Writers dish about editors

by Stacey

I enjoyed reading this piece from The Awl written by five published authors who write candidly (sometimes very candidly—check out Emily Gould's piece) about their experiences with their editors. There's so much great behind-the-scenes information in here about the publishing process—how agents work, how editors acquire books (or sometimes lose out to others), and how different each individual experience is. Even though it's written from different points of view, this piece speaks to how unpredictable the publishing process can be. Each author makes some wise observations about what you can expect, what you might actually get, and how frustrating and/or refreshing that can be depending on where you fall on that curve! The idea that editors are overworked and that your book isn't the only one on their list is something that authors and agents alike sometimes forget to take into consideration, so it's a good point. It also illustrates to me how important perspective is, both in your publishing career and in anything else you do in life.

In this piece, you're getting the scoop from those who have been through it. I hope you all find some good takeaway, or at the least an entertaining read, and ultimately see this a positive take on the publishing process. For me, even as an insider (or maybe because I'm an insider and know many of the players), there's a lot of juicy stuff in here!

The good, the bad, and the unputdownable

by Miriam

One of the assets of a pricey liberal arts education is that you can turn on the literary pretentiousness with the best of them and then tuck down with your popcorn title of choice, feeling confident in the fact that you know the difference between what’s great and what’s the intellectual equivalent of a Twinkie. Aside from the days of suffering through various soporific graduate school seminars, I’ve never really spent much time agonizing over my literary tastes. I pretty much read from every category of fiction and nonfiction and can find value and entertainment in all but the most execrable writings.

Which is why I like this piece by Laura Miller in Salon. Sure, Dan Brown, Stieg Larsson and James Patterson* may not be on same artistic level as Jonathan Franzen, Ian McEwan, and Ann Patchett, but as their legions of fans will attest, you can’t put down their books once you’ve started them. You may hate yourself in the morning, but you’ll stay up way past your bedtime to get through every last page—full of clichés, awkward character development, ridiculous plot twists and workmanlike prose though they may be. Thing is, a good story is a good story is a good story. And, there is craft (and sometimes genius) in telling a good story whatever the author’s writing abilities. There is a great deal of bad writing in my life that I am grateful to have read. And, I hope there’s a fair amount of it left in my future. As long as it’s good, of course.

What are your examples of good bad writing/writers?


*Whose work I’ve excoriated for years—‘cause, you know, I’ve got that pretentious lit-major-followed-by-a-career-in-publishing thing to live up to.

That intimidating book proposal

by Jane

For the last several months, many of us here at DGLM have talked about the necessity of preparing solid book proposals. A strong proposal is so important because it not only helps the editor and publisher to know what you are doing, it actually helps you, the author, to focus on your subject and the market you are trying to reach.

Many feel that doing this work is an “unnatural” act, and I admit that it can be very difficult. Once it is done right, however, it can be a very effective tool for everyone.

We work very hard with our clients to help them create their proposals. We send them basic instructions, sample proposals and then we review and comment on each draft until we feel the material is ready to be submitted.

Because we think this part of the publishing process is so very important, I thought I would share our basic formula for putting together a non-fiction proposal.


The proposal is broken down into several parts:

The first is the Overview. This begins with a brief dramatic anecdote which is meant to get the reader, in this case the editor at the publishing company, into the material. Immediately after this anecdote, you should describe in two or three sentences—no more—what the book will be about. This is followed by another brief paragraph on why it is being written and then another on why you are qualified to write it.

After this, you need to describe the different groups of readers who will buy your book—both demographically and statistically. The more numbers you have here the better.

The final element of the overview is a comparative section where you compare your book to others that would be found in the same place in the bookstore. In each case, book by book you must provide the author, the title, the publisher and the year of initial publication and, book by book, you need to tell us how your proposed book will be as successful or more so.

The next element of the proposal is the Annotated Table of Contents. This consists of chapter heads and no more than a couple of sentences on what each chapter will contain.

