Two years ago, my uncle told me a fantastic (and real) tale of adventure in Bombay that took place 50 years ago. The story had me, my husband, and one of my best friends spellbound.
So that will be my next novel. A fictionalized historical set in Bombay in 1970 involving my uncle, my grandmother, a runaway princess from a neighbouring country, a wannabe Bollywood star, and an abandoned infant.
I’ve started doing the research. And OMG it’s a helluva lot of fun. I wish I could write full time.
After half a dozen query workshops and tons of advice from friends who are published, I’ve taken that leap! I’m querying my novel.
I braced myself for a long, hard fall, and then discovered that I have a little parachute that’s helping me gently float — manuscript requests!
It feels so incredibly good to wake up in the morning to a full request! Someone, somewhere, wants to read a little bit more of something I wrote.
I started querying early August. So I’m not that far in yet, but I’ve learned that I have a query that gets responses. That feels like a big win, because marketing has always been a mysterious and frightening thing for me.
More lessons to come, I’m sure … but for now, I’m so grateful for this parachute that’s slowing the terrifying free fall.
Protip: “Start where your Resolution is and then make sure that the Hook has the character in almost exactly the opposite position.”
Today, I checked out the Writing Excuses podcast. I really love that they are all 15-minutes long!
I listened to Episode 7-41 on 7-Point Story Structure. This is a screenplay technique that works extremely well for action/adventure, romance, and many other genres.
Dan Wells, who is famous for this writing approach on YouTube, gave Harry Pottery examples for the following 7 steps:
Hook – who people are what their starting stage is
Plot Turn I – the call to adventure
Pinch I – Put pressure on char to force them into action (i.e., forcing to use skills to make things happen)
Midpoint – Char moves from reaction to action (sick of running, going to face the problem)
Pinch II – Really put the pressure on char – as dire as possible (loss of mentor)
Plot Turn II – Get last info they need. Figure out puzzle. Realize the weak point that allows everything to wrap up.
Resolution – They do it. They win.
But stories have so many more plot twists than that! How can this possibly work?
Dan says this doesn’t restrict you to having only 7 scenes. This approach has you think of your work as 7 key moments that move from Hook to Resolution. And within each of those, you can have a mini 7-point loop as well.
Dan suggests starting from the Resolution. You want to look back and make sure that the Hook has the character in almost exactly the opposite position.
They have to move all the way from one end of the spectrum to the other to accomplish their goal. When writing, make sure your character moves believably from one point to the next.
If you want to dive deep into this, check out Dan’s Youtube video series. He explains this process in 5 videos over an hour (I think it was part of a workshop or talk).
Overall, I really loved how quick and clear the hosts were. The podcast was informative. I will definitely be listening to Writing Excuses again.
I have a lot to share with you. This interview was seriously packed.
The first 30 minutes or so were about Suzie’s journey and how she came to be the lit agent she is today. The next 30 minutes were a deep dive into the world of agents, editors, and their slew of colleagues, including experts in translation, audio, film, and merchandise.
The last 30 minutes really caught and held my attention. Suzie talked about killer query letters and why they were so damned good.
Yin offers a Query Letter Guide at the bottom of the podcast page that includes 6 queries and Suzie’s detailed notes on what she loved about them. Go grab that now!
Here are some gems from the interview.
Suzie finds YA to be more trendy than MG.
For MG submissions, everything comes back to voice. The voice must be kid-friendly.
Editors are looking for a good sense of humor. It doesn’t have to be the main focus, but a healthy dose of humor helps to pull reluctant readers in.
If you get “the call” ask the agent:
About communication style — email person or phone person?
For references — one person whose book just came out and one person whose has been on submission but the book didn’t sell.
What do you do if we go on submission and the book doesn’t sell?
What departments are in house?
When talking about killer queries, Suzie said:
In the first sentence, explain what the main char wants, what their number one goal is, and give the reason why.
Keep the full query to 250 words.
Make sure every word counts (no extra words thrown in).
Your second sentence should be about where the plot is going. Bring the reader along.
Each paragraph should build off the one that came before it. The stakes should be getting higher and higher, especially in a plot-driven story.
Avoid character soup. If you have a big cast of characters, only mention one or two.
If you say that you’re sending your query to an agent because she likes plot-driven work, then make sure your query demonstrates that. If you highlight something, it should be very clear in your query and writing style that your story delivers that.
Pro tip from Laura and Erik: “Pretend your characters are boning at all times. Just sex always. And your writing will definitely improve.“
They talked about unnatural and empty dialog tags that appear in first drafts, like grinning, smiling, and shrugging. For Erik, those unnatural tags are grating. No one grins fives times in a conversation.
“Even in the first draft, which is a bit rough, the sex scenes are the best written parts, because the writer is actually thinking more and more about how the bodies are interacting in space and they’ve made that their focus and so all this extra stupid action that doesn’t mean anything they suddenly instinctually realize, ‘Oh yeah, that doesn’t belong.’ …
And so my point here is when you’re thinking like that for your sex scenes, think about bodies and space for all your other scenes too. Make all your scenes like your sex scenes in that way. … If you start working from that perspective, you’ll get rid of a lot of … [the] empty dialog tags, a lot of this stupid gesture that doesn’t actually mean anything, and you’ll be able to cut that away and add in other sensory detail, which I think … comes really naturally to people when they’re writing about sex but less so when they are writing about conversation.”
On August 13 I read the first few pages of “The Kiss Quotient” by Helen Hoang, and in her Acknowledgements she thanked https://pitchwars.org/
And then my life changed.
I spent a day pouring over that site. Instantly got hooked on the idea of a mentorship. I love my new novel and I’m proud of it, but I know it can also be better. I need an expert’s guidance to see the things I can’t.
Then I logged into my stagnant and idle twitter account, and I actually tweeted for the first time ever.
(Yes, I do live under a rock.)
I stumbled into #writingcommunity and they are the nicest and most supportive people! It’s been a steep learning curve for me for the past 2 weeks, but I think I’m getting the hang of it.
I’m over-the-top excited about pitching to pitchwars. The submission deadline is September 25. I’ll be polishing up my query and synopsis for the next month.
The pitching process hurts. I’ve written two novels — one needs a bit more polishing before it’s ready for pitching to agents and publishers.
A few days ago, I got excited and pitched the second novel to my favourite agent. She’d done a Reedsy webinar in February, and I really liked her. A day later I got a form-letter rejection.
Another author said it’s a blessing to get a fast response. I felt about as blessed as a bug on a windshield.
It took me a few days to recover, which probably sounds ridiculous. I posted on an authors’ forum asking for tips on handling the rejection, and one author responded saying that it’s a rite of passage — the path to publishing is littered with rejection letters.
I’ve started on the path. Let’s see how long I have to walk it before I get where I want to be.