Over the years I've collected a heap of website links that I've used at various stages in my writing journey. Some I still use because they really gel with my style as a writer, others are more research or information based sites.
Maybe some of these might work for you.
How to Write Query Letters/Synopses/Proposals (a screed of helpful articles compiled by Gabrielle Luthy)
Georges Polti's 36 Dramatic Situations (a site that lists and gives great detail on the situations you find in most stories)
Great Source - grammar (a wonderful basic guide to grammar)
How to write a novel using the Snowflake Method (starting small & building on your ideas)
Kathy Carmichael's Pitch Generator (how to create the basics for a pitch)
Dictionary of Sexual Terms
Australian Military Organisation & Structure (ranks in the army, navy & airforce)
The Passionate Pen (a list of romance publishers)
Wordle (a great way to check for repetitious words in your work)
Karen Fox's Romance Deals (a year by year list of deals, a bit like Publishers Marketplace)
Author Tech Tips (some hints about what titles to avoid using in your blog)
I hope you find some of these as helpful as I did!
Showing posts with label research. Show all posts
Showing posts with label research. Show all posts
Saturday, May 14, 2011
Saturday, March 12, 2011
TOPIC: Search for the Holy Grail...umm, Agent! (part 2)
Last post I asked the questions – Should you get an agent? Where do you start? How do you know if they’re reputable? Who do you aim for? What should you include in a query letter? Do you go snail mail or email?
Steps 1 & 2 were all about researching agents and making a prioritised list of your preferred agents. Let's move on.
Step 3 – Write a query letter and/or collate appropriate sample pages/partials as per the guidelines for each agent. Some will want only the query letter, some a QL and 5/10 pages of your work, some a QL & synopsis.
When you start this process only work on 5 submissions at a time. Too many and you run the risk of confusing specifics and there’s nothing more unprofessional than sending the wrong thing to your “dream” agent and it’s a sure way to be culled.
Check the guidelines. Double check. Then check again. How easy is it for an agent to disregard your query when you haven’t adhered to them?
*Some advice for query letters, no fluffy stuff. Agents don’t have time to read waffle, not with 50 to 100 queries a day (and that’s a conservative estimate, I’m sure). They want to know what your book is about, the conflict, the idea - think back cover blurb, and any relevant info about you. Keep it brief, no more than an A4 page. The details about characters and your more complete bio can come later once you’ve hooked them with your story.
Agent blogs sometimes address what makes a good query letter. Two blogs with good examples include BookEnds Literary Agency and Pub Rants by agent Kristen Nelson.
Step 4 – Keep track of your submissions. Whether you create a database on the computer or on paper you stick to your office wall, know who you sent a query to, when you sent it, what manuscript you pitched, the timeframe they suggest contacting them if you’ve haven’t heard from them, what response you got etc., any information that tracks your progress in your search for an agent.
Send out 5 queries at a time. As one comes back, send out another to the next agent on your list. And so on.
I highlighted any agent who sent back something more than a standard rejection eg. personal comments about the manuscript. It meant they were interested enough to take the time to do that, and they’re the ones to target with a new pitch and new manuscript next time. Just refresh their memory about your prior contact with them in any subsequent QL.
Step 5 – Celebrate your successes. When you get a request for a partial or full, pat yourself on the back, even if they’re eventually rejected. Share the good times with your friends. It keeps the batteries recharged and makes the slog worthwhile.
Also note down on your database the agents who requested partials or fulls – again they liked your voice enough to possibly request and read other work by you.
Just remember:
Steps 1 & 2 were all about researching agents and making a prioritised list of your preferred agents. Let's move on.
Step 3 – Write a query letter and/or collate appropriate sample pages/partials as per the guidelines for each agent. Some will want only the query letter, some a QL and 5/10 pages of your work, some a QL & synopsis.
When you start this process only work on 5 submissions at a time. Too many and you run the risk of confusing specifics and there’s nothing more unprofessional than sending the wrong thing to your “dream” agent and it’s a sure way to be culled.
Check the guidelines. Double check. Then check again. How easy is it for an agent to disregard your query when you haven’t adhered to them?
*Some advice for query letters, no fluffy stuff. Agents don’t have time to read waffle, not with 50 to 100 queries a day (and that’s a conservative estimate, I’m sure). They want to know what your book is about, the conflict, the idea - think back cover blurb, and any relevant info about you. Keep it brief, no more than an A4 page. The details about characters and your more complete bio can come later once you’ve hooked them with your story.
