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Rhyming picture books were the bane of my existence as an agent, honestly. I had one rhyming PB client out of maybe fifteen PB “generalists.” And yet 8 out of 10 picture book manuscripts that came into the slush were in rhyme. That’s a pretty big disparity, right?

Part of the issue is that a lot more picture books used to be in rhyme than are being published now. So some writers still have this idea in mind that PB = cutesy rhymes. To those writers, I would suggest a trip to the bookstore, so they can see what’s being actively published now. Last week’s post on paying attention to the market would apply a little more heavily here…

Whether it’s a misconception that you have to write rhyme to publish a picture book, or an affinity for rhyme, or a misconception that young kids can only communicate in rhyme, I’d like to discuss this controversial topic with a little more clarity.

Now that I’m a freelance editor, I actually love working with rhyme. Why? Because I have creative writing training, know my poetics, and can identify rhyme issues a thousand miles away. I’m not bragging, but I am here to ruin your day a little bit: Rhyme involves a whoooooooooooooole lot more than putting cute words at the ends of sentences. Yet a lot of people who choose to write in rhyme don’t seem to make that connection.

First of all, most of the end rhymes I see in manuscripts are about as inspiring as “cat” and “hat,” and I’m pretty sure someone else has already cornered that market. The point of rhyme isn’t to find a word that works and wedge it in somehow, the point of rhyme is to delight, impress, and surprise. If I see an unexpected rhyme in a manuscript, that immediately tells me that the writer knows what they’re doing.

A big mistake I also see is letting rhyme dictate story, not the other way around. Writers become so fixated on getting those rhymes in that things become arbitrary. Why is her name “Dorange”? Because you had to rhyme with “orange”? Okie dokie… Why is he sitting on a wall? Who does that? Oh, so he can have a great fall? Gotcha. But are you writing in service of your story or reaching for a rhyme? If the story falls by the wayside, you are choosing style over substance, and that’s problematic. The integrity of story must come first.

Yet another consideration is rhythm. This is where the poetics training really kicks into gear. Shakespeare didn’t just write in iambic pentameter to torture college students. There is actually a lot of (please forgive me, for I am about to sin) rhyme and reason to rhythm in poetry. If you haven’t read your rhyming manuscripts aloud and counted your syllables at least once, what are you doing reading this blog post? Make haste! Because if I try reading your rhyming manuscript aloud, and the rhymes are fine, but your syllabic counts are all over the place and I’m tripping over my tongue with each line, this is what it looks like to me:

7 syllables
6 syllables

7 syllables
8 syllables

9 syllables
7 syllables

Whyyyyyyy? Why are you making my head hurt? What’s the pattern? Books, especially poetry books, teach us how to read them. Rhyme is a pattern. It says, “You are about to learn that if one line ends with rhyme A, the next line will also end with rhyme A. Then the next couplet will introduce rhyme B…” The rules are right there. So if you’re going to go through all that trouble with end rhyme, why would you not consider your rhythm, too?

I think that reading your work aloud will be extremely illuminating to you if you’ve never even considered counting syllables. The trick here, of course, is actually reading your work as it’s written, not reading your work with the rhythm that you want to impose on it. It’s amazing how writers tend to snap into their ideal rhythm when reading, even if that’s not exactly the rhythm they’ve written. Better yet, have someone else read your work to you. Where do they falter? Which sentences trip them up? It’s an incredibly illuminating exercise.

Now, you might think that I’m just being a stickler. Or that having the letters “MFA” somewhere in my personal history have put me on a high horse. Here’s the real poop on rhyming picture books, and I know you’ve heard this before: Most agents and editors don’t love them. When I was an agent, I didn’t love them because I didn’t know a lot of editors who loved them. When you’re an agent, it makes a lot of sense to really love stuff that sells well, because then you’re providing great service to your clients and making money. And I’m betting that editors see a whole lot of rhyming manuscripts, too. Maybe not 8 out of 10 submissions, but maybe 5 out of 10. And let’s say that their houses are pressuring them to acquire more quirky/funny picture books along the lines of Peter Brown and Mac Barnett. So they only have room for 2-3 rhyming PBs on their lists each year.

Then there’s the idea that there are people out there who really, really, really, really know how to write rhyme. My example in this category is always BUBBLE TROUBLE by Margaret Mahy, illustrated by Polly Dunbar. I took one look at that text and never wanted to try writing in rhyme, because I think it’s just such an accomplished, virtuoso rhyming text. If there are writers out there who are carrying Margaret Mahy’s torch and talents for rhyme, they are going to get those coveted and limited PB acquisition slots. Because they know what they’re doing. And the editors who want to work with them are going to hold them up to Mahy-like standards, since that’s an example of rhyming done extremely right that’s already out in the market.

