Monday, May 22, 2017

What an aspiring writer needs to know about editing, marketing, and publishing: An interview with editor Jillian Manning!

Stephanie here! I'm really excited that Jillian Manning, the acquisitions editor at Blink YA Books, is here with us today! Jillian was my editor for my 1920s mystery, The Lost Girl of Astor Street, and is a rock start of an editor. Not only is she great at the red pen stuff, but she's super encouraging, and will even dress up for her authors:

Jillian and me at the ALA Midwinter Meeting. Wouldn't we have been great flappers?

Jillian was gracious enough to take time out of her schedule to answer a few questions for me about the unique struggles of trying to get your first book published. I wish I could have read her detailed answers back when I was a flailing and confused aspiring author!



Also, we're giving away a signed, hardback copy of The Lost Girl of Astor Street to one U.S. resident! Entry details can be found after my interview with Jillian.

Here's a little more about Jillian:

Jillian Manning is the acquisitions editor for Blink YA Books, where she acquires young adult titles across all genres. Jillian is passionate about helping authors create their best books and has had the honor of working with dozens of incredibly talented writers, New York Times bestsellers, YouTube stars, Olympic athletes, and more. In the stories she acquires, Jillian loves fresh voices, a dash of humor, and captivating protagonists. She does not love insta-love. Find Jillian on Twitter at @LillianJaine or on her blog at www.EditorSays.com.

SM: I talk with a lot of young writers who want to be traditionally published, but are kinda stressed out about the idea of needing a platform. When you're looking at a manuscript for a writer who hasn't been published, what kind of marketability do you like to see? What kind of social media numbers make you say, "Okay, we can work with that."

JM: Publishing is a business, and sales and marketing people want to know that the books editors bring them can be commercially viable—meaning they can sell! One of the ways to help sell a book is by being an author with a platform online, since that means you have a built-in fan base.

For a debut author, I definitely want to see a professional website/blog, as well as a minimum of 1,500 followers across a maximum of three platforms. Those three can be a mix of Twitter, Instagram, Facebook, Snapchat, and YouTube, and it helps to see a steady number of followers on each site, rather than 1,000 on Twitter and 10 on Facebook. (P.S. Editors know what a follow-for-follow account looks like, so someone who has 10K followers but is following 12K people will give us pause.)

I’ll admit, it’s a little scary when I get a manuscript in and when I go to look up the author online I find…nothing. No website, no blog, no social media. (And by social media, I mean professional social media, not a personal page for friends and family.) That being said, I know that someone who has never published a book won’t have the same draw to followers as a published author would have. So the only real “rule” I try to follow is to make sure the author has some form of professional presence online to use as a starting point.

SM: Lots of writers (me included) feel nervous about pitching a novel to an editor at a conference. Do you have any thoughts on this or advice that can help us chill out a bit?

JM: I have a blog post for that! The most important thing to remember is that you are talking to another human being who loves books and writing as much as you do. WE ARE YOUR PEOPLE! We are simply the people who hold the red pens, which does make us a little scary. But if you come with a polished manuscript and meet with someone who publishes books in your genre, you’re likely to have a great conversation.

SM: That "conversation" word is key, I think. When I first started pitching, I rehearsed so much that I kinda forgot it was supposed to be a conversation. The publishing process can feel really mysterious and confusing. Is there something you wish writers understood better about editors or how it all works?

JM: You know, the publishing world always feels a little bit like a secret club, which I think can make it tough for writers to know what’s going on behind the scenes. Here are a few things I often tell new writers about our little universe:

  • Most editors do not make unilateral decisions when it comes to acquiring a book. Even if I love a manuscript with all my heart and believe it will sell a billion copies, I still have to convince my publisher, my marketing team, and my sales team. And that convincing requires research, presentations, and a whole lot of data—not just beautiful words!
  • Companies can only publish a certain number of books each year. There are only so many people to do the work, and only so many books that can fit on the shelves. As a result, we have to be incredibly picky about which books we publish and when.
  • Publishing isn’t usually a speedy business. Sometimes it can take two years (or more, if you’re George R. R. Martin) to publish a book, even after the initial version is turned in. This is a result of the best timing to release a book (e.g. you always want to release a Christmas book around Christmastime), as well as the sheer number of hours it takes to edit, design, print, market, and distribute a book.
  • Last, and most importantly, editors can tell when you are turning in a first draft vs. a fourth draft. And on behalf of my people, please, please take the time to edit and revise your novel once on your own and once with a critique partner before submitting it. The whole process is more enjoyable when we can work with a polished draft.


SM: So, sometimes as a reader, I hear a concept for a book, and I think I'm going to LOVE it. But then the experience doesn't quite live up to my expectations. Does that ever happen to you with submissions. Have you ever requested a submission because you liked the story idea, but then when you receive the manuscript and start reading it, you don't connect to the story like you thought you would?

JM: Unfortunately this does happen. I’d say the most common reasons I have to say no to a good idea are:

  • Unpolished writing: Check out my rant on drafts in the fourth bullet above. Editors can work a lot of magic with a manuscript, but if we get sent something that contains obvious typos, major plot holes, or just mediocre writing, we’re not likely to want to spend the time and effort to get the book into presentable shape.
  • Poor execution: Great ideas are great, but great execution is better. If your pitch promises to be totally original and utterly fascinating, the entire book needs to live up to that—and I mean every single sentence. I’ve been excited about unique concepts before, only to find that the author has bitten off more than they can chew and the story ends up feeling weird or confusing.
  • Undeveloped characters: In YA especially, characters are hugely important. Due to the age of the protagonists, most YA novels feature coming of age stories, which means I need to see a character change and grow and learn (for better or for worse) throughout the story. If someone has an awesome pitch but a character that is one-dimensional, I quickly lose interest.


SM: Let's go back to that unpolished manuscript thing. Many writers struggle with editing their own novels. Obviously, there's no replacement for getting feedback and corrections from a professional editor, but do you have one or two tips for how to be a better self-editor?

JM: First and foremost, take a break—at least one month—from the time you finish your book until the time you edit it. In that month, read one or more books in your genre to inspire you…and also show you places where your story needs work. Then, when you go back to edit with fresh eyes, think about what you loved about those books (without copying them, of course!) and how you can improve your work.

