How to Become an Author

Many people love to write. Many dream of becoming authors of some sort. Once you've taken up that dream yourself, and particularly if you've been published, you will find more and more people who confide in you - secretly or openly - their burning desire to write a book.

Most don't do more than dream of it. Most don't think to ask the hard questions or put in the long hours to chase after their dream. But if you've clicked on this post, you're different. You're one of those who is ready to embark on the challenging and rewarding path of a writer.

Recently I was interviewed by a student working on his senior paper. It was part of a larger project designed to help students map out their plans for the future. He wasn't really sure what he wanted to do with his life, maybe join the family trade of auto mechanicing. The one thing he was certain about was that he wanted to write. Preferably novels. He wanted to know the path I had taken and what suggestions I might have for him.

Later I realized this would be great info for the readers of this blog. Here's a recap of the highlights of what we discussed.

Education 

While a formal creative writing education at a university or an MFA (masters in fiction writing) program can be useful, neither are essential to becoming a successful writer. A different degree that offers other ways to support yourself and contribute to society can be just as meaningful, sometimes more. My degrees in Psychology and Health Education provide me with work opportunities as well as background knowledge that is useful in stories. 

Most best-selling writers that I know also have a regular career, as a lawyer, a pharmacist, or a teacher, or a coach. Keeping your toes in two different worlds will enrich your writing and help support you financially. Having said that, learning about writing and all the trappings of a writing career is vital to your success.

Conferences and Workshops

One of the best ways to learn about enhancing your writing skills is through attending conferences and workshops. You will find classes at just about every skill level and opportunities to have your work critiqued. Classes typically focus on craft, marketing, platform, editing, publishing, and even inspiration.

Conferences were one of the first places I received objective positive feedback that confirmed I was making progress toward my goal of becoming an author. There are often contests available with financial rewards and sometimes even the possibility of feedback about your writing, which is even more valuable. For more info, check out this Writing Conference Directory.

Inspiration 

People often ask me what inspired me to become a writer.  While each person's motivation and inspiration for choosing to write will be unique, there is a commonality between all writers I've known. It's the burning desire to write. I've loved writing since I was very young. 

But my life took me other places for many years. It wasn't until I was pregnant with my 5th child that I realized I needed an outlet for myself that was completely separate from my identities associated with family and other work. 

So I began writing again. The more I wrote, the more I wanted to write.

The reason I bring this is up is that it is never too early and never too late to begin the journey of a writer. For most writers, the passion for writing is what gets us started. It's a way to process life, filter our thoughts, manage our emotions, and maybe even escape the tedium (or horrors?) or every day life. The passion for writing may start us along the path, but commitment and consistency is what keeps us moving toward our goals. 

As W. Somerset Maugham has said, "I write only when inspiration strikes. Fortunately it strikes every morning at nine o'clock sharp."

There is a saying in writing circles: Butt in the chair. In other words, sit down and start writing, for goodness sakes. Inspiration may strike in between writing sessions. That's what notebooks are for. Otherwise, it's very useful to have a regular writing time and stick to it, even if it's only an hour at 5 in the morning. 

Craft

One of the best ways to hone your craft is to read. Read, read, and read. Not just in your genre, either. You will learn more about writing and plotting as you study novels from a wide array of authors and genres. 

You can also learn specific on craft through studying books about writing. Here's some great ones: The Writers Journey, Hooked, and The Red Sneaker Writers Book Series.

There are also about a million different websites with advice on improving your writing skills. Here's a few of my favorites: Writer's Digest, Absolute Write, and Advanced Fiction Writing.

The very best way to improve your craft is (drumroll please....) to WRITE. The more you write, the more you will improve, in sentence structure, imagery, characterization, plotting and more. Look at it as spending your 10,000 hours to become an expert. And who wouldn't want to spend 10,000 hours writing, right? Well, maybe somebody. But to a writer, that sounds like a dream come true. 

