Edit Letters and Ending Terms and What's Up With Referrals?

As usual, when it rains, it pours.

I have arrived at the next stage of The Book Deal. First came the offer. Then waiting. Next came the contract. Then more waiting. Now the edit letter has arrived.

No waiting. Just working.

Between all the revising I need to do and the term ending this week at school, I'm a bit busy. So it might be quiet here at the blog for a while. I'll try to pipe up now and then.

One word of advice for the savvy aspiring writer. Remember that a referral to someone's agent is not typically something you ask for. It's something that's offered. And you definitely don't ask an author who doesn't know you from the crossing guard down the street.

I had a referral once from a writer who knows me (and more importantly, my work!) very well. It went as far as an R&R (revise-and-resubmit) but didn't pan out. The referral was a gift—something I didn't ask for, but was very grateful to be offered.

Be professional. It always looks good.

My Fellow Perfectionists, Let Us Embrace the Suckitude

I admit it. I've been struggling with perfectionism pretty much my whole life. (You'll have to ask my mom how much of it manifested when I was a two-year-old, I guess.) There's a particular aspect of it that sticks with me. If I couldn't do something perfectly, I'd rather not do it at all.

No settling for "okay." No such thing as "good enough." All or nothing, a hundred percent or zero.

If I were still full-throttle in that zone and trying to write novels, I think I'd be dead already.

Don't get me wrong. Striving for excellence is great. It's something we should do, and something I still do. But writing is never going to be perfect, and it's going to be very unperfect for a long time before we get it as close to perfect as we can. If we lock onto the flaws during the process, we're never going to move forward. So here's what we can do:

We can let our first draft suck.

It's okay. We have permission. It's allowed.

If we're coming up on a fight scene, and we know we have a hard time with action descriptions? That's okay. Write it badly. Let the words come, because then we have something to work with.

I'm not saying editing/revising as you go isn't allowed. Personally, I tend to do that as I draft. Others, like Mindy McGinnis, prefer the first draft to be "word vomit"—just get it all out there and tidy it up on the first revision pass. When I feel my perfectionism creeping up, though ... when I get those doubts saying I can't write what I need to well enough, so I may as well not bother at all ... that's when I know I need to just let it spill.

Once it's out there, I can see how bad it really is. Maybe it's worse than I thought, and I need to educate myself on how to fix it. More often than not, though, it's not nearly as bad as I expect.

For me, the fear of sucking is much worse than actually giving something a shot. So I'm trying not to fear it. I'm trying to embrace that suckiness, knowing at worst, it'll only be temporary.

A crappy scene can be revised and fixed. A blank page is just a blank page. Great for origami. Not so great for telling a story.

Going Off-Topic Can Be On-Topic

When I was in junior high, there was this one English teacher. I never had him, but I heard stories. Stories about the stories. My classmates talked about how all they had to do was make one comment or ask one random question to get him going, and they could keep him talking through all of class. As in, never getting to the lesson. As in, no homework.

Not something I aspire to as a teacher.

At the same time, I find I can't be totally rigid about sticking to the agenda and only the agenda. That likely comes from my years in deaf-ed, where kids often have gaps in their world knowledge, and if I don't allow a tangent to fill them, who will? I have a curriculum to stick to, but that doesn't mean there isn't time for other conversations.

Here's what I've learned: Kids want to know things. Since my students have heard about my publishing deal, they want to know a lot of things.

How long did it take to write the book?

Why is it going to be so long before it's published?

How did you get the book deal?

What's an agent?

Will it be in bookstores or will we have to buy it from you?

Will there be a movie?

I get particularly in-depth questions from students who want to write and publish novels themselves, but some of the most intense curiosity comes from students who aren't into writing at all. Often who aren't even into reading all that much.

Indulging those questions gives them insight into something that certainly isn't on the curriculum in any of their classes. It also reinforces one of my favorite points—don't pigeonhole people. Yeah, I'm a math teacher. Yeah, I'm a novelist. Yeah, I know ASL.

Hopefully it gets through to them that they can be as multi-faceted as they want, too. Especially in the adolescent world of "What's your label?"

And you know what? Sometimes tangents like that work in writing, too. It might seem like wandering off aimlessly, but if we do it right, it can actually play right into our point.

Of course, the trick is the "doing it right" part. But isn't it always?

Bitterness Isn't Sexy

About a year and a half ago, I wrote a post about humility being sexy. Today, a little time on the flip-side with what isn't sexy.

