The Problem With Immortality

January 25, 2012 in Writing | 9 comments

This doesn’t seem like a very real headline. The problem with immortality? What problem with immortality? I know that I, for one, would love to be immortal. *bares neck for any vampires that might happen by*

But in fiction, immortality is a huge problem for stakes. If your characters are immortal, they can’t die, and therefore one of the worst things that could befall someone is out of the question. When your characters are immortal, stakes plummet.

The same goes for scenarios that are larger than life. It’s very hard to wrap one’s mind around a global apocalypse, when you really think about it. Think about those charity ads for starving children. If we hear the same mind-numbing statistic of “XX million children are starving in the world,” it’s almost too much to process. And it doesn’t stir our hearts for long. But those ad campaigns that highlight a particular child in a particular place and tell us their story, those are the ones that engage us into putting a specific face on world poverty and hunger.

So if you have an immortal character running around screaming, “The world’s going to end! Gaaah!”…I don’t know if you’re going to get the kind of reader-hooking reaction you want. The stakes you say are present (death/end of the world) are too big, and therefore they start to mean nothing, after all.

Let’s say you are writing a story about an immortal character or the end of the world. Should you put down the quill and sulk because it’s hopeless? No. The trick is to build in a framework of things (probably people) that your character cares about more than life itself, and put them in very real and immediate danger that is much smaller, more menacing, and more specific than some malformed looming apocalypse.

Through your character’s relationships to these people and their willingness to risk all for what they really care about, we will start to get invested in their story. After all, immortality is one thing, and it’s pretty boring, turns out. But the event that threatens to make immortality shallow and meaningless for your character? That’s what I’m interested in. And an apocalypse isn’t scary to me because it’s too huge. But the thing your character can’t bear to leave undone before the world grinds to a halt? That’s what I want to see.

Writers keep hearing advice to up the stakes, but it is possible to make your stakes too high and impossible to care about. If that’s the problem you’re battling, give your characters other more immediate things to despair over.

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The Promise of the Novel

January 23, 2012 in Writing | 13 comments

In December, I was feverishly working on finishing my Writer’s Digest webinar critiques from the MG and YA novel presentation (if you missed it or are just joining us, I’m teaching a MG and YA craft intensive webinar again on February 9th, more info to come soon). This experience is always fascinating for me. Not just because I have no idea how it’s possible for me to do over 300 critiques in such a short period of time. It’s interesting because I get to read reams and reams of novel-openings-in-progress.

Now, a novel opening is one of the hardest things in the world to do right. In fact, there’s a whole book about why that is (and how to jump this difficult hurdle) called HOOKED by Les Edgerton (Writer’s Digest Books). I highly recommend it. Anyway. One of the issues I ran into during critiques was the promise of the novel. What do I mean by that?

As readers, we like to telescope into the future a bit when we pick up a book. After reading the first 5 or 10 pages, our imaginations start feverishly working on where the story will take us. Conflict is usually presented in the first chapter, or a world is introduced, or we meet characters, and we think, “Okay. I get it. This will be the central conflict of the plot that I’m reading here,” or, “I’m going to spend the next 350 pages with these people,” or, “I think we’re in some futuristic dystopian society, cool. Can’t wait to learn more.”

This is a natural process and readers do it almost subconsciously. The key for you — the writer — is to know that and to build the right promise into the beginning of your novel. You always want to work with your reader’s imagination, make the right promise, and then deliver it. They’re going to be telescoping forward into your story, so you might as well make them a) excited to read on, and b) at least right about where they think you’re going with your novel. The most common error I see is one of a misguided or misdirected promise.

I wish I could say this has only happened once or twice, but this scenario happens to me at almost every conference. I read a novel opening that takes place in school or with the family or during a sports game. These scenes are introductory and often info-dump-y and they don’t really do much for me, so I say that to the writer. They always look at me and say, “Oh, well, the rest of the story doesn’t even have anything to do with school/family/sports. I just thought I had to put them in a normal setting first and then go off to the good stuff.”

