You thought SASEs engendered discussion?
Try asking a writer or agent or editor about the perfect PEN!
I recently spent more money than I care to admit just for the perfect pen HOLDERS!
Yes, those are *decorative use only!!* mint julep cups.
Yes, it took me weeks to find them.
Yes, that is what I do when I'm letting my brain whir in the background on a problem.
And yes, I have tried at least a dozen kinds of pens in the last few years to find the PERFECT pen which is the Sharpie in the foreground, although I'm also very VERY fond of these (which do not get their own holder cause they are in my reticule)
Thus, when Alec Breton sent me this, I laughed out loud!
Ruth Jordan needs a DeathStar (well, really, who doesn't??) and you all stepped up very nicely to help her get one!
Here are the results from the writing contest:
Special recognition for a great punch line-made me laugh out loud
Kregger 11:58am (allowed because I opened comments 5minutes early)
Kelly Johnson 12:14pm "Villains get results" should be a t-shirt!
Aurora 6:16pm
Recognition for double definition that is HILARIOUS in context:
Papillon crew "capuchin" is both (1) a friar belonging to a strict order of Franciscans and (2) a monkey
Recognition for a great line:
Patrick DiOrio 12:19pm "Grab the MAC and cheese it out the door"
wait, WHAT???
Anna Roberts Moore 12:29pm
I have a soft spot for entries that are poems!
HeatherHawke 11:14am
And here are the finalists!
John Arkwright 11:58pm
From his porch, Curtis saw nothing special about Jennafay—pageboy haircut and stocky. She sang in a whisper, but Starseeker’s judges worshipped her. She’d soon leave for the finals. He’d be crunching pretzels before the TV, razoring her magazine pictures.
She’d win. They’d sculpt her face and body. Fake beauty. She’d return, not recognizing him. It would eat at him.
Fireworks burst behind his eyelids. His fingers remembered squishing ma’s cat’s throat Tuesday after Jennafay advanced.
Curt chose a hammer from his tools and crossed the street. They’d all know him. The cat was just the start of the spree.
KayC 4:45am
They were holding a picture in front of her. There was so much blood. The hand under her chin was gentle. A bright light flashed in her eyes. They were talking about her.
“There’s no cognitive response, the pupils aren’t dilating, it’s like she’s estranged from her body.”
“Do you think she was responsible for the killing spree?”
He turned away.
An insidious smile etched across her detached face, exposing dried blood on her teeth. She pulled a broken glass Christmas star from under the scrunched magazine on her lap and lunged for the nearest throat.
Sandra Cormier 8:49am
I looked up from my magazine to see Carl staring at me from the break room doorway, crunching on a cereal bar.
"We're just two cog
Jon Jordan announced if 30 people subscribe to CrimeSpree by Monday at noon, he'll spend his hoard of hard-saved cash on a gift of epic proportion for his wife Ruth.
The gift of epic proportion:
Yes, that is the DeathStar in Legos.
Now, I adore Ruth, and Jon is aces in my book, but I already subscribe to CrimeSpree and I don't need TWO issues. So, what to do.
Cogitate
Deliberate
Ruminate
The steam was coming out of my ears.
Aha!
A writing contest! And the prize is a subscription to CrimeSpree for a year! International entries will be ok, cause CrimeSpree has an international rate.
So, usual rules apply. Write a story using 100 words or fewer. Post in the comment section of this blog post.
Contest opens at NOON Friday (6/21) and closes at NOON on Saturday (6/22) (all Eastern Shark Time) so we can have time to pick the winner and get the subscription entered by the deadline.
Use the following words in the story:
star
magazine
crunch
cog
spree
The actual word must appear but can be part of a word and still qualify: cog/cogitate. It helps if you bold or underline the word prompt in your entry.
The way to underline or bold is:
Put < b > (no spaces) in front of the word and < /b > (no spaces) at the end of the word you want
bold Put < u > (no spaces) in front of the word and < /u > (no spaces) at the end of the word you want
underlined Questions? Tweet to me @janet_reid
Want to subscribe to CrimeSpree without writing a story?
Click hereReady?
Set?
NOT YET! (Comments are closed till the contest opens Friday 6/21 at noon)
Our foreign rights team was in action at BEA. It was very cool to hear what other countries are interested in reading, and what they are NOT interested in at all!