Agent blogs sometimes address what makes a good query letter. Two blogs with good examples include BookEnds Literary Agency and Pub Rants by agent Kristen Nelson.
Step 4 – Keep track of your submissions. Whether you create a database on the computer or on paper you stick to your office wall, know who you sent a query to, when you sent it, what manuscript you pitched, the timeframe they suggest contacting them if you’ve haven’t heard from them, what response you got etc., any information that tracks your progress in your search for an agent.
Send out 5 queries at a time. As one comes back, send out another to the next agent on your list. And so on.
I highlighted any agent who sent back something more than a standard rejection eg. personal comments about the manuscript. It meant they were interested enough to take the time to do that, and they’re the ones to target with a new pitch and new manuscript next time. Just refresh their memory about your prior contact with them in any subsequent QL.
Step 5 – Celebrate your successes. When you get a request for a partial or full, pat yourself on the back, even if they’re eventually rejected. Share the good times with your friends. It keeps the batteries recharged and makes the slog worthwhile.
Also note down on your database the agents who requested partials or fulls – again they liked your voice enough to possibly request and read other work by you.
Just remember:
- Aim high – agents can only say no, but they might also say “I'd like to officially offer you representation.”
- Research your agents carefully – if they offer you representation you want to know you’re signing with someone you can work with.
- Maintain a professional & polite attitude – rudeness will come back to bite you. If you end up with several agents requesting fulls have the courtesy to tell the others there are “X” number of agents also reading your work (no need to name them specifically). It lets them know others are interested.
- Persevere – anyone with an agent will tell you they didn’t give up looking for one after getting a rejection or two.
Saturday, March 5, 2011
TOPIC: Searching for the Holy Grail...umm, Agent! (part 1)
Back by popular demand - another post on finding an agent.
I’m sure we’ve all asked the questions – Should I get an agent? Where do I start? How do I know if they’re reputable? Who do I aim for? What should I include in a query letter? Do I go snail mail or email?
It seems a daunting process, and yes, hunting for an agent is time consuming. No bones about it, but I think you’ll find the end reward satisfying.
The first question to ask yourself is - do I need an agent? Consider this, agents have a better idea of the industry and contract law not to mention the contacts and knowledge of wheeling and dealing – so unless you’re prepared to learn the business side of representing yourself in detail then it’s probably a good idea to find one.
There are authors in our organization who don’t have an agent and deal with that side of the business themselves – the decision of “do I or don’t I?” really is a personal choice.
So, what’s next, if you do decide you need an agent?
Step 1 - Research. This is where the Internet comes in handy. Typing in a search for literary agents/agencies will get you a screed of sites to look through. Some are more helpful than others.
Personally, I found Agent Query excellent. Other sites you might like to browse include Absolute Write (www.absolutewrite.com) or Preditors & Editors. They’ll also give you information on whether they’re legitimate agents/agencies.
*Rule of thumb – agents never charge up front for their services. If you come across one that does, steer clear of them.
Alternatively, ask your critique groups or other writing friends about agents/agencies. Check out your favourite authors (the ones you most write like) and see if they have an acknowledgments page. They might thank their agent. It’s simply a matter of then searching for them on the internet.
Most agents & agencies these days have a website and they tell you the genres they do/don’t represent. They also have guidelines of what to send them and how they prefer it sent.
Step 2 - Make a list. Twenty’s a good number to start with. Once you’ve trawled through agent websites, pick the ones you most like/want/dream of representing you and prioritise them in order of personal preference.
Divide them into email and snail mail submissions. Obviously, email is going to be more cost effective for you and a lot of agents are now using this environmentally friendly method (it may not always be “quicker” in terms of a response but there is that slight advantage to email submissions).
This begs the question – do I target a big agency/agent or a small one? After asking some of my friends who have agents (yes, there’s networking for you), there are pluses to both.
The big name agent of a large agency will always be difficult to crack, their lists are usually full. That doesn’t mean you cross them off your preferred A list just because you’re a new up-and-coming author (case in point, Gracie O’Neil recently signed with Nephele Tempest and Bronwen Evans signed with Melissa Jeglinski, both from The Knight Agency). Don’t take it personally when they pass on your query. Move on to someone else.
Junior agents at large agencies could also be a great opportunity - they're learning from the best, and they have to build up their experience and contacts before they open lists of their own. Once they do then they’re going to be keen to build them. Larger agencies also have staff - they've got more time for tasks like doing their website, promotions etc. from which authors can benefit.
