Category Archives: Writing process

Hedgebrook, Success, Workshops, Writing process

Hedgebrook Master Class with Deborah Harkness

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Our Master Class group, including teacher Deb Harkness

How do you begin to describe the opportunity of a lifetime? Knowing me, it’s not with few words, but I’ll try to limit myself.

IMG_0500Many of you know that I just got back a week ago from attending a Master Class led by #1 NYT Bestselling author Deborah Harkness. It was held at Hedgebrook, a magical area of land on Whidbey Island, about two hours outside of Seattle that is dedicated to advancing female writers.

I found out in mid-January that Deb would be teaching a class on using history in fiction when she tweeted about it. At first, I didn’t think I could afford it, but then a wise soul (my mom) pointed out that it would not only be a great opportunity to learn about writing, but also allow me to cross off several items from my bucket list (meet Deb Harkness, take a class from her, go on a real writing retreat, see the Pacific Northwest). So I applied and was one of six writers chosen. Deb later told us that she hand-picked us because she saw potential in us and our writing, plus we were creating stories about strong women that she wanted to read.

Fir Cottage

Fir Cottage

Hedgebrook is a unique place. Each writer has her own cottage, named after the type of wood from which they are made. Mine was Fir Cottage. They are very simple, hand-crafted in an Amish style and heated by wood burning stoves. Each one has a small kitchenette with a toaster oven, single burner and just enough cookery and plates for single use. There’s a desk to work at, a comfy window seat and the world’s most relaxing recliner. There’s also a half bath and a loft with a bed and chest of drawers. That’s it. No wifi or anything fancy. As it turns out, this simplicity taught me that I don’t need so much stuff in my life and I’m beginning the process of purging, but that’s another story.

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My writing space inside the cottage

Every day (except for Saturday, which was a writing day), we had two hours of class with Deb. We were her first ever creative writing class, but if she hadn’t told us that, I wouldn’t have known. She’s such a great teacher! Every lesson had a different theme: character, plot, setting, world view, point of view, research, etc. I’m hoping to share with you a little of what she taught us in each lesson, but I’m waiting on final permission from Hedgebrook to do so. The really cool thing about this class is that it wasn’t taught from some rule book; Deb used her own experiences and encouraged us to share our own in order to make learning a group process. She even shared drafts of her own writing with us so that we could see how her writing evolved from one draft to another and told us personal stories of frustration and triumph with the writing process that made us all feel so much better, since it meant we weren’t alone.

The view from one of my windows.

The view from one of my windows.

One interesting thing that I will share is that Deb took great pains to convince us that we, as non-historians, are actually in a better place to write historical fiction than historians, like herself are. She made the point that historical fiction, at its core, is about telling a great story; the history is window dressing. As we haven’t been through the training emphasizing facts only that historians have, we’re more in touch with the imaginative side of our brains that wants to fill in the gaps, which is where the storytelling takes place. This doesn’t mean that we can just make up whatever we want or be sloppy about research, but it does mean we have greater freedom. That being said, she also explained how closely the job of a historian and historical fiction writer resemble one another, as even historians can never know the truth for certain; they have theory, use facts to back it up, and do their best to convince others that they are the most right. Not all that different from the stories we tell, albeit we go into our stories knowing they are fiction. This made me feel a lot better, as I’ve always questioned if I was qualified to write historical fiction.

IMG_1276After class, we’d go to the Farmhouse together for dinner. This building is where the kitchen and dining areas are, plus a cozy library/living room. Oh the food! I can’t rave enough! From salmon patties and curry to fresh mussels and clams and chicken Mirabella and the best vegetarian enchalladas – it was all so fresh, all organic, so good, made all the better because it was made with love. As we ate, the wine and conversation flowed. Boy did we tell some funny stories!

Hanging out after dinner.

Hanging out after dinner.

Deb fit right in. She is so open, so warm and so human. Each night after desert, we’d adjourn to the library/living room for conversation. She intended to do a little work, but always ended up joining us and answering questions about her stories. I learned more about movie deals, book tours, audio books and the behind the scenes of publishing from her than I could have in any class.