A few years ago I wrote a book that got picked up by a very good agent but didn't sell. After leaving the agent, I went on to write other unrelated books, but lately I decided to write a sequel to that first book. This is a true love book, and I have no desire to make it anything but a sequel. Is it possible to query this book, knowing it can't stand alone? Should I shelve it and keep querying other things? Self-publish?
The real question is whether to write it, and the answer is yes. Always write your heart first. You never know what you're going to learn, or what opportunities will present themselves. This way you have two books instead of one ready to go for when some smart editor sees them.
Writing is first a creative act, then a business.
I'm just back from a writing conference that produced a lot of interesting lessons. Not all of them were for the writers!
Before the conference started I got the names and addresses of all the writers who would be meeting with me for one on one sessions. I wrote to them, introduced myself, gave my blogs addresses and invited them to send their queries ahead of time so we could get a head start on revisions.
Within minutes of sending these emails, I received a harrumphing reply from one: "Please take me off your mailing list!"
Whoa! What?? I was so surprised I tweeted about it.
Of course, I got in touch with the conference director at once; this was really an off-putting reply!
The conference director replied almost at once: turns out we'd missed a middle initial in the writer's email address which was also his name. It wasn't Felix Buttonweazer at gmail. It was Felix M. Buttonweazer!
Whew!
I emailed the correct Felix and all was well. When I met him at the conference we had a good laugh about it.
But, I also emailed the wrong Felix to thank him for being miffed enough to write back. Without that "get me off this list" harrumph reply, we'd have never known. And might have made some pretty wrong assumptions about the Felix who wasn't.
I was reminded of that when I got an odd email tonight: "Dear Janet, here's a book you might want for your holiday list."
Whoa! What??Ohhh...hold on. I bet this writer wants ANOTHER Janet. Like maybe Janet Rudolph who runs Mystery Readers Journal, or Janet Hutchings the editor of Ellery Queen Mystery Magazine.
I wrote back "I think you want a different Janet" and sure enough she did.
Sometimes I've wondered if responding to emails obviously sent in error was a good idea.
After these two things within a week of each other, I think it is.
The sender doesn't know if email goes astray without that reply. Of course, that leaves all those people who hit "send to all" when they announce the publication of their book (the one they queried me for and I passed on two years ago.) I'll still hit delete on those.
Effective, not so much.
 |
| text of email "query" received recently |
Best First Novel …
• Learning to Swim by Sara J. Henry (Crown)
• Nazareth Child by Darrell James (Midnight Ink)
• All Cry Chaos by Leonard Rosen (The Permanent Press)
• Who Do, Voodoo? by Rochelle Staab (Berkley Prime Crime)
• The Informationist by Taylor Stevens (Crown)
• Purgatory Chasm by Steve Ulfelder (Minotaur Books)
• Before I Go to Sleep by S. J. Watson (HarperCollins)
Yowza! That's one amazing list!
Some background: this is the image that turned up in an email blast from Publishers Weekly advertising "Get free Fall titles from Atria Books Galley Alley"
Of course I was interested, I like the books that Atria publishes including the ones I've sold them. So I opened the email and clicked download images.
And this is what I got.
Can you tell what's wrong?
Hint: I was careful to make sure this is the EXACT size of the image in the email (using gmail's actual screen, not my mail management program)
 |
| I'm pretty sure Janelle is #DAUNTLESS! |
I'm a devoted fan of Unbridled Books. They are a small elegant publisher of authors like Emily St. John Mandel and Timothy Schaffert, writers I adore.
And I'm not the only one! The entire state of Kentucky appears to be a fan!
Last night Unbridled Books was the guest of
Greenlight Bookstore and we did not miss the chance to see four of their authors in person.
Our posse included Brooks Sherman (seen at the far end of the row, madly finishing a book he picked up at BEA so he could give it to me for my subway ride home); FPLM author and fellow Emily St. John Mandel fan Sean Ferrell; Soho marketing goddess Meredith Barnes; Erika and Laura. If you met me at the Backspace conference you also met Erika and Laura. They're the latest volunteer minions! So far, they seem to like us!

The Unbridled lineup was stellar! We had to buy all the books of course and order the one that wasn't available.
From left to right:
Edward Falco, author of most recently THE FAMILY CORLEONE (not an Unbridled title) and also ST. JOHN OF THE FIVE BOROUGHS (the book he read from at this event.)
Richard Kramer, author of THESE THINGS HAPPEN
Greg Michaelson, Unbridled publisher and editor
Janyce Stefan-Cole, author of HOLLYWOOD BOULEVARD
Emily St. John Mandel, author of most recently THE LOLA QUARTET.