Smaller agencies are often run by an agent who used to work for a large agency before going out on his/her own. So it’s a matter of researching the agent's history to determine their level of experience. Newly formed or smaller agencies can be a good choice because the agent will be building up their client list and willing to take on new clients.
Whether you give preference to a big name agent/agency or a small one, what seems to matter is the agent's track record, reputation and resources; how well connected they are and what kind of experience they have etc. These are things to consider when deciding on your list.
Once you have an agent interested in signing with you then the all important compatibility factor comes into play - personal chemistry (in that initial phone call to discuss representation), the alignment of goals concerning your work, how you hope to operate within the parameters of the author/agent relationship etc.
Next post I'll look at query letters, formulating lists of agents and dealing with rejection.
I’m sure we’ve all asked the questions – Should I get an agent? Where do I start? How do I know if they’re reputable? Who do I aim for? What should I include in a query letter? Do I go snail mail or email?
It seems a daunting process, and yes, hunting for an agent is time consuming. No bones about it, but I think you’ll find the end reward satisfying.
The first question to ask yourself is - do I need an agent? Consider this, agents have a better idea of the industry and contract law not to mention the contacts and knowledge of wheeling and dealing – so unless you’re prepared to learn the business side of representing yourself in detail then it’s probably a good idea to find one.
There are authors in our organization who don’t have an agent and deal with that side of the business themselves – the decision of “do I or don’t I?” really is a personal choice.
So, what’s next, if you do decide you need an agent?
Step 1 - Research. This is where the Internet comes in handy. Typing in a search for literary agents/agencies will get you a screed of sites to look through. Some are more helpful than others.
Personally, I found Agent Query excellent. Other sites you might like to browse include Absolute Write (www.absolutewrite.com) or Preditors & Editors. They’ll also give you information on whether they’re legitimate agents/agencies.
*Rule of thumb – agents never charge up front for their services. If you come across one that does, steer clear of them.
Alternatively, ask your critique groups or other writing friends about agents/agencies. Check out your favourite authors (the ones you most write like) and see if they have an acknowledgments page. They might thank their agent. It’s simply a matter of then searching for them on the internet.
Most agents & agencies these days have a website and they tell you the genres they do/don’t represent. They also have guidelines of what to send them and how they prefer it sent.
Step 2 - Make a list. Twenty’s a good number to start with. Once you’ve trawled through agent websites, pick the ones you most like/want/dream of representing you and prioritise them in order of personal preference.
Divide them into email and snail mail submissions. Obviously, email is going to be more cost effective for you and a lot of agents are now using this environmentally friendly method (it may not always be “quicker” in terms of a response but there is that slight advantage to email submissions).
This begs the question – do I target a big agency/agent or a small one? After asking some of my friends who have agents (yes, there’s networking for you), there are pluses to both.
The big name agent of a large agency will always be difficult to crack, their lists are usually full. That doesn’t mean you cross them off your preferred A list just because you’re a new up-and-coming author (case in point, Gracie O’Neil recently signed with Nephele Tempest and Bronwen Evans signed with Melissa Jeglinski, both from The Knight Agency). Don’t take it personally when they pass on your query. Move on to someone else.
Junior agents at large agencies could also be a great opportunity - they're learning from the best, and they have to build up their experience and contacts before they open lists of their own. Once they do then they’re going to be keen to build them. Larger agencies also have staff - they've got more time for tasks like doing their website, promotions etc. from which authors can benefit.
Smaller agencies are often run by an agent who used to work for a large agency before going out on his/her own. So it’s a matter of researching the agent's history to determine their level of experience. Newly formed or smaller agencies can be a good choice because the agent will be building up their client list and willing to take on new clients.
Whether you give preference to a big name agent/agency or a small one, what seems to matter is the agent's track record, reputation and resources; how well connected they are and what kind of experience they have etc. These are things to consider when deciding on your list.
Once you have an agent interested in signing with you then the all important compatibility factor comes into play - personal chemistry (in that initial phone call to discuss representation), the alignment of goals concerning your work, how you hope to operate within the parameters of the author/agent relationship etc.
Next post I'll look at query letters, formulating lists of agents and dealing with rejection.
Friday, June 25, 2010
CRAFT: An Author's POV on World Building
This is part 2 in my series on world-building. Part 1 defined what world-building was and you can find it in a previous post (located in the archive).
This week I wanted to know if writers approached world-building with a set process, so I asked some of my writer friends, published and unpublished, for their point of view on how did they handled it. See if any of their replies give you any ideas …
“For me, world-building is very much an organic process. I feel as if I step into the world and write what I see.