Once we were done, we all grabbed our groceries for the next day and walked back by flashlight (there are no lights and it was cloudy for all but one night so we didn’t have moonlight) to our cabins to shower, read, write or do whatever before we went to sleep.

Look! I learned how to build a fire all by myself!

Look! I learned how to build a fire all by myself!

We also each got at least an hour of one-on-one time with Deb. Some people gave her writing samples to critique. I wish I had part of book 3 that was ready for that, but since I didn’t, I spent my time talking with her about what it’s like to be a historian (and realized that a PhD is probably not right for me) and also about the publishing process and life as an author. I can’t tell you enough just how wonderful and wise she is. I am so blessed to have had this chance to spend time with her and get to know her.

Now, a week later, the whole thing feels like a dream. It really did go by fast. But as I reflect on my journal entries, hang new photos on my wall and keep in touch with my fellow writers on Facebook, I realize just what a special opportunity this was. I’m so glad that Hedgebrook provided it and that I went for it. I’m already planning on applying for a residency at Hedgebrook at some point in the future and I will be supporting them in every way I can. There’s a running joke among Hedgebrook alumni in the journals kept by residents of each cabin about the goddess of Hedgebrook, the spirit of the place. Call it what you will, but there really is something healing and inspiring about it. It is a place that women can come and feel creative, safe and nurtured, things sometimes very lacking in the outside world.

IMG_1223Thank you to everyone who made this opportunity possible – at Hedgebrook and in my personal and work lives. You don’t know what a gift you’ve given to me. To everyone reading this, if you get the chance to visit Hedgebrook, or do anything similar in your own life, go for it! You only get one shot at this life and it’s up to you to make your dreams come true. As a Hedgebrook alumna, I know I am several steps closer to mine now.

What questions do you  have about my writing retreat? Please ask them in the comments and I’ll do my best to answer.

Writing process

Five Ways Acting Made Me a Better Writer (Part 2)

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Source: Wikimedia Commons

Source: Wikimedia Commons

By the time you read this, I’ll be on a plane somewhere over the Rocky Mountains headed toward Hedgebrook for my week-long Master Class with author Deborah Harkness. I won’t have Internet while I’m there and they’ve asked us not to blog or do social media (so that we get the full writer’s retreat experience), so there won’t be a post on March 10. Hopefully, sometime later that week I’ll be able to do one on my experiences, but if not, I’ll tell you all about it on March 17.

In the meantime, sit back, relax and enjoy part two of my ramble on how acting classes made me a better writer. Here’s part one in case you missed it.

3) Blocking – As on stage, the characters in a book don’t stay in one place, nor do they just stand around with nothing to do while they talk. The movement on stage is known as blocking. When I write, I’m the director of the play. I see the scene in my head as if it were on stage or film and I give my characters very particular tasks while they’re talking, from unpacking a chest to practicing swordplay. The direction they turn, how fast they approach another character, even their facial expressions are carefully choreographed based on my experiences on stage. Some people say you can give your characters too obvious of blocking, and I think that’s true. It’s all about how you write it. You can’t just say. “Jane crossed over to the box,” like you would in a stage direction. In a book, the motivation has to come through. “Jane stomped over to the chest and threw open the lid,” gives you the idea that Jane is angry, presumably with whomever else is in the scene. It gets her where you need her to go, but accomplishes more than just that.

4) Dialogue – All those years of memorizing lines and reciting dialogue have given me a keen ear for what sounds real in dialogue and what doesn’t. Many people advocate reading your dialogue out loud so that you know how it would sound if actually spoken. This is a great exercise that comes straight from the “table reads” or “cold reads” that actors do. The first time a cast approaches a script, they all sit down together and just read their parts, with no attempt to “act.” Nothing else is required because it gives them a sense of how they will work together and how their interactions might change the meaning of a line. It also gives them a basis to think on as they are rehearsing and developing their characters.

