We Interrupt This Program For Breaking News: The Apollo Academy to hit shelves in August!

Yes, I'm still on hiatus!

Just wrote 1400 words, feeling great!  Getting back to it, but wanted to take a station break to give you all a heads up:


My writing buddy Kimberly Chase announced her debut today!  The Apollo Academy will hit shelves on August 6th!

From Goodreads:

As the heiress to Titon Technologies, eighteen-year-old Aurora Titon can have whatever she wants—clothes, expensive gadgets, anything money can buy. All she really wants is to escape her pampered, paparazzi-prone life for the stars. Becoming the first female pilot to train as an astronaut for the Apollo Academy is exactly the chance for which she has been waiting. Everything would be perfect if it weren't for her unreciprocated crush on a fellow student, the sexy astronaut bent on making her life hell, and the fact that someone keeps trying to kill her. 

The first in a four book series, The Apollo Academy, is an action packed story of love, discovery, and survival.

I've had the distinct pleasure of reading some of AA for Kim, and, guys it is AWESOME!  Her story is such a standout, and her world-building is INSANE!  So mark your calendars, add it to your TBR on Goodreads, and get ready:

Apollo Academy - and Kim's amazing career - blasts off August 6th, 2013!

Need a Critique? Look No Further!

I know, I know, I'm supposed to be on hiatus.  And I am - I'm drafting, and it's going great!

Stopping by to remind you all that I do Query and First 250 critiques here on the blog.  You can read past crits here, here, here, and here to get an idea of how I approach your work.

To submit a query:

Email me at DaisyCarterFresh at gmail dot com.  Paste your query in the body of the email and put QUERY CRITIQUE in the subject line.

To submit your first 250 words:

Email me at DaisyCarterFresh at gmail dot com.  Paste your first 250 in the body of the email and put 250 CRITIQUE in the subject line.

I DO NOT OPEN ATTACHMENTS!!!

I really encourage you to take advantage of free critiques.  If not from me then someone else, preferably another writer.  Queries are tough!  No one likes to condense their story to two or three paragraphs!  Use the resources available to you before you submit!  You only get one shot to impress an agent - make sure you've done all you can to nail the "interview!"

As for your first 250, get as many eyes on it as you can!  Utilize family members, friends who read a lot, and writer buddies.  That first page is PRIME real estate!  Don't waste it!

Have a great weekend!

Daisy

What To Do While I'm Gone

I'm taking a break for the next couple of weeks so I can really concentrate on my new WIP.  I've finally found my footing again, and I think I need to focus all my creative writing energy into the project.

So, while I'm gone, check this out:  Marcia Hoehne has written an EXCELLENT post about the way writers approach a first draft now - all plot points and beats - versus the way writers seemingly used to write - all discovery.  She makes some great points.

And if you need some recommendations for new reading, here's a peek at what I'm reading now:




Also:

I love books on writing.  I even have a page for them that desperately needs to be updated.  Why?  Because I just bought two books that have helped me so very much.

First: Beginnings, Middles, and Ends by Nancy Kress
This one isn't about plotting v. pantsing or how to write on a story arc, etc.  It's more about how to approach the three acts of your story and what to do if one act trips you up more than others.  I, for example, am great at drafting Act I.  Then, I get to Act II and just lose my way.  I find it again in Act III, though.  So I read "Middles" several times, and it really helped me see how to work through this part of the story.



Second: Writing Irresistible Kid Lit by Mary Kole is a new one I've just begun, but let me tell ya - wow.  It's so great.  I've been a follower of Mary's blog for a long time now.  If you don't follow her, I really suggest you take a look.  Mary knows her stuff, works in the industry, and has a lot of great advice for writers.













One more, just for laughs because I heart Steve Carrell:



Is anyone else as excited about this movie as I am?  No, really?  Okay, well, more popcorn for me then!

Have a great couple of weeks!  Hope wherever you are on your writing journey, it's prosperous!

Daisy

Writing 101: Being A Professional Writer

A couple of weeks ago, I went to a writers workshop.  It was ah-mazing.  I made some great new writer friends, got awesome feedback on my WIP, and learned a thing or two or twenty-seven.

But.

Over the course of the workshop, I heard a ton of sour talk.  I listened to writers - some agented, some published, some querying - bash writers, books, agents, and editors. 

It always started out innocently enough.  We would be talking books, and someone would disagree about how good book X was.  Which somehow turned into, "worst book you've read recently."  Which turned into author bashing.  Which turned into war stories about querying, submitting, and paid critiques, which turned into agent and editor bashing.