As you can see, there are a lot of considerations to writing in rhyme. And finding a good end rhyme to shoehorn in there is just the first level. If you are at all curious, college poetics textbooks are always enlightening, even if you have to also invest in some toothpicks to prop your eyelids open. Long story short, poetry is an ancient art form that has tons of rules and ideas all its own. It’s a system. And if you’re going to bind yourself to a system, you better know the system. Within the system, you might just find a lot of freedom and creativity. Otherwise, if you don’t know it well or you’re just playing around with it because you think it’s what you have to do, it’s a set of handcuffs that will start to chafe pretty quickly. And it’s likely that you will not be truly competitive.

If you’re writing rhyming texts, don’t freak out. Just make sure you’re doing an excellent job. I mean, that’s good advice for any type of writing, or any pursuit, really, but I’ve found that it especially applies to getting rhyme past gatekeepers. Because rhyming PB texts often come from good, but misguided, intentions.

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Today I was thinking of the very important and potentially controversial issue of writing with a market in mind. What do I mean? Well, if you see that novels about alligators (ridiculous example) are heating up in the marketplace (“the market”), do you pursue that above any idea you may have organically? Or do you keep writing what you’re writing and put relative blinders on as to what publishing is doing?

Writers tend to fall into two camps on the issue. Let’s talk pros and cons to help you see it more comprehensively.

By paying attention to the market, the market-minded writer is aware of what publishing is doing, and probably more aware of various guidelines. For example, you know that you could very well write a 200-page picture book, but that it probably wouldn’t get as much traction as if you’d slated your work toward the common 32-page format. Sure, you can do whatever you want, but it’s going to come to a screeching halt if you try to wedge it into a marketplace that has no category for it. Categories, as we all know, are especially important in children’s books, where writing for specific ages means you have to pay attention to things like word count, protagonist age, etc. You are of the opinion that you need to know the game before you step onto the playing field, so paying attention to what’s getting published is a way for you to learn the business and (potentially) get a leg up, especially if one of your ideas happens to align with what’s currently sought-after. Think of market awareness as giving yourself a stronger potential chance for success.

If you are a market-ignoring writer, you may be surprised when you try to submit. “What do you mean they’re not publishing 3,000-word fairytale storybooks anymore?” you ask. “I’ve put two years of my life into illuminating this manuscript with my daughter’s kindergarten illustrations!” Well, if you had been in a bookstore in the last few years, you would’ve seen very clearly the way the wind is blowing in terms of length, tone, and illustration quality. Hey, whether or not the market is right or wrong in not really publishing the type of book that you want to write is up for debate, and that’s not really the scope of this post.

The truth remains that there are trends and preferences to today’s publishing culture, and that it would behoove the savvy writer to at least know what they are if they intend to offer up a product for sale. The same applies to any economy. If I happened to notice that twee handmade jewelry and adorable knit caps are selling like gangbusters on Etsy, I wouldn’t, for example, try to hang my shingle out as a lady mechanic selling rusty old car parts. I’m not going to get as much traffic there as I would on, say, the fantasy marketplace of RustyOldCarParts.com. The same idea applies here. It’s just common sense.

There are, however, potential cons to paying too much attention to the market. You can become a slave to trends and lose what’s yours about your work. Your ideas will start to sound like copies or rip-offs of what’s currently trending, and you might lose some passion for your projects because you are chasing the market instead of your potential contribution to it. The market is also fickle, and trends come and go. There’s also lag time to consider. What you’re seeing published now was acquired two years ago, so unless you are very connected or have an agent in your corner, it’s hard to know what editors are looking for at the present moment. Paying too much attention to the marketplace tends to create anxiety, whether it’s founded or not, and takes the fun out of the creative process.

And if you’re not passionate about what you’re doing, and approaching it with a more mercenary attitude, chances are good that others will find it more difficult to be passionate about it, too, and treat it like a project-of-the-week. Emotionally, this can lead to some bitterness. I heard it a lot during the Twilight era. “Why did that stupid vampire novel get published, while I have a perfectly good vampire novel and nobody wants it?!” writers would gripe. There’s no good answer to that question. Maybe the stupid vampire novel was submitted before yours, or the writer had started it before the Twilight epidemic as an original, unlikely idea, and it’s full of that type of passion, whereas the griping writer’s novel was written in haste to make a few quick bucks. Who knows. But sometimes trend-driven projects take on a competitive edge that wouldn’t otherwise be there, and prove unpleasant to their creators.

