Five Scribes

Brenda Novak Auction Opportunities

2012-05-22T23:00:00.001-06:00

Each May for the last four years, I've hit the Brenda Novak Auction almost daily, like they were selling crack-laced romance novels and dark chocolate-dipped critiques. I actually won twice, which rocked. Obviously, I've been a big fan.Writers and readers converging for a good cause? Sign me up.

When Entangled decided to put together a huge group of donations for the auction, I was stoked. I immediately jumped on that and donated a full manuscript critique. Excited to participate? Me? Maybe.

Okay, yes. In fact, I'm so excited, I think I'll sweeten the pot and add a 30-minute phone call or a set of e-mail volleys to follow up with questions, brainstorming, or whatever. This is in addition to the critique, which is like a first pass edit (usually a minimum of eight pages, single-spaced).

I hope you've all ogled the offerings over there. The auction is for an amazing cause, and there are some wonderful opportunities. The "Editor Evaluations" have listings that will allow winners to skip to the head of the slush pile, and there are awesome agents offering up their own listings.

The Entangled editors are listed under the Entangled category. If you're interested, we're offering critiques (rather than just evaluating submissions), and they're all a steal...for now. ;)

Leave a comment here to say you've ogled the Entangled page, and I'll send one of our new mass trade paperbacks to a random commenter.

And for faster access to the amazing listings, behold! I give you links.

Editorial Director Stacy Abrams
Managing Senior Editor Adrien-Luc Sanders
Senior Editor Nina Bruhns
Senior Editor Erin Molta
Editor Rochelle French
Associate Editor Kerry Vail
Associate Editor Libby Murphy
Associate Editor Moi!

If you bid, good luck! Don't forget to leave a comment for a chance to receive one of Entangled's launch mass trade paperback titles: Lisa Kessler's Night Walker (paranormal romance), Melissa Ramirez's Bare-Naked Lola (sexy mystery), Jennifer L. Armentrout's Obsidian (paranormal romance YA), or Lisa Burstein's Pretty Amy (YA).

Social Media Class for Everyone

2012-05-03T11:58:00.003-06:00

Social Media is important to writers or anyone who wants to promote themselves, products (like books:)) or simply stay in touch with friends and the world.

Don't understand it? I don't either, really. But Cindy Carroll is going to change that.

So take this class, it could be one of the most important tools in your arsenal to win those readers, stay in touch and be cool when someone asks for your "handle."

In Social media for the writer we’ll look at the different options out there and demystify them.

Social media confusion?

With so many social media options out there what’s a writer to do? We can’t join all of them. Well, I guess we could but then when would we have time to write? The fact is social media helps sell books. Love it or hate it, if you’re a writer with a book to sell you need to be on some of the social media sites. The important thing is to pick the one (or two or five) that are right for you.

I hear frequently from other writers that they don’t like social media. They don’t like Twitter because it’s confusing. They don’t like some of the other ones because they take so much time. So really, is it that they don’t like social media? Or that social media confuses the heck out of them so they stay away?

In a lot of cases I’d say it’s the later. I know some members of my writing group were apprehensive about joining Twitter because they wondered who would follow them. Wouldn’t they look pathetic if they had zero followers? Or just a handful? Until I found some tools to help me organize and decipher Twitter I wasn’t a huge fan either. Now I LOVE Twitter.

After implementing tools because I had a specific target I gained over 200 followers in less than 3 weeks.

And my friend Joanne (http://www.twitter.com/JoanneGuidoccio) who just joined Twitter a little over a month ago followed my advice and has over 500 followers in her first month!

Social media is not just about getting your followers or friends or repins up there. Social media is a great way to connect with readers, make friends, learn about opportunities. Did you know some agents hold pitch sessions on Twitter? Yep. Tweet your pitch in a 140 characters or less! I found out about the Avon Impulse call for submissions on Twitter.

For all these reasons and more, I’m giving a Social Media for the Writer http://bit.ly/IppdbO class!

I talk about ways to organize your social media to better use it. I help demystify some of the most popular social media sites. And there will be assignments to get you started on your social media of choice!

Cindy Carroll is a member of RWA and a graduate of Hal Croasmun's screenwriting ProSeries. Her interviews with writers of CSI and Flashpoint appeared in The Rewrit, the Scriptscene newsletter, the screenwriting Chapter of RWA. She writes screenplays, thrillers, and paranormals, occasionally exploring an erotic twist. When she's not writing you can usually find her on Twitter.

What’s covered?

Explanations of Twitter, Facebook, Google+, Pinterest, Reddit, Digg, LinkedIn, Triberr, GoodReads, Blogs

What are they? How do you use them? Which one is best for you?

Week 1 Twitter
Week 2 Facebook
Week 3 All others/ Wrap-up

See you there!
~LA

Characters: Who's the Person Inside?

2012-05-01T09:23:00.000-06:00

Five Scribe Readers: I'm pleased to present two writing personas, Darlene Ryan and Sofie Kelly, whose newest release COPYCAT KILLING is rapidly climbing the Amazon Ranks. She offers invaluable advice here. I'm taking notes. ~ Donnell

A couple of years ago, I took my mother to the funeral of an old friend. At the reception afterward, Mom was quickly surrounded by a group of women she hadn’t seen in more than twenty years. After the third round of having my cheeks pinched and hearing, “Is this the baby,” I escaped to the kitchen where there was a pot of strong coffee and a poker game going on. (Not a disrespectful gesture to the deceased; she’d been using her sweet, little old lady face and card-shark skills to bilk her son’s friends out of their gas money for years.)

After, as we headed home, I asked my mother about her conversation with her old friends. She caught me up on who was doing what and with whom, and then she sighed, “And of course nothing’s changed in Lowey’s life. Nothing ever does.” She shot me a sideways glance. “I know it’s a terrible thing to say, but I think I had the same conversation with her in 1963 that I had today.”

“What do you mean?” I asked.

Mom shrugged. “I’ve known her since your sister was a baby, but I don’t really feel I know her at all.” She laid a hand on her chest. “I don’t know the person inside. I don’t think anybody does.”

To make a character come alive for a reader, you need to know the “person” inside. The best characters are the ones who feel almost like a real person, not like the literary version of Flat Stanley. You need to know what your characters love, what they hate, what they think they should want and what they really do want to make them feel like real people to your readers.

Some writers know all the surface details about a character; what color her hair is, whether her eyes are blue or brown, and if she has Crocs or Jimmy Choo pumps in her closet, but they don’t know what her secrets are. And secrets can make a character feel more real.

What is your character is hiding? What is it that she doesn’t want anyone else to know? Maybe next to those expensive Jimmy Choo’s in her closet she has three pair of size eighteen sweatpants, two pair that are size ten, plus a pair that’s size six. A woman with three sizes of sweatpants in her closet is a different person from the woman who has five pair of tailored black pants, all a perfect size four.

Maybe you’ll share some of your character’s secrets with your readers. Maybe you won’t. Maybe you’ll hold something back for a later chapter or another book. But knowing those secrets will help you figure out what kind of a person she is and how she’ll act. Maybe all your readers will learn is that your main character has fiery, red hair, while only you know it’s courtesy of L’Oreal. You may tell them that your hero has a university degree, but you might not share that he had to repeat Grade 2.

Ask yourself, what scares your character? What makes her cringe with embarrassment? What does she lie about, even to her closest friends? What is he terrified of losing? What keeps him awake at night? What makes her laugh? Who broke his heart?

When you can answer these kinds of questions you’re a lot closer to knowing the person inside your character and your character is a lot closer to feeling alive.

Bio

Darlene Ryan is an award-winning author of young adult fiction including Five Minutes More, Responsible, Saving Grace, and Rules for Life, an ALA Best Book for Young Adults. Her latest teen novel is Cuts Like a Knife.

As Sofie Kelly she writes the New York Times bestselling Magical Cats mysteries including Curiosity Thrilled the Cat, Sleight of Paw, and her newest release Copycat Killing.

Visit Darlene at www.darleneryan.com

Visit Sofie at www.sofiekelly.com

Tick Tock, Deadline Approaching for Romancing the Script Contest

2012-04-28T14:54:00.001-06:00

Okay all you RWA screenwriters out there, May 1st is fast approaching. You don't want to miss out on the Romancing the Script Screenwriting Contest, really you don't.

Run, don't mosey, over to: www.scriptscene.org and click on the contest page to find the list of stellar judges and our final judge: Suzanne Lyons, Producer/President Snowfall Films, Inc and WindChill Films, Inc.

Download your application and the rules and get us that script.

And if for any reason you have trouble with the site, it's getting a "facelift", then email me directly at Lesann415@q.com.

~ciao,
Leslie Ann, 2012 Contest Chair,
Romancing the Script Screenwriting Contest, Scriptscene RWA

Cynthia D'Alba Two Steps over to Five Scribes

2012-04-18T10:16:00.002-06:00

Five Scribe Readers, I’ve known Cynthia D’Alba for a few years now, but I must confess I never had any idea that she was ed-u-ca-ted. She’s worked as an RN, taught Obstetrics in an RN program, coordinated a prenatal screening program and then was Medical Services Director at the University of Tennessee, Memphis. Cynthia ended her medical career as an Administrator for a private group medical practice, then missed academia and left medicine to return to the University of Memphis as Director of Graduate Programs at the Fogelman College of Business. She grabbed the opportunity to return to Arkansas by taking a position as Assistant Dean for Executive Programs in the College of Business at the University of Arkansas at Little Rock. There she finished her education by earning a doctorate in Higher Education Administration. In 2002, she retired. Always an avid reader, she decided to try her hand at writing. Is it any surprise then that this woman who holds a doctorate accomplished her dream of publication? I’d never bet against this woman at anything she puts her mind at to succeed. Last but not least, she's also the debut author of TEXAS TWO STEP!!! Please welcome my firend, the lovely and generous Cynthia D’Alba to the Five Scribes.

CDA: Wow. You make me sound so good in the intro. *Fluffs hair* Thank you.

D.B.: My pleasure, Hi, Cyndi, by the way, I do believe that’s one of the longest bios I’ve ever written. But, damn, I’m impressed. Congratulations on your debut of Texas Two Step by Samhain Publishing. I read that you wrote a doctorate, but that you think writing fiction is harder than writing your thesis. Why is that?

CDA: Writing fiction is harder than writing my dissertation. With my dissertation, it was fact-fact-fact, then test, then analysis. Nothing from my imagination. I was working within the constraints of the facts and research findings. With fiction, the only limits are the ones I put on myself. The other problem is there are some rules with writing fiction, like keeping your point of view consistent, and I had to learn those rules to make my work acceptable to publishers. I had a huge learning curve.

D.B: Texas Two Step is a fun, sexy read. It’s the story of Olivia Montgomery-Gentry and Mitch Landry. They share a strong attraction and a tumultuous past, and part of this past is that they have a son that Mitch knows nothing about. First question, this is a reunion story, and then of course the secret baby. Why do you think romance readers are so drawn to this type of novel? And tell us what inspired you to write this book?

CDA: I think what makes reunion stories so much fun is all the emotional trauma that has to be dealt with. Reunion stories and second chance stories look at the fork in the road we’ve all faced at some point. Choosing the left turn instead of the right turn and our lives would be totally different. I suspect many of us also have a story about the guy (or girl) from our past that we wonder, what if…

Why this story? Mitch started out as an Italian Prince for a Harlequin Presents contest. After a couple of chapters, he fired his rifle in the air to get my attention and announced that: 1) I had his last name wrong, and 2) put him back into his jeans and cowboy boots or else. Gunfire always makes me sit and pay attention.