"I met Best-Selling-Author at a function, and she was an idiot."*

"That book had so many plot holes in it, I couldn't keep reading.  That editor should have lost her job for that one."*

"I sent Agent-Extraordinaire my query/sub/sample 3 weeks ago, and she still hasn't gotten back to me even though I've nudged her 7 times.  So I finally called her office and demanded to know what was going on."*

Here's the thing: we writers get frustrated with the process sometimes, and rightly so.  It's not easy to bleed onto the page and then send it out for someone to judge.  Sometimes, after a hard month or year of writing, we need to be able to vent our frustrations about it all, and who better to talk to than other writers.  Right?

Wrong.

Well, at least in a group setting of 15 or 20 of your newest acquaintances, don't talk smack.  Or in an online forum that anyone can read.  Or in an online forum that only members can read.  Or on your blog.  Why?  Because... 

If you are attempting to break into the publishing industry, you must act PROFESSIONALLY in public.  New York (and all its satellites) is a small town.  The publishing industry is a tight knit community.  Editors move houses all the time, so they know LOTS of editors.  Agents talk to each other all the time.  Writers meet at events.  

You know all this, though, right?  I mean, just check out an agent's twitter feed.  Most of her conversations are with other agents, her clients, and editors that she's going out for drinks with later.  You think they don't hear what you've been saying about them?  

THEY DO.

You think they don't read the forums to see what writers are saying about them and their friends?

THEY DO.

You think they don't get access to members only forums, where writers feel safe to say anything about anyone?  

THEY DO.

You think the writer you bashed NYT-Bestseller with doesn't know a writer who knows a writer who knows NYT-Bestseller?  

THEY DO.

Look, I'm not saying you should censor yourself completely.  Wouldn't that be ironic, considering? :)  But I am saying that you should choose your confidants wisely.  Talk to a trusted friend, not a room full of other conference goers.  And don't get on forums or anywhere online and talk smack.  It will come back to bite you.

On another note of the same song:

Prepare for a rant.

What exactly is an agent? Well...
Agents are like gatekeepers.

I am the Gatekeeper.  Are you the Keymaster?

Wait, that's not right.  

Agents are like bouncers.  

(http://creativecommons.org/licenses/by/2.0), from Wikimedia Commons

Nope, not it, either.

Agents are like...oh, I know!  People.  That's it! Agents are exactly like people!

They are human, they are imperfect, they are avid readers, they are really good at understanding the fine print that most people skip over, and they are awesome.  Awesome.  

Want to know why they're awesome?  They love writers and stories so much, they're willing to work FOR FREE until YOU make money.  They don't charge you up front (not the legit ones, anyway).  They don't make millions a year just to sit around in their fancy classic 6s and read leather bound manuscripts.  They don't even fly to conferences and festivals in their luxury jets.

Agents are not:

1. Ethereal beings who have magic keys to fame and fortune
2. Bouncers who refuse to let you into the biggest party in town.
3. Robots who slave away for you 24/7
4. Speed readers for the sake of speed reading
5. Perfect
6. In your debt
7. Actively trying to keep you down

If you are trying to land an agent or editor, you are writing PROFESSIONALLY.  If you want to be taken seriously in this profession, it would do you some good to remember what that means.  

You, as a writer seeking representation, should NOT bash them in forums or on Facebook/Twitter/Instagrandma. 

 Guess what, people?  Agents can READ.  Hard to believe, ain't it?

And, since I love a good list (obvs), here's another.  I like to call it "Things We Writers Should Remember":

1. You bad mouth an agent, it will come back to haunt you.
2. You send a mass query to half the agencies in the continental US, the other half will probably hear about it.  Agents are friends with other agents.
3. Agents WANT to love your book.  They WANT to find the next big thing.  They open each sub and hope to be swept away!
4. Read the first 50 pages of a book.  Now do it again.  And again.  And 100 more times.  Today.  NOW!  Impatient people are waiting.  Aren't you finished yet?  Hello!  I'm standing here, tapping my shoe!  What in the world is taking you so long?!?!? Haven't you read 400 books yet?  It's been a whole five minutes.  What is WRONG with you?  You must have been dropped on your head as a child.  You're a hack, aren't you?  Who cares if you're not getting paid for this?  Not me!  Get to reading!!!!
5. There's a reason it's taking the agent/editor you submitted to weeks/months to respond to you.  They're busy with their clients.  

Don't miss numbers 4 and 5.  I cannot tell you how often I hear writers complain about how long it's taking agents to respond to them.  

I get it.  I do.  I've been there, refreshing my screen every 5 minutes, hoping for a response.  

Here's the thing I realized as I was waiting, though.  The reason agents take a while to get back to you is 1) they have 5 gazillion other submissions to read - both requested and slush, and 2) reading those submissions is only a small part of their job.  They spend most of their time working with the clients they already have.  They're on the phone with editors, at lunch with editors, at events with editors, trying to sell their client's work.  They're also constantly emailing their clients to brainstorm, to talk shop, to encourage, to give them notes on a manuscript, and to send news - both good and bad - about their submissions.  AND they're reading client manuscripts.  

