Getting Offers from Multiple Literary Agents

Every writer dreams of getting offers from multiple literary agents, right? Maybe. A reader asked about what a writer should do if they happen to get offers of representation from multiple agents. First of all, congratulations are in order. An offer of representation is professional validation to a writer who has, most likely, not really gotten such praise and confidence from an expert source.

A lot of writers, though, think this is an embarrassment of riches and a great problem to have. It’s not. It’s a really stressful situation where you have to make a major business decision under time pressure, all while being wooed by really nice, really encouraging, really savvy people.

offers from multiple literary agents, multiple offers from literary agents — Did you get an offer from multiple literary agents? How will you possibly pick?

What to Do When You Get an Offer of Representation

When you first get an offer of representation, send an email to all the other agents who have your partial or full. More often than not, in today’s really busy climate, you’ll probably get another offer by doing this.

Agents want the hot commodity and will likely chase a writer they know already has an offer — that means someone else thinks they’re good, too! (Occasional truth: some busy agents screen their slush pile by focusing on the writers who email to say they’ve gotten multiple offers from literary agents…that way the agent knows which projects are worth reading.)

Getting Offers From Multiple Literary Agents

So now you, the writer, have offers from multiple literary agents. The first one feels great. The second one starts to feel confusing. By the third, you’re queasy. Who to choose? They all love your book, or should. If you get a lukewarm offer, that person is just playing the game, most likely, and can be cut from consideration. They all have editorial advice. They all have enthusiasm for you and your career. Well, what now?

Talk to each of the agents. Get a feel for their passion level and for their ideas for the manuscript. Try not to let the gushing or hype or big promises go to your head, even though it’s hard. What do you want as a writer? An agent for the long-term or for just this project? Or an agent who gives editorial notes or one who is more hands off? An agent who communicates openly or who just gives you the verdict after the submission round is over? An agent who communicates by phone or by email? Or an agent who does small, careful submission rounds and waits to hear editor feedback or an agent who submits you all over town in a huge, splashy round?

Questions to Ask a Literary Agent

Whether you get multiple offers from literary agents or a single offer, remember: you are hiring this person. Let your needs and your feelings and your understanding of what’s right for you guide your questions. Good questions to ask:

How many clients do you have? (You may have trouble getting a straight answer here.)
How big do you want to grow your list?
What houses do you work with? (It’s the agent’s job to make connections, so if they only know or sell into a few houses, that might be too narrow.)
What is your submission style?
How often do you follow up once on submission?
Do you do editorial work? A little or a lot?
How do you see us growing my career together?
How often do you communicate? How do you best communicate?
Are you receptive to questions from me? How quickly do you respond? (Some agents are more standoffish, others do a large amount of “hand-holding” and support for their clients.)
Do you share submission lists and rejections as they happen? (Figure out if you want to know this…some authors love transparency, others like not hearing bad news.)

As about your agent’s path to becoming an agent, where they see themselves going, what their hopes are for your project. Ask them for client references if you think talking to one of their existing clients will help you. This definitely helped me eliminate a few agents when I was in these shoes.

What a Literary Agent Wants to Know About You

From an agent’s perspective, this is our time to feel you out, too. How open are you to our editorial ideas? (I will often give three big ideas but save most of my editorial notes for later. I don’t want to overwhelm the writer but I also don’t want to give them some of my best ideas in case they go elsewhere with their project but still use my notes.) How savvy are you (in terms of being part of the publishing scene, having an online presence, knowing how the business works)? Do you have stars in your eyes or are you realistic about the marketplace and about how much work it is to be a published author? What are your career goals? How high-maintenance or easygoing are you and how easily would we work together?

The question you’re seeking to answer, as a writer, and the question I’m seeking to answer, as an agent, is this: Would we have a long-term, profitable, communicative, respectful, productive business partnership?

Choosing the Right Literary Agent for You and Your Work

Now, this is a difficult question to answer. It comes down to a combination of gut feeling and your impressions of an agent and their prestige and record. You can check an agent’s sales in Publishers Marketplace. For $25 a month, month-to-month, you have access to a deals database that is pretty comprehensive (some deals aren’t posted there for various reasons, but you do get a pretty good picture) for each agent and agency.

