So about a year ago, as I started querying my ms, I decided to keep track of my progress over a one year period. Am I repped by an agent yet? Well, no. Am I much further along than I was when I first started? You bet. Am I going to stop querying? Absolutely not. In fact, both my query and my novel feel a lot more ready than they did at this time last year, and I'm optimistic moving forward.
So, in no particular order, here are some things I've learned so far:
1. Stop hurrying.
There's a panic that would set in whenever I read articles that said, "the traditional publishing world is dead" or "paranormal (dystopian, sci-fi, or pretty much any other genre) is no longer selling." Whenever I read things like this, it would put me into hyperspeed, worried that if I didn't pitch my idea soon enough, either the publishing world wouldn't be there to see it, or it would be un-marketable.
But here's what happened: I was in such a hurry that I forgot some of the basics. I sent a query without a greeting. I sent quite a few with glaring typos, even after I'd perused them multiple times. I sent others without all the agent's specifications. There were so many that I sent with one or two things missing or wrong that it (almost) got comedic for awhile.
A very helpful published author passed along some very wise advice. A slow querying process is best. Concentrate on writing, and reading. That's where the bulk of your energy should go. Still query, of course, but take your time with it. The most important thing isn't getting there first--it's getting there correctly.
2. Pitch comes first, and everything else comes second.
A webinar I participated in indicated that a
compelling pitch is the most important thing in a query. Even more so
than the bio, in some cases. Because the story is what matters most.
When I look back at the query pitches I've posted to this blog, they make me want to laugh and cry at the same time. They're so long-winded!
But when a critique partner showed me the Pitch U website, it totally changed my outlook, especially Lesson 4: Where's the Beef? It really helped me cut out the chaff. And now, my query pops off the page much more than it used to.
My bio was pretty long-winded too. I even sent one agency the longest letter about how I'd followed their blog, and their webinars, etc., thinking this would make me stand out somehow--and all it got me was a very nice form rejection.
3. Contests, contests, contests!
While I did get some really great agent feedback on partials I'd sent, I think I learned the most about what was and wasn't working in my story by entering contests. A lot of these are online, and can be found on author blogs, agent blogs, and through organizations (particularly RWA). I even finaled in a few, which also gave me the motivation to keep going.
4. You are never done learning craft.
Once your novel gets to the querying stage (it's completed, and you've revised the crap out of it), it doesn't mean you're done growing as a writer. Yes, keep querying. But also keep improving your craft. Here are some books that have helped me a ton:
Bird by Bird, by Anne Lamott
Self-Editing for Fiction Writers, by Renni Browne and Dave King
Writing 21st Century Fiction, by Donald Maas
5. The agent who loves your work is the agent that is meant for you. Period.
I need to thank Janet Reid for this one. She has a great feature on her blog called the "Question Emporium," where aspiring writers can send questions. And this post really caught my eye, because I was really concerned about it: "What if my dream agent rejects me?"
In the post, Janet says, "Your dream agent is the one who loves your work with a passion and begs
you for the chance to take it on submission. Thus you don't know who
your dream agent is until YOU GET AN OFFER."
And so, with these tools, I move forward. 365 days may turn into 730...or even more. But I'm going to keep on, keep growing, and keep learning, no matter what the future holds.
Question to all: What are some lessons that querying has taught you?
Sunday, January 27, 2013
Monday, January 21, 2013
Write With Intent: A Helpful Example from Wreck-It-Ralph
As I'm celebrating the completion of my third manuscript (with many edits to come), it makes me reflect on how much I've learned since I started writing in 2008. Including some things I'd wish I'd known sooner.
Probably one of the most important aspects of craft that I never considered in the first blazing hours getting my words onto paper was the actual purpose behind those words, and whether they were strung together in a way that made sense. My uncle, a great artist and writer in his own right, was the first to point this out when he critiqued a short story I'd written about angels. They read like carbon-copy characters to him, because the purpose of their circumstances was unclear. One character, Seamus, was left in the alley in a bunch of garbage, giggling incessantly, oblivious to his former angel stature. And while this may or may not have been amusing to a reader, it ultimately fell flat because Seamus was a mere victim of his circumstances, and nothing more. There was no intent, no path for him. No way out. And it was because I was seeing the story from a line-by-line point-of-view rather than considering the overarching plot, that I missed his overall payoff.