Plus, a lot of the wild successes of publishing have come out of left field, as far as categories are concerned. So there’s something to be said for originality influencing the market, not the other way around.

I think an approach somewhere in the middle ground is the best. Know what the marketplace is doing so that you can give yourself a fighting chance. But don’t dwell on trends or haunt the deals notices too closely. Stick to your original ideas and pursue them passionately, as long as you’re also keeping a distant eye on what it might be like to sell them down the road. This, to me, is the sane road.

What kind of writer are you when it comes to paying attention to the market? Do you let it dictate, or do you follow your heart and then see if there’s a spot for what you’ve created? Or are you a little bit of both?

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It’s been a while since I’ve been active on the conference circuit. There were months during my agenting career when I would travel to two or three conferences and workshops a month. It was fantastic for my frequent flyer account, sure, but I loved everything about these events because I could teach workshops, meet writers, and see the world. It was awesome.

Even though I’m not doing much speaking anymore (though I may have an event on the books for this summer, more details to come!), that doesn’t mean YOU have to stay home. If you haven’t done any workshops or conferences recently, or ever, there are a few upcoming events that I want to get on your radar.

First of all, many of you have heard of Highlights Magazine, yes? Well, you may not know about the Highlights Foundation out in Pennsylvania. This organization’s mission is to empower and educate writers. When I was agenting, I was actually on faculty for one of these events and I can’t recommend the experience enough. The Highlights Foundation has a few offerings coming up that they wanted me to tell you about.

First, in March, there’s the “Everything You Need to Know About Children’s Book Publishing” crash course, which includes faculty members Harold Underdown and Jo Knowles. If you’re interested in children’s book publishing–and I can only assume you are, since you’re hanging out on Kidlit.com–check it out. As an extra enticement, the Highlights Foundation is offering $200 off the registration price with coupon code CRASH. Take a look at the registration page to submit your information and take advantage of the special pricing.

For those of you who are in the know, there is also the Big Sur Writing Workshop, organized in part by my former employer, the Andrea Brown Literary Agency. Big Sur is, hands down, one of the most incredible opportunities for writers that I have ever come across. This year, it looks like they have rolled out an Advanced Master Class offering for writers which is still accepting applications. If you’ve done Big Sur before or you are confident enough in your skills, I would apply. Writers would tell us all the time that Big Sur was one of the best things they’d ever done for themselves. I can personally attest to the magic of that place, the connections you make, and the leaps you’ll take in your craft once you take the time to go.

If a March opportunity isn’t possible, there’s also a really appealing “Summer Camp at the Barn” offering from Highlights, which just sounds dreamy, slated for July. I was on faculty in the summer, and the property they have for workshops is just incredible, lush, and green. Not only will you deepen your craft, but you will get away from your daily life and reset there.

It’s my firm opinion that every writer deserves to invest in a workshop or conference at some point in their development. Why not roll a weekend or week of learning into a creative retreat? Bucolic Pennsylvania or stunning Big Sur are the perfect backdrops to take some much-needed next steps in your writing life. If you’re unable to jump on a retreat or workshop this year, keep both of these resources on your radar. They are worthy of your attention.

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it seemed that, for a while in the early 2010s, every book I was getting in the slush as an agent had something to do with the end of the world. Dystopian fiction was all the rage, The Hunger Games were exploding off the shelves, and the Mayans had supposedly hinted that the end times would happen in 2012. (Maybe they did and we are all a dream that one of my pugs, who sleeps pretty much continuously, is having?)

Point being, I saw the same iteration of manuscript over and over:

Kid is arbitrarily chosen to save the world, because the world is definitely ending, usually by a mechanism that is large, ominous, and largely outside of anyone’s control. The phenomenon is either natural (disaster, asteroid, climate collapse, virus, etc.) or manmade (shadowy government forces, global war, etc.).

I’ve written before about the unique challenges of the “chosen one” style of story, where a child is, seemingly, arbitrarily plucked from obscurity to avert global disaster. This is a very tough type of book to pull off, and yet that doesn’t stop pretty much everyone from trying. Basically, it opens up a lot of questions that never seem answered quite to my satisfaction. Why this totally ordinary kid? Why such profound magical powers out of nowhere? If this kid is so special, why haven’t they been groomed for the task from birth? Who decided that this one child, on a planet of 8 billion people, was the only hope?