Revision and Rejection

Okay, this is possibly one of the tough bumps along the road to becoming an author. You need to find people who will read and honestly critique your work. Preferably people who don't love you and feel an obligation to tell you how wonderful you are. How to find these people? We'll get to that in a minute.

But once you've found them, you need a really tough skin. You need to be able to take criticism and keep working. My husband told me, after about my millionth short story rejection, that I was a glutton for punishment. The thing is, you need to be persistent to reach any valuable goal. You also need to get your work out there and be prepared to be told it needs improvement. Be prepared to be rejected.

Resources to help you revise: Writer's Edit, 7 Strategies for Revising Your Novel, and The Creative Penn.

Resources for coping with rejection: NY Book Editors, Bulletproof Writer, and this rejection-relief map.

Networking 

One of the best ways to network with other writers is to join a writing group. Check your community  for a group. If you're unable to find anything local, here's a list of writing groups by state or region. 

You can also connect with other writers at conferences and workshops. Both are useful places to form your own group with likeminded writers. It's useful to have a range of interests and genres represented in your writing group as well as a range of skills. 

Your writing group can serve as a source of inspiration and also potential critique partners. You will also find you can refer each other to useful events and websites as well as get the word out about each other's work.

Platform

A writer's platform is their public persona. It includes their online presence on social media, a blog or website, and their contributions to other websites. It can also include classes they teach and speaking engagements. It is basically a springboard for extending the reach of the books and stories they write and engaging with readers.

If you do not have a blog or website, consider starting one now. Considering creating social media pages dedicated to your work as an author. Bring readers along with you on your writers journey.

Resource: The Basics of Building a Writers Platform

Publishing

Finally, the fulfillment of your writing dream - publication. Actually, this is just another beginning. You'll now be doing marketing and discovering that you want to publish yet more stories or books. But who wants fulfilled dreams, right? Isn't the chasing of the dream the whole point?

But, I get ahead of myself. There are two basic ways to publish a novel, self-publishing and traditional publishing. Did I say two? Well, there's hybrid now, too. Where a traditional publisher handles the print books and you retain control over digital publishing. 

With self-publishing, you direct everything, from the writing of the book to the editing, title and cover creation, and the actual publication in print and digital form, usually through an online resource such as amazon. Since you manage it all, the royalty payments are much higher than with traditional publishing. However, your ability to market and distribute your book may not compare to that of a traditional publisher. 

To gain access to the big traditional publishers, you will need an agent. Smaller, regional or niche publishers can be approached directly. Your costs will be lower if you go with traditional publishers, but you will also have less control over your final product and will receive much lower percentages for your royalty payments. However, this can all be offset by the marketing expertise of the publishers and the increased sales. It's up to you to decide.

Resource: How to Get Your Book Published

What have been some of your biggest hurdles for writing and some of your most rewarding experiences?

Publishing: What no one will talk about… and why

Once an author becomes published, what happens then? Do they get paid regularly, with lots of support from their publisher? Does their editor automatically love their next book?  Do they know exactly how to promote their book? Do they ever wonder if their book will flop and they’ll lose every opportunity they worked so hard for?

We tend to shy away from being public about the hardships that come  with traditional publishing, and realistically there are some good reasons for that. It’s like a car salesmen who during the test drive complains about his boss and how he missed his sales quota last month and might lose his job. Not exactly a winning sales technique.

As an author, once your book is up for sale, you are now a public figure and it can be tough to learn what to say and what’s off limits. What will come across like a negative Nancy? What do readers just not want to hear? Because what you say matters. Everything you put out on social media, every blog post, every speech, can affect how people see you.  That’s your brand. So being brutally honest? Not always an option (but then sometimes, it is.)

So I’m gonna take a moment to tell you what so many others are afraid to say. I’m going to tell you what publishing traditionally is really like.

Publishing is a dream come to life. It’s holding a piece of your heart and soul, your blood and tears, in your hands, covered in an image you had to rely on someone else to create.

Publishing is holding your tongue as people rip that piece of you into shreds with their words. It’s smiling when that one person tells you how much it meant to them.

