Don’t Shrug It Off: Writing Emotions

I was reading a manuscript recently for a freelancing client and noticed a lot of pretty shocking things going on…but the author didn’t seem concerned with writing emotions to accompany those things.

writing feelings, writing emotions — When you’re writing events that leave the status quo behind, you should also be writing emotions that keep pace with that shift.

An example would be a character developing a really painful physical condition and then shrugging it off. And his friends noticing that something is off and saying, “Well, I guess he’ll tell me what’s up eventually” instead of confronting their ill companion.

Missed Opportunities for Writing Emotions and Deepening Connection

The “Arm’s Length” Scenario

In our example, the first missed opportunity for writing feelings happened when the character refused to allow events to impact him. Or maybe he decided to keep up an illusion of normalcy and was therefore nonchalant. These are both realistic choices–there are certainly people like this in the world, lots of them. But are they good choices for fictional people to make?

A character who keeps everyone at arm’s length is only good if they have cracks for the reader to crawl into. The reader isn’t a character, for the sake of talking about fiction. And they’re not really a person. They are a sort of mind-meld creature that can and should get just a bit closer to the bone, especially in parts of a story that are full of fear or anger or hurt. The toughest characters in the world can have their walls, but they should also have their vulnerabilities, especially if the reader gets some access to those (via interiority, for example).

Lack of Reaction

The second missed opportunity for writing emotions is the lack of reaction to whatever is weird. If one character is doing something to disturb the status quo, the characters around him need to take notice instead of taking the path of least resistance. I know there are some worlds, like totalitarian societies in a dystopia, for example, where any kind of out-of-line behavior is frowned upon and maybe it’s a bad idea to react. Even in that case–and maybe especially in that case–characters should be tough on other characters (tips for writing a reaction here). That means confronting them, forcing them into the vulnerable places, throwing open closet doors and letting the skeletons out. If something is weird, it needs to be weird for the POV character and those around them.

Writing emotions that match the action in your story helps the reader get context. Classic story theory dictates that a story really begins when a character’s normal gets thrown into a state of abnormal. They spend the rest of the story trying to either get back to normal or establish a new normal. So events that leave the status quo behind should be reacted to with feeling, and lots of it. Both internal and external. By everyone involved.

Don’t Take Shortcuts When Writing Emotions

This is something I’ve discussed a lot on the blog, but it never becomes less important. Writers are notorious for taking shortcuts when it comes to how to write emotions in a story. That’s why characters shrug off bumps in the night until it’s convenient for the writer’s plot to finally involve the monster. That’s why they ignore a friend’s mounting pallor until–oops!–they’re found in the cemetery at midnight, feeding on a fresh kill. If your protagonist and the other characters in your world have such tight control over themselves and their reactions to events, there are fewer opportunities for your reader to get to know them.

My book, Writing Interiority: Crafting Irresistible Characters, will help you write authentic emotion that fits the action in your story.

Literary Techniques: Foreshadowing Definition

Today I want to talk about a concept that should be in your toolbox of literary techniques: foreshadowing with subtlety. The foreshadowing definition is “a warning or indication of (a future event).” This topic came about because an editor friend of mine recently wrote to me and said, loosely paraphrased, “Can you please write something about why asking lots of questions in interiority to make the reader wonder those things is lazy so that I can point writers there and let YOU be the bad guy? I’m sick of giving the same note over and over again!” I love my friends. They are more than happy to let ME fall on the sword. 😛 No problem!

foreshadowing definition, literary techniques — Literary techniques: Good foreshadowing should lure readers with bread crumbs, rather than clubbing them over the head with information.

Honestly, I’m happy to write this post because it’s an extension of one of my favorite topics: WHY things like “show, don’t tell” are a writing adage. If you’re still confused about the editor’s request, let me give you an example of what my brilliant friend means.