The writing/publishing world is an easy one to get bitter in. No matter our route and no matter where we are in our journey, there's always someone who's gone further faster, gotten more, done better.

A fellow querying writer who gets a gazillion requests on a derivative story with a so-so query while you can't get a peep out of agents.

A fellow self-publisher who races to #1 on the charts without seeming to lift a finger.

A fellow agented author whose novel sells in days while your agent has been shopping your second manuscript for six months after striking out with the first.

A fellow published author who gets the red-carpet treatment from their publisher while you have to pound the pavement yourself if anyone's even going to hear about your book.

So what do we do about it?

Some people send nasty replies to agents' form rejections. Some leave bad reviews on their "competitions'" books. Some just plain badmouth their peers. Some chat-bomb Twitter events that industry professionals have given up their scant free time to host and do little more than spew venom.

What good did any of that ever do anyone? I have a hard time believing it even makes the perpetrator feel better—not in any real way.

Here's what it's not going to do: Endear you to other writers. Or agents. Or editors.

Or readers.

Did you notice something in the list I gave earlier? All those people are supposed to be our "fellows." How about we treat them like it? We can be happy for them while hoping to soon be a bit happier for ourselves.

If nothing else, it's got to be better for your mental health.

Contest Woes: I Feel Your Pain

Tomorrow morning, the PAPfest entries will go live on my blog as well as Mindy McGinnis's and MarcyKate Connolly's.

If any of the entrants are reading this post, I imagine some of you are old hands at such contests, while others may be contest newbies. Either way, I want you to keep my own contest experiences in mind.

Some blog readers may remember that last spring's Writer's Voice contest was a big part of the big, crazy frenzy that resulted in me signing with my agent less than two weeks later. I had several requests from participating agents, lurking agents, and through a handful of queries I'd sent just before the contest went live.

Super-awesome, right? Dream come true, right?

Yes.

But.

I almost didn't enter.

I'd tried another similar contest for two years straight (different manuscripts) and nary a peep from an agent either time. Not so much as a request for five measly pages. There'd been a "preliminary" round beforehand, and I'd gotten through that both times. Someone had at least sort of liked my work.

Hard to remind myself of that with the silence surrounding me.

The silence hurt more than any number of query rejections. Mindy can tell you about talking me off the ledge those days.

But I did come down off that ledge. I kept writing, kept learning, kept working, and eventually it all came together. (Now I have the same old insecurities in whole new ways, but that's another story.)

I'd love it if every entry tomorrow gets requests. I hope that happens. But if it doesn't, those of you who receive the silence, I understand. It's okay to be bummed and let it hurt ... for a little while. A good critique partner will let you wallow in it just long enough, and then they'll remind you it's not the end. You're still awesome. That awesomeness can only come out if you keep putting it out there, one way or another.

Send some queries.

Revise some pages.

Work on a new project.

Just keep going.

First Conference: The Aftermath

I'm back. As expected, I survived despite my anxiety. The trip to New York was great, and I gladly accept the resulting exhaustion. Since I went primarily for a conference, and conferences are for learning, I'll share a few things I learned.

• If I'm going to take red-eye flights, I need to learn how to sleep sitting up.

• I still love NYC. Cabs accepting credit cards makes it even better.

• Meg Rosoff and Mo Willems are entertaining/fascinating enough to keep me wide awake no matter how little sleep I've had. And Shaun Tan is brilliant. (I must check out the work of all three.)

• We need to shrink geography or come up with more time-effective methods of travel so there aren't thousands of miles between me and the likes of Mindy McGinnis, MarcyKate Connolly, Charlee Vale, and Matt Sinclair.

• Speaking of ... Mindy after a few glasses of wine isn't very different from regular-Mindy. And MarcyKate needs a medic as part of her personal staff.

• Editors are people, too. People who dress better than I do, but people nonetheless.

• While I've gotten pretty good at forcing myself out of my introvert tendencies, I can only push them away for so long. (Mindy was very proud of me for managing the shindig Saturday night as well as I did. But I was definitely ready to head back to the room when we did.)

• Mindy's anecdotes on her blog are awesome as-is. But when she tells stories in real life, she reenacts. This is not to be missed.

• Cupcake love forever!

The bottom line is that I need to head back to NYC before too long. (And yes, I know my sister will insist on coming along that time.)