One tip I can give is in terms of writing a series - consistency is key. It is the absolute bedrock of a realistic world. I've learned the value of keeping detailed notes on characters, events, the physical world itself. This helps so much in terms of maintaining continuity.”
Nalini Singh
(Paranormal - Berkley Sensation)
“Because I've done extensive research about the Regency over many years, I have a good general knowledge of the period so I usually know if a story will work within the constraints of my historical period. But each story has specific elements that require more specific knowledge.
For example, in CLAIMING THE COURTESAN and TEMPT THE DEVIL, I had to know about the demimonde. In UNTOUCHED, I researched mental illness in the early 19th century. The Regency is such a popular setting for historical romance, I'm lucky when it comes to world-building. I can often use just a few salient details to establish the world. Many readers probably know as much or more about this period than I do!
One thing I like to do to establish a feeling of time and place is throw in the occasional unusual bit of vocabulary or expression. I want my readers to recognize that they're reading about somewhere different from where they live now. Luckily the Regency abounds in really colourful, vigorous language so that part of my writing is often a joy.”
Anna Campbell
(Regency historicals - Avon/HarperCollins)
“I spent 7 years researching my 1000 BC book. I searched libraries for rare books, the ‘net, interviewed Jewish folk and historians.”
Melissa James
(Harlequin romance)
“When creating the fictional peninsula and the township of Onemata in my February 08 release, TYCOON'S VALENTINE VENDETTA, and when I created the fictional luxury game resort in my August 08 release, CLAIMING HIS RUNAWAY BRIDE, both with Silhouette Desire, I drew very strongly on my own experiences and knowledge of the country in which I, and my characters, live. For what I was unfamiliar with it was an easy matter of researching such areas and places both online and via other people who'd experienced places like that (travel books are marvellous for this kind of information, I've found.)
As far as process goes, once I've decided upon where I'm going to set my stories I will glean as much information about it by (a) searching the internet, (b) taking relevant books out from the library, (c) visiting those places if at all possible and taking a whole lot of photos and notes, and (d) speaking to people who have been to those places or experienced the kinds of things my characters are doing.”
Yvonne Lindsay
(Silhouette Desire)
“My world building starts with the premise that my heroine is a powerful woman in her own sphere. Whether she happens to be a witch or a druid her existence is influenced by her matrilineal heritage and the goddess culture.
Since I'm fascinated by this, research is no hardship and I spend far too many hours reading up on ancient customs and beliefs, and then incorporate whatever happens to best fit my plot.
Within this framework I can twist the world to accommodate spirits of ancestors, elemental power from the earth herself and the occasional demon.
It's a lot of fun being the goddess-of-my-own-universe!!”
Christina Phillips
(dark erotic romance with paranormal elements - The Wild Rose Press & Berkley.)
“I usually use places I know for my books, although occasionally I will change some aspect of them. I very rarely name streets only towns.”
Ann Patrick
(contemporary romance - Whiskey Creek Press)
“You … have to 'know' everything about the world you create: location, scenery, seasons, culture, traditions, history, clothing, food... all that and more.
For example, I've drawn a map of the Settlement where my hero lives, detailing all the major dwellings and surrounding areas of importance. This helps me keep everything straight in my mind and also helps whatever I imagine to be accurately depicted on the page…
I like to keep things simple. I tweaked my characters' names a bit to make them a bit more exotic but not too hard to relate to. Like B-l-a-i-y-n-e for Blaine, L-y-a-m for Liam, C-a-i-y-l for Kale. I referred to the jobs people did as 'Trades' and capitalised them all, e.g. Potter, Healer, Hunter, Tracker. Same with significant places: the Gathering Place, Healing Hall or Elders' Hall.”*
Maree Anderson
(paranormal romance– Red Sage Publishing)
“My stories are steeped in reality, but my heroines have special abilities that set them apart, such as clairvoyance or witchcraft. So rather than building a futuristic, fantasy or parallel universe, my challenge is to show the internal world of my characters--what is it like to see and talk to ghosts; interpreting visions; learning who can you trust in the spirit realm--that kind of thing. I'm not psychic, but I do know people who have the gift and I draw on their experiences.
For research, I read a ton of esoteric books and memoirs by psychics, and I love to freak myself out by watching scary movies. This part of the process is where ideas for characters and plots percolate. By the time I'm ready to work on the book, I feel I'm writing from an authentic point of view.”
Vanessa Barneveld
(YA paranormal – represented by Writers’ House Literary Agency NY)
You can see from these comments that there is no set formula to world building. The process is as varied as there are genres. Frustrated yet? Join the club!