If an agent has 50 clients already, that means they have a revolving stack of new manuscripts to read from their clients.  And clients take precedent.  As it should be.

When you finally sign with your dream agent, would you rather her be busy helping you, her client, or reading slush 24/7?  

Keep that in mind.  

Same goes for editors.  They have a huge stack of submissions to read.  But that's only a part of their job, too.  They also have to read, edit, edit again, edit again, edit again....the manuscripts they are working on with writers.  They have to go to sales meetings, acquisitions meetings, editorial meetings, festivals, and conferences.  

It's no wonder publishing is a slow business.

So, a wrap up list (ooh, another list!):

1. Don't bash people in the industry to other people in the industry, especially online where anyone can read it.
2. Be professional when dealing with professionals in your chosen profession.
3. Agents are people.  So are editors.
4. Don't sweat the wait time.  It only means that agent is busy busting her butt for her clients, which could one day include you.  Same for editors.
5. It's okay to not like a book.  It's even okay to say so, and why.  But that should not translate into bashing another writer.  Show some respect, people.

Sorry for the long, long ranty post, but it needed to be said.  

Daisy

p.s. I know this post is fraught with typos and grammatical errors.  Please don't judge too harshly.  I write purty most days.

*Not actual quotes I overheard in this setting, but very, very close.  

Query Critique: An Absence of Light by Meradeth Houston

By Matthew Bowden www.digitallyrefreshing.com, via Wikimedia Commons

I'm back with a new query critique, this time from one of my favorite blogger buddies (and an amazing writer), Meradeth Houston.

Meradeth has a couple of titles under her belt - Colors Like Memories (available at Amazon) and The Chemistry of Fate. Today, she's submitted her query for a beating critique.  Here's Meradeth's query of her Upper YA/New Adult, An Absence of Light.

Dear Ms. Carter,

A stolen BMW, blood on her hands, and otherworldly shadows only she can see. Leah can’t keep running; it’s time to fight back.

When the shadow creatures attack her family, Leah is forced to flee LA, praying the shadows, and the cops, don’t follow. Leah doesn’t know why she alone can see the creatures, or why they influence humans to commit rape, murder, and other dark acts. When she stumbles onto a small group of people who share her ability to detect them, she jumps at the chance to learn more, especially how to get rid of the vile things. The hot hunter, Adam, makes the opportunity even sweeter, even if he already has a girlfriend. Together the group pieces together that the shadows are not from this planet and their invasion is just beginning. If the creatures succeed in their plans, all of humanity will be at their mercy.

When Leah discovers she can communicate with the shadows, she learns of a rebel faction among the aliens. Some are trying to convince the shadows to return to their home world. In order to stop the invasion, Leah will have to face her fears of the shadows, but is there any way she can work with creatures bred in darkness?

{bio stuff here} 

Wow!  Is anyone else as itching to read as I am?  I love this concept.  And I think the query is an excellent summary of plot, stakes, romantic subplot, and world-building.  

Okay, enough gushing.  Now, let's tear it apart. ;)

Dear Ms. Carter,

A stolen BMW, blood on her hands, and otherworldly shadows only she can see.  I love this hook.  It's a great lead in to what's coming.  The only problem is, the car and the bloodied hands don't show up again in the query.  There's not even a hint of it that I can see.  So, it's like I've read a hook that doesn't go with the following paragraph.  Leah can’t keep running; it’s time to fight back.

When the shadow creatures attack her family, Leah is forced to flee LA, praying the shadows, and the cops, Why not the cops?  Are they working with the shadows? I'd delete this since you don't mention them again.  don’t follow. Leah doesn’t know why she alone can see the creatures, or why they influence humans to commit rape, murder, and other dark acts. I would make this the first sentence of the paragraph, and then follow up with "When the shadow creatures attack..." It would flow better.  When she stumbles onto a small group of people who share her ability to detect them, she jumps at the chance to learn more, especially how to get rid of the vile things. The hot hunter, Adam, makes the opportunity even sweeter, even if he already has a girlfriend. This says a lot about Leah: she's interested in a guy because he's cute (is that the only reason?), and she's willing to overlook a girlfriend.  Make sure this is how you want agents to see Leah - as a girl who would go after a guy that's taken because he's hot.  Together the group pieces together Omit the first one. that the shadows are not from this planet and their invasion is just beginning. If the creatures succeed in their plans, all of humanity will be at their mercy. Obviously, you don't want to give too much away in a query, but this sentence feels a little vague.  What is their plan?  And HOW will humanity be at their mercy?  Will we become slaves, forced to do manual labor?  Will the shadow creatures feed off of us somehow?  Will we be used for experiments? Etc, etc.