Foreshadowing Definition: Examples

I stared longingly across the bleachers at Paul. For a second, it almost seemed like he was looking back. A sly, blink-and-you’ll-miss-it smile later, though, his eyes had moved on. What if he liked me? He had completely broken character earlier and talked to me during lunch. A shiver worked its way through me but ended on an icy note. I reminded myself that I had to be careful. Catelynn’s killer was still out there. The police that came to the school had reminded us that cold-blooded murderers often lurk where we’d least expect. Especially in small towns like Dalebrook. A family friend. A seemingly friendly pastor. The cute guy at school. My heart squeezed painfully. What did I know about Paul, anyway? Where had his family moved from, again? Despite that dashing smile and those soulful brown eyes, could I actually trust him?

CAN YOU SEE WHERE I’M GOING WITH THIS KIND OF FORESHADOWING? ARE YOU SUSPICIOUS OF PAUL YET? Whoa, sorry. I should probably put away my Obvious Megaphone. Because that’s really the effect when you start to weave too many questions into your character’s interiority (interiority meaning here). That ingenious little question mark may seem like a clever trick you’re pulling out of your box of literary techniques, but it’s basically the same as telling. Writers are wonderful at telling themselves they’re not telling (telling to the negative degree?). They will put things they want told into dialogue to avoid long passages of backstory. They will sneak information into letters. They will overdose on writing flashbacks. All of these techniques are okay within reason, but let me remind you what’s harmful about telling to begin with…

Foreshadowing With Bread Crumbs…Not a Club

Telling takes the initiative out of the story for the reader. It depletes that sense of discovery that always accompanies working your way through a good book. These questions are meant to lead the character down a certain path. Rather than foreshadowing with bread crumbs, this is the equivalent of clubbing an audience and dragging them back to your cave. Readers like to participate in a story, that’s what gets and keeps them engaged. We’d much rather formulate our own opinions about Paul and brew our own suspicions. Maybe as a reaction to something Paul has done that’s a little shady. Maybe because we’ve read one too many “hottie bad boy” plots. Whatever the reason, we want to be suspicious of Paul on our own, and that’s something the reader is bringing to the page, rather than the author.

It all comes down to trusting the reader. We tell because we desperately want that information out there in black and white instead of leaving it as a delicious little gray area clue for the reader to find. There’s tension in the latter, though, there’s intrigue, there are even higher stakes, because if we’re not sure about something, we are more likely to care about where it goes. My suggestion is to try and bury the obvious until it’s less so. Make foreshadowing a game. Don’t give away the answer in the questions.

Struggling with mastering literary techniques? Hire me as your novel editor and I’ll help you balance showing, telling, interiority, and foreshadowing in a completely custom way to your manuscript.

Switching Gears

A wise man once said that the only constant is change. I didn’t know WHICH wise man said that, actually, so I Googled it. Turns out it’s a guy named Heraclitus, a Greek philosopher. Man, those guys got all the wisdom. Well, I could use some of that wisdom now as I spring yet another big Mary Kole move on my unsuspecting blog readers. (It’s not true that all of you are unsuspecting, I’ve been getting emails from some of you because I recently got listed as “Whereabouts Unknown” on QueryTracker.com. That’s a bit funny to hear about yourself from your couch in Brooklyn, where you definitely know you’re sitting at the moment. But I digress…)

From my silence here and in Publisher’s Marketplace, you probably have guessed that something is up. It is. After a great year with Movable Type, I have decided to get out of the literary agenting game. It has been a great six years since I first set out into the sparkly and dizzying world of the literary agent, from my first internship as a reader to my position as a Senior Literary Manager with a list of over twenty clients. In the last year or so, I have been finding increasing satisfaction in being a freelance editor. Working with writers one-on-one was and always has been my first love. All of my various roles in publishing, from conference presenter to negotiator, have fallen flat compared to that creative and satisfying calling of digging into a manuscript. Don’t get me wrong. Seeing a book on a store shelf that you have shepherded from its first draft is an indescribable feeling. But that work of honing the manuscript, that relationship I developed with its creator, those have almost always been more precious to me behind the scenes.