D.B: Olivia is a dynamite character. Strong, sexy, she’s come into her own. Mitch is sexy as all get out, and you have a gift for describing these characters. How long have you been working on Texas Two Step, and you just seem to know these characters like they are part of you. When Olivia spoke, I even could hear her Texas twang, and I could easily see these characters. Tell us what inspired them and how much fun (or not) was it while working with them?

CDA: What everyone is missing is that this book is from the Texas Montgomery Mavericks. When most people think of “mavericks,” they think male or hero. But Olivia is the Montgomery Maverick in this book. She’s strong. Self-assured. Determined to not let life’s hurdles defeat her.

Mitch is a very alpha male. He makes decisions that he thinks is best…including decisions that affect lots of people without consulting them because he’s sure he’s made the best decision. There aren’t many women who can handle that kind of challenge.

The two most important women in his life are Olivia and his mother.

D.B. I enjoyed the wedding portion of this book very much. Mitch’s jealousy over this guy named Adam. The wedding planner was wonderful and you force these two estranged partners together at every turn. Note: For any aspiring authors out there, when you’re writing romance, you must get your hero and heroine together. If you need an example of an author who does it extremely well, please check out TEXAS TWO STEP. Has this scene changed very much from draft to draft, or did you just envision getting your protagonists together from the start?

CDA: That scene didn’t change much from draft to final version. I just kept asking myself…How can I make this worse for Olivia.

D.B: This book is book one in a series. You have just completed a very successful book tour. Are you glad/relieved that the tour is over with? And are you getting back to writing? Tell us about a typical day of writing, and how are you doing with the word DEADLINE?

CDA: Thanks for the nice compliment on my book blog tour. It was quite an undertaking. I’ve written one blog on the tour and am in the process of putting together a workshop on setting up book blog tour. If I’d know then what I know now, I would have done some things differently. I am just getting back to writing. I found the blog tour to be very draining to my creativity. I was using up my creative juices to write entertaining blogs instead of putting that effort into my next book. I don’t have a deadline as the next two books in the series are not contracted. Personally I do much better with a deadline. I love deadlines. If I have one, I WILL have it done by then. Without a deadline, I have a tendency to fiddle around. J

D.B: You have quite a list of characters in Texas Two Step, and I suspect we’ll see them again. I wonder if Drake and Magda might show up in book two? You did an excellent job of showing their attraction –and resolving a conflict as a result. Do you use charts, spreadsheets, do you know these characters and there you don’t need them. Personally I love a book with lots of characters. It gives it a richer cinematic feel in my opinion. Was this intentional on your part? Did the cast of characters just start to grow? And was it your intention from the start to create a series?

CDA: Quite a list of questions, DB! I’ve had a number of inquiries about Drake, including a phone call from sister! If I won’t tell her what happens I sure can’t put it here. (hee hee) Book two is Travis Montgomery’s story. He and Drake are life-long friends. Since Drake moved back to Dallas in book one, then I expect that he might show up in book two. Do him and Magda end up together? Can’t say.

Do I use charts and spreadsheets…One of my degrees is a master of business. I LOVE my spreadsheets. So yes, I have spreadsheets, particularly timeline spreadsheets. I have a spreadsheet of all the male and female names and their relationship. Did I plan to have so many characters? No. Sometimes the character walks on stage and announces himself. Hobbs did that, as did his daughter, Magda. Neither of these characters were in my plans.

D.B: It's my job to ask questions, CDA. :) Talk to us about writing for Samhain? What did you learn as a debut author about publishing, and will it help you simplify your writing life in book two?

CDA: My experience working with Samhain Publishing has been incredible, awesome, wonderful! It’s the kind of experience I would wish on every new author. An editor who didn’t try to change my voice or interject her own into my story. She didn’t try to change my story, only improve or clarify my story. I had a line editor who found the tiniest mistakes. And then the cover artist…WOW. What a wonderful job Scott Carpenter did with my cover.

As far as making the second book “easier,”…I have to say no. Every book is different…new characters and new challenges while trying to integrate the previous characters as I know readers want those glances into the lives of earlier characters.

I think my overarching problem is my own insecurity about my writing. Fear of failure is the hurdle I have to climb over every day when I sit down to write. One book doesn’t ease that much, at least not for me.

D.B: Speaking of book two, when should we expect it? And could you give us a blurb?

CDA: Book two isn’t contracted so I don’t have a date for that. The working title is Texas Tango Tangle. Here’s a brief blurb:

Travis Montgomery thinks Caroline Graham’s idea to state a fake wedding to ease the passing of her dying grandmother is nuts. But Caroline hold the deed to a piece of land Travis has coveted for years. The only way to get his hands on the property is to go along with this crazy plan. After all, Caroline will only be in town another six months and she’s promised to quick claim the land to him when she leaves.

Neither of them expects to be attracted to the other. Caroline doesn’t want to put down roots and Travis doesn’t want another wife. Unfortunately, an obscure state law throws their perfect plan out the window. Can they confess their love before it’s too late?

D.B. What advice would you give today’s aspiring author?

CDA: 1) Write. Write. Write. The only way to get good is to write. 2) Don’t just keep writing the same story over and over. Start something new. 3) Don’t get in too big of a hurry to publish. Yes, we can all self-publish but be sure your work is ready for the public.

D.B: Cyndi, I enjoyed Texas Two Step, and I know I will love book two as well. Thank you for being with us today. You’ve earned a long rest.

Thank you so much for having me here today. I’ve never been able to keep a secret so ask me anything! To learn more about me check out these links:

Cynthia D'Alba

Website Facebook Twitter

Texas Two Step - A Samhain Best Seller

Samhain |Amazon |Borders | Powell’s | B & N

I have one digital copy of Texas Two Step to give to one lucky person who comments.

Blogger's Note: I'll be attending a Writing Conference this weekend so comments will be left open until Sunday the 22nd.

Thanks again, Donnell! ~ My pleasure, Cynthia D'Alba. Come back again.

Talkin' About the CB Writers Conference

2012-04-11T08:59:00.017-06:00

I could go on for a L-o-n-g time gushing about the Crested Butte Writers Conference June 22-24, 2012.

It’s my baby and Barbara and I are so proud of that amazing weekend! But I thought I’d offer a bit of more unbiased opinions from past participants. I asked them what they liked best about it and why they’d want to come back. Here’s what they had to say:

Crested Butte WC is in a class by itself. With its magical setting, small, intimate gathering, and well-organized structure, creative energy abounds. This is a beautiful mecca for anyone who wants to learn more about the written word.

~Susan Wiggs, NYT Bestselling author (2008)

I had a great time at the Crested Butte conference. I can't think of anything better than being nestled in the mountains with a small group of people who have something to say and who are seriously committed to improving their writing. I wish they'd put me on their permanent faculty roll.

~William Bernhardt, NYT Bestselling author (2009)

Well, the setting was one of the best I've ever had in terms of conferences...

you can't beat the mountains and the town. Loved that! But also, I like that it was laid back. I think it made writers feel comfortable approaching us (industry people) with questions or just to talk.

That's what we're there for, ya know? You'd be surprised how many conferences aren't like this.

~Joanna Stampfel-Volpe, Agent at Nancy Coffey Literary agency (2010)

I’ve attended big conferences, but much prefer the smaller, more intimate conference. At the Crested Butte Conference, everyone has a chance to participate—either in reading his or her WIP at the open readers night (what’s that called?), or sharing a breakfast or lunch table with editors and agents (who have a tendency to hide at the larger conferences), to having more than a 5 minute appointment with editors or agents who are swamped by attendees at the big conferences.

There is such a relaxed and friendly atmosphere at CB that everyone is accessible—from conference coordinators, to agents and editors and panel presenters. The workshops presented are informative, open to audience participation, and as good as larger conferences—but with smaller groups so you’re more involved. And also...the price. It’s half what some of the big conferences charge, and I think you get a better value...including a stunning mountain setting.

~Kaki Warner, RITA Award-winning Author (2010,11,12)

We always hear about those "smaller" conferences where things are homey and intimate and the connections you make will last you a lifetime. I've been to a few now and though they all had touches of these elements, Crested Butte is the first one where I walked in, was welcomed, and immediately felt like I'd come home.

This is a great little conference with the friendliest atmosphere and lots of wonderful opportunities to connect to writers and industry professionals in a manner that is more than just deer-in-headlights pitches. Oh, and the setting? Paradise.

~Tes Hilaire, Published Author (2010)

I had heard about the Crested Butte conference for a couple of years before I actually took the plunge. Everything about it is a truly unique conference experience. Workshops are versatile and diverse, the scheduling tight and concise, enabling the bulk of attendees to participate in everything. It’s almost a “single-track” experience, with enough variance for specialty interests and skills. No ‘oh, gosh. . . which of these six workshops do I go to now?’ The guest speakers, agents, and editors are top-notch and relaxed – probably something to do with no eight-hour pitch sessions, and pre-submission of materials. The casual breakfasts are perfect for renewing friendships and making new ones.

Saturday, the conference is combined with a Readers Day – Ever met a writer who didn’t want to mingle with readers and vice versa? Free buses and free evenings to explore the magic, people, and shops/restaurants of Crested Butte. The surrounding community, venue, and staffers who put it all together are like an extended walk through a dream. A ten-star experience in a five-star resort. Unable to make it this year, and boy, am I gonna miss it.

~Ron Heimbecher, Author (2010,11)

What I liked about the Crested Butte Writer's Conference was that it was the fact that it was so small and intimate. I think everyone there felt less intimidated by the writing/finding an agent/publishing/marketing process. This not only goes for the aspiring writers, but the published writers and agents and editors who attended. Of course, I cannot speak for everyone, but it seemed that no one I encountered had their defenses up as sometimes happens at conferences. At some conferences the agents and editors are in a walled castle with the drawbridge up and the moat full of alligators. I understand why, because I've seen looks on the faces of agents at some conferences and that make the poor kitty in Pepe La Pew cartoons look relaxed.

At Crested Butte, there seemed to be more focus on what is good storytelling and writing, then what genre is in vogue at this particular second.

If there was one disappointment for the year I attended, it was that the editors and agents elected not to attend the story readings. I thought how sad it was that they missed an exercise that got to the very genesis of literature. It was like the ring around the campfire when all the chores of the day were done and the reward for a good day's work was some entertainment. Bring on the storyteller. No film, no video, no hype--all pictures made with words and breath. What could be more human? ~Martha Catt, Author (2010)

Intimate conference, with plenty of individual face time to get to know high power editors, agents, and authors. Beautiful location with nice amenities and friendly people. I love the first pages session, it's a chance to see the real arbitrary nature of what writing attracts and appeals to people in the publishing industry, and what doesn't. I come back each year for the opportunity to learn more about the craft of writing, and the publishing industry in general.

~Mike Keith, Author (2008,09,10,11,12)

Favorite Time of Year?

2012-04-10T05:00:00.004-06:00

As the winter is waning here in Colorado, even though it was a mild one, I'm ready for a change. Though I love shoveling snow--no thanks you snow-shoveling haters, I've got a big enough drive to keep me busy, I'm not going to come to your house, winter has been around long enough for me. And then I think about how lucky I am to be able to live here where we have four distinct seasons.

I LOVE having seasons. We lived in San Diego for 5 years, and while I made some terrific friends and it was a good experience, I missed not having four seasons.

And I missed not having good old midwestern falls.

Fall is my absolutely favorite season hands down. The colors are lovely, the smell is wonderful, it’s a cozy time of year or anticipation, heralding in coming holidays which means great food and family. It’s the rest before the delightful madness. And it’s huddling before a fireplace with a good book–one of my favorite things to do!

What is your favorite time of year? Hmm, how much of your opinion do you think is a factor of where you grew up imprinting that feeling/desire/appreciation on you? I'd hazard a guess that it has a lot to do with my desire for four seasons and loving the fall. I grew up in michigan and I'm old enough that we used to burn the leaves at the street. I LOVE that smell of burning leaves. It reminds me of home, my grandma and good things.