When Leah discovers she can communicate with the shadows, she learns of a rebel faction among the aliens. Some Replace with "who" for fluidity. are trying to convince the shadows to return to their home world. In order to stop the invasion, Leah will have to face her fears of the shadows, but is there any way she can work with creatures bred in darkness?

{bio stuff here} You have an impressive bio, so be sure to mention your pub experience and your sales.

Add in here somewhere the title, word count, and genre.

My only "big picture" critique is that Meradeth leaves a lot dangling.  Leah's family never comes up again. Nor do the cops, Adam, or (as mentioned above) the stolen car/bloodied hands.  All of these things seem important to the story, but since they're only mentioned once, I don't know if that's true or if she's "kitchen sinking."  I'd cut out at least half of these - the car and the cops, since they probably tie together but don't seem to have anything to do with the main thrust of the query - and then add a second mention of Adam and the "blood on her hands."

BTW, I'm assuming "blood on her hands" means that Leah is guilty of some sort of violent crime.  Is that what makes her afraid of the shadow creatures - that they influenced her to hurt someone?  Perhaps her family?  If so, then THAT'S your hook.  Leah can talk to the shadow creatures, but it doesn't keep her from being used by them.  Now, the stakes are raised on a personal level as well as "end of civilization" level.  There's a human connection to a high concept story.

What do you all think? Do you have notes for Meradeth?  Do you disagree with any of my thoughts?  Leave a comment and tell us why!  

Until Tuesday, when I'll be talking about a common beginning writers mistake, keep it Fresh As A...

Daisy

Writing Tips From Tim Gunn

I'm a huge Project Runway fan.  Have been since Jay Carroll won in the very first season.  Does anyone else remember all those chunky sweaters and dyed-to-match headphones he walked down the runway at Fashion Week? I do.

I LOVE the show.  Sometimes, the seasons are a little blah.  Some of the contestants get on my nerves. And some of the fashion is, imo, AWFUL.
Tim Gunn, on the other hand, is always, always, always right.  About everything.  Seriously.  There are days when I stare at my clothes and think, "What would Tim say about this ensemble?"  There are also days when I stand in line at Starbucks and think, "What would Tim say about this coffee choice?"  There are even days when I think, "What would Tim say about this manuscript?"

A couple of weeks ago, I had an epiphany while listening to Tim critique the designers in the work room: Most of his advice translates to writers! 



1. Don't second guess yourself, and stay on the path. 
How often do we writers do this, especially in first drafts?  This isn't good enough.  I need to go back and rewrite the entire first section before I can move on.  And maybe the premise needs to be changed. And maybe the main character, the POV, and the love interest.
Look, maybe some - or all - of those things DO need to be changed.  But get through that first draft first.  You can't edit a dress until it's on the mannequin, and you can't edit a story until it's ON THE PAGE.

2. Tim, to a designer about her choice to underlay her main piece with a weird fabric that didn't go with anything else: Why are you introducing this blue under this?  Ever critique something, or read a published book and think, why is this subplot here?  Flying pigs have nothing to do with the American Revolution.  Yeah.  Don't just throw stuff at your dress and hope it all matches, and don't just throw subplots into your story just because you need "something" to cover your rear.

Designer: Cuz I don't have another opaque...  Isn't this sometimes our excuse?  "I couldn't think of anything better" should NEVER be a reason to leave in a subplot or plot point.

Tim, Holding Up The Obvious: It's right here.  Your solution.  It's right here in front of you. So often, the obvious solution is right under our noses, but we can't see it.  This is why it is SO important to have critique partners and beta readers you trust.  They will point out the obvious to you!  This is also why it's so important (and HARD) to walk away from your manuscript for a set period of time.  We don't see what we have to work with when we're bleary-eyed and working nonstop.  Step back, breathe, and let your work "cool off" between drafts.  Then, you're more likely to see how to fix your holes.

3. Don't waver from the plan. So, you want to be a writer.  You really, really, really want to be published.  But you only work two days a month.  Or twenty minutes a week.  Because, you know, Friday Night Lights is streaming on Netflix.

Not good enough.  Sure, there are times when it's necessary to walk away from writing.  Life, work, family, your sanity...all good reasons to take a break.  But if you want to be a writer, you have to WRITE.

Make a plan.  I set a monthly goal for my writing, and a quarterly, and a yearly.  Sure, it changes as I go along.  No, I don't always reach my goals.  But I push towards them every day.  I have a plan.  I'm sticking to it.