Agency reputation is really important. Has the agent’s agency been around for long? Have they brought many books to market? Are they known for the genre or age range for which you want to write? Publishing is a business of relationships and reputation.

You also need to take the agent’s rank into consideration — are they a newer agent with the agency or pretty senior in the organization? How long have they been agenting? There are pros and cons for a younger agent vs. an established agent, which I address in this post about how to select a literary agent.

This is a big decision. And getting offers from multiple literary agents is becoming more and more common, from what I’m noticing (a post on this later, as well). For every writer who has received multiple offers from literary agents, I just want to say: this is your decision. Take your time and don’t be afraid to ask questions. Agents are intimidating to a lot of writers but, at this level, you really are in control. Use it.

Are you ready to submit your work to agents? Hire me as your query letter editor and I’ll help you develop a strong pitch.

BEA Roundup

BEA (Book Expo America) ended yesterday and, as of this morning, I’m finally feeling a bit more human. Expo week is always huge, busy, and full of friends, colleagues, parties and, of course, ARCs.

Some of the highlights of the week for me were: the Teen Author Carnival, running into Marla Frazee and her editor (Marla’s newest book, out this fall, THE BOSS BABY, is one of my absolute new favorites), seeing my fantastic colleagues (and our agency’s phenomenal foreign rights and subrights co-agent, Taryn Fagerness).

BEA is always crowded and it’s hard to get where you’re going without running into people you know or recognize if you’ve circulated in the publishing industry for any length of time. So you can set up all the meetings you want, but you’ll always be surprised by who you bump into.

I also loved meeting Peter Brown (whose newest picture book from Little, Brown, CHILDREN MAKE TERRIBLE PETS, out this fall, is the best thing I’ve ever seen), reconnecting with some old friends and making plenty of new ones (just in time for my move!), meeting agents from the tight-knit agenting community in NYC, and seeing an AWESOME panel for the new GUYS READ: FUNNY BUSINESS anthology coming out this fall from HarperCollins/Walden Media (the panel featured children’s book heavyweights Jon Scieszka, Mac Barnett, Adam Rex, Jeff Kinney, David Lubar and the editor of the anthology, Jordan Brown).

In terms of YA news and ARCs, I went to the YA Editor’s Buzz panel, an annual event where five excited editors talk about the big books on their list. Ally Condie’s MATCHED was the big book for Penguin, of course, Erin Bow’s PLAIN KATE was Scholastic’s exciting new find, Rebecca Maizel had INFINITE DAYS on the St. Martin’s list, and Sophie Jordan’s FIRELIGHT will be coming out from HarperTeen, but there is one book that I kept hearing about over and over and over again: THE DUFF, coming this fall from Little, Brown.

Kody Keplinger was seventeen, I believe, when she wrote THE DUFF (which stands for “The Designated, Ugly, Fat Friend” in insult lingo). She appeared at the Teen Author Carnival, had several signings and panels at BEA, has sold movie and foreign rights all over the place, was flagged by her publicist and editor wherever she went and was otherwise a consummate professional…and she’s just getting started! I can’t wait to read THE DUFF and have heard from pretty much everyone that it is amazing. I had a chance to talk to several Little, Brown editors and they’re really getting behind an amazing list for next season (including Daisy Whitney’s phenomenal debut, THE MOCKINGBIRDS, which got lots and lots of buzz).

Other impressions I got at BEA from editors and panels and all that jazz: paranormal needs to be absolutely unique (don’t start writing a vampire, angel, werewolf or zombie book unless you want to give yourself the steepest odds possible). This applies to mythology, too (Greek and Egyptian will be a hard sell unless we haven’t heard about those characters before).

Mermaids are definitely on the uptick in terms of acquisitions, as is dystopian: those books will start coming out next season. Editors are definitely looking for thrillers, contemporary/realistic, mystery and stories of friendship, romance, and betrayal, in both MG and YA. This is great because all of these themes are right up my alley — I’d love to stop seeing derivative paranormal romance and hear from writers who are really telling unique stories. It’s finally time to break out of the TWILIGHT mold, and it seems like more and more of publishing agrees.

