Dear OAbby is a new feature on Operation Awesome where we answer your questions! It's an advice column by writers, for writers, chock-full of information about writing, querying, the publication process, etc. If you have a question you'd like answered, just send it to operationawesome6@gmail.com. All questions may be edited for clarity and/or space, and will be posted anonymously, with no identifying information.
Dear OAbby,
I've written the first two-and-a-half books of a YA fantasy series. The first book was published by a small press that went out of business under not so ideal circumstances. However, I really don’t want these books to go to waste, so I started a complete rewrite on the first. My question is, should I continue and let it make the rounds? Also, I wanted to know what’s your opinion on my submitting the second book first, like the Chronicles of Narnia?
Sincerely,
Series of Frustrations
Dear Series of Frustrations,
This is a sticky wicket. Since the first book has already been published, I doubt an agent or publisher will want to pick up the rewrite, assuming it's got the same characters, plot, etc. as the original, published version. There may be some legal issues, too, since you'd be revising an already-published work, even though it's your own. At the very least, you need to reread your contract with the publisher to see what it says about reversion of rights, etc. Presumably, since they went out of business, the rights reverted to you, and the contract should speak to what you can and can't do with the book at that point. It's worth having a publishing attorney look over your contract and give you specific advice on this point.
Technically, you should be able to submit the second book, since it hasn't been published. Though, since it's based on the same plot and characters as the first book, you may run into some intellectual property rights issues here, too. Again, it comes down to how your contract was worded. I definitely recommend asking a publishing attorney to advise you on these questions, since they're specific to your particular situation.
Yours truly,
Dear OAbby
Showing posts with label writing series. Show all posts
Showing posts with label writing series. Show all posts
Thursday, May 31, 2018
Monday, November 30, 2015
Writing Series: Querying - How many queries should I send?
You've got your polished novel. You've got your query letter. You've got your heart held out, warm and beating in your hands. How many agents do you offer it to before you call it quits?
Querying is a frustrating, exhilarating, soul-sucking experience. The hardest parts are the beginning, after you send that first one, and the end, when you're not sure if you should stop querying or just keep going.
I'm here today to talk about the end. This is a painful thing to contemplate, so I'm sorry for that, but pretend I'm the lawyer you hired to write your will or the financial advisor whom you've contacted about life insurance.
We all want to believe that we're going to find an agent with the novel we're querying. Otherwise, why are we doing it? But sometimes, it doesn't happen and querying ends. You want the end to come when you've rationally decided it, not when you're crying into your second bottle of chardonnay and lamenting the frustrations of today's publishing industry.
So let me sell you some life insurance.
The answer for when to stop querying is different for everyone, but my advice is this: make your decision now, before you hit the send button on your first one, and stick to your plan.
In previous posts, Melinda talked about querying resources, Kara talked about how to use social media to find agents, and Wendy talked about how to organize your querying. Your job, now, is to use those resources to decide how many agents to query.
It could be ten. It could be twenty. It could be one hundred. It could be all the agents that rep adult fantasy and historical fiction as listed on QueryTracker.com. I don't care what your list is, but set yourself a goal, decide how many you'll send per week, write it down, and follow it until every single agent on your list has your submission package in his or her inbox.
A few years ago, I decided to become a direct salesperson for jewelry. (Direct sales being Arbonne, Partylite, Scentsy, Jamberry, etc.) Extra money seemed like a good idea, but I'm an introvert so, long story short, it didn't turn out well. However, I did learn something invaluable that I want you to apply to your writing life. They told us this:
For every yes you will receive, you will get nine no's. So set yourself a goal to get to a certain number of no's, and ignore completely the yes's.
Unfortunately for writers, the odds seem worse than 10%, but the principle is the same: Don't let a request for a partial stop you from querying. Don't get three full requests stop you. Don't even let an offer stop you--make sure you send out "offer of representation" follow-ups to the agents you've got materials out to. If you get a "yes," that's cause for a chocolate cupcake, but it's not a reason to stop gathering more no's.