First Conference Anxiety (Hold Me)

I've been to a number of math ed or deaf ed conferences, but never a writers' conference. It's something I've been interested in doing, so I was on the lookout for a good one to start with. Something local. Maybe regional. If I could just find one with the right timing.

But no. Thanks to Peer Pressure Practitioner extraordinaire Mindy McGinnis, I'm kicking off my writers' conference experience at the winter conference for the Society of Children's Book Writers and Illustrators (SCBWI) in New York.

This is a good thing. I've been wanting to go back to New York since the first (only) time I went, when I was a teenager. I'll get to hang out with Mindy and MarcyKate Connolly. I'll get to meet people like my editor, my agent, and friends from AQC.

But I'm an introvert. And a worrier. So while there's a lot of anxious-excited going on, there's also plenty of just-plain-anxious.

A sampling:

• My classroom. It needs to be ready for my absence. That means prepping the students and getting sub plans ready. Considering the other ninth grade teacher and I have barely been able to get ready a day in advance most of the year, this is worrisome.

• Packing. I haven't gone anywhere other than between my apartment and my parents' house in years. My sister has half the stuff I might need, so packing for home never took much forethought.

• My first flight in over seven years. I have no problem with flying. Delays leading to missing my connection ... that's gets me going.

• Speaking of flights, I'm taking my first red-eye. I've never had any success at sleeping sitting up. At all. This could be interesting.

• Getting around. Yes, I've been to New York before. Took the subway. Took a cab. But I was with a youth symphony group, so I was never in charge. Is it sad that the idea of hailing a cab makes me anxious? Go ahead and laugh at me.

• On a related note, tipping. I come from a world where the only tipping that happens is at a restaurant (which I'm great at). Honestly, I rarely use cash these days. I'll need to figure this out.

• Being social. Did I mention I'm an introvert? I have plenty of experience forcing myself out of my comfort zone, but it takes energy.

• Oh, yeah. Energy. I have to go directly back to work just over twelve hours after arriving home. Survive Tuesday through Friday before crashing on Saturday (most likely).

Okay, this sounds dangerously close to complaining about something I really am excited for.

Just anxious, too.

Sometimes being a grown-up is overrated.

Your Excuses May Vary

As writers—heck, as people in general—we have things we'd like to accomplish. Write a new novel. Start querying. Revise an old novel. Complete edits before a deadline.

So we set goals. We post them in places like the Writing Odometer at AgentQuery Connect. We round up Twitter friends for a high-motivation Word War or #1k1hr. Public declaration of our goals and intentions can help us follow-through.

Sometimes we stay on track and celebrate. Sometimes we don't, and then we might publicly confess the cause of our demise.

Sometimes we have really good reasons. Sometimes we're just making excuses. Sometimes it's somewhere in-between and can be hard to tell whether we're being too hard on ourselves ... or not hard enough.

My excuses may not be your excuses. I don't have kids and/or a husband to take up time, which can make me think, "Why am I not getting things done?" Then again, some of you may not have a day job outside of writing and wonder the same. Some of you have both, or other things getting in the way that I can't even imagine.

Those things are pretty valid, I think. There are only so many hours in the day, and only so much we can pack in before our neurons explode. It's okay to cut ourselves some slack, especially since beating ourselves up doesn't actually get much done.

Then again, there are also plenty of times I think, "Just one little round of this mind-numbing game to decompress from school," and it turns into an hour or two I could've used to get something done. Yes, taking a break to relieve stress is important, but I know from experience that falling behind on things that need to be done only creates more stress.

I think my own goal for now is not to fall back on my good reasons so much that they become lame excuses.

Your excuses, of course, may vary.

Cynical Reader or Unconvincing Character?

Allow me, if I may, to put on my reader-hat for a moment. See, there's this thing that happens sometimes when I'm reading, and I'm not sure if it's me or the book.

"Sorry, book, it's not you. It's me." Ugh. Good thing books can't throw their readers across the room.

It's a little hard to describe. I'm reading along, enjoying the story well enough, even liking the side characters, but there's something about the protagonist.

I don't believe her.

(Yes, it pretty much always happens to be a female protagonist. Maybe that's more for me to ponder.)

Not like I think she's lying, not directly. But what she's trying to be or supposed to be doesn't feel real. Not to me. And that's where I'm not sure if it's me or her (or rather, her author).

The verdict might vary by book. Sometimes it might really be me and my cynical side getting in the way. Maybe that keeps me from being open to certain traits coinciding. That wouldn't surprise me.