Not kidding. This happens all the time. And I understand it. When we talk about plot, we often talk about a character’s normal and how the inciting incident wrecks it. So, of course, for most kids, “normal” means family and school. But I also talk about prime real estate and directing your reader’s attention. This relates to the promise of the novel like so: if you start your story in school and going through all the usual suspects of introducing the bully and the Queen Bee and the crush, your reader will think (not without good reason), “Ah, I am going to be spending the next four hours reading a school story.”

And if on page 11, aliens descend and suddenly your protagonist is a long-lost space queen, well…your reader might be a bit jarred. If the story is good, they will reset their expectations and forge on, but you don’t want to give them this kind of cognitive dissonance. The same goes for genre. If something reads contemporary realistic for enough pages to make me think that it’s a contemporary realistic novel, don’t toss dragons at me on page 25. My expectations have gelled. I am settling into your tale. I don’t want to suddenly discover that I’ll be reading high fantasy.

If you have to start in a normal setting, at least drop hints. If yours is a ghost story, make your character see eerie shadows that disappear when she looks them head-on. If there are going to be dragons, you better let us know that this is a world that has dragons in it (a news report about dragon shortages playing in the background would be a cliche, but I hope you understand what I mean). If your character will be going on a long journey, drop subtle hints and foreshadowing, like briefly describing walking shoes piled by the door. Whatever. Just think about your story — the core of it, the plot, the arc — and then make sure that the beginning either starts with it or strongly suggests it.

And if any element plays a strong role in your opening, let it play a strong role throughout. No spending 10 pages focusing on a school story if school does not show up ever again. In fiction, you plant seeds from the very beginning and they grow in importance as you hurtle toward the climax. Don’t scatter pumpkin seeds at the beginning of planting season if you’re trying to grow a tomato garden.

You never want to confuse your reader by accident and leave them scratching their heads halfway through your beginning. Save the misdirection for withholding information and crafting suspense and surprise. Instead, make a solemn promise to your audience that you will tell them the story they think they’ve settled down to read. That doesn’t mean make it predictable, but it means build their expectations just so and make them excited to follow you down the path you’ve set up for them from page one.

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A Little Pick-Me-Up for 2012

January 18, 2012 in Advice | 14 comments

Every once in a while, I hear from readers who inspire me to see the bright side and feel wonderful about the creative work that we all do when we sit down to write. 13 year-old writer M wrote just such a letter. Since I know I always need a creative pick-me-up, especially as I crank on a soon to be revealed very secret project (cue mysterious music), I wanted to share the exchange between M and I, in the hopes that it will get you to care about your own craft as the New Year gets underway.

This is what M wrote to me a week or so ago:

I’m a beginning novelist (if that’s the proper term) and I’ve been writing since second grade to my current age of thirteen. I’ve always known what I wanted to be an author. Unfortunately, I’m a very nervous writer. Whenever I’m writing a “non-serious” story, the words flow so easily, but whenever I’m working on a story that I’m serious about, the words only come in short spurts. It’s so frustrating, mostly because the story and the scenes are laid out perfectly in my head, but I can’t translate them onto paper without worrying myself to death.

I’ve also read a lot of your blog, which has been an amazing source of information for me, and one of your blog posts really jumps out at me: That one about making readers care. I totally get where you’re coming from, mostly because I’ve read a few books that really have taken me on an emotional roller-coaster ride. The thing is, I’m terrified that I won’t be able to do it right. Is there such thing as a writer that just isn’t able to make the reader care about the character no matter what they try? Or is it just a matter of practice and revision? Do you have any tips for manipulating the reader’s emotions? What about making my inner editor shut up? Is there a significant difference in the quality of manuscripts written by older and younger people?

Well, thank you in advance. I just wanted the chance to ask you some questions and tell you how much I admire you. (And here I am, worrying about whether or not this email makes me seem too formal, or- God forbid- obnoxious.)

