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The Literary Litmus Test: Your First Page

April 29, 2008 in Children's Books, Children's Writing, Creative Writing, Fiction, Flash Fiction, Literary Agents, Micro Fiction, Middle Grade Fiction, Picture Books, Publishing, Writing, Writing for Children, Writing for Teens, YA Fiction | 2 comments

Employers spend an average of just 30 seconds scanning each job resumé. If you don’t make an immediate positive impression, you won’t get called in for an interview.

The same half-minute scan holds true for your fiction. One page is all you have to hook an agent or editor and entice them to keep reading. Without a strong voice, a compelling hook and sharp writing, you’re doomed for a swim with the slushies.

It therefore makes sense to attend a first page critique. The neighborhood kids may giggle over your tale, your friends might deem it wonderful, and your critique partners may even bless it as ready for submission. But a professional opinion is your best literary litmus test.

A professional first page critique can answer these questions:

Is your writing appropriate for the genre? Does the voice match the target age range? Is your picture book too wordy; is your young adult novel too simple?
Do you have a truly unique premise? Certain subjects—like fairies and witches—may be popular at the moment, but that also means the market could be saturated. If you’re writing about fairies or witches, your idea should really stand out from the books already on the shelves.
Have you left enough questions for the reader to want to continue? Or do you leave the reader too confused instead?
If you’re writing in rhyme, does it have a consistent scheme? Does it move the story along or bog it down?
Does your dialogue sound authentic?
Are you telling the tale in the most appropriate point of view?
Can a child relate to the story?
Does the reader get an immediate sense of who/what/when/where? Can the reader imagine herself in the book’s setting?
Are you beginning the tale at the right place?

Wow! All this just from a first page? Absolutely!

Professional editors and agents know the latest trends in the literary marketplace and they see hundreds—if not thousands—of first pages every month. The highly competitive book publishing business dictates that they weed out undesirable stories as quickly as possible in order to get to the good ones.

Thirty seconds is all you have. Make them work for you.

Too Many Critiques Spoil the Plot?

April 4, 2008 in Children's Books, Children's Writing, Creative Writing, Fiction, Literary Agents, Middle Grade Fiction, Publishing, Writing, Writing for Children, Writing for Teens, YA Fiction | 5 comments

A new critique group member recently presented us with Chapter I of her YA novel—an engaging high school sports saga with a female athlete protagonist. After hearing our comments, she confessed that it wasn’t the first time she’d shared this piece. Workshop members from a local college had very different reactions than the ones we provided. For instance, they did not appreciate her clever metaphors, whereas I felt the work was strongest at those points—humorous, insightful, spoken with a strong and unique character voice.

At home that evening with a cup of tea and time to reflect, I wondered: is there such a thing as too many critiques? After all, not everyone agrees on the merits of published books, so a first draft would certainly elicit a wide range of comments. If a writer is presented with a dozen different viewpoints on the same story, which suggestions should she accept and which should she let slide?

Firstly, writers need to examine how many people point out the same problems. If there is more than one critique member who questions the character’s motive in a particular scene, then it makes sense to consider that section more carefully. But points on which the critique group does not agree, it’s appropriate for the writer to trust her own instincts, either by revising or letting the words remain.

Next, getting to know your critique partners well helps to reveal the most reliable criticisms. There are people whose judgment you will tend to trust, and those who just don’t agree with your direction. There will be those who always insist on line-editing until your prose reads exactly like their own. A group member may have a wildly differing style or not call your genre a specialty. It is important to listen to all criticisms and to understand why they are being voiced, but to address every single one is not productive. Too many cooks may indeed spoil the broth.

There’s no doubt that every manuscript needs to be critiqued. If you’ve completed a first draft and you’re licking the envelope to that agent: stop. You’ve only just begun. Find a critique group and get ready to rewrite.

There are no rules regarding how many times something can be workshopped, but as you become more familiar with the revision process, you’ll soon learn which advice to listen to and which you can ignore. A novel will not be all things to all readers, but it needs to be true to your vision as a writer.

What do you think? Can work be over-critiqued?

Read the Fine Print: Tips for Reading Your Fiction Aloud

March 18, 2008 in Children's Books, Children's Writing, Creative Writing, Fiction, Publishing, Short Stories, Writing, Writing for Children, Writing for Teens | 2 comments

Don’t have a background in drama? No experience with public speaking? It’s OK. Relax. You can still excel at reading your work aloud. Select a dramatic excerpt, build the intensity and practice! You’ll entertain the crowd and your work will be remembered.