Next post we'll move on to how we begin world building when we have no idea where to start.
Quotes used in the posts:
* “We’re not in Kansas anymore, Toto” article by Maree Anderson from her website (www.mareeanderson.com)
** Nalini Singh website – web-link called Behind the Scenes re: “skin privileges” (www.nalinisingh.com/psy.html)
*** Worlds of Wonder – How to write science fiction & fantasy – David Gerrold (Titan Books 2001)
This week I wanted to know if writers approached world-building with a set process, so I asked some of my writer friends, published and unpublished, for their point of view on how did they handled it. See if any of their replies give you any ideas …
“For me, world-building is very much an organic process. I feel as if I step into the world and write what I see.
One tip I can give is in terms of writing a series - consistency is key. It is the absolute bedrock of a realistic world. I've learned the value of keeping detailed notes on characters, events, the physical world itself. This helps so much in terms of maintaining continuity.”
Nalini Singh
(Paranormal - Berkley Sensation)
“Because I've done extensive research about the Regency over many years, I have a good general knowledge of the period so I usually know if a story will work within the constraints of my historical period. But each story has specific elements that require more specific knowledge.
For example, in CLAIMING THE COURTESAN and TEMPT THE DEVIL, I had to know about the demimonde. In UNTOUCHED, I researched mental illness in the early 19th century. The Regency is such a popular setting for historical romance, I'm lucky when it comes to world-building. I can often use just a few salient details to establish the world. Many readers probably know as much or more about this period than I do!
One thing I like to do to establish a feeling of time and place is throw in the occasional unusual bit of vocabulary or expression. I want my readers to recognize that they're reading about somewhere different from where they live now. Luckily the Regency abounds in really colourful, vigorous language so that part of my writing is often a joy.”
Anna Campbell
(Regency historicals - Avon/HarperCollins)
“I spent 7 years researching my 1000 BC book. I searched libraries for rare books, the ‘net, interviewed Jewish folk and historians.”
Melissa James
(Harlequin romance)
“When creating the fictional peninsula and the township of Onemata in my February 08 release, TYCOON'S VALENTINE VENDETTA, and when I created the fictional luxury game resort in my August 08 release, CLAIMING HIS RUNAWAY BRIDE, both with Silhouette Desire, I drew very strongly on my own experiences and knowledge of the country in which I, and my characters, live. For what I was unfamiliar with it was an easy matter of researching such areas and places both online and via other people who'd experienced places like that (travel books are marvellous for this kind of information, I've found.)
As far as process goes, once I've decided upon where I'm going to set my stories I will glean as much information about it by (a) searching the internet, (b) taking relevant books out from the library, (c) visiting those places if at all possible and taking a whole lot of photos and notes, and (d) speaking to people who have been to those places or experienced the kinds of things my characters are doing.”
Yvonne Lindsay
(Silhouette Desire)
“My world building starts with the premise that my heroine is a powerful woman in her own sphere. Whether she happens to be a witch or a druid her existence is influenced by her matrilineal heritage and the goddess culture.
Since I'm fascinated by this, research is no hardship and I spend far too many hours reading up on ancient customs and beliefs, and then incorporate whatever happens to best fit my plot.
Within this framework I can twist the world to accommodate spirits of ancestors, elemental power from the earth herself and the occasional demon.
It's a lot of fun being the goddess-of-my-own-universe!!”
Christina Phillips
(dark erotic romance with paranormal elements - The Wild Rose Press & Berkley.)
“I usually use places I know for my books, although occasionally I will change some aspect of them. I very rarely name streets only towns.”
Ann Patrick
(contemporary romance - Whiskey Creek Press)
“You … have to 'know' everything about the world you create: location, scenery, seasons, culture, traditions, history, clothing, food... all that and more.
For example, I've drawn a map of the Settlement where my hero lives, detailing all the major dwellings and surrounding areas of importance. This helps me keep everything straight in my mind and also helps whatever I imagine to be accurately depicted on the page…
I like to keep things simple. I tweaked my characters' names a bit to make them a bit more exotic but not too hard to relate to. Like B-l-a-i-y-n-e for Blaine, L-y-a-m for Liam, C-a-i-y-l for Kale. I referred to the jobs people did as 'Trades' and capitalised them all, e.g. Potter, Healer, Hunter, Tracker. Same with significant places: the Gathering Place, Healing Hall or Elders' Hall.”*
Maree Anderson
(paranormal romance– Red Sage Publishing)
“My stories are steeped in reality, but my heroines have special abilities that set them apart, such as clairvoyance or witchcraft. So rather than building a futuristic, fantasy or parallel universe, my challenge is to show the internal world of my characters--what is it like to see and talk to ghosts; interpreting visions; learning who can you trust in the spirit realm--that kind of thing. I'm not psychic, but I do know people who have the gift and I draw on their experiences.