Sincerely,
M

Immediately, I could see so much of myself in M (and no, M isn’t code for “Mary,” this is a real letter, not one of those “well, my, uh, friend really wanted some writing advice” type of situations, hehe). I mean this in the most loving way possible — the girl’s neurotic. But so am I! And so is almost every other writer I know. There’s a lot to love about being up in one’s head all the time, but there’s also a downside to thinking and caring so intensely. This was the core of my answer to M, which you can read below:

M,

Thank you so much for writing in. I love hearing from writers, and young writers especially. Now, I know exactly how you feel about being creative even under pressure (a serious story vs. a non-serious one). Here’s the thing…you can’t do anything well when your brain is getting in the way. When your inner critic is telling you that you’ll never get down on the page what you have in your head. When you start worrying whether people will care about it or not. That kind of anxiety is the absolute enemy of creative work.

It’s easier said than done, but I would tell you to write something “non-serious” and then part of your “serious” work EVERY DAY. Get yourself in the mood by doing something that’s just for fun, the push through to the real stuff you want to accomplish. And as for making your readers care, I have a feeling you won’t have a problem there. You obviously care very much about your writing, that’s why you’re worried about it so much. We don’t worry about things we don’t care about.

When a writer has emotions about what they’re writing, then they’re likely to stir up a sense of caring in the reader. However, do keep in mind that the best way to make a reader care is to create a character who cares deeply about something — a goal, a person, an outcome — and then take it away from them or put obstacles in their way. Think about it like this: We don’t care about a story that goes, “They were together and happy, with no problems in the world.” We care about, “They were separated from one another by the worst luck on the planet and moved mountains to be reunited.” We like to read about struggle, we like to read about accomplishing the impossible goals, we like to read about characters who would do anything in the world to get what they want. Why? Because we all know what it feels like to yearn, to want, to hurt, to be frustrated, etc. Give your characters something they want, then get in their way. I think that’s central to making a reader care.

Nobody’s inner editor will ever shut up all the way, but you have to keep going through it. You said some very nice things in your email about my blog. You probably think I have it all together and just cruise around, inspiring people and being helpful. But you know what? I have to write it almost every day and almost every day I have those nagging voices in my head that I’m going to run out of stuff to talk about or that the article I’m doing isn’t what writers need to hear, etc. So it’s not something you can ever get rid of, but it’s something you can learn to deal with. The worst thing you can do is worry yourself so much that you become creatively paralyzed.

Finally, stop worrying about whether younger writers or older ones make better manuscripts. I’ve read wonderful things from young writers, awful things from older writers, and vice versa. When you have the right story and you tell it in a way that only you can, you will find your audience and your success. Don’t let anything else obsess you in the meantime. In a word, make it your New Year’s Resolution to quit worrying so much and focus on the writing. :)

***

Sorry for the slow start to posts in 2012. There are just so many events that I need to promote as the year gets underway. Watch this space for more focus on craft…and that big announcement I promised…(mwahahahahahaha).

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Wise Words About Picture Books and Contest!

January 11, 2012 in Advice, Interview | 27 comments

One of my very favorite picture book writers, Amy Krouse Rosenthal (LITTLE HOOT, DUCK! RABBIT!, and many more) gave an interview in the 2012 CHILDREN’S WRITER’S AND ILLUSTRATOR’S MARKET book that I would love to excerpt here the day before my picture book webinar at 1 p.m. Eastern tomorrow, January 12th, which is still open for registration. As a reminder, you will get a 90-minute craft intensive talk on picture books, the opportunity to ask all the questions you have (every question gets answered, either live during the presentation or in an email afterward), and a critique of one picture book manuscript (up to 1,000 words in length).

During the webinar, I’ll talk about how to find the right hooks and universality to really make your picture books marketable on today’s shelves. I’ll also talk about the writer and illustrator relationship in publishing, as well as how writers need to think more like illustrators (and vice versa) in order to come up with truly successful picture book projects.

This excerpt features Rosenthal’s thoughts on finding just the right book idea, as well as working together with an illustrator and how that creative collaboration takes her work to new heights. Read on:

“When my kids were small, there were countless stories told. Often for the boys, I’d tell them stories about dinosaurs, monsters or something in a cape—all these nonsense stories they loved. Ninety-nine percent of the stories I made up for my kids were nonsensical things. But once in a while there was some kind of cool stuff. You have to tell one thousand bad ones to get to the one good one.”