Here are some tips for reading your fiction aloud:

Select the right piece. If you’re given a time limit, select an excerpt that fits within the time frame, but don’t be afraid to customize it. Cut and paste sections if need be. You want to build excitement to a climax to keep the audience interested, so begin at a place where you’ll be able to increase the tension until the end.
Climb a stairway to drama. Think of the piece you’re reading as a rise of stairs. Start on the first step and build the intensity slowly as you arrive to the climax. Mark places in your manuscript where you believe the tension mounts to a new step. With each step you should be a bit louder, a bit more expressive.
The sound of music. Your story could be brilliant, but if it’s delivered in monotone, the audience will quickly lose interest. Your voice is an instrument. Think of reading as a way to strike different musical notes, some high, some low, some just middle C. Mark your text with places to increase or decrease the pitch and intensity of your voice based upon the emotions expressed in the work.
Be the character you created. Immerse yourself in your character’s world the way you did when you first wrote the words on the page. Remember the backstory you invented as well as your character’s journey. All the creative energy you used to develop your character and story should be summoned to draw upon as you read.
Practice. Stand in front of a mirror while you read. Make sure you take moments to look ahead; don’t stare down at the paper the entire time. Record yourself and listen/watch the playback. Are you mumbling or enunciating too much? Ask family and friends to be your mock audience.
Scan ahead. If you’ve read your piece in practice enough times, you’ll be able to memorize lines. While reading, you’ll therefore have a moment to scan a line or two ahead so you can remember to put specific emphasis on an upcoming speech or emotional moment. Print your work in a large font if that helps you read more easily.
Look at the audience. Remember practicing in the mirror? Now make eye contact with individual people for a second or two at a time. If you find that distracting, look at someone’s forehead instead. You’ll appear to be looking directly at the person behind them.
Project. Don’t yell, but speak in a volume so that the person in the very last row can hear you.

Try to avoid these pitfalls:

Don’t apologize if you make a mistake. Just keep going.
If you drop something, pick it up. Leave a pen on the floor, and the audience’s attention will be drawn to the bothersome ballpoint. They’ll keep wondering when you’re going to reclaim it.
Don’t attempt accents. Many people can’t do them well. Done poorly, they’ll distract rather than enhance.

Most of all, have fun. Enjoy yourself and the audience. Don’t put pressure on yourself to be perfect. You’ll gain confidence with each reading and you’ll be invited to read at future events.

What Makes a Children’s Bestseller?

March 5, 2008 in Children, Children's Books, Children's Writing, Fiction, Middle Grade Fiction, Publishing, Writing, Writing for Children, Writing for Teens, YA Fiction | Tags: Bestsellers, Bestselling Books, Book Retailing | 1 comment

No one truly knows the magical answer to that question, as evidenced by the discussion on WNYC’s Leonard Lopate show this week.

You can’t publish a bestseller…you publish a book and you hope it takes off…but many hopes have been dashed by publishing into being a bestseller.

— Jean Feiwel, Senior Vice President and publisher of Fiewel and Friends & Square Fish Books

Ms. Feiwel, responsible for acquiring the popular series The BabySitter’s Club, Goosebumps, and Harry Potter while at Scholastic, was joined by Diane Roback, Senior Editor of Publisher’s Weekly children’s section, and Micha Hershman of Borders Group children’s division.

The three discussed the sea change in children’s book selling over the last 20 years, transforming from a market dominated by institutional sales to one dependent upon retail. In the 1980’s, the emergence of independent children’s retailers created a surge in demand, and now the national chains also play an enormous role in the success of new titles. They touched upon merchandising, the power of a good title and eye-catching cover, and understanding customers—what stories appeal to the parent “gatekeepers” as well as the children.

They briefly discussed “The Harry Potter Effect” on children’s reading habits and how the series suddenly made it cool for boys to be reading. The “have you read it yet?” peer pressure encouraged kids to pick up thicker and thicker books, a parental dream come true. The panelists made it clear that kids don’t care about marketing hype, but they do listen to word-of-mouth praise.

Click here and scroll down to the bottom of the page for the audio from The Leonard Lopate Show.

