trailer, knocking chairs over and digging at the flimsy door.
But he didn’t leave those cabinets standing open.
On edge, Jaymee stepped further into the small trailer. A kitchen drawer lay on the floor, mismatched silverware scattered around it.
Survival instincts told her to run; she was getting herself into something she wanted no part of. But something propelled Jaymee forward. She reached the closed bedroom door and slowly pushed it open.
Nothing could have prepared her for what she saw.
13
Self-Publish or Rot In The Slush Pile?
Friday, May 13, 2011
Labels: agents, Amazon, editing, editors, Kindle, novel, self-publishing, traditional publishing, writing
Self-publishing is one of the hot button topics among writers of all kinds. With Kindle, Amazon, and sites like Smashwords and CreateSpace, self-publishing is easier than ever.
I’ll admit, until I started writing my current novel and began my venture into social media, I didn’t consider self-publishing “real” publishing. After all, if you didn’t have an agent and a publishing house believing in your book, how could you call yourself published?
Hold on! Don’t roast me yet. Every one of us knows that for every fantastic and successful self-published book out there, at least five more never should have seen the light of day. And not for poor quality of writing, but for lack of editing. Too many writers – especially unpublished newbs like myself – are rushing to hit the “publish” button before having their work properly edited. That’s part of the reason people are still leery of self-publishing – a reader doesn’t always know what to expect.
Finding a good editor before submitting in ANY form is a must.
Of course, cheerleaders for selfpub believe the cheap prices of most e-books (usually anywhere between .99 and 2.99) are worth the risk for most readers. Maybe they’re right. But that’s won’t going to get a writer that’s striving to improve themselves good word of mouth, and that’s the key to ANY successful book. If I buy a dud for .99, I’m not sweating the money, but I also won’t go on Twitter and tout the book as a must-read.
Many insist self-publishing is the way of the future and that the big houses, agents, editors, etc. are doomed. I’m not sure I buy that, but I do think self-publishing has a lot more merit than it did just five years ago.
One of the key issues is royalty earnings and rights. Many newbs, (again, including myself), don’t fully understand exactly what they’re signing away when they go with a traditional publisher. Everyone of us has to do our research to better understand what rights we’re giving up, especially foreign, and compare the costs of self-publishing versus realistic earnings from the traditional route.
Another issue is the worry that by self-publishing, an author is sabotaging their chances at ever being picked up a by a traditional house. But Kindle Direct Publishing’s latest newsletter talks about Nancy Johnson, who originally published on Kindle and now has publishers seeking her out.
Self-publishing is becoming a viable and more respectable option for writers. Many old pros insist that the marketing a writer needs to do isn’t much different than what would be needed if a big publisher put out the book. Apparently, they don’t toss a lot of dough around for unproven writers.
Which brings me to my least favorite part of being an aspiring author: like it or not, publishing is business. Traditional publishers are going to sign the writers they believe will make them the best money, the ones that will (hopefully) fly off shelves and have great word of mouth. That’s why only roughly ONE PERCENT of all submitted manuscripts get printed a year (at least the traditional way.)
One percent. Kind of makes you slump in your chair, huh?
If you’re like me, you truly believe you’ve got a story readers will want to read, if they only get a chance. I don’t care about the business end – I just want to share my characters and their lives. I want to give them the opportunity to shine, and I know in my gut I’ve got a strong plot.
But will it ever see the light of day?
I hope so. If I self-publish, it most certainly would. But is that really the way to go? Call me old school, but I believe there’s some value in at least trying the traditional way, and not for the money (let’s be real) or the prestige, but for the learning experience. I know querying agents will be a wake-up call, and I understand that no matter how much work I put into making sure the proposal, query, and manuscript are just right, I’ll be shot down. Most likely a lot.
But what if one or two agents asks for a partial? Isn’t there value in that? Doesn’t that tell me that I’m on the right track with my proposal, and that I’ve got a marketable idea?
And if those agents reject me, for whatever reason, what if they offer something more than a form letter? What if they have real comments and advice as to how to make my book better? Isn’t that worth the effort? I do have my pride, and I believe in my work, but I know I can always improve. There’s always more to learn, and if I’m willing to do that, I believe my novel, however published, will benefit in the end.
