Self-Editing Tips from Agent Michelle Brower

Hey all, I'm seriously slacking in the blog department.  I suck lately.  But I have some good stuff for ya.  A couple of weeks ago, I took a Webinar on novel self-editing tips and I want to share the goods I learned.  Agent Michelle Brower hosted the Webinar and had some useful advice. 

Number one, she said above your novel polishing should rank higher than your blog and internet presence.  Maybe that is why I have been slacking on posting this—since I have been focusing my time on my current WIP.   

Michelle's thoughts about media presence were the same as the speakers from the SCWBI conference this summer.  Unless you have 30,000 followers your blog and twitter isn't as important as your work.  Neither will get you and agent unless you are so popular when you tweet the world stops to respond.  What will get you an agent is the best novel you can put out there and of course the right agent.  That's not to say agents don't appreciate a media presence, just don't dedicate more time to it than your writing, if you're working to get published.  

The next best advice I took from Michelle was the strategies she advised on self-editing.  They weren't that different from what was discussed at SCWBI.  She suggested writing a synopsis.  My immediate thought was no!  Please no!  Anything but that.  Then she explained how and why.  Use two to three sentences to breakdown major facts in each chapter using note cards then spread them out on a large surface or the floor.  In doing this, you can see the strengths and weaknesses in your story, how the arc flows, where the novel is lacking or boring (not much pushing the story forward), where characters act—well, out of character, and, if needed, rearrange the chapters for a better fit.   

The visualization part is key here.  And the fact that this synopsis is for your eyes only, the stress of it is reduced.  You don't have to worry about it being less than three pages, or under one, or too wordy, or boring.  If you think about it, or even better can visuals it, you'll see how helpful this technique is to your MS and plot editing.   

No matter the extra time, it's worth it in the end.  And like I said, it's for your personal use only, so you don't have to stress over your sentence structure or grammar.  Wahoo!   

So there are my handy tips or rather Michelle's handy tips for your next self-editing adventure.  Good luck, and when in doubt, grab the nearest critique partner and beg for a beta-read done in lightning speed.  Because you know they don't have anything better to do or a life of their own.  LOL!  Just kidding!  

Have a great weekend.  And if you need clarification on any of this just ask me.   

Love to my wonderful and dedicated critique partners!  You are a blessing!!!!

The Importance of a Good Writing Support Group.

As a writer you don't have a person (manger, boss, supervisor) directing your steps, over seeing your progress, and encouraging you along. You are all of those people and more because you are the writer, the editor and, if you're like me, your worst critic. That voice of reason that often wants to believe, I have what it takes to make it but just as often thinks I don't know if I can do this.

That's where your ultra-dynamic support group comes in. If you don't have one, you need to get one. I'm not talking your hubby, sister, mother, best friend, although those people are important. What I mean are the girls or guys that have been or are going through your same situation. The ones who understand the frustrations, doubts, and fears that come with writing because they are writers.  

These people will be your core, your go to supporters in a moment or several moments of weaknesses. Now I'm not saying they should swoop in and fix all the problems with your novel, just that they should be there to give you a pick-me-up. Whether it be a quick text, email, inspirational quote, smiley face, whatever, as long as it's something that lets you know you are believed in by someone who has read your work and knows your talent.  

I am blessed with an amazing support group, who are also my critique group. But let me tell you it didn't just happen. All too often, fear creeps up on me with a mounting list of "What if's." When that happened a year ago, after finding this amazing group, I quit. Yep. You read that right, I quit. When it got tough instead of accepting their support, I bailed. For one, I thought I sucked, even though they repeatedly told me I didn't. And for two, I thought I was bringing them down, holding them back.

But a funny thing happened. As I continued to struggle to find my way in the writing world, I kept looking to them for help and answers, and, you know what, they kept giving it. I took it as a sign that I needed to get off my self-doubt rocker, pull my big girl panties up, and get back in the game. And when I begged to be let back in the group, they didn't give me hard time. They accepted me—once again.

Now that's what I'm talking about by having a good support group. The right people that not only see your potential but also don't let you give up on you, when you give up on yourself.

If you have a fabulous writers support group in your life, today I encourage you to thank them for all they do, have done, and will continue to do. After all—if they are as good as my group—in between their hectic life schedules they take time to read your work, meet with you, and add you and the importance of your stories to their life, all for the love of writing! That certainly deserves a major shout out!

So here is mine. 