Second, I recommend reading the book out loud. Not all of it, necessarily, but definitely the dialogue. That will help you catch spots that don’t quite feel like a normal conversation. Third, when you’re editing your book, pay attention to repetition of certain words and phrases. We all have ticks in our writing, and you might find you used the word “dangerously” 128 times, which, in my professional opinion, is about 120 times too many.

And last but not least, learn more about editing! There are tons of books and blogs that talk about the art of editing, and the more you learn, the better you will be when editing your work or someone else’s.

Stephanie here again. That's a perfect note to leave it on, because it gives me another chance to mention that Jillian has a fabulous blog that you should all be reading on a regular basis.


a Rafflecopter giveaway

Friday, May 19, 2017

Writing Exercise #12: Working Backward

Shannon Dittemore is the author of the Angel Eyes novels. She has an overactive imagination and a passion for truth. Her lifelong journey to combine the two is responsible for a stint at Portland Bible College, performances with local theater companies, and an affinity for mentoring teen writers. Since 2013, Shannon has taught mentoring tracks at a local school where she provides junior high and high school students with an introduction to writing and the publishing industry. For more about Shan, check out her website, Facebook, Twitter, Instagram and Pinterest.

Since finishing my latest manuscript, I've had trouble settling into reading again. I blame it on Newton. His first law of motion says that "an object in motion stays in motion" and that has absolutely been the case for me.

After several weeks of pushing to the end of my manuscript, I've been unable to stop my brain from whirring and spinning. I try to sit still, try to rest--something I thought I had mastered--but my hands want to be busy, my legs twitch, and I find myself simply skimming the words of books instead of actually reading them.

There's not much to do but wait it out, I think. I'll get reading back. It'll happen. I just have to wait. There's a lot of waiting in writing. Did you know that?

Anyway, as I've been unable to sit still, I've been doing a fair amount of walking. And listening. To podcasts. To lectures about writing. To instructional videos. And one thing that's been surfacing again and again is this idea that you can (should?) start drafting your novel by writing the ending first.

I've touched on this idea before. There's conflicting advice out there--and that's totally normal--but it's never been easy for me to start my stories by writing the ending first. If I know how it ends, I get bored with the writing. I feel the ending should be earned by all the work that comes before it--both by the story's protagonist, and by me, the author. I fight my way there and it's a struggle I enjoy.

That said, the more I write, the more I choose my habits with self-preservation in mind.

"What do you mean?" you ask.

Well.

The truth is that the more you write, the better you get at it. And, in my case, the more I write, the more I realize I don't like rewriting scenes any more than necessary. Oh, I love editing. But editing my seventh or eight edit? That's a bit painful. And writing chapters and chapters that I'm going to end up cutting? It's almost like hacking off an arm.

It's not even about the words that I love. It's about the time that I lose. I hate losing time.

And so, from a self-preservation standpoint, the idea of starting at the end is an interesting one. Because when you start at the end, you know exactly where you're going. And you write to that moment. And, ideally, you don't waste too many words getting there.

Author Victoria Schwab--read her stuff, seriously--picked up video blogging again and in one of her recent videos she talks about how she writes the ending first. She does this for several reasons--go watch to find out--but one of her reasons beckoned to the self-preservationist in me.

She writes the ending first so that she can reverse engineer her characters.

Now, I do this too. Only, I do my reverse engineering after I've written an entire first draft. The idea of tackling it from the outset is compelling and I just may have to try.

Reverse engineering is practiced in all sorts of different fields. It's the process of taking apart a completed product to understand how it's put together. By doing this you can explain, and possibly replicate, what's been done.

When we talk about reverse engineering a character, we're talking about looking at that character at the end of the story and working backward to develop a story arc. I've done this, to some extent, for most of my books. And it does take a little practice.

So that's what we're going to do today.

Your task

 

1. Pick up a favorite book and flip to the last chapter--this is so you don't spoil a new book for yourself. Read that final chapter through.

2. After you've read it, create a list of questions that can be asked based on the information in this chapter alone. Do not attempt to answer these questions. Simply let yourself ask them. 

3. Leave your list of questions in the comments section below--PLEASE DO NOT GIVE US THE TITLE OF THE BOOK (and, if the characters have unique names like Katniss or Peeta, please replace the names with pronouns like he or she). We're not in the business of spoiling books here.

What we're looking for is proof that endings, inevitably, give us story fodder simply by existing. I think they just might.

Remember!!! If you participate in the writing exercise, you can use the Rafflecopter to enter our drawing. A winner will be selected next week and will have the opportunity to ask Jill, Steph and me a question for an upcoming episode of Go Teen Writers LIVE.

Wednesday, May 17, 2017

10 Ways To Increase Your Productivity


Jill Williamson is a chocolate loving, daydreaming, creator of kingdoms. She writes weird books in lots of weird genres like fantasy (Blood of Kings and Kinsman Chronicles), science fiction (Replication), and dystopian (The Safe Lands trilogy). Find Jill on FacebookTwitterPinterest, or on her author website. You can also try two of her fantasy novels for free here and here.

Feeling unproductive lately? Boy have I ever! To be fair, I did write a 250K book in eight months, not that it's done yet. (Now entering the editing stage...) But King's War was one of the most difficult books to crank out. Ever. Why? I pondered that a lot over the last eight months. The biggest obstacles against me getting that draft out sooner was a combination of my work schedule (or lack-thereof) and my work style, meaning I sat at the computer for far more hours than I actually worked. I Googled things. I Facebooked, Instagramed, and Tweeted. I checked my email. I bit my fingernails. I ate food. All while staring at the screen, wishing I was writing.

I felt I knew what was wrong, and I was mostly correct. I couldn't do much about it, though, because of life. There are things in life I can change and things I can't change. But I learned a lot though this experience, so I'm going to share it with you all.

1. Have a plan. When I set out to write a book, my plan goes something like this. I start by defining the book (ex: 100K medieval fantasy novel set in a new storyworld). Then I look at the calendar, things I have coming, and I set myself a loose deadline. Or if I sold this book idea to a publisher, they will set the deadline. So I have a genre, a word count goal, the general idea of a plot, and a deadline. I'm good to go.

2. Prepare. It's no secret that I am a storyworld first author. I can't start writing until I've done all my storyworld building and character development and some level of storyboarding or outlining. I also need to make a map and create a story bible document. I might also need some family trees or lists of characters and ranks. I might have to create some foreign language, so I'll have some sheets of paper with translations for reference. In this last book I had a list of characters with their titles, magical abilities, the name of their shadir (a creature) if they had one, and the names of their family members.