So while I’m slowly building my file on self-publishing, I’m also building one on how to write great proposals and queries. Some might say I’m wasting my time, but I intend to go the traditional route first, for at least six months, simply for the learning experience. I realize the chances of getting picked up are slim and that I’ll likely have to take matters into my own hands, but I still believe going through the traditional process has too many learning benefits to just bypass altogether.
After all, nothing good is ever easy, right?
Where do you stand on the self-publishing issue?
For much more on self-publishing versus traditional and tons of great writing advice, visit Nail Your Novel. Roz Morris runs a great blog for writers in every stage!
I’ll admit, until I started writing my current novel and began my venture into social media, I didn’t consider self-publishing “real” publishing. After all, if you didn’t have an agent and a publishing house believing in your book, how could you call yourself published?
Hold on! Don’t roast me yet. Every one of us knows that for every fantastic and successful self-published book out there, at least five more never should have seen the light of day. And not for poor quality of writing, but for lack of editing. Too many writers – especially unpublished newbs like myself – are rushing to hit the “publish” button before having their work properly edited. That’s part of the reason people are still leery of self-publishing – a reader doesn’t always know what to expect.
Finding a good editor before submitting in ANY form is a must.
Of course, cheerleaders for selfpub believe the cheap prices of most e-books (usually anywhere between .99 and 2.99) are worth the risk for most readers. Maybe they’re right. But that’s won’t going to get a writer that’s striving to improve themselves good word of mouth, and that’s the key to ANY successful book. If I buy a dud for .99, I’m not sweating the money, but I also won’t go on Twitter and tout the book as a must-read.
Many insist self-publishing is the way of the future and that the big houses, agents, editors, etc. are doomed. I’m not sure I buy that, but I do think self-publishing has a lot more merit than it did just five years ago.
One of the key issues is royalty earnings and rights. Many newbs, (again, including myself), don’t fully understand exactly what they’re signing away when they go with a traditional publisher. Everyone of us has to do our research to better understand what rights we’re giving up, especially foreign, and compare the costs of self-publishing versus realistic earnings from the traditional route.
Another issue is the worry that by self-publishing, an author is sabotaging their chances at ever being picked up a by a traditional house. But Kindle Direct Publishing’s latest newsletter talks about Nancy Johnson, who originally published on Kindle and now has publishers seeking her out.
Self-publishing is becoming a viable and more respectable option for writers. Many old pros insist that the marketing a writer needs to do isn’t much different than what would be needed if a big publisher put out the book. Apparently, they don’t toss a lot of dough around for unproven writers.
Which brings me to my least favorite part of being an aspiring author: like it or not, publishing is business. Traditional publishers are going to sign the writers they believe will make them the best money, the ones that will (hopefully) fly off shelves and have great word of mouth. That’s why only roughly ONE PERCENT of all submitted manuscripts get printed a year (at least the traditional way.)
One percent. Kind of makes you slump in your chair, huh?
If you’re like me, you truly believe you’ve got a story readers will want to read, if they only get a chance. I don’t care about the business end – I just want to share my characters and their lives. I want to give them the opportunity to shine, and I know in my gut I’ve got a strong plot.
But will it ever see the light of day?
I hope so. If I self-publish, it most certainly would. But is that really the way to go? Call me old school, but I believe there’s some value in at least trying the traditional way, and not for the money (let’s be real) or the prestige, but for the learning experience. I know querying agents will be a wake-up call, and I understand that no matter how much work I put into making sure the proposal, query, and manuscript are just right, I’ll be shot down. Most likely a lot.
But what if one or two agents asks for a partial? Isn’t there value in that? Doesn’t that tell me that I’m on the right track with my proposal, and that I’ve got a marketable idea?
And if those agents reject me, for whatever reason, what if they offer something more than a form letter? What if they have real comments and advice as to how to make my book better? Isn’t that worth the effort? I do have my pride, and I believe in my work, but I know I can always improve. There’s always more to learn, and if I’m willing to do that, I believe my novel, however published, will benefit in the end.
So while I’m slowly building my file on self-publishing, I’m also building one on how to write great proposals and queries. Some might say I’m wasting my time, but I intend to go the traditional route first, for at least six months, simply for the learning experience. I realize the chances of getting picked up are slim and that I’ll likely have to take matters into my own hands, but I still believe going through the traditional process has too many learning benefits to just bypass altogether.