Delivering countless lines and monologues has also given me the ability to hear with my inner ear how a character would say something, as opposed to how I would naturally say it, which comes in very handy when writing. One of my speech writing teachers in graduate school said it’s a skill you either have or don’t, but I think it can be developed by studying the dialogue of plays, and more importantly, delivering it. Once you’ve had to “become” a character, words and all, you retain a bit of that ability to tap into that alter ego in your head, making your dialogue a bit more true to life.

5) Confidence – This may seem like a strange one, but acting experience is the reason I’ve had the guts to be interviewed live in person and online and have given workshops in front of crowds at conferences. Standing up in front of people is hard, no matter who you are or how many words you’ve put down on the page. But, getting out in front of your fans is a necessary part of promoting yourself and your books. Whether you’re doing a reading, Q&A or just signing books, someday you’re going to have your own audience, and being practiced will lessen the stress of such an event.

If you have kids who are interested in writing or show a talent for it, one of the best things you can do is encourage them to take acting classes. Even if they don’t go into writing, it will prepare them for so much of adult life, giving them critical thinking skills, poise and a sense of worth.  Heck, even if you’re an adult, it’s not too late to start. Join a community theater or see if your local community college needs actors. Take acting classes at your community center. You’ll be surprised how differently you look at your writing afterwards, and you’ll be more confident, too.

Have you ever taken acting classes or studied acting methods to learn how to write? What were your experiences? If not, what do you think of the idea of acting being a good training ground for writers?

Writing process

Five Ways Acting Made Me a Better Writer (Part 1)

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Source: Wikimedia Commons

The other day, I was reminiscing with an old friend about when I used to do theatre in high school and college. Somehow in the course of the conversation, I realized just how much all that acting made me a better writer. Sounds counter-intuitive, I know, since one is the spoken word and one is written, but allow me to explain. (I’m breaking it into two parts since I ended up having a lot to say, so be sure to come back next week for part 2.)

Disclaimer: I was mostly a techie (makeup, sound and house crews), but I did get the lead in college and am a proud member of thespian troupe 1735. While plays taught me a good deal, it was the classes I took (those were six years of fine arts credits) that really gave me the experience that honed me into a strong writer. Here’s how:

1) Motivation –One of the first things I learned as an actor was that there’s more to the craft than just reciting lines. (Just like there’s more to writing than making characters do and say things.) You have to understand the “why” behind the actions. As in writing, this often takes the form of examining the character’s back story. If it’s not there in the script you work with the director or other actors to make it up. (In writing, you play all of those roles, so you can make up what you want.)

For example, my senior year I had one line in a one-act play, The Lottery. (I still remember it: “There’s the head man a comin.’”) Even though it was a tiny part, I still had to know how my nearly silent character fit in with the rest of the villagers. Along with a few of the other actors, I ended up creating this whole soap opera-ish back story about a love gone wrong and a child who was caught in the middle (there were kids in the play, too). The audience would never know why this other actress and I spent most of the play glaring at each other, but we knew and it was important because it affected what we did on stage and it allowed us to appear as more than simply part of the scenery.

In the same way, knowing your character’s motivations is key as a writer. Many times, most of what you learn won’t end up on the page, but that knowledge will enable you to create a richer, more believable experience for your readers, just like an actor does on the stage.

2) Becoming Your Character– It’s almost cliché to say that a good actor becomes the role they are playing. But it’s also true and it stands just as much for a good writer. I do my best to really get into the minds of my characters. When I’m in a scene, I may as well be acting all the parts. When I get into later drafts, I try to see each scene from the point of view of every important character in it, so I can tell if their actions and reactions are authentic. Acting is all about the interplay between actors, just as story is about the interplay between characters. It has to be authentic to be believable.

I’m also a sort of method writer. When I want to write about the taste of something, I eat or drink it if I can’t remember the details. I’ve been known to pull on my own hair or scratch my nails down a wooden door to get the expression of sensation just right. But there are other times when pure imagination is safer and more appropriate. If you’ve ever done the “pretend you’re carrying something heavy” or “imagine you’re an ice cream cone” exercises in an acting class (lampooned in the song “Nothing” from A Chorus Line), you can call to mind the skills needed to make just about anything seem real in a scene.