For research, I read a ton of esoteric books and memoirs by psychics, and I love to freak myself out by watching scary movies. This part of the process is where ideas for characters and plots percolate. By the time I'm ready to work on the book, I feel I'm writing from an authentic point of view.”
Vanessa Barneveld
(YA paranormal – represented by Writers’ House Literary Agency NY)
You can see from these comments that there is no set formula to world building. The process is as varied as there are genres. Frustrated yet? Join the club!
Next post we'll move on to how we begin world building when we have no idea where to start.
Quotes used in the posts:
* “We’re not in Kansas anymore, Toto” article by Maree Anderson from her website (www.mareeanderson.com)
** Nalini Singh website – web-link called Behind the Scenes re: “skin privileges” (www.nalinisingh.com/psy.html)
*** Worlds of Wonder – How to write science fiction & fantasy – David Gerrold (Titan Books 2001)
Friday, June 4, 2010
CRAFT: Great Writing Resources
The journey to publication isn't an easy one. As a beginning writer I had no idea of the wealth of resources available to me until I discovered Romance Writers of Australia.
From conversations with other writers, workshops at conferences and visiting the various bookstalls over the years, I've built up a substantial reference library of books that I use to help me in my craft, some more well used than others.
Maybe you might find one you're interested in - most could probably be found at your local library or ordered through a book/internet store.
The Australian Writer's Marketplace (insert current year) by Rhonda Whitton (Bookman Directories) - section headings include The Advice (including info such as what is an agent & what do they do, freelancing, getting appraised), The Markets (newspapers, scripts, publishers, manuscript appraisal services, agents), The Resources (literary organisations, literary awards & competitions, literary courses, literary events)
Martin's Young Writers Guide by R.D.Martin (Era Publications) - a book aimed at upper primary school aged children that explains and gives examples of ther English language in use and techniques for writing. Fantastic even for adults as it's put very simply and the examples are like gold!
Scholastic Dictionary of Synonyms, Antonyms & Homonyms (Scholastic Inc.) - a great resource for helping expand your vocabulary.
Editing Made Easy by Bruce Kaplan (Penguin Books) - a non-technical book aimed at providing straight-forward, practical guidelines for editing.
ANY Baby Name books.
A good quality dictionary and thesaurus.
The Art of Writing Romance by Valerie Parv (Allen & Unwin) - multi-published Aussie romance author, Valerie Parv has written an easy to read and refer to book with chapter heading you can flit through to suit your need on sense & sensuality, characterisation, viewpoint, dialogue, plot & conflict, setting, query & outline, markets.
Kate Walker's 12-Point Guide to Writing Romance by Kate Walker - another quick chapter reference guide to suit your needs on emotion, conflict, dialogue, focus, sensuality, passion, heroes, heroines, plotting, the black moment, happy endings, practicalities.
On Writing Romance by Leigh Michaels (Writer's Digest Books) - written by Harlequin romance author Leigh Michaels this is another good book that shares years of experience and knowledge gained about writing romance novels, the industry and the marketplace.
Passinate Ink:A Guide to Writing Erotic Romance by Angela Knight (Lightning Source Inc.) - a much dog-eared and highlighter coloured book, one I use a lot, particularly in the section on Plotting where the author charts the hero, heroine & villain's internal and external conflicts in an easy to read table.
The Complete Idiot's Guide to Writing Erotic Romance by Alison Kent (Alpha) - another easy to read guide on the elements involved in writing erotic romance. There's a particularly good chapter on The Emotional Journey.
Writing the Breakout Novel by Donald Maass (Writer's Digest Books) - a practical book on how to take your writing to the next level using examples from work from best-selling authors.
The Writer's Complete Fantasy Reference (Writer's Digest Books) - a handy guide for anyone writing in the fantasy genre, romance or otherwise. It covers a lot on world building looking at traditional fantasy cultures, world cultures, magic, witchcraft & pagan paths, commerce, trade & law in comtemporary fantasy, fantasy races, creatures of myth & legend, dress & costume, arms, armour & armies, anatomy of a castle.
Worlds of Wonder:How to Write Science Fiction & Fantasy by David Gerrold (Titan Books) - a step-by-step book on craft as well as techniques that will help you world build and improve your writing.
