I’m a newbie to the publishing world. In early 2014, I received my first publishing offer from Harlequin Love Inspired. I accepted it with excitement, ready for the words hidden on my computer to be seen by all the world.
Then I received my first edits.
After hyperventilating, I read them again. I could tell my editor was right… she was brilliant, seeing things I hadn’t seen. But the changes… I didn’t have a clue where to begin. The task felt insurmountable. I wrote and wrote, and my family didn’t see me for a period of time.
When we reached the end of edits, then came an entirely new problem. They wanted me to hand the book over to them. What? When did we agree to this? Oh, yeah. When I signed the contract. But still, they actually wanted me to fork over my words. They were going to let people read them. But… but… but I’m not done yet!
I quickly realized I would never feel ready.
Part of being creative is that there’s always something more that can be changed or tweaked or deleted. That’s what deadlines are for. Someone has to pry the book from your hands. I naively thought I would have a book done before the deadline. I’m not a procrastinator and I don’t do things last minute. But I never realized that I wouldn’t feel ready to give it up. I did send it in on time, and then I wandered around my house for a week wondering what to do with myself. Laundry would have been a good option.
Next came the request for titles. I went round and round on those, bugging my friends, my poor agent Amanda, and my husband until people were texting me random title ideas at all hours of the day.
Once a title was picked, we moved on to line edits.
Oh, wait. You thought the edits
Amanda Luedeke is a literary agent with MacGregor Literary. Every Thursday, she posts about growing your author platform. You can follow her on Twitter @amandaluedeke or join her Facebook group to stay current with her wheelings and dealings as an agent. Her author marketing book, The Extroverted Writer, is available from Amazon and Barnes & Noble.
Last week I did a few publisher visits in Minneapolis, and I thought it would be fun to show some of the pictures from my visit.
In today’s publishing world, publisher visits are really a rarity for those of us agents who don’t live in NYC. So it’s always great fun to meet up with publishing friends and make new ones.
Minneapolis has a handful of houses that are quite well known and successful (It’s funny…we think of NYC or Nashville or Colorado Springs as being the main pub hubs, but in reality, there are publishers all over the US!). So I was thrilled to be able to visit with a few of them.
These in-person visits really help build relationships. Most tend to think that it’s during these visits that business is done and deals made, but that’s quite rare. I’m just as successful doing deals with editors I’ve never met as I am doing them with my editor friends. But still, it’s great to deepen professional and even personal relationships, so that’s why these visits are important.
My first stop was literary house Milkweed Editions. They’re a small nonprofit operation, but very respected and quite successful. Located in the beautiful Loft Literary Center in downtown Minneapolis, Milkweed is surrounded by likeminded businesses and people. The area is a pocket of literary-ness that really does inspire. The editor there, Daniel Slager, is proud of what they do and he has
Continuing my series on pre-writing techniques that can help position you for a more successful writing experience, I’m talking today about assembling a strategy to help answer the “when,” “how,” and “so what” of your writing process. A lot of the pre-writing exercises I’ve discussed can be used by the savvy writer to put off the actual novel-writing process indefinitely, but if you’re one of those authors who actually wants to write his story instead of just talk/think/brainstorm about it, you’re going to want to put some kind of a plan in place to help you manage your writing time and meet your writing goals.
When are you going to write?
There are lots of people more qualified than I am to tell you how to use your time productively, what time of day/year is ideal for maximum creative synergy, how to arrange your furniture for minimum bad karma, etc., but the fact is that none of those experts is going to be helpful if you don’t start by understanding your specific lifestyle. What works for someone else may not work for you, no matter how much sense it makes on paper. When establishing a writing schedule, start by asking yourself these questions:
- When do I feel the most energized/alert? If you can coordinate your writing time with the time of day you are mentally the most active, your writing time will be more productive.
- When do I have the most free time? (Note: if you would argue that you don’t have any free time, answer the question this way instead: when do I spend the most time on Facebook? When do I watch the most TV? See what I did there?) Is there a way you can arrange your schedule so that your free time and your energized time coincide?
- What can I eliminate/sacrifice in order to create more writing time? If you’re looking at your life and you
Lagniappe. It’s a French word denoting, “A little extra.” And it’s a common expression in Louisiana’s Cajun culture. In the local Lugandan language along Lake Victoria’s northern shore, the word is enyogeza. It means a little extra at the market. Two small potatoes added to the dozen you purchased. This story is lagniappe (or enyogeza.) A little extra for you to ponder from my personal journey in Africa.
