Advice for aspiring authors

Our greatest weakness lies in giving up. The most certain way to succeed is always to try just one more time.

― Thomas A. Edison

Have you ever considered giving up?  Good news, you are not alone.

I’m going to give you a few example of others who almost pitched in the towel and left the writing to others. .  . almost. Thank goodness they didn’t give up.

Most recent, during an interview with Writers Digest, author Joe Hill (The Heart Shaped Box, Horns, NOS4A2, and the short story collection 20th Century Ghosts) talked about his journey toward publication.  He didn’t tell his agent who he was because he wanted his writing to stand on its own merit. In other words, he didn’t want anyone to publish his novel because he was Stephen King’s son.

The list is long and varied.  Mystery author Agatha Christie collected 500 rejections in four short years.

The quality of the message associated with rejection is also often disheartening and horrific.  Her’s a paraphrase of a rejection received by author Zane Grey, “you have no business being a writer and should give up”.

Sometimes the ability to choose the correct or enthusiastic publisher or agent eludes us, but the person who believes in our work as much as we do is out there.

The authors of “Chicken Soup for the Soul” were informed that anthologies don’t sell.  Can you believe that?  Thank goodness they didn’t.

C.S.Lewis collected 800 rejections for “The Chronicles of Narnia”, and  Margaret Mitchell received 38 rejections for “Gone with the Wind”.

Author Paul Coelho sees a limited 800 copies of “The Alchemist” sell, but with a new publisher, the number climbs to 75 million in print.

Fourteen agencies reject Stephanie Meyers “Twilight” which went on to spend 91 weeks on the NYT.

L. Frank Baum, told his works was “too radical a departure from juvenile literature”, finally sells “The Wonderful Wizard of  OZ”.

Louisa May Alcott was told by a publisher, “you should stick to teaching” which, thankfully she did not, and is still in print 140 years later.

Even the esteemed Beatrix Potter, the beloved author of “Tales of Peter Rabbit” was rejected so often she chose to self publish.  From its original 250 copies to 45 million.

The Christopher Little Literary Agency collects twelve rejections for author J.K.Rowlings’  “Harry Potter and the Philosophers Stone”, until the eight year old daughter of a Bloomsbury editor insists on being allowed to finish reading the manuscript.  This led the way for this series of books which now has 450 million books in print.

The message here is clear.  Rejection is a part of the writing life.  We all experience it in different ways, at different levels, and with or without rancor.  But persistence is the key to success.  The willingness and the ability to come back and try just one more time can be the difference between life an author, and life wishing you’d finished the last book.

Building Character

Character cannot be developed in ease and quiet. Only through experience of trial and suffering can the soul be strengthened, ambition inspired, and success achieved.

Helen Keller

In fiction, much like real life, character is built by one’s life experience.  The ability to engage with a character without showing their life story  right up front is a basic skill ever writer learns. Sometimes the hard way.

Short stories differ from novels and novellas in that  the time to establish character is less in a short story and therefore, a different type of telling is used, usually dialogue exchange.  Characters can tell you a lot about their fellow travelers on the fictional journey and should be used accordingly.

But in the longer piece of fiction, characters are built, and many aspects must be addressed.  Such as, physical description.  What does your character look like and how will you let the readers know?

What does your character sound like?  Is the voice strong?  Commanding?  Authoritative? Or is the voice meek, mild, submissive, or even absent?

Is the character a person with a gentle touch, or more like a” bull in a china shop”? Is the behavior which determines their presence intentional or accidental?  Are they aggressive or just clumsy?

For the more intimate moments, the writer should let us know how others respond to the characters we build.  Reaction, though limited and more focused, is often poorly interpreted.  This is a significant problem with single or first person point of view.  Your narrator is often reactive to the behavior of other characters and can easily misinterpret the behavior or intentions of others.

During the intimate physical exchange or even during the “dance of attraction” don’t forget to let us know how your hero and heroine stimulate each other, touch, sight, or smell.

Olfactory response is the earliest indicator of recognition for us humans, and often invokes powerful memories which in turn stimulate neurological responses.  Intimate and even unknown fears are sometimes triggered by the sense of smell.  So if you’re looking for an opportunity to motivate your character to one of those little “turn around ” a deep-seated fear connected with a specific odor might serve.