Each author read just an enticing snippet from their work then dove into the Q&A. I have such mixed feelings about Q&A: it can be great to see authors talk about different things, but I usually just want to run home and start reading their books!
Case in point from THE LOLA QUARTET:
"Anna had fallen into a routine, or as much of a routine as a seventeen-year-old can reasonably fall into when she's transient and living in hiding with an infant. ... There was a plastic shopping bag duct-taped to the underside of the stroller. It held a little under one hundred eighteen thousand dollars in cash."
I bravely stayed through the Q&A, and the trip to Habana Outpost after the event for cubano sandwiches and mojitos. I even stalwartly conversed with Mer-Bear on the train home. But let me tell you this: I dove into THE LOLA QUARTET so fast when I got home that the font spun.
And all I have to say is this: Emily St. John Mandel, please write me a note for the office cause I'm going to be late today and it's ALL YOUR FAULT.
I was very delighted to discover that Emily's agent is Katherine Fausset, whom I met at Muse in the Marketplace recently and gave me some
great ideas about short stories.And if you want to join us for our next round of
Of course you do.
You'd even want Satan to buy your book and probably give him a discount if he bought enough copies for everyone in Hell while he's at it.
So, how you do it?
There are lots of good ways. Get short listed for an Edgar or Anthony. Get a nice review from Chief Temptress at Shelf Awareness Marilyn Dahl. Be published by Concord Free Press. Those are just for starters.
Sadly, those options are not available to all authors, so you have to find other ways.
It's those other ways that can trip you up.
Here's a recent email blast from an author:
TITLE is now available through every outlet you can think of. Sorry for the shameless promotion, but if I don’t tell you I have a new book out, who will? I encourage everyone who wants to buy the book to go to their independent bookstore, but if that’s not an option, here you go:
(tiny url)
Here's the first thing you don't see:
(1) Dear Janet.
If you're sending a promo email to "everyone you know" you'd be wise to send them individually with a salutation. For starters, that will help you weed out the people you shouldn't be sending this to.
Here's the second thing you don't see:
(2) We met at X Conference and you liked (something).
Personalize that email if at all possible. It reminds me that we've met, and that I like you. It reminds me that I liked something about your first book. Or liked something. In other words, find the something that we have in common. (Clue: what we do NOT have in common is that you want me to buy your book)
Here's the third thing you don't see:
(3) TITLE is the (what the book is about)
Honest to godiva when you send a promo and don't tell me what I'm asked to buy it makes hitting the delete button automatic.
When you promote your book you MUST tell me what it's about. At the very least let me know if it's the next book in a series or the start of a new series. Even your mum needs to know that basic info.
Here's the fourth thing you don't see:
(4) Title (Publisher) (price) (format)
Now, admittedly this might be just because I work in publishing but I think it's helpful to let people know if your book is trade paper or mass market or digital. And the price.
And here's the last thing you don't see:
(5) Full URL
A tiny url is valuable in many places, and email can be one of them but I don't know what the link is to. Even "here's the link to Amazon (tiny url)" would be better than nothing.
Is this a lot of work? You betcha. It takes DAYS to do this, not seconds.
The reason you invest that extra time: I would have probably clicked and bought the book if it had been a personal email. I buy books by friends and acquaintances ALL THE TIME to support them. I know and like this author, but this email annoyed me so much, I didn't.
There is NO INCENTIVE to click and buy when you treat me like a stranger on the street. The first rule of marketing is people buy from people they know and like. Your pr strategy MUST include a reminder of how people know and like you to have maximum effectiveness.
Any questions?
Here I am in Houston, Texas and they didn't even need the crowbar!
Yes, I am here to help Stephanie Jaye Evans celebrate the publication of FAITHFUL UNTO DEATH and I couldn't be happier!
In addition to the festivities around the book launch we also got to see Murder by the Book, one of my favorite stores in the world.
Can you add to the list? Send me your contribution and I'll add it here! (jpg attachment in an email is groovy!)
From Sarah McGuire:
As you know, Bob highlights dialog info-dumps. For instance: "As you know, Bob, my life went down the crapper when the shark ate Marsha six years ago. I haven't been able to stay sober since."From
Catherine Misener:
I call it the 'don't quit your day job' symbol (one an agent might use when sifting through her inbox???)