After all, nothing good is ever easy, right?
Where do you stand on the self-publishing issue?
For much more on self-publishing versus traditional and tons of great writing advice, visit Nail Your Novel. Roz Morris runs a great blog for writers in every stage!
1
Friday Mashup!
On this busy and hopefully happy Mother’s Day weekend, I’m sharing my favorite blogs and tweeters with you all. These guys make me think, laugh, and work hard. Have a great weekend!
Donna Galanti
Donna’s blog Writing With Gusto is full of writing info and a great place for writers to meet. She invites authors to guest blog as well, providing a different viewpoint of the experience.
Melanie McCullough
On her blog A New Kind of Ordinary, Melanie is an aspiring writer blogging on all experiences writing. So far, my favorite post of hers has been: If You Can’t Say Something Mean, her experience of sharing her writing and dealing with the feedback.
Jody Hedlund – Author of The Preacher’s Bride
Jody is a fantastic resource for any writer. She posts at least twice a week, and her blogs are always relevant and thought provoking. She’s also great about replying on her blog and Twitter.
Kristen Lamb
A social media expert, Kristen’s blog Warrior Writers is fun, and she provides great content, covering the ins-and-outs of social media as well as many facets of the writing process. Recently she created the Twitter hashtag #MyWANA, in reference to her book, We Are Not Alone. It’s a great place for writers to convene and support each other.
Jodie Renner
A professional editor, Jodie’s blog is full of helpful info for any author. She’s also very approachable and provides great editorial feedback.
Crime Fiction Collective
This blog is a must for crime nuts. Several published crime/thriller authors participate, as well as editors. My favorite post so far? My Visit With Death by Andrew Kaufman. Any writer covering an autopsy needs to read this post!
Victoria Mixon, Editor
Victoria’s blog is full of writing info, and she’s got a great conversational approach.
Roz Morris, Editor and Author
Roz is the author of Nail Your Novel, and her blog of the same name is a great resource. Many of her topics turn into great discussions, and I’ve learned a lot about the pros and cons of self-publishing through her posts, as well as structure in our writing. Roz is also extremely accessible and fun to communicate with.
Tweeters:
Because there are too many to list, everyone needs to check out #MyWANA, #amwriting, #writegoal, #authors, and #wordmongering. Using these hashtags is a great way to communicate with fellow writers. These hashtags give you a built-in support system and makes the experience better.
Finally, I’m going to steal something from Kristen Lamb this week. If you’re not using Tweetdeck to keep track of Twitter, download it now! It’s very easy and a great way to organize your lists and hashtags so you can keep track of everyone!
Until next week!
Donna Galanti
Donna’s blog Writing With Gusto is full of writing info and a great place for writers to meet. She invites authors to guest blog as well, providing a different viewpoint of the experience.
Melanie McCullough
On her blog A New Kind of Ordinary, Melanie is an aspiring writer blogging on all experiences writing. So far, my favorite post of hers has been: If You Can’t Say Something Mean, her experience of sharing her writing and dealing with the feedback.
Jody Hedlund – Author of The Preacher’s Bride
Jody is a fantastic resource for any writer. She posts at least twice a week, and her blogs are always relevant and thought provoking. She’s also great about replying on her blog and Twitter.
Kristen Lamb
A social media expert, Kristen’s blog Warrior Writers is fun, and she provides great content, covering the ins-and-outs of social media as well as many facets of the writing process. Recently she created the Twitter hashtag #MyWANA, in reference to her book, We Are Not Alone. It’s a great place for writers to convene and support each other.
Jodie Renner
A professional editor, Jodie’s blog is full of helpful info for any author. She’s also very approachable and provides great editorial feedback.
Crime Fiction Collective
This blog is a must for crime nuts. Several published crime/thriller authors participate, as well as editors. My favorite post so far? My Visit With Death by Andrew Kaufman. Any writer covering an autopsy needs to read this post!
Victoria Mixon, Editor
Victoria’s blog is full of writing info, and she’s got a great conversational approach.