Next week we’ll talk about how blocking (the movement of actors on the stage) and dialogue influence writing and acting, plus one other often-overlooked benefit that being an actor can have for writers.

Have you ever taken acting classes or studied acting methods to learn how to write better? What were your experiences? If not, what do you think of the idea of acting being a good training ground for writers?

About the Author, Everything else, Hedgebrook, Writing process

Announcement: Learning from One of the Best

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Deborah Harkness

Deborah Harkness

I am beyond thrilled to announce that I’ve been accepted into a week-long Master Class/writing retreat taught by New York Times best-selling author Deborah Harkness! It is at the beginning of March and will be held at Hedgebrook on Whidbey Island, which is a few hours outside of Seattle, Washington.

Some of you may remember how much I loved Deborah’s first book A Discovery of Witches, which I reviewed here. I also really enjoyed its sequel, Shadow of Night, but never got around to reviewing it. (The final book in the trilogy, Book of Life, comes out July 15.) Beyond a love of her writing, I consider Deborah a mentor because she’s a historian, and more importantly, she inspired me to want to get my master’s/PhD in history. (I have the school and program picked out. I just need to money to move, be able to pay tuition and support myself as a full-time student.) Deborah’s writing proves that having a strong background in history really can make your historical fiction better, but at the same time doesn’t have to make it dry – her books are anything but!

Hedgebrook

Hedgebrook

So what am I going to do during the retreat? I haven’t received the particulars yet, but I know there will be lectures, one-on-one time with the instructor, as well as time for writing. I’m taking the old, red editing pen to my first draft of the final book of my Guinevere trilogy. Right now, it’s missing chapters toward the end (I know what they will be, I just haven’t written them) and the new (second) beginning doesn’t match the middle, so the middle needs to change. Add that on top of all the normal editing and you can see why I need a week to dedicate to hacking it to bits and putting it back together again!

But beyond Book 3, I’m really hoping to learn all I can from Deborah. Basically, I’m going to sit at her feet and soak up all I can, whether it’s history or writing. I’m hoping to pick up some tips and tricks that I can use both for the four books I have in flight and those yet formed. I’m hoping to get inspiration for future books or at least ideas for new places to look. I’ve got two additional books in my head, as well as a few half-baked ideas, but I’m always looking for more. This is a life-long career, after all.

I plan to blog while I’m there if time permits. If not, I’ll certainly do a wrap-up post after it’s over and share what I can of what I learned. I am so humbled to have been chosen for this once-in-a-lifetime opportunity.

Spellbound Scribes, Writing process

The Numbers Game: Quality vs. Quantity

A reblog of my most recent post over at Spellbound Scribes on a subject that’s been bothering me a lot lately…

Writing process

Five Writing Rules Reframed

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nothing is carved in stoneFact: There are more writing rules out there than there are writers.
Fact: Not all rules work for all people.

This is why I think some of the most “tried and true” writing rules need to be rethought or reframed from the way they are traditionally presented. Now, if the traditional interpretations work for you, go for it. These are just a few that I’ve encountered that don’t necessary work for me unless they are thought of a little differently.

1. Write What You Know – This is probably the first one every writer hears about. When taken literally, it can mean only write about what you’ve experienced. Obviously, I’ve never been to Arthurian Britain, so I don’t take this one too literally. Real life is boring; that’s one the reasons we read. I guess you could frame any mundane job into an exciting plot (i.e. marketing becomes a propaganda campaign for a totalitarian society or if you are a bank teller you could have someone in that role involved in a multi-million dollar heist), but I don’t think you should limit yourself to your day-to-day world. (Fantasy and sci-fi writers certainly don’t.)

However, if you want to write something outside of your realm of expertise, make sure you do your research. For example, if you were going to write about someone who is in jail and you haven’t been, volunteer for a prison literacy program, talk to current or former inmates if you can, and/or interview or shadow a corrections officer. The more you know, the more convincing your writing will be, and I think that was the point behind this rule to begin with.