Rosenthal says finding that one good one amidst all the others is a little bit like dating. “When a relationship isn’t right, even if you think I know this is going to work out, he’s really cute, it always has some convoluted glitch—this non-fluid, non-seamless barrage of obstacles. But true love is this flawless, shiny, perfectly smooth thing, at least in the beginning. When I’m writing something, I’m coming at it from a number of different angles. With the ones that end up working, everything falls into place more fluidly.”

That feeling of fluidity can also come from working well with an illustrator. For one of her most recent books, Plant a Kiss (which explores what might grow if you, quite literally, planted a kiss), Rosenthal worked closely with illustrator Peter Reynolds to develop the vision and feel of the book—a process she says has “been a dream.” Not only was it a chance for her to work with one of her favorite artists, but she was thrilled with the vision he brought to the book.

“When I started, I had mocked up the book with stick-figure illustrations. It was tidy, executed visually 100 percent. There was a moment of talk when we thought maybe the book should look like this. It was kind of cute. But thank goodness we reached out to Peter and he said yes. During the first conference call he said he’d send us some sketches. Later, I opened the document, and he had illustrated the entire book. And it was just this moment of ‘Oh my god, he nailed it.’ The characters are beautiful.”

With all of her picture books, Rosenthal has strived for this type of creative partnership. “I really value the collaboration. Oftentimes the writers are kept apart from the illustrator, but that paradigm never made sense to me. From the first ‘yes’ [for Little Pea and Cookies] I made the plea to be involved. I couldn’t imagine not doing it. The books gain so much by the writer and illustrator interacting.”

Interview excerpt of Amy Krouse Rosenthal by Meg Leder from 2012 Children’s Writer’s & Illustrator’s Market (c) 2011 Writer’s Digest Books. All materials used by permission of F+W Media. All rights reserved

Now that you’ve heard one picture book creator’s thoughts, you can hear even more thoughts on the craft of PBs during the webinar. To sweeten the pot just a little bit, I am going to give away one more copy of CHILDREN’S WRITER’S AND ILLUSTRATOR’S MARKET, edited by Chuck Sambuchino, but this contest is a quickie. You can enter in the comments below through 1 p.m. Eastern tomorrow (Thursday, January 12th). I will announce the winner during the webinar (and on the blog next week). If you are taking the webinar, do mention that in your entry. US residents only, please.

Forward this post around and let’s give away another copy of CWIM. Those picture writers out there registered for the webinar will hear more from me tomorrow afternoon!

For those blog readers wondering when I’ll get back to the craft posts here, those are coming up next week. It’s just that 2012 has so many exciting things going on right out of the gate that I have to spread the word. I’ll resume my regular programming once the Writer’s Digest Conference excitement dies down. I seriously can’t wait for this year’s conference. You can check out more details here, and be sure to email me if you still need a special $115 discount code!

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Writer’s Digest Conference Discount

January 10, 2012 in Events | 1 comment

We interrupt our regularly scheduled programming to announce that you can now get $115 off the registration price for the upcoming Writer’s Digest Conference in New York City on January 20th-22nd! I have a special speaker’s discount code that I can send you if you’re interested in going. It’s not too late to register. Not only will you see me on a panel and doing a session on the children’s market, but you can attend the Pitch Slam and get a chance to meet and attract over 60 literary agents on Saturday afternoon. That alone is worth the price of admission!

If you are interested in the discount code, please email me: mary at kidlit dot com

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Publishing Predictions for 2012 and a WD Webinar

January 9, 2012 in Events, Publishing | 6 comments

I’m putting some digital-related publishing predictions on KidlitApps tomorrow, if you want to take a gander. I’m also going to be speaking on a panel about picture book apps in Palo Alto, CA this Saturday, January 14th, from 4 to 6. If you’re in the area, I really encourage you to come by and learn about it. More info here:

PICTURE BOOK APPS: A BRAVE NEW WORLD
An SCBWI SF South Saturday Series Event

Saturday, January 14th, 4-6 pm, First Congregational Church of Palo Alto

Please join us as industry insiders share their experience and wisdom around the explosive new world of picture book apps. Learn about this potential-filled market and find your place in it! A wine and cheese reception will follow the presentations.