Sometimes, though, I think it might be a weakness in how the character's written. Here's a fairly common manifestation: Female MC is stubborn and insists on being self-reliant. Hates getting help from anyone.

That's all well and good, and plenty of YA heroines these days fit that description. It doesn't always fly believably, though, and I think sometimes it's because the author shoehorns those traits into the character. The author wants a character like that, because who doesn't love an independent female who isn't afraid to butt heads with other people?

Wanting that kind of character and creating one are two different things. It can't be pasted on top of everything else the character is. Pasting is for flat objects. Who the character is needs to be pervasive, leaking through in moments that seemingly have nothing to do with that aspect of them.

With my writer-hat back on, how does one accomplish that?

That's a post for another day. If you have ideas, please share.

Being a Benevolent World-Builder

There are a lot of amazing things about being a novelist—things that make the tough parts worth it. The joy of bringing characters to life, torturing them because we can ... in worlds we create.

Talk about power.

Sometimes, though, we get carried away with that power. We name and define enough flora and fauna to cover the planet twice over. We develop a 700-year history of the monarchy. We formulate scientific theories to support complex technology that all runs on algae.

That's great. Fill reams of paper or gigabytes on your hard drive with every nuanced detail. Go for it.

The problem comes if we throw it at the reader ... all of it.

Don't get me wrong. I love a fully realized world. And I hate one that doesn't have enough detail, lacks internal consistency, and just doesn't feel real. But having that fleshed-out world as a foundation doesn't mean we have to spell it all out within the manuscript. If we do all the hard labor of working it out behind the scenes, it can seep naturally into the story.

Some details do deserve to make the page and add to the narrative. Personally, there are a couple of situations where I feel it's worth the word count to detail things in.

It's News to Me. This is pretty typical in speculative fiction genres. The protagonist enters a new country/society/galaxy/dimension. Everything will be new, so some detailing is only natural. In these situations, I always ask myself what my MC would notice first, and what would get glossed over until they're in deeper.

It's a Matter of Life or Death. Okay, maybe not that extreme. But I'm talking about aspects of world-building that are pertinent—even critical—in that particular moment. Make sure the diversion into explanation or description is properly motivated.

I'm Right and You're Wrong. This can be a fun one. Character #1 says, "Let's do ____ to accomplish this goal." Character #2 says, "You're a moron, that'll never work!" #1: "Yes it will. If we ____, ____, and ____, then ____ will happen." #2: "No way. Nuh-uh. The ______ of the ____ will never ____ _____ _____ ...." And so on. Hopefully done more artfully than that, but you get the idea. When there are legitimate differing views on how something in the world operates, that can be a decent time to work in some specifics.

I'm sure there are other situations and a variety of factors that can play into how much is too much and what approach is best. Some genres expect world-building to be handled a particular way. Some readers can drink in pages of geography and political history, while others will skim (if they don't just give up on the book altogether).

And who says it's just the sci-fi/fantasy spectrum that world-builds? Historical fiction may call on a setting we have some passing familiarity with, but it has to make it real just the same. Just about any novel has to establish at least a microcosm of a fictional world.

For myself, the sign of great world-building is when I don't notice it happening. Whether through description, dialogue, or more subtle means, I experience it and live in the world.

Do you have pet-peeves when it comes to world-building? Tips for pulling it off smoothly? I'd love to hear them.

Good News Travels ... Slowly Sometimes

You know how when you have some big news, so you tell people in a few ways/places, and then you feel like if you mention it more, it'll just be obnoxious, and surely word has spread by now to everyone who should know?

You know how that doesn't always work?

Yeah.

As most of you know, I had pretty big writing-life news a couple of times this year. I posted here and on Facebook, I tweeted, and AgentQuery Connect spontaneously combusted both times. I also told my immediate family (obviously) and the parts of my extended family that I see on a regular basis.

I got to that point where I thought word had spread. Naturally, though, there were gaps.

Some were inevitable, like fellow writers who have too many friends on Facebook to keep up with everything. Occasionally, someone will drop me a line and ask how things are going, so I have to pull out the, "Well, I don't know if you heard about this, but ... uh, yeah."

With others, I just didn't do a very good job. Family in particular. I don't see my mom's side as often as my dad's, but I figured my mom would tell her sister, and word would get around.

Well, that didn't work, judging by my aunt's announcement and everyone's surprise at Christmas Eve dinner. I guess my aunt didn't find out until much more recently, so the cousins and their kids didn't know until we all got together.