You?

Congratulations to The 2012 Sandy Finalists!

2012-04-05T11:53:00.003-06:00

As many of you know I am the coordinator the Crested Butte Writers writing contest, The Sandy. I want to thank the 60 plus judges who selflessly offer their skill and time judging the first round of this contest. Without them, we'd have no contest. SO thank you so very much to the best judges in ANY writing contest! I am very proud to announce this year's finalists. Please join me in wishing them good luck in the final round.

Congratulations
to the
2012 Sandy Writing Contest Finalists! Mainstream Adult Fiction Final Judge, Kevan Lyon, Agent at Marsal Lyon Literary Agency Laura Haley-McNeil (CO)—Rhapsody in Death Judy Wirzberger (CA)–- Sisters ad Other Strangers (tie) Nanci Woody (CA) – Tears and Trombones (tie) Romance Final judge, Sue Grimshaw, Editor at Large & Category Specialist for Ballantine&Bantam DellMartha Catt (NC) – Special Valuation (tie) Teri Wardell (AZ) –Caller of Light (tie) Robin Weaver (NC) –Design Flaw Fantasy/ Science Fiction Final judge, James Frenkel, Editor at Tor/Forge Starla Huchton (CA) --- Antigone’s Wrath Lawdon (CO) –Dragon’s War: A Vampire Novel Heather Leonard (AL) -- Spellbound Thriller/ Suspense / Mystery Final Judge, Kat Brzozowski, Assistant Editor at Thomas Dunne Books Christopher Boswell (VA) --- The Franklin Destiny Judith Dailey (WA)—No Traveler Returns (tie) Powl Smith (CO)—The Treasure of Seleucia Geoffrey Saign (MN) –Ecokill (tie) Children / Young Adult Final judge, Mary Kole, Agent at Andrea Brown Literary Agency Fabio Bueno (WA)—Bewitch Me Maggie Lynch (OR) –Cameleon Lori Sauter (OR) – The White Death on The Doorstep This is the first year we opened the contest up to published authors. If published in fiction, the entry must have been a fresh story not submitted anywhere or professionally edited. Of the 167 entries, 24% were from published authors. Of the 16 finalists, 25% were published authors.

Romancing the Script Contest - Scriptscene RWA

2012-03-29T13:44:00.000-06:00

This is the ONLY RWA contest for RWA members who write scripts.

We have a fabulous prize package and industry judges. Check out our video.

Then go to www.scriptscene.org/contest to enter!

Ciao

~LA

Dialogue -- Tell it like it is

2012-03-27T21:43:00.001-06:00

Hello, Five Scribe Readers, I'm pleased to bring C. Hope Clark to us today. Her bio alone should inspire readers to pay attention to her very wise words. Do your characters' personalities reflect in your novels? Read on for some helpful advice. Please welcome C. Hope Clark to The Five Scribes.

Evolving as an author takes intense focus on detail, serious attention to flow, and a knack to carry characters across that threshold from two-dimensional to three. We spend hours weaving plot, describing scenery, and creating remarkable hooks and cliff hangers. However, one of the most important parts of a story, frequently overlooked, is dialogue.

I belong to two critique groups. One is online, and as a result, the members have extended time to edit pieces. They are vicious in a familial kind of way, as if saying "this spanking hurts me more than it hurts you." I adore them, and can easily claim that their bloodletting over the years has done my writing some fabulous good. Like looking back at high school English and realizing that sour-faced, ruler-whacking honors teacher actually knew her stuff.

My other critique group is face-to-face, where the author reads aloud ten, double-spaced pages as the crowd takes notes. Afterward, the group addresses weaknesses and strengths in a round-table discussion. While I can say my first group is more advanced, there's something about the oral presentation of the second that has helped me with dialogue. All because I have to read it aloud, emulating the characters.

I can honestly say the best and worst comments I've received about my fiction were about dialogue.

The Worst: "You try to tell too much story through your dialogue."

The Best: "I can tell who each character is without having a tag, because your players are so individualistic in how they speak."

I'm a sucker for excellent dialogue. When an author paints a story through characters' words, I'm drawn like a bug down a storm drain into the story. I'm of the mind that the character needs to tell the scene more than the author. I'm also from the school that dialogue should be so distinct that a tag is inserted purely for beat, because the reader already knows who's speaking.

In Lowcountry Bribe, Carolina Slade is a county agricultural manager dealing with farmers who struggle to pay their loans. A particular farmer, Jesse Rawlings, becomes the focus of the book. In this scene, Jesse arrives at the office with his brother Ren, again unable to make his payment.

Jesse loosened Ren's grip on me with a tender tug and handed him a peppermint. "It's okay, buddy." Ren exchanged a grip on me for the candy.

Jesse turned back and spoke flat and cool. "Sorry, Ms. Slade. Come on outside. Got somethin' to show you."

"Somethin' to show you," echoed Ren.

"We can talk here," I said.

"Please, ma'am. Need you to see my truck. Might help you understand."

Jesse speaks in elementary language to his simple brother, rarely more than four or five words at a time. Distinct. However, when conducting business with Slade, he resorts to country talk, dropping nouns and forgetting his "g"s. Slade speaks in complete sentences, an educated lady. Ren, of course, mimes his older brother.

However, when Jesse takes Slade outside to his truck and offers the bribe, his sentence structure cleans up, flaunting a keener mind behind the good old boy persona.

Jesse drew me by my stretched sleeve to the truck bed, my face barely a foot from the nearest body. "There's ten thousand dollars in it for you," he whispered, draping his arm around my shoulders. "If you find a way to get me the Williams farm. We can iron out the details later . . . in private." He winked and clicked his tongue. "If you know what I mean."

Online classes and workshop speakers instruct us to :

== Avoid dialogue modifiers like exclaimed, retorted, shouted, and cried.

== Avoid over-mentioning names.

== Avoid wordiness. Simplify and get to the point.

== Avoid repetition. "Yes, me too" or "We agree with Tom when he said..."

== Avoid using dialogue to insert backstory.

== Avoid long passages. Break up dialogue with narrative, or "beats."

== Avoid overdoing dialect. A little goes a long way.

These are mechanical lessons. The most important aspect of dialogue, however, is personality. When you face various races, ages, intellects and social backgrounds, the task of differentiating characters isn't hard. But in a scene full of all white, Southern men from the same community, how do you discern the voices? Or all Mexican grandmothers at a funeral? Or all black children on a playground? Actions, clothing, height, and weight are fine, but the most memorable is often the dialogue.

Go sit incognito in an environment where the people are much the same. A fast food restaurant at six AM when construction crews are grabbing breakfast. A college cafeteria. Senior day on Wednesday at the grocery store. The waiting room at the veterinarian's office. Close your eyes and listen to what they have in common, and how they differ.

Catch the inflections, dropped consonants, contractions or no contractions. The condescension or intimation. Subtleties speak volumes.

Who tends to drop their voice at the end of a sentence, or always finish with a question mark? Who forgets their verbs or sprinkles the occasional "um" and "er" in their phrasing?

A lawman in a mystery might speak distinctly, with no wasted words, so that in a circle of men, his conversation is recognizable. A bureaucrat may talk around a subject, and an older brother might sound self-assured. A teacher will speak differently to one student versus another.

Develop an uncanny ear for the double entendre. Use metaphors. Develop a unique rhythm per character. Play-act and read aloud for credibility.

Talk brings a story to life. A reader should look forward to the speaking parts, much like a movie where a narrator stops and the actors take center stage. Dialogue propels a story forward, but we don't want to hear it in black and white. We expect the chit-chat to be in Technicolor as well as the rest of the show.

BIO:

C. Hope Clark is founder of FundsforWriters.com , chosen by Writer's Digest Magazine for its 101 Best Websites for Writers for the past eleven years. Her newsletters of advice and resources for serious writers seeking an income from their toil, reach 43,000 readers each week. www.fundsforwriters.com

Hope is also author of Lowcountry Bribe, A Carolina Slade Mystery, from Bell Bridge Books, February 2012. Set in rural South Carolina, protagonist Carolina Slade faces crime in rural America, in stories the average urban dweller would never comprehend. Available via Amazon, B&N, on Kindle and Kobo, and through the publisher, www.bellbridgebooks.com. Learn more at www.chopeclark.com

Hope is a member of Sisters in Crime, South Carolina Writing Workshop, and MENSA. She speaks around the country at numerous writers' conferences. When she's not writing, however, she's living the rural life on the banks of Lake Murray in central South Carolina along with her gardens, chickens, and three lovely roosters. She composes her tales from her back porch beside her husband, a thirty-year federal agent, overlooking the water, bourbon in hand just like Slade.

A Discovery of Witches by Deborah Harkness

2012-03-27T05:00:00.001-06:00

As I've grown in the craft of writing, I've become pickier about the books I read--as I'm sure many of you have become. If the book doesn't hook me in 50pgs--I put it down. In my capacity of Co-Coordinator of the Crested Butte Writers Conference, I'm always looking for interesting authors--preferably bestsellers who are good speakers who aren't so crazy popular and busy that they command exorbitant amounts of money to attend events.

In reading my Costco magazine, I came across this Buyer's Choice Pick--A Discovery of Witches by Deborah Harkness. A genre book. Hmm. I'm now curious. In my experience, most "book picks" seem to gravitate towards either literary efforts or suspense/thrillers. This is a contemporary fantasy with strong romantic elements--ala Twilight series only with older main characters and different "creatures". Witches, vampires, and daemons. It's a NYT bestseller. It's a trilogy. Since the Harry Potter and Twilight phenomenons had dominated the book and movie charts, I'd heard it rumored that vampires and wizards (witches) had run their course. Hmm.

Further research tells me it's Deborah's first fiction book--I try not to hate her, but succumb to the temptation to give the story a more critical read. She's sold the movie rights--and instead of stalling in pre-production hell, the movie preliminaries seem to be moving right along nicely. It looks like the movie could get made within this next decade. The main character is a scholar who enjoys researching historical documents. It is wrapped up in history and alchemy.

I don't like history much and had to look up alchemy in the dictionary. It's "the medieval forerunner of chemistry, based on the supposed transformation of matter--particularly with attempts to covert metals into gold or to find a universal elixir." If you didn't know that, then you've learned a new word today. Somehow it's wrapped up in the quest for immortality.

What's so special about this book? This LONG book. At 561 trade-paperback pages, it's a long manuscript--another thing that should have made this a tough sell. This picky writer/reader had to sate my curiosity and find out. So off to Costco I went and then I read it in a week--which is fast for me.

Happily, I really loved the story. I found myself reading as slowly as possible, savoring the book--as happens to me when I'm really enjoying a story. I don't want it to end! But the writer in me demanded to know why. So these are my reasons:

-- As a lover of classic Bewitched TV show, I enjoy the fantasy of creatures that use magic.

--There's a strong pull of elements that always compel me: love of family, loyalty, love, respect, protectiveness and honor.

--The older I get, the less patience I have for discrimination--and this is a classic Romeo/Juliet story of two people meet and fall in love and aren't allowed to be together because she's a witch and he's a vampire.

--The mystery/suspense aspects are compelling and well-done.

--The pacing is good.

--The romance is good.

--The writing is quite good.

--I loved the main characters. I really cared about all the characters, not just the main characters. Diana and Matthew, are well-drawn, sympathetic characters, although in an attempt to have our heroine be strong and save herself, I'd caution Deborah not to do this at Matthew's expense. My one criticism of the story is that near the end when Diana and Matthew are attacked by Matthew's old flame, Juliette, Matthew appears weak to me. We'd been told what an amazing fierce warrior he is, we'd been told that he killed a witch who threatened

Diana, Matthew is the head of some secret society that protects innocents, however he does a poor job of protecting himself from Juliette. He does nothing to defend himself or fight her and neutralize her threat. I was really disappointed in this and lost some respect for my hero here.