Roz Morris, Editor and Author
Roz is the author of Nail Your Novel, and her blog of the same name is a great resource. Many of her topics turn into great discussions, and I’ve learned a lot about the pros and cons of self-publishing through her posts, as well as structure in our writing. Roz is also extremely accessible and fun to communicate with.
Tweeters:
Because there are too many to list, everyone needs to check out #MyWANA, #amwriting, #writegoal, #authors, and #wordmongering. Using these hashtags is a great way to communicate with fellow writers. These hashtags give you a built-in support system and makes the experience better.
Finally, I’m going to steal something from Kristen Lamb this week. If you’re not using Tweetdeck to keep track of Twitter, download it now! It’s very easy and a great way to organize your lists and hashtags so you can keep track of everyone!
Until next week!
2
To Pants or Not To Pants?
My critique partner calls it “organic writing.” Experts have coined it “pantsing,” as in, writing by the seat of your pants. Many writers (and I was once one of these) believe that sitting down with only an idea and letting the creative juices flow is the best way to write a quality novel.
Some have succeeded – Stephen King, anyone?
But since the vast majority of us are not King, is pantsing really the way to go? When I began my first book (a way too many pages romance novel that will probably never be edited for an attempt to publish) I simply had the idea of these two cool characters meeting and one being reticent to having a relationship. My lead guy was a paramedic (hot), and she was an English major turned editor, but what she really wanted to do was write her own books. Original, I know. Anyway, the story was full of juicy unresolved sexual tension until about chapter 15 or so, when the two characters finally got together. Then I realized I needed more of a plot. So I came up with the sexy paramedic deciding to be a firefighter and going through that process. As some of you may know, it doesn’t work that way in most cities. They are either one in the same or firefighter trained first. So I had to fly by my proverbial pants and make up some rules. Then add more conflict, and more, and more. The story got out of control, and while I do believe there are a lot of good scenes, it’s far too long and contrived.
Why? Because I was a pantster. Now, in my defense, I also hadn’t written seriously for years and didn’t realize I wanted to write a book when I started dabbling. But I also didn’t have the sense or the tools to step back and make a plan.
With my current WIP, I thought I had a plan. I had an outline of important scenes and some key plot points. I knew a little about my characters. Good to go, right? After all, no matter how much we plan our characters ahead of time, we really don’t get into their heads until we start writing. My approach was better, but not great. I spent two or three months writing and re-writing the first act of the book because the farther I went into the second, more plot points kept popping up that I should have addressed earlier on.
Then came the story board and index cards. Big help. I was forced to sit down and think scene by scene. Finally I could see the entire plot unfold in front of me, and it was much easier to see what worked and what was just plain asinine. Juices began flowing, and I made a lot of headway. In fact, I’m nearing the midpoint of the book, which is very exciting.
Of course there’s a caveat. I’ve been reading up on writing (The Breakout Novel, Make A Scene, On Writing – all great tools) and was actively applying the new techniques I’d learned. My writing improved. And then I made an innocent comment on the wonderful Kristin Lamb’s blog on a post about antagonists (I’m very proud of mine – he’s creepy as hell but also has a strong moral code, or so he thinks) and was informed that my book’s opening, a hook which drops the reader into the middle of a hostage situation, was a big mistake. Melodrama, Kristin said. A writer who doesn’t understand narrative structure.
Say huh?
I know what narrative structure is! Three acts of a book, all that stuff. Right. Clearly, I’m still a novice despite more than a year of radically improving writing. Kristin advised me to pick up a copy of Larry Brooks’ Story Engineering, and I urge any beginning writer (or anyone pro stuck in a rut with agents/publishers) to read it ASAP.
With Kristin and Larry’s help, I finally understood that a hook isn’t some jam-packed action scene. If a reader doesn’t care about the character in turmoil BEFORE the crap hits the fan, your plot suffers and you end up with melodrama. I honestly never thought of it that way! Don’t laugh, I’m still learning.
So the big question? Did I have to start on yet another extensive rewrite of my first act? Am I even farther behind than I was?
No. I added an additional seven pages; one with my antagonist getting his creep on, and the other six with my heroine showing the reader who she is as well as setting up the idea that something just isn’t quite right in her world.
Those seven pages are a goldmine, because they drastically helped the flow of act one and help me answer questions about the second act.