Larissa Hardesty, Christy Farley, and Jessica Souders you girls are the bomb. I feel blessed to have you in my life and thank you for all the work you have done for me and all the work you will continue to do. **sinister laugh** Just Kidding!  But not really!  LOL!

I'd love to hear about your group, how they are dynamic, what makes them dynamic, and how they help you continue to write. Also, if you can give tips to other writers who are in search of that special group, please post those below—for that is half the battle.

Some helpful sites I've found are,

                                http://www.squidoo.com/onlinewritersgroupsreview

                                http://www.verlakay.com/boards/index.php

                                http://www.scbwi.org/

Tomorrow is Friday! Yeah!!!!!!!!!!!!!!!!!!!!!!!!!!!!

SCWBI Conference and My New Agent Crush!

Two weekends ago, I attended the SCWBI conference with my crit girls, Larissa Hardesty and Christy Farley. We had amazing speakers. My favorites were Josh Adam's, agent from Adams literary agency, and Noa Wheeler, Editor for Henry Holt Books. I also met another editor for Holiday House, Sylvie Frank. Loved her!

On Friday I attended a novel intensive, where Nancy Werlin gave self-editing advice. She talked about making a chart, literally. Each chapter receives its own picture box. You write a scene from that chapter, draw a picture in a square—no matter how heinous, stick figures allowed—and beneath label the scene with a strong verb. This will help you find sections of your book where nothing is happening. For example, if you have several boxes within your novel labeled "realizing," you should probably revise those chapters or scenes, so that your protag is reacting to whatever information or realization they had. Doing this will strengthen weak areas in your novel. 

On day two, in the YA track, Nancy spoke about her own revisions. It was interesting to see that she suffers from the same editing issues as the rest of us, even after nine published YA novels. Her example was on a final novel in her fearie series. She thought she'd written the perfect ending to the series, but after having her rough-draft critiqued, she learned there were major flaws.

In short, the book was not as perfect as she thought, and she had to revise the entire novel. Her message was for authors to understand that being published doesn’t mean you have less revision issues. In writing, there is always more editing. Even when you swore you'd written an epic novel. Even when it sounded perfect in your head. Even when you have a successful writing career and work with a professional agent and editor. It still happens.

There were two other revelations I had as a writer because of the conference. The first: male agents can do justice for girl writers who have a romancy style. I never bother to query male agents because I think they won't get my voice and the romance I insist on having in each novel. But after listening to Josh Adams speak that has all changed.

Now I feel Josh would be my dream agent. He reps several authors who write romancy stories and, yes, he gets it. He really gets it! There is a sincerity in the way he speaks about his authors and their stories. It's obvious he wants to go to bat for them and help them find great success. He gets excited in a way I didn't think was possible for a man, and he has an unmistakable sense of pride for each of the novels he represents.  

I was blown away by him and have decided to add a new made-up word to my vocab. Agent crush. Which I define as a non-physical, non-sexual desire to work with someone you admire. And I have a huge agent crush on Josh Adams. If I'm lucky, one day he will represent my stories.

 The other revelation I had is one I've heard before but still struggle to incorporate. Editors no longer want the kind of stories that jump right into action. They want to know your characters before the sh-t hits the fan, before the floor falls out beneath them, before a truck kills their dog, their BFF, or them. They want to emotionally connect with the protagonist and feel that can only happen if they see the character in their normal element.

This is a concept I struggle with and am coming around to slowly with practice and understanding. It makes sense. As a reader, we can't sympathize with the protagonist when their world is crashing around them, if we don't know how they act when life is normal.  

 It is a slower approach. That's not to say it should be a boring one, but it definitely goes against a lot I have learned. Some writers and agents argue this approach, but it seems the successful editors and agents of this time want to get to know your character first.

So there are some my tidbits in regards to my experience at the SCWBI conference this summer. I hope the information helps your current writing endeavor. It most definitely is helping mine.

 Have a fabulous summer and keep writing! You may be a story away from success!

New Agents Alert.

Just popping in to post some new agents and a pic of me with Ellen Hopkins, New York bestselling YA author. Larissa Hardesty (fellow writer) and I were lucky enough to have dinner with her last week. I found Ellen to have a relaxed spunk about her. Her connection to her characters is unique, as they come from real stories her fans are brave enough to share. I love her poetic style of writing. She can portay in one sentence what takes me five. I need to study her work. LOL.