2. Write Every Day – Many authors are known for backing this one. Me? Not so much. Two years of NaNoWriMo have proven to me that I can do it, but that it’s not good for my long-term mental or physical health. I don’t think you have to or even should work on your Work In Progress (WIP) every single day. Part of our job as writers is to think and you can’t do that if you’re burned out. Sometimes the plot just needs to marinade in your brain for a while. Plus, not everyone’s lives are structured in such a way as to make writing every day possible or desirable.

I think the idea behind this rule is that writing is a muscle that needs to be regularly exercised, and I agree with that. But it doesn’t mean you have to be a slave to your story. Write blog posts, journal, do some creative writing or flash fiction or cheat on your WIP with another project. As long as you get your creative juices going on a regular basis and dedicate yourself to finishing your WIP as your life allows, you’ll be fine.

3. Remove All Adverbs from Your Writing – This is a hotly debated rule. I think it works to an extent because too many adverbs are very, very annoying to the reader. As a writer, you should try to get the way something is said across through voice, physical action or some other means without always relying on adverbs. But as a reader, sometimes I find them helpful, especially when the writer is trying to convey sarcasm or humor, which don’t always come across clearly on the page. I think adverbs are to writing as spices are to cooking; used sparingly and skillfully, they can add just the right flavor to your story.

4. Avoid Prologues – This is one I’ve seen a lot lately and one I see ignored in many of the books on my shelf. Some agents say they will not even look at a book with a prologue. But I think that mindset (and the rule) comes from the fact that a lot of writers don’t understand what a prologue is for and therefore don’t write them well. A prologue may provide backstory, but it’s not just a way of cramming in more details before chapter 1. It’s not just a dumping ground for the flashback you didn’t know what to do with or a beloved scene you had to cut from the body of the book. It may perform these functions, but the use has to be intentional and it has to move the story forward in some way.

Used correctly, a prologue frames the story and prepares the reader for what is to come in a way that the action of the story (which begins with chapter 1) cannot. It reveals essential facts that the reader needs that can’t be given in any other way within the story itself. Not all books need prologues. In fact, most probably don’t. But if your story does, don’t be afraid to use one. Just make sure it contributes to the story in some vital way and could not just as easily be your first chapter or deleted completely. (This is a great post on proper use of prologues, in case you’re interested.)

5. You Need an MFA to Be a Professional Writer – I don’t have my MFA and neither do many writers. I’m sure those programs are very helpful, and I’m in no way discrediting them. I’m just saying they aren’t a must. With the advent of the Internet, learning about the craft of writing is easier than ever. You can read blogs by experts, take webinars, and talk with authors and experts in forums. Then there are the thousands of books written on the subject. But even those aren’t necessary. In my mind, the only two things you really have to do to become a good writer are read a lot (you can learn more from very poorly and very expertly written books than in any class) and write, write, write. You really do improve with practice.

And in case you’re in the mood for a little humor, here’s a funny post with advice from famous writers where they clearly aren’t taking the rules all that seriously.

Do you agree or disagree? What rules do you break? Which do you reinterpret? Which do you feel need to be followed to the letter?

NaNoWriMo, ROW80 Updates, Writing process

Not Giving Up, Just Giving In

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20131109-113318.jpgI don’t quit projects easily, but not all novels work out. I’ve stopped writing Glastonbury, the book I began on November 1. After almost 20,000 words, I’ve realized I don’t have the passion for these characters, this story, that I do for my Guinevere books and some of the others I have planned. I’m forcing a story that is not ready to be told – or may not even be mine to tell – that’s why it’s not working.

I may pick it up again someday, who knows. The research and the writing, the time I’ve spent on the project will benefit me somehow, even if I can’t see it yet.

The good news is, I can still finish out NaNoWriMo with book 3 of Guinevere’s story. This afternoon I’m going to take a hard look at the plot and what needs to be done. Then, I’ll get back to writing it. Things happen for a reason, right?

PS – The title of this post comes from a song. Can you name the song and/or artist?