I’ve learned a major lesson: some can fly by the seat of their pants. I cannot. Of course there are ah-ha’s and inspirations along the way – that’s the beauty of writing – but without a strong plan and a decent story structure to follow, most of us will be doomed to either writing 987 drafts, giving up, or having an agent toss us aside without a second glance.
Don’t be a hardhead stuck in your ways. Those with established readers and contracts might afford to do so (although I would question any midlist author who can’t understand why their novels don’t breakout) but us little people can’t. We need to hit the ball out of the park to stand any kind of chance of getting noticed, and the only way to do that is to continuously learn what works.
Story structure works. Brooks is right – it’s in every book out there, whether the writer realizes it or not. Setup, inciting incident, first plot point, midpoint, second plot point … these all need to be planned in advance. If you know when and where these key events happen, the rest of your story will fall into place much quicker.
Brooks says a lot more; his core competencies model of writing is the most clear-cut ‘how-to’ book I’ve ever read. It not only understand how to structure a story, but why it needs to be that way. Read it. Twice. Love it.
But remember, the story is yours to tell, and you must do so the best way you can. You don’t have to follow Brooks’ model to the exact page count, but by using it as a guideline, you’ll be a more efficient writer.
Good luck!
Some have succeeded – Stephen King, anyone?
But since the vast majority of us are not King, is pantsing really the way to go? When I began my first book (a way too many pages romance novel that will probably never be edited for an attempt to publish) I simply had the idea of these two cool characters meeting and one being reticent to having a relationship. My lead guy was a paramedic (hot), and she was an English major turned editor, but what she really wanted to do was write her own books. Original, I know. Anyway, the story was full of juicy unresolved sexual tension until about chapter 15 or so, when the two characters finally got together. Then I realized I needed more of a plot. So I came up with the sexy paramedic deciding to be a firefighter and going through that process. As some of you may know, it doesn’t work that way in most cities. They are either one in the same or firefighter trained first. So I had to fly by my proverbial pants and make up some rules. Then add more conflict, and more, and more. The story got out of control, and while I do believe there are a lot of good scenes, it’s far too long and contrived.
Why? Because I was a pantster. Now, in my defense, I also hadn’t written seriously for years and didn’t realize I wanted to write a book when I started dabbling. But I also didn’t have the sense or the tools to step back and make a plan.
With my current WIP, I thought I had a plan. I had an outline of important scenes and some key plot points. I knew a little about my characters. Good to go, right? After all, no matter how much we plan our characters ahead of time, we really don’t get into their heads until we start writing. My approach was better, but not great. I spent two or three months writing and re-writing the first act of the book because the farther I went into the second, more plot points kept popping up that I should have addressed earlier on.
Then came the story board and index cards. Big help. I was forced to sit down and think scene by scene. Finally I could see the entire plot unfold in front of me, and it was much easier to see what worked and what was just plain asinine. Juices began flowing, and I made a lot of headway. In fact, I’m nearing the midpoint of the book, which is very exciting.
Of course there’s a caveat. I’ve been reading up on writing (The Breakout Novel, Make A Scene, On Writing – all great tools) and was actively applying the new techniques I’d learned. My writing improved. And then I made an innocent comment on the wonderful Kristin Lamb’s blog on a post about antagonists (I’m very proud of mine – he’s creepy as hell but also has a strong moral code, or so he thinks) and was informed that my book’s opening, a hook which drops the reader into the middle of a hostage situation, was a big mistake. Melodrama, Kristin said. A writer who doesn’t understand narrative structure.
Say huh?
I know what narrative structure is! Three acts of a book, all that stuff. Right. Clearly, I’m still a novice despite more than a year of radically improving writing. Kristin advised me to pick up a copy of Larry Brooks’ Story Engineering, and I urge any beginning writer (or anyone pro stuck in a rut with agents/publishers) to read it ASAP.
With Kristin and Larry’s help, I finally understood that a hook isn’t some jam-packed action scene. If a reader doesn’t care about the character in turmoil BEFORE the crap hits the fan, your plot suffers and you end up with melodrama. I honestly never thought of it that way! Don’t laugh, I’m still learning.
So the big question? Did I have to start on yet another extensive rewrite of my first act? Am I even farther behind than I was?
