KAELYN IF YOU SEE THIS… PLEASE?
Whether you’ve finally finished that book you’ve been agonizing over for the past few months, years, or only weeks, whether Nano or not, here are some tips to help you with your next steps:
Stick your manuscript on the shelf now. Right now.
No, don’t glance back at it. Don’t flip through it. Don’t go and read those favorite scenes that you’re particularly proud of, or those scenes that have been bothering you since you wrote them. Close all your documents, shut your notebooks, and hide everything from sight. The waters in your brain are still all churned up, and you need to let all that sediment settle so you can see clearly again. This will help you be more objective.
“How long should I wait?”
I’ve waited anywhere between two weeks to nine months. I’d recommend at least four weeks before you touch a page or run your cursor lovingly over that “Chapter 1” document icon.
The reason why I waited nine months was because, when I typed the last word on the last page, I didn’t feel good about this particular manuscript. I didn’t feel it was my best. I knew I could do better. So I allowed it to sink into the furthest corner of my brain and I moved on to other projects.
If you’re itchy and antsy and having trouble holding back from stealing peeks, then give yourself a new project to distract you. A short story, or a whole new novel. Make a deal with yourself that, when you finish your new project(s), you can go back, but not until then.
The sediment has finally settled. Time for revision.
You’ve sat on your hands or busied yourself for 4+ weeks, so now you’re ready to begin revising. Make sure you’re ready. Clear your plate. Be objective, be harsh, and be prepared to make massive renovations if you find an issue.
In other words, be prepared to write your whole manuscript over again.
Your own revising process should be difficult, but this will help put you in the right mind for the next step. It’s exhausting and it may dampen your spirit—or, you might be the type of writer who loves revising more than writing. Either way, it’s important to toughen that hide and get ready.
A couple ways of revising that work for me go like this:
- Read through the whole thing and revise as you go. If major changes need to be made, make them and revise them after you finish your first read-through. Repeat read-throughs until satisfied. (I might make two read-throughs or more, depending on how many changes I’ve made.)
- With the case of my nine-monther (what is this, a pregnancy?), sometimes a lot more needs to be changed. In this case, a blank word document or a notebook is good for listing changes that need to be made as you read through. You might have to jot down issues and work them out in your brain before you truly begin revising. (In some cases, and in the case of my pregnancynine-monther, I had a specific word document like this open while I was writing so that I could jot down problems that needed to be fixed later.)
- In the case of one of my friends, she would finish her manuscript and then write up a synopsis of all the scenes and plot points, then dissect it and add changes, like creating a floor plan. Then she would begin revising accordingly.
Whichever way you prefer, it’ll take you a long time before you’re finished. Be prepared for the investment.
Revision done. Time for more revision.
Or, in other words, time for critique partners/beta readers. First of all, if you have no plans to get published (or you’re only writing for yourself), you don’t have to go any further than the last step. But, if you intend to be published in any shape or form, this is a crucial step. Don’t move onward without having fresh pairs of unbiased eyes read over your stuff.
Your critique partners shouldn’t be a close family member or a friend—unless the aforementioned are either good writers or avid readers. Some people might tell you that your critique partners shouldn’t ever be anyone close to you because disagreements will spark animosity, or your close somebodies will be less inclined to be honest with you, therefore providing you less effective and biased feedback. This is true, unless you have personal somebodies you can trust to be really, truly honest with you to provide helpful feedback. In equal exchange, you have to understand that critique isn’t supposed to be a comment on your writing ability, so you can’t allow yourself to see it that way. If you want your story to be the best it can be, then you have to be open to change. Critique only hurts if you let it.
Find three or more people to be your critique partners. I generally have three, occasionally a fourth, but never fewer than two. Here’s why:
- The first critique partner gives me a general overhaul of things that are both wrong and right (and a good critique partner knows how to supplement explaining issues with the manuscript along with positive feedback).
- The second critique partner provides the same, and then considers the feedback that the first critique partner offered, whether they agree or disagree. Putting minds together helps (and, oftentimes, when I’m critiquing and I have a problem that I can’t quite put my finger on, someone else might find the root cause of it so I can have a random and slightly inappropriate outburst of “OH YES.”)
- The third critique partner sees the near-finished product after I’ve applied the first two (or three) critique revisions.
There are other ways to go about this, of course. You might have your partners read separately and then send you their notes. You might have them read and then get together and discuss what they thought as you listen.
Remember one thing, however: your reader is never wrong.