It’s watching the your sales ranking tick up and down, with no clue if it’s good or bad or means anything at all (but all the while, pretending it’s great). It’s excitement because PEOPLE ARE READING YOUR WORDS, but stress-fully wondering if there are enough of them to please your publisher.

Publishing is ever changing. It’s is creating expectations then wondering if you can continue to live up to them. Wondering if you want to live up to them. Because what readers want, isn’t always what you want. It’s facing your own expectations, and very rarely actually meeting them.

Publishing is wondering which to follow: your heart or head. Your muse or your internal (or external, depending) marketer.

Publishing is trying to please everyone at once. You agent, your editor, your publishing sales team, book stores and libraries, readers—and yourself.

Publishing is one step at a time. It's walking alone in the dark with only a flashlight, clueless as to which turn is the right one.

Publishing is making friends, with readers and industry people, but mostly fellow writers— the only people who can truly understand. It’s reading incredible words that you didn’t write and celebrating their successes like they’re your own.

Publishing is writers block. Stressing so much that sometimes you can’t create. And creating is the entire point, right?

Publishing is finally writing something you adore, that your editor may or may not actually like.

Publishing is starting over. Again and again and again. All the while hiding your confusion from your readers, sometimes even your own family.

Publishing is persevering. It’s holding a new piece of your soul in your hands with the same love and excitement. The same fears. And sometimes... different results. 

Publishing is passion and exhilaration and art and devotion.

Publishing is terrifying, but in the end-- worth it.

 Every experience is unique. Every journey has different twists, different dips and different highs but lags and trip-ups and fears-- they're pretty darn universal. 

Things that leap from the shadows

My husband and I have made a few trips “down island” lately, most recently yesterday afternoon. Driving back up island just after sunset, we settled in for a couple hours of extreme vigilance. See, there are a lot of deer on the island, and that early-evening, waning-light time of day seems to draw them to the roadsides, where they graze on the dry grass and leap out at random to cross the highway.

We may not have quite this many... ;)

My hubby hit a deer a couple years ago, on this same drive (the deer lived, but the car had over $2000 damage and was in the shop for a week), and he and I have both had close calls at other times. So, we’re cautious, doing whatever we can to prevent an incident that, at best, would result in minor damage to the deer and our car, and at worst, would be…well, much worse. We reduce our speed, avoid that hard-to-see time of day when possible, use the high-beam lights, and constantly scan for deer.

This morning I’m thinking about vigilance—not for dangers of the wildlife-encounter sort, but for dangers that can leap from the shadows along our publishing journeys and completely derail our writing. But what dangers are there, and how can we guard against them?

1. Comparison. Comparison is a joy-killer, a confidence-killer, a creativity-killer, an all-round nasty villain. We have got to remember that we are on our own journey, that someone else's path is not our path. When we're tempted to compare timelines, numbers of rejections, size of advance, sales numbers, or any other "measure", just...don't. And on those days when that stuff keeps landing in front of our face, let's turn comparison on its head, and instead of feeling bitter or jealous or defeated, let's choose the “rising tide lifts all boats” mindset. Another person’s success does not take the place of our own…it may even pave the path and open the door. Those celebrity deals and blockbuster sales? They allow the publisher to afford to offer deals to debut authors, to take a financial risk on unknown writers. And those I’m-happy-for-her-but-she’s-got-what-I-want situations when another writer finds success? Let them motivate us to improve our craft or finish our work, and let them remind us that it is possible, that good things do happen to struggling writers. And then cheer and be thankful to witness their success, letting it buoy us up along the way.
   