No. I added an additional seven pages; one with my antagonist getting his creep on, and the other six with my heroine showing the reader who she is as well as setting up the idea that something just isn’t quite right in her world.
Those seven pages are a goldmine, because they drastically helped the flow of act one and help me answer questions about the second act.
I’ve learned a major lesson: some can fly by the seat of their pants. I cannot. Of course there are ah-ha’s and inspirations along the way – that’s the beauty of writing – but without a strong plan and a decent story structure to follow, most of us will be doomed to either writing 987 drafts, giving up, or having an agent toss us aside without a second glance.
Don’t be a hardhead stuck in your ways. Those with established readers and contracts might afford to do so (although I would question any midlist author who can’t understand why their novels don’t breakout) but us little people can’t. We need to hit the ball out of the park to stand any kind of chance of getting noticed, and the only way to do that is to continuously learn what works.
Story structure works. Brooks is right – it’s in every book out there, whether the writer realizes it or not. Setup, inciting incident, first plot point, midpoint, second plot point … these all need to be planned in advance. If you know when and where these key events happen, the rest of your story will fall into place much quicker.
Brooks says a lot more; his core competencies model of writing is the most clear-cut ‘how-to’ book I’ve ever read. It not only understand how to structure a story, but why it needs to be that way. Read it. Twice. Love it.
But remember, the story is yours to tell, and you must do so the best way you can. You don’t have to follow Brooks’ model to the exact page count, but by using it as a guideline, you’ll be a more efficient writer.
Good luck!
0
April 7, 2011 - Just Keep Writing!
When I first began the journey of writing, I had no clue what I was doing. An idea had been swimming around in my head, so I sat down and started fleshing it out. I really thought I had something people would want to read: a unique location, a great antagonist, a suspenseful plot, and good characters. I even had readers tell me the piece was great.
How hard could it be to finish the story and turn it into a book, right? So I decided to take the plunge and write my first book.
A detailed outline was the first step. That's when I realized the plot holes. Another outline. More plot holes and extraneous characters. A third outline.
One day I came to my senses and finally understood that I had no idea how to write a novel.
Time to go back to school. I studied the three act structure and applied to my outline. Slashed more characters and adjusted the plot.
What about scenes, you ask? Right. The cornerstone of any novel. So I brushed up on those as well. The amount of information I'd forgotten since college so many years ago was astounding. I went back to my outline yet again and tore it apart, restructuring everything into scenes and fine tuning my plot.
And then I started to worry. Was I doing it right? The novel - Light and Dark, by the way - features a male and femal protagonist as well as an antagonist. Third person was the obvious way to go. Or was it? Should I just stick to a single protagonist? Would an agent be more likely to pull my novel out of the slush pile if I stuck with simple structure?
But then, who would I cut? All three characters are vital to the book's theme.
I began to go crazy second-guessing myself, and the obession stunted my creative process. My writing became forced, the dialogue stunted, and I began to resent the story.
Thankfully I have an amazing critique partner who believes in me. She kicked me into gear, and I remembered why I began writing in the first place: to tell the story.
I threw out my outline. Don't get me wrong - they are important. Knowing the plot points are important. But I chose to work with index cards, listing key scenes that had to be included. And then I started writing again.
For me, writing is an organic process, and my book began to see the results of sitting down and just writing. In two months, 100 pages were completed, and they were strong. I knew I was headed in the right direction! I finally began to not only learn my characters but to love them. I was excited by the plot again and discovered new twists and turns that I believe readers will love as well. For the first time, I wasn't wondering if what I was writing would turn off an agent, but thinking "this needs to be read. People will like this!" That was a milestone for me.
Writing excited me again and more importantly, I believed in myself.
So don't think about the what-ifs. Focus on your book and the story your characters need to tell. There's nothing for an agent or editor to critique if you don't keep writing.
My first draft is halfway complete. The first act of Light and Dark has gone through extensive rewrites, and I'm sure the next two acts will as well. And that's okay. The only way to improve your writing and story is to don a suit of thick skin and dive in headfirst.
So don't be afraid of change. Don't be afraid of seeking a valured opinion. Read books by the pros - three don't miss reads are King's On Writing, Maas's Writing The Breakout Novel, and Rosenfeld's Make A Scene.
But most of all, keep writing!
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