All this preparation might take me several months. It's actually one of my favorite parts of the writing process, but I cannot write productively until I have all this figured out.

3. Get organized. I print out a bunch of the stuff I created in number two. I need my map and important character lists nearby. I need my foreign translations! It's the worst to be writing a scene and have to stop and go look for something to help me get through it. Then I waste an hour looking. I try not to do that anymore. Instead, I will put a comment in the manuscript as a flag that the scene is missing important information. But I still have to find that sheet of paper later and then go back in and add it. If I am organized, I save time.


4. Set aside time to work deep. I've been reading the book Deep Work by Cal Newport, and it's fascinating. What is deep work you ask? Here is Cal's definition:

"Deep work is the ability to focus without distraction on a cognitively demanding task. It's a skill that allows you to quickly master complicated information and produce better results in less time. Deep work will make you better at what you do and provide the sense of true fulfillment that comes from craftsmanship. In short, deep work is like a super power in our increasingly competitive twenty-first century economy. And yet, most people have lost the ability to go deep-spending their days instead in a frantic blur of e-mail and social media, not even realizing there's a better way."

I've always been a multi-tasker. Multi-tasking produces a feeling of instant gratification that makes me happy. But Mr. Newport says that multi-tasking is actually bad for your brain! It deteriorates the muscle that helps a person focus for extended periods of time. Now, there is a time and place for multi-tasking says this mother of two. I try not to do work when my kids are at school or sleeping that I can do when they're home. For example, I can save the dishes until the kids are playing in the living room and do something more important when they're sleeping or at school, like writing my book! That's good use of my time. But when I do sit down at the computer, Mr. Newport suggests I set my sights on "immersive single tasking"no distractions!

Writers have been doing this for centuries. It's the concept of going to that cabin in the woods to finish your booka place where you can concentrate and not be disturbed. This is much more difficult when you're sitting at a computer that is connected to the internet. Or when you have your cell phone sitting right next to you with the notifications set so you can hear them. Any little distraction such as glancing at the phone to see if someone texted you breaks your concentration and impairs your ability to focus and complete the task you working on.

I'd like to add a caveat for us writers. Mr. Newport gives examples of taking an hour or two to work deep. And I think that's great for a lot of thingsI can get things done in that kind of time. But I think most writers work best when they have at least three uninterrupted work days in a row. I might only write for two or three hours each day, but the consecutive days help keep my brain stay deeply immersed in my storyworld.





5. Set the timer. Use word wars/word sprints to help you. For example: Write as fast as you can for the next fifteen minutes with a goal of 500 words. Or a goal of 100 words in a half hour. Whatever goal works for you. Intense, focused work trains you in concentrating. This will help you be more productive faster. The reality is, you could learn to write so fast that you only need to work two hours a day! Then you would have more time in your day for others things.

6. Have a routine. I blogged about this a few weeks ago. The human brain likes routines. Click here to read that post.

7. Take breaks. If you have to write all day (or want to), great. But you need lots of breaks. I feel there are two types of breaks necessary to the productive writer. First you need periodic breaks to keep your body healthy. Use word sprints or word wars to help you know when to break, or set a timer and break every hour for five minutes. Get up from your chair and walk around, have a snack, stretch, whatever you need to do, then get back to work.

The other type of break is needed on a daily basis. This is a boredom break. A do-nothing break. Something you need for your mind to stay healthy. Go on a walk. Go sit on your porch for an hour and drink some lemonade. Go for a drive or a bike ride. Exercise. All this gives your brain some free time to think and recharge. And if you do this every day, you'll find yourself energized and inspired with new ideas.

8. Learn to say no. I wrote about this a few weeks ago too. It's super important to "protect the asset," as Greg McKeown says. Click here to read that post.

9. Limit (quit?) social media and television viewing. It's best to turn off the internet and hide those cell phones or tablets when you sit down to write. The internet and social media can be a terrible distraction. But the truth is, we waste our lives online and watching television. While these are different activities, they're both more screen time on your eyes (for us writers who are already looking at a screen all day), and they're both pretty much a waste of time. I can't imagine anyone on his death bed saying, "I wish I had spent more time on Twitter." Or, "My only regret is that I never got around to binge watching Merlin." *heavy sigh* It's fun to spend time on social media. And it's fun to watch television. But we were made to be with people, and we should do more of that in our off hours and certainly during work time!

10. Get enough sleep. This is so important and so neglected by many over-achievers. Not getting enough sleep is bad for you. Period. It's bad for your brain (impairs alertness, concentration, and reasoning). And it's bad for your health (weakens your immune system, which can increase your chances of getting sick; can lead to serious medical conditions like obesity, heart disease, and diabetes; and increases anxiety and depression). Getting enough sleep will keep you from burning out on life. It will help you make fewer mistakes and better decisions, both in life and in the story you are writing.

I have to point out that I wrote a post on a similar theme back in January, so there's proof for you that I've been struggling with this for a long time! If you're struggling too, here is the link to the post I wrote called 10 Ways to Get Something Done When You’re Feeling Unproductive, which you might also find helpful.


Are you a productive writer? Do any of these tips resonate with you? Do you have a tip that works for you that I missed? Share in the comments!

Monday, May 15, 2017

How do you find the right agent, editor, or writers conference?



Stephanie Morrill is the creator of GoTeenWriters.com and the author of several young adult novels, including the historical mystery, The Lost Girl of Astor Street (Blink/HarperCollins). Despite loving cloche hats and drop-waist dresses, Stephanie would have been a terrible flapper because she can’t do the Charleston and looks awful with bobbed hair. She and her near-constant ponytail live in Kansas City with her husband and three kids. You can connect with her on FacebookTwitterPinterest, Instagram, and sign up for free books on her author website.


If you read my journey to publication, then you already know that I made loads of mistakes along the way. Including, but not limited to, submitting my manuscript on purple paper, and not knowing what genre I wrote. I thought I had invented YA fiction, for crying out loud. You can't get much greener than that.

When I talk to aspiring writers, I often get asked questions like, "What are the best writers conference to go to? How did you know your agent was the best agent for you? How did you know which publisher was the right one?"



We've talked many times about query letters, literary agents, and publishing. Here are some highlights if those are topics you're interested in:



What I haven't talked much about is the doubt involved in all the choices. The fear that maybe you're choosing wrong, or missing out. The nervousness you feel when you're taking leaps of faith. Here are some of the questions I get asked the most when it comes to these choices:

"How do you find the right writers conferences?"