Your Novel Proposal:From Creation to Contract by B.Camenson & M.J.Cook (Writer's Digest Books) - another of my well worn and highlighted books that gives excellent examples of query letters, synopses & proposals.
The Dreaded Synopsis by Elizabeth Sinclair (Thomas Max Publisher) - when I write my synopsis this book lives beside my laptop and I refer to it constantly for insight and advice.
Blogging in the Classroom Grades 4-8 (Teacher Created Resources) - for the technologically challenged, an easy to read how to guide for young students (and "young" wannabe bloggers) on blogging, creating an interactive community and developing blogging skills.
Not every writer will find these books meaningful to them, they're just a launching point, a place to start if you need one. What you'll find, over time, is that you'll build up a core resource library of reference books you can refer to time and again. Hang on to them and, better still, recommend them to others!
From conversations with other writers, workshops at conferences and visiting the various bookstalls over the years, I've built up a substantial reference library of books that I use to help me in my craft, some more well used than others.
Maybe you might find one you're interested in - most could probably be found at your local library or ordered through a book/internet store.
The Australian Writer's Marketplace (insert current year) by Rhonda Whitton (Bookman Directories) - section headings include The Advice (including info such as what is an agent & what do they do, freelancing, getting appraised), The Markets (newspapers, scripts, publishers, manuscript appraisal services, agents), The Resources (literary organisations, literary awards & competitions, literary courses, literary events)
Martin's Young Writers Guide by R.D.Martin (Era Publications) - a book aimed at upper primary school aged children that explains and gives examples of ther English language in use and techniques for writing. Fantastic even for adults as it's put very simply and the examples are like gold!
Scholastic Dictionary of Synonyms, Antonyms & Homonyms (Scholastic Inc.) - a great resource for helping expand your vocabulary.
Editing Made Easy by Bruce Kaplan (Penguin Books) - a non-technical book aimed at providing straight-forward, practical guidelines for editing.
ANY Baby Name books.
A good quality dictionary and thesaurus.
The Art of Writing Romance by Valerie Parv (Allen & Unwin) - multi-published Aussie romance author, Valerie Parv has written an easy to read and refer to book with chapter heading you can flit through to suit your need on sense & sensuality, characterisation, viewpoint, dialogue, plot & conflict, setting, query & outline, markets.
Kate Walker's 12-Point Guide to Writing Romance by Kate Walker - another quick chapter reference guide to suit your needs on emotion, conflict, dialogue, focus, sensuality, passion, heroes, heroines, plotting, the black moment, happy endings, practicalities.
On Writing Romance by Leigh Michaels (Writer's Digest Books) - written by Harlequin romance author Leigh Michaels this is another good book that shares years of experience and knowledge gained about writing romance novels, the industry and the marketplace.
Passinate Ink:A Guide to Writing Erotic Romance by Angela Knight (Lightning Source Inc.) - a much dog-eared and highlighter coloured book, one I use a lot, particularly in the section on Plotting where the author charts the hero, heroine & villain's internal and external conflicts in an easy to read table.
The Complete Idiot's Guide to Writing Erotic Romance by Alison Kent (Alpha) - another easy to read guide on the elements involved in writing erotic romance. There's a particularly good chapter on The Emotional Journey.
Writing the Breakout Novel by Donald Maass (Writer's Digest Books) - a practical book on how to take your writing to the next level using examples from work from best-selling authors.
The Writer's Complete Fantasy Reference (Writer's Digest Books) - a handy guide for anyone writing in the fantasy genre, romance or otherwise. It covers a lot on world building looking at traditional fantasy cultures, world cultures, magic, witchcraft & pagan paths, commerce, trade & law in comtemporary fantasy, fantasy races, creatures of myth & legend, dress & costume, arms, armour & armies, anatomy of a castle.
Worlds of Wonder:How to Write Science Fiction & Fantasy by David Gerrold (Titan Books) - a step-by-step book on craft as well as techniques that will help you world build and improve your writing.
Your Novel Proposal:From Creation to Contract by B.Camenson & M.J.Cook (Writer's Digest Books) - another of my well worn and highlighted books that gives excellent examples of query letters, synopses & proposals.
The Dreaded Synopsis by Elizabeth Sinclair (Thomas Max Publisher) - when I write my synopsis this book lives beside my laptop and I refer to it constantly for insight and advice.
Blogging in the Classroom Grades 4-8 (Teacher Created Resources) - for the technologically challenged, an easy to read how to guide for young students (and "young" wannabe bloggers) on blogging, creating an interactive community and developing blogging skills.