The next book in the series, Shadow of Night,comes out July 2012 and picks up where this one ended, plunging Diana and Matthew into Elizabethan times. It appears to have a completely historical setting. Hmm. A historical. Interesting. Will fans of her first book want to follow Diana and Matthew into a totally historical book? Ordinarily, I'd say this might be a

concern. But for this author and this story, I'm willing to bet it's not a problem.

So have you read this book? What did you think?

Author Robert Spiller discusses Radical Equations

2012-03-13T22:01:00.000-06:00

Five Scribe Readers, I’m often humbled and intimidated when I read fellow authors. Let me say, that Robert Spiller is no exception. RADICAL EQUATIONS is a fun, educational mystery. But, I’ll have my revenge on Mr. Spiller for making me feel inadequate. I’m about to ask how he does it. Please welcome my friend and major talent, Robert Spiller to The Five Scribes.

D.B.: Hi, Bob: I hate having to keep interviews short. So let’s get started. Radical Equations surrounds the irrepressible Bonnie Pinkwater. Bonnie is, in her mind, and in the minds of the town of East Plains, Colorado, I might add, the world's greatest math teacher.   Now, maybe it’s because I write mystery that I can surmise, but you’re a retired math teacher, and Bonnie’s currently employed as a math teacher. How much is Missus Pinkwater like Mister Robert Spiller?

R.S.: Bonnie Pinkwater was supposed to be a clone of a good friend of mine, one Susan Smith, perhaps the finest teacher of Mathematics I have ever shared a school building with. Sue has many of the qualities that I have infused into Bonnie: She has a fantastic memory (which can be a real pain in the rear end); she loves teenagers; she owns a number of dogs and cats; she lives in Black Forest; she taught out on the plains of Colorado.

Unfortunately, Susan herself had one flaw. She was too nice. Bonnie Pinkwater was forced to become a blend of Susan and another truly gifted math teacher…myself. And I'm not nearly as nice. It turns out this worked out wonderfully. Bonnie can in turns be a saint, and then be someone you don't want to mess with. Since I'm a mathematician, let's quantize this question. I think Bonnie is 41% me and 51% Sue, and 8% pure invention.

D.B.: Always boils down to math for you, doesn't it, Bob? ;) A female protagonist. You’ve been with this woman through three novels now; is that correct? What drove you to want to write from a woman’s POV for not only one book, but for an entire series? Tell us how Bonnie came to be?

R.S.: Four novels and five is in the hopper. I only intended to write one Bonnie Pinkwater mystery and that just for a lark. As I mentioned above, I found the character of my friend Susan Smith ideal for a sleuth, so she became one. But before I knew it, I had written not one, but two East Plains mysteries: A Calculated Demise and The Witch of Agnesi. By then it was too late. I had fallen in love with Bonnie Pinkwater (considering she is part me, this revelation was a bit disturbing). I am currently working on the fifth Bonnie Pinkwater mystery Napier's Bones. If the universe is kind and permits me, I will write about East Plains High School until I sport that most attractive of male features, clumps of old man ear hair.

D.B.: Have you ever written a novel from a man’s POV, and why is Missus Pinkwater not a Mister Pinkwater? And while I’m on this subject, I’ve noticed that several of the Colorado Springs’ authors use missus instead of Mrs. Explain that for my personal curiosity, please.

R.S.: I have written two YA historical mysteries from a teenage male perspective, a Sci-fi YA with a male protagonist, and a Sci-fi with double perspective, male and female. Truth is I puttered around for a short time with a male teacher but Bonnie wouldn't hear of it. She demanded to walk onto center stage and shout her lines out loud. Looking back, I wouldn't have it any other way. As for Missus vs. Mrs., I learned that particular chop from one Jimmie Butler, the founder of the Pikes Peak Writers conference. He and I were in a critique group together. He believed Mrs. was fine for narrative but when spoken in dialogue it had a more pleasing presence on the page if written out as Missus. Thus, whenever anyone addresses Bonnie it is always "Missus P."

D.B.: Secondary characters. Your cast of characters is well drawn I can picture them even now. Rhiannon Griffith, Bonnie PInkwater’s closest friend, is a Wiccan. Deputy Byron Hickman is the law enforcement officer in charge in East Plains and who also happens to be Bonnie Pinkwater’s former student. Then, of course, there’s the school’s administrators, one of whom is Superintendent Xavier Divine, who Bonnie labels the Divine pain in the ***, a woman pastor and her son, and a myriad cast that play critical roles in this novel.

You aren’t afraid to add quite a list to your mystery. How do you keep track of everyone? Have they been with you so long you know them well; do you use charts?

Talk to us about your secondary characters and their importance to a mystery? Also, they are each unique, how do you manage such great character traits? Any tips for writers?

R.S.: I don't keep a chart (It's an ego thing. As I get older I won't admit that I don't have the mind and memory I once had, but I pretend I do). I do however labor over the choice of names. I'm a big believer in the impact of names and their sound on the reader's inner ear. As for the secondary characters themselves, they are often asked to carry the burden of subplots.   They need to be interesting and often go through major changes in the re-writes. On occasion, these characters are loosely based on folks I knew (and I do mean loosely). I had a Wiccan friend out in Ellicott. I taught her daughter and she in turn taught me a little about the Wiccan religion. I love having Rhiannon in a scene because she brings back to my mind this wonderful woman who unfortunately died a few years back.

TIPS FOR WRITERS: You're going to have secondary characters. It's unavoidable. Consider what they can add to a scene other than mere sounding boards for your protagonist or antagonist. Live with them as well as your main character.

D.B.: The plot. In my opinion your plot, is ingenious. Without giving too much away, politics are afoot, and the story opens the day after the vice principal has gotten himself into hot water. Bonnie and Rhiannon are on a hike, and a storm sets in. The two friends stumble into a cave and lo and behold, they spy the vice principal, Clarence, who is very dead. Bonnie and Rhiannon, know better than to interfere with a crime scene and they hightail it away, and barely escape a storm. Deputy Hickman appears and takes over, Bonnie returns to the high school, and gets trapped when a tornado passes through the town.

I have to mention here, readers, that if you ever want to read about weather being an antagonist, you must read this book. Robert Spiller wrote one of the best tornado scenes, I have ever read.

Have I got it fairly right so far, Bob? How much fun was it to write that nature scene and what gave you the idea?

R.S.: First of all, the tornado. In 2001, Ellicott Jr/Sr high school (the model for East Plains High) was destroyed by a monster tornado, and I mean totaled. A beloved teacher had died of cancer and her Wake was held that night in Colorado Springs. All school activities were cancelled, so folks could attend and therefore no one was in the building when the twister slammed into it.

I'd always wondered what it would have been like to be in the middle of that bad boy, soooooo I did the next best thing. I put Bonnie in there. I loved having her, first of all tossed around by this killer storm then emerging into the devastation. All in all it was fun as heck to write. As an aside, I had resigned from Ellicott six hours prior to the tornado to accept a teaching position in Monument.

D.B.: Then of course after the tornado has annihilated the East Plain school system, and Bonnie survives, while surveying the destruction, she discovers the most incredible find. The body she and Rhiannon discovered in the cave is sitting behind a desk amid the rubble and chaos. Great hooks by the way and so much fun to read. This was so well plotted, which leads me to ask: Are you a plotter, a panster or somewhere in between?

R.S.: I'm no Jeffrey Deaver, who I'm told, outlines and plots his books extensively before he ever sits down to write. That said, I love to know some basic things: who dies?, who did it?, who will be red herrings?, and how will I kill some of them? (I know this sounds morbid but it makes me happy), what distractions and mis-directions can I add that will make my reader smile at the end of the book?

And then something that is unique to my books, what historic mathematician will strut his or her stuff across the pages of my story, and how can these dead geniuses aid Bonnie in the solving of a series of murders? Once again, let me quantize this answer. I probably outline about 45% of the scenes (a writer friend of mine, Cindi Madsen calls this the spine). That means 55% or more than half will emerge and demand to be written so the story holds together and is fun to read.

D.B.: Robert Spiller does internal narrative just about better than any author I’ve ever read. You are so in Bonnie’s head. You have one POV throughout the book, which is highly effective. Was this a conscious choice; did you try multiple point of views?

R.S.: The one POV is a definite choice as is the internal dialogue. I noticed early on in my teaching career certain teachers could smile at demanding parents and disrespectful students and even say pleasant things. Later when I would talk to them I'd find out that behind this façade, they were thinking how nice it would be to drag these unreasonable people behind a horse.

This constant reminder of what Bonnie is thinking (which sometimes is the opposite of what she is saying) is my way of having my cake and eating it too. I get to be in third person but by staying deep in Bonnie's thoughts I get to have the flavor of first person. It works for me. As for multiple points of view, I do use it in sparingly as in the rare moments when the reader gets to peek in at the villain. That doesn't happen in Radical Equations but it does in other pieces I've written.

D.B.: Since the school is in turmoil, Superintendent Divine farms Bonnie out to a middle school? Holmes in Colorado Springs, I believe. Such fun reading about our stomping grounds, but what was even more fun was watching Bonnie in action with these students, one in particular, a boy named Isaac who was injured and sentenced to a wheelchair for the rest of his life. As one, who doesn’t understand math, I found myself wishing I had a teacher like Bonnie PInkwater. Was this your objective all along to show how math can be fun and to pique readers’ interest?

R.S.: Having taught Mathematics for 35 years, I was fortunate in that early on I discovered several important truths. Math can be deadly dull. I was in control of the environment of my classroom more than anyone else. That teenagers will only be unruly if they aren't being engaged. And lastly, if you can get people (and contrary to popular belief, teenagers are people) to laugh, you can get them to find value in what you're trying to teach. Bonnie and I share one important trait. We are stupidly fond of the younger members of our species. Bonnie loves her students with a fierce and terrible love. She will stand between them and harm's way. And gosh darn it, she thoroughly believes that math is definitely fun. But then again, I'm sure everyone believes that. Don't they?

D.B.: I believe it would be if we'd had Missus Pinkwater or Robert Spiller. Character drives this book. The plot is great, but you are definitely character driven. Who inspired you to write?

R.S.: If we're talking about writers who inspired me, the list is long: Orson Scott Card, George R R Martin, Tolkien, Terry Brooks. All these Fantasy and Sci-fi authors have characters that breathe on the page. A lot of their characters come alive even in their short stories (Song for Lya by Martin I've read a half dozen times). In mystery and suspense there's the famous Donnell Bell, but that goes without saying. Other mystery authors who used extremely textured characters are Jeffrey Deaver, Michael Connelly, Lee Child. I know their protagonists inside and out because these authors are so good at drawing them. Truth is, I listen to books in my car, and often as I'm driving, I'll hear some word the author puts in their hero's mouth and think, "Brilliant! In a few words you captured the essence of this person's character. I think I'll steal that."

D.B.: (Thanks for the compliment, Mr. Spiller.) You had two other books in this series with Medallion. Now you’re with Courtney Literary. Please tell us about this transition, and the pros and cons of continuing a series with a different publisher.

R.S.: Actually, Donnell, I had three with Medallion: The Witch of Agnesi, A Calculated Demise, and Irrational Numbers. In 2008 we parted company and as far as I was concerned the TRANSITION sucked. I went on to write other things, but I had what I considered the tastiest Bonnie Pinkwater mystery ever on tap but couldn't find a home for this infant of mine. Nobody it seemed wanted to take on the risk of the fourth book in a series. Then I had lunch with Deb Courtney, of Courtney Literary. We discussed managed self-publishing and I haven't looked back. In the past months I have chosen a cover, created a trailer, intelligently self-promoted, and watched in delight when in December, Radical Equations came out in e-book format (print version in March). I am jazzed every day in a way I wasn't when someone else was making all the decisions.