If you find yourself having to explain something, then you need to go back and find what your reader missed and fix it. Never tell your reader they were wrong and never defend your writing. If anything, ask your other partners what they think of what was said, listen to what they have to say, and then consider your options. If one reader had a problem, you can’t go into the homes of other readers who may have the same problem and explain yourself.
The critique process can also be repeated. I’ve made major revisions before and then allowed one of my first partners, or a completely new partner, reread and add additional feedback. Keep repeating this process until you’re satisfied and your butt is the sorest it’s ever been (that means it’s been kicked enough, and now your butt should be tough enough to handle the next steps).
In complete contrast, whereas I prefer to allow sediment to settle in step one, I prefer to edit while everything is still fresh. At this point, I know the book inside-out and my critique advice hasn’t seeped from my memory. I can fix a problem at one point in the story, and then realize the ripples will hit other points, which I can jump to right away.
When you’ve finally finished this process (which may, in fact, take just as long as it did to write the whole dang manuscript in the first place), then it’s time to move onto my favorite step.
And here you thought you were done revising.
Now it’s time to correct all your grammar, punctuation, and minor issues. Polish until the sparkle makes you writhe and you hiss and return to the darkness of your cave.
Queries and synopses are terrible, terrible things.
Some people are exceptional at summing their story up in no more than 300 words and making it enticing. The rest of us are only human. It’s a form of art, and like any art, you can only attain perfection by practicing and practicing and practicing. Typically, I’ll begin writing the query when I begin writing the manuscript, and I can tell you that the query I begin with is nothing like the query I end up.
When I began the querying process seven years ago, it was about 98% snail mail, and the only requirement in regards to length was no more than one page. Nowadays, the querying process is about 98% email, and the writer shouldn’t exceed 300 words. That’s enough to get out your title and the main character’s name. The Agent Query page on queries is your best starting point as to what a query should contain.
After you’ve gotten a perfect query, you need to take it to critique partners just like before. On top of that, I’d recommend taking it to a writing forum such as Absolute Write to get more eyes to judge it. But remember that you have to volunteer your time to critique other queries first (and absolutely make sure you read the rules). You’ll also find links there on how to write your synopsis, which is like a shortened retelling of your story—not quite a summary. Don’t write your synopsis like a summary. As I’ve heard before, write your synopsis like you’ve just seen an awesome movie and you’re trying to explain it to your friend to get them to go see it.
Except, speak more eloquently than you would your friend. Your synopsis should read like your story does, in the same voice and utilizing the same tones.
Also be sure to check out Query Shark and read the whole damn thing. (Or at least make sure you read plenty of queries that didn’t work, and plenty of queries that did.) Slushpile Hell is also a good place to learn what not to say.
Queries and synopses for us regular humans suck. But, this is the most direct way to reach an agent, and you might find that, by the end, writing a query has changed the way you write in general. It’s certainly taught me the power of brevity.
Agents, as far as I can take you.
This is where you give up the wheel to whoever your god may be. Research your agents, and I mean research. If you’re in school, great, think of it as a final project for class that you absolutely must get an A in order to pass. If you’re not in school or haven’t been in school for a while, think of it as a final project for a class that you absolutely must get an A in order to pass.
At the end of your query, if possible, you should feature a little snippet that says why you picked this particular agent—personalization is important. You don’t like getting spam in the mail, right? Sure, it’s got your name on it, but it’s clearly auto-delivered to you regardless of who you are. A query without personalization is like that.
Good places to begin researching agents:
This is where you can begin researching. Look up agent websites, blogs, and twitters. Make sure to google their names. Do everything you can to be sure that this is the person you want to have a business relationship with. You may also discover through their blogs events that agents may be attending, or contests to get you noticed.
The rejection process is natural. Some writers get rejected a few times, and some (er-hem) get rejected hundreds of times over a period of several books. If you’ve written a good book, then querying is like buying lottery tickets. You’ve got to have good luck and a good book. The market of the publishing industry is often dictated by what’s “at the right time”, also known as marketing trends. Good manuscripts will be turned down because a literary agent might not be sure he or she could sell them.
Before you consider non-traditional paths, ask yourself why you’re considering them. If you’re considering them because you’ve gotten a couple rejections, and those rejections sting, don’t come here yet. Stick it out. Maybe this manuscript doesn’t work, but the next one might. Each manuscript you write will be better than the last as long as you remain active and write and read more than you write.
If you’ve had several unsuccessful tries and agents have given you lots of positive feedback, but have rejected you for other various reasons, then you might be ready to come here.