My wife DeDe and I have lived in Africa for two years. Often I look around and am shocked at how far I am from my Louisiana piney woods roots. It’s been an eventful time full of growth, frustration, change, disappointment, and joy. Very similar to life back in the good ol’ U.S. of A. I’d like to share five lessons loom large in what these years has taught me as a writer and person:
It’s always a draft.
2013 and 2014 have been years of constant change:
- Selling our home where we’d raised our family and lived thirty years.
- Leaving the Southern rural culture for the red dirt of east Africa.
- Learning Swahili to work in Democratic Congo, then being switched to South Sudan and Arabic. Hatuna matada for sure!
- Our country, South Sudan, descending into chaos and anarchy as we watched our new friends suffer and doors close. The future is poised with more of the same. It seems change is the only constant.
Due to daily change, I’ve learned to live and journal in pencil. Life requires erasers. Our African journey has been similar to the process of writing a novel: sometimes our characters take over and send us in directions we didn’t choose. But the end result is almost always a better novel as well as a richer life.
In spite of the change and uncertainty, I’ve never been more excited about life, our mission, or my writing than today. I’m confident that God is still in
Okay, so I’m a little late… I always try to make some predictions for the coming year, just to test out of my gift of prophecy. This year it took me a while longer to put together my list, but I’m trying to squeeze this into the month of January, so it still more or less counts as a “start of the year” column. As I gaze into my crystal ball, I see…
1. Barnes & Noble will make a comeback. Honest. I think they’ve shrunk, re-focused their stores on profitable items, and I think this year they’re going to see a lot of growth with B&N.com. So while they’ve had a few tough years, I believe authors and readers will renew their appreciation for the country’s largest book retailer, and they’ll once again be seen in a positive light. (Note that I said nothing about the Nook. My crystal ball is smoky whenever I ask about the Nook. No idea.)
2. Subscription services are going to explode. Oyster, Scribd, Entitle, and Kindle Unlimited have all been growing, as people begin to look at them as the Netflix-for-books. But the reason we’ll see even more growth this year? Google will get into this in a big way.
3. Authors are going to fight like mad over Kindle Unlimited. I have a couple authors whose earnings are down significantly due to KU. They’re not happy, and they aren’t alone. I think a number of successful self-published authors are going to pull back from the service. It’s great for helping a new author build a readership — not sure it’s as great for successful authors who watch a bunch of their book get read without earning much money.
4. The legacy publishers are going to drop their e-book prices. The research is pretty clear that low-cost e-books is the way to go, but the Big Five haven’t wanted to play along, since
It was every hopeful author’s dream. I had just finished pitching my book idea in front of seven other hopeful authors and (more to the point) an acquisitions editor. As we all stood up to leave, he discreetly handed me his card and said “Let’s talk.” Long story short, I am now a published author.
I have, in fact, shortened the story so much as to be deceptive. When he and I talked at lunch the next day, he didn’t even look at the proposal I had spent three months perfecting. First, he wanted me to address several issues. Six grueling months later, I sent him the revised proposal. To my delight, he loved it. But he wanted me to completely rework my sample chapters, which took another five months. Finally he believed it was ready to be presented to the publication committee.
As you may know, publishers are looking for three things in a proposal: 1) a great concept, 2) great writing, and 3) a great platform. But, as my editor said, they’re willing to over look one of those three if the other two make up for it. I had no platform, so my editor kept pushing me to refine and improve my concept and writing.
There were many points in the process that I wanted to give up. Two years is a long time to spend on three chapters. But because I didn’t have a platform to fall back on, I didn’t have a choice. And now, having seen too many mediocre books from well-known personalities, I’m glad I didn’t have a platform to lean on. I know myself – if I could have gotten away with less effort, I would have.
By the way, I’ve also seen a lot of authors fall back on “I can always self-publish.” I’m NOT saying that self-publishing is necessarily an easy way out. It’s probably the harder path because you’re
Amanda Luedeke is a literary agent with MacGregor Literary. Every Thursday, she posts about growing your author platform. You can follow her on Twitter @amandaluedeke or join her Facebook group to stay current with her wheelings and dealings as an agent. You can also check out her marketing skills on Fiverr. Her author marketing book, The Extroverted Writer, is available from Amazon and Barnes & Noble.
Does this sound familiar?
You have a novel that seems to be going nowhere. It’s a romance, after all. And there are a bazillion other romance novels out there, competing for the same readers. So you try to think outside the box. You can’t really promote yourself, because it’s the beginning of your career and you don’t have a massive fanbase yet, so you turn to your book to help you. It’s really all you have to offer.
You blog excerpts of your book and set up character Twitter accounts and pin a ton of pictures that remind you of your novel and you do gift card giveaways and chapter one booklets and you order bookmarks and go to bookstores and … nothing seems to be working.