The next iteration of this lesson came when a published writer spoke to me about the importance of character motivation. I found out: what your character wants has to be crystal clear, right from the beginning of the story. It was then that I began to look at my first novel, and insert whys instead of hows: Why (not how) does she go to this world, and what does she want from it? Why (not how) does she interact with this other character? And, most importantly: Why (and how) does all this relate to her overall motivation to be free?
You know what makes your character unique. But without a clear motivation, even in a scene by scene basis (what does she want in this scene and why?), it is very difficult to convey a character's purpose to a reader. And without a clear purpose, a character becomes infinitely less memorable.
This really crystallized for me when I saw the movie Wreck-It-Ralph. Pixar really knows how to do storytelling well. For proof, here's their 22 rules of storytelling. From the trailer, it's obvious what Ralph's motivation is--he wants to be the good guy for once, and win a medal. But as the plot develops (spoiler alert), he realizes his initial motivation has become empty, because he didn't receive the payoff he expected.
This also demonstrates how a story can be enhanced when the character's motivation changes. And when a new motivation outweighs the old one, the character demonstrates growth.
This featurette goes into a bit more depth:
So as I finished this third manuscript (Book Two of the series I'm querying), I really tried to make the motivations clear. Why my villain has created the world she has, and for what purpose. And why it's so important to my protagonist that the captured people in this world are saved. And what the main purpose of all that is.
So when you write, try not to get too caught up in the line-by-line view (ooh, I like what this character's doing, it's so darned amusing!). Go further. Ask yourself what purpose the character has, and what might be the purpose behind the conflicts they face with others, or the circumstances they find themselves in. That will help your character grow and change, which will help your story develop into what you intended it to be.
Question to all: What are some important lessons you've learned since you began writing?
Probably one of the most important aspects of craft that I never considered in the first blazing hours getting my words onto paper was the actual purpose behind those words, and whether they were strung together in a way that made sense. My uncle, a great artist and writer in his own right, was the first to point this out when he critiqued a short story I'd written about angels. They read like carbon-copy characters to him, because the purpose of their circumstances was unclear. One character, Seamus, was left in the alley in a bunch of garbage, giggling incessantly, oblivious to his former angel stature. And while this may or may not have been amusing to a reader, it ultimately fell flat because Seamus was a mere victim of his circumstances, and nothing more. There was no intent, no path for him. No way out. And it was because I was seeing the story from a line-by-line point-of-view rather than considering the overarching plot, that I missed his overall payoff.
The next iteration of this lesson came when a published writer spoke to me about the importance of character motivation. I found out: what your character wants has to be crystal clear, right from the beginning of the story. It was then that I began to look at my first novel, and insert whys instead of hows: Why (not how) does she go to this world, and what does she want from it? Why (not how) does she interact with this other character? And, most importantly: Why (and how) does all this relate to her overall motivation to be free?
You know what makes your character unique. But without a clear motivation, even in a scene by scene basis (what does she want in this scene and why?), it is very difficult to convey a character's purpose to a reader. And without a clear purpose, a character becomes infinitely less memorable.
This really crystallized for me when I saw the movie Wreck-It-Ralph. Pixar really knows how to do storytelling well. For proof, here's their 22 rules of storytelling. From the trailer, it's obvious what Ralph's motivation is--he wants to be the good guy for once, and win a medal. But as the plot develops (spoiler alert), he realizes his initial motivation has become empty, because he didn't receive the payoff he expected.
This also demonstrates how a story can be enhanced when the character's motivation changes. And when a new motivation outweighs the old one, the character demonstrates growth.
This featurette goes into a bit more depth:
So as I finished this third manuscript (Book Two of the series I'm querying), I really tried to make the motivations clear. Why my villain has created the world she has, and for what purpose. And why it's so important to my protagonist that the captured people in this world are saved. And what the main purpose of all that is.
So when you write, try not to get too caught up in the line-by-line view (ooh, I like what this character's doing, it's so darned amusing!). Go further. Ask yourself what purpose the character has, and what might be the purpose behind the conflicts they face with others, or the circumstances they find themselves in. That will help your character grow and change, which will help your story develop into what you intended it to be.
Question to all: What are some important lessons you've learned since you began writing?
Monday, January 14, 2013
Bad Librarian and Writer Habits (as seen through Bad Radio Guest Mistakes)
I recently came across a post on Jane Friedman's blog entitled, 5 Things Bad Radio Guests Do (And 7 Ways to Rock on Radio). If you don't yet follow Jane's blog, do--it has very useful information for writers, especially regarding the publishing biz.