2. Ill-conceived goals. It's always discouraging when we fail to achieve a goal, but when our goals are "ill conceived" in the first place, we're really putting ourselves in harm's way, setting ourselves up for a major crash. Ill-conceived goals are ones that are based on things largely out of our control. We cling to them, but we may be confusing goals with dreams. We can dream of a six-figure deal, or signing with a great agent, or winning an award, but beyond writing the very best book we can and sending it out into the world, this stuff of dreams is mostly out of our hands; but the writing, the revising, the seeking feedback and improving our craft, the sending it out, and sending it out again…that’s in our control. So let's base our goals on those things: finish a draft by x date, write x number of words per day or week, research and query half-a-dozen agents on our next day off from the day-job, brainstorm ten new story ideas, participate in NaNoWriMo this year, finish and polish our WIP in time for the next Pitch Wars, save enough money to attend a nearby conference. These goals may not sound as fabulous as the dreams, but we can only hope to someday reach those dreams if we put in the hard work to achieve those building-block goals.
   
3. Negative self-talk. We often tell ourselves things we would never dream of telling a friend or critique partner: your writing will never be good enough; you’ll never get a book deal; you may as well give up now. And even after we’re published, imposter syndrome has us continuing to send such messages: you’re a fraud; your success is a fluke; you’ll never be able to write another book. Those messages can sap our creative energy in no time. I’m not suggesting we should be cocky writer-brats, but we do need to believe in ourselves and in the value of our work. If our story matters to us, it will matter to someone else. Somebody out there needs the stories only we can tell. So tell them. Tell them the very best way we know how, in the way that is uniquely ours, and send them out into the world. The world needs what we have to offer.
   
4. Looking backward. All writers—even those “overnight bestsellers”—have been rejected, disappointed, discouraged. We’re allowed to feel those things. They’re hard, and they hurt. But when we dwell on them, wallowing for far too long, we’re robbing ourselves of joy and stomping on our creative spirit. Who can write when we feel that lousy? I say, limit that shit. Allow ourselves to feel the sting for an hour, or a day if we must, but then move on. Learn what we can from the experience, then leave it behind.  Onward!
   

There are other dangers--distraction, procrastination, being closed to learning, and other things that can derail our writing--but this post is long enough already! I'd love to hear your perspective and any tips you have to share. Tell me, in your experience, what is most likely to derail your writing? What helps you avoid that danger?

Most Common Query Flaws I See as a Pitch Wars Mentor

If you don’t know what Pitch Wars is, you probably should! It’s a contest that hooks querying authors up with established authors and editors to help their books become “publishing” ready. Read more about it here: http://www.brenda-drake.com/2017/06/pitch-wars-2017-details/

My job? First, I get emailed a bunch of submissions from people who are interested in me as mentor. They come in very much like a query to an agent. Query, and first chapter. I read through all my submissions and am allowed to choose ONE to mentor. The amount of submissions vary year to year, category to category and mentor to mentor but so far I’ve averaged around 80 submissions. That’s 80 query and chapters to read through in a couple weeks, and that’s not including the full manuscripts I’ll request. And honestly? The hardest part is choosing only one.

No, not kidding. I’m convinced that the quality that comes in through Pitch Wars is higher than the average slush pile (not that I can compare, I’ve never peeked inside and agents inbox but I’ve heard stories!)

So how can you stack the deck? How do you make sure your query is on my list of "Yesses!"? How I pick my "THE ONE!" is honestly pretty personal, just whichever story I connect with for whatever reason. But you can do a lot of things to make sure you're at least one of the stories I agonize over not picking. So here are some of the most common issues I see in my submissions. You may noticed they go a bit beyond the basics, because, like I said, the qaulity in Pitch Wars is pretty high!

1) Confusing query

Some books are easier to pitch than others, that’s a simple truth. I’ve written books nearly impossible to write a great query for and others that just flow from my little typing fingers like honey. To you, as the author, it all makes sense. You know this story in and out—but I don’t. Sometimes it’s really hard to take a step back and look at it through fresh eyes to see the gaps in logic. It probably makes perfect sense in the book, but in this tiny one page summary… it doesn’t. The solution? Other people need to read your query and not just your critique partners. You need fresh eyes, someone who knows nothing about your book (also, preferably other writers. Non-writers just don’t quite understand what is expected out of a query) that can point out places they get confused. 

2) The story is missing the “why?”