Writers conferences can cost a lot of money, and if you've never been to one, it can be hard to understand what kind of value you get. So a lot of writers will ask me about finding the best conferences.

I started with what I could afford (read: what was local and my parents would pay for). I was seventeen when I went to my first conference, and my dad came with me. We paid for a day pass, not the whole thing, and it was a conference put on by one of our area community colleges. I only remember a few things from it:
  • In one of the classes, the teacher had us write about an embarrassing moment, saying we wouldn't have to show it to anyone, so we shouldn't be afraid to be vulnerable on the page. Then she picked me and another writer to read what we had written. Not only did this seem dishonest to me, but I had anticipated that the exercise might take this turn, so I had been careful to pick a moment that wasn't too embarrassing. (Which undermined her purpose, and cost her my respect.)
  • My parents paid for me to have lunch (along with several other writers) with a literary agent. I didn't bring anything to submit, because I didn't know you could, so I just asked questions and listened. Which, really, was the best thing I could possibly do. This was the first time I really understood the purpose of literary agents.
  • I took a class taught by an editor. She worked mostly with picture books. I asked her several questions during the class and after, and she was really kind. I also remember her saying that a lot of new writers had big visions for their book, and would talk to her in their pitches about what the cover should look like, and the stuffed dog that could be sold with it. I remember her saying, "You have to show me you've written a good book before we can have a conversation about a stuffed dog." That's something that stuck with me, which is funny considering I've never written a picture book. 
Was this the best conference? The most right conference for me? I say yes it was. It was cheap, and I got my toes wet. Several years later when I went to a bigger conference to pitch my stories, I felt braver because I had gone to something similar before. Considering my experience level, my understanding of the industry, and my financial situation, yes. This was the best conference for me.

I listen to the DIY MFA podcast pretty frequently, and one of the things Gabriela talks about a lot is "honor your reality." Meaning there are things in your lifefinancial restrictions, experience level, health complicationsthat you can't just ignore when you're making plans.

If you want to go to a writers conference, great. What can you afford? If it's not much, that's fine. Look for something close to you. While those enormous conferences like RWA, SCBWI, or ACFW offer a lot value, it can actually be easier to make connections with agents, editors, and writers at the smaller conferences.

While it's smart to think about conferences that are the best fit for your genre and goals, don't get locked into thinking there's only one or two conferences that could benefit you.

"How did you know which agent was best for you?"

If you're like most writers, trying to find a literary agent might be one of the slowest pieces of your journey to being a professional writer. Even after you sign with an agent, it's very possible it won't be the best long term solution. (Anne R. Allen talked about this in point four of her post on mistakes she's made.)

From the beginning, I had a lot of hesitations about signing with my first agent. She had a lot going for her. She was really active in the writer's group I was a part of, and she only took on unpublished writers as clients because that was her passion. But she had a personality that was very polarizing, and she seemed to often be engaged in strange email arguments or twitter conversations.

Her clients seemed to love her, however, and she had sold a decent amount in her first year as an agent. Even though she wasn't really a person I would want to hang out with as a friend, I decided this was a business relationship, and my agent didn't need to be someone who I would hang out with at the mall. 

But your agent should be someone you can respect. Our professional relationship didn't last long. She was kicked out of at least two major writing organizations, and I routinely saw social media posts or emails of hers that made me cringe.

When a sticky sales situation came up with my first publisher, I realized I didn't trust the advice my agent was giving me, and that was when I admitted that I needed to let her go. Even with trying to sever the relationship as professionally as I knew how (I had no experience with firing anyone, so I'm sure I made mistakes) it still turned into a big, dramatic situation that my editor got roped into. Yuck.

So here's what I debate: Was she the right agent for me? No. She made mistakes that I was too naive to realize at the time, and they maybe (probably?) did some damage to my career.

But she did get me published, and I'm not sure that my current agent (who I've been with for seven years now) would have considered me if I wasn't. The only reason I had the chance to submit to my current agent is because an author recommended me to her. And I might not have known that author except that we were both published in the same YA niche, which, again, wouldn't have happened without my first agent.

So maybe the benefits that came from signing with not-the-right agent outweigh the bad stuff? Or maybe not. Maybe if I had been patient and waited for a more skilled, knowledgeable agent, I would be further along in my career.

I don't know. And I certainly am not advocating, "Just sign with any agent! It doesn't matter!" because it definitely does. What I am saying is that even if it turns out you chose wrong, it's not an irreversible decision.

"How do you pick the right editor?"

I was listening to The 10-minute Writer's Workshop podcast's interview with Judy Blume, who I found to be refreshingly frank in her answers. The interviewer asked, "What do you look for in an editor?"

Ms. Blume said, "Someone who wants to work with you."

And I burst out laughing, because it's so true and writers so rarely say that.

Ms. Blume went on to say, "In the beginning, I don't think any writer feels that he or she can look for something in an editor. You're so grateful that somebody is interested in what you're doing and wants to work with you." (You can listen to this interview in its entirety here.)

Jillian and me at the American Library Association
Midwinter Meeting.
While I certainly believe editors vary in skill, and that editors make a huge difference in the quality and life of a book, it's not like shopping for shoes.

I landed at Blink because Jillian Manning was so enthusiastic about The Lost Girl of Astor Street. I absolutely love working with Jillian, but I had no idea when I signed my contract that she was going to be such a fabulous editor to work with. (Jillian is going to be with us next week, talking about what she looks for in debut authors!)

Here's the thing about all of those, "How did you know...?" kinds of questions. The answer is almost always that I didn't.

I've always done my best to research the options, and then made the choice that seemed like the best at the time. I was always filled with doubts and insecurities, and sometimes I was flat out terrified that I was choosing wrong. Even the times that it went well, like with Jillian. Sometimes you just have to take a leap of faith.

My friend was telling me about a cartoon she saw that showed someone looking at two directive signs pointing down two different hallways. The character could choose between "Workshop on Taking a Leap" and "Taking a Leap."

Let me be clear that I think researching so you can make smart choices is valuable and necessary. I love classes, and learning techniques that help me improve as a writer. But I also know that sometimes I'm guilty of taking the workshop (or reading the book, or listening to the class) on how to do something, when really I just need to push through my nervousness and do the thing. 