The post was guest-written by Brad Phillips, who also wrote a great book that anyone looking to market themselves should read:
So as I'm reading Brad's post, I study the five things bad radio guests do, and find I can substitute the phrase "bad librarians do..." with each. Heck, this can also apply to "bad ways to pitch to an agent." And I'm guilty of almost all of them.
So here are the five bad habits, reproduced and adapted for writers and librarians:
1. Long responses.
Librarians are very good at seeking information, but some get too stuck on the "discovery" process to where they overload and muddle what the patron was looking for in the first place. I've walked past some of these consultations, in which the student (or patron, or whoever) is staring up at the ceiling while the librarian is talking, looking like they'd asked for directions and ended up in the wrong part of a bad neighborhood.
Same goes for agents--they aren't looking for a long explanation to your story or novel. They're interested in quick, and to the point, because you're probably the umpteenth writer they've seen that day trying to pitch them something.
In the interest of keeping my own answers short, let's move along.
2. Ideas that are too complex.
I learned a great deal in keeping library stuff simple when I worked with the IT department at my last job. One person was kind enough to tell me, "You tell us what time it is, while everyone else tells us how the watch was made." Some librarians I've worked with also like to make their sentences complex--maybe they think it makes them sound smarter, or they're trying to accomplish a lot at once, or perhaps that's just how some of them are built. But no one is actually listening (see #3).
Same goes in a pitch session with an agent. In one instance, I started rattling off into my sequel, and the agent very kindly directed me back by saying, "Okay, let's focus on this book." You don't need to explain the entire universe your book is set in. Just give agents a few nuggets to taste, and entice them to ask you more questions and keep them talking about your book.
3. Boring presentations.
Delivery and presentation of ideas counts too. If I'm instructing a bunch of students on how to use a library resource, and if I bombard them with a lot of well-informed details without presenting them in an interesting way, I'll lose their attention.
Same goes in getting people interested in your book. Yeah, you know a lot about it, because you've been living in it for the past few months (or years). People aren't interested in how much you know about your book. They want to know how your book can benefit them and other people.
4. Alarmist speculations.
I've worked with some alarmist librarians who've blown their stacks at some pretty major non-issues. One particularly paranoid former co-worker was convinced that everyone was "out to get her" and "sabotage" all the efforts she made, when in reality people just wished she would calm down already.
I've had the same paranoid delusions as a writer. What if someone steals my ideas before I get a chance to publish them? What if my story idea isn't marketable by the time it's ready? While it's good to ask yourself hard questions, it isn't helpful to get consumed by them.
5. Lack of humor.
This equates to that scowling librarian at the desk who yells, "What?" even before people approach. Some librarians have been in the system so long that resentment oozes out of their pores, and they aim to bring everyone else down with them. Definitely not helpful.
And whenever I've lost the humor in regard to my writing, or my writing career, I should consider myself finished. Many agents I've followed online say how much they appreciate when an author can make them laugh. But that also goes for laughing at yourself, something I'm still striving for.
Are there any I've forgotten? Feel free to add your own! And thanks to Brad and Jane for the inspiration!
And for those who would like to purchase Brad's book, click on the link below:
The post was guest-written by Brad Phillips, who also wrote a great book that anyone looking to market themselves should read:
So as I'm reading Brad's post, I study the five things bad radio guests do, and find I can substitute the phrase "bad librarians do..." with each. Heck, this can also apply to "bad ways to pitch to an agent." And I'm guilty of almost all of them.
So here are the five bad habits, reproduced and adapted for writers and librarians:
1. Long responses.
Librarians are very good at seeking information, but some get too stuck on the "discovery" process to where they overload and muddle what the patron was looking for in the first place. I've walked past some of these consultations, in which the student (or patron, or whoever) is staring up at the ceiling while the librarian is talking, looking like they'd asked for directions and ended up in the wrong part of a bad neighborhood.
Same goes for agents--they aren't looking for a long explanation to your story or novel. They're interested in quick, and to the point, because you're probably the umpteenth writer they've seen that day trying to pitch them something.
In the interest of keeping my own answers short, let's move along.
2. Ideas that are too complex.
I learned a great deal in keeping library stuff simple when I worked with the IT department at my last job. One person was kind enough to tell me, "You tell us what time it is, while everyone else tells us how the watch was made." Some librarians I've worked with also like to make their sentences complex--maybe they think it makes them sound smarter, or they're trying to accomplish a lot at once, or perhaps that's just how some of them are built. But no one is actually listening (see #3).