4. Carry on.  Didn't meet your word count goal this week?  Keep going.  Haven't written in a month?  Keep going.  20 queries sent out, 20 rejected?  Keep going (and work on that query letter!).  Just realized you're going to have to rewrite the first half of your book because of the ending you came up with?  Keep going.  Carry on.


5. I am so happy with how ambitious you're being.  First novel?  Good!  You can do it!  Trying to write a trilogy while raising triplets? Great!  You can do it!  Trying to break into the publishing industry? Awesome!  You can do it!


6. Make it work. Okay, honestly, sometimes it feels like there's no making it work.  Sometimes, our query letters aren't good enough, our characters are flat, and our stories are pedestrian.  But how many times have you heard this: writing is rewriting.

All the time, right?  Your first draft is going to be terrible compared to your final draft.  Your first idea may not be the best one.  But you can work with just about anything.  There is no point at which you cannot improve.  If you work hard, if you learn as much as you can about your craft, and if you do not give up, you can make it work.

Writing 101: SCBWI

When I first started writing with the goal of publication, I had no idea what an agent was, what an imprint was, or what SCBWI was.  I was just a twenty-four year old who had always loved to write.

I went to my first writers conference in 2010.  I thought I had finished my second manuscript, a middle grade fantasy.  I'd written one draft and spent two weeks revising, aka line editing it for grammar.  So I went off to said conference, determined to stalk seek a certain "rock star" agent.

That weekend, I might have chased said agent down as she was heading for the elevator and forced her to have a cup of coffee with me while I pitched her my work.  I might have done this.  And when I went to her session that afternoon, I might have sat in the front row where she could see me.  You never know - she might have spontaneously offered me representation even though she hadn't read a single page of my manuscript.  It might happen.

It didn't.  But...
In said session, she offered the room a piece of advice that changed my life: if you write for children, join SCBWI, The Society of Children's Book Writers and Illustrators.

So, when I got home, I looked up SCBWI.  Hmm.  They even had a chapter in my state.  And a conference, coming up in a few months!  I signed up immediately for membership and for the conference.

Boy, am I glad I did.  SCBWI has done SO MUCH for me.  At their conferences, I've had my work judged by an editor and won an award for it.  I've had another editor request my manuscript.  I met my first critique partners through a conference.  And in 2011, it's where I met Erin Murphy, who connected me to her newest agent, Tricia.  Tricia became my agent in 2012!

Writers work in a vacuum most days.  We write, revise, and write some more, but I think it's important that we get out of our writing caves and break bread with other writers.  That we leave our houses and go to a class taught by someone who's a few steps ahead of us on the journey.  That we print out pages on bright white paper and offer it around for a table of strangers to critique.

I cannot say enough good things about SCBWI.  Even if you don't join, you can attend most of their events, like conferences, workshops, and author events.  Not only does it afford you the opportunity to get your work in front of professionals, it gets you in front of professionals.  I think human contact is an important part of writing (and life) that we miss when we only have an online presence.  SCBWI also proves that you're not in this alone.  There are so many others walking roads parallel to yours.  Why not meet them, learn from them and offer your own take?

Check out all SCBWI has to offer.  And no, this is not a paid endorsement.  I just really believe that every writer needs a community.  And SCBWI is the best I've come across.

My Epic Fairy Tale Fail by Anna Staniszewski, a Review

From Goodreads:

Fairy Tales doe come true.  Unfortunately.

Jenny the Adventurer is back, and this time she’s off to the Land of Tales: the crazy place that all fairy tales come from.  If she can defeat an evil witch and complete three impossible tasks – all without getting eaten by blood-thirsty monsters – Jenny might finally get some answers about what happened to her parents.

This is one adventure Jenny can’t afford to fail.

Freshies, this book is awesomesauce!  Yes, I said awesomesauce.  It’s the best word I know to describe this book.  Because it is awesome, and fun, and playful, and exactly right for a middle grade reader.  And middle grade readers say awesomesauce.  Or, they will when they read this book.

I loved Jenny.  Jenny is the perfect heroine.  She’s funny, she’s smart, and she’s not perfect.  She has flaws that make her feel real, even though, you know, she travels to fairy tale worlds with the help of a gnome on a diet.  She misses her parents and is desperate to find them.  She cares for her friends more than just about anything.  She’s stubborn and convicted.  She’s 13, and she acts like it!  She struggles.  She falls down.  She fails.  But she has heart and perseverance that carry her through.

I loved the Land of Tales.  It’s a fresh take on fairy tale worlds, and the characters are both hilarious and interesting.  My favorite was definitely Ralph, a wolf in gym shorts.  Or maybe Sir Knight, who’s stuck in his armor.  Or Ilda, the witch.  Or the troll – I loved the troll. 