So what's the answer for you? How many agents are you going to query? You decide that now, and you query all of them.
Do you need an accountability partner? You can find me on Twitter. I'm not kidding about this. I'm about to go into the query trenches myself mid-January (by the way, don't start querying right now because it's the holidays). My goal is at least one hundred Canadian/US agents who rep adult SF.
We can do this.
Monday, November 2, 2015
Writing Series: Querying
So what do you do after you finish all that writing and editing we've been talking about the past several months? If you decide you want to pursue traditional publishing, it's time to start querying.
When I began my query journey, after figuring out what the heck a query letter was and who you sent it to, I began researching agents. And something I quickly realized was that a lot of agents were on Twitter.
So I joined Twitter. I followed a handful of agents, and some other people based off of who was using #query or #querytip in their tweets. From there I found #tenqueries, and from there I found people running query contests and it all just spiraled out of control from there.
My point is, social media can be a helpful tool in the query process because it's a way to see what an agent may be looking for outside of what's on their official bio. For example, if I saw an agent retweeting a Star Trek joke, I'd put them on the list of "people who might like my Star Trek-themed novel." Or during a #tenqueries an agent might say "This is the 5th novel set in WW2 I've gotten this week. I am so tired of this setting." And you would decide not to send them your World War II historical novel because you know it would probably be a rejection.
It's also a good way to learn about people hosting query contests, because those can be excellent feedback opportunities. And Twitter has pitch contests, which is yet another way to get your work out there! My point is, there is an amazing querying community out there, and getting on social media and checking it out can enrich your querying experience. Give it a try!
When I began my query journey, after figuring out what the heck a query letter was and who you sent it to, I began researching agents. And something I quickly realized was that a lot of agents were on Twitter.
So I joined Twitter. I followed a handful of agents, and some other people based off of who was using #query or #querytip in their tweets. From there I found #tenqueries, and from there I found people running query contests and it all just spiraled out of control from there.
My point is, social media can be a helpful tool in the query process because it's a way to see what an agent may be looking for outside of what's on their official bio. For example, if I saw an agent retweeting a Star Trek joke, I'd put them on the list of "people who might like my Star Trek-themed novel." Or during a #tenqueries an agent might say "This is the 5th novel set in WW2 I've gotten this week. I am so tired of this setting." And you would decide not to send them your World War II historical novel because you know it would probably be a rejection.
It's also a good way to learn about people hosting query contests, because those can be excellent feedback opportunities. And Twitter has pitch contests, which is yet another way to get your work out there! My point is, there is an amazing querying community out there, and getting on social media and checking it out can enrich your querying experience. Give it a try!
Monday, October 5, 2015
Guest Post: The Secret Power of Alpha and Beta Readers, by Callie Stoker
This month, our Monday Writing Series focuses on Editing and Polishing. Here to share an important tool in this process is Callie Stoker, a professional editor. Enjoy!
************
You've written your manuscript and your baby is ready for
the world. This next great American novel is sure to have agents and publishers
fighting over it... right?
No doubt you have an awesome story on your hands. But before
sending out your queries, use one of the best assets you probably already have.
Alpha and Beta Readers.
These readers are your fellow writing buddies and test
audience. Their feedback will let you know the highs and lows of your story and
help you weed out the problems you aren't able to see for yourself.
Alpha
Readers
Alpha readers are writers. These are your writing buddies, your
writing group, or fellow friends who also write.
They know the craft of writing and can
give comments
based on storytelling craft.
They focus on areas of:
· character development
· plot holes
· satisfying conclusion
· promises made or broken within your writing
Professional Alpha
readers are called Developmental Editors/Content editors/Book doctors. But, you
don't have to pay a professional to get a good alpha read. A writing or
critique group with authors who know the craft make wonderful alpha readers.