For all you hopeful writers, here are two new agents. Don't forget to check their submission requirments before querying. You don't want to waste your time or theirs. Happy submitting. :)
 
1. Natasha Alexis of The Zachary Shuster Harmsworth Literary Agency

She is seeking: works of literary and commercial fiction and nonfiction. As a fan of popular culture and cosmopolitan trends, Natasha is keen to represent YA and adult fiction with an edge and fresh point of view, especially works featuring women and people of color. She also has an interest in narrative nonfiction as well as pop science projects.

2. Paula Munier of Talcott Notch Literary

She is seeking: Her specialties include mystery/thriller, SF/fantasy, romance, YA, memoir, humor, pop culture, health & wellness, cooking, self-help, pop psych, New Age, inspirational, technology, science, and writing.

Character Name Generator-Give it a try.

Found this while adding new writing widgets to blogsite.  Sometimes the hardest part is coming up with a new name. Even if you don't like what the name generator creates for you, I find it can inspire a name I do like. Click the link below and give it a try.

        Character Name Generator

Don't forget, if you're local (Orlando area), Friday night at 7pm is the Orlando Literati at Urban ReThink. See link below.
http://urbanrethink.com/node/900

Hope to see you there!

What's your advice?

Last week I had the wonderful opportunity to meet award winning YA author Sherri L Smith. My sons seventh grade class had just finished reading Flygirl and were privileged enough to hear her speak about the book and her writing journey.

I found Sherri to be relaxed and someone you could easily grab a cup of coffee with and talk writing as if you were old friends. Her career started very differently than most authors experience. She was lucky enough to work Tim Burton and a handful of other talented artists in California before choosing to write YA novels. 

I loved her ease around the students and the way she engaged them with questions. Even when they asked her to explain certain parts of the book she'd left for the reader to determine, she graciously spun the question back to them and asked, "What do you think happened?"

I love that, and I write with the idea that not all things need explained by the author, some are better left for the reader to conclude on their own, whatever that conclusion might be.  Which brings me to today's question—When writing a novel how do you decide what is okay to leave for the readers assumption and what needs to be spelled out?

As a writer we all have critique partners, and in my experience, they all pull different things from my work. Some love a piece, while others question it. Some understand a paragraph or chapter while others are left wanting an explanation. So when you get a piece back that has contradicting reviews from your CPs, how do you decide whose advice to take? Do you go with your gut and leave it at that, or should you seek more opinions? In my experience, too many people in my head causes that much more trouble, questions, problems. What's your advice?

Character-Building Exercise

Last year I attended the SCWBI conference in Orlando. One of the speakers was K-YA author Kathleen Duey. She talked about meditating on your character and then interviewing him or her. At first I thought it sounded funny, but the more I pondered over it, the more sense it made. It’s not that different from what actors do to connect with their characters on a deeper level.  

So, I tried it. To my surprise, the experience led me to responses and revelations about my characters I wouldn't have come up with had I not tried. Then recently, I read an article with exercises on Character Building and thought I'd share it with you. Even if you feel awkward asking a fictional character questions or imagining a scene where your characters run wild in your mind, like me, you might be pleasantly surprised with the results.  

 

Basically, the article talked about using your imagination to create a movie in your mind. Here is the four-part exercise:

·         Close your eyes and “watch” your character. See the character in rich detail and describe what you see. Be a journalist—record information as it if for a distant reading audience.

·         Place your character in a scene, any scene, and watch. Let the action happen. Watch other characters and events pop up on your inner movie screen. Let all manner of conflict take place and see what your character does.

·         Create another character to describe the first character. We get to know people by listening to what others say about them.

·         Conceive of your characters as extremes first, and only later “pull back” to the point where they fit their role. This will keep your characters from being “drab.” Let them have their passions and obsessions. What do they reveal to you?

Note that none of this has to have anything to do with the story you want to write or are writing. In fact, it’s better if it doesn't.  The only point of the exercise is to get to know your character so when you place him or her in your story you’ll know who you’re writing about.

A final key to the exercises is this: Let as much of the story happen without judgment or criticism from you. Only later, with lots of rich material, will you make editorial decisions.

                                                    --James Scott Bell, Writers Digest magazine

 

So if you're stuck with how your character should react in a scene, or frustrated with what you've written about him or her, try the above exercise. What could it hurt?

If you have any character-building exercises, do share. I'd love the hear them!