On a purely personal note, I got to meet and fangirl about Bernadette Peters. She was there, signing her newest picture book. I think finally meeting one of my theatre idols made my life at least 117% better. Overall, a fantastic week. Now, off to catch up on emails from all those patient people who’ve been trying to reach me. 🙂

What’s the Buzz?

I am heading into BEA today. Excuse the lazy post but BEA week is always crazy. What are the ARCs you most want to see?

I’ve already read MATCHED, which is a dystopian book that went to auction with seven publishers bidding. What are the other hot reader books you want to know about?

Ebooks vs. Printed Books: A Thought

So, I heard from a lot of people on my ebooks and e-readers post last week. There was even a comment from a bookbinder! Some people were very excited about what possibilities lie ahead with ebooks and interactivity and e-readers that target younger readers (whether or not they’re thrust into a toddlers hands for tantrum control and entertainment!).

A few other readers, though, really seem to be rejecting ebooks because they’re not books. Well, yeah. And my iPad doesn’t come in especially handy once a month, either. The two are patently different and, I’d argue, these two media for enjoying written content serve different purposes and (for the most part) different readerships.

Look, there’s nobody arguing with people who love the touch, smell, feel and experience of printed books. This is a joy that folks have known since Gutenberg fired up his press and dashed off the first mass market illuminated manuscript. (The joke cited in the recent New Yorker article about the iPad and ebooks goes that the second thing Gutenberg printed was a book about the death of publishing…)

So there’s no denying that printed books are one (almost sacred) thing, and ebooks are another. But this isn’t Shark vs. Whale where one dies and sinks at the end. (At least not in our lifetimes…cold comfort and heartless, sure, but if all print media, books included, goes the way of the 8-track tape in 100 years, the good news is we won’t be there to see it. But I really don’t think this will happen.)

However, I think people are going to get themselves in trouble, going forward, by denying the power of ebooks or hoping they go away (and here I’m talking about mostly book and publishing professionals, booksellers, etc., not casual readers). They won’t go away. For readers, those predisposed to reading ebooks are probably already in possession of an e-reader or contemplating one in the near future. (A news article I read recently, but can’t remember where, again, which is maddening, says that something like 26% of people were contemplating buying either an iPad or another e-reader in the next year.) For people who want nothing to do with ebooks, they don’t have to make that choice personally, but they should know that ebooks and e-readers are here to stay.

As I said above, it’s really not either/or. If publishers and booksellers and librarians and other bibliopeople want to be successful, they need to maximize impact and profit with ebooks and the people who read ebooks, while fostering growth for their printed formats, as they’re already used to doing. Publishing’s job isn’t to sell people books, it’s to sell people stories and content.

Some people, and I agree, though I have yet to really dig in to some numbers or a case study, believe that having both an ebook version and a printed version of a work feeds sales for both. Last Tuesday, I went to see Cory Doctrow speak and he said that publishing all of his books as a web serial and in ebook format hasn’t stopped sales of his printed work or replaced (in his customer’s mind) a need to own the printed version. If anything, he thinks his printed book sales have benefited from how available his work is online and for e-readers.

Again, this is going to be a huge issue that won’t die or become less important in our lifetimes. There are so many opinions and so many perspectives. From Cory Doctrow — who believes in ultimate freedom and publishes his work under a Creative Commons License — to the bookseller who just had to shutter his or her independent store because the times, they are a-changin’. I can’t even pretend to be comprehensive in these posts, but I hope I am giving you some good food for thought.

***

Speaking of publishing, I’m in New York for BEA (Book Expo America), a huge publishing trade show, this week. I’ll be having meetings, going to panels, going to lunch, going to parties, and grabbing ARCs for three days straight. I know I’ll have many more thoughts on digital content once this week is over!

Writing is Hard

Writing is hard and intensely personal, which is why writers have a habit of taking criticism — any criticism — to heart. There’s a funny side effect of being an agent who blogs. On more occasions than I care to mention, I’ve gotten emails from my clients after a post, asking if the post was about them, specifically. (And, clients, if you have done this, then yes, for probably the first and only time, this post actually is about you! Now stop reading my blog and go write/revise/be brilliant!)