Then we need at least One Sample Chapter that matches a chapter described in your annotated table of contents. (I always suggest an early chapter, but the contents cannot repeat anything that has previously appeared in the overview of the proposal.) The sample chapter is meant to do two things: show off the writing and tell us things we don’t already know.

Finally, there should be a more formal narrative Bio of the author.

This is followed by links that serve as Support Material—reviews of previous books, recent articles by and about you from national publications, a schedule of speaking appearance, any national media appearances, etc.


So there you have it—my holiday present to you. I know this isn’t easy, but as I said, once this is done right, it is incredibly helpful in not only selling the proposed book but also in writing it.

Naturally, as always, I am open to answering your questions.

Say what you mean to say....

by Miriam

The thing about publishing people is that most of us make a living being all judgy about other people’s work. For some of us, that extends to other areas of our lives. I find myself editing my friends when they start telling me about their job woes, their relationship problems, their kids’ lack of interest in homework, you name it. “If she’d started out with that information,” goes the internal monologue, “I wouldn’t be making a mental list of what I need at Costco and now have no clue what she’s asking me.” Most of the time, the editing also takes place in my head and I don’t actually ask for a stronger opening and a more concise narration.

Given that a large part of our mission is to tell authors how to ply their trade better, I’m often struck by how hard it is to give truly helpful advice on how to (a) write well and (b) be a successful writer. These “Writing Aphorisms” in the Huffington Post remind me that while we’re all incredibly preoccupied with the subject, analyzing and communicating the essence of great writing is as difficult as deciphering Gertrude Stein’s meaning…ever.

Can you share five elements that make up great writing for you? I’ll try to come up with my five and we’ll compare notes.

YA character advice

by Stacey

I am a big fan of the PNWA (Pacific Northwest Writer's Association) and their annual conference, which I attended a few years back. Their website, newsletter, and blog are full of really informative advice for unpublished writers, as well as often inspirational stories of authors getting published. This recent piece from their website by book doctor Jason Black talks about a very important distinction in paranormal YA fiction between a character's success in the story coming from ordinary human qualities versus some type of paranormal ability. Black claims Harry Potter worked so well on an emotional level that resonated so deeply with readers because many of his most important moments came from noble human qualities, like self-sacrifice, rather than his other wordly abilities. He poses the question if you are writing a YA novel, does your protagonist need to possess these paranormal qualities, or could he/she succeed without them? Black argues that having a character's success come from a supernatural ability can send a discouraging message to readers because it makes it less inspiring for ordinary kids. An example he uses is James Patterson's Maximum Ride series, where the characters would fail without their powers. This series has not had the kind of impact or success that Harry Potter has. He concludes, and I agree, that without his powers, Harry Potter would still be a hero. This is an important distinction to consider when drafting your character sketches and plot points.

It's worth thinking about what he has to say, even if you choose not to follow his advice. Seeing your work from a different or new perspective is always a good way of gauging its success. For those of you writing paranormal YA or thinking about it, take a read and let us know what you think.

Get to work!

by John

As Jim wrote in his last post, it’s list season in publishing. So here’s one list that I was a bit surprised to see this time of year:  from The Daily Beast, the top five books about losing your job. 

Nothing like unemployment to get you in the holiday spirit! But I bring it up because I’ve seen a lot of submissions lately featuring main characters who’ve lost their jobs. Of course, they say write what you know, and I imagine there are as many unemployed writers out there as anyone else—probably more, since writing is a great productive outlet during the long, hard slog of job searching. Trust me, having been there myself, my first instinct was to put pen to paper.

But I do wonder if jobless characters are the best way to cure the unemployment blues, or to reach readers. None of the submissions I’ve seen have worked, generally because the negativity of the main characters makes them very hard to like, even if readers can relate to their being out-of-work. Moreover, depriving characters of a workplace to interact with other characters can often lead to navel gazing and a lack of dialogue, i.e., things that keep readers at arm’s length. And most of the time, unemployment isn’t even central to the plot—in just about every submission I’ve seen, the characters could just as easily be working as not.