Structurally, these stories also seem to follow a lot of the same steps, which now seem cliché. A milestone happens and they discover a secret about themselves that reveals a destiny. Then they are thrust into a completely new group of people. Cue meet and greets. Then they have to learn a whole new set of skills. Cue training montages (which contribute to a rather static “muddy middle,” since you can only write a few scenes of learning how to do XYZ before they start to run into one another). There’s a rival and a big challenge, then the character must do the thing they were destined to do. It looks unlikely for a second, and the Earth is splintering apart and shaking, and then, suddenly, they persevere at the last moment and the whole world is saved!

The big issue with these stories, other than their relative sameness, is that the stakes are maybe…too high.

Now, I can imagine you, dear reader, are about to throw your laptop at me. I keep talking about stakes and stakes and stakes and tension and friction and increasing stakes, and then I show up one fine Monday morning to tell you that, well, stakes can be too high. What do I want? Why am I so finicky? Is nothing ever good enough for Little Miss Goldilocks over here?

Hear me out. The issue with most manuscripts is, indeed, that stakes tend to be too low. The action is small, there’s not enough personal investment from the character, and the consequences of each action and plot point are barely registering on the charts. However, the opposite extreme is also problematic. If someone ran down my street right now in their boxer shorts, screaming that the world was ending, I would…shrug? Go to a news website? Call my husband? Throw caution to the wind and eat a whole thing of ice cream? I don’t know. That’s such an improbable event (no matter how many times our imaginations have gone there) that it’s too big to believe.

So selling such high stakes becomes very difficult. You have a lot of convincing to do, starting with the character, then the reader. Is the world really going to end? Readers, by this point, are savvy customers. We know how these types of stories go. And we know that the world ain’t ended yet. And if it was going to, it would probably be turned over to the professionals rather than landing squarely in the lap of a 12-year-old kid.

So should you even bother with an apocalypse story? You can. There’s always something deeply fascinating to humans about the idea of the world exploding or being decimated by virus. I would imagine there are some hastily written zika virus manuscripts popping into agent inboxes right about now. If you still want to do this sort of thing, I would suggest that the kid and the apocalyptic event need to be inextricably tied.

For example, this specific kid needs to match this specific apocalypse in a way that makes them the only possible answer. Let’s say that their mother was a leading climate scientist who was recently kidnapped. Life sucks for the character as they try to put the pieces back together. Then it’s revealed that the reason for the kidnapping was that Mom had just stumbled upon a shadowy government conspiracy to overheat the Middle East in a desperate bid to end the conflict there. But it worked too well, and now the entire planet is in grave danger. Mom is presumed dead, but Kid has his doubts. Worse yet, Mom told Kid some very classified information right before she was taken, almost as if she knew what was going to happen. Now Kid might be the only one to reverse the runaway climate. But, even with the world (theoretically) at stake, Kid has their own skin in the game: to see if Mom is actually alive, and to bring those responsible for the kidnapping to justice.

Apocalypse story. Shadowy government conspiracy. Runaway climate change (giving the story a timely hook). But what do we notice about this premise? It’s not just some random kid. In fact, the kid has deeply personal reasons for springing into action. And averting the apocalypse is almost a byproduct of more intimate, meaningful goals.

That’s what I would suggest doing if your stakes are too high: make them smaller (not in scope, but in terms of intimacy of objective and motivation). Make them more personal. Make it believable that a kid would rise up against huge forces to get what they want, because what they want is very close to their hearts. The stakes stakes can remain huge (there’s still an apocalypse scenario) but their impact on your specific character is what has the power to set you apart in this very crowded category.

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A lot of writers hear the well-meaning advice that, in order to break in more easily, they should have some writing clips and credits to their resume. It’s good advice, and I especially don’t want to disenfranchise the many writers who have been actively pursuing this strategy with my answer, because it is a very worthwhile strategy.

In case you haven’t thought about this issue before, I’ll summarize here: When you’re an aspiring writer, you have a lot of ambition to write, but not a lot of platform. People aren’t buying what you want to sell, basically. Or, if they are, they aren’t really paying you for it. You’re probably getting opportunities to showcase your work on blogs and at other web-based venues that don’t have a budget to compensate contributors. Or maybe you start your own blog, like this ol’ hack did! This is how a lot of people get going.