NaNoWriMo, ROW80 Updates, Writing process

Creating the Mess, or the First 3 Days of #NaNoWriMo

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This might just be my favorite picture ever.

This might just be my favorite picture ever.

“First I created the mess. Then I had to clean the mess up.” – Maryka Biaggio, author of Parlor Games

This morning I started listening the series of workshops from the Historical Novel Society’s 2013 conference that I purchased as audio files a few months back. That quote is one of the gems from the workshop about writing women in history. Ms. Biaggio was talking about her research process, but what she said can just as aptly be applied to the writing process.

It’s also pretty much how I feel about writing a first draft. You have to create the world, it’s characters, their conflicts and dialogue before you can polish it to make it something readable. I have told myself this over and over the last few days (well, actually the last few months, if you’ve been following my struggles with book 3 of Guinevere’s story).

So far NaNo has been bi-polar. We started out manic at over 5,000 words on the first day. Okay, chalk that up to the enthusiasm of a new book and the excitement all over the interwebs about NaNo. All I know is, by the end of day 1, it felt like I could write the whole novel in November. The book wanted out and it wanted out NOW!

Yesterday was still pretty productive, at nearly 2,500 words, some written in places as crazy as the hair salon, since it was a busy day. But for some reason, I hit a slump last night – like the “ready to chuck it all in the trash bin” kind. I started several scenes, only to leave them unfinished because I wasn’t sure how I’d use them in the end product. I broke the #1 rule of NaNoWriMo: don’t think, just write.

Today I decided to give my brain a break and do other things this morning like walking at the lake (yes, I’ve made my every other day exercise goal this week!) and just sitting and watching the leaves fall. It’s sad, but I can’t remember the last time I slowed down enough to do something like that.

Time came for one of our local write-ins. I went, full of enthusiasm and hope, but I couldn’t seem to get in the groove. I started and stopped a few scenes, but couldn’t block out the conversations around me and the truly terrible music piped in overhead, even with my iPod on loud. Finally, I gave up and went home.

Having only written something like 500 words, I felt like a failure. I even tweeted it. Then I drank half a bottle of wine and wallowed in self pity for a while. But then I saw a tweet by author Robin LaFevers (whose His Fair Assassin books I cannot recommend highly enough) saying she wrote 4,000 words today, a feat she rarely achieves. I congratulated her and she wrote back a very encouraging note. This inspired me to get off my duff and try again. Two hours later I had 1,400 more words, a few of which are the first truly beautiful lines I’ve written in this book. A few hours after that, I surpassed 10,000 total for the first three days.

(For those who haven’t realized it yet, I’m a wee bit competitive. I’m proud to report that as of the moment I hit publish on this, I was the second highest in word count in my region. Yes, I’m bragging. Ahem.)

I still have no idea how this mess of scenes is going to weave itself into a book, but you know what? I’ve gotten better about not worrying about that (note I didn’t say I’ve stopped worrying about it; I’m a work in progress). It always works out after a few weeks/months of editing. (This is my fourth book; you would think I’d know that by now, but apparently I don’t.) What matters right now is getting the words down, telling the story to myself, as it were.  I’m going to need all of you to remind me of this many times over the next month.

So, it was touch and go for a while, but Glastonbury lives. And it seems to have all of its fingers and toes and is starting to emit a healthy wail, now that I’ve stopped trying to control it. I think I was putting too much pressure on myself hoping for four 5,000+ word days in a row (wanted to pad my word count for week nights when the brain will be too fried to write) and when that didn’t happen according to plan, I got in my own way. Now my goal is back to what it should be. Reach 50,000 words this month with the best writing I can (anything above that is gravy) and fix it when I edit in January. I’m the only one expecting any more than that from me. 

Have you ever faced a similar struggle where you set yourself up for a fall? How did you resolve it? Are you participating in NaNoWriMo orROW80? How’s it going for you?

Workshops, Writing process

Getting “The Call” and Working with an Agent

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keep calmSo far in this mini-series of writerly posts, we’ve been talking about working with beta readers/professional editors to get your MS ready, how to write a query letter and the dos and don’ts of querying. It’s a long journey, but one day, it will end in the phone call you’ve been waiting for.