To get the best feedback, be specific with your alpha readers on the points of your novel that you feel are weak. If you are worried that the twists and turns of your thriller plot aren't working, whether your characters are likable, or if your ending is satisfying, tell them. The more specific you are in your requests, the better feedback you will receive.
To get the best feedback, be specific with your alpha readers on the points of your novel that you feel are weak. If you are worried that the twists and turns of your thriller plot aren't working, whether your characters are likable, or if your ending is satisfying, tell them. The more specific you are in your requests, the better feedback you will receive.
It may take time to gather and train the right alpha readers
for you. Many writers get alpha reads automatically as they work with their
writing group. If you don't have your own group, take the time to meet other authors through writing
conferences and writing associations. Connections with fellow writers
can be a great benefit to your writing and growth as an author.
Beta Readers
Beta readers are your core demographic and your
test audience. If you are writing a Middle Grade science fiction
novel, you are going to look for a 9-12 year old reader who is interested in
science fiction.
Not all of your beta readers need to be in your demographic--you can
receive valuable input from many types of readers--but be sure to have at least
one or two beta readers from your core audience. These readers will tell you
where your story hit the mark, and where you may have missed it.
Because beta readers aren't writers, we recommend you give your readers specific guidelines for the kind of feedback you are
looking for. We borrowed the following list from Hugo Award Winner, Mary
Robinette Kowal, who regularly uses readers as she creates her
books.
Ask your readers to mark the following places as they read:
- What bored you?
- What confused you?
- What didn't you believe?
- What was cool? (So you don’t accidentally
“fix” it.)
Knowing what parts of your story elicit the
emotions you were hoping for is a great payoff for a writer. Finding out which
scenes didn't quite work allows you to improve those story moments before you
send your book out to the professionals you hope will invest in your work.
Note: For some authors the terms Alpha and Beta are synonymous or interchangeable. The important thing is to find out what form of outside reader best suits you. We highly recommend putting your novel through both sets of reads so that it can be as polished and ready for publication as possible.
Note: For some authors the terms Alpha and Beta are synonymous or interchangeable. The important thing is to find out what form of outside reader best suits you. We highly recommend putting your novel through both sets of reads so that it can be as polished and ready for publication as possible.
**********
Callie Stoker is a freelance manuscript editor. She has ten years of experience in editing. Her business, The
Manuscript Doctor, offers services that help stories at any stage. Callie has
two children on the Autism Spectrum and is a champion for spreading awareness
and acceptance for those with disabilities. She is a member of the Editorial
Freelancers Association, the Horror Writers Association, and The United Authors
Association. www.themanuscriptdr.com
Monday, September 28, 2015
Writing Series: Major Rewrites guest post by Terra Luft
One of my favorite sayings when the horror of writing the first draft starts to settle in is this:
It’s enough to keep me blazing through until the end, even when my inner fears whisper this is the worst thing ever written in the history of the world. Every writer knows those dark moments, smiling and nodding as they read this, for it is those shared fears during our darkest times which bind us all as comrades and brothers in arms.
The truth is, getting to “The End” is only the first step. It is then that the hardest work – that of revision and editing – begins. What if you realize you’ve taken a wrong turn along the way, despite your best efforts?
This happened to me with both my first and second novel-length projects. I decided to put away the first novel, chalk it up to the one I spent years learning with, and write something else. But once I was done with the second novel, I realized it, too, was lacking something.
I spent a few weeks thinking I wasn’t good enough to be an author. Wrote and published a few short stories instead, trying to forget about the project I’d finished but hadn’t.
Eventually I pulled myself together, reminded myself that I had already written two novels so clearly I am good enough, and decided to fix it. Which meant an entire re-write.
The antagonist had changed halfway through the first draft, leaving the ending mismatched from the beginning – curse those characters who take on a mind of their own. At a minimum, that needed to be fixed. I also decided to add a supernatural element to make the story more compelling. I’d set out to write mainstream fiction believing it would be easier to write (and sell) than paranormal but if you’re a genre writer like me, that isn’t always true.