I want more time to do that. To roll up my sleeves and get into the nitty gritty with individual writers. I also want a sense of security and calm that a commission-based agenting job just can’t provide. I want to open a manuscript and focus on how to make it better instead of focusing on “Will this sell? And for how much? And what about my rent?” That probably takes some of the mystique out of literary agents for you, and for that I apologize, but it’s not the easiest way to make a living. And that’s especially unfortunate, since you are leading a portfolio of talented artists who count on you for their living, also. Freelance editing has allowed me to free myself up to once again function purely for the love of working with their manuscripts. What a wonderful feeling!

There are also some other big changes afoot. If any of you have been following the murky (I was aiming more for “mysterious” but so it goes!) details of my personal life, I’ve been rather taken with a certain man for a while. He’s a handsome and talented chef, and he’s pretty taken with me, too. It has always been his dream to move to his hometown and open a restaurant. Since I’m in the process of fixing up my own life to make my literary dreams come true, it’s only fair that we make his dream come true, too. In a few short weeks, in the dog days of August, my fiancé and I are relocating to Minneapolis. I’ve been studying wine on the sly for a year and a half and recently passed my Certified Sommelier exam with the Court of Master Sommeliers. When I’m not editing, we’ll be working together on bringing his vision to life. I couldn’t be prouder or more honored to be a part of that.

As for you, my faithful followers, I just want to express my undying gratitude. This doesn’t mean I’ll be shilling my editorial services every five minutes. Or talking about my book more than I have been. I’m looking forward to the pleasure of getting back into strict craft discussion here once a week going forward. After this move, I’ll have all of the pieces of my new life finally in place. Then the real work of serving the worldwide kidlit community–and the hungry local community–begins. Whew! I’ve never chosen the easy road but it’s the only thing I know. Thanks for sticking with me.

In the meantime, though, moving is expensive so…didya know that I now offer freelance editing services? 🙂

Blog Help and Critique Connection

Is there anyone out there who knows how to make an RSS feed…RSS? I have been told by many people that my RSS feed does not do what it should. Now, I will admit ignorance and say that I have no idea how to make it work. Is there anyone out there that can explain it to me like I’m five or go under the hood of my WordPress self-hosted blog for a quick minute?

In other news, there are still people popping up on Critique Connection, so if you are searching for a partner still, check out the most recent entries in the comments here. Several writers have already emailed me to thank me for successful matches. Yay!

Fantasy Writing: Introducing Fantasy Elements

With the proliferation of paranormal and fantasy writing on the market, I need a lot of clues when I start reading a manuscript about whether or not I’m in the real world or an augmented version. Most readers will not have the benefit of a query letter or synopsis when sitting down to read. They may also be picking up an ebook or library-bound version where the cover (often a reliable source of hints about paranormal content) isn’t going to be front and center. (Note: I’m using the terms “fantasy” and “paranormal” interchangeably here to mean “story elements that do not usually exist in realistic fiction.”)

There’s More to Fantasy Writing Than Introducing the Fantasy Element

For example, imagine that speaking dogs are the extraordinary element in your fantasy writing. You’ve read advice (perhaps even mine) about introducing the fantasy premise early on so that the reader knows what kind of story they’re diving into. Excellent. So in the first chapter, you have a dog open up and say something in perfect English. Your work here is done, no?

Well, there’s a lot more to it than simply introducing the fantasy part of the story. Now that the reader’s antennae are up that there’s something odd afoot, you have an opportunity for worldbuilding. Most writers miss this opportunity when they’re writing fantasy. The missing piece is often what happens immediately AFTER the introduction of the paranormal element. That’s what actually teaches us about what kind of world you’re creating.