I think you’ll find gainful employment helps your characters connect better with readers, even those who have lost their jobs in real life. And if unemployment truly is your main thesis—well, it’s telling that none of the books on the Daily Beast list are first novels. Perhaps to write well about joblessness, a writer needs more job experience as a writer first?

Thanksgiving's here, I can smell it

by Stephanie

It’s Tuesday! Which means it’s almost Wednesday! Which means it’s almost time for one of my favorite holidays of the year! Needless to say, I’m a little excited for this work week to pass. So as I count the hours (seconds?) to Thursday, I wanted to pass along this great post from Rachelle Gardner’s blog, Rants & Ramblings, about the all-important holiday plan for all you writers out there.  With extra time off but more holiday-related obligations, budgeting out time for writing will be more important than ever. As we approach these next few days off, I’m sure many of you have some kind of goal mapped out for that work-in-progress, but if not, this post offers great tips. First of all, I appreciate Rachelle’s realistic expectations in budgeting time: “try to accurately assess about how much time you’ll have for your personal writing pursuits.  Then, divide that time in half.” She gets it! She also takes into account the possible obstacles that may impede writing, and the importance of anticipating how they could potentially affect those word counts.

So what are your writing plans for the holiday break? Are deadlines looming? Looking to finish that new novel? Or start one, perhaps?  Either way, now that I’m in holiday mode, I hope you, dear readers, have a restful and productive holiday!

Meticulosity*

by Miriam

It is a truth universally acknowledged (here at DGLM) that I am the resident grammar narc. Although, by and large, I’m a fairly “live and let live” type, I can be downright dictatorial when it comes to clean, polished prose. Of course, in my line of work, I have had to learn some forbearance. If I got worked up over every typo, I’d be living in a padded cell and re-reading William Safire columns ad infinitum. That said, I still find it baffling how much material is submitted to us that is sloppy, poorly proofread, and full of grammatical and syntactical mistakes.

This blog is rife with palaver about how to get published, how to get an agent, how to craft the perfect query letter, etc., but we seldom discuss the fact that bad grammar and syntax can end your publishing career before it ever gets started—even if your ideas are fresh and good and your writing actually decent or even great. Although agents and editors are trained to see beyond simple errors that can easily be fixed in copyediting, most of us have to wade through so many submissions that we sometimes can’t get past our irritation with an author who uses random capitals everywhere or who chooses to spell phonetically rather than correctly. These days, it seems that writers are in such a rush to send off their queries the minute the manuscript is finished that they omit the part where they check to make sure that their work is ready for prime time.

Some of the things you may want to be on the lookout for before you hit the “send” key:

Don’t begin sentences with numerals. Ever.

Put the hyphens in the right place when referring to a character’s age: it’s “a four-year-old boy” but “the boy was four years old.”

Don’t use a semi-colon in place of a comma or period…or just because you think it looks sophisticated.

Keep your possessives and your contractions straight. “Its” and “it’s” mean very different things, so do “your” and “you’re.”

Read up on prepositions and their objects. There are songs that make my teeth itch when the singer wails about the love “between you and I.”

However you feel about the serial comma, use it. Doing so will help you avoid a great deal of unnecessary confusion. (I direct you to my friend Jim Donahue’s blog post on this subject—he’s a big grammar geek too.)

I don’t care how much country music you listen to, it’s not “anyways.”

There is a difference between a hyphen and an em-dash—one separates two words that are linked to make one concept, the other is used for parenthetical asides. Hint: in that sentence the hyphen is in the word “em-dash” and the em-dash is right after it.

Ellipses, when overused, are the equivalent of heavy breathing and invariably communicate an inherent laziness on the part of the writer who is overusing them.

Check out The Chicago Manual of Style on numbers usage. It’s very distracting to see a lot of numerals (especially single digit numerals) in non-scientific text.

And, finally, please refrain from repeating the same word or phrase in close proximity unless it’s for a very specific effect.