Back in 2008 I posted about a delightful unpublished writer named Sophie Littlefield. [To refresh your memory the post is here. ]
I was reminded of that post's prediction when this arrived in the mail:
 |
| We love this cover ALOT! |
This is the fourth!! Stella novel following A BAD DAY FOR (1) SORRY (2) PRETTY and (3) SCANDAL.
Since one of my mum's sayings is "My favorite interior decorating tool is the hammer" the cover appeals to me on several levels!
Congratulations Sophie Littlefield! And yes, your slithery agent Barbara Poelle can have 15% of the adoration!
I'm a member of the Center for Fiction at the Mercantile Library (and you should be too.)
Tonight was another of the Center's amazing programs about authors and editors, this time with Jess Walter and his editor Cal Morgan.
I've been a fan of
Jess Walter since his very first book and I was heartbroken when I couldn't attend the reading he gave with Sean Ferrell at
RiverRun Bookstore in NH way back when.
But tonight I scooped up a posse of interns and colleagues sufficient to fill an entire row at the CfF to hear Jess talk.
And we were not disappointed. Here are some of my notes from the presentation:
OVER TUMBLED GRAVES was intended as an homage to The Wasteland: it starts in April; the character names are from the poem; and there are five parts. When he mentioned this to his editor Cal Morgan, Cal is said to have replied "you might not want to tell people that." (I was not the only one laughing out loud at that!) (The book was being positioned as a crime novel not literary fiction.)
Jess always wanted to write literary fiction but writing crime novels (his first two books are considered to be that genre) gave him "the scaffolding to finish the book."
He keeps a writing journal for working out both large and small things. With this new book (one he has worked on for 15 years off and on) he wrote 17 pages in his journal that helped him see where he was going. He uses the journal for figuring out character names and plot points. (I wanted to ask him to elaborate on the uses of the journal--and most important does he write with a pen or a pencil and is it Moleskine!) but time ran out (perhaps not such a bad thing!)
He loves the editorial letters Cal writes him because he "can't wait to find out what I was writing about."
Cal chimed in that each editing job is different (not just for Jess but for every book he works on.) He brings the editorial tools he has to each job but each book requires something new, and perhaps something he won't use again, but needs this time.
For THE ZERO, Cal had to map the structure of the two narrative timelines, and then make sure that each timeline worked independently and dependently. (Jess said the reader could have probably used that map too
You need to make friends and influence people!
Here's the perfect place to start:
Awesome sauce publicist Dana Kaye (about whom not enough good things can be said) hosts the Chicago Literati Networking Event. You should go. I would, but the crowbar needed to pry me out of NYC is broken.
When you register use this promotion code for $5 off: TheShark
(You can see just from that why I adore Dana!)
Take pictures to show me what a good time I'm missing!
1. Tell us what Faithful Unto Death is about Faithful Unto Death is about how we all hold darkness inside us—how we can, with the best of intentions, do terribly ruthless things to protect what we love.
2. How long did it take to write?
If you condense the down time, a year—the first 30,000 words were written before I started my Masters, the next thirty to complete the novel so that it could serve as my capstone, another 10,000 for the Shark, another 25,000 for my editor at Berkley Prime Crime.
3. Do you outline, or just write by the seat of your britches?
People who outline are clearly psycho-geniuses. I am not a psycho genius. But the seat of my britches is too hard to write with and I’ve been using three fingers on each hand with the occasional thumb making contributions.
4. What did you learn when you wrote it?
Okay, this is going to sound so bad, but I learned I can write what I love. I love my book. It’s funny and snarky and tender and sad but not too sad.
5. When you're stuck while writing, what do you do?
Laundry. Not because it’s inspiring, but because I like to wear clean underwear.
6. What did the copy editor catch that made you groan?
Oh, my gosh—my editor, Shannon Jamieson Vazquez, caught a time-line error. I hadn’t caught it, nor my psycho-genius husband, nor two Rice University professors—not even the Shark caught it—but Shannon did and I thank her from the seat of my britches (while not good for writing, britches are good for thanking).
7. Do you have a favorite book about the craft of writing?
I don’t have a favorite but there are many, many I love. Anything by Lynne Truss is great fun to read and I keep a Strunk and White to hand. I also love the author in
View Next 2 Posts
I love the quote you singled out. It's easily the best, most resonating part of the piece.
As for the conclusion...I couldn't disagree more with the author. For one thing, most of the time, writing isn't glamorous. For another, just because her work was rejected doesn't mean that the universe is telling her to stop. It just means that the project didn't work.