While I don’t make it a habit to write thinly-veiled posts about clients or writers and I don’t think I’ve said anything that would greatly offend clients or writers on this blog, this little quirk does drive home a big point: writing is extremely personal.

Writing is Hard (And Extremely Personal)

Writing is hard from a craft perspective, but it’s also hard from an emotional perspective. A writer is putting their imagination, their hopes and their dreams on the line when they sit down at the keyboard. This is a deeply sacred and important thing. No matter how far along a writer is on his writing journey, no matter if she’s writing her first book or her tenth book, the act of writing and creating is absolutely essential. And every day that I sit down to read a submission from a writer, I honor the sacred bond and trust that writers expect from me when they reach out to share their creative work. Their creative passion — even if the writing isn’t agent- or editor-ready just yet — is what makes them tick. I would never do anything to break their trust and risk hurting their creativity. (Read some constructive feedback examples.)

At a conference one time (and yes, this is a specific example…I hope this writer would allow me to talk about this in the hopes of illustrating a very important point that could spare the next writer some heartache), a writer told me that a creative writing teacher of hers had once taken her story, held it up as an example in front of the entire class, and completely ripped it apart. It took this writer twelve years to bounce back from writing rejection and type another word after that day.

Sure, this writer is an extreme example of taking rejection personally — she could’ve been overly sensitive to her teacher’s comments or excessively shy or whatever. But it only goes to show how much power a person-perceived-to-be-in-authority has over a person’s writerly self-esteem. This isn’t something anyone, whether a critique partner or a teacher or an editor or agent, should take lightly. (Check out more advice on how to deal with negative criticism.)

Writing And Sensitivity

People have all different levels of sensitivity about all different sorts of things. But because writing is hard and so personal, because it deals with hopes and dreams and deep, creative desires, it is all the more fragile. It’s easy for writers to slip into a mindset where they’re taking rejection personally — which makes them all the more protective of their writing. And I am always sensitive to that fact.

I’ve said this in my disclosures on the About Me page, but I think it bears repeating here: I will never use a specific or identifiable example on the blog unless I have permission from the writer to do so (like with questions emailed to me, the workshops or contests, for example). Stuff asked and shared at conferences is fair game because conferences are a public setting and a lot of good stories come out of live events. If I want to illustrate a craft point, I will make something up (usually exaggerated) to suit my purposes. I will never cull directly from slush or from client manuscripts.

Where Do I Get My Post Ideas?

From questions people ask at conferences, from questions people ask via email, from issues that come up in the comments. Between the publishing business end of things, the craft side and the agenting side, I don’t think I’ll end up running out of things to talk about anytime soon.

And if I do discuss a particular craft issue, it is never unique to any one writer. First of all, that would make the post a lot less universal! Second of all, there really is a list of common craft traps and pitfalls that most writers fall into, if they’re going to fall. Believe it or not, but I find myself giving many of the same writing notes over and over. I end up seeing many of the same writing issues in 10-page sample after 10-page sample. When you read as much unpublished writing as I do, a writer’s unique strengths and challenges often match up pretty well with other strengths and challenges that you’ve seen before. If there’s something wonky with craft, it’s usually pretty universal. So work on not taking rejection personally — most likely, you’re among lots of other writers who have received a particular piece of feedback.

The only things that really stick out, usually — and the ones that I will obviously not blog about because of that trust I mention — are zany story ideas. The plots and premises that NOBODY has ever come up with before (usually not a good thing because they’re too out there to be widely commercial). But these types of slush gems aren’t for Twitter or the blog or Facebook. They’re just between me and my cat.

I know that writing is hard. Hire me as your book editor and I’ll give you constructive, actionable feedback that’ll help make your writing stronger.

Ebooks, E-readers and the Kidlit Market: A Short Version

Erinn recently wrote in to ask:

With the iPad selling 1 million in a month, how will the e-readers change children and YA literature? I’ve notice there hasn’t been a whole lot of YA ebooks, not as many as “adult” books. Has the e-readers revolution effected the children literature market?

Great question, but complicated. As you can guess, this is a hot topic at the agency and one us publishing people, inside publishing houses and out, discuss all the time.