Then you think that there has to be more out there that’s, well, more noteworthy to a potential publishing gatekeeper. So maybe you explore other avenues to showcase your work. Whether it’s in the children’s writing realm, say, Highlights Magazine, or in an unrelated area, like an op-ed for the local newspaper, or a poem in a general fiction literary journal, you start to set your sights higher.

Whether you try to gather clips in print journalism, the literary community, scientific or medical magazines (a lot of writers have done a lot of technical writing for their day jobs), etc., you’re basically writing and racking up pieces that someone else has vetted and decided are good enough to publish.

This all makes a lot of sense, right? If you want to write, write, and maybe the momentum of all your writing will speed up your efforts on the book publishing front. Being published is being published, no matter what you’re publishing. And writing professionals love to see writing credits. Right? Weeeeeeeeeell…

It’s not often that clear-cut. Publishing an op-ed in your local paper in Portland is not the magic ticket to calling attention to yourself with a children’s book editor in New York, unless, of course, your op-ed or Huffpo article causes such a stir that it goes “viral” and attracts a lot of attention or controversy. In fact, under my original name (a much longer version of “Kole”), I published an op-ed in the Los Angeles Times, which is a notable newspaper that people have heard of. And I thought, for sure, this was my golden ticket. The day it ran, I waited for the phone to ring. Aaaaand…my mother was very proud of me. Then one man from Idaho took offense at my sense of humor. That’s about it.

The fact of the matter is, if you can say in your query that you’ve published with a top-tier publication that most casual readers have heard of, that’s going to be an amazing feather in your cap. And agents and editors might take notice. But it’s likely not going to get you a book publishing contract.

And outside of that, if you’re publishing on blogs, or in smaller literary magazines, or in venues that have nothing whatsoever to do with publishing novels, then your clips are going to tell a potential agent or editor one positive thing, but one positive thing only: That you’ve hustled a little and know a little bit about the process. And that’s a positive thing, because that might indicate that you’re at least somewhat easy to work with during the publishing process. But it’s not a guarantee of anything.

My main objection to splitting your focus and concentrating on amassing clips if your primary goal is to publish a book can be expressed in this recent post. The truth of the matter is, some journalists spend years trying to crack the New York Times for their own resumes. It’s an entirely new skillset. First, there’s learning how to write well enough that the Times would take interest. Then it’s cultivating contacts and editor relationships that will get you prime consideration. Then it’s learning the culture of the publication (and every publication has one, no matter how small they are) and learning how to work within it successfully. After a lot of effort, you may finally get published in the Times. But then you’re published in the Times, not in the book realm.

What’s missing from this picture of all the effort you’ve put in? Oh yeah, honing your novel craft, which is why you’re doing any of this to begin with. So gathering clips is phenomenal, but it doesn’t help you accomplish your primary goal directly. And there’s no guarantee that it will help you accomplish your primary goal indirectly, either. You may sink a few years into pitching freelance articles to magazines, distract yourself, and maybe emerge with one well-regarded piece in Real Simple…that has nothing to do with your novel.

Is that payoff worth it? Only you can decide. This strategy only seems to work well when you’re a journalist in your day job, and a novelist by night. Then you possess both skillsets already, and you can jump back and forth more easily. Otherwise, it’s like going through all the work and trouble of growing a new arm, just so you can give your primary hands better manicures. It seems like a lot more effort than it’s worth.

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This is a great question that came via email from Matt:

Is there a writing principle about how much interiority should be within a scene?

As with all great writing debates, I’m here to say that there’s no set guideline. Womp womp. Sorry to not have something more concrete, but I do have some food for thought that might help you choose your own approach.

My rule of thumb, however, is to use what’s necessary and find a balance. As with anything, balance doesn’t come easily. Some writers err on the side of too much interiority, some writers barely scratch the surface of their character’s rich inner lives, even in first person.

The imbalance of too much interiority is especially apparent when nothing is happening, plot-wise. Alternately, nothing happens because there’s too much interiority, or internal conflict, rather than external conflict. If you have your character thinking about everything, maybe you’re on this end of the spectrum. Know that, while a level of interiority is desirable, you also need to focus on the things that come less naturally to you, namely pacing and plot. It’s very important to know how a character reacts to what’s happening, but it can’t be the end-all and be-all. To be fair, I see this imbalance less than its opposite.