Do I need another class on marketing? Maybe. Or maybe what I really need is to just apply the ones I've already taken, even though marketing can feel awkward and uncomfortable to me. Same with writing. Do I need to spend time reading another book on writing? Or do I need focused time with my manuscript?

What about you? Do you have leaps that you've been putting off in favor of learning about the leap? Or do you need to spend some time learning so that you can take more educated leaps?




Friday, May 12, 2017

Writing Exercise #11: The Gap

Shannon Dittemore is the author of the Angel Eyes trilogy. She has an overactive imagination and a passion for truth. Her lifelong journey to combine the two is responsible for a stint at Portland Bible College, performances with local theater companies, and a love of all things literary. When she isn’t writing, she spends her days with her husband, Matt, imagining things unseen and chasing their two children around their home in Northern California. To connect with Shan, check out her website, FB, Twitter, Instagram, or Pinterest.

Happy Friday, friends! First of all, I want to say THANK YOU for continuing to write alongside us. I adore reading through your responses to our writing exercises. Most weeks, I'm able to read each and every one. But some weeks, LIFE happens and I'm not able to get to them right away. Please know that it's TOTALLY ME and not you at all. I love spending time with you and your writing. I just have a very full plate right now.

That said, I've been thinking a lot about how I've grown as a writer. You know that happens, right? The more we write, the more we grow. And while I don't believe we ever ARRIVE, I do believe that it's healthy to look back and, instead of cringing at our early works, choose to see the progress we've made in our craft.

Early on in my journey, I came across this quote by Ira Glass, radio personality, host, producer, and writer. It helped me in more ways than I can say. I wonder what you'll think.


When I first read Glass's words, I nearly sighed in relief. It suddenly made sense--why my writing  didn't live up to the ideas in my head. It helped to know I wasn't alone in that frustration and that this gap--between our taste and our skill level--is, in fact, NORMAL.

So, today, our writing exercise is going to be one of introspection. Oh, you're going to write. How could we NOT write? But you're also going to think. If you have to walk away from the computer for a bit, chew the question over some before you come back and type out your thoughts, please do.


Choose a favorite book (not two or three or four, just one) and consider: What is it about this book that you love so much? And, if you're able to puzzle it out, what did the author do that so appealed to your taste?


Maybe it's the plot. Maybe it's the voice. Maybe you love the characters. Maybe it's the mystery of the thing, or the romance. Maybe it's the whimsy. There is no wrong answer here. There is just YOUR TASTE.

One of the hardest things for us to do as writers is to think critically about the things that we love. And today, I want you to take a stab at it by answering that question up there. Do it in the comments section and then come back throughout the weekend to see what your friends are saying.

And remember, if you participate in the writing exercise, you can use the Rafflecopter to enter our drawing. A winner will be selected next week and will have the opportunity to ask Jill, Steph and me a question for an upcoming episode of Go Teen Writers LIVE.

a Rafflecopter giveaway

Wednesday, May 10, 2017

What To Do When Life Happens


Jill Williamson is a chocolate loving, daydreaming, creator of kingdoms. She writes weird books in lots of weird genres like fantasy (Blood of Kings and Kinsman Chronicles), science fiction (Replication), and dystopian (The Safe Lands trilogy). Find Jill on FacebookTwitterPinterest, or on her author website. You can also try two of her fantasy novels for free here and here.

Jill here. I'm taking a personal day from the blog this week. My father-in-law had open heart surgery and there have been some complications as he is trying to recover. So I've spent the past two days sitting at the hospital with friends and family, waiting for updates for doctors and praying that Dad's body will heal. And I'll likely be there all week. I naively thought that I might be able to write while sitting in the waiting room. Turns out nope. Lots of friends and family, coming together because they love each other. And that's good. And not writing right now is okay. Because sometimes life happens, and when it does, you have to deal with it. That's why we're here. To do life together. This has not been an easy lesson for me to learn. I'm both a work-o-holic and a perfectionist, and there have been times in my life when I chose work over life. I'm not proud of it. And no one holds any grudges against me for it. But I missed out on life because my priorities were all squeewabled. I've learned the hard way that that is no way to live. So the post I planned to write will wait until next week. And my book will get done eventually. And I will be with my family right now, where I belong.

How about you? It's okay to take a personal day every now and then. Are you prepared to put aside your writing when life happens?

Or do you struggle with the opposite? Do you take too many breaks? Sunny day? Doctor Who on TV? Feel like taking a nap?

Which do you struggle with?

Monday, May 8, 2017

How to Bravely Push Through Your Writing Insecurities




Stephanie Morrill is the creator of GoTeenWriters.com and the author of several young adult novels, including the 1920's mystery, The Lost Girl of Astor Street (Blink/HarperCollins). Despite loving cloche hats and drop-waist dresses, Stephanie would have been a terrible flapper because she can’t do the Charleston and looks awful with bobbed hair. She and her near-constant ponytail live in Kansas City with her husband and three kids. You can connect with her on FacebookTwitterPinterest, Instagram, and sign up for monthly updates on her author website.



What if I never get published?

What if I do all this work on this novelinvest all this time, energy, and moneyand nobody but me ever reads it?

What if my (insert-family-member's-name-here) reads it and disapproves?

What if people laugh at me when they read my book? (Or, if the story is supposed to be funny, What if they don't laugh?)

I'm not alone in asking these questions, right? They ran through my thoughts regularly as I worked toward getting published. I imagined signing my first contract or getting an agent would help to silence my insecurities about my writing forever. Sadly, the insecurities don't go anywhere when you're published; the questions just take a different shape.

What if I get terrible reviews? What if people say really mean things about my book on Goodreads? What if no one comes to my book signings? What if my editor doesn't like the next book I send her as much as she liked this one?

Sometimes when those questions pop up, I'm able to easily dismiss them. I'll remind myself that everybody gets mean reviews on Goodreads, and that I can survive it. And sometimes that's all I need to go on my merry way and keep fearlessly creating.

Other times my insecurities hold me hostage. Creating feels like a struggle, I'm mopey and distracted, and I start over-explaining everything because I feel like if I don't, no one will understand what I've created.

I almost did that last week, actually. I was sending two newly finished chapter to my agent. I never send her anything that quickly after writing it, but the chapters needed to be turned in NOW.