D.B.: Five Scribes is geared toward writers. You are seeing massive changes in the industry. What advice would you give to writers who are seeking publication today?

R.S.: First and foremost remember this. There are tons of lawyers, doctors, and policemen who want to be writers. I've never heard of a writer saying, "Doggonnit! I want to be a lawyer." We are, all of us writers, in the best field of endeavor in the world.

Now on to practical advice. You must above all create something that you are proud of. READ, READ, READ your genre. Be entertained by those that are already traveling the path you want to be on. Learn from them.

Next, join a critique group. Put other authors eyes on your work. Gather with other authors at conferences and workshops. Here you will learn that others are struggling with issues that you thought were yours alone. Be bold! After making the best piece of art you can create, send it out to agents and publishers (I know I didn't do this with Radical Equations but sue me. Get professional eyes on your work).

D.B.: Mr. Spiller, it’s been a pleasure. Not only did I learn a lot about school politics, I learned a tremendous amount about a teacher’s passion. Will you be giving a book give away today? Are you doing any signings soon? Tell us what comes next for Robert Spiller and the world’s greatest math teacher, Missus Bonnie Pinkwater?

R.S.: I would love to give away a copy of the new book, Radical Equations. As for what I'm up to now, as I said I'm back in East Plains in Napier's Bones as Bonnie discovers a thirty-year-old corpse and is forced to re-visit a murder from her past.

Did you hear that, readers? Robert Spiller is giving away a copy of RADICAL EQUATIONS. We'll be drawing the winner on March 17th. So now's your chance to win a great who-dunit.
To learn more about RADICAL EQUATIONS check out the trailer!!! http://animoto.com/play/fETinOY3ShTnRWZyKjelBA

Website: www.rspiller.com

Blog: Spillerwriters.blogspot.com

Also, please visit Robert Spiller's Facebook page where once a week he provides a math puzzle.

Are Reviews Really Worth the Effort?

2012-03-13T05:00:00.003-06:00

It seems like the one scary constant that keeps growing like college costs keep rising every year, is the need for published authors to promote themselves. Promotion, promotion, promotion is the steady mantra. Buy the book, blog, tweet, Facebook, review. . . and the list goes on.

Since I want to do everything I can to support my published friends, I buy their books, but that isn't enough these days. They've never asked me to review their books, but I try to remember to review them on Amazon because I've heard that honest reviews can help them sell more books, but I wonder if they're really useful or even read. I couldn't help but wonder if reviews were really worth the effort. I turned to some publishing professionals to ask their opinion.

Helen Breitwieser agent with Cornerstone Literary: “Yes of course! Lots of enthusiastic reviews will generate interest. A reader who is browsing titles is more likely to linger on a page if the book has a unique cover, an intriguing title, and/or lots of praise. All those elements influence a potential reader's decision to buy a book, especially by a new author.”

Marisa Corvisiero: L. Perkins Literary: “The answer is a resounding YES. I think that many readers buy from Amazon because of the reviews... sort of an assurance that they are buying something worth reading. I'm personally one of them. I've often found myself at B&N looking at a book and waited to get home to check out the review on amazon.”

Michael Braff—editor Del Rey: “I have mixed feelings about Amazon reviews. On the one hand, we have seen some titles that get amazing reviews but don’t really sell, but the inverse is also true, with poorly-reviewed books selling well. Personally, I don’t think that any reviews really sell a book in today’s market: relatively few readers actually read book reviews (there are exceptions, of course, like Romance Times), and I feel like they mostly come off as “white noise” for potential buyers: it is assumed that every book is going to feature some fantastic quotes so they just don’t even register with the reader, like a commercial or a pop-up ad.

But that’s just my personal take. I think that the place where Amazon reviews are especially helpful is actually in the realm of social networking, allowing authors to read exactly what their readers think, and opening up a dialogue between the two. With more and more authors relying on their social connection with fans, this is perhaps the one area where Amazon reviews are indispensable.”

Sue Grimshaw past Borders romance buyer , current editor at Ballantine, Bantam, Dell: “Thinking of when I was on the bookseller end of the biz it always seemed beneficial to have as much exposure to a book - good & bad --- so yes, it builds awareness, and the average consumer does use these suggestions & reviews to make their buying decisions.”

How to build a dream Author E.M.S.

2012-03-06T20:23:00.001-07:00

Five Scribes Readers, I’m in awe of our guest today. Not only is she one of the most generous women I’ve had the pleasure to meet, she’s savvy in the world of IT and marketing, she's an award-winning author, and her newest venture is to—get this—make all of our lives easier. See if you don’t agree. Please welcome the extraordinary and talented Amy Atwell.

First off, a very hearty thank you to Donnell and the rest of the Scribes for inviting me today. It’s great to be back!

I recently launched a new website called Author E.M.S. (Entrepreneur.Management.Solutions.). It’s a dream I’ve had for about a year now.

At its heart, Author E.M.S. is designed to be a one-stop resource center for all questions relating to the business of being an author. From understanding how to build your Amazon Author Central page to how to manage your Twitter feed through TweetDeck, from where to find book reviewers who love steampunk to whether you should use Smashwords or distribute directly with PubIt, we hope you’ll find Author E.M.S. is helpful in providing information, education and perspective.

Where did I come up with such a crazy dream? It’s not what I’d planned on years ago. I’ve been writing with an eye toward publication for over ten years. In the past five years, I’ve watched the publishing industry undergo changes that rival the motion of tectonic plates. I don’t know about you, but my gut knotted when I realized that my cherished dream of being published was in danger of being swept over by a tsunami of digital books and self-publishing options.

I had to come to terms with these changes, these new options, redirect my focus and decide how to steer my writing career. And I do still want a writing career—and more.

Over these past years, I’ve been lucky to make some wonderful friends with other writers. I started the WritingGIAM communities in 2004 as a place where goal-oriented writers could connect and share their progress, successes and challenges. We got into a habit of helping each other with all sorts of crazy questions from craft to formatting tricks in MS Word to how to figure out social media. I didn’t need every tidbit of this information, but I started storing them “for a rainy day” or whatever.

As my collection of tidbits started to grow, I had emails, Word docs, bookmarked URLs, spreadsheets and more. And then I sold my first book in 2010, and suddenly I did all this info. Only, it was a garbled mess. So I sorted it by topic. I tossed stuff that was now out of date. And my system became so easy to use, I started collecting more tidbits from anywhere and everywhere and tucking them into place.

The offshoot of this was that when people on loops asked questions and I had an answer tucked away, I would grab it, copy it into an email and send it along. Many were surprised and grateful that I had this info so readily at hand.

A year ago, it occurred to me how helpful it would be if there were a library or something where everyone could access these types of little tidbits for themselves. Every author goes through a learning process. Thousands of us are asking the same questions, retracing each other's steps around the Internet, around Google searches, around various loop archives. Thousands of authors spending ten minutes each looking for an answer to the same question is tens of thousands of wasted minutes. If one person found the answer and placed it where others could easily retrieve it, think of all the time saved.

It took a few more days for me to connect the dots. I had a good start on the information gathering, and I had a vision of what it could mean as a tool for others. Therefore, if I wanted to see it done, I had to do it. Deep breath, and last March I pushed my fiction writing aside to build an online library.

So, what's in there?

The Resource Library: Sections of information that are updated and curated regularly. Our sections range from Amazon to WordPress. See them all that our Site Map.

The database of online reviewers (DOR): a fully searchable database (come on, isn't it what you wanted?) of online book reviewers. Search by genre, then drill down by format, release date, publishing platform and more. Watch our video.

Discussion Forums: reserved for authors only, these are broken into topics so you can easily follow just the discussions that interest you. Set the forums to deliver updates to you via email, if you like.

How much?

Many areas of the Author E.M.S. Website are free to all visitors. We have public pages and a Daily Tips blog (Mon-Fri). Registered guests gain access to the introductory pages to each of our resource library sections plus our full section on WordPress websites/blogs—all free.

Access to our full library and database is reserved for paid members. We're offering an introductory rate of $36 for a full year of access. $3/month for a full year. We hope the time you save is worth that much!

We are still in the start-up phase. Right now, it's just my husband and me gathering and vetting materials. We plan to grow and grow big. I’m committed to continuing to serve writers as they build their careers.

Amy, thank you! Social networking for many authors is intimidating and overwhelming. Not only is Author E.M.S. designed to make our lives easier, it's an extraordinarily manageable cost compared to what we might pay to join a chapter or enter a contest. Best wishes on your start up. Readers, any questions for Amy?

Bio:

Amy Atwell worked in professional theater for 15 years before turning from the stage to the page to write fiction. She now gives her imagination free rein in both contemporary and historical stories that combine adventure and romance. When not writing, Amy runs the WritingGIAM online community for goal-oriented writers and has recently launched the Author E.M.S. online resource library. An Ohio native, Amy has lived all across the country and now resides on a barrier island in Florida with her husband and two Russian Blues. Visit her online at www.amyatwell.com, Magical Musings, Facebook, Twitter and/or GoodReads.

Interview with Hannah Bowman, Agent at Liza Dawson Literary

2012-03-06T05:00:00.001-07:00

Hannah Bowman joined Liza Dawson Associates in 2011. She has a B.A. from Cornell University, summa cum laude in English and magna cum laude in Mathematics. While a student, she spent four summers working in particle physics at Fermi National Accelerator Laboratory, before eventually deciding her true interest was books (after side-trips into poetic theory and dead languages, among other things!). Hanna will be attending the 2012 Crested Butte Writers Conference, June 22-24, 2012.

1.Which categories do you currently acquire? Which category has a special/constant place in your heart?   

Answer: I'm looking for all kinds of commercial fiction, especially science fiction and fantasy, romance, cozy mysteries, historicals, women's fiction, and young adult. I'm also looking for nonfiction about science or religion. Science fiction and fantasy (YA or adult) will always have a place in my heart!

2.What length synopsis do you prefer to see with a partial? Single spaced or double?

Answer: I think a synopsis should be 2-4 pages single-spaced. Shorter is fine, as long as it covers all the major plot points (but it should have more detail than a query!); longer than 5 pages usually isn't necessary.

3.In terms of submissions, what are you sick to death of and what would you like to see more of?

Answer: I see a lot of similar stories in YA: not-well-fleshed-out dystopians, fantasy where the main character discovers they're really the prince/princess of a secret world, etc. I'd love to see more YA secondworld/high fantasy, YA contemporaries a la John Green, and true YA science fiction. On the adult side, there's nothing I'm sick of, but I would love to see more funny, high-concept women's fiction and upmarket romances with a strong sense of place (whether contemporary, historical, or fantastical).

4. What are the most compelling elements you feel are necessary for a good   read? What particularly grabs your attention?  

Answer: I'm a very plot-driven reader. I love twists and turns, revelations of secrets, betrayals by trusted characters, unlikely redemptions, and good, tragic characters forced to make bad decisions by circumstances. Not that all (or any!) or these elements are necessary in every project, but they tend to be elements I gravitate towards.

