My notes from the Southern California Writers' Conference.
• Applies to memoirs and nonfiction, too!
• The more abstract the idea is, the more world building you have to do
• Difficult to go against known laws of physics unless you come up with a damn good reason
• Top-down (big picture, create world around larger concept) or bottom-up world building (world built around a specific character)
• Non-fiction—build the world for people that have never been to the locale. Show what is different and new.
• If you’re not familiar with it, be general unless you want to do the research.
• Manipulate the world into pushing the character where you want
• History doesn't have to be a large component, but helps establish the world
• Real-world influence helps
• Even in fantasy, it still needs to be consistent (rules/laws)
Showing posts with label socal writers' conference. Show all posts
Showing posts with label socal writers' conference. Show all posts
Monday, February 17, 2014
SCWC: What to Expect from Your Agent—And What She Expects from You!
My notes from the Southern California Writers' Conference.
• Main thing—look for authenticity (on the part of both author and agent)
• Passion—important for agent to be passionate about your work. Crucial for their pitching.
• Honesty in author/agent relationship. Editorial feedback, valuable critiques
• Ethics—agent should be following AAR guidelines. How do they earn their profits? You shouldn’t have to pay to get your work evaluated! Follow your instinct, avoid red flags.
• Communication—sometimes writers are afraid to ask questions about their work. Ask your agents questions, you have a right to know! Follow-up with agent and make sure they follow-up with you.
• Agent should have a plan (proposal package), should know editors/people that would be interested in your work.
• Agents can secure advance for you, negotiate contracts, review royalties, make sure publisher sticks to their deadlines. Handles foreign rights. Works as a middle man to resolve issues between writer/publisher
• Agent should be open-minded, creative, and flexible. Be open to new possibilities/change and grow with the times since the publishing industry is always changing.
• Is agent committed to your work? How persistent and dedicated are they? Do they know when to cut their losses and move to Plan B?
• Make query letter short/brief. Give an idea of command of language.
• What is author’s plan? Do you want to have a career? Do book tours?
• Contract red flag—excessive bias/favor towards publisher, publisher tries to take all the rights
• Ask agent for references, check to see who they have published, what books they represent
• 10%-15% commission for agents
• Main thing—look for authenticity (on the part of both author and agent)
• Passion—important for agent to be passionate about your work. Crucial for their pitching.
• Honesty in author/agent relationship. Editorial feedback, valuable critiques
• Ethics—agent should be following AAR guidelines. How do they earn their profits? You shouldn’t have to pay to get your work evaluated! Follow your instinct, avoid red flags.
• Communication—sometimes writers are afraid to ask questions about their work. Ask your agents questions, you have a right to know! Follow-up with agent and make sure they follow-up with you.
• Agent should have a plan (proposal package), should know editors/people that would be interested in your work.
• Agents can secure advance for you, negotiate contracts, review royalties, make sure publisher sticks to their deadlines. Handles foreign rights. Works as a middle man to resolve issues between writer/publisher
• Agent should be open-minded, creative, and flexible. Be open to new possibilities/change and grow with the times since the publishing industry is always changing.
• Is agent committed to your work? How persistent and dedicated are they? Do they know when to cut their losses and move to Plan B?
• Make query letter short/brief. Give an idea of command of language.
• What is author’s plan? Do you want to have a career? Do book tours?
• Contract red flag—excessive bias/favor towards publisher, publisher tries to take all the rights
• Ask agent for references, check to see who they have published, what books they represent
• 10%-15% commission for agents
SCWC: The Road to Publication—Theme and Genre
My notes from the Southern California Writers' Conference.
·
Publishing vs publishing a best-seller—1 in 300
becomes a bestseller.
·
Exercise—write down your daydreams
·
Secrets (theme/hook gets you word-of-mouth, gets
readers to share your book)
o
What is your favorite genre?
o
The “what’s it about” question.
o
What secrets have been buried on your journey?
o
Does your hook connect with your theme?
·
What compels people to share a story?