The more common imbalance is seeing little interiority in big moments, when connection to the character should naturally increase in order to keep from alienating the reader. Writers who fall into this category tend to be very comfortable with plot. When they do talk about emotion, maybe they simply name what a character is feeling, or talk about the feelings by using clichés that detail emotions in a character’s body. These are offshoots of telling, and, as you’ve heard me say many times, interiority is quite different from telling, though the distinction can be subtle for a lot of people. Characters with too little interiority are also prone to being stuck, or to being in denial.

As you can see, there are many more links discussing a lack of interiority or issues with inadequate interiority than there are dealing with too much of it. This is yet another reflection of the fact that I see writers end up toward this end of the issue a lot more.

If that’s not the case for you, and you think you’re somewhere in the middle as an interiority-user, I would still suggest analyzing how you’re striking that balance. Make sure the reader feels connected to important moment, and use enough interiority to highlight the things that are truly important. When something big happens that your character should be reacting to, ask yourself: And? So? Some recent thoughts questions that help develop interiority can be found here.

Next, think about how interiority and plot intersect. Use interiority to plant the seeds of tension as you develop your plot. It’s not enough to have a character feel afraid, for example. They’re usually afraid of something very specific, or a worst case scenario. To help tension along, let their minds go to those darker places, especially if the plot hasn’t caught up yet. More thoughts on that here.

This is such an important facet of the fiction writing craft that I really hope you never stop exploring this fascinating topic, and figuring out how to best use this tool.

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I’ve been on a roll with some really good reader questions lately. As a reminder to anyone out there who may be new to the blog, I do open myself up to general inquiries about writing and publishing via email. Sometimes these exchanges end up on the blog, sometimes they’re between you and me. Information on how to reach me is available in the sidebar. I regret that I can’t answer very specific questions or review work…that’s reserved for my freelance editorial clients. But questions Kate’s, below, are more than welcome!

What are your feelings about submitting an excerpt from an as-yet unrepresented novel for publication in a literary magazine? My concern is that on the off-chance that the excerpt would be published I would thereby render the whole novel unsellable to a publisher. In my case I’ve rewritten the submission to make it work better as an excerpt, but I’m not sure if there’s enough difference between it and the version in the manuscript, or whether that even matters. Thanks!

This is a great question, and one I see from time to time. I didn’t find out the exact circumstances until later, and it turns out I was right. Because I imagined a few things about Kate’s situation that would lead her down this path of reasoning. First, Kate is frustrated by a novel that’s not getting picked up. She later reported submitting to agents for quite some time and not getting where she wants to go. Second, she has likely started thinking…Well, what else can I do with this thing? Is there a shortcut to getting to getting noticed? Hence the literary magazine idea. And it’s not a bad idea, in theory. But would I recommend it? This was my response. Read on:

Good question. I’ll answer, but start my answer with another (blunt) question: Why? What’s the point? If you want to get a novel published, it is very, very, very unlikely that you’re going to get there by publishing something in a literary magazine from it that an agent will see or that will otherwise draw attention to your efforts. That’s a very circuitous route. And getting published in a literary magazine involves learning about good literary magazines to submit to, submitting to them, getting immersed in that, etc. If your big goal is to get a novel published, your energy is much better used focusing on the DIRECT route: writing a kickass novel and getting immersed in the novel/agent submission process.

While, yes, writing credits are kinda sorta important to collect when you’re trying to make your name as a writer*, they are not the determining factor. And literary agents and literary magazine people don’t spin in the same worlds some of the time. You’d think they would be connected, and some definitely are, but agents have so much to read that when a literary magazine lands on their desks, on top of everything else, it may or may not get attention. For me, even if someone is published in The Paris Review, one of the most noteworthy journals and pretty impossible to get into, if I hate the novel they’re submitting, the credit is impressive, but meaningless to me because, as an agent, I am looking to sell you as a novelist, not a literary magazine writer. So, you could be doing all that UNRELATED work for very dubious payoff. If the journals even want you.

The thing is, lit mag demand for unpublished novel excerpts is quite low compared to standalone articles, short stories, and poems. They’d rather publish those because they’re more satisfying for the reader, rather than some random piece of something that, who knows, nobody may ever hear from again. Unless they’re inspired to contract you for a serial series, I wouldn’t imagine that this type of piece is hot property. And if they do, you may have more problems publishing it eventually because more will have appeared in print.