Panelists:

Sam Berman, Co-Founder of book app developer Grids Interactive;
Alan Katz (via Skype), children’s picture book author and writer of the book app, Andrew Answers;
Mary Kole, agent at Andrea Brown Literary Agency and blogger

SCBWI members $10 advance/$15 door; Non-members $20 advance/$25 door (join SCBWI to receive the member rate!).

Click here to RSVP!

***

Also, I’ll be speaking about picture books and how to write and publish them in a Writer’s Digest webinar on Thursday, January 12th at 1 p.m. Eastern. You can call in or listen to the talk online, in the comfort of your home or office. If you’re not available at the webinar time, you can still register and receive a recorded version of the talk via email next week, once they put all the information together.

I’ve given this picture book webinar once before, so if you’ve already heard the picture book version, this will be the same information. However, new students and returning students alike get a 1,000-word picture book critique from me!

To register for the webinar, click here.

If you want to hear me speak in person, I’ll be appearing at the Writer’s Digest Conference in Midtown NYC from January 20th to the 22nd! I’ll be on an agent panel, will be participating in Saturday afternoon’s agent Pitch Slam, and will have my own talk about children’s writing and the marketplace on Sunday morning. Whew! It will be a busy, busy weekend, but I can’t wait to meet more of you in person. It’s not too late to register for the conference, and you can do so by clicking here.

***

Finally, those of you watching the publishing business…what are YOUR publishing predictions for 2012? Other than, of course, you getting one or many steps closer toward your own writing and publishing goals. At least, that’s my prediction for all of you! :)

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Happy Holidays and a Happy New Year!

December 24, 2011 in Etc. | 5 comments

2011 has been a very interesting year for me, and I hope it’s been a fantastic one for you. I’m ready to relax for a few weeks and then hop right into what I hope is a tremendous 2012. Let’s make some books, live to the fullest, and see what adventures lie just around the bend!

I wish you lots of holiday love, warmth, time with family, good eats, laughter, creativity, and peace.

This Christmas, since I’m spending the month of December living in beautiful Napa, my family is coming up to visit and we’ll be sunning ourselves by a mineral hot springs pool. That’s right…a Christmas swim in 100 degree water. It’s going to be bliss!

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CWIM Winners!

December 21, 2011 in Etc. | 1 comment

The winners of the 2012 CHILDREN’S WRITER’S AND ILLUSTRATOR’S MARKET, edited by Chuck Sambuchino, are…

Erik Metz
Laura Burdette

Email me your addresses at mary at kidlit dot com!

For the rest of you, it’s still not too late to treat yourself or the kidlit writer and/or illustrator in your life to this fantastic, info-packed book. It makes great pampering for yourself or a fabulous gift for others…or both. And don’t forget to review it on Amazon and Goodreads!

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Writer’s Digest Conference and Contest!

December 14, 2011 in Events | 117 comments

This January 20th to 22nd, I will be participating in the Writer’s Digest Conference at the Sheraton in New York City! I’m very excited about this conference.

On Saturday morning, I will be speaking on an agent panel and taking agent- and publishing-related Q&A with some fellow agents and moderated by 2012 CHILDREN’S WRITER’S AND ILLUSTRATOR’S MARKET editor and Guide to Literary Agents blogger Chuck Sambuchino.

Then, Saturday afternoon, I will be in a room with over 60 literary agents for the annual Pitch Slam. You will have unprecedented access to come and pitch your book to some of the brightest and most hungry agents in the business. There is a nice mix of kidlit, adult, and non-fiction agents represented (and representing!).