Match Character Reactions to the World You’re Creating

The two most common types of world in fantasy writing are: the kind where something strange is possible and happens all the time and the kind where something strange is possible but happens very rarely (which is often what launches the story). In HARRY POTTER, for example, the Muggle world is flooded by owls and everyone freaks out! It turns out that a world where the paranormal is pedestrian is finally meeting the world where nothing strange ever happens. All because of one boy.

In our dog example, here are two reactions that correspond with the types of worlds listed above. For a world where something strange is pedestrian, it’s:

Dog: You know, I would rather fancy some of that bacon you’re cooking.
Protagonist: Oh, shut it, Scraps. I’m sick of your begging.

If you’re writing fantasy where something strange is an unexpected event:

Dog: You know, I actually detest belly rubs. That spot behind my ear, however…
Protagonist: (jumps back, looks around, looks back to dog) Scraps? Did you just…talk?

Fantasy Writing Tip: Anticipate Reader Questions

The reactions here are key to the reader’s understanding of how widespread your fantasy twist is. Once you’ve gone ahead and introduced the paranormal element, the reader’s next question is going to be, “Okay, so is this a big deal or just part of everyday life?” Go ahead and answer so that you can ease them into your world in a way that follows, naturally, what they want to know about it. Proper worldbuilding in fantasy writing often means anticipating a reader’s questions and answering them so that they’re not stuck wondering something important and, as a result, pull themselves out of the narrative.

In unrelated news, my book was written up along with a slew of other writing guidebooks in the D.C./Virginia Mid-Atlantic SCBWI newsletter by Dionna L. Mann. SCBWI members who are logged into the SCBWI website can access the wonderful newsletter here.

Are you writing fantasy? With my fiction editing services, you’re investing in an expert set of eyes to review your fantasy elements. I’ll point out areas that need improvement, and give you actionable steps to get there.

Critique Connection

As promised, this is Critique Connection. If you are looking for a critique partner, briefly describe your manuscript in progress in the comments and leave a way to contact you. With enough people, the comments section will likely turn into a bit of an online dating site for people writing children’s books who want another set of eyes. Many critique groups and partners have come about as a result of this system and so I’m happy to keep doing it.

It’s up to you to decide what you need from a potential critique partner. Do you want them to look at your query? Your first 10 pages? Your entire manuscript? Be as clear as you can (and as realistic as you can about what you’re willing to do for others) for best results.

To boost your chances for a successful match, include the following information in your comment:

Your audience and genre (ie: YA thriller). Most people are going to be writing PB, MG or YA because this blog is specific to children’s books. I don’t know how many have tried to connect with other types of projects, but I’d imagine children’s books do best here.
A short description of your story. There’s no length limit but please be kind. 🙂
A way to contact you. If you’re worried about spammers attacking a link to your email, format it like this: mary (at) kidlit (dot) com and trust potential critique partners to translate it to mary@kidlit.com.

Finally, be PROACTIVE! If a book looks good or even if it looks similar to what you’re doing (a situation that usually gives writers the fits until they realize that idea is just part of the puzzle and execution of that idea is where the differences are), reach out to that writer. Introduce yourself. See if there’s a connection. Writing is a solitary pursuit but there’s actually a tight-knit, awesome community out there. You never know who you can meet!

How to Write a Scene: Picking The Right Time

I’ve written a lot about how to write dialogue, and now I want to introduce the idea of how to write a scene — specifically, keeping a scene going and picking the right time to interrupt the narrative flow. What’s the best time to insert information, description, dialogue tags, or action? (Read about types of dialogue tags here.)

how to write a scene, narrative flow — How to write a scene: when do you insert description, dialogue, or action?

How to Write a Scene: Pick the Best Moment to Insert Info

If your answer is, “Uhhhh, whenever I think of it?” then congratulations, you’re like most writers. But just because you think of inserting something into a scene at a certain moment doesn’t mean that’s the best moment.