 I’ve noticed this a lot, I remember tweeting about it as I read my submissions last year. Most of you understand that you need “stakes” in your query, but stakes aren’t quite so powerful if we don’t understand why _______will happen if your character doesn’t ______. How does it connect? One big one is, why YOUR CHARACTER needs to be the one to do it. What are his personal stakes in this? Why was he chosen? Why not someone else? If there are 100 people out also trying to save the world, well, if your character fails, someone else may succeed. That sucks out the tension.

3) Confusing first pages

One part of this are pages that don’t fit the query. This can get tricky with multiple POV books but if your query hooked me, I want to start reading that story, not a different one. Make sure they feel connected. Another part is trying too hard to hook with high intensity but not grounding the reader. It’s VERY important that we understand the surroundings, characters and their immediate goals right away. 

4) Overlooking character

Plot vs Character is an old debate and personally, I’m hooked by great ideas. I love concepts. What ifs. Something new and exciting! But if I don’t care about the people involved in those great ideas? It’s all for not. I won’t keep reading. Personally, I don’t think plot and character should be fighting each other, they should be working together. You need BOTH. Personal stakes are just as important as external stakes. 

5) Pages that require the query to make sense

Something is stated in the query then it’s just assumed we’ll know that in the pages. Your pages must stand alone. Don’t look at them like a pair, look at them individually. Will my pages hook a reader if they haven’t read the query? Will my query hook a reader without knowing anything about the story? The story is the important part, the query is just a tool used to convince people to read your story.

6) Not showing us what’s special

This is honestly the number one reason a query goes in my no folder. There have been millions of books published. There are thousands upon thousands of books being queried right now. If your book doesn’t stand out, if you don’t show me something, anything new, for me to latch onto, it’ll get buried alive. It won’t stand out on a book shelf, the same way it won’t stand out in the slush pile. Often, we find trends in our queries. Not publishing trends, just things that for whatever reason, several people decided to write at once. You’ll hear mentors talking about these, “A lot of red heads in my queries this year.” “Wow, that’s the fourth friendly ghost story I’ve seen so far”. Those things don’t mean the kiss of death. One of those friendly ghost stories might be AWESOME because it has something super unique about it that the others don’t. It might be an *amazing* voice or writing style that flows with the story (my very first mentee was like that. About a girl who sees a boy’s spirit. Not overly unique. But her setting and voice and atmosphere was THROUGH THE ROOF and I couldn’t get it out of my head). But not everyone has that kind of writing style (I don’t) so you find another way. A twist, a unique setting, an unexpected tone. 

So think about this, just assume, for arguments sake, that there are several other books being entered into Pitch Wars with a similar story as yours. How will yours stand out? You wrote a mystery with a whodunit, why will I choose yours over the other 5? You wrote a romance. Why is yours the one I’ll remember over the others? No, you don’t need to add in Cyclopes clowns to make me remember you. Make it something real. Something engaging. Something that gets my mind spinning through the possibilities. What will engage and hook one mentor will be different for another, so don’t worry about that. Not everyone will love your work. Just make sure, somehow, it stands out. Show me what is special about your story. Show me how your future publisher will market you. 



If you can stand out, explain the story in a way I can understand, include compelling emotions in your characters,  with decent writing and it all fits into my wishlist, you'll very likely find yourself in my (much too long, I'm sure) want pile!

This year, I'm mentoring YA with the lovely Rebecca Sky, you can find out more about the submissions we're hoping to receive here: http://www.rebeccasky.com/gallery.php

Good luck Pitch Warriors!

A Tough Question: how much are you willing to change for success?

Being published is a dream for so many writers, and each story is important to us. We want this story to be read, we want people to love it. We want to see it on bookshelves. (We wouldn’t be putting ourselves through this agony if we weren’t passionate about getting our book published.)

But… the book is also important to us. The characters have meaning. What happens to them is important! (Most of us wouldn’t be able to go through all the work to write and edit a book if we didn’t LOVE the story and characters.)

So what happens when publishing doesn’t agree with the story you have completed? What if, in order to reach the dream of being publishing you have to change something you don’t want to?