So the print rights issue is certainly one to consider, and some publishers might be jerks about it, saying that since you’ve already exploited some rights by putting the excerpt in print, the property is less attractive, etc. It has happened. But that’s honestly not why I’d reconsider this idea. Finally, what about when you revise your manuscript, as you’re bound to do, because you wake up one day and realize the piece you’ve been missing? It happens all the time. And then you have this excerpt floating around that’s now horribly broken, in your eyes. And that’s your “sales piece” that’s now immortalized in print.

I know that you are probably very eager to do something, anything to move your chances forward. Think of taking the more direct path. Write the best manuscript you can. Write a killer query. Research agents. If you really have enough free time to also research literary journals, more power to you. But to me, that’s not going to be your strongest potential path to success.

  • I know many of you are going to find this statement interesting. I will cover clips and writing credits in a subsequent post!

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Based on last week’s interiority post, I got a great question in the comments from Kyle:

Mary, I love your thoughts on developing interiority both on your blog and in your book. I have a formatting question though: should those inner thoughts be set off in italics?

This is a small issue, but one I’ve been meaning to address. Lo and behold, I haven’t gotten around to it until this handy reminder. Thanks, Kyle! The straight answer to the question is quite simple: whenever you render verbatim thoughts in text, you do want to use italics. For example:

Wow, time has sure flown by. The holidays are over and it’s halfway through January! I should probably throw out those Thanksgiving leftovers, she thought, giving the fridge a wary look.

Super easy. Just put the thought in italics, avoid any kind of quotation marks (those are for spoken dialogue), and either add a “thought” tag, as you would a “said” tag in dialogue, or don’t. It all depends. If you’re citing verbatim thoughts a lot, you won’t need to do this after the first few times, because the reader will know that italics mean thoughts.

But this question does raise a bigger one. Does interiority have to exist purely as verbatim thought, or are there other ways to render it in narration? In my view, interiority can absolutely exist as part of regular narration, meaning that you don’t have to stick something into italics/thought in order for it to be a thought. If that makes sense.

Perhaps an example would clarify. Compare this with the verbatim thought that appears above:

Mary gazed over at the fridge and, with a pang, realized that there was still Thanksgiving gravy congealing in a Tupperware somewhere on the bottom shelf. Where had the days gone? Only yesterday, it seemed, they were getting the house ready for guests and turkey, stumbling over one another in a cleaning frenzy. Now it was almost time to write Valentines.

The tone is a little bit different. Both examples are in close third person, but the former is directly in the character’s thoughts, while the other takes a step back. It stays close, obviously, but doesn’t put anything in thought formatting. “Where had the days gone?” could easily be a verbatim thought, but it doesn’t necessarily have to be, because it matches the voice in either configuration.

(As you can tell from the examples, I am feeling the rush of time passing, especially as Baby’s due date approaches…and I should probably clean my refrigerator! 🙂 )

Basically, this is a very nitpicky distinction to make, and what you decide is ultimately up to you. It boils down to style. I personally prefer the latter example, but that’s just me. The reason I would advocate for this over sticking everything into thought formatting is that it looks a bit cleaner on the page, you’re not presenting block after block of italics. But it really is up to you. I’m simply so happy to have people playing around with interiority and thinking critically about it that I say you should follow your bliss and do anything that makes sense to you.

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One of the biggest things I champion, in first and third person, is interiority (thoughts, feelings, reactions) as a way of getting to know character. (You can view all the posts I’ve written with an “interiority” tag here.) Some writers struggle with the idea of accessing a character’s emotions. When to do it, how much, whether or not it falls under the dreaded “telling” category, etc. But I maintain that access to your character’s thoughts, if done well, and at the right time, is one of the most important elements of getting a protagonist down on the page in a relatable and nuanced way.

Many writers have a sense of whether or not they excel at this. I recently worked with a client who came to me saying, “Dang it, I just don’t know how to render a character’s emotions.” It was true, and I appreciated her self-awareness. Instead of accessing her protagonist’s head, she pulled out physical clichés as shorthand for his feelings. His heart was beating, so that meant he was nervous. His fists clenched, and he was angry. His cheeks flushed, and he felt in love. But when you’re simply letting your body parts do the talking for the character, you will never get to the emotional nuances underneath.

He’s nervous…about what in particular? About whether or not he’ll succeed? About a specific worst case scenario, which would give me additional context or foreshadowing about the plot? He’s angry…at who? The other character in the scene, who is a snake, or himself for believing the snake in the first place? As you can see, there are many things beyond the base emotions that we can name, and that is where the real meat of your character lives.