Right now, I've written a total of three complete novels. The first two were awful, but not without merit. There were things about them that were good, but they just didn't work. But they were still valuable, because I learned from them. You learn by doing. You learn writing by writing. Those two novels weren't a waste of my time. They were a learning tool. I'm still trying to rescue the third one, but if it can't be fixed? I'm okay with that. I'll write another one.
Thanks, Janet, for a thought-provoking article to read with my morning coffee.
She wrote: This was the first significant thing I’ve done professionally that flat-out failed.
She's at the beginning of her education. How many writers have talked about that first book they has stashed in a box somewhere gathering dust. And many of those writers have second and thirds scripts keeping the first company.
Even so, it's possible that with work that first book could still be a winner. After All, “The Diary of a Young Girl,” by Anne Frank, would be rejected by 15 others before Doubleday published it in 1952.
In the summer of 1950, Alfred A. Knopf Inc. turned down the English-language rights to a Dutch manuscript after receiving a particularly harsh reader’s report. The work was “very dull,” the reader insisted, “a dreary record of typical family bickering, petty annoyances and adolescent emotions.” Sales would be small because the main characters were neither familiar to Americans nor especially appealing. “Even if the work had come to light five years ago, when the subject was timely,” the reader wrote, “I don’t see that there would have been a chance for it.”
Some people see 'failure' while others see 'learning experiences.'
I don't think the author truly believes it. She makes some offhanded comment about someday paying a Jehovah's witness to distribute it. To me, this sounds like a writer who failed to get their book out there and is reliving their post failure self pity with some sardonic humor article.
If that book had been accepted I shudder to think how large the head of the author would have been. Come on now, rejection is part of the business, get over it, don’t be so full of yourself and your efforts. Trying isn't failure, not trying is.
Someday, when the author is wide awake at 2am waiting for the sound of the car in the driveway because ‘the baby’ is late returning home, or she’s waiting for medical test results regarding said baby, or baby becomes the devil or does devilish things, or baby breaks her pocketbook and her heart, will she say having a baby was a bad idea? Yes. No. Maybe.
Books may not emerge from a uterus but they certainly arrive helpless and in need of you. My writing is as much a part of me as my love for my daughters. At least the kids move out. No empty next from writing. My house is a dictionary of ideas and efforts.
Thanks for the article Janet. It solidified why I do what I do and it’s not for fame and fortune, it’s because it is so much a part of me.
In general I agree with you that writing a book is never a good idea. But in this specific case I think the author is right. She never should have written this book because she was writing it for all of the wrong reasons.
In the very first paragraph she talks about the reviews she wants and the TV show appearance she wants, not what the book means to her. She mentions seeing it as a brass ring to grab not a passion to pursue.
It does sound like she's getting the hang of it and I certainly don't think it was waste for her to write that second book that wasn't published. But yeah, that first one, I think it was a mistake.
She really put herself out there with this article. I respect that.
Maybe I'm wrong about this - I've only had two cups of coffee - but I read the ending as an affirmation of writing for the right reasons, no matter what comes of it. She seems to me an excellent writer and I don't believe she'll fail!
"My house is a dictionary of ideas and efforts."
♥
"Four and a half years ago I quit my job and moved continents so that I could write a book"
Words that strike fear into the hearts of editors everywhere.
I am slowly learning her lesson as well. Seems each one of my books is less grandiose and more to the heart of me. Some lessons we wish we didn't have to learn the hard way but sometimes that's the only way we learn them.
I agree with 'Unknown.' I'm 63 years old and I HATE to fail, and I always have. HATE it.
But it is still among the most valuable things that happen to me.
I read this article yesterday, and thought pretty much the same thing the other commenters here did. One of the first things I read when I started learning about the publishing industry was I'd need to grow a tough reptilian skin because failure and rejection are the two most common experiences on the road to publication. And even more importantly, rejection is not a personal judgment against you.
Writing a book you want to see published someday is like extreme blind dating. We spend years writing what we think is a fantastic book. We research agents, agencies, and publishers. We send our best possible pitch out into the universe. We're essentially proposing marriage to strangers on the strength of a few pages of writing. It is scary, but if you don't learn to let it roll off your back and move on, then maybe writing that book was a bad idea. It's not that the book itself lacked merit, but that author's skin wasn't tough enough.
I love writing. I'll never stop writing. It would be nice to be a published, successful author, but that's not why I started writing, and it's not why I keep writing.