Anna Staniszewski

What I loved even more than the characters that populate the Land of Tales were the characters who live in the real world. 

Middle grade, at its heart, is about relationships.  And Jenny’s friendships are spot-on realistic.  Staniszewski did a great job making Jenny’s two best friends (who get to accompany Jenny on her adventure) feel multi-dimensional.  They could have their own books.  I loved them.  And I adored Jenny’s aunt, an animal psychotherapist, who is often found painting with dogs or massaging ostriches. 

The quest to save Land of Tales and learn information about Jenny’s missing parents moves quickly and smoothly.  The plot is fun and fresh and full of fantastical moments.  This is an excellent book.

What I loved MOST about MY EPIC FAIRY TALE FAIL is that it is perfect for middle grade readers!

I would have DEVOURED this book (and this series) when I was nine or ten years old.  This is exactly the kind of book I would have wanted to read.  I am so glad I got to read it as an adult, but what I would really love is to travel back to 1992 and give this to myself.

If you haven't read MY VERY UN-FAIRY TALE LIFE yet, I also highly recommend it!  It's a great start to this adventure.  But I think EPIC can stand on its own, too.  Any plot threads from book one are clearly explained (without being too telling.  I was in awe of Staniszewski for that, too), so you won't be in the dark for EPIC.  

Have you read MY EPIC FAIRY TALE FAIL yet?  What'd you think?

Until next time!

Guest Post by Anna Staniszewski: Lessons Learned from Writing a Sequel

It was fall 2011, right before my debut novel, My Very UnFairy Tale Life, was about to come out. My agent emailed me and asked: “How soon can you get a synopsis of two potential sequels to me?” I had a small panic attack and then forced a smile on my face and wrote back: “Today?”  A few weeks later, we heard back that Sourcebooks had decided to pick up two follow-up UnFairy Tale books. I was ecstatic! I got to write two more books!

And then reality hit. I had to write two more books…

As I dove into drafting the sequel, I experienced writing on deadline for the first time. There were times when the deadline clock was Ticking Very Loudly in my head, but it turned out that approach actually fit with my natural writing process fairly well. (I tend to draft quickly and then revise, revise, revise.)

The one thing I had to let go of as I was working on the sequel was perfectionism. Normally, I don’t let anyone read a draft of my manuscript until it’s as good as I can make it. But when you have only a few weeks before you have to turn a draft in to your editor, sticking to that kind of neurotic technique is pretty much impossible. I had to be content with sending my beta readers somewhat rough drafts and furiously continuing to revise while they were still reading.

I think the biggest change for me in terms of the writing process, though, was that I started to outline. Me, a die-hard pantser, had to actually plan the story before I wrote it. Gasp! After some trial and error, I realized that a synopsis felt like a natural way for me to plan a story beforehand, and an outline was a good tool to use after I was done with the first draft.

Needless to say, I learned a lot about my writing process as I was working on the sequel, which was very helpful when I turned in the final draft…and had to start all over again with Book 3. I think my character, Jenny, and I have both grown up a lot over the course of this series. If nothing else, we both know a lot more about magical creatures now!

This next part is a segment I like to call, "James, you're making me uncomfortable."  Authors who stop by my blog are forced asked to fill out the Pivot Questionnaire, better known as the questions James Lipton asks at the end of Inside The Actor's Studio.  Here are Anna's excellent answers.  

·  What is your favorite word?

Duck. There is nothing unfunny about a duck.

·  What is your least favorite word?

Moist. It has far too many gross images that go along with it.

·  What turns you on creatively, spiritually or emotionally?

Joking around with people not only makes me laugh but it also unleashes the wackiest part of my brain, which seems to be where all my best ideas are hidden away.

·  What turns you off?

Stubbornness, especially for the sake of being stubborn.

·  What is your favorite curse word?

I don’t curse very often, but a well-timed “bloody hell” can be very satisfying.

·  What sound or noise do you love?

The sound of my dog snoring. It makes me smile every time.

·  What sound or noise do you hate?

I can’t stand hearing people argue.

·  What profession other than your own would you like to attempt?

I would love to be the voice of a cartoon character.

·  What profession would you not like to do?

One that has anything to do with math.

·  If Heaven exists, what would you like to hear God say when you arrive at the Pearly Gates?

“You’re just in time for hot fudge sundaes.”

Bio:

Born in Poland and raised in the United States, Anna Staniszewski grew up loving stories in both Polish and English. She was named the 2006-2007 Writer-in-Residence at the Boston Public Library and a winner of the 2009 PEN New England Susan P. Bloom Discovery Award. Currently, Anna lives outside of Boston, Mass. with her husband and their adopted black Labrador, Emma. When she’s not writing, Anna spends her time teaching, reading, and challenging unicorns to games of hopscotch. You can visit her at www.annastan.com.