If you suspect that you might struggle with interiority, write the following questions on a Post It note and hang it above your writing station:

  • What is your character doing right now (objective)? Why (motivation)? (The why is especially important.)
  • What do they hope will happen?
  • What do they worry will go wrong?
  • How do they feel about themselves?
  • How do they feel about their scene partner?
  • How do they feel about their place in the plot in general?

Obviously, you don’t have to address these questions in every scene, but you can train yourself to think along these lines when your character is experiencing emotions. For every big emotion they might feel (anger, fear, lust), there are probably two or three secondary emotions that you can tease out that serve to deepen our understanding of the character or increase tension. When you become better at looking through your protagonist’s eyes with these issues in mind, you can pick and choose whether or not to funnel some, all, or none of this information into interiority.

Emotions are tricky, messy, nuanced. They deserve a lot of attention as you craft your protagonist, and even secondary characters. At any moment, no matter what is happening, you could delve into their inner lives and discover some of these thoughts and feelings. Do you always need to share them? Of course not. But in bigger moments, where you really want to pull the reader in, try to hit some of these notes. Specificity is key. Take a scene you’re really struggling with, or that feels alienating, and try answering some of these questions today!

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Have more FUN writing.That’s it, that’s all, that’s what we usually forget to do first.

It’s so important, but we so often forget it. Working on my book, Writing Irresistible Kidlit, was one of the biggest blasts I’ve had in my life. But I would still stress about it. Second-guess myself. Wonder whose bright idea it was to write a damn book in the first place. (Nobody out there to blame but us chickens!) Sure, even if you’re pursuing your life’s passion, you can easily get stressed, especially when questions of whether it’s good enough or what to do with it or whether it’ll get published start to creep in.

We all work this way, I think. I haven’t met a single creative person who didn’t suffer somewhat while pursuing their craft. (Not even my chef husband is immune from creative angst. My suggestion is usually to top the dish in question with caviar and give it to me!) But I was powerfully reminded of this idea when reading an excellent client manuscript over the holidays.

Without giving too much away, I worked on an alternating-POV adult romantic paranormal fantasy where we sometimes dipped into the paranormal creature’s perspective. It was really good stuff. But I often noticed that the tone seemed to scatter. You know how different genres have different conventions? Like there’s a pretty stereotypical voice you can expect when reading sci-fi vs. contemporary vs. dystopian work.

With this particular project, the writer’s voice and tone tended to shapeshift. When she was writing a romantic scene, there were definitely phrases and overtones creeping in that would remind you of a pretty standard romance novel, right down to the heaving bosoms. When she wrote some action or battle scenes, the voice would grow more formal in a way that’s familiar to high fantasy readers. In the midst of it, there was a certain spark and energy that was uniquely to hers. But all the changes made for a bigger picture that lacked cohesion.

Then I noticed something interesting. Her voice rang out strong and true with one POV in particular. The paranormal creature. The tone didn’t shift at all, the POV experience seemed much more immersive, and the writing flowed. I found myself scribbling “More Monster POV plz!!!” in all the virtual margins. (Don’t worry, please, if you’ve ever thought of hiring me. My comments aren’t really straight out of ICanHasCheezburger…)

With any voice notes, I try to be thorough because voice is such a hot button issue that can be so nebulous for so many. I thought about it for a while. Why did Monster POV work so well? Then the obvious answer struck me. It’s fun to write in monster POV. Most days, I’ve had ENOUGH of stressed-out-human-lady POV. What I wouldn’t give to walk around as a monster through the foggy shadows of some menacing countryside! Stomp stomp, crunch crunch, ROOOOOOAAR!

So I wrote her a prescription for more fun when writing. (Among many other things, of course.) Writing can be tedious. Revision can be on par with a root canal. Putting a query letter together gives people the actual fits. I’ve seen people cry while pitching. And not, like, just once, either. It’s so easy to get caught up.

What’s the fun part of your WIP? What’s fun about it? Is it a particular character you love? A head you like getting into? A setting that calls to you? The tempo of an action sequence? Whatever it is, do more of that. Every writer is different, and every story offers unique opportunities to have a gas.

I’ve always, always said that if something is tedious for you to write, think of the poor sap who has to read it. Your passion for every passage is obvious on the page. If you’re hating every minute, odds are nobody’s having any fun.

Figure out what makes you relish your writing time, and do more of what you love in your current project. Do more of what you love in your non-writing life, too, while you’re at it! Happy 2016!

 

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