We’ve all had the experience, I think, of reading a manuscript (our own or a critique partner’s) and getting involved in a scene. Great! We’ve all also gone with the writer on a tangent when they interrupt the scene to insert some kind of block of text, right? Then the scene restarts with a rejoinder or response–“I completely agree with you,” she said–and…wait a minute! What were they talking about? You scroll up madly to reconnect the conversational thread.

Dialogue is Key When Writing Scene

I’ve said it before and I’ll say it again: how to write a scene is about the dialogue. It’s not about the dialogue tags. It’s not about the actions or gestures that accompany the speech. It’s not about the description of the cafeteria around the characters who are speaking, unless it just so happens to break out in a food fight and interrupt them. It’s about what’s being said. Or at least it should be.

Whenever you interrupt the narrative flow, you best have a good reason (check out how to write an interruption). This is not the time for big blocks of text that derail the reader’s attention and train of thought. This is not the time to establish part of the setting (which you should’ve done as we were entering the location) or reinforce a character’s personal appearance (which you should’ve done when we were meeting them the first or second time). When we hunker down for a scene, think of it as an express train that makes very selective stops. It should stop for things that are important to the plot, first and foremost. If that food fight is going to happen in the middle of the scene, then, yeah, by all means stop the dialogue. If the mean girl comes to harass everyone, then include it.

Go With the (Narrative) Flow

But there’s a time and place for all sorts of other distracting information, and in the middle of a scene usually isn’t it. By being selective and figuring out how to write a scene, you are gaining control over your prose. The more writers practice, the more organized they become. They realize that there’s a natural ebb and flow to good writing and that it’s perfectly fine, desirable even, to be strategic in handling where and how you introduce different character and plot elements. For now, you should be vigilant about not disrupting a piece of dialogue’s train of thought. That’s an easy fix and it helps instill good writing habits.

Hire me for fiction editing. I will comment on all facets of your manuscript, including the narrative flow of your individual scenes.

Is Your Story Premise Juicing Emotion?

This post relates to notes I’ve found myself giving to writers about juicing emotion from their story premise. The theme is the same: You’ve done all this work, created this thing, so why not make it truly emotional fiction?

story premise, novel premise — If you’ve got a story premise that’s loaded with the high-stakes potential for emotion, you have to make your protagonist walk through that fire.

Does Your Story Premise Live Up to Its Potential?

The novel premise note that originally elicited this response was a scene with high emotional potential that, for some reason, didn’t live up to its potential. Rather than becoming a sensitive life wire of emotion, the character drifted through, basically, the climax of the story with all of the interiority and sensitivity of a crash test dummy. (For all those who are new to my story theory rhetoric, interiority meaning having access to your character’s thoughts, feelings, and reactions. This is possible to accomplish in either first or third person.) There was the potential for emotional fiction in this intense scene, but the writer wasn’t going there.

GO THERE

More and more, my advice to writers can be summed up as: GO THERE. If you set up a story premise with a really unique element, exploit that element to the fullest and design as many plot points around it. If you’re writing a grief story and there’s a lot of potential for your protagonist to hit rock bottom, have them crash into it at high speeds. If you’re writing a love story, give us that moment when he loses himself in her eyes entirely and becomes vulnerable for the first time ever. There are a million story opportunities for your characters to become a raw nerve.

As a group, writers–and don’t think I’m insulting writers here, this sentence could just as easily read “humans”–like to play it safe. They have their pet storytelling techniques, their favorite plot twists, their go-to phrases, their easy physical clichés that they deploy instead of having to write about the messy world of emotions. But the writer’s job isn’t to play it safe. It isn’t to tread the familiar path, because the familiar path isn’t going to electrify readers (read more here about how to write emotions in a story). Artists in general search for the truth of the human condition by getting out of their comfort zones…and by taking their audiences with them.