5. For you, which elements in a fiction submission are terminal problems garnering automatic rejections and which are tempting and fixable meriting a look at a revision if a talented author is willing to accept your advice?

a. Voice--Terminal. The voice has to be there, and right for the book. It's hard to fix.

b. Weak Grammar--Depends on how extensive it is. Occasional mistakes are no problem, but major grammatical problems usually come with other signs of weak writing..

c. Common plot--I'm willing to work with the author on plot changes, but if the premise doesn't excite me, I won't take something on.

d. Poor character development--The characters have to be sympathetic and interesting so the reader can relate to them. More specific changes/character arc issues I'm willing to work on.

e. Story is too controversial (ie rape, politics, religion—what else?)--I'm skeptical of projects that have an axe to grind. Controversial elements have to serve the story first.

f. Mediocre / uninspired writing--Terminal. I have to love the writing in projects I take on.

g. Excessive use of violence or cursing--I'm willing to work with this. It's fairly easy to fix, if the author is willing.

h. Lacking genre –specific requirements like, suspense/sexual tension/ world-building--Unless a project is really exceptional in other ways, I usually won't take something on which is missing a key element of its genre. I like genre tropes and seeing how they play out in different projects, and generally speaking they're common tropes because they're effective. But of course it depends on the particular project!

i. Pacing is off—plot is too slow--I'm willing to work on this. It's usually fairly easy to fix.

j. Story starts in wrong spot--I'll definitely work on this. It's easy to fix.

k. Ending is unsatisfactory--I'll take on a project and work on this.

6. Does meeting an author face-to-face at a conference make a difference in your response time, the submission process, or the rejection process (ie. Form letter vs a few sentences of advice)?

Answer: Yes, I try to respond more quickly to submissions from conferences and I offer feedback if I can. But it doesn't make a huge difference.

7. Besides the writing, the story and the talent, what are the most important elements you look for in an author, ie. contest wins, cooperativeness, affiliations to writers organizations, knowledge of publishing industry, promotability, etc?

Answer: For me, it's really mostly about the writing itself. But I also need to get along well enough personally with the writer that we can work together. And since I'm an agent who tends to be very hands-on and editorial, I tend to "click" better with writers who are interested in that sort of agent.

8. Do you have any pet peeves?

Answer: Not really!

9. What are you addicted to?

Answer: Tragedy, in the Greek sense. Not necessarily sad books, but great characters forced into impossible situations. I can't get enough of that.

10. What have you always wanted to do?

Answer: I would love to travel north of the Arctic circle at midsummer to see the midnight sun. And in the winter, to see the Northern Lights!

11. Do you have a favorite quote?

Answer: I don't really. But my favorite literary concept is Tolkien's idea of "eucatastrophe": the happy ending that occurs only when all hope is lost and things are at their absolute worst.

As ye shall write, so ye shall edit

2012-03-05T05:00:00.003-07:00

One of my various hobbies is medieval recreation with the Society for Creative Anachronism. Which means I'll occasionally dress up in funny clothes and go hang out with other people in funny clothes and eat funny foods, all in the interest of historical research. And fun.

It's a hoot.

But since the historical periods I'm interested are medieval Ottoman and early Byzantine, it's not like I can run out and buy my clothes. Now, 14th century English? Yeah, that I can get off the rack.

But Ottoman?

Not so much. So I make it.

What, pray tell, has this to do with writing? Bear with me...

Recently, I was working on an Ottoman outfit that consists of an undercoat, an overcoat, and pants. I made my own patterns and cut everything out. When I finished the body of the undercoat, I put it on... and it wasn't quite right under the arms. It pulled oddly, causing the fabric across my bust to pucker. There was no way I could put in frog closures and have it look decent.

The problem was the sleeves. They just didn't fit the body of the dress--they were too tight at the armpit. I had two choices at this point, either try to stick in a gore--an extra bit of fabric between the body and the sleeve, or just rip the sleeves off and make new ones that fit.

I opted for entirely fresh sleeves, since I had enough fabric. Sewed them in and presto! The coat fit. Fabulously. You can't even tell I had screwed up at one point.

Sewing is very much like writing and tailoring is quite a bit like editing.

Sometimes you can get away with a little tweaking when the plot is fitting poorly. It's just a matter of adding or cutting bit here and there. Tighten this bit up here and suddenly the whole thing flows well.

Other times, you have to rip entire scenes out and write them over from scratch. Or just leave them out. One one of my writing works in progress, I received back a critique that made me realize I had started the novel in the wrong point of view. I ripped out an entire chapter and wrote a new one.

It worked so much better. Pulled the reader into the story, gave them a character they could understand and identify with before I threw them into the strange world I'd created. It was like ripping off those poorly fitting sleeves and sewing ones that fit better on the the coat--suddenly, the words fit the story. The plot flowed.

The purpose of tailoring is to make a garment look good on your body. Clothing, ideally, is supposed to work with your form, complement it.

Editing is similar in that it's a method of shaping your writing to make your overall story look good. Editing shouldn't ruin your work--it should enhance and complement it. Make it shine.

Don't fear editing. It's tailoring for manuscripts.

(And yes, just as you can edit too much, there's a time when you really should stop taking that seam in. But that's another topic for another day.)

Bridge of Scarlet Leaves, Lovely Story Important Message

2012-03-03T08:13:00.003-07:00

Dear Five Scribe readers. Kristina McMorris is one of my 2007 Golden Heart sisters. I'm also a fan. I couldn't watch this video, first, without experiencing chills, and then asking for permission to run it. See if you don't agree. Ms. McMorris has written about an issue not often addressed. What's more, I feel it's important to recognize so it never happens again.

http://www.youtube.com/embed/a6mpO8TAUl4"

Review of Lisa Kleypas' contemporary, Sugar Daddy

2012-02-28T05:00:00.001-07:00

Lisa Kleypas’ Texas Series: A Wonderful Read From This Picky Critic

I’ve been writing and learning the craft and business of writing for twelve years. I’ve found that reading current, really good fiction books helps elevate my own writing, however it also seems to have had a hand in making me a rather harsh critic.

I have some very time-consuming hobbies and volunteer obligations, combine that with a large family and some good friends, and I don’t ~~have~~ make a lot of spare time to read, so when I do, it has to not only entertain me, but help inspire my writing. And I don’t often find books that do both, but recently I did. And I’m thrilled to stay up late at night, reading as slowly as I can make myself, savoring Lisa Kleypas’ contemporary series.

I first stumbled across Smooth Talking Stranger and was absolutely delighted to see that she’d written two books before that. Stellar writing combined with enchanting characters. I absolutely fell in love with her heroes.

Sugar Daddy is the first in the series, and with this beginning I fell deeper in love. This is where Lisa breaks all the rules and conventions. Her heroine doesn’t meet the hero until page 219. 219 of 371. 60% of the way through the book. How did that one get by the editor???? If this had been her first book, I wonder if that would have worked. Not that it bothered me, mind you, but romance writers know about those “rules”.

Personally, I hate the supposed rules. When people observe that I tend to think outside the box, my instinct is to ask, what box? So I love to see a writer break rules that probably shouldn’t exist in the first spot. I knew Lisa was a writer extraordinaire (at least to me) when I came across this one particular scene.

This scene was absolutely so powerful and perfect, I was shocked to discover that I’d actually shed a couple of tears. Now it could be that I am one of the few readers affected that way by this scene ‘cause the men in my life don’t apologize 90% of the time they’re in the wrong. Most of the time, they don’t even recognize that they were wrong—even if it is pointed out to them in a kind, respectful way.

But Gage did. In Sugar Daddy, Both he and his father handled the situation with great sensitivity, and they said and did everything exactly right. Even though Liberty overreacted a little, Gage and Churchill, recognized that they’d, completely unintentionally, usurped Liberty’s authority with her sister and in doing so, caused a rift between Liberty and her little sister she was raising.

They’d betrayed Liberty’s trust, scared her, and hurt her feelings. And it all had been done in total innocence. But Gage immediately acknowledged his mistake, made it right, and then further flagellated himself and defended Liberty’s reaction when she apologized for over reacting. What more could one ask for in a hero?

Gage did this all the while his father, Churchill, talked to Liberty’s little sister explaining things in an honest forthright manner that had the sister running to Liberty with an earnest apology. Wonderful. Just the healing outcome we all long for after a family/relationship squabble!

Lisa did a lot right in Blue-eyed Devil also. There were two areas that stood out in this reader’s mind. One demonstrated the power of sibling loyalty. No matter their disagreements, past hurts, or circumstances, Haven’s brothers always had her back. Unconditionally. That type of loyalty I can really appreciate.

What really stole this reader’s soul was encapsulated in the last couple pages of the story.

“I am touched by Hardy’s concern, his constant desire to be the man he thinks I deserve. Even when we disagree, I have no doubt that I am cherished. And respected. And I know that neither of us takes the other one for granted.”

What more could a woman want? My cynical inner voice wants to know if such a man really exists outside the pages of this book. Lisa has created such a vivid, realistic family that I want to believe so. I have to believe so.

“I have come to realize that you can never be truly happy unless you’ve known some sorrow. All the terrible things Hardy and I have gone through in our lives have created the spaces inside where happiness can live. Not to mention love. So much love that there doesn’t seem to be room for bitterness in either of us.”

Again, my cynical inner demon says, just wait until Haven and Hardy have been married awhile and stressed with kids and illness and things money can’t fix. But then, if you never begin a relationship with this solid base of love, respect, etc . . . what’s to see you through the hard times certain to come—besides stubbornness? Isn’t it a worthy goal to search and attain what Haven and Hardy achieved?

Obviously I think so, or I’d find these stories unrealistic and wouldn’t even want to pick up another one instead of wondering what Lisa has in store for Joe—the fourth Travis sibling. So sad there’s only one more Travis to journey with!

Give yourself a low-calorie treat and pick up Sugar Daddy today—or any of Lisa Kleypas’ books. It doesn’t really matter which order you read them in. Enjoy!

Interview with Lisa Gallagher, Agent at Sanford Greenburger

2012-02-25T08:27:00.006-07:00

Lisa Gallagher is a literary agent at Sanford J. Greenburger Associates in New York. She is actively seeking new clients both in fiction and non-fiction, who are great storytellers, delivering both narrative urgency and dramatic tension, combined with multi-faceted characters and a transporting sense of place. Lisa will be attending the 2012 Crested Butte Writers Conference, June 22-24, 2012.

Which categories do you currently acquire? Which category has a special/constant place in your heart?

Answer: I am an eclectic reader and I represent fiction, non-fiction and YA writers across a broad range of categories. I will always keep an open mind as to “category” and will never tire of hoping to discover a wonderful new voice I can champion. I am always looking to be transported; to lose myself in a world of characters I can root for and care about, all with a great sense of narrative urgency: I love character-driven narrative but dramatic tension is also key for me.

What length synopsis do you prefer to see with a partial? Single spaced or double?

Answer: Always double-spaced, no exceptions please. It’s not about being fussy; professional readers just get used to reading in a certain way, and you don’t want to do anything that stands in the way of a reader enjoying your work. Personally I don’t like synopses for fiction – a cover letter tells me what I need to know, making me want to read without giving anything away. I am not a fan of spoilers – I like the story to unfold without knowing what is coming, so that I can fully experience the journey. For non-fiction, I do like an overview as part of a proposal that also details how the chapters break down, so that I get a real sense of the narrative arc, as well as a sample chapter to demonstrate the quality of the writing. In terms of partials – length is less important to me now, given that most of us are reading electronically. If I have the whole manuscript, I can stop reading at any point without wasting paper. Rather than focusing on length, I would encourage think about making the opening of your manuscript as strong as possible – great material is what will keep me reading.

In terms of submissions, what are you sick to death of and what would you like to see more of?

Answer: One never likes to see anything too derivative, and also avoid trying to write to fit what you think will be saleable. Remember that even as publishing lead times become shorter, even as you identify a trend, it is probably cresting and by the time your book is ready for submission, it may well be over or the market flooded.

What are the most compelling elements you feel are necessary for a good
read? What particularly grabs your attention?

Answer: Narrative urgency and dramatic intensity are both key for me. I want to find the book that I can’t put down; the book that keeps me reading when I know that I should really be doing something else…

For you, which elements in a fiction submission are terminal problems garnering automatic rejections and which are tempting and fixable meriting a look at a revision if a talented author is willing to accept your advice?