You know I could go on and on here, but I’m pretty sure you all get the gist. Investing in a couple of good reference books on style and grammar will pay huge dividends. Having someone who’s just a little nitpicky proofread your work will as well. Of course, once sparkling clean prose becomes second nature, you can go ahead and subvert all of the rules—because sometimes the correct way of saying something just doesn’t sound as good. Remember Winston Churchill’s clever comeback for a pedant? “Ending a sentence with a preposition is something up with which I will not put.”


*Dr. Seuss said the key to good writing is “meticulosity.” Clearly, I agree.

Crossing the line

by Jim

I crossed my first picket line yesterday! I had tickets to see the new musical The Scottsboro Boys by the same folks who wrote Cabaret and Chicago. It’s a musical retelling of the story of nine black men who were wrongfully imprisoned for the rape of two white women in Alabama in the 1930s. The framing device is a minstrel show. Blackface is employed. The writers and director are all white. Yikes! Perhaps I shouldn’t have been surprised to enter past dozens of protesters chanting that the show was racist, that turning this tragic story into a minstrel show was akin to using Borscht Belt humor to talk about the Holocaust. For a show that deals with liberal white guilt, getting shouted at for being racist was actually kind of an affective prelude (more on this in a minute).

I’m appreciative of both the protestors and the show’s writers for this: together, they raised a really interesting question about what stories need to be told and who has the right to do the telling. I remember a former coworker (not here) ranting about Jonathan Franzen’s novel The Twenty-Seventh City and his lead character being Indian. She took great offense at his decision to “talk about something he knows nothing about.” At the Romantic Times convention this year in Columbus, I met a group of really wonderful women who wrote gay male erotica, and I won’t lie: that totally confused me. And I think everyone here has read at least one first person narrative where the author writes from the perspective of someone of a different gender and the whole thing feels inauthentic.

Of course, limiting authors to only writing about what they know would prevent things like, say, historical fiction. It would have blocked my client Mindi Scott from beautifully capturing a teen male’s voice in her debut Freefall. It would have reduced Colum McCann’s glorious array of first person narratives across racial, gender and class lines in Let the Great World Spin (have I mentioned lately how brilliant that book is?). But do the rules change when the character’s identity is so integral to the story being told? What about if the story is about the injustice done to a particular group of people?

I’m inclined to say that it’s simply a matter of quality. The Scottsboro Boys was a brilliant show. At once devastating and hopeful, it was about how far we have (and haven’t) come as a nation and our collective history of racial intolerance. I believe that. But I also question my response since I’m, y’know…really white.

I’d love to hear people’s thoughts on this. Are there stories that “belong” to one group of people? Are there perspectives that you just wouldn’t trust? Have you attempted a first person narration from a perspective radically different from your own?

The fear of diminishing opportunities as one ages

by Lauren

Courtesy of our beloved former intern Bridget, I bring you this list of "awesomely untranslatable words from around the world."  Some I've heard of (litost, from the Czech, meaning roughly "a state of agony and torment created by the sudden sight of one’s own misery"), one I've used (schadenfreude, naturally), and others I never knew I needed but definitely do (tartle, "the act of hestitating while introducing someone because you’ve forgotten their name," which comes courtesy of the Scots, a linguistically ingenious people who also bring us "to haver," from that one line in The Proclaimers' "I'm Gonna Be (500 Miles)" that no one understands).

It's hard to pick a favorite, but I think ultimately I have to go with torschlusspanik, the word that roughly means the title of this blog post.  The words people use say a great deal about them in a broad sense--about what a culture values enough to discuss or does not--but surely it isn't merely the Germans who experience torschlusspanik.  I find myself lamenting of late that even if I woke up tomorrow as an extraordinary visionary genius, I'm no longer young enough to be a wunderkind (there's those Germans again).  As a teenager, I was sad to discover that I could never be a prodigy at anything, because my parents hadn't set me on a path to remarkability while I was still in diapers. Torschlusspanik is a sentiment close to my heart.

Which sentiments do you find you could really use a word for that doesn't seem to exist?  Is there a word for being thoroughly disappointed in a thing despite conscious awareness that it's not in the least worth being upset about?  I feel like that would come in handy. 