The first part of the puzzle is the e-reader user base in kidlit. It isn’t as big as the e-reader user base among, say, business travelers who download the latest business or financial nonfiction while they’re on the go. Even though teens are really into gadgets, most are also on budget and can’t afford to be early adopters (they’re also notorious for breaking stuff or covering it in duct tape and Sharpie marks). According to a survey done by TeenReads.com and Publishers Weekly late last year, only about 5% of teens get their books electronically.

Overall, it’s important to remember that ebooks account for only about 5-10% of the market share in all of publishing, but they WILL account for much more in the near future…so that’s why everybody is freaking out about them now, and rightfully so.

Lots of people predict that ebooks will kill publishing, but that’s a very dramatic and outsider view of the issue. Insiders have many more specific concerns. What’s one particular head-scratcher from behind the scenes? Well, rights issues in this sector are a huge area of discussion right now. I don’t get into rights issues a lot here because many of them are really nitty-gritty and you don’t need to worry about them until you start actively selling your projects with an agent. However, this is an interesting glimpse into the ebook debate.

Let’s say you wanted to make a YA book more attractive to teens by embedding exclusive content or a link to a YouTube video from the author. Or you wanted to enhance a picture book by giving it animation or voice or video components. One problem: which right is that?

A book, from an agent or publisher’s perspective, isn’t one whole thing as much as a bundle of different subrights that can be sold. Does tweaking the original content in a digital format fall under the “ebook rights” category? (“Ebook rights” have traditionally included the right to publish an unabridged version of the product in ebook format…basically a digital version of what you’d find on shelves, with nothing extra.) Is it “multimedia rights”? “Enhanced” or “abridged ebook rights”? (I don’t know if this has gotten any widespread traction since there’s different precedent at different houses. You can have “abridged audio rights,” for example, to publish an abridged version of a book in audio format, with additional materials or music included in the recording, but not a lot of “abridged ebook” so far.) Per Kristin Nelson, the film industry defines “ebook rights” as not including any extra content.

Or how about this…what if a book was published way before ebooks, way before Internet, way before Kindle? It was published in such distant prehistory that there’s no ebook language in the contract. Does the publisher have the right to publish an ebook version because they published the print version in a time before ebooks, or does the author hold their ebook right (and the ability to sell it)?

A lot of people have different answers to these questions. That’s the problem. Some publishers are trying to argue one way or the other, some agents are on a different side of the fence, but there’s no industry standard yet. Some publishers still haven’t even agreed to the widely-accepted ebook royalty standard, though most are in accord.

So the cool thing about ebooks for the kidlit market especially — that you can add content and give the book all sorts of whiz-bang digital appeal — is in murky rights territory right now. And not a lot of teens are adopting e-readers yet. Picture books are be a natural fit for the e-reader market (Color! Sound! Motion!) but, for many, the device itself is a barrier to entry. What parent would give their toddler a brand new iPad to gnaw on? (They certainly can’t have mine…)

This answer will change very quickly, though. It’s very much an ongoing and in-depth discussion and this is merely a quick glance into an issue that’s here to stay.

How to Become a Bestselling Author

Want to know how to become a bestselling author? Let’s dig into to this question via a cheeky little bugger wrote into the blog:

So, is anyone ever able to quit their day job after selling their first MG or chapter book? I need a writing reality check.

how to become a bestselling author, writing reality check — Here’s your writing reality check: Becoming a bestselling author is more fantasy than reality.

How to Become a Bestselling Author: Keep Your Day Job

No. Not even close. Keep your day job. If your day job makes you miserable, get a better one. Here’s your writing reality check: Only 3-5% of published writers make a living on their published writing income (advances and royalties) alone*. Want to know how to become a bestselling author? You might have a better shot at winning the lottery.

Some YA writers can quit their day jobs after a major sale/auction (though I still don’t know if I would advise this) because, if it’s going to get big, YA money tends to be bigger than MG, chapter book, early reader or picture book money. But even with YA, it’s rare that an author can quit their day job after their first book sells. It’s even more rare that all this wonderful stuff happens with a debut creator.