On Sunday, I will be speaking about today’s kidlit marketplace and how to get published there. Yep, I am all over this conference, guys. But I’m not the only fantastic speaker. The Saturday keynote is digital/indie publishing guru and adult thriller writer Barry Eisler and I just saw that Chris Baty, the genius behind NaNoWriMo, which I know some of you just finished, has been added as a speaker, too!

The great thing about the Writer’s Digest Conference is that they’re running a special holiday promotion right this minute. If you register for the conference before midnight on December 16th, you will get a $50 discount. Just click here and use the following promo code: HOLIDAYWDC

If you’re going, spread the word on Twitter and Facebook by mentioning @WritersDigest and the hashtag #WDC12

It’s not too late to book that dream trip to NYC and get your 2012 writing goals off to a strong start at the Writer’s Digest Conference. And, of course, if you’re reader and planning on going, I would love to meet you!

Now, I also have a super special holiday gift for you guys. Speaking of Chuck Sambuchino and the new 2012 CHILDREN’S WRITER’S AND ILLUSTRATOR’S MARKET, I have two copies to give away!

Inside this handy volume, you will find articles on craft, writing, submitting, and landing an agent, interviews with kidlit glitterati like M.T. Anderson and Meg Cabot, and updated listings for agents, publishers, and magazines that take work from children’s writers and illustrators. If you want to land an agent or find a market for your work in 2012, this is the book for you.

I highly recommend it. In fact, you will see a familiar face featured on the back cover, and an official blurb from me that reads:

Children’s Writer’s and Illustrator’s Market is the most complete, trusted, definitive, and inspiring source of publishing opportunities for children’s writers and illustrators working today.

It’s true. Not only did I lend my mug and stamp of approval to the book, but I have two articles featured inside. One is about writer’s conferences, like the Writer’s Digest Conference this very January in NYC, and how to make the best of your investment in them (whether it’s your first or your fiftieth), and the other covers my three favorite craft issues: Voice, Character, and Authority, with lots of juicy annotated examples from my favorite MG and YA books on shelves.

So if you want to see examples of Voice that works — an especially tricky topic that lots of writers struggle with — pick up a copy today! This elegant guide is crammed full of useful information and updated agency, publisher, and magazine listings to make your quest toward publication a no-brainer. Let 2012 be the year you really MARKET your writing!

Because I want you to have an awesome writer’s holiday gift this year, either for you or for a loved one, I am giving away two free copies of the 2012 CHILDREN’S WRITER’S AND ILLUSTRATOR’S MARKET to two writers randomly selected from the comments. Leave a comment below (make sure to include your email address in the comment form, though know that only I will be able to see it and it won’t be published on the site). Deadline for entries is midnight, Tuesday, December 20th. The winner will be announced in Wednesday the 21st’s blog, and then I will ship your copy to you next week. (US residents only, please.)

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December Critique Connection

December 12, 2011 in Site Stuff | 37 comments

Every once in a while, I open up the blog comments to a Critique Connection, a post where you can hopefully meet some new critique partners. To participate, leave a comment on this entry with the following information:

  1. Your genre (ie: fantasy, paranormal, realistic, historical, etc.)
  2. Your audience (ie: picture book, MG, YA, etc.)
  3. A little about your manuscript (practice your one-line “elevator pitch”)
  4. What you want out of the experience (a critique of your XX,000-word mss., someone to read your first 3 chapters, help with your query letter, etc.)
  5. Your email address for potential partners to contact you (I’d type it in the following format: mary at kidlit dot com, so that you avoid spam bots.)

Only post a comment for this entry if you are looking for a critique partner.

In other news, I am going to take a Blogcation the last two weeks of December and the first week of January, (Dec 19 to Jan 6) so there will be no new stuff on here during those three weeks on any of my blahblahblogs. However, I’ll ramp up my “From the archives” Tweets, so if you’re not following me on Twitter and Facebook, click those links and do so. I often pull out old articles that are still just as pertinent to writing and publishing as they were when I wrote them and broadcast the links to those who may not have been readers yet. I’ve got a blog full of material from early 2009 on, so there are a lot of posts to peruse!

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