My life would make a boring memoir

by Rachel

This morning, as I was locking up my bike by the subway out of Brooklyn and into the city, a man and his son approached me asking about a phone number for a local cab company. Thinking nothing of it and glad that I was actually able to help, I happily gave it and turned to take the steps down into the train. It was only at that moment that I noticed the dozens of people milling about, frantically calling co-workers, friends and car services. Another large group anxiously waited for an oncoming bus. Of course this would happen at 8:30 on a weekday morning- there was an emergency in the subway and all trains into Manhattan were stopped.

After a moment of panic, genius that I am, I remembered that I did in fact have a bicycle and could pedal over the bridge just as fast, if not faster than any subway making stops or car in traffic. Though it wasn’t my ideal mode of transport on a workday, and I was totally out of bridge-biking shape as it's been at least a month since I've done so, it would have to do. As I bent down to unlock my bike, a girl pulled up next to me and I ruefully informed her of the situation. She wasn’t too put out and we both went off together over the bridge and into the city, chatting all the way as if we’d known each other for years instead of minutes.

Oddly, this sort of thing happens to me all of the time. With relative frequency, I am approached by an incredible variety of people who say they see me all over the place and feel obliged to make an introduction. In my head, I affectionately refer to these people as my “neighborhood friends.” I don’t know why I come across as particularly approachable, but it’s certainly led me to all sorts of people I would never have known otherwise. Some are interested in the book I’m reading, many inquire on the progress I’ve made on that day’s crossword (invariably, I can be found every morning in the same coffee shop, using their New York Times solely for that one page in the Arts section) and others still find another instrument of acquaintance.

However it happens, I’ve grown to know some of these people beyond a casual chat on the street. There’s the amazing painter who also writes science questions for standardized tests, the girl who works in a wine shop while designing album covers and logos and the unicyclist who works in trend forecasting- among many, many others. I find these people fascinating and enjoy the friendly waves and hellos that come my way when we pass. But more than that, each is so fantastically unique and none are personae that I could myself have crafted.

There has been a lot of talk about memoirs on this blog recently, and while using personal experiences in writing is a wonderful thing, not everyone has lead a life interesting enough to make other people want to read about it. Inspiration has to come from outside as well as from within. Personally, if I were to ever sit down and attempt to pen something that might be somewhere inside me (who knows), it would be from all of these unique people- those that were never friends that I initially sought out, that I would draw my character details, motivations and intricacies from.

Who inspires you?

(And I did make it to work on time…just a little windblown and breathless.)

NaNoWriMo

by Michael 

There's been a lot of controversy surrounding this Salon piece by Laura Miller that criticizes the idea of National Novel Writing Month. People are pissed. How dare she tell people not to write, especially when she herself is a writer? One of my favorite publishing bloggers, Carolyn Kellogg of the LA Times's Jacket Copy, really took her to task, attacking her post sentence by sentence. And, as usual, Carolyn is smart and incisive. Writers do need encouragement, especially since much of their time is spent on a rather solitary activity. I think the communal aspect of NaNoWriMo is fantastic--being held accountable is important. If participating means more butt-in-chair time, then I approve. For authors, I think it can be a great exercise, one through which you can learn new techniques and strategies that can be employed long after the month has passed.

Sadly, though, I think Laura made a good point that she unfortunately tied to NaNoWriMo: if you want to write, read. Reading is absolutely the first, most important step to becoming a writer. And while I have a feeling that many people participating in NaNoWriMo are readers--and probably big readers at that--there are plenty of people who aspire to write books, and even attempt to write them, that don't read. When I tell people what I do for a living, many of them tell me that they've thought of writing a book. Many of those same people also couldn't recall the last book they read or bought. Talk about awkward party conversations...

I know if you're following this blog that you're already readers, so I'm preaching to the choir. But have you met non-reader-writers in your publishing adventures? And do they make you as angry as they do Ms. Miller and me?

It’s really just that I so very much like using rather superfluous words.

by Rachel S.