This month, I worked as a mentor for #teenpit, where high school writers submitted some of their writing to be mentored by some awesome writers. During the process, my mentee asked me this super deep question about choosing art or business. 

We were discussing a possible shift in perspective of her book and she asked me this:

“No matter what I do, I know that if I took the whole thing [insert suggested book changes here] it'd be a million times more marketable, and I'd have a better chance at being published… And I don't want to deviate from my story just because I want to appease the industry, but at the same time, this is my story, and I want more than anything to see it in the world.”

Oh man. That’s a seriously heavy question! 

How much are we willing to change to be published? 

It’s a very personal question. For some people the answer may be “EVERYTHING! I’ll do whatever it takes to be published!” for others it may be “Nothing! I won’t change for you!” (In which case, I suggest self-publishing). But for most of us the answer is going to be somewhere in-between. 

I don’t have a definite answer for you—only you can answer this question for yourself— but I do have some advice that might help if you’re ever in this predicament. 

This was my response to my mentee (with a few tweaks to make it less specific, more universal): 

"I went through a long R&R process with Entangled for my first book. We totally re-plotted it. It meant an almost total rewrite. I was okay with the changes because it made the book stronger. But there was one thing my editor suggested that I didn't agree with. 

There's a scene at the end of the book that my editor wanted to cut. I took a long time to think about it and decided I wasn't willing to cut it. That scene felt like such an important part of Anna's story and honestly, it fit the new focus of the story (A huge theme was about her lying, this was her big moment of telling the truth. Even facing the truth). I told him I wasn't willing to cut it, and he said we'd make it work (a relief because I was really willing to walk away from the deal for that scene). When he read the final version he said he teared up during that scene. 

My suggestion is for you to decide what the heart of this story is for you and stick to it. What don't you want to lose? 

For me is was Anna. Is was her journey, her emotions, and her sweet relationship with Jackson (though he used to be Arney. They changed his name!) Everything else in the book could change, but so long as those emotions stayed, I felt confident about it. 

What is that thing for you?"

It's a hard line to find sometimes. You will need to change things to be more marketable, that’s just part of publishing and if you want to be successful in traditional publishing, it’s a thing you will have to do. BUT this is your story. Please don’t ever forget that YOU make these choices. And it’s okay to walk away from a situation that you feel uncomfortable with, even if it means walking away from a potential publishing deal. 

 Finding the line you aren’t willing to cross... that parts up to you. It isn’t always easy but you’ll feel better if you are willing to compromise without losing the heart of your writing and story. 

Good luck!

Believe In Yourself (A non-success Story)

In September I jumped back into the query trenches for the first time in two years. I had previously found a great publisher without an agent and ran with it. I knew I would want an agent eventually but for right now, I didn’t need one.

But a few years later I was ready to try again. I’m ready to try for new avenues, while not closing my previous opportunities—I still plan on publishing with Entangled. I’ve enjoyed my time there, but those opportunities are limited. There are several things that I want to write that they don’t publish.

So I picked up a MG fantasy book that I’ve adored and believed in but put aside for the sake of my YA contemporary career, and decided to query again!

At first, I was hopeful. I loved this book and now I had some publishing experience! In the first two weeks I got a few quick full requests and I was super excited! It was going better than I’d expected!

Then the requests stopped coming.

I was stalled. Months went by with almost nothing new. No requests from new queries. Just… silence. Even the rejections were MIA. I started wondering if the book was ready. If I needed to make more changes. If the best I could hope for was an R&R.

I had a really close call with one agent but a few weeks later it ended in rejection. It stung.

More time went by.

Most of my open queries had passed into “Closed/No response” territory and since another full rejection I received sited market, I figured I was dead in the water. All hope seeped out of me. This beautiful quirky book of mine wouldn’t find an agent.

Funny that, even in my case, where I knew I could have a great career without ever finding an agent, so really, the stakes are lowered—I still felt hopeless.

I stopped trying.

Stopped researching agents. Stopped sending queries.