I spent about 15 minutes drafting an email that explained my chapters. ("I almost did this, but didn't and here's why. I'm sending two chapters instead of one for this reason. I'm not sure about this character, because of these reasons. I considered starting at this point in history, but here's why I didn't...") Fortunately, before I hit send, I realized that my insecurities had flared, and that I needed to shoo them away.



Insecurity is a part of the human experience, but that doesn't mean we have to let it keep us trapped. I imagine I will spend the rest of my life working on my insecurities, but here are some tactics I use to push through them when it comes to writing:


My book isn't me.

I was able to scrap that original email to my agent and send her the chapters without over-explaining them because I remembered that my book isn't me. I knew that even if she didn't think they were as good as they needed to be, that was a reflection on the chapters, not me as a person.

Our stories feel personal to us. That's how we're able to create good ones, by digging into ourselves and making them meaningful. So when people don't like what we've written, or think the story would be better if done differently, it can feel like they're saying negative things about us.

My book isn't for everyone.

Think of your favorite book. Your absolute favorite.

It has 1-star ratings.

There are people in this world who somehow read The Scorpio Races and Pride and Prejudice and The Help and Harry Potter and the Deathly Hollows and didn't think they were absolutely wonderful.

As of yet, no one has created a piece of art that everyone loved. Statistics show that I'm probably not going to be the first one to do so. You probably won't be either.

My books are meaningful to some, "meh" to some, and offensive to some. That's just part of creating.


Let's say that does happen. Then what?

You know how when you're watching a movie or TV show that has a monster in it, the monster feels way scarier before you see it? The same is true for all those "what if's?" that run through your head. They build into something vague and scary, but if you assign specifics to them, they can lose a lot of their power.

Let's try getting specific with one of the most common insecurity-born questions among writers:

What if I put all this time and energy into this book, and it never gets published?

For me the specific answer is, "Well, that would make me sad. I really want this book to be published. I believe in the story, and it means a lot to me. But if it never gets published, I'm still proud of it, and I learned a lot that I can apply to my next story."

Your answer might vary from mine, but I bet it still doesn't seem quite as forbidding when you lay out the specifics. For me, the answers tend to be things that would be painful for a season, or that would hurt my feelings, but not things that would make me give up.


Negative talk doesn't produce positive results.

When I focus on all the bad things that could happen, all the stuff I don't like, and all the mistakes I might make, that never puts me in a happy creating places. Ever.

Obviously there's value in being able to recognize what needs improving in your manuscript. That's a very important part of the creating process.

A healthy focus on changes I can make to improve my story leads to questions like, "This character is reading flat. I wonder what I can do to fix that?"

When my critical focus has turned unproductively negative, I'm bound to think things like, "This character is reading flat, and I have no idea how to fix it. This book will probably never be published!"

While bad days are bound to happen, I try to not let myself wallow in that place for too long. (Writer friends are great for grabbing hold of your hand and pulling you out of that toxic pit!)


No one else is paying attention.

Nobody thinks about me as much as I do. I used to worry a lot about what people would think if I never got published, or if they thought it was taking me too long to write my book.

And then I figured out that people really weren't thinking about me and my book much at all. Sometimes they might ask how I was doing with my book, but they weren't keeping a calendar of my progress or tracking how many agents had rejected representing me.

If I fumble through an answer for an interview, or if I send out an email that has a typo, or I find a blog post I wrote a few years ago and now disagree with, my tendency is to stew. To obsess. But I'm getting better at remembering that likely nobody else is sitting around thinking about it, and that me continuing to do so is a waste of time. I'll ask, "What can I learn from this mistake?" and then move on.

Get back to creating.

What really quiets down my insecurities is when I'm creating a story or article that I love and care about. That's when I'm able to tell Insecurity, "Shh. I'm creating right now. You'll have to wait." And often Insecurity gets bored, and wanders away.

If you're currently struggling with insecurity, what's something you could have fun creating right now? It doesn't have to be something written, just something that will help you have enough fun that you aren't so worried about if it will matter or who will notice.

What's a strength of yours when it comes to writing? Story ideas? Dialogue? Developing interesting characters?


Friday, May 5, 2017

Writing Exercise #10: The Passing of Time

Shannon Dittemore is the author of the Angel Eyes trilogy. She has an overactive imagination and a passion for truth. Her lifelong journey to combine the two is responsible for a stint at Portland Bible College, performances with local theater companies, and a love of all things literary. When she isn’t writing, she spends her days with her husband, Matt, imagining things unseen and chasing their two children around their home in Northern California. To connect with Shan, check out her website, FB, Twitter, Instagram, or Pinterest.

Did I tell you all I finished my book?! I did! 

Last week, I turned my YA fantasy into my agent and now I wait. She's a busy lady, my agent--lots of fantastic clients to service and she's opening a new agency this month--so it could be some time before she gets back to me. And as I wait, I've been thinking about how tricky it can be to show the passing of time in our stories.

You know what I'm talking about, right? You've covered all the important stuff in a particular scene and you're just trying to get your characters to the next important moment. Just trying to fill the space on the page until you've written enough that can you feel comfortable saying TIME HAS PASSED.

When we're trying to get our characters from this important moment to that important moment, we can easily stumble into meaningless, not-moving-the-story-forward, wasting-the-readers'-time kind of writing.

Sometimes it's a necessary part of the drafting process. Sometimes, as a writer, you don't know what that next important moment is, so you have to write yourself there. But, during edits, you have to come back and address the drivel. You've got to tighten up the nonsense and succinctly, stylishly, get us from here to there. 

The Harry Potter movies are awesome at this. They use stunning visuals to move us through the school year. 

Think of the Whomping Willow in The Prisoner of Azkaban. To mark the changing seasons, the movie-makers use the willow tree. 

Toward the beginning of the school year, we follow a little bird as it flies through the castle, out over the grounds. We watch as the green-leafed Whomping Willow curls a branch tightly and then lets it swing, vanishing the bird in a burst of feathers. A funny surprise and one that tells us a bit about the tree. 

Later, to ensure the viewers move along with the story from fall to winter, a single autumn-colored leaf is zoomed in on and we watch as it drops slowly from the tree, lazily falling to the ground. And then a wide shot of the tree and the Whomping Willow shakes off all the remaining leaves in one almost dog-like move. A lot of beauty and a little humor using a very important element of the story--the Whomping Willow.

The snarky tree is used yet again to show the change from winter to spring. We're shown the icy branches melting away and with another dog-shake the branches are suddenly free of winter. 