And my first thought wasn't "Ooh! I'll get to be a guest on the Daily Show if I write a book!" That's just silly. I want to be on the Late Late Show. HAHAHA!!!
I think the book is always more important than the author. When you get to the point you think the reverse is true, you're in trouble.
If you're truly in love with writing, as I believe you have to be to one day sell a book (unless you're Snooki), I don't know that you can ever really view an unpublished manuscript as a failure.
For one, as Ali and others have mentioned, there's the experience you gain from writing said book. But it's also a very real possibility you might simply be trying to a sell a great book at the wrong time.
I write humor, and my first book--an A.J. Jacobs-y memoir--drew a decent response from agents. Ultimately, though, they felt I didn't yet have enough of a (brace yourselves) platform for them to sell it. And that's the rub of it: It's not just whether you can write. It also has to fit the realities of the market.
So when a particularly kind agent asked me if I would be willing to try something different before trying to get that first book published, I jumped at the chance. Now I've had the unbelievable experience of actually seeing my book on the shelves in a bookstore.
Book #1 may just sit on my laptop forever. Or I may be able to come back to it down the road. Either way, writing it was well worth it.
No, no, no, no, NO. You don't get to show up at my beloved collective announcing you have made a vase of popsicle sticks and expect it to get gallery space. We bleed words here, we write several books before we even understand how flawed they are, we burn ourselves down to ashes and bones and then humbly begin again on page one, page one, always page one. we are acolytes, all of us, and if it's difficult at times to look into the bright sun of others' early success, that particular pain diminishes eventually because you come to realize that it's an entirely different exercise. Book tours, media appearances, listing - irrelevant to the only moment that counts, which is the one in which you return to the page and ask yourself how you can be a better writer today and are GRATEFUL for the opportunity, not because a publisher has offered you something in trade, but between you get to CREATE with WORDS. if that doesn't chill/ignite/inspire/drive you, then go do something else. If you stay long enough to finish a book, don't look furtively around hoping that all the other kids are admiring you. Put your little boat in the water, get back to work, and eventually you'll have learned enough to come back and understand what it was that you made - whether it garnered others' admiration or not.
Whenever I meet someone with that kind of passion, I'm happy to consider them a colleague, no matter what, if anything, they've published.
One of my favorite parts of Chitty Chitty Bang Bang has Grandpa trapped in a dungeon with a group of aged scientists. Together they sing, "From the ashes of disaster grow the roses of success." I believe that, and I've tried to take that to heart when my work gets rejected. I also see those roses blooming when something I wrote gets accepted. It is all part of the work and learning and work and work work work that goes into writing.
I couldn't keep going if I were only focused on publication. That would be deeply depressing. I am just trying to write the best book I can. And to make it better. And better. And then I'll send it out there, but that isn't the most important part. And whether this book gets accepted or not, the next one will be better. And so on.
I think I'm going to have Sophie Littlefield's comment set to music.
In fact, there might be some other phrases from this comment trail in there too.
My first completed novel lies on my external hard drive, where I use it for spare parts. Somewhere within the shelf space of my house, there are five or six more novels that never got to The End. I can't say they made me feel like a failure, but they did make me feel like either I didn't have the backbone to finish, or I told crappy stories. Two finished, published books later, the writing is still hard, but I know when I have a good story and how to get it told. I think the author will get there - she's starting to understand why she's writing.
Janet, I had a dream about you last night. You flew in from NYC to my hometown in southern California, just to sit down at a table in the local country club, tell me you didn't want to represent my book because it's midlist and I need to write a blockbuster to be taken seriously. I told you, "But I like to write midlist mysteries because I like to read midlist mysteries." You shrugged, smiled, then got up from the table and flew back to NYC.
Really, you could have just emailed. LOL
I disagree with the conclusion, but any article that contains "My spirit animal has been kicked in the nuts" is well worth the time it takes to read.
Writing the book was not a mistake. It was an ego project, and she needed to go through it and have it fail so she could understand that.
Somehow I don't think she has fully learned that lesson. She did not mention what the story was. I can understand that while writing the book with stars in her eyes she would want to hug the story to herself, but if she has truly let it go, why not tell the world so somebody else can write it? Is this not a story that needs to be told? If so, let someone else tell it. If not, well, that explains why the book didn't sell.
Dear Ms. Reid,
How many times have I listened to somebody ranting about a disastrous affair they’d had with some selfish, demanding asshole, and as I ride out the recital of crimes it gradually dawns on me, “He/she is still in love with the asshole!”