The only thing I did do was nudge one agent that had had my full for several months. She responded saying my book got “great reader reports” and she was exciting to get to it soon.

Hmmm… that, also sounds promising. At least, in terms that, well, maybe this book *was* good enough.

I then got another full request.

So I sent out a handful more queries. Another request.

I took a good look at my queries and realized that even though my requests were a bit lopsided, with few at first and then none in the middle, my request rate wasn’t so bad!

Maybe, just maybe, I had given up a bit too soon. Maybe things weren’t quite as bad as they seem!

No, this story doesn’t end in an offer of representation. Not yet, anyway.

Instead, this story should show you a few different things. 1) that even published authors, or people who you might think have it all together still struggle—they just don’t always show it. I know many previously agented authors who have gone through very similar experiences.

2) Sometimes we get so worked up about what’s happening *right now* that we missed out on the big picture.

But here’s one more I’d like for you to take from this, something I’m probably still learning myself.

It’s okay if you fail.

Even if I don’t sign an agent with this MG book, I will with another. Some day. The time between sucks. The questions, the doubts, they’ll still be there. But one day, things will fall into place (even if not how you expect).

When that day comes, I’ll be sure to let you know. Whether with this book or my next, or the next.

The dreaded "I just didn't connect" rejection and how to up your chances!

How many times have we heard that standard rejection, "I just didn't connect with it" or heard the word "SUBJECTIVE." These are realities in the publishing world. They're legit reasons for rejections even if we don't full understand them. 

Truth is, sometimes there is nothing you can do to make a particular person love your work. That's the nature of art.

 Some people are going to love it, some are going to hate it, some will be neutral (this is a life lesson all authors learn when they start getting reviews!) So sometimes that's what we mean when we say "it's subjective." I'm sorry, you're just not "the one". 

During #pitchwars someone compared the slush pile to dating... and boy what an analogy! So let's play with that, shall we?

Sometimes mentors, agents or editors have to say no to books that they know are fantastic. Books they know deserve to be chosen. Because there is another book that just connects... for whatever reason.

Let's think of submitting your work like a first date, and all the things you should keep in mind to up your chances of a love connection-- do's and don'ts.

Step one: Basic hygiene

This one is simple. Wash your hair, brush your teeth, wear deodorant. In publishing? This can translate into grammar and punctuation or even into character motivations that make sense, staying away from cliches, plot that moves forward etc.

Step two: Be Interesting

On a date, if you have nothing to say about anything, we may start getting bored. Naturally, people are going to be more drawn to someone like, say, a fire fighter, than an accountant who has no hobbies-- simply because they want to know more about them. "Is it scary?" "Have you ever saved someone's life?" if exciting questions start running through someone's mind, that's piquing their interest and they'll hang around a little longer to see what's around the corner. 

In publishing, this is premise and the promise of plot. Something that makes us want to keep reading just to see what's going to happen. 

Step three: Personality

Here's where things get sticky, because there isn't one right personality. 

 You might be funny, or witty, or sarcastic, or deep, or intelligent. The main point is that you stand out and draw people in. That people enjoy talking with or about you.

This is the voice/tone of your story. You know that guy who everyone else thought was hilarious but really just annoyed you? Or the weird girl no one else understood but was your absolute best friend?  We are all drawn to different things. We come at it from different perspectives so we see things differently. That's okay. Just makes sure you HAVE a personality. 

Some people like spicy, some prefer sweet, some love sour, and some want savory. Don't add chocolate to your curry sauce just because someone wants something sweet. Your goal is simply to not be bland.

The last and most important step is.... Emotional connection

That thing that's SOOO important but SOOOO difficult to pin point. I'm not even going to try to come up with dating examples because I'm pretty sure I'll fail. It's that thing that takes you from stranger to relationship. From crush to a meaningful part of your life. In books, sometimes it can be kind of accidental, you just happen to hit the right topic or remind the reader of something that really resonates with them. Sometimes we can't do anything more to help someone fall in love, we just have to wait for the right timing. 