When You Play it Safe, You Shortchange Your Readers

If you yourself are unwilling to GO THERE, your reader’s potential to suffer, triumph, and understand diminishes. I’m constantly impressed by how many manuscripts scratch the surface in precisely those moments when they should be plunging in. Interiority flourishes during a boring classroom scene but is oddly silent when it’s time to visit Dad in the hospice, for example. Or we spend a lot of time on happy emotions but completely sidestep anything negative. (Reverse this dynamic for a dystopian manuscript!)

Let me get down to it: The scene that feels the hollowest in your manuscript should either be cut or you should screw your courage to the sticking place and GO THERE with it. Especially when the events transpiring call for high, noble, intense, painful, or otherwise uncomfortable emotions.

An Example of Playing it Safe

To call upon a book outside the kidlit canon, this was my biggest problem with THE MEMORY KEEPER’S DAUGHTER, an insanely successful adult novel by Kim Edwards that came out in 2005 and was incredibly successful. (SPOILERS) While it’s definitely emotional fiction, there is one glaring missed opportunity, a moment begging the author to GO THERE that was never realized. Briefly, the story is about a husband who immediately realizes that one of his newborn twins has Down’s syndrome. This is another era and he quickly spirits the girl away to a nurse, then lies to his wife, saying the second child died. Flash forward many years and the secret is close to coming out. Just as I was expecting the BLISTERING reveal and ensuing confrontation between husband and wife, the husband dies suddenly. The wife finds out another way and rages at his memory.

I know plenty of people who loved this book. But I really, really, really would’ve loved to see the scene where husband and wife stand naked before the truth. It’s one thing to rage at someone’s memory, it’s another to confront him in the flesh. And not just him, but the past and the future. I would never call this author a coward, but I wondered what kept her from GOING THERE and giving us this highly emotional scene using both characters, not just one.

Unleash Those Feelings

So if you’ve got a story premise that’s locked and loaded with the high-stakes potential for emotion, don’t just skirt around it or do the next best thing. It’s going to be challenging, because you have a lot wrapped up in these characters and part of you probably wants to protect them, but you have to think of the most emotional points in your plot as an invitation to unleash those feelings without holding back. GO THERE.

Hire me as your freelance book editor and I’ll help you GO THERE in your novel premise.

Nonfiction Children’s Book vs. Article

A reader wrote in over the weekend to ask about a nonfiction children’s book vs. an article:

I wrote a nonfiction article for a kids’ magazine. I sent it recently, haven’t heard back yet. Because I’m completely fascinated with the subject I wrote about, I sat down and wrote a different story on the same subject that ideally would be a nonfiction children’s picture book. I’ve sent it to just one agent a few days ago. No here’s my dilemma: I know all the “first-time rights” and “all-rights” lingo, but I’m wondering that, 1. does it apply because the mag article is different than the picture book story, and 2) in the 1-in-billion chance that the agent wants to pursue my book, do I need to jump up and shout- wait!- a magazine might publish a different-but-same-topic article I wrote. I feel like this could be potentially sticky…and I’m just wondering if there’s any justifications for my worries.

nonfiction children's book, nonfiction article — If you’ve written a nonfiction children’s book and article on the same topic, pay close attention to the text and make sure that you’re not publishing a close replica.

Nonfiction Article and Nonfiction Children’s Book: Are the Texts Close Replicas?

Rights to a book are pretty heavily connected to the text of a book. A lot of authors publish a nonfiction article in their subject area before writing a full-length book about it (and lots of people pitching nonfiction book proposals are told “This is more of an article” because there’s not enough meat in their topic/angle to support a full book).

In a nonfiction article and nonfiction children’s book scenario, you could wander into a bit of a gray area because I’m imagining that both texts will be shorter and will cover a lot of the same information–i.e.: both overview biographies or both simple explanations of a scientific principle, etc. This is where you will want to pay close attention to the text and make sure that you’re not publishing a close replica.