Attending a First Page Critique?

February 24, 2008 in Children's Books, Children's Writing, Fiction, Publishing, Writing, Writing for Children, Writing for Teens | Tags: Agents, Editors, First Page Critique | 1 comment

I wanted to know what to expect at a first page critique before attending one, so this post is for those of you with similar curiosity. I can’t speak for every first-page session, but here is how it might be organized:

The editor/agent (or other professional commenter) will sit at the front of the room, along with readers. The editor/agent may read each page aloud, or an attendee will be selected to read. Depending upon the number of first pages, there may be more than one reader.
The reader will read first pages aloud, one at a time. After one piece has been read, the commenters will present their immediate reactions. Depending upon how much time has been allotted for the event, they may spend as little as 30 seconds or as many as 5 minutes each discussing the page.
Questions from attendees are typically held until the end of the event so there is enough time to get to everyone’s submission. Occasionally a question of clarification is entertained, but a dialogue is discouraged at this time. It is not appropriate to jump in and explain/defend your piece.
When all the works have been reviewed, the organizer may open the floor to questions if there is enough time.

Here’s what you’ll need to bring:

Multiple copies of your first page, formatted for submission: 12-point type, double-spaced, one-inch margins. (Poetry can be single-spaced with double spaces between stanzas.) Include the title and genre, but not your name. You’ll need one copy each for the commenters, one for the reader, and one for yourself if you’d like to take notes directly on the page.
Business cards, if you have them. Don’t hand them to the editor/agent unless they specifically approach you, but you’ll want to network with the other writers present. You might find a new critique partner or learn about another event. Make a friend, give them your card to keep in touch.
Notebook and pen. Take notes. Not just about your first page, but about all the pages. There will be lots of good information shared about what makes a successful first page. Pay attention to the ones the editor/agent said they would continue reading.

Remember to thank the editors/agents and organizer of the event. They have graciously given their time and expertise in an effort to help polish your work. Shake hands, be polite. If you have a specific question that wasn’t addressed, now’s the time to ask if they have a moment.

Remember names. If you are serious about your craft, you will be seeing many of these people again at other events. Be thankful toward the professionals even if your piece didn’t receive the praise you expected. Go home inspired to work harder instead of being discouraged. You’re another step closer to your goal of becoming published!

And if your piece was one of the stories in which the editor/agent showed an interest, ask if you can submit to them. They are there to find new talent, after all!

Do you have any information to share about first page events? If so, please comment! Thank you!

What’s Your Favorite Book Title?

February 20, 2008 in Children's Books, Children's Writing, Creative Writing, Fiction, Middle Grade Fiction, Publishing, Writing, Writing for Children, Writing for Teens, YA Fiction | 1 comment

Cynthea Liu’s book title contest finalists were just announced! Go check out the winning entries and vote for your favorite.

I like Jade in China best for several reasons:

It plays on the phrase “Made in China,” where the main character Jade was born.
Jade is an ancient chinese artifact, fitting in with the character’s subject of study—anthropology and archeology.
Jade is prized in Chinese culture, giving the adopted character’s name meaning. Parents of adopted children often want to bestow a name that pays hommage to their child’s home country.
Jade represents beauty, grace and purity in Chinese culture.

I’m biased, though, because that was one of my entries. I suppose a decade of writing press release titles finally paid off.

I’m curious to see what you think. The Orient Success and Girls Just Wanna Have Feng Shui were my two other finalist suggestions. If you think that last one is funny, check out some of the hilarious titles that Cynthea posted for your reading pleasure.

Tips on Writing for Teens

February 19, 2008 in Children, Children's Books, Children's Writing, Creative Writing, Fiction, Literary Agents, Middle Grade Fiction, Publishing, Writing, Writing for Children, Writing for Teens, YA Fiction | Leave a comment

Chuck Sambuchino of The Guide to Literary Agents blogged recently about writing for teenagers and adolescents. He attended a talk given by an agent and an author and shared nine great tips to consider when crafting a novel for middle grade and young adult readers. Check out Chuck’s post here.

Some insights included not starting off a work with a graphic event like a suicide. Hmmm, lesson learned immediately for me. While it might grab the reader’s attention, it may do so in a negative manner, making them put down the book rather than keep reading. I’m gently reminded of agent Nathan Bransford’s warning about too much shock and awe.