With the help of my editor and writing group, I spent several months taking stock of what worked and what didn’t and came up with a plan to incorporate a supernatural subplot – the key to most of what was lacking. Along the way, some of the characters morphed, changed their motivations or got cut out completely, and some of the existing plot points had to bend to work with all the new changes. From there, I built a rough outline. One that looked very different than the original one which I’d already written.
I wrote sixty thousand words in that first draft and hoped not everything had to go. However, enough had changed that even the scenes I could still use had a different feel and a different flow in the re-write. I found it nearly impossible to salvage original writing while doing such a major overhaul. Instead of cutting and pasting, I opened the original document so I could reference it and I started from scratch.
Every writer should know, and if you didn’t already let me be the first to break it to you so you’re prepared for it, that the editing process is often not only more difficult than writing the first draft, it is also the largest part of the overall project. Especially when you have an editor. When the editing process begins with a complete re-write, it is even harder.
For the record, I believe everyone should have an editor who can see their work from the viewpoint of the reader and identify things you, as the author, are too close to the work to see. So if you haven’t incorporated critique partners and editors into your revision process, you should reconsider. You may not always like what they have to say, but they are usually right.
Five months of writing later, I’m almost finished. Again.
No one said writing was easy. For those of us in the trenches, at times it can feel overwhelming. Just remember, each time you write a story – regardless of the length – you get better at it. The same is true of revision and editing.
Don’t lose hope. If you find yourself at “The End” and unsatisfied with the product, there are ways to rewrite and salvage it. Figure out the missing elements and have a plan before going in. Above all, never give up. Never stop writing.
***************
The truth is, getting to “The End” is only the first step. It is then that the hardest work – that of revision and editing – begins. What if you realize you’ve taken a wrong turn along the way, despite your best efforts?
This happened to me with both my first and second novel-length projects. I decided to put away the first novel, chalk it up to the one I spent years learning with, and write something else. But once I was done with the second novel, I realized it, too, was lacking something.
I spent a few weeks thinking I wasn’t good enough to be an author. Wrote and published a few short stories instead, trying to forget about the project I’d finished but hadn’t.
Eventually I pulled myself together, reminded myself that I had already written two novels so clearly I am good enough, and decided to fix it. Which meant an entire re-write.
The antagonist had changed halfway through the first draft, leaving the ending mismatched from the beginning – curse those characters who take on a mind of their own. At a minimum, that needed to be fixed. I also decided to add a supernatural element to make the story more compelling. I’d set out to write mainstream fiction believing it would be easier to write (and sell) than paranormal but if you’re a genre writer like me, that isn’t always true.
With the help of my editor and writing group, I spent several months taking stock of what worked and what didn’t and came up with a plan to incorporate a supernatural subplot – the key to most of what was lacking. Along the way, some of the characters morphed, changed their motivations or got cut out completely, and some of the existing plot points had to bend to work with all the new changes. From there, I built a rough outline. One that looked very different than the original one which I’d already written.
I wrote sixty thousand words in that first draft and hoped not everything had to go. However, enough had changed that even the scenes I could still use had a different feel and a different flow in the re-write. I found it nearly impossible to salvage original writing while doing such a major overhaul. Instead of cutting and pasting, I opened the original document so I could reference it and I started from scratch.
 |
| © Bethbee | Dreamstime Stock Photos |
Every writer should know, and if you didn’t already let me be the first to break it to you so you’re prepared for it, that the editing process is often not only more difficult than writing the first draft, it is also the largest part of the overall project. Especially when you have an editor. When the editing process begins with a complete re-write, it is even harder.
For the record, I believe everyone should have an editor who can see their work from the viewpoint of the reader and identify things you, as the author, are too close to the work to see. So if you haven’t incorporated critique partners and editors into your revision process, you should reconsider. You may not always like what they have to say, but they are usually right.
Five months of writing later, I’m almost finished. Again.