I think there's a lesson buried in here about self-promotion.

We've all seen self-promotion gone wrong. The authors who spam your Twitter feed, who are a constant stream of "Buy my book!" We don't want to do that.

At the same time, we need to make sure word gets out, so people who want to know will. It's a balance, like everything else.

With that in mind ...

Yes, my debut novel is coming out with Disney-Hyperion in Summer 2014. It's even listed on Goodreads now. Feel free to add it to your To-Read shelf if you have an account there.

It's also on some lists. If you feel like voting for it, awesome. If you don't, no worries.

But at least I let you know.

Starting From Scratch, Kind Of (The Mega-Rewrite)

A lot of publishing is about waiting. We send out queries and wait. Get requests for partials or fulls and wait. Our agent submits to editors and we wait. We revise, send to our editor, and wait.

Best thing to do with the waiting is work on something else. One thing I've been chipping away at (on an off-and-on basis) is a near-complete rewrite of my very first manuscript.

(Some of you remember Fingerprints, right?)

Can someone coin a term for the writerly version of beer-goggles? I've revised and re-revised this thing so many times I've lost count. It got better each time, and I don't think it was ever terrible.

I still believe in the characters 100%. The world, too. Even the plot, largely.

But the execution ... ugh. Very "what was I thinking?" in places.

I think this is okay. It's not beating up on myself. It's acknowledging the skills I've gained and developed over the past three years. If I weren't capable of writing better now, I'd be worried.

So, the solution?

A blank document. A different opening scene. The same general story, but with new ideas for added tension and conflict. And yes, here and there, some words that are worth keeping.

This is kind of intimidating in some ways. I really hope I can get it up to snuff, so there are lingering worries that maybe it still won't cut it. Hopefully I can just let those doubts motivate me to silence them through sheer awesomeness.

It's also tricky because the original is so cemented in my mind. I want to change enough without changing too much, and there's no telling whether my internal gauge is calibrated right on that count.

Thank goodness for critique partners.

(Yes, Mindy, this means that someday you'll have to read the darn thing AGAIN.)

Have any of you ever done a from-scratch rewrite? Any advice for making it work?

Thoughts on the Common Core Standards: English Edition

There's been a lot of chatter about the new Common Core Standards. We have a set for English and a set for mathematics. As a math teacher who writes novels, I have thoughts about both, but I'll focus on the English standards for this post.

The big attention-getter for these new standards is that it calls for more reading of informational, non-fiction texts, going from 50% of reading material in elementary school and gradually increasing to 70% in high school.

That's where the chatter comes in. Many are upset about the units on classic literature, beloved favorites, and poetry getting cut from the curriculum, as noted in articles here and here.

I have thoughts on both sides of this. I've seen personally that students are definitely lacking in their ability to read text for factual information, to reason through technical material. I agree that more focus on developing these types of reading skills is necessary.

I also agree that nurturing a love of reading for pleasure is important. Reading fiction has boundless benefits, especially for children and teenagers.

I've heard some say that technical reading is for science class. Basically, let the science teachers handle all that, along with the social studies teachers for historical documents. Leave the English teachers to focus exclusively on the fiction side.

On the other side, content area teachers say they don't teach reading and writing—that's the English teacher's job.

Which side do I fall on? Both, or neither.

From my time working in a school for the deaf, I have it ingrained in me that all teachers are language arts teachers. We don't all cover all aspects of language equally, but we all have parts we can build up, develop, and reinforce. I see no reason that shouldn't carry over to non-deaf education.

At the same time, English teachers are in more of a position to focus deeply on the nuances of non-fiction, informational writing without splitting as much attention with the concepts and other skills to be mastered. They also have more training in the teaching of reading and writing.

So ideally, a balance between both. Teachers brainstorming about texts that fit within their curricula, including English class. Working together. Supporting each other.

As much as I love fiction, it's not the be-all, end-all.

As much as I love math and science, they're not the be-all, end-all.

So my first step? Try to open some dialogue with the English teachers at my school ... because without Twitter, I wouldn't have even known as much as I do about these new standards.

'Tis the Season for Good News from Friends!

It's been a good week for several of my friends on AgentQuery Connect.

First off, MarcyKate Connolly finally got to shout from the rooftops about news she's been sitting on for-e-ver. (At least, I imagine it feels like it to her.) Her debut Monstrous will be published by Harper Children's in 2014. Oh, and in the process, it's going to morph from young adult to middle grade. I read and critiqued for her before she started querying, and I'm looking forward to seeing the changes. MarcyKate definitely has the chops to pull it off.