Same goes in a pitch session with an agent. In one instance, I started rattling off into my sequel, and the agent very kindly directed me back by saying, "Okay, let's focus on this book." You don't need to explain the entire universe your book is set in. Just give agents a few nuggets to taste, and entice them to ask you more questions and keep them talking about your book.
3. Boring presentations.
Delivery and presentation of ideas counts too. If I'm instructing a bunch of students on how to use a library resource, and if I bombard them with a lot of well-informed details without presenting them in an interesting way, I'll lose their attention.
Same goes in getting people interested in your book. Yeah, you know a lot about it, because you've been living in it for the past few months (or years). People aren't interested in how much you know about your book. They want to know how your book can benefit them and other people.
4. Alarmist speculations.
I've worked with some alarmist librarians who've blown their stacks at some pretty major non-issues. One particularly paranoid former co-worker was convinced that everyone was "out to get her" and "sabotage" all the efforts she made, when in reality people just wished she would calm down already.
I've had the same paranoid delusions as a writer. What if someone steals my ideas before I get a chance to publish them? What if my story idea isn't marketable by the time it's ready? While it's good to ask yourself hard questions, it isn't helpful to get consumed by them.
5. Lack of humor.
This equates to that scowling librarian at the desk who yells, "What?" even before people approach. Some librarians have been in the system so long that resentment oozes out of their pores, and they aim to bring everyone else down with them. Definitely not helpful.
And whenever I've lost the humor in regard to my writing, or my writing career, I should consider myself finished. Many agents I've followed online say how much they appreciate when an author can make them laugh. But that also goes for laughing at yourself, something I'm still striving for.
Are there any I've forgotten? Feel free to add your own! And thanks to Brad and Jane for the inspiration!
And for those who would like to purchase Brad's book, click on the link below:
Sunday, January 6, 2013
ALIEN VS. ALIEN, the newest from Gini Koch
First post of the New Year! It was a wonderful holiday season, with lots of revelations and new developments that I'll be happy to share as time unfolds. Until then, get a load of the latest release from Gini Koch!
Jeff and Kitty Katt-Martini and the rest of the American
Centaurion Diplomatic Corps are still recovering from their introduction to
Washington D.C. politics, parties, and conspiracies. So when compromising
pictures arrive, no one’s too surprised. They’re also the least of anyone’s
worries.
Evil androids running amok, birds of all kinds and from
all places creating havoc, a Senator trapped in an ever-tightening web of
intrigue, and escalating international tensions all seem tough but manageable.
But the disappearance of Jeff Martini and Charles Reynolds during the
International One World Festival signals more than the usual nastiness -- and
it looks like even ACE can’t help them.
Then new trouble arrives in old packages and even with
the best hackers in the world, beings from near and far, the full might of
Earth’s military, and the Wonder Twins on their side, Centaurion Division’s outmanned
and outgunned.
Now Kitty’s racing against the clock to find not only
Jeff and Chuckie, but to keep the peace between Middle Eastern countries, all
while searching for the bases of supersoldier operations -- to stop them or die
trying.
To get your own copy of ALIEN VS. ALIEN, click on the link below:
I hope everyone had a Happy New Year!
Monday, November 19, 2012
Going Dark for Thanksgiving, and Possibly Through the Holidays
So it's time to be more diligent with my edits. And with querying. And with drafting new material. All that writerly stuff.
I'm going to pack up the blog for a bit (perhaps through the holidays, another hectic undertaking all its own), but will be sure to tweet the next post whenever that comes. I'm thinking of doing something on why all aspiring writers should see Wreck-It-Ralph--not only a great way to do a pitch (see teaser trailer below) but also a great way to study character motivation and how it drives plot.
Merry Holidays to everyone!
I'm going to pack up the blog for a bit (perhaps through the holidays, another hectic undertaking all its own), but will be sure to tweet the next post whenever that comes. I'm thinking of doing something on why all aspiring writers should see Wreck-It-Ralph--not only a great way to do a pitch (see teaser trailer below) but also a great way to study character motivation and how it drives plot.
Merry Holidays to everyone!
Wednesday, November 14, 2012
365 Days of the Query: What Keeps You Going?
A few weeks back, I discussed what might stand in your way when it comes to writing. At last, the follow-up: What keeps you going? (I also did a very similar post last spring.)