No one said writing was easy. For those of us in the trenches, at times it can feel overwhelming. Just remember, each time you write a story – regardless of the length – you get better at it. The same is true of revision and editing.
Don’t lose hope. If you find yourself at “The End” and unsatisfied with the product, there are ways to rewrite and salvage it. Figure out the missing elements and have a plan before going in. Above all, never give up. Never stop writing.
***************
Terra Luft is a speculative fiction author and prolific blogger. An overachiever by nature, she tackles every project with coffee and sarcasm, and believes all rules exist to be broken. She works full time by day and writes by night; always searching for that ever-elusive work-life balance people tell her exists. A member of the Horror Writers Association and a founding member of The United Author Association, she lives in Utah with her husband and two daughters, their naughty dog and a cat who stole her heart.
Monday, September 7, 2015
Writing Series: Major Rewrites
Writing a novel is hard. Editing a novel is hard. Going back and rewriting a novel? Well, that can be heartbreaking.
When I queried my first novel, the overwhelming response I got back from agents and editors was "not enough conflict." As I looked it over (for the millionth time), and decided that they were all correct, I was faced with a choice: Scrap the novel (except for premise and characters) and rewrite it, or move on to something new.
I chose to work on something new, a much stronger novel with a lot more conflict (I learned from that first one!). But now, as I'm moving on to something new yet again, that old first novel continues to niggle at the back of my mind.
People love the premise.
Your characters are really unique.
But then I respond with, "So. Much. Work." And the little voices die down.
You see, I love that novel. It's my first book child. The thought of ripping it apart and changing it hurts. Part of me can see how much stronger it could be; the other part isn't willing to change it because in the end I might not love it as much.
The decision to rewrite a novel is about taking a risk. Is it really worth it? Will the work pay off? What if I can't actually make it better?
So for me, I have decided to keep that novel in a drawer. If I ever land an agent, I will probably bring it up with her to get an expert opinion on whether or not it's worth the work to revise it. But for now it sits in my computer, patiently waiting for the day when I run out of other ideas and have nothing else to write.
Do you have experience with completely overhauling a novel? Was it good, or bad? What convinced you to do it? I'd love to hear from you.
When I queried my first novel, the overwhelming response I got back from agents and editors was "not enough conflict." As I looked it over (for the millionth time), and decided that they were all correct, I was faced with a choice: Scrap the novel (except for premise and characters) and rewrite it, or move on to something new.
I chose to work on something new, a much stronger novel with a lot more conflict (I learned from that first one!). But now, as I'm moving on to something new yet again, that old first novel continues to niggle at the back of my mind.
People love the premise.
Your characters are really unique.
But then I respond with, "So. Much. Work." And the little voices die down.
You see, I love that novel. It's my first book child. The thought of ripping it apart and changing it hurts. Part of me can see how much stronger it could be; the other part isn't willing to change it because in the end I might not love it as much.
The decision to rewrite a novel is about taking a risk. Is it really worth it? Will the work pay off? What if I can't actually make it better?
So for me, I have decided to keep that novel in a drawer. If I ever land an agent, I will probably bring it up with her to get an expert opinion on whether or not it's worth the work to revise it. But for now it sits in my computer, patiently waiting for the day when I run out of other ideas and have nothing else to write.
Do you have experience with completely overhauling a novel? Was it good, or bad? What convinced you to do it? I'd love to hear from you.
Monday, August 24, 2015
Beta Readers
Do you ever look back on yourself from the early days of your writing journey and just think, "Aww... I didn't know a thing back then!"
I remember when I first decided that I would make a real effort towards getting my work published. I knew it would be important to have other people read my book and give me feedback, but I had no writer friends at the time. So I put out an open call on Facebook, and sent it off to a few friends, my little sister, and my grandmother. Grandma, who pretty much only reads mysteries, never made it past the first chapter of my New Adult contemporary.
The feedback from most of my friends was "This is really great! It's like a real book!" You can imagine what that did for the ole ego.