The same day, Stephanie Diaz announced her own book deal. Extraction, the first book of her YA sci-fi trilogy, will be published by St. Martin's in 2014. I read some of this early on in a critique group, and I'm RIDICULOUSLY excited to read the whole thing.

Why do we have to wait?! (Yeah, I know, you have to wait for mine, too.)

Speaking of waiting, we also know exactly how long we have to wait for Mindy McGinnis's debut, Not a Drop to Drink. She has a release date of September 9, 2013. If you haven't heard how her editor describes it, think Little House on the Prairie ... on steroids.

As for someone who doesn't have to wait much longer, Robert K. Lewis (no relation, a.k.a. Thrownbones) got his very first ARCs for Untold Damage. (Those are advance reader copies.) They're real, tangible objects with pages and covers and everything!

If you're on Goodreads, you can add the books to your To Be Read list using the links below.

Monstrous by MarcyKate Connolly

Extraction by Stephanie Diaz

Not a Drop to Drink by Mindy McGinnis

Untold Damage by Robert K. Lewis

Who's going to be next with some good news?

Why I Don't Review Books

In the past week, I've read two books. This is very exciting, considering how little time I've found to read lately. I'm hoping to dive into more from here on out (and you can take a peek at what I've read and what's on-deck over here).

I use Goodreads to keep track of what I have read and want to read, but if you take a look over there, you'll see I don't post reviews. I don't even assign stars, generally.

Why not? It's something I've struggled with a bit. As a reader, I definitely have opinions. Maybe too many sometimes. And I've seen how it can look when authors get super-critical of other books—not pretty.

But authors should be allowed to voice their opinions, right? We're readers, too—maybe first and foremost. At the least, most of us have been reading longer than writing.

There's validity to that, and I would never tell others what to do on that front. Here are some of my thoughts that led me to just refrain from public reviewing.

Who would I be writing the reviews for? If my friends know I read a book and ask what I thought, I'll tell them. So I would post for strangers, for the random internet shopper. Why should a stranger care what I think of a book? (I admit, this is a weak reason, but it speaks more to my lack of motivation about writing reviews.)

Writing thoughtful reviews takes time. I can barely find time to read the books in the first place.

But giving stars on a site like Goodreads hardly takes any time, right? True, but if I hate the book and give it a low star rating, I wouldn't want to click one star and leave no reason why.

Maybe I could only give stars/reviews to books I really like. But I have a lot of friends with books out—everything from self-published to Big-6-published. If I review some and not others, it's easy to infer I didn't like those others. It gets iffy from there.

These reasons probably don't hold much water for anyone other than me, but it comes down to something simple for me. I'm a book-writer and a book-talker, but I'm not a book-reviewer. At least, not for now. I imagine I'll make some exceptions, and maybe I'll change my mind someday. Until then, this works for me.

How do you feel about authors reviewing books? Do you have a policy of your own? What considerations went into it?

If I Say "Voice," You Run Away Screaming, Right?

Today we have another installment of "RC attempts to sum up an AQC chat for those who couldn't make it."

The topic this week was Voice. When it was suggested, Mindy McGinnis (BBC) said, "That's pretty much impossible to discuss. Okay, let's go for it!" (I may be paraphrasing.) She also shared an experience that pretty well encapsulates why it's such a maddening topic for writers.

Mindy was watching an agent/editor panel at a conference. A writer asked for a definition of voice, and not to say you know it when you see it.

The agent grabbed the mic and said, "I know it when I see it."

So what is this elusive thing called Voice? Mindy did some leg-work and found this from agent Natalie Fischer:

Language is diction: the word choices, the literal language of nationality. Style is the form: short, choppy, flowing, poetic, lyrical. Voice is the personality, the person behind the words that makes the reader forget about the author, and dive into a life. It’s what you remember about the characters long after you’ve forgotten their names.

And then there's this from agent Rachelle Gardner:

It’s the unfettered, non-derivative, unique conglomeration of your thoughts, feelings, passions, dreams, beliefs, fears and attitudes, coming through in every word you write.

Okay, that's all well and good. How do we do that? Again from Ms. Fischer, her thoughts on what not to do:

I think the biggest mistake is to try and show voice through style or language. Using heavy slang or methods like “Southern dialogue” are annoying, not effective. Voice is a point of view, a perspective that is unique to only one person. It has emotion, history, a sense of place, and senses. These things are shown in unison with style and language, but not reliant on them to be clear.