A huge thanks to Anna for stopping by!  I hope everyone will come back on Friday for a review of My Epic Fairy Tale Fail! 

Kicking off Anna Staniszewski Week!

First off, I'm a few days late announcing this, but Meradeth Houston interviewed me over at her blog, The Write Stuff.  You can check it out here!  Also, if you're not following Meradeth, you totally should be.  Besides being an amazing writer, she also blogs about science stuff on Sundays that, if not for her, I'd never know.  Because, you know, me and science are like frozen yogurt and corn beef - we don't mesh.  But with Mer's amazing posts, we're more like fro-yo and pimento cheese.  Still don't mesh, but at least we're in the same food grou-- you know what?  Nevermind.  Just read her blog.

A couple of months ago, I polled you (yes, you) and asked what types of posts you'd like to see during my sophomore year of blogging.  One thing you wanted was to hear from some of my writer friends.  Hold on, let me dust my shoulder off because I sooo delivered!

This week is going to be a great one!  It's... .. . .... .. . .... .. .drum roll. .. .... . .. .... . .. ....

Anna Staniszewski Week!  

From Anna's Website: 

A little bit about me: I live and work in the Boston area. I write. I teach. I eat way too much chocolate. I’m the author of the My Very UnFairy Tale Life series and the upcoming Dirt Diaries series–both published by Sourcebooks Jabberwocky–as well as the occasional dinosaur picture book. 

Anna just released the second book in her My Very UnFairy Tale Life series, MY EPIC FAIRY TALE FAIL.  What's that?  You haven't read it yet? You're in luck!  Today, I just happen to have Anna's book trailer here for your viewing pleasure.

And tomorrow, Anna will be here to talk about the joys and trials of writing book 2 in a series.

Oh, not enough?  How 'bout a book review of EPIC FAIL?  Yeah?  Great!  Come back Friday!

Okay, seriously, don't you want to read this book?  *you do - it's epic!*

Come back tomorrow to hear from Anna herself about MY EPIC FAIRY TALE FAIL!  

Until then, keep it Fresh As A...

Story Structure: How To Plot a Series or Trilogy

Erin L. Funk asked me an excellent question a few weeks ago, and after some digging, I'm here to answer it.  Her question: 

Does the percentage of space devoted to each of the three acts change for a second or third book if you're writing a trilogy? Seeing as you have less world building to do and are working with established characters, wouldn't the action start up quicker in book two, meaning your first act would be shorter and the catalyst could happen sooner?

So, the answer is no.  No matter what book in a series - the first, third, seventh, etc. - the space devoted to each of the three acts does not change.  Here's why.  Yes, in a series, you don't have to introduce characters or build a world from scratch.  You do, however, have to introduce the character as they are at the beginning of this story and build the world of this story.  

Uh, what?

Yeah, I do better with examples.  Let's go to Harry Potter since it's so well known.

Book One, Sorcerer's Stone: Act I takes about exactly the first 25% of the book.  Act II begins with Hagrid ushering Harry into Diagon Alley.

Book Two, Chamber of Secrets: Act I takes exactly 25% of the book.  Act II begins with Harry and Ron caught after flying into the Hogwarts Grounds on the first night back to school.

Book Three, Prisoner of Azkaban: Act I takes exactly 25% of the book.  Act II begins with Harry's first day back at Hogwarts, where he meets Professor Trelawney (who plays a major role in this book, remember).

Book Four, Goblet of Fire: Act I takes exactly 25% of the book.  Act II begins with Harry's first night back at Hogwarts, where he learns about the Triwizard Tournament.

Book Five, Order of the Phoenix: Act I takes exactly 25% of the book.  Act II begins with Harry's first night back at Hogwarts, where Professor Umbridge makes her "everything will be different now that I'm here" speech.  

Anyone else see the pattern?

Okay, but what if I'm not writing such a formulaic, one book for every year of school plot?

Doesn't matter.  Rowling didn't spend 25% of each book rehashing info that we knew from previous books.  She used that time to build suspense, introduce new characters, and build new areas of the existing world.  

That's what you have to do, too, if you're writing a series.  Because, yes, you've already introduced us to your characters (or, most of them).  And yes, we've been in this world.  But this world should look different in book two, three, or nine.  Why?  Because your hero's outlook MUST be changed, however slightly, with each book.  And your hero should have changed his world in some way in each book.  

Look at the Hunger Games trilogy.  By the end of book one, Katniss and Peeta are victors.  So in book two, Catching Fire, Katniss and Peeta are back in District 12, but they're not back to life as they know it.  They live in mansions, have food and money, are "famous," and are under scrutiny from the Capitol for the stunt they pulled in book one.  Katniss never really leaves the games at all.  She's just playing a bigger one in book two.  And all of that has to be set up in the first 25%.