You Can Build a Career with Writing, But…

That said, most writers do end up making a writer career and an income with their writing, just not by publishing books alone. They’re not wasting time figuring out how to become a bestselling author; they work hard at related writing pursuits. They teach workshops, they teach at a school or university, they freelance for newspapers and magazines, they write nonfiction, they copywrite, they edit, they tutor…there are lots of trades that use a writer’s skillset.

More often than not in today’s publishing world, I see people who have fingers in lots of different pies and who cobble together a cohesive livelihood from lots of separate but related income streams. And not just writers or illustrators do this. I know of agents who freelance edit and editors who teach classes on the side, too. I think this is smart, actually. With multiple income streams, you face less risk of your only cash flow drying up.

Not everyone has the temperament to freelance or to multitask like this, though. There are also a lot of writers who hold down full-time or part-time desk jobs and have a steady income (plus health insurance!) while they publish their work. When you’re considering how to become a novelist, this multi-stream approach is the way to go.

The Feasibility of Quitting Your Day Job for Writing

But in terms of locking down how to become a bestselling author and quitting your day job the next day…that kind of thinking needs a writing reality check. (Consider this: after your initial deal is struck, your editor and agent can sometimes spend months negotiating the finer points of your contract…then it might spend months getting drawn up by the contracts department…then it’ll go to accounting and it’ll take more months, in the worst case, to get your signing check. What’s a signing check? Sometimes it’ll be 50% of your advance (less your agent’s 15%, of course) but, these days, more often than not, your publisher has structured payouts so that you’ll only get a third or a quarter of your money upon signing the contract. On the other hand, the glacial pace at which publishing moves does mean you’ll have a lot of time to grovel your way back into your former-but-soon-to-be-again employer’s good graces after you impulsively quit!)

I’m always on the side of cautious optimism (hence this writing reality check), so I urge you all to have a stable source of income, even when you do end up selling your work. And, seriously, if you’re doing something that you hate for a salary, do something else. You never know how long you’ll need it.

* Updated 8/18/2011: From Stephen King’s On Writing, page 238. Thanks so much for finding this, Garbo!

Are you committed to building a career as a writer? An investment in my editorial services will help you improve your craft and keep you on the right trajectory towards achieving your goal.

Big News!

Last week I hinted on Twitter and Facebook that I have big news to share. A lot of clients, personal friends, colleagues and people who I’ve talked to at conferences already know this, as it has been in the works for a while, but now I want to make it official on the blog:

In July, I’m moving to Brooklyn to open up an East Coast office of the Andrea Brown Literary Agency!

Today is a fitting day for this announcement, as it finishes up my last week of classes for my MFA degree. (I’ll turn in my thesis over the summer, which I can do from anywhere, and then I’m done!) I’m typing up all my loose ends and getting ready for the big move.

Since not everyone knows how ABLit works, let me break it down. Our agency has a central office in the San Francisco Bay Area but we all work independently. That allows us to dedicate ourselves and all our attention to our clients. No daily office grind, no “big, imposing agency” vibe. Last year, we had an agent in Japan. Right now, one of our agents is in Chicago and three of our agents, a few interns and our subrights co-agent are in Southern California.

But it has been a while since we’ve had a dedicated presence on the East Coast. I’m very excited to be stepping up!

I’m making this move for a number of reasons, some personal, some career. I feel like it’s the right time for me to dive into NYC and immerse myself in the publishing scene. I’d love to make strong bonds, lasting relationships and more friends in the industry. It’ll be great to represent ABLit in New York and it’ll also be a fantastic asset for my clients. Finally, my boyfriend and I have been doing the cross-country long distance thing for a year and it’s time for me to finally join him.

I love being so close to Andrea and my Bay Area colleagues. They have been around the corner (some of them literally!) ever since I first started reading for ABLit two years ago and I have learned so much from being so close. I can’t imagine where I’d be without every single one of them. They are truly fantastic, inspiring and wise. I’ll miss them, my friends and my family — as well as my beautiful home city of San Francisco — so much, but this is the time for me to take my show on the road. I will still fly back all the time for meetings, family, friends, and the Big Sur conferences, which I absolutely adore.