For my very-first-ever real blog entry, I thought I’d have to look hard to find something both relevant and personally interesting to write about. Surprisingly (to me), it took under 5 minutes before this Huffington Post article, written by Linda Silversten, came to my attention. I jumped on it immediately in a guilty rush to see what she had to say about writers who use too many unnecessary words in their prose. Noting that in recent years published writing has become more and more conversational, Silversten took it upon herself to pick two recent bestsellers and count the number of taboo “filler” words peppering the pages for comparison. While Elizabeth Gilbert and Seth Godin didn’t err too far to overuse, Silversten still found an overwhelming amount of ‘thats’ and ‘sos’ in the portions of text she chose to tally.

I’ve known ever since in-class essays became a normal testing method in grade school that I have a strong tendency to write far too much and use more words than are necessary to convey a point or image. While this was a point of pride in school (I was always a little bit smug, though I tried to hide it, when I asked the teacher for more paper during every exam), I’ve eventually come to understand that MORE writing doesn’t necessarily make for BETTER writing. I’m still working on the short sentences thing, though. I don’t think that these little filler words that this article brings up are as much of a problem in my own writing as are an overabundance of adverbs and split-infinitives (the phrase still sends me running to the dictionary every time someone tells me I have too many). Are Linda Silverton’s taboo words just as much a problem for you as they seem to be for most writers, or do you have words or tendencies of your own that you work to suppress?

Apology from a pedant

by Lauren

Courtesy of my friend Leila, I bring you this amazing video from Rogers Creations.  Apparently it's called kinetic typography animation, and it features the oh-so-wise and entertaining words of Stephen Fry, who you all already know I adore.  When I can sneak some pleasure reading in around the metaphorical pile of work reading, I'm currently enjoying Moab Is My Washpot.  Genius, as expected.  So in the spirit of Fry's words—which I can't argue with even though I want to, because he came up with cogent counterarguments to every point I would have made—I apologize for being so uptight about other people's grammar and punctuation.  I know I'm not above reproach in that regard in general or likely even in this very blog entry. 

To be honest, I'm probably still going to snicker at errant quotation marks and sigh aloud at inarticulate comments strewn across the internet.  Just please don't tell Mr. Fry!

Editing for Eternity

By Rachel

Every Friday I sit down and I start to write my weekly DGLM blog, and after writing and revising, revising some more, and then perhaps one more edit, I'm ready to send it off to Lauren (who'll look over it - sometimes suggest more edits - and then post to the blog). When I read my blog posts, I usually think I could've said something more interesting, or would rather have touched on an issue in a different way, so if it was up to me, I'd be revising my blog entries for hours before I turned in the final version (which is why I never start writing them until late Friday morning - so I'm forced to meet a deadline).


Blog posts are one thing, but thinking about the endless self-editing that goes with book writing exhausts me! If I ever had the guts to sit down and write a novel, I know I'd never be able to hand in a finished manuscript because I'd want to rewrite every page, and then make edits on the edits. Take a look at Jean Hannah Edelstein's Guardian article on the dangers of "overcooking" books, and if you're a compulsive self-editor, you'll relate easily to this one.


So, how many times have you revised your manuscript? And, are you ever really satisfied with the end result?

Leaping Ahead

by Rachel

Ever find yourself writing and then wanting to skip ahead to write the more exciting chapters?  Well, author Jennie Nash touches on this in her Huffington Post article, and says that beating the temptation to write ahead is actually working for her. 

My uncle, an editor and sometimes-writer, mentioned to me once that his ideal way to write a book is to write whatever comes to mind, and to jump ahead in chapters if you feel compelled to.  His reasoning was that writing should come naturally, and structuring it the way Jennie Nash does (by way of Ann Patchett) seems unnatural and forced.

I can't say I've ever had enough dedication to sit down and pen a novel, so I wouldn't know how I'd want to write it, but what method do you prefer? Starting from chapter one, or writing different chapters whenever you get struck with an idea?