Those are some words from the experts we used as a launching point. As usual, we went in a lot of directions from there. I'll try to hit a few highlights.

Character Voice vs Authorial Voice
Characters each have their own voice (should, anyway). Here you're primarily talking about dialogue. Then there's your voice as an author. That shows throughout the whole work (and to varying degrees, across works). Narrative voice can be a combination of the two, particularly when you're writing in first person.

Good vs Bad
This is tricky. Personally, I think there's a somewhat objective level of has/doesn't have distinctive voice. Beyond that, there's the more subjective voice you do/don't find engaging/enjoyable/compelling. Several times in chat, someone said, "I read this bestseller, and it had NO voice." Or, "This book had no voice, but I still read because of the plot/characters/something else."

I haven't read the books they're referring to, but I strongly suspect those books have distinctive voice. That reader just didn't like the voice.

So is it possible to have a story without voice? Tricky, but I think so. I've seen it, primarily in some student writing. Nothing technically "wrong," but it reads dead. The words are getting in the way of the story's life. That's okay—they're still learning.

Should We Worry?
One AQCer posited that we don't need to worry about Voice. We need to worry about everything else—grammar, structure, plot, characterization, etc. If we do all that, the voice will be there.

Some of us had a hard time deciding whether we agreed or disagreed with that. Certainly all of those things play into establishing the voice of a piece. But personally, I believe voice is greater than the sum of its parts.

Worry isn't all that productive, though. So worry? Not so much. Be mindful of? Definitely.

Can We Learn It?
This is an argument that goes back to my Authonomy days. There are those who believe voice can be taught, and thus learned. Others (and I tend to fall in this camp) think voice is innate.

So you have it or you don't, and if you don't, too bad? Not exactly. I just think of it less as a taught/learned thing and more a matter of development. We all have "voice potential" inside us. We need to develop it, find out how to uncover it. How to get those pesky words out of the way and let the story live.

As usual, I probably missed several salient points, but that's the gist of the discussion. Do you have any further thoughts on voice?

'Fall'-ing for Apocalyptic Fiction

As some of you may remember, last spring I mentioned the release of a short-story anthology titled Spring Fevers. Elephant's Bookshelf Press has put out their second offering in their seasonal series—The Fall: Tales from the Apocalypse. I just did some tech work on the first anthology, but this time, I have a story included, titled "Trust."

Apocalypse? Sounds kind of dark and depressing, right? Nope. At least, not always. There's a full range of stories in this collection. Some intense, some twisted, some hopeful, some bittersweet ... and wait 'til you see Mindy McGinnis's one-act play. Ever wonder what would happen if God got His hands on an iPhone? Mindy has.

It's available in both Kindle format and paperback. Hopefully more eBook formats will be available soon. (If you don't have a Kindle, remember that you can read Kindle books on many electronic devices—tablets, smartphones, computers—using the free Kindle app.)

We'd love to know what you think. And when you think of the end of the world (literally or metaphorically), what kinds of stories come to mind?

A Primer on Critique Partners ... and Maybe Dating

Last Monday, we had one of our weekly chats on AgentQuery Connect (9pm Eastern, come for great writerly conversations). The topic was critique partners—choosing and using them—which seems to have been popular around the blogosphere in the last week. Nevertheless, because some AQCers missed the chat, I'm going to go ahead with a revamped recap.

Being critique partners is a lot like establishing and maintaining other relationships. In fact, it's a lot like dating, when you think about it. Here are some Dos and Don'ts.

• Don't commit to marriage before the first date. Swapping full manuscripts when you hardly know someone? Maybe it'll be a match made in heaven ... or maybe you'll be stuck in a 300-page pickle. It's not a bad idea to get to know someone and their writing before making a big commitment. Try swapping a chapter or two. See how it goes.

• Do communicate your needs/expectations. Chances are, your new critique partner isn't a mind-reader. If you don't mention that you don't want grammar nits pointed out, you can't really complain if that's all your partner focuses on. Worried about plot holes and consistency? Character development? Historical authenticity? Say so.

• Don't tear your partner down. This can be a tricky one, especially in conjunction with the next. The point of a critique partner is to help us improve our work. But if it's all, "Fix this, fix that," we can get discouraged to the point of not moving forward. When something works well, be sure to let your partner know.