Send a toast and well-wishes my way…I can’t wait to bring you more good news, more posts, more insight and more kidlit as I take this next step in my career!

(Okay, but I am still here in the Bay Area for a few months, so if anybody wants to make that a physical toast-and-well-wishes, you know where to find me!)

***

A word about Sushi: Since Sushi has been such a presence on the blog in the last few weeks, I can now say that this is why her recent illness was so stressful. As I keep an eye on her, I need to know that her health is good enough to survive a taxing move across the country, too. She was always part of my plans in NYC and I hope she stays that way. All signs point to “yes” so far. Thank you for all your continued Sushi love!

Tennessee auction update: Where do I begin? My full manuscript auction ended last night, with a highest bid of $2,800. Demand for this item was so high that I offered a full manuscript critique and phone call to the top 5 highest bidders, at the lowest bid amount of the 5 ($2,125). If all 5 highest bidders want to participate, that means my item will raise over $10,000 for Tennessee flood relief. I am floored and more than happy to do the extra critiques. I immediately got on the phone with Victoria, one of the auction organizers, last night and we just kept going in circles of “Dude…” and “Thank you”/”No, thank you!” I really hope I can swing a trip to Nashville sometime this summer to meet the organizers. Mandy, Victoria and Myra are heroes. They are doing so much good, and I’m honored to be a part of that. Congratulations to the winners! I can’t wait to read your manuscripts!

Tennessee Auction Update

Hey all, here’s my post from Tuesday, edited with today’s information:

My query critique sold over the weekend (to fabulous blog reader Marybk, who got it for herself as a Mother’s Day present! Yay!). I’m so thrilled to be able to help (with your help, of course) the flood victims in Tennessee.

Next up from me is a full manuscript critique that you can bid on until midnight, central time today: Do the Write Thing for Nashville. (Direct link to the item here.)

This opportunity includes:

One full manuscript (up to 100,000 words, please) critique of a YA or MG novel
A 30-minute post-critique phone call for the winner to talk about the notes and answer any publishing or career-related questions

My critiques are in-depth and thorough, as many readers would know from the workshop series I did on the blog a few months ago. Now imagine that for your whole manuscript! Plus, I don’t know you personally and have no other goal beside making your manuscript the strongest it can be, so you’ll get honest, professional, constructive, helpful feedback that’s not sugarcoated. I want you to grow as a writer and really get to that next level.

So head on over to the blog and bid on my full manuscript critique. You have until midnight Central time today to bid. I’m so grateful to all the people who are bidding over there and changing lives with their generous donations!

Check in with the blog tomorrow for the promised BIG NEWS!

How to Create Voice in Writing

I get a lot of emails and questions about how to create voice in writing. What is it? How do you recognize it? How do you find yours? Is “voice” the same thing as wit or sarcasm or sentence craft?

It May Not Be Time to Worry About How to Create Voice in Writing

For most writers who are starting out in their careers and learning about the writing craft, my advice is not to worry about voice just yet. It’s a very higher order skill and usually comes after the writer has already laid a sentence craft and mechanics foundation. Get the basics down, then start developing the more advanced stuff. (More tips on creating great writing voice here.)

But I don’t want to leave readers hanging. I’ve thought about it a lot and distilled my thoughts on voice to one rather clunky sentence.

Voice, quickly: The words you say and how you say them, which gives the reader insight into your character, too.

If that’s not enough for you, former literary agent Nathan Bransford (He has a blog, too … maybe you’ve heard of him? Ha! I kid! Everybody’s heard of him!) has written a fantastic study of how to create voice in writing and sentence craft. For those who are still confused about voice, this might not snap you out of your confusion, but it will give you interesting things to think about.

But Once You’re Ready, It’s All About Sentence Craft

So here, from Nathan Bransford, is voice, brilliantly.

I know it’s frustrating to keep hearing, “You’ll know it when you read it” or, “One day, you’ll just wake up and know,” but that’s really, really true. Keep hacking away at how to create voice in writing and getting those words on the page and your grasp on voice will keep tightening, I promise.

Voice is one of the tougher craft elements to nail. Work with me as your freelance editor, and we can crack this tough topic together.