One last focus on the tree, as the final scenes of the film are unfolding, shows us that we've moved into summer again. The willow is full and lush and another misguided bird flies toward it, only to meet the very same fate as the first bird we followed into its branches. Nearly a year has passed and we've passed with it.

Using a powerful story element--the Whomping Willow is practically a character in this story--to show the passing of time, is creative and kills lots of birds (ha!) with one stone.

But how do we do this on a smaller scale? When we're not ready to leave a chapter or even insert a scene break, how do we move our characters and readers to the next important moment in just a few sentences. Take this example from the book, Harry Potter and the Prisoner of Azkaban:

"What's next, Divination?" Ron groaned. "How are we supposed to make it up to the old bat's tower on time from down here in the dungeon?"
Hermione gasped. "Oh! I just remembered! I have to go get something. I'll see you in class." She hurried off, leaving Harry and Ron to stare at her retreating back.
But she didn't show up to class at all, and they didn't see her for the rest of the afternoon. In fact, Hermione didn't materialize until well into the evening, climbing through the portrait hole into the common room with an armload of books. "I found all these at the library," she said breathlessly, dumping the books on the floor between Harry and Ron where they sat curled up in their favorite squashy armchairs.
In this scene, we leave the immediacy of Harry's and Ron's thoughts and actions and we zoom out. We have no idea how they spend the rest of the day, except to trust that nothing out of the ordinary happens except for Hermione's absence. We zoom back in on the trio later that evening when Hermione returns and the important stuff begins again. 

The passing of time is both important and full of inconsequential stuff and JK Rowling does a good job moving us through it in just two sentences.

Today, we're going to do the same thing in our writing exercise.

Your goal is to get your character and the reader from this moment:

"You're going," her mom says, stalking away. "That's all there is to it."

She couldn't do this. She couldn't put on that dress and those shoes and show up to the prom alone.

To this moment:
"I didn't think you'd come," Mark says, his bow-tie flashing under the lights. "I didn't think you had the guts."

And you have to do it in no more than three sentences. That's right. THREE! You can do this!

Leave your response to the exercise in the comments section below and come back throughout the weekend to see how your fellow writers addressed the prompt.

And remember, if you participate in the writing exercise, you can use the Rafflecopter to enter our drawing. A winner will be selected next week and will have the opportunity to ask Jill, Steph and me a question for an upcoming episode of Go Teen Writers LIVE.

 

a Rafflecopter giveaway

Wednesday, May 3, 2017

Should You Join A Professional Organization?


Jill Williamson is a chocolate loving, daydreaming, creator of kingdoms. She writes weird books in lots of weird genres like fantasy (Blood of Kings and Kinsman Chronicles), science fiction (Replication), and dystopian (The Safe Lands trilogy). Find Jill on FacebookTwitterPinterest, or on her author website. You can also try two of her fantasy novels for free here and here.

As you are navigating the publishing industry, you will likely hear about many professional writing organizations you could join. A professional writing organization is most often a nonprofit group seeking to help writers learn about the craft of writing or how to get published. There are a bunch of professional writing organizations out there. I have compiled a long list here on my website.

But how do you know when or if you should join one? And which one? How do you decide? How much does it cost? And ultimately, is it worth the investment?




Why should you join?

1. Networking and friendships.

When it comes time to pitch your book, nothing helps quite so much as having people you can talk to and ask questions of. Professional organizations are one of the best places to make such connections. These might be contacts that lead toward publication, or they might simply be new friendships. Both are important. I met my dearest writing friends through organizational conferences or gatherings. When you have writing friends in your life, you can help each other reach your writing goals. You'll also talk to each other. If I hear that a publisher is looking for a certain type of story, I'll tell any friends who might be a good fit. You can also meet more people by volunteering or becoming a leader in the organization.

2. Education.
Most professional organizations offer webinars, courses, and/or conferences to their members. This helps keep everyone learning and updated on the industry. While conferences are often a more expensive investment, many organizations offer some free classes to their members. Most organizations have email loops or forums where you can talk to other members and stay up-to-date on the industry.

3. Access to professionals and other resources.
Attending a conference or workshop put on by a professional organization can be a great way to meet industry professionals, like agents or editors. If you look at the organization’s website, you can usually see lists of conference staff from an upcoming conference or even a past one. This will give you a good idea whether or not that organization can help you meet the type of professionals you need to sell your book.

4. Contests and feedback.
Many professional organizations provide the opportunity for critiques from veteran writers or industry professionals. Many also hold contests from which entrants will receive feedback on their writing. These can be immensely valuable opportunities to learn and grow your writing craft.

5. Mentoring and moral support.
Being part of a professional organization can provide the opportunity for you to be mentored or mentor others. But the best part of joining a writing organization, in my opinion, is the moral support of being with others who are on the same journey. Writing for publication can be both isolating and discouraging. Having the opportunity to be around other writers who are struggling is not only a comfort, it helps you stay motivated and inspired to keep at it. You realize that you are a part of a community of writers who are all on a similar journey. You can help each other and learn from each other. It's pretty fabulous.


When should you join a professional organization?
This depends on the organization, the cost, and your situation. If you have the time and money, then I would recommend you join an organization and take advantage of as much as they have to offer. But if you are busy with school or work and have little time or money, I would recommend that you wait to join a professional organization until you have completed a manuscript and feel ready to try and sell it to a publisher. Then it will make sense to invest in trying to make the right connections so you can pitch the story to an agent or editor.

Which professional organization should you join?
Look for one that matches the genre or subgenre of what you write. If you write mysteries, you probably shouldn't invest in the Science Fiction & Fantasy Writers of America. For those writing romance, nothing beats RWA. If you write for children or teens, I recommend SCBWI. Spend some time searching the internet to find groups that might be a good match. You can also look again at the list I've created here.


How much does it cost? And is it worth the investment?
That depends on the organization. There is usually an annual fee for membership dues. And dues usually increase in price every-so-often, too. Most organizations also offer an annual conference to members, and those will cost extra. You don't have to attend the conferences to be a member, but you might want to. Calculate the costs of the organization and see how they fit into your budget. If they don't fit right now, that's okay. You can always save up and join once you've raised the funds. And if money is tight, wait until you are ready to sell that first book before investing.