Don’t forget the motivation comes from the history of the character you built,  and that is the path through which the great story is achieved.  You can only hope to thoroughly engage your reader with a spell binding character, well motivated, and easily identified  with, before you can craft a story that won’t be put aside.

Who decides?

Never allow a person to tell you no who doesn’t have the power to say yes.

― Eleanor Roosevelt

Sometimes we have difficulty with finding the correct audience for our writing.  Beta readers are not easy to come by, and as introverts– generally speaking– we are not likely to approach strangers to solicit critiques of our writing.  Certainly never for first or rough draft.

But sometimes, we elicit the overall negative response which incites others to tell us something just isn’t working.  If the reviews are mixed, let’s say 50-50 division on when a turn in the writing is working, or when it isn’t, it’s up to the writer to decide.

But let’s address the endless number of people who are quick to point out flaws, foibles, and faux pas in a genre they do not normally read, or are wholly unfamiliar with, even on a good day.  Those people are not your friends.  They are not seeking to help you.  Let me say this again, not helpful.

When you ask for help with a writing project, ask the appropriate person.  Someone who knows the genre, by virtue of being a long-term avid reader.  Or someone with a proven track record, preferably someone publishing– and publishing well, in the same genre. This is the type of author who can give you valuable advice about readers of the genre. This is they type of help you need, and you should always be specific about the type of reader you’re looking for on a project.

Do you want a line edit?  Ask for help from someone who does line edits, or purchase the service.

Do you want someone to read for content?  Then ask some one who reads for pleasure, hopefully an avid reader, to just read and please tell me where and when you put the book down and why.  If the baby was crying, they needed to put the book down.  If it became slow or boring, you need to examine the portion of the manuscript in the next editing pass. These readers will also tell you “I just didn’t believe he/she would do that, it didn’t seem realistic.”  Now that is a motivation problem, and also is easily fixed.

Just plain beta readers, those who are not aspiring authors, are sometimes they people who help you to correct the worst of the manuscript mistakes.  They will tell you the important things, like “Not believable”, or ask the ever important question of “How could she?”   These readers also better with pin pointing POV problems that new and aspiring writers don’t see.

Most often when we ask for help, we get exactly what we ask for, but it is also unpleasant to know you’ve made a mistake.  The wrong thinking in having your mistakes pointed out is the inability to just fix what’s wrong and move on.  Fixing is learning, and we don’t usually repeat the mistakes we correct.  Sometimes, but not always.

In the end, only you can decide.  Who will be your beta readers, those who can and do help you?  Or those who just want you to know how much they know. You decide.

Inspiration

“Where do you get your ideas?”

A question all too familiar to most writers, whether they are seasoned professional with a hard track record of novels multi-pubbed in many foreign languages or the aspiring writer  who has just — mistakenly– shared their aspiration to a career of full-time writing.

This is a common question for two very good reasons; 1) people are genuinely interested in how your process works or, 2) the can’t think of anything else intelligent to say to someone who makes their living as a writer.  After all, full-time author isn’t a real job, is it?

Happily or sadly, dependent on which side of the argument you fall, people do make a living at nothing but the writing.

So back to the question, where do the good ideas come from?

They are all around us.  The good ideas are in the people we know and those we don’t know, the folks we’ve grown up with and those we pass on the street.  The good ideas are everywhere if you know how to mine them out of your everyday life.

What will you do when faced with a life changing decision?  What do you think the people you know really well– your nearest and dearest do, when faced with a life altering choice?  Would they sacrifice one loved one for another?  Would they sacrifice their own life for someone else?  Or would they sacrifice another in order to live?

The choices we make on our best day as human beings is not usually the choice we offer our characters in a novel.  Those choices are much more difficult.  The things we know– or think we know about ourselves can all be called into question in our fiction.  This is what we mean when we talk about writing what we know.

In fiction we build characters who help us tell our stories, of what we think we would do– or hope we could do, or even help us tell of the better person we would like to be, if we aren’t telling the cautionary tale of  history which shows us the path others have chosen, much to their regret.

That is what fiction is all about, after all.  Telling the story.  Choosing the path for our characters, writing what we know and asking –” What if?”

So share with me, where do your good ideas come from?