The publishing industry is evolving at the speed of light. What’s called “vanity” publishing was frowned upon just five years ago, but authors like Colleen Houck and Amanda Hocking (who also went through the querying process several times to no avail) decided to go the route of self-pub. They achieved such popularity that they required an agent later on.
If you decide to go down this path, however, I’d advise you go to Amanda Hocking’s blog and read about how she got to where she is today. Self-pub is far, far from an easy alternative—in fact, it’s much more work than the traditional process, as you’re in charge of your own publicity (which includes being accessible via internet, creating an evocative cover, formatting your book, and so forth). You must also search for indie reviewers, manage your own copyright, etc. There’s a lot to do.
Some vanity publishers:
But be careful. Self-pub sites usually make their money by trying to sell you services (such as cover-creation, formatting e-books, or promotions). There are plenty of predators out there who will do the same. If you’re not so apt with Photoshop, sites like Deviant Art have plenty of artists you can commission to do commercial work (be aware that you could pay several hundred dollars for this). If you’re not so apt with formatting either, look for people who offer services at more competitive rates. Instead of dishing out a few hundred dollars to have Lulu convert your manuscript into .epub format, you might find someone who charges by the hour instead.
Don’t sell yourself short with the formatting, either. It’s key. If the e-book doesn’t translate well to your readers’ e-readers, then your readers won’t read it. Similarly, in order to sell in Barnes and Noble and Amazon online stores, you have to have proper formatting. This is likely where you’ll generate the most of your business.
Self-pub is intimidating, and it doesn’t have to be the next step after. You can reach other readers through such sites as Absolute Write, FictionPress, and Figment. The key is to be active in whichever writing community you decide to participate, which means reading work similar to yours or within the same genre.
Build your platform.
In the beginning, it doesn’t matter if you generate revenue. What’s most important is getting your work in readers’ hands. As my professor says, it’s crucial to start selling your book even before it’s written. Nowadays, writing a book is only a small part of the work that an author has to do. Here are some ways you can build your name:
- Create a personal author website.
- Create a blog. Blogger and Livejournal are good places to begin.
- A twitter and/or tumblr are also excellent (if I do say so myself).
- Be easily accessible. Make your web layouts appealing and easy to navigate.
- Join writing communities. Connect with other writers.
- If you have a creative hand, create your characters or your world through art, fashion, photography, or whatever your knack might be.
- If you’ve got the equipment, record yourself reading scenes of your manuscript.
- If you write fanfiction, post your fanfiction. (This is how E. L. James created her readership.)
- If you draw fanart, post your fanart. (This is how many online comic artists got started.)
The important thing is to get yourself out there through the various modes that are applicable to you. If you’re fairly shy, but awesome at drawing, there’s your niche. If you suck at art but have a great speaking voice, post snippets of you reading your stuff. Writing is one of your talents, now you’ve got to use your others.
It’s important to create a brand for yourself and be memorable, but in the end, no matter what, the most important deciding factor in whether or not you succeed is if you don’t give up. No one fails until they’ve given up.
For those of you who want references for the contents of this guide, I am, myself, an adult adoptee with a completed reunion. I’ve experienced everything I’m writing about here in order to help you play or write adopted characters.
I feel like an introduction is necessary here, not only to introduce myself, but to introduce you to the basic concepts of being adopted/playing an adopted character. Adoptive parents may also find this guide useful for understanding their adopted children. Ultimately I will update this post with links to the other parts of this guide. Please be patient with me as I get them posted.
This guide contains information about the following things:
- Nature vs. Nurture
- Adopted Teens
- Searching for Birth Parents
- Reunion with Birth Parents
- Emotions of Reunion
- My Reunion Story
Please continue reading below the cut for my introduction to writing an adopted character.
James Clear writes at JamesClear.com, where he shares ideas about using behavior science to improve your performance and master your habits. For fresh ideas on how to live a healthy life — both mentally and physically — join his free newsletter.
We all have goals and dreams, but it can be difficult to stick with them.
Each week, I hear from people who say things like, “I start with good intentions, but I can’t seem to maintain my consistency for a long period of time.”
Or, they will say, “I struggle with mental endurance. I get started but I can’t seem to follow through and stay focused for very long.”
Don’t worry. I’m just as guilty of this as anyone else.
For example, I’ll start one project, work on it for a little bit, then lose focus and try something else. And then I’ll lose focus on my new goal and try something else. And on and on. When everything is said and done, I’ve stopped and started so many times that I never really made much progress.
Maybe you have felt this way too.