Voice
Weak Grammar
Common plot
Poor character development
Story is too controversial (ie rape, politics, religion—what else?)
Mediocre / uninspired writing
Excessive use of violence or cursing
Lacking genre –specific requirements like, suspense/sexual tension/ world-building
Pacing is off—plot is too slow
Story starts in wrong spot
Ending is unsatisfactory
Other

Answer: This is such a subjective process, it is hard to isolate one specific element. In general I always think that plot is more easily fixable than voice or character development.

Does meeting an author face-to-face at a conference make a difference in your response time, the submission process, or the rejection process (ie. Form letter vs a few sentences of advice)?

Answer: I always ask that if I have met someone in person, or if someone has come to me via a writer I know or have published in the past, I always ask that they make that clear in the subject line. I want to know in advance that we have a personal connection, because I appreciate them thinking of me, and I will be as thoughtful as I can be in turn.

Besides the writing, the story and the talent, what are the most important elements you look for in an author, ie. contest wins, cooperativeness, affiliations to writers organizations, knowledge of publishing industry, promotability, etc?

Answer: It would depend on the book. Certainly a writer’s ability to reach an audience is something that should never be underestimated, but I would suggest highlighting anything in your submission letter that might grab an agent’s (or an editor’s) attention.

Do you have any pet peeves?

Answer: Being included as a “bcc” with two hundred of my favorite agent friends. Being addressed as “Dear Brian…” Mostly I respond adversely to an obvious lack of care and attention. Whilst it is true that the world isn’t going to stop spinning on its axis if you have a typo in your letter, what that tells me is that you didn’t take the care to proof-read your letter carefully. Remember that in taking on a client, I am entering into a business relationship, and why would I want to go into business with a partner who doesn’t take as much care as I do?

What are you addicted to?

Answer: Exercising and really good food and wine. One allows the other. And reading of course…

What have you always wanted to do?

Answer: I’ve always loved being an advocate for authors. In the shorter term I would love to go to Sweden and stay in the Ice Hotel and see the Northern Lights…

Do you have a favorite quote?

Answer: Of course it is a little bit like reading constantly, and your mind going blank when someone asks what you are reading….

Social Networking for Writers: Ur Doing it Wrong

2012-02-24T12:11:00.001-07:00

Last time I posted here, I offered a list of tips for writers using Twitter. Now I want to step back and offer some ideas for using social networking in general. Why? Because I see so many authors doing self-promo that will only earn them indifference at best and perhaps disgust at worst. These authors consistently neglect the most important point about social networking:

It's all about community.

If I could put that in blinky lights here (easily), I would. It's the only thing about social networking you, as a writer, need to remember.

Readers don't blogstalk you so they can read about your release. They don't like your Facebook page because they want to keep an eye on each of the four announcements a day you make about your June title. They don't follow you on Twitter to see whether you're going to tell them about the ebook version...all day.

In fact, if you're using social networking only to promote your book, you're doing it wrong.

The online sociosphere, from blogs and microblogs to LinkedIn and e-mail lists, is inundated with people trying to sell us stuff we don't want. Spammers are everywhere, and many authors are on the verge of getting their own spammy label. Even if you have permission to promote yourself or your book on an e-mail loop or on Twitter...should you?

People gather on social networking sites to network socially, not see ads and self-promo all day. They gather to share conversation, to share ideas, to share images.

Share.

But what to share? To start: everything but your book.

When you, the author, decide to jump into Pinterest, for example, because it's a great place to put fun images related to your book, do the rest of Pinterest a favor and create a few non-book related boards. I'm really not that interested in what you think your heroine looks like. I'll care for a second, but then I'll dump that image and go back to the one I had in my head. Likewise, setting photos are cool. But again, they're unnecessary, and I'm not going to follow you on Pinterest if my only option is the board about your book.

Instead, share DIY projects you do in your spare time. Share movies. Share books (not yours) that you love to read. Share funny images you find. Share interesting blog posts. Share things that matter and don't feel like an elaborate ruse to get me to buy your book.

Share yourself. Bits and pieces of you that will draw your reader community closer. Things that will help them find common interests and common ground. Form relationships, not an audience. Your book is for your audience. Your social networking presence is for your community.

Authors who neglect their communities and who treat social networking sites like they're personal billboards to pimp books will see their promotional efforts fail.

Rule of thumb: If you've already mentioned your book today, wait a week before you mention it again unless there's huge, amazing news your readers will want to know about. Also, don't disappear between these mentions. Stick around and connect with others.

Authors who connect with their community, who share the bits of their public lives (via their public personas, a post for another day) with the rest of the online world, are different. Their readers will discover them. Their readers will come to them organically, and when those authors respond to their tweets, thank them for their comments, and spread the author love (aka pay it forward, share community, cross-pollinate, give an author you admire some toys in your playroom), the readers become fans.

I'll give an example. In my almost 20 years hanging out with RWA crowds, I've come across many authors whose books I used to enjoy...until I met them. I've also come across authors who've earned a lifelong fan because of how awesome they were. One example is Catherine Coulter. I adored her historical novels back in the day, but I just didn't gel with her contemporary voice when she switched over. However, I buy her books as gifts for others all the time because one day, she offered me -- someone she'd met two hours earlier -- the chance to send her my WIP so she could give me feedback. I never took her up on it because it was way too generous and my WIP sucked way too hard, but I've never forgotten her kindness. Now, go buy her books because she's amazing!

Translate this attitude--this willingness to reach out, be accessible (by whatever standards you you have or need), be friendly, be part of a community--into the online world, and your readers will become fans who attract more readers.

Share.

Remember it's about community.

Remember that nobody is on Twitter to see you pimp your book. They're there to get to know you. Leave the pimping for your website, your bio, and your tiny e-mail signature line. Let your personality advertise you, and readers will look for your book.

Wide eyes and pursed lips

2012-02-20T03:00:00.004-07:00

I want to talk for a moment about facial expressions. I've been noticing them quite often in the manuscripts I've been editing (including my own). I've also been hacking away at them with my red pen as if they were zombies and this were the apocalypse.

We writers are obsessed with facial movements. You can tell, because we include so many in our manuscripts. Our characters smile and frown in a variety of ways, from small quirks of a frown to wide, brilliant smiles that stretch the lips. Characters lift their eyebrows... in surprise, in question, or in amusement. Oh, they also waggle them. Eyes widen and blink, or narrow or roll. Lips twist and purse. Mouths snap shut or drop open.

And I haven't even gotten to the head-movements, like shaking or nodding or tilting. In my own writing, I'm fond of having my characters tilt their heads, so much so that they probably require a chiropractor by this point.

In many cases, if a reader didn't know better, they'd think that the most important facet of fiction is what a pair of eyes are doing at any given moment. Gazes sweep and penetrate. Sometimes, glances are meaningful or full of weight. At other times, stares can burn through a character like the Death Star through an entire planet. And you think Alderaan had it bad... woe to a character when the heroine's eyes are boring through him with fiery anger!

Now, description in writing is a good and wonderful thing. So is the ever-expounded upon concept of showing. So, it stands to reason that we need to describe the reactions of our characters. But there's such a thing as overkill. Facial movements are probably one of the most overused and cliched method of providing beats in a scene.

Facial expressions can be very useful and important--we see that in real life when we talk to other people. However when they're overused in fiction, the one moment when it's important that the reader see the tiny frown of the heroine, they're not going to notice in the sea of other facial ticks. It's just another frown. Just another glance.

We also have a strong compulsion to describe the facial expressions of point of view characters. One small problem with that--the point-of-view character can't see her face. And while we can be cognizant of our own facial expressions--we're often not.

When I'm furious, I'm not actually aware of anything my face is doing. I feel like I want to throw something. I'm aware that I can't seem to breathe well and that there's an odd ringing in my ears. I see that my hands are shaking. But do I notice that I'm frowning? No. Heck, I have no idea what my face looks like. Neither, for the most part, should a POV character.

So save those facial expressions for moments when there's an important reason for the POV character to be aware that they're smiling or frowning. If you've conveyed that the POV character is happy through narrative and dialogue, the reader's going to paint a smile on his face. Readers are clever like that. And it's what makes books different from movies--we can suggest how the stage looks with hints and bits of description. The reader fills in the blank bits when we give them enough to build with. The facial expressions of characters are no different.

And honestly, if you need a beat of some kind, there's a million other things a character can do besides smile or glance.

Overwriting. What is it? Do you do it?

2012-02-15T00:01:00.000-07:00

Do you overwrite? Not sure? Here are two great articles to help you decide.

Overwriting? Less is More

by Sally Carpenter

In the movie “Amadeus,” the king criticizes young Mozart’s music as having “Too many notes.” Many writers suffer from the malady of using “too many words” in an attempt to appear brilliant or literary. Too much decoration on a wall creates a cluttered look; likewise, overwriting buries the author’s message under mounds of verbal puff.

My motto is “less is more.” A short, compact sentence is more effective than a excessive verbiage.

Let’s look at some examples. What’s wrong with this sentence?

“Having finally earned her degree after going to classes for four years at State University, where her mother had also matriculated, Suzy packed her bags, rode on a bus, and got an apartment in the Big Apple to take acting classes, go to auditions and hopefully be cast in a play.”

*What’s the point? The lengthy opening clause veers off in all directions.

*Is all of this information necessary? Does the reader need to know that Suzy’s mother also attended the college? Either delete this statement or save it for later pages.

*Avoid repetition. “Packed her bags,” “rode a bus” and “got an apartment” all pretty much say the same thing. Likewise, the intent of “acting classes,” “auditions” and “cast in a play” can be summarized into fewer words.

Here’s the same sentenced boiled down to the essentials: “After college graduation, Suzy hopped a bus for the Big Apple to pursue her dream of become a Broadway star.”

Short, sweet and to the point. The author’s message is clear.

Be stingy when describing scenery or objects. You’re giving snapshots, not selling real estate. Most readers won’t wade through detailed descriptions.

The arson scene resembled the Gone With the Wind movie set after the burning of Atlanta.

This brief statement may be more effective than describing all the charred walls and burnt furniture.

Here’s another example that requires first aid.

“Harold was unhappy. He crossed the room with a heavy tread, swinging his arms at his side. He grabbed the door knob, turned it and pulled, crossed the threshold and pulled the door shut behind him.”

*Show, don’t tell. Let the reader see the character’s emotion through dialogue and action.

*Condense a long description of action by using descriptive verbs.

Let’s try that again, letting Harold show his bad mood through his actions.

“Harold frowned. He stomped across the room, yanked opened the door and bolted from the room, slamming the door behind him.”

Speaking of verbs, a frequent overwriting bugaboo involves adverbs.

She whispered softly. He gently tiptoed. The girl ran quickly.

Can a person whisper loudly or tiptoe roughly or run slowly? Most action verbs don’t require modification.

Another good writing style is to let the action do the talking. A strong image is often more powerful than a lengthy string of dialogue.

“I hate you!” she shouted. “You’ve betrayed me! The engagement is off! I’m canceling our wedding plans! I never want to see you again!”

Instead of that speech, try this instead: She pulled the engagement ring off of her finger and threw it on the ground at her fiancé’s feet.

More effective, more visual and less wordy. The reader can infer the woman’s emotion from her actions.

Avoid needless verbal baggage through a careful selection of a few good words. Remember, less is more.

Sally Carpenter is native Hoosier now living in Southern California

She has a master’s degree in theater from Indiana State University. While in school two of her plays, “Star Collector” and “Common Ground,” were finalists in the American College Theater Festival One-Act Playwrighting Competition. “Common Ground” also earned a college creative writing award and “Star Collector” was produced in New York City.