·
Entertainment
o
Theme and entertainment (the book needs to be
entertaining!)
o
Readers want romance, mystery, thrillers, YA,
and sci-fi
o
Formulas (rules) of genre fiction can stretch/flow
free
§
They have a positive and negative energy
§
They inspire character (flawed), plot, depth,
interest
·
Read other writers in your genre to get ideas.
·
Challenge is to give publishers what they want
to sell. Stretch the rules!
·
Goals
o
Do your stories have a moral?
o
Exercise: write one sentence that would make
someone buy your book (keep it simple, create emotional appeal)
o
The
pre-eminent theme of great literature is the human heart in conflict with
itself. – William Faulkner
·
What is different and unique about your book?
·
Wisdom is based on doubt, don’t be too full of
certainty.
·
Voice
o
Theme links voice/imperfection. You find the voice through imperfection (idiosyncrasies). Let a little imperfection in, it’s a good
thing.
o
Why do you write? To kill old enemies? Without an emotional desire to write, it will
be difficult to sustain for the long-haul.
What drives you?
o
Repressed emotions/dominant emotions (you can
edit your own life!)
o
Writing helps us understand and rewrite
o
Themes are universal stories with appeal
·
Stick to the point, don’t meander.
·
Tone
o
Theme in your tone?
o
“If writing has a morality it is expressed
through tone.” – Philip Gerard
o
Word choice, what’s between the lines, insight,
not easy judgment and “a great humanity.”
o
Steinbeck—“Then the hard, dry, Spaniards came
passing through.”
·
Assume your readers are more intelligent than
you, don’t explain everything to them.
Cut out excess. Let tone do the
work.
·
Spine
o
Theme is the spine of your story.
o
Write with courage
o
The ghost in the machine—are we whole/part?
o
Primitive theme—inner struggle. Which is the better path?
o
Exercise 2: what is your main character’s
problem? (make it short and sweet)
·
Nesting
o
Are you’re themes nesting (themes inside each
other/subplots)?
o
Big picture themes are plot driven
o
Character themes need an arc
o
Endings need a payoff
·
Theme-Tension
o
Start with the ending in doubt
o
What is your favorite use of tension?
o
Four types—task, relationship, mystery, surprise
o
Which fits your theme?
·
Cohesion
o
Does each chapter matter?
o
Does the ending twist? (element of surprise)
o
Does the twist reflect the theme?
o
Can we sense something coming?
o
Write down a twist that reflects the theme.
·
Mood
o
Everything’s related to theme
o
Dialogue, action, exposition
o
Cover, website, title, marketing online/off
o
What is the mood of a novel?
o
Hopeful, sad/tragic, romantic, exciting,
mysterious
·
Endings
o
The final battle provides answers to the story
questions
o
The denouement ties up the loose ends.
o
Should endings serve the theme?
o
Does your climax prove your point?
o
Consider outer problems and inner problems
·
Beware!
o
Surface gloss does not a bestseller make
o
Overload your theme and it will break apart
o
Lurid language lacks power
o
Subtext provides needed depth
o
Resist the urge to explain!! (“RUE”)
SCWC: Self-Publishing Savvy: Why, How, Where, What You Need to Know
My notes from the Southern California Writers' Conference.
• Why self-publish? Just because you can, doesn't mean you should.
• What is your project? Self-publish if it’s hobby writing; you like telling stories but don’t expect to make a living; a personal record meant to be shared by family
• When you start treating your books like business, then you’re a career writer.
• Self-publish if you are you a perfectionist and an outgoing person who likes things your way and doesn't mind doing all the work if it means you’re control.
• Make sure you build up an internet/social media presence (blog, website). Are you involved in your genre’s organizations? Learn from them, get involved in their activities.
• Write a damned good book, be in a critique group, get beta readers, hire a professional editor…create a damned good book cover! Pay for it unless you’re a graphic designer, make sure it looks good as a thumbnail.
• Release plans: build anticipation on website/social media/blog, do giveaways, have a release party (online or in person)! Café press/zazzle
• ISBN makes your book unique since titles can’t be copyrighted. Createspace will assign one for free, but the publisher will always be “Createspace”.
• Formatting books: booknook.biz, other companies, Createspace. Lulu.com does hardcopies, Createspace does not.