But I'll tell you a secret.  Most of the time it comes down to relating to the characters and their goals. So how do we do that? Here's the part you don't want to miss. 

The thing that is most likely to HOOK those readers at all levels, to give you the best chance at falling into love: 

Emotional stakes

So you know how in pitches we tell you we need to know what happens if they fail? The world ends, they freeze to death in the icy tundra, deadly virus spreads across the world, dictator gains power and enslaves millions etc etc. But it can't be only physical. There needs to be emotional stakes also.

Don't just think about the premise as the idea- the logical "will this concept sell?" because just as important (sometimes more) is that you aren't just hooking the head of your readers-- but their heart.
Sort of like the hot millionaire who loves puppies- he sound *amazing* on paper. But it's the broke musician who steals your heart and won't let go. Don't be the millionaire. Be the musician. (I mean, be both if you can but if you have to choose...)


So, I don't care if you've written a survival story where the whole point is them making it through the icy tundra to safety, there still needs to be something emotional at stake. There's a sick little sister with you  and your mother just left you both but you haven't told your sister yet so that's hanging over your head, and all the while you feel responsible for her but your afraid he's going to let her die less than two days into that responsibility *weeps*. All this on top of freezing temperatures and fighting off wolves etc. (also mind you that it doesn't need to be sad like that, there are a million types of emotions you can use) The DEEPER you go with those emotions the more likely you're going to connect to someone

Pitch Wars and all that Publishing Pressure

The first time I entered Pitch Wars, I failed monumentally.

My knowledge of query letters, pitches, formatting, and word counts lay right around absolute zero. Seriously, I had no idea what I was doing. I knew nothing. I was the Jon Snow of publishing. And it showed.

But you know what? I walked away with more than just a few mentor rejections. I walked away with a better understanding of everything I had originally messed up. I kept in contact with the people I'd met on the Twitter hashtag and we began swapping manuscripts. And when I wrote my second book, I vowed to enter the contest again and not wind up looking like a total noob this time.

My second Pitch Wars was with my current book, My Seventh-Grade Life in Tights. I finished my first draft just in time to get a couple of beta readers to give me notes. I was lucky enough to find a mentor (the amazing Marieke Nijkamp) who wanted my story. She helped me so much with developing particular elements of the story, and when it came time for the three-day agent round to go live, I was feeling good. Positive. Certain that Tights was going to get some serious attention.

The first day was crickets. The second, they brought their friends. By day three, the post featuring my first 250 words was so absent of agent love I was ready to shove my manuscript into a hole in my yard and let the earthworms turn it to compost. Mine wasn't the only one that didn't get any requests, but there weren't many that failed to. My mentor urged me to query. She told me to not give up because Pitch Wars was simply one avenue. Every query letter I could send out was another. And there were plenty of agents out there I could contact. Stopping then would've been like throwing the car in park and going home because there happened to be one single road closed between your house and Dunkin' Donuts.

So I dusted off my query-writing skills and wrote the best letter I could. I revisited my first page and changed a few things around. I queried a handful of agents and within a few weeks I had three offers of representation. I signed with Uwe Stender of the Triada US Literary Agency and he ended up selling my book to Random House two weeks later.

But imagine if I had thrown in the towel?

Actually, don't. Don't imagine that. Because throwing in the towel, especially that early on, is just silly. I didn't get my book published because of me. I got it published because of all the people surrounding my story who were willing to help me. Whether you self publish or traditionally publish, it really does take a village to get there.

My point is this:

If you want to have a book on a shelf, exhaust every avenue possible. There is no one road to get there. Relying on a single path is, simply put, bad planning. If you get into Pitch Wars this year, give yourself a huge pat on the back and get right back to work. If you don't get into Pitch Wars this year, take some time to feel bad and get right back to work. If you're not entering Pitch Wars this year, support those who are trying to and get right back to work.

Learn as you go. Make friends as you try. Have fun writing and remember that every author started out unagented, unpublished, and with a head full of words and a gut full of hope.