• Do be honest. In my opinion (well, all of this is my opinion), if all we want is cheerleading, there are other ways to get that. Critique partners need to do more for each other. That means pointing out when we feel there may be issues in the manuscript. Pretending problems aren't there won't make them go away.

• Don't feel locked in. If the relationship isn't working, you can walk away. There's nothing saying that great writer-friends will necessarily make great critique partners. Amicable break-ups are possible. It's okay to play the field until you find the right match.

• Do have an open relationship. Er, I guess I could mean this in a couple of ways. It can be good to have more than one critique partner—long- or short-term. Some might be more suited to certain manuscripts. Some you might rely on for their particular strengths (which likely match up with your weaknesses). But also, within a single relationship, be open and receptive to what your partner says. If a critique is a little hard to hear, step away for a bit, then come back to it. Your partner may be right or wrong ... or their feedback might trigger something entirely different in your mind that'll make your story better.

Another thing to remember is that the early days of critique partnering are like the early days of dating. You'll likely need to be on your best behavior as you get to know each other's styles of critiquing, figure out what works for you.

With any luck, someday you'll be like Mindy McGinnis and me. I'm pretty sure we're at the "old married couple" stage where we can pretty much say anything as bluntly as we'd like. We know the love is there, and we know our own weaknesses, so there's no need to tiptoe around. ;)

What tips do you have for making a great critique-partner connection?

Slangifying Your Story

In the realm of YA writing in particular, slang of any kind is tricky, tricky business.

Slang and common expressions can make a teen voice feel more authentic. As someone who spends every workday listening to teenagers talk, I guarantee they're not pulling exclusively from an official dictionary.

Then again, slang is—by its nature—fleeting. A few bits and pieces work their way into the long-term vernacular, but most are solidly dated. Just think about "groovy," "bodacious," and "fresh." You just had certain decades flash through your mind, right? Maybe that's a good thing. Maybe that instant association is what you need.

More often, I'm thinking that's not a good thing.

Let's go back to my students for a minute. There are some who spout a near-constant stream of "totes obvi" and "YOLO." (The one who says YOLO the most keeps doing it out of context. I'm not sure he really gets it. Or he likes to be annoying.) And here's the thing about super of-the-moment phrases. It only takes about two minutes for the kids to sound like they're trying too hard.

And it's even easier for an author to sound the same way.

So how do you deal with it? Stick to the more long-standing forms of teen-talk? Use a strict rule like one super-trendy term per fifty pages? Only let a side character use them, make it their "thing"?

Honestly, I don't know. I'm curious what you've found works, either from a writing or reading perspective.

I tend to work around it by writing science fiction and making up my own slang. Mindy McGinnis thinks I'm good at it. Hopefully others will agree.

Don't Make Readers Take Your Word for It

Has this ever happened to you? You're reading a book, there are a lot of good things going for it, you're even enjoying some things ... but you're just not feeling it. You're not even sure what "it" is. You just know you're not feeling what you're supposed to.

More specifically, you're not believing what the characters feel. Something about the story as a whole isn't authentic.

That's the best word I can think of for it. Authenticity. It's quite possibly one of the most difficult things to establish in our writing.

Or maybe it just is for me.

The thing is, it's a characteristic of the piece as a whole, with a mix of different variables going into it. You can't deconstruct it completely any more than you can break a baked cake down to its constituent ingredients.

We have to try, though. We can't just learn from CPs and beta-readers that the gut-feeling authenticity isn't there and throw up our hands. "Oh, well! So much for that story. Guess I'll try another one." We have to think about what might be factoring into it.

So I've pondered, and here are the first three that occurred to me.

1. Show, don't tell. I know! How dare I trot that tired thing out? But think about it. "Telling" is, at its root, asking the reader to take your word for it that your character is angry or heartbroken or whatever. You can't show everything (even trying would be a pain), but try to show enough.
2. Motivate actions (and reactions). If you've been reading my blog for a while, you might remember my little theory about Front-End/Back-End Motivation. (If not, may I shamelessly suggest you read that and see what you think?) Lack of authenticity may stem from readers not buying into your characters' choices.
3. Voice, voice, voice. If the voice is (or becomes) jarring, stilted, or otherwise not right, it knocks the reader out of the story. It becomes just words on a page, and the characters lose their realness.

Okay, that's what I've got, but I'm sure there are other things that contribute to the problem. Any ideas?