Not every writer will find these books meaningful to them, they're just a launching point, a place to start if you need one. What you'll find, over time, is that you'll build up a core resource library of reference books you can refer to time and again. Hang on to them and, better still, recommend them to others!
Friday, January 15, 2010
CRAFT: Query Letters & Agent Hunting
At the end of 2009 my agent, Jenny, unfortunately had to close her agency due to the economic situation in the US - the recession has hit the publishing industry pretty hard. I've no doubt Jenny's decision was difficult as it meant not only the ending of many professional relationships with her clients but the closure ot her dreams of being an agent with her own agency. I wish her well in her future ventures, whatever they may be.
So, 2010 sees me on the hunt for a new agent. I've already started. I've surfed the 'net, looking at websites, updating my Top 10 agent wish-list, researching submission procedures and writing new query letters.
It's time consuming, sometimes monotonous but always a challenge. Writing that query letter just so, to hook the interest of an agent, is no easy thing. I spent the better part of today fine tuning individual QL's, checking formatting and spelling etc. and then emailing it off to my first chosen few.
What do I put in my QL's?
An introductory paragraph - ms title, word count, genre/target market. Sometimes this is also the paragraph I remind an agent they previously requested a full manuscript in an earlier submission (it doesn't hurt to remind them you've had former contact with them, they might even remember you!).
2nd paragraph - a description of the manuscript (I tend to write mine like the back cover blurb of a book).
3rd paragraph - the credentials of the manuscript being pitched (its contest placings, any publications etc.).
4th paragraph - a statement to the effect that I'm enclosing in the body* of the email what the individual agent required as a submission (eg. 3 chapters & a synopsis).
5th paragraph - a statement saying that I'd be more than happy to send them the full ms if the query interests them and that I'm looking forward to hearing from them.
Sign off with full contact details - name, address, phone number (including international area code) and email address.
*Most agencies filter out emails with attachments and unless the agent has specifically requested your work as an attachment, put it in the body of your email, after your query letter. Chapters or sample work first then synopsis.
Most agencies on my Top 10 list accept email queries and submissions. Some don't, so check carefully when researching information about your chosen agent or agency.
I also jot down, usually on my calendar when I sent a query, partial, full to an agent and when I'll follow up on the query (some agencies state when to check back with them after a certain period time) as well as who sent back a rejection, a rejections with feedback and so on.
Once I've done the rounds of sending out queries, I then sit back and wait, and continue writing the next book. It makes the time pass faster.
So, here's to a successful 2010 - Year of Hunting for a New Agent.
So, 2010 sees me on the hunt for a new agent. I've already started. I've surfed the 'net, looking at websites, updating my Top 10 agent wish-list, researching submission procedures and writing new query letters.
It's time consuming, sometimes monotonous but always a challenge. Writing that query letter just so, to hook the interest of an agent, is no easy thing. I spent the better part of today fine tuning individual QL's, checking formatting and spelling etc. and then emailing it off to my first chosen few.
What do I put in my QL's?
An introductory paragraph - ms title, word count, genre/target market. Sometimes this is also the paragraph I remind an agent they previously requested a full manuscript in an earlier submission (it doesn't hurt to remind them you've had former contact with them, they might even remember you!).
2nd paragraph - a description of the manuscript (I tend to write mine like the back cover blurb of a book).
3rd paragraph - the credentials of the manuscript being pitched (its contest placings, any publications etc.).
4th paragraph - a statement to the effect that I'm enclosing in the body* of the email what the individual agent required as a submission (eg. 3 chapters & a synopsis).
5th paragraph - a statement saying that I'd be more than happy to send them the full ms if the query interests them and that I'm looking forward to hearing from them.
Sign off with full contact details - name, address, phone number (including international area code) and email address.
*Most agencies filter out emails with attachments and unless the agent has specifically requested your work as an attachment, put it in the body of your email, after your query letter. Chapters or sample work first then synopsis.
Most agencies on my Top 10 list accept email queries and submissions. Some don't, so check carefully when researching information about your chosen agent or agency.
I also jot down, usually on my calendar when I sent a query, partial, full to an agent and when I'll follow up on the query (some agencies state when to check back with them after a certain period time) as well as who sent back a rejection, a rejections with feedback and so on.
Once I've done the rounds of sending out queries, I then sit back and wait, and continue writing the next book. It makes the time pass faster.
So, here's to a successful 2010 - Year of Hunting for a New Agent.
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