• Smashwords formats for multiple e-readers
• Multiple books require structure—brand each genre (consistent cover schemes), consider creating your own publishing imprint if you write a lot of books.
• You must learn to market without marketing—no one wants to hear “buy my book!” Everyone wants to hear, “How are you today?”
• Resources: createspace.com, kdp.amazon.com, smashwords.com, bowker.com, booknook.biz, mobipocket.com, APE: Author, Publisher, and Entrepreneur
• Why self-publish? Just because you can, doesn't mean you should.
• What is your project? Self-publish if it’s hobby writing; you like telling stories but don’t expect to make a living; a personal record meant to be shared by family
• When you start treating your books like business, then you’re a career writer.
• Self-publish if you are you a perfectionist and an outgoing person who likes things your way and doesn't mind doing all the work if it means you’re control.
• Make sure you build up an internet/social media presence (blog, website). Are you involved in your genre’s organizations? Learn from them, get involved in their activities.
• Write a damned good book, be in a critique group, get beta readers, hire a professional editor…create a damned good book cover! Pay for it unless you’re a graphic designer, make sure it looks good as a thumbnail.
• Release plans: build anticipation on website/social media/blog, do giveaways, have a release party (online or in person)! Café press/zazzle
• ISBN makes your book unique since titles can’t be copyrighted. Createspace will assign one for free, but the publisher will always be “Createspace”.
• Formatting books: booknook.biz, other companies, Createspace. Lulu.com does hardcopies, Createspace does not.
• Smashwords formats for multiple e-readers
• Multiple books require structure—brand each genre (consistent cover schemes), consider creating your own publishing imprint if you write a lot of books.
• You must learn to market without marketing—no one wants to hear “buy my book!” Everyone wants to hear, “How are you today?”
• Resources: createspace.com, kdp.amazon.com, smashwords.com, bowker.com, booknook.biz, mobipocket.com, APE: Author, Publisher, and Entrepreneur
SCWC: Plotters vs. Pantsers: To Outline or Not?
My notes from the Southern California Writers' Conference.
• Plotting can help alleviate excessive re-writes.
• Set milestones to hit (road trip analogy)
• Build plot twists into each milestone, build empathy for characters
• Pantsing enables you to get it down as fast as possible
• Backstory (side trips) helps fill in ‘road trip’
• Turning the characters loose can change the course of a book (despite your best outlining/planning)
• If you want someone to read your book, you have to be willing to hear what they have to say about it
• People can teach you how to write, but in the end you just have to write.
• Risks to both plotting and pantsing—plotting can create too much structure, make the story seem too pre-planned. The ‘life’ of free thought disappears in structured thought. How do you amble while staying on track and not wandering off?
• Conflict drives the story, not the characters.
• Story-telling “beatsheet” in Excel
• Writer’s block – keep a positive outlook. Write through it or work on another story. Just KEEP GOING!
• Figure out what works for you. Beat sheets, flash cards.
• Take risks—don’t worry about what the reader thinks
• Don’t neglect your fact-checking, people live to nitpick. But don’t include TOO much. Just make it sound plausible.
• Plotting can help alleviate excessive re-writes.
• Set milestones to hit (road trip analogy)
• Build plot twists into each milestone, build empathy for characters
• Pantsing enables you to get it down as fast as possible
• Backstory (side trips) helps fill in ‘road trip’
• Turning the characters loose can change the course of a book (despite your best outlining/planning)
• If you want someone to read your book, you have to be willing to hear what they have to say about it
• People can teach you how to write, but in the end you just have to write.
• Risks to both plotting and pantsing—plotting can create too much structure, make the story seem too pre-planned. The ‘life’ of free thought disappears in structured thought. How do you amble while staying on track and not wandering off?
• Conflict drives the story, not the characters.
• Story-telling “beatsheet” in Excel
• Writer’s block – keep a positive outlook. Write through it or work on another story. Just KEEP GOING!
• Figure out what works for you. Beat sheets, flash cards.
• Take risks—don’t worry about what the reader thinks
• Don’t neglect your fact-checking, people live to nitpick. But don’t include TOO much. Just make it sound plausible.
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