This problem reminds me of a lesson I learned while working out one day…
THE NINE CHOIRS OF HEAVEN. An info-graphic for my editorial class and god am I thankful it’s done. Way too much went into this than what I had time for, but hey… I actually kind of like it?
Now excuse me, I must return to my fashion major lifestyle and go sew a coat u_u
EDIT: Re-uploaded with easier viewing!
Shitting on girls for making Mary Sue oc’s is very important. Can’t have girls wanting to see women represented as powerful and successful and smart and attractive all at once. Might go to their heads. They might start thinking that it’s actually cool to be a woman. Can’t have that.
This post completely changed my outlook on life…
If you’re a boy writer, it’s a simple rule: you’ve gotta get used to the fact that you suck at writing women and that the worst women writer can write a better man than the best male writer can write a good woman. And it’s just the minimum. Because the thing about the sort of heteronormative masculine privilege, whether it’s in Santo Domingo, or the United States, is you grow up your entire life being told that women aren’t human beings, and that women have no independent subjectivity. And because you grow up with this, it’s this huge surprise when you go to college and realize that, “Oh, women aren’t people who does my shit and fucks me.”
And I think that this a huge challenge for boys, because they want to pretend they can write girls. Every time I’m teaching boys to write, I read their women to them, and I’m like, “Yo, you think this is good writing?” These motherfuckers attack each other over cliche lines but they won’t attack each other over these toxic representations of women that they have inherited… their sexist shorthand, they think that is observation. They think that their sexist distortions are insight. And if you’re in a writing program and you say to a guy that their characters are sexist, this guy, it’s like you said they fucking love Hitler. They will fight tooth and nail because they want to preserve this really vicious sexism in the art because that is what they have been taught.
And I think the first step is to admit that you, because of your privilege, have a very distorted sense of women’s subjectivity. And without an enormous amount of assistance, you’re not even going to get a D. I think with male writers the most that you can hope for is a D with an occasional C thrown in. Where the average women writer, when she writes men, she gets a B right off the bat, because they spent their whole life being taught that men have a subjectivity. In fact, part of the whole feminism revolution was saying, “Me too, motherfuckers.” So women come with it built in because of the society.
It’s the same way when people write about race. If you didn’t grow up being a subaltern person in the United States, you might need help writing about race. Motherfuckers are like ‘I got a black boy friend,’ and their shit sounds like Klan Fiction 101.
The most toxic formulas in our cultures are not pass down in political practice, they’re pass down in mundane narratives. It’s our fiction where the toxic virus of sexism, racism, homophobia, where it passes from one generation to the next, and the average artist will kill you before they remove those poisons. And if you want to be a good artist, it means writing, really, about the world. And when you write cliches, whether they are sexist, racist, homophobic, classist, that is a fucking cliche. And motherfuckers will kill you for their cliches about x, but they want their cliches about their race, class, queerness. They want it in there because they feel lost without it. So for me, this has always been the great challenge.
As a writer, if you’re really trying to write something new, you must figure out, with the help of a community, how can you shed these fucking received formulas. They are received. You didn’t come up with them. And why we need fellow artists is because they help us stay on track. They tell you, “You know what? You’re a bit of a fucking homophobe.” You can’t write about the world with these simplistic distortions. They are cliches. People know art, always, because they are uncomfortable. Art discomforts. The trangressiveness of art has to deal with confronting people with the real. And sexism is a way to avoid the real, avoiding the reality of women. Homophobia is to avoid the real, the reality of queerness. All these things are the way we hide from encountering the real. But art, art is just about that."
Under your fingertips
You have to use the five senses when you write. Readers want to experience what your characters see, smell, hear, taste and touch. I find that touch is the sense that is most ignored by writers. I think it is often the most difficult to describe. Don’t leave it out. The sense of touch is so important because touch confirms that our eyes aren’t deceiving us. Readers identify with characters who engage with their worlds.
Description composed of sensory detail penetrates layers of consciousness, engaging your reader emotionally as well as intellectually… ~Rebecca McClanahan
Writing Tip: Beginner writers tend to confuse touch with feel. For example: I see the river, I hear the sirens, I feel confused. Should be: I see the river, I hear the sirens, I touch the jagged scar. Try and say touch whenever you can and you should avoid this problem.
Texture describes the way something feels when touched or eaten. It also describes the way something looks or feels because of the way in which it is made. For the purposes of this article, I want to concentrate on the first definition. I have put together a list of words that will help you describe what a character feels when he touches something with his fingertips or his skin.