You’re still a voice among thousands of other voices. And you’re doing your song and dance along with everyone else, while this mass of potential readers watches.
Novels can be next to impossible to promote or market. Unlike nonfiction, they don’t solve problems (in the conventional sense) or help readers out of holes. They don’t impart knowledge and wisdom in the same way that nonfiction books do, and they certainly don’t pretend to have all the answers. Nope. Instead, fiction is viewed as a form of entertainment. A luxury item for those who have the time.
This means that each time a novel is read it’s because that person has chosen to spend their free time not with movies or
Continuing my series on pre-writing, I’m talking today about different ways to plot your novel before sitting down to write. Figuring out your plot at the beginning of the writing process can help you:
- distribute your writing– knowing in advance all the pieces that your story will need to include keeps you from getting bogged down/spending an inordinate number of words on minutiae or set-up
- get a sense of your timeline– understanding the time frame of the events of your story helps you identify any out-of-place jumps or pauses
- develop a plan B when writer’s block hits– if you get stuck in a certain scene or beat, you know what’s coming next and can move ahead and come back later instead of coming to a grinding halt while you beat your head against the wall (but maybe that’s just me)
There are as many ways to plot a novel as there are authors, and no one approach is the “perfect” one, but most authors use some variation of several common approaches to story planning. These approaches can be organized from least to most detailed, and knowing your writing process and the plot areas you most often struggle with can help you determine which level of detail will be most helpful to you– some authors enjoy the organic plot development that takes place when they’re writing toward a climax without a more rigid plan in place, while others get bogged down in the middle if they haven’t figured out all of the plot points that will take the story from beginning to climax. With that in mind, here are three common approaches to story planning and the common plot problems they can help prevent.
1. The Compass: The Story Arc or Line
At its most basic, a story arc charts the rise and fall of tension in a story. From the stasis, or the way things are at the beginning, all
I’m getting ready to head out to speak at a writing conference at San Diego State this weekend, and someone who is going to be attending wrote to ask, “Can you tell me what you’re looking for in a query?”
That’s easy: Every time I open a query letter, I’m hoping to see something I’ll fall in love with. I want to see a great idea, supported by great writing, from an author with a great platform. I want to read an idea that makes me go, “Fabulous! Why didn’t I think of that?!” I want to see an author platform that shrieks, “I can help support this book!” I want to come across writing that hooks me from the first line. It’s rare, but it happens.
Of course, the one thing that makes sit up and take notice is great voice. If an author sounds unique and has personality on the page, I tend to pay close attention. (Unfortunately, some editors and agents don’t want to see any writing at a conference — they only want the idea. If I like your idea, I’m going to want to see if you can support it with good writing, so I encourage authors to bring some sample pages with them to a conference.) Again, I’m a sucker for great voice, and it’s the one thing we rarely see. Much of what we see isn’t bad, but so much as it’s the same as everything else. It sounds the same, it reads the same, and it could have been written by anybody. Great voice in writing always grabs me.
On the flip side, the thing that makes me immediately plop the query into my “reject” pile is seeing the same old thing — something that’s trying to ride the coattails of a project that’s already been done in a big way. (Examples include, “I’ve created a story about a boy wizard,”
Analyzing sales trends is a tricky business. Predicting them is almost impossible. But when thinking of what type of crime novel sells, be it the cozy or the more violent thriller novel, there are a few clear issues that emerge. Are readers looking for reassurances that traditional narratives offer, or is violence the allure?
One model of analysis that is illuminating is the Nietzschean dialogue between Dionysian and Apollonian energies . If Apollo represents law and Dionysus chaos, then crime fiction is built on a fundamental friction between the two. And proportionally, the largest part of any crime novel is the narrative showing the seductive uprising of forces that threaten to destroy society. There may be a certain voyeurism at play here, as the reader is allowed to witness things he would not ordinarily see, as he is given a peek into lives that are as exciting as they are flawed. But ultimately the narrative thrust is towards the vindication of law.
That is one thing that is a recurrent feature: most crime fiction is redemptive. The plot and story are often driven by criminal subversions and focus on the damage done to peoples’ lives by criminals, while the protagonist, often a detective, struggles to catch the culprit, but in the end order is restored and justice served, often lawlessly where revenge is part of the plot. Justice is a prevailing theme, but it is one that is interpreted in many ways. The police procedural traditionally relies on the investigation and the judicial system to restore order, while other novels mete out poetic justice to the wrong doers. These are some of the shared themes of crime novels, but the approaches are all different.
Agatha Christie wrote addictive cozies that centre on a period of English history when class dominated social interactions. Her core strengths are her plotting and protagonists. Poirot remains an undeniable force among detectives. Christie’s novels are