Getting “The Call”
One blessed day, your phone will ring. It will be an agent (hopefully, your dream agent) on the line calling tell you he or she would like to represent you. You will be nervous, I can guarantee that. I was so nervous my brain fled my head and I could barely form a sentence. But you know what I’ve learned since then? The agent is just as nervous as you are.

The best thing you can do when you’re on that call is to listen closely to the agent and take notes so you can remember later. It will be a blur. Then ask questions. I didn’t do that. I was so brain-dead that I went on gut instinct and said yes. Fortunately, Jen had already answered a lot of my questions and my gut was spot on, but that doesn’t always happen.

There are lots of lists of questions to ask on the web. But here are a few key ones:

  1. Are you an editorial agent? What type of editorial feedback do you provide?
  2. How close is the book to being ready for submission? Will there be a lot of editing and rewriting first?
  3. If we agree to work together, what will happen next?
  4. Do you use a written author-agent agreement or contract? What does it say?
  5. What happens if either of us wants to end the relationship?
  6. How long have you been an agent? How long have you been in publishing, and what other positions have you held?
  7. What are the last few titles you’ve sold?
  8. May I contact some of your current clients?
  9. Does your agency handle film rights, foreign rights, audio rights?
  10. How do you keep clients informed about your activities on thier behalf?
  11. What is your percentage?
  12. Will I receive payments directly from the publisher, or do payments go through you first?
  13. How long after you receive advances and royalties will you send them to me?
  14. What publishers do you think would be appropriate for my book?
  15. Do you help with career planning?
  16. How do you feel about authors switching genres?

When you’re in the query trenches, you may find yourself having multiple full requests out at the time you get the call. You are perfectly within your rights to tell the offering agent that you have other requests to consider. Usually you will agree on a time period (a week or two is normal). You should email the agents who have your full and let them know you’ve received an offer and tell them the time frame in which you need a response. Then the decision is up to you. (It’s also polite to e-mail any agents who have made offers/have your query/partial/full once you’ve made a decision and let them know you’ve accepted an offer of representation.)

Once you have your contract in hand, read it and make sure you understand it. Ask questions if anything, anything at all confuses you. Then you likely will have to wait a period of time before telling anyone you have signed. This is so the agency can get your contract back and finalize things on their end. No matter how excited you are, wait to announce until they say you can. Then celebrate BIG TIME!

Working with an Agent
Exactly what your experience is will vary by your agent. Some are highly editorial and want to help you refine your manuscript, while others are more hands-off and don’t want to see it until it’s as close to perfect as it will get.

I wanted an editorial agent and am fortunate to have found one. My first book didn’t require substantial revisions, but I did go through several rounds of editing with my agent. Mostly these were things she didn’t think was clear, things I repeated and, of course, line edits. Remember, this is your chance to really polish your work and make it shine. Take advantage of it.

You agent will also help you through the submission process, in which he or she will help you get a publishing deal, but that is a whole separate topic for another day.

Later on, when you’re working on your next book, your agent may even be open to reading an early draft if there is something you’re struggling with. 

Tips for working with your agent:

  • Be honest with them about everything, from your future book plans to how things are going and what you expect from them.
  • Keep in touch. Communication is key. If you aren’t getting enough information, say so.
  • Be open to their edits. While your agent isn’t perfect, he or she is an expert in the publishing field and knows what it takes to get a book to sell.
  • Remember that even if you become friends, they are ultimately your business partner. While sometimes it is your agent’s job to talk you down, they aren’t your therapist.
  • Be patient! Publishing is a very slow process.

I hope you’ve enjoyed this little peek into the writing process. (Here’s the handout, if you want something to keep.) Next week I shall return you to your regular Arthurian/Celtic programming. We’ll also have a special guest post coming up soon that you won’t want to miss.

Writers, what was your experience in getting “the call?” What tips do you have to offer to cultivate a successful working relationship with an agent? Agents, what is making “the call” like for you? What do you want from your clients?