Ms. Purtill may be trying to convince herself that writing her book was a misguided waste of time, but she didn’t convince me. The urgency that long ago compelled her to upend her life in order to track and capture the story seems to be still lurking in a remote catacomb of her being, and to represent a lingering romantic danger to her new-found domestic complacency – an obsession still so alluring and provocative that she is moved to condemn the impurity of her earlier aspirations, and distance her mature maternal self from the entire undertaking. This in spite of reaping the presumable rewards of having traded genuine (though perhaps naïve, half-assed) youthful ambition for crappy nappies and sour grapes.
I also wondered while I read her piece if it wasn’t (on some sub-level) intended to be a covert, back-channel teaser. Though she provides precious few details about the story she has nevertheless aroused my interest. She certainly can write. Southeast Asia, eh? A cashew farming connection? Intriguing.
Ms. Purtill, please send that Jehovah’s Witness my way when you get the copier running.
dylan
Blah, blah, blah.
I just want to be rich.
Like all Canadian writers.
:-)
"I don't think it's bad to fail. I think it can be damn valuable."
Yup, Janet, we learn from our mistakes. That's why I'm so smart.
(hehe)
Sure, the road to getting published is rough. What's new?
I used to model my writing on Forsythe's "The Day of the Jackal," Orwell's "1984," Hemingway's "Old Man and the Sea," and similar stories. It helped how my job allowed me to traipse across multiple continents — to meet people right out of those story worlds. I even have the pictures.
So, I would write stories with detailed "mechanics" … but with spare dialog. Still, the stories had diabolical plots about stealing wonder weapons and getting revenge on terrorists. Cool!
Those stories were plot-driven, serious expositions which eschewed humor, and the characters were mysterious — but maybe also overly enigmatic and distant. It worked for those other authors. No problem then … right?
Unfortunately, it wasn't working for me. Something seemed to be missing — but what?
One day at a folk festival, I was surrounded by people in a massive 1930's ballroom. The live traditional Irish music was magical. Even though there were hundreds dancing, somehow most of them faded away. This is because one dancer "owned the place" from the moment she sashayed in.
Space and time bent around her.
On the outside this dancer was about as pretty as a lumpy sack of potatoes with two legs. However, her inner beauty was, well … amazing. She brightened everyone's day. Seeing her change others somehow changed me.
That's the exact moment when I found my "voice" as a writer.
I started writing mostly dialog. My stories threw off "mechanics" and were about people who'd rather steal something more precious than state secrets or expensive paintings. These characters coveted other's tears and heartbeats … and snatched them up without apology.
However, I got embarrassed about transcribing all that "mushy stuff." I put those charcters in a box and went back to stories about plotting and scheming. Ahem! Yes, those dry mechanics were back again. An odd thing happened though. The characters would not accept being boxed up.
They wanted to bend space and time too.
They started to stand up on the stage and tell me what to write. Huh? Are they allowed to do this? I was indulgent and let them speak. However, I didn't realize at first how those characters were "anchor babies" … and maybe skilled confidence game tricksters too? Now all of their relatives are squatting inside the recesses of my brain. I didn't even see it coming.
Those characters tug on me in the stairwell: "Here's what I did in the war. I killed Nazis" Another whispers in my ear when I'm sleeping: "I'm going to make that person love me." Another insists I pull the car over and write down what he's has to say: "No! It can't wait … but you're going to enjoy the juicy bits."
Like it or not, I might unexpectedly find myself in a garden center and think, "So and so would really like this." Wait! So and so doesn't exist … outside of my stories. Does it really matter? So and so gives me those great pep talks though.
Now I've got an even bigger problem. I'm drowning in all the stories of these people's grandparents, parents, spouses-to-be, and their future children. [Oh, are they going to be exhasperated by that strong-willed child. Payback … sweet patback!] Anyway, for a bunch of squatters, at least these families of characters have intriguing lives.
I've learned a lot from them too — including more empathy and compassion than I thought I had left.
Now, my main problem is which story to make into the "Great Anerican novel." Some "type A personality" character is going to be reallly pissed if it isn't him or her to go first. Imagine telling the rest of them to wait until the series about "those other f
I wrote my first completed novel when I was in my teens, and it's both the best and worst thing I've ever written. It's super funny and heartbreaking, but the structure is a mess.