Now for the second part of the question: Wouldn't the action start up quicker in book two, meaning your first act would be shorter and the catalyst could happen sooner?

The answer to this is also no.  I say this because the action should start quickly in every story, be it book one or book twelve.  Remember, an inciting incident and a catalyst are two different things.  The inciting incident is what sets your story in motion.  The catalyst is when something changes/something is revealed.  Breaking into the Exotic World of Act II is when the main character takes action with or against or because of the catalyst.  

The inciting incident of Sorcerer's Stone is when Harry frees a boa.  

The catalyst is when Hagrid breaks down his door and says, "Yer a wizard, Harry."

Act I ends/Act II begins when Hagrid welcomes Harry into Diagon Alley.

The inciting incident in Chamber of Secrets is when Dobby visits Harry and warns him not to go back to school.

The catalyst is when Harry and Ron can't get through the barrier between platforms 9 and 10.

Act I ends/Act II begins when Harry and Ron get to school but get in trouble for how they arrived.

The inciting incident in Order of the Phoenix is when the dementors attack Harry and Dudley.

The catalyst is when Harry is cleared of all charges, upsetting Fudge and Umbridge.

Act I ends/Act II begins when Umbridge comes to Hogwarts to interfere on behalf of the ministry.

Now, here's where it gets tricky.  When you're writing a trilogy, book one, in its entirety, should be ACT ONE of the overall story.  Book two, in its entirety, should be ACT TWO of the overall story.  Book three should be ACT THREE of the overall story.  Yes, each book should have three acts all their own.  But successful trilogies and close-ended series must have an over-arcing story that also has a beginning, middle, and end.

Let's use The Hunger Games as an example of a three act structure over the course of a trilogy here. *SPOILERS AHEAD*

The over-arching story of this trilogy is about the rise of a young girl who becomes the face of a revolution that falls a corrupt society. 

Book One, The Hunger Games - Act I: Katniss wins the games, setting her up to be the face of the revolution.  Also, this is, overall, the ordinary world of her story.  She's always known about the Hunger Games and what they are.  No, she's never played them before, but they've always been a part of her world.

Book Two, Catching Fire - Act II: Katniss enters the exotic world of Act II.  She goes from being poor and hungry and fighting to survive to being rich, powerful, and fighting to survive.  She begins to play a games with the Capitol, with her friends and family, to stay alive.  She learns about riots and District 13 and things she had no clue existed before.

Book Three, Mockingjay - Act III: Katniss and the resistance go through the steps of the Finale that is Act III until at last they've won the battle with the Capitol.

And finally, let's use Harry Potter as an example of a three act structure over a close-ended series: 

The over-arching story of the series is Harry v. Voldemort.  

Book One, Sorcerer's Stone: The Inciting Incident.  Harry returns to the wizarding world after 10 years living with Muggles.  Voldemort reveals himself after 10 years of lying low.

Book Two, Chamber of Secrets: The Set Up.  Harry learns about Voldemort's past (through the diary), clues are planted for the future (again, the diary), and Harry learns and grows in preparation for the day he might have to battle Voldemort again.  

Book Three, Prisoner of Azkaban: Enter The Exotic World of Act II: Harry enters a world where not all is what it seems.  His godfather isn't a murderer.  Ron's pet isn't a pet.  And prophesies come true that will lead to the rise of Voldemort.

Book Four, Goblet of Fire: Fun and Games and The Midpoint.  Literal games (Triwizard Tournament) that draw Harry closer and closer to his enemy.  Then, at the exact center of the series, the end of this book, Voldemort rises again.  Harry (and Dumbledore and Sirius, for that matter) publicly stand up to the enemy.

Book Five, Order of the Phoenix: Bad Guys Close In.  The Ministry does everything in their power to stop Harry and Dumbledore.  Voldemort does everything in his power to use Harry for his own purposes (the Hall of Prophesies).  

Book Six, The Half Blood Prince: Crisis.  Dumbledore dies.  Voldemort is triumphant.  

Book Seven, The Deathly Hallows: Act III/The Finale.  Harry is proactively trying to destroy Voldemort.  Huge battle.  Voldemort falls.  Harry triumphs.

In a nutshell: every story must have a beginning, middle, and end.  Even if it's in the middle of a long string of stories.  And every long string of close-ended stories must have an over-arching beginning, middle, and end.  

Whew!  That was a mouthful!

I'm taking next week off for "Spring Break."  I'll be back in April with more Writing 101, critiques, and interviews!  But I will be over on Meradeth Houston's blog on March 27th!  Hope to see you there!

Until next time, keep it Fresh As A...