Carpenter also has a master’s degree in theology and a black belt in tae kwon do. She’s worked as an actress, freelance writer, college writing instructor, theater critic, jail chaplain, and tour guide/page for a major movie studio. She’s now employed at a community newspaper.

Carpenter’ debut book, “The Baffled Beatlemaniac Caper,” was nominated by Left Coast Crime for a Eureka! Award for best first mystery novel. She’s now writing the second book in the Sandy Fairfax Teen Idol mystery series, “The Sinister Sitcom Caper.”

She’s a member of Sisters in Crime/Los Angeles Chapter. Contact her at scwriter@earthlink.net.

Overwriting? Master the Right Words

By Patti Brooks

A writer that falls prey to overwriting suffers from one or more of these character traits:

1. When a writer comes from a teaching or preaching background, he has been trained to do whatever it takes to get a point across. The Teacher/Preacher will say it, write it on the blackboard, get the students to recite it. A Teacher/Preacher stands in front of a classroom or congregation with the assurance that he has to say must be learned. This ingrained manner of communicating leads to overwriting.

A writer who works successfully with animals falls into the same trap. A Trainer/Teacher understands the advantages of being repetitive and consistent in teaching animals acceptable behavior.

2. Now, a Parent, usually with multiple kids, has to repeat himself to get things done. "Pick up your socks, eat your vegetables, chew with your mouth shut," etc. How many times do you suppose the average parent recites these house rules in a week? A Parent put his feet on the floor in the morning committed to getting across to the kids that these things must be mastered and this is how this house is run, etc. And, kids, you will learn it by gosh or by golly.

3. How about a writer with a spouse that makes the mistake of not listening the first – or third–time? Do you think overwriting is another word for nagging?

4. In this mix is the writer who thinks his readers are too dense to get the point by saying it just once. I believe it is the fiction writer’s primary job to create a page-turning entertaining work. The book reading public not only has thousands of books to choose from, but when the going gets boring, it’s way too easy to set the book aside and reach for the TV control.

I think it’s important to note, that all of us fiction writers need to accept that it doesn’t make any difference what a given reader thinks our books are about. Give a reader the opportunity to form his own opinion. What is important is that the reader enjoyed it sufficiently to look for the next book by that author. Run the experiment. Ask four people who have read your book what they think it’s about. (For this experiment to work, you must ask readers separately so they don’t build upon what one another say.) My money’s on four very different responses.

5. Let’s consider the writer that is very taken by his writing and feels he has come up with several ways to write a given sentence and they are both so wonderful that he includes both.

6. Then there is the Victorian writer who feels an adjective/adverb-bare sentence is just not right.

He proudly shows off his knowledge of the Thesaurus. And if one adj/adv is good, certainly two or more are superior. That writing is akin to all the fanciful fret work on Victorian era houses. Do you suppose the Victorian writer has a fear of the naked verb? Certainly people of the Victorian era clothed themselves from top to bottom and then some.

Avoid overwriting by taking the time to choose the right words to convey the thought and adjectives will become almost superfluous.

Master choosing the right words to convey the thought and I guarantee saying it only once will be powerful – and will allow the reader to eagerly move on and not get bored with "this isn’t going anywhere."

Patti Brooks is a writer who sold her first article to a national magazine at age 16. She has published 500+ articles for trade magazines, and general interest newspapers and magazines like "Goodhousekeeping."

Patti is a rider who got her first horse at age 13. She has competed in shows and distance riding where she has accumulated 3,000 miles of competition. Patti, with her husband Bob, have raised over 100 Morgan Horses on their farm in Connecticut. She has served as president of several equine associations and has been inducted into the American Morgan Horse Assn's Hall of Fame.

In order to devote more time to Writing and Riding, Patti recently stepped down from her Realtor position as Marketing Mgr of a firm that markets horse farms in Connecticut.

Patti teaches a fiction writing class at a community college. Her work is included in anthologies. Her grasp of writing something worth reading as well as marketing has made her a popular participant on literary panels and discussion groups. http://www.pattibrooksbooks.com/

Tax Tips for Writers

2012-02-08T00:01:00.000-07:00

I just love it when a plan comes together. I needed information for my taxes; Cindi Myers just happened to have a fabulous new release. Please welcome Cindi as she shares important tax information for writers ~ Donnell

Taxes may be one of the least-talked-about but most-important topics for writers – both published and aspiring. I'm surprised at how many unpublished writers don't realize they could be deducting some of their writing expenses from their taxes. According to the IRS: "For the expenses to be deductible under IRC §§ 162 or 212, the taxpayer must engage in or carry on an activity to which the expenses relate with an actual and honest objective of making a profit." (Italics mine.)

If you are seriously pursuing your writing, with the intention of making a profit, you're entitled to deduct expenses associated with that pursuit from your income taxes. Examples of expenses you might deduct:

Membership in writers' organizations

Attendance at conferences, including conference fees, mileage or airline ticket costs and part of your meals.

Cost of writing books and magazines

Cost of books in your genre

Office supplies

Postage

Costs associated with building and maintaining a website.

They key to legitimizing these deductions lies in good record-keeping, not only of the expenses themselves, but of your efforts to make a profit at this writing business. Save all receipts and note on the receipt the writing related nature of the expense. For example, a note on the receipt for postage might read "Submission to XX Publisher."

Keep a notebook in your car and jot down the beginning and ending mileage when you make writing-related trips, whether to your critique group, writer's meeting, or to the post office to mail a submission.

You should keep a log of submissions to publishers and agents and copies of rejection letters. (Yes, those rejection slips do have some value!) I suggest you also keep a log of the time you spend writing each day. Get a 2012 calendar and make a note each day of how many pages you wrote or how much time you spend writing. Not only will this prove useful should you ever be audited, it will open your eyes to exactly how much time you're really putting in at your craft!

To take your writing-related expense deductions, you'll complete a Schedule C: Profit or Loss From Business. While you can use tax software to help you through this, I strongly recommend consulting a tax professional, at least the first year, in order to make sure you're maximizing your deductions without violating the tax code.

Once you begin making money from your writing, you'll need to pay quarterly taxes, including social security taxes. You may also want to deduct expenses associated with having an office in your home. A tax professional can be a big help at this point, too.

Cindi Myers is not a tax professional, nor does she play one on TV. She has, however, been a full-time writer for 15 years and is the author of more than 40 published novels. Her most recent release is The Woman Who Loved Jesse James. Find out more about her at http://www.cindimyers.com or http://www.romanceofthewest.com

Only 6 Days Left to enter The Sandy!

2012-02-06T08:16:00.002-07:00

Only 6 days left to enter The Sandy !

Don't miss out on a chance to impress these amazing editor and agent final judges. Especially the editors who only take agented submissions.

Experienced writers, this is your chance to slide in the back door!

Published authors--this is your chance to land a contract with a bigger or traditional publisher or agent.

Go to the website for rules and regulations.

Tell your critique partners--spread the word!

2012 Sandy Final Judges

Romance - Sue Grimshaw, Editor at Large & Category Specialist for Ballantine & Bantam Dell
Mainstream Adult Fiction - Kevan Lyon, Agent at Marsal Lyon Literary Agency
Suspense / Thriller / Mystery - Kat Brzozowski, Assistant Editor at Thomas Dunne Books
Fantasy / Science Fiction - James Frenkel, Editor at Tor / Forge
Children's & YA - Mary Kole, Agent at Andrea Brown Literary Agency

* * * * * PERMISSION TO FORWARD GRANTED AND APPRECIATED * * * * *

Welcome Our New Scribe!

2012-02-06T05:55:00.001-07:00

I met Ann before we'd even had our first official school event at Seton Hill. She and I sat next to each other at an informal Red Robin dinner, and when we saw each other's name tags, we realized we had just met our assigned critique group members. We got on so well that semester that we remained critique partners throughout school, and we've become friends besides.

Recently, she was hired by Lori Wilde to edit for Lori's Indulgence line at Entangled Publishing. So now we're coworkers, too!

We at Five Scribes were delighted when Ann agreed to join us. As you can see, she'll bring a fresh perspective to the blog. Welcome Ann!

When I first heard you'd be trading a fantasy novel with us, I admit I was concerned. I don't read a lot of the genre, and I'm pretty picky about what types of fantasy I'll read. But then I got your manuscript and was captivated by how you've twisted the genre. Share with us what youwrite so everyone else can see why I was blown away.

For long fiction, fantasy and paranormal romance. I dabble in science fiction and horror, but in short stories, rather than novels.Though my novels tend to have some really dark moment in them.

I'm querying a project that's kind of a cross between high fantasy and urban fantasy, much in the way a Reese's Peanut Butter cup combines chocolate and peanut butter. Immortal lords, sexy reports, swords, guns, cars,betrayal and a great evil about to come back into the world. I'm finishing up a smexy paranormal romance about a guy, a grumpy forest and field fae, and a flock of vampires on a cruise ship crossing the Atlantic (what could possibly go wrong with that?).

Writers are supposed to read. A lot. So tell us what you like to read.

Everything? I do read quite a lot of fantasy. I enjoy all kinds of YA and romance. I like historical fiction. I like non-fiction. Science fiction. I don't read a lot of horror novels, but I love horror shorts. So far this year, I've read a steampunk YA, two paranormal romances, and two m/m romances, one historical and the other fantasy.
I'm currently reading an epic fantasy door-stopper and a book on the history of the battle of Agincourt.

I'm on Goodreads, so you can follow along as I plow through my reading list. I'm trying for 50 books this year.

I like to gush about Seton Hill on this blog, so now it's your turn. What was your favorite thing about the Writing Popular Fiction program?

The people. The instructors were fabulous--are still fabulous and giving. And my fellow students were great. I made friendships that will last a life-time. The environment was so supportive of genre fiction.

Tell us about your new editing job.

I'm an associate editor for Entangled Publishing, working on Lori Wilde's Indulgence line of category romances. My job is to help the authors of the great books Lori finds turn their works into books readers can't put down.

But editing is a new addition to your work schedule. Tell us aboutyour day job.

I'm a technical writer. I learn about complex things that engineers create and then translate what they tell me into plain English so folks can actually use whatever it is. I also get to be an advocate for the user and tell the engineers when their design is--not conducive to a good user experience.

Gotta love those "undocumented features." So what are your hobbies?

Gardening, both inside and out. I have a very bad orchid habit and I love to dig in the dirt. I'm also a member of the SCA, so I dress up in medieval clothing and hang with royalty, yo. I just got a bread machine,so I've been baking a lot of bread.

And I have two feline overlords who demand that I play with them, feed them kibble, and provide them a warm body on which to lay.

Two enter the ring. One leaves. Who and why?

a. Locke Lamora vs Honey Badger

Locke. The man survived being in a barrel of horse piss and the ire of Bond Magi. You think a Honey Badger's gonna stop him? Honey Badgers might ear snakes out of trees, but Locke will just skewer it with a sword. Then probably make some kind of fine meal out of it to serve to unsuspecting nobles.

b. Legolas vs Dannel Rivvis (the conniving and hardcore Elasi in Ann's novel)

HA! Dannel. He has a gun and he knows how to use it. Legolas may be a fantastic archer, but Dannel plays dirty. He's also not stuck in the middle ages. The world grew up and he adapted. Swords? Yup. Guns? Yup. Cars? Yup. Ever see Legolas in a car? No? Well then.

c. Chess Putnam vs Rachel Morgan

Oooh. Hmm. Geez. I think they'd band together to hunt down and kill the bastard who stuck them into the ring.

Where can we find you on the interwebz?

I have a pretty static website at annlaurelkopchik.com.I'm very active on twitter as @amergina. I'm on G+ as Ann Kopchik. Your best bet is probably twitter.

Thanks for joining us, Ann! We look forward to the posts you'll bring to Five Scribes.