I would also caution you to beware of any organization that continually asks for more money than their annual membership fee. Charging for classes here and there is one thing, but if the organization is constantly emailing you sales pitches for classes, books, and certificates you can earn, the organization might not be in your best interest. Use caution. Investing in your career is important, but you shouldn't have to fork our money all the time. I pay annual dues for two organizations (once charges $45 a year, the other $65), and that's it. I will sometimes pay to attend their conferences if I have a book to pitch (and that can cost anywhere from $300 to $1200 depending on the tuition, hotel, and airfare costs), but if I have no business reason to go, I stay home. I will also say that one of my organizations has a local chapter that I'm a part of, and the local chapter charges dues ($15 a year). But that is all I pay for the organizations I'm a part of.

Another example of my experience, I joined Willamette Writers when I first moved to the Pacific Northwest. They are a fantastic organization. I think they charged $40 a year or $65 for a family. They offer lots of workshops and an amazing conference, but after one year of membership, I never found the time to go to any of their gatherings. I decided it wasn't worth my investment if I didn't have time to make the most of it, and I did not renew my membership the next year.

How about you? Are you a member of any professional writing organizations? What do you like about them? Dislike? Is there a particular group you would recommend to others? Share in the comments.

Monday, May 1, 2017

Go Teen Writers LIVE Episode Four

Happy Monday, writers!

I've been away on a writing retreat all weekend with Roseanna White! This is our fourth time in the last five years of getting together for a long weekend of writing, writing, and more writing. We squeeze in some eating, and maybe a walk or two, but mostly we're writing:



Our first full day of writing, Roseanna and I were interrupted by a crazy exciting text from Jill Williamson, who was just reading the latest issue of Writer's Digest and sent Shannon and me this gorgeous picture:



Which she found in this gorgeous magazine:


So, to put it succinctly, our weekend was pretty awesome.

For your viewing pleasure, here's our next episode of Go Teen Writers Live! We answer a question about plot, character, and how they work together:



If you'd like to ask us a question that we will answer live in the future, watch for opportunities to participate in writing exercises on this blog, and be sure to enter on the Rafflecopter entry form below each exercise. (Shan posted a new one last Friday, if you missed it!)

If you missed the previous episodes, the links are below. While you're watching, be sure to click "like" and to subscribe to my YouTube channel to get notified of when new videos are available. Also, leave us a comment and/or feel free to ask further questions about the talk.

Go Teen Writers Live: Episode One

Go Teen Writers Live: Episode Two

Go Teen Writers Live: Episode Three

Friday, April 28, 2017

Writing Exercise #9: The Macro Show

Shannon Dittemore is the author of the Angel Eyes trilogy. She has an overactive imagination and a passion for truth. Her lifelong journey to combine the two is responsible for a stint at Portland Bible College, performances with local theater companies, and a love of all things literary. When she isn’t writing, she spends her days with her husband, Matt, imagining things unseen and chasing their two children around their home in Northern California. To connect with Shan, check out her website, FB, Twitter, Instagram, or Pinterest.

Writers and industry professionals spend a lot of time talking about the differences between SHOWING and TELLING. Knowing when it's appropriate to show (most of the time) and when it's perfectly fine to tell (it is, you know?) is crucial and it can also be subjective.

To bring clarity, we use quotes from fantastic storytellers to make our point and we break down sentences to show you exactly how to do it. But as we drill down to the nitty gritty, we often lose sight of the larger picture. We miss the forest for the trees, if you will.

To make things easy on us, let's break this out into two categories.

There's the Micro Show and the Macro Show.

When we talk about the Micro Show, we're talking about showing at the sentence level. We're asking you to paint a picture for us, instead of simply pass along information. We're talking about choosing strong verbs and not leaning wholly on modifiers or adverbs. We're telling you to let your dialogue do the showing for you and we're reminding you that you must be careful when you use sense words like: heard, saw, felt, tasted, smelled, sensed.

We're using examples like:

Use a strong verb
Mike moved slowly to the bar. (not great)
Mike lumbered to the bar. (better) 

Be specific
The girl's dress was pretty. (not great)
Her blue pinafore was trimmed with lace. (better)

Dialogue and punctuation
"Jason," he yelled loudly. "You broke it." (not great)
"Jason! You broke it." (better)

The five senses
The neighbor's door slammed and then Tim heard the music. (not great)
The thud of the door and, in the space of a heartbeat, his room pulsed to the beat of a stereo two walls away. (better)

These are fantastic tips. More than that, they are simple structural items that will immediately jump your writing to the next level. Simple, simple. And the more you work to write this way, the more natural it becomes.

What is a little less natural is the overall Macro Show. And this takes intention and consistent attention as you write. Let's talk about it for a second.

When we're talking about showing aspects of your story on a macro level, we're talking about big picture items. For example, if I want you, the reader, to know that my main character is loyal, I could handle it one of two ways. I could tell you he's loyal. I could say, "Henry was loyal even to death." It's not a great sentence, not a particularly showing sentence, but it conveys the information I want conveyed.

BUT! If I want to show you that Henry is loyal, I  can't really do that in a single sentence. I must show you Henry's loyalty by placing him in scenes that prove he is, in fact, a loyal soul. I must show you that he could have chosen another path, perhaps an easier path, but that's not our Henry. Henry is loyal. I, the author, must construct a scene or an entire story to paint Henry as he is.

And that's what we're going to do today.

Your goal is to choose a character trait from the list below and then put a character in a scene to show that trait off. The catch? You cannot use the word you choose. For example, if I decide I'm going to show loyalty I cannot use the word loyal (or any of its variations). Make sense?

Give it some thought and then sit down and get to work. Your scene does not have to be crazy long, friends, to get the job done. Leave your response to this exercise in the comments section below and throughout the weekend, come back and read the other responses and see if you can guess just which character traits the writers are showing off. Feel free to reply to their response with your guess. Kindness matters!

And remember! Whenever you participate in a writing exercise here at Go Teen Writers, you can enter a Rafflecopter drawing. The winner will be selected next week and will have the opportunity to ask us a question for an upcoming episode of Go Teen Writers LIVE.

Previous Go Teen Writers LIVE Episodes: Episode One | Episode Two | Episode Three

Angry
Brave
Clever
Clumsy
Cold
Conceited
Cruel
Curious
Daring
Friendly
Frustrated
Grouchy
Happy
Helpful
Hopeless
Hot
Hyper
Jealous
Lazy
Logical
Nervous
Noisy
Rude
Sad
Scared
Selfish
Smart
Strong
Stubborn
Uncomfortable


a Rafflecopter giveaway