For the Long Term

by Stephanie

Leap-frogging off of John’s post from earlier today about developing the art of writing, I wanted to share this post from Rants & Ramblings, a really great blog belonging to literary agent Rachelle Gardner. In it, Rachelle examines the ways in which a writer, once in possession of representation, can improve their chances of remaining with an agent “for the long haul.” To that end, she advises both on a larger scale—by being the kind of writer agents and editors will want to work with, as well as on a level more individual to the writer—by developing a uniquely compelling voice, and of course, keeping a positive attitude throughout.

I think something like this is important for writers to keep in mind, particularly when reading in conjunction with John’s post. When viewing these two topics in conversation with one another, they further exemplify how the writing process, when interwoven with the publishing process, is a complex, sometimes confusing, and constantly evolving process. And it’s one that requires multiple pieces of the puzzle in order to be successful. That said, when it all falls into place? That’s what it’s all about.

Who's your audience?

by John

There was a fantastic op-ed piece by Michael Cunningham in this past Sunday’s New York Times, a must-read for anyone who wants to write. While ostensibly a piece about translation, Cunningham brilliantly articulates how writing is not an act of solo invention, and how it’s crucial not only for writers to recognize that they’re writing for an audience, but to identify specifically who that audience is as well. It’s a secret that successful genre writers know instinctively, but I’ve never seen it so neatly laid out for the general reader.

And I was particularly struck by how Cunningham improved his art through learning to write for an audience of one, namely Helen the hostess at a restaurant bar where he used to work. On first glance, it seems to go against common sense—I always assumed that even if you’re writing for a specific audience, like mystery fans or teen readers, you want to create something with broad enough appeal for all members of that audience. But then again, as Cunningham suggests, targeting a specific reader like Helen might actually create a more intimate conversation between author and reader and, hence, result in a better piece of work.

Obviously, there’s no right or wrong answer here, but again, kudos to Cunningham for framing the issue in such an elegant and accessible piece. No wonder this guy won a Pulitzer!

The best page you've ever written (you hope)

by Stephanie

In the interest of adding to my formal list entitled Things I Think Are Genius, I submit the soon-to-be-launched website called page99test.com, as spotlighted in this piece from the Guardian. The website takes the recommendation once given by English novelist Ford Madox Ford that readers “open the book to page ninety-nine and the quality of the whole will be revealed to you” and puts it into practice. The development of page99test.com aims to examine this concept by challenging authors to submit the ninety-ninth page of their work for readers to assess.

The concept seems alternately fantastic and flawed. By the ninety-ninth page, most if not all of a book’s central characters and plot lines should be established. But at the same time, is one page enough of a snapshot to make the reader want to dive in, start to finish? It just might be that the ninety-ninth page of any given book happens to be the one page wherein absolutely nothing constructive occurs. Then what? Definitely something to ponder as your typing finally breaks on to page ninety-nine in Microsoft Word.

Better off dead?

by John

I was heartened to read Leila Sales’ piece in last week’s Publishers Weekly about the inordinate number of dead parents in children’s literature, for it’s a subject I used to bring up myself when talking to writers’ groups. My lame attempt at a laugh-line was always that if YA novels were the real world, no-one would become parents, because the chances of survival were minimal at best. Leila does a wonderful job of identifying why writers tend to kill off parents—lazy writing, instant sympathy, parents are dull—while also offering some practical solutions for how to keep the parents alive without making them major characters.

So, just to add my own two cents: if you’re a teen writer struggling with parent characters, instead of killing them off, get ‘em divorced. First, it’s more believable to kids who are typically aware of divorce issues they or their friends may have in their real lives. And second, divorce offers tons of deliciously messy plot possibilities, while death usually leads to the standard scenes of mourning, loss, regret—and a big yawn from readers.
However you handle parents, though, it’s worth putting in the effort to keep them alive not only for the health of your manuscript, but also for your success at the submission stage. For me, announcing in chapter one that dad’s in the ground almost always leads to the rejection pile, regardless of the rest of the story—it’s a pet peeve right up there with spunky, redheaded middle-grade heroines. But that’s another blog post….