Here are some things in my arsenal when the climb gets steeper:
My writing
Even if I hit a rough patch of rejections, or edits aren't going the way I plan, inevitably, I always have a new story that I can come back to. As of right now, I'm knee-deep in editing two different projects, and meanwhile, the second book of the series I mentioned last post is screaming to get written (and it's tons of fun). When you get pummeled, remember why you started writing in the first place.
My husband
At the end of the day, when I believe that I'm the last person on Earth who can accomplish what I strive for, my husband is always the first to say that I can do anything. Or, we can just relax together so I can recharge my batteries (as I have a habit of overworking myself). Do what you can to find a person like this in your life. It doesn't have to a be a husband or wife. It can be anyone who is an anchor, an ally, someone you can trust to stick around when the going gets tough.
My network of writer friends
Another necessary group of people you should find however you can. Not only are writers the best group of people ever, they get it. The insanity of writing. The frustrations. The drive to create. They understand what it's like to fix a beginning fifty times (or more!). They have wonderful advice, and offer insighful critiques. Plus, you can often meet up together to write. After I met a librarian-writer friend at a conference in 2008, we've been meeting online at least once a week, give or take, for the last four years. Even when I'm exhausted and spent, meeting her helps me keep accountable and gets me writing even when my energy is nill.
My network of non-writer friends
A good friend of mine recently suffered through a very tough loss. She was able to get most of the way by, and she knows the tools necessary to more forward. Recently, she mailed me two bracelets that had two-sided inscriptions. They were as follows:
Bracelet 1: Life is tough: but I am tougher
Bracelet 2: The biggest risk in life: is the one you don't take
Again. Find those anchors. People you can trust. People you can be yourself with. People who can pull you back from the brink.
Opportunities
When it feels like you're going against the grain without much payback, try to look for opportunties to get yourself out of the fray. Enter some contests. Find a critique partner. Keep trying. I've usually found when I'm going through a rough patch, a smoother one is right around the corner.
So what about you? What keeps you going?
Here are some things in my arsenal when the climb gets steeper:
My writing
Even if I hit a rough patch of rejections, or edits aren't going the way I plan, inevitably, I always have a new story that I can come back to. As of right now, I'm knee-deep in editing two different projects, and meanwhile, the second book of the series I mentioned last post is screaming to get written (and it's tons of fun). When you get pummeled, remember why you started writing in the first place.
My husband
At the end of the day, when I believe that I'm the last person on Earth who can accomplish what I strive for, my husband is always the first to say that I can do anything. Or, we can just relax together so I can recharge my batteries (as I have a habit of overworking myself). Do what you can to find a person like this in your life. It doesn't have to a be a husband or wife. It can be anyone who is an anchor, an ally, someone you can trust to stick around when the going gets tough.
My network of writer friends
Another necessary group of people you should find however you can. Not only are writers the best group of people ever, they get it. The insanity of writing. The frustrations. The drive to create. They understand what it's like to fix a beginning fifty times (or more!). They have wonderful advice, and offer insighful critiques. Plus, you can often meet up together to write. After I met a librarian-writer friend at a conference in 2008, we've been meeting online at least once a week, give or take, for the last four years. Even when I'm exhausted and spent, meeting her helps me keep accountable and gets me writing even when my energy is nill.
My network of non-writer friends
A good friend of mine recently suffered through a very tough loss. She was able to get most of the way by, and she knows the tools necessary to more forward. Recently, she mailed me two bracelets that had two-sided inscriptions. They were as follows:
Bracelet 1: Life is tough: but I am tougher
Bracelet 2: The biggest risk in life: is the one you don't take
Again. Find those anchors. People you can trust. People you can be yourself with. People who can pull you back from the brink.
Opportunities
When it feels like you're going against the grain without much payback, try to look for opportunties to get yourself out of the fray. Enter some contests. Find a critique partner. Keep trying. I've usually found when I'm going through a rough patch, a smoother one is right around the corner.
So what about you? What keeps you going?
Wednesday, November 7, 2012
The Next Big Thing
I'm excited to announce that I'm a part of The Next Big Thing Blog Hop. Lots of aspiring writers (and some published authors) are doing this--the idea is to answer ten
questions about a work in progress or newly published novel, then
pass it on to five more authors the following week. Two weeks ago, I was tagged by Eliza Green. Since I'm a bit late to the party on this, I will be passing my baton to two aspiring authors instead of five.