I keep it there so I can pull bits and pieces out of it and adopt them into my other works. I also have it there so I can read it and see what was going on it my head- see where my heart was. It's almost like a time capsule of myself. I'm still young, so it wasn't that long ago. But knowing what was happening in my life, and being able to see how I channeled that at the time, is totally worth it.
I also write primarily YA, so whenever I need to get in touch with the Teenage Me, I go pay a visit to that first novel. And it is so much fun.
I'm nearing completion of the first draft of my fifth book. Yesterday, I had a conversation with my beta about the fourth book. Even though I knew before giving it to her that it was a hot mess, dealing with her criticism dealt a blow to the very little writing ego I have. It's also a good lesson in not being owed anything just because I love writing and, dang it, it was my fourth try and things should have been better or easier by now. The book doesn't owe me anything. I owe myself and the story. I want it to be as good as I can make it, just to do it justice.
Which is why I'm not giving up. Both the beta and I agree the book is salvageable, anyway, because the underlying structure is solid and the problems are all on the surface. But even if it weren't, I don't think the book was a bad idea, nor were the two novels I've trunked along the way. I learned something about writing and about myself in doing them, and that's valuable. And because I knew many of the reasons why the last one was messy, I've been able to avoid a lot of the same mistakes with the current WIP. (Or so I hope.) This author expected things to come too easily, just because she hadn't failed at anything before. That's just not how life or writing works.
Nice article, but I think her conclusion is pretty foolish. "I got rejected twice, so the universe says that I should stop writing?" If you really think that, I don't think that you love writing.
I don't love writing. I go nuts when I try to NOT write. Writing (story creation) is the filter through which I see life, and I am constantly turning over moments in my head, looking for how they can be presented in service of my Truth. I've written six novels at this point in my life -- I'm in my mid-30s. Several of them happened when I was a kid, and they show that. I learned from them. The others -- some I've shopped, and they've been rejected. I'm back to the drawing board on that.
I've never once thought the universe was telling me Stop. I thought the universe was telling me Get Better. Well, sometimes, I feel like the Publishing Universe is saying Write Something More Marketable, which I understand, but struggle with.
Anyway, yes. As you say, nice article, silly conclusion.
I'd be lying if I denied dreaming of publication. But I write because I can't NOT write. Since I was old enough to built forts under the backyard rhododendrons, where I whiled away "solitary" afternoons creating adventures for my toy dinosaurs, I've had to tell stories. They're in my grade school notebooks, the margins of college textbooks, the backs of discarded spreadsheets, and Twitter. I'd love to see them between glossy covers some day, but no matter what the universe says 'll never stop writing, because it's who I am.
I've written ten novels in the past four years and sold none of them. I did this while finishing college, working, getting married, and providing service in both the community and my religion.
I "tested the waters" by epublishing a Kindle book with no success. I sold about enough copies to pay off the cover artist.
Looking back, those first books I wrote were pretty bad. Even the books I wrote before then (several dozen from middle through high school) weren't fantastic. But the point was that I had stories to tell and I wanted to tell them.
Would it be great if I could make a living off this? Absolutely. I would love to have others experience what I'm writing. I'd love to be able to just chug out four to five books a year and get paid for it. It would be a dream.
But you don't get there without work. You can't just drop everything for that one novel and if it fails give up. It's part of the learning experience.
I'm twenty-six and I plan to write until I die. Maybe someday one will sell. Maybe not. But the point is that I'm doing it because I love it. I fly out to conventions and meet with other authors/editors/agents because it's fun. I write because I can't see myself NOT writing.
Every book taught me something, even if the book was awful. The only thing I can do is be damn sure the next one is better than the last.
The book itself was not a bad idea. It may have turned out to be a bad book, but that doesn't mean the idea was bad, or that writing it was a bad idea. It just means the execution needed a lot of work and maturity.
Many who continue to write despite rejection eventually arrive at this attitude: "Since this isn't going to make me rich and famous, I'm going to quit writing to please others and do this for myself."
She took a different path to that conclusion, but she got there. Bravo.
She wanted to create and be lauded for "important work." I have to laud her for her attempts to fight "the obnoxiously persistent conviction that external validation is the only kind that counts." That's an inner demon worth slamming to the mat.
Doesn't mean that writing to be successful is a morally unfit motivation. Unrealistic, perhaps, but some write to put bread on the table. That motivation works quite well for them.
I'm leery of the "the ONLY reason to write is for love of writing" concept because damn few sentences containing absolutes about a creative art can survive without eventually looking ludicrous.