Strategize Your Approach

If your nonfiction article and nonfiction children’s book angles are very different, like one is an overview and one covers a much more specific area of the subject, you have nothing to worry about. But if the topics are close and lightning happens to strike twice in the form of a magazine acceptance AND a book publishing opportunity, there is nothing wrong with strategically delaying the article until you can share your concerns with an agent or editor (I cover some of this etiquette in my post about having more than one literary agent). As opposed to the book manuscript and publishing plan with your acquiring editor, the article will be a lot easier to edit in a way that still meets the magazine’s purposes.

Communicate Openly

A larger point deserves to be made here: If you have a magazine editor, agent, or book editor on the hook and they like your work or area or expertise (in the NF world especially), there is nothing wrong with communicating openly, asking thoughtful questions, or attempting to get that person to work with you if something like this should come up. Your nonfiction article editor might be perfectly willing to publish a slightly different piece or time the piece differently (delay it while negotiation is in process, run it closer to your nonfiction children’s book publication date to build momentum, etc.) in case you happen to get a book contract.

Potential Positive Career Step

The good thing about this potential scenario, of course, is that being published in various venues on a subject will help you leverage yourself as an expert on a certain topic. As you build your career, you’ll actually want to seek out these types of situations and get your name out there. I know some of these questions are stressful, but try and think of this as a potential positive, because it very easily could be!

Working on a nonfiction children’s book? Hire me as your creative nonfiction editor and I’ll help guide you through gray areas like this.

Querying: Book Rights for Film

Writers, one of the most valuable query letter tips I can give you is not to put the cart before the horse in terms book rights for film. When I was a literary agent, sometimes I’d see writers who’d say, “I have such and such project that would make a great app. And then this other project just screams to be developed into a touring ice show. Finally, I can just see the face of my third protagonist plastered on everything from stuffed animals to t-shirts.”

book rights, film rights, movie rights, ancillary rights, foreign rights — Horse firmly in the lead; cart follows behind. Apply this idea to your query letter and omit any discussion of book rights.

Query Letter Tips

There’s a lot to be said about focusing on your project as a book idea rather than a multiplatform publishing idea. I saw enough of this type of pitch that I want to drive home one of my query letter tips: it’s okay to simply have a book that’s going to make a good book. In fact, that’s the point of trying to query a book.

1. It’s About the Story, Not the Book Rights

And let me just add to what I’ve already said by emphasizing that nowhere is it stated that every single book idea will get ancillary rights or products. When you look at the sheer number of things that get published every year, a much smaller percentage goes on to merchandising opportunities, movie rights, video game licenses, and all of the other things that some aspiring writers dream about.

I think that all this talk of apps really got people’s imaginations going. “It’s going to be a book AND an app, guaranteed,” one thinks, “because everyone is talking about apps!” Then that “and…” mentality spread to theme parks and licensed coffee tumblers and international editions. I get it. But it’s very important to remember that most books don’t get apps, or film rights, or entertainment deals.

2. Avoid Requirements

That’s the danger of REQUIRING anything on your publishing journey, whether it’s a trilogy of books in order to tell your story or a read-and-play app that plugs into your premise. The more you require, especially as a debut, the fewer incentives you’re giving a house to take a chance on you. Your “and” turns into their “but,” ie: “We really see the potential for this book idea BUT they’re pushing us for a trilogy or ancillary rights and I’m just not sure that we can make that kind of investment.” (Learn the elements of a query letter.)

3. Tone Down Expectations

Require less, open your mind to telling your story in the simplest way possible, and celebrate the book rights that roll in. It’s often a fun and happy surprise when Hollywood calls or a comic book edition is picked up, and it can pay a month or more of your rent. Yay! But it’s not guaranteed and it’s also not the end all and be all. Keep it in perspective. That’s the best way to establish market savvy and tone down your expectations, thereby becoming a writer that many more people would be willing and excited to work with.

Hire me for query editing and I’ll help you nail the tone and content of your letter.