So, like the overeager fool I was, I started querying. Fortunately, I also got involved in the writing community on Twitter, and discovered the importance of having both critique partners and beta readers.
A critique partner is exactly what it sounds like: a partner. Usually there is an exchange of work. Critique partners are people who write and are familiar with the publishing industry. You don't feel guilty about nagging them over and over about your first paragraph because they get it.
But what about a beta reader?
As the "beta" part implies, a beta reader is not your first pass reader. A beta reader should be reading the most polished version of your manuscript, one that has been edited several times and already been seen by your critique partners. Don't waste your beta readers on picking up typos (though I always tell mine to mark it if one jumps out at them). Have them read your manuscript as if it were a book they picked up off the shelf.
Find beta readers with expertise in the areas of your book that stretch you, and have them help you make those scenes more realistic. For example, my sister is in her fourth year of vet school, so she helped me immensely with the vet clinic scenes in the book I'm currently querying. The book I'm working on right now is set in the area of upstate NY where I went to elementary school. I don't know what it's like to live there as an adult. So when I'm done, I'll reach out to one of my friends from elementary school on Facebook and ask her to evaluate that aspect of the book. Beta readers are great tools for developing diversity in your work as well. Be bold! Write that character with a different race, sexual orientation, or socioeconomic status than your own! Then have a beta reader (or two!) from that group help you with accuracy and sensitivity.
Beta readers are a valuable tool in the editing process. When you receive feedback from one, thank them graciously. And don't forget to include them in the acknowledgements when you finally get published!
After I initially wrote this post, I read an article in the October 2015 issue of Writer's Digest on beta readers. It's by Amy Sue Nathan, and it really goes in-depth on the topic of finding and keeping beta readers. I'd really recommend it to anyone interested in learning more!
I remember when I first decided that I would make a real effort towards getting my work published. I knew it would be important to have other people read my book and give me feedback, but I had no writer friends at the time. So I put out an open call on Facebook, and sent it off to a few friends, my little sister, and my grandmother. Grandma, who pretty much only reads mysteries, never made it past the first chapter of my New Adult contemporary.
This is my grandma. I will love her forever for introducing me to Agatha Christie. If you need a beta reader for a cozy mystery, she's your woman.
So, like the overeager fool I was, I started querying. Fortunately, I also got involved in the writing community on Twitter, and discovered the importance of having both critique partners and beta readers.
A critique partner is exactly what it sounds like: a partner. Usually there is an exchange of work. Critique partners are people who write and are familiar with the publishing industry. You don't feel guilty about nagging them over and over about your first paragraph because they get it.
But what about a beta reader?
As the "beta" part implies, a beta reader is not your first pass reader. A beta reader should be reading the most polished version of your manuscript, one that has been edited several times and already been seen by your critique partners. Don't waste your beta readers on picking up typos (though I always tell mine to mark it if one jumps out at them). Have them read your manuscript as if it were a book they picked up off the shelf.
Find beta readers with expertise in the areas of your book that stretch you, and have them help you make those scenes more realistic. For example, my sister is in her fourth year of vet school, so she helped me immensely with the vet clinic scenes in the book I'm currently querying. The book I'm working on right now is set in the area of upstate NY where I went to elementary school. I don't know what it's like to live there as an adult. So when I'm done, I'll reach out to one of my friends from elementary school on Facebook and ask her to evaluate that aspect of the book. Beta readers are great tools for developing diversity in your work as well. Be bold! Write that character with a different race, sexual orientation, or socioeconomic status than your own! Then have a beta reader (or two!) from that group help you with accuracy and sensitivity.
Beta readers are a valuable tool in the editing process. When you receive feedback from one, thank them graciously. And don't forget to include them in the acknowledgements when you finally get published!
After I initially wrote this post, I read an article in the October 2015 issue of Writer's Digest on beta readers. It's by Amy Sue Nathan, and it really goes in-depth on the topic of finding and keeping beta readers. I'd really recommend it to anyone interested in learning more!
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