I'm excited to feature my completed novel, TRISKELEON, especially now that it's a finalist in the MARA Contest.
What is the working title of your book?
Triskeleon. It's derived from the Triskele symbol found in ancient Irish relics.
Where did the idea come from for the book?
My protagonist, Marnie, existed long before the idea for the book did. In my early twenties, she came to me in a dream, fully formed: a fifteen-year-old redhead with curly hair, braces, and glasses. A few years later, I pictured her getting whisked into a story book. That idea had already been done, so I adapted it and made it my own. A few years after that, I stumbled upon a photograph of a bracelet with Triskele designs inside a book on Celtic Mythology, and the rest of the book and world-building ideas came like wildfire--there were so many that I've managed to stretch them into two sequels (Stolen Sieve, and Erased Enclave, respectively).
What genre does your book fall under?
YA sci-fi/fantasy with some romantic elements.
Which actors would you choose to play your characters in a movie rendition?
Not sure about the first book--I think David Hyde Pierce would make a good Weatherby (the mentor warlock), and perhaps Sean Connery would make a good soothsayer. As for the love interest, Quinn, I'm thinking a younger version of Aaron Paul. And for the second book, there's a character I hope Peter Dinklage would play.
What is the one-sentence synopsis of your book?
When a Triskeleon bracelet transports Marnie to the magical land of Anderli, she must use her Momentan powers (abilities to manipulate time and space) to save Anderli before surrounding worlds begin to unravel.
Will your book be self-published or represented by an agency?
The hope is for an agency. I'm currently querying.
How long did it take you to write the first draft of your manuscript?
April 2008-December 2009 (I got married inbetween there, which cut into the time considerably). Subsequent drafts were ironed out from 2009 to the present.
What other books would you compare this story to within your genre?
I'd categorize it as a YA version of Outlander mixed with A Wrinkle in Time. I'd also add a sprinkle of Inkheart.
Who or What inspired you to write this book?
My friend Brittany--an excellent writer in her own right.
What else about your book might pique the reader’s interest?
Main themes include magic and chaos vs. logic, as well as how awkwardness is an advantage rather than a detriment (particuarly for teen girls).
So who's next? Stay tuned for posts from:
MittensMorgul
Sera Rivers
I'm excited to feature my completed novel, TRISKELEON, especially now that it's a finalist in the MARA Contest.
What is the working title of your book?
Triskeleon. It's derived from the Triskele symbol found in ancient Irish relics.
Where did the idea come from for the book?
My protagonist, Marnie, existed long before the idea for the book did. In my early twenties, she came to me in a dream, fully formed: a fifteen-year-old redhead with curly hair, braces, and glasses. A few years later, I pictured her getting whisked into a story book. That idea had already been done, so I adapted it and made it my own. A few years after that, I stumbled upon a photograph of a bracelet with Triskele designs inside a book on Celtic Mythology, and the rest of the book and world-building ideas came like wildfire--there were so many that I've managed to stretch them into two sequels (Stolen Sieve, and Erased Enclave, respectively).
What genre does your book fall under?
YA sci-fi/fantasy with some romantic elements.
Which actors would you choose to play your characters in a movie rendition?
Not sure about the first book--I think David Hyde Pierce would make a good Weatherby (the mentor warlock), and perhaps Sean Connery would make a good soothsayer. As for the love interest, Quinn, I'm thinking a younger version of Aaron Paul. And for the second book, there's a character I hope Peter Dinklage would play.
What is the one-sentence synopsis of your book?
When a Triskeleon bracelet transports Marnie to the magical land of Anderli, she must use her Momentan powers (abilities to manipulate time and space) to save Anderli before surrounding worlds begin to unravel.
Will your book be self-published or represented by an agency?
The hope is for an agency. I'm currently querying.
How long did it take you to write the first draft of your manuscript?
April 2008-December 2009 (I got married inbetween there, which cut into the time considerably). Subsequent drafts were ironed out from 2009 to the present.
What other books would you compare this story to within your genre?
I'd categorize it as a YA version of Outlander mixed with A Wrinkle in Time. I'd also add a sprinkle of Inkheart.
Who or What inspired you to write this book?
My friend Brittany--an excellent writer in her own right.
What else about your book might pique the reader’s interest?
Main themes include magic and chaos vs. logic, as well as how awkwardness is an advantage rather than a detriment (particuarly for teen girls).
So who's next? Stay tuned for posts from:
MittensMorgul
Sera Rivers
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