This past weekend I was fortunate to attend KidLit Con 2010. Where the Merry Sisters of Fate (Maggie Stiefvater, Tessa Gratton, and Brenna Yovanoff) gave a presentation on critique groups.
First let me say that KidLit Con was AWESOME! Really well put together, lovely venues, and great panels. Every time I attend a conference I'm reminded how awesome it is to be in a room full of writers. When the time came for Q&A with the Merry Sisters, every single question asked was about writing!
They talked about many fascinating and insightful things, but the one I want to focus on today is a comment they made about getting a critique.
Maggie was talking about editor's notes, but it really fits for critiques from crit partners and beta readers as well. She said (I'm paraphrasing), sometimes you might get a note back saying "I don't like that thing with the pickup truck at the convenience store, can you do something else?" And she said what you need to know is, the editor (crit partner, beta reader) isn't really talking the pickup truck. They're responding to something in the scene that isn't working. So if you like the pickup truck you don't necessarily need to take it out. You need to figure out what about the scene isn't accomplishing what you intended. You need to, in effect, (and this is me talking now) critique your critique.
Before you get all panicked and start slashing things, (or angry and defensive, whichever is your MO) really read over the entire critique and try to get a sense of what the critiquer is and isn't getting from your story. The things that tend to stand out to people are the things that are easily identified. So a reader might say "the pick up truck thing" but what they really mean is "I just didn't get why she suddenly went from sad to happy in that scene where he offers her a ride in his new pick up truck. It just didn't feel real to me, and it threw off what happened in the next scene."
These are the kind of comments the Merry Sisters work on together, and it's the kind of thing you can do on your own or with your cps. A lot of times a few in depth questions can help you figure out what's missing and what needs to be changed.
Before you start asking questions, be clear on what you want the scene to accomplish. Then work to figure out what it is and isn't accomplishing. The fix might be as simple as adding one line of dialogue or as huge as deleting the entire scene and starting from scratch. You might even find that what you were trying to get across isn't the best choice after all.
The thing I took away from the Merry Sisters' talk more than anything is when you get a critique that says something other than "that's brilliant!" Stop. Breathe. Read it, and then read it again. Take another deep breath, and then begin a dialogue either with your cp, or with yourself. Every crit is helpful no matter how basic it is. Try to find the useful bits and use them to make your ms shine.
Showing posts with label conference. Show all posts
Showing posts with label conference. Show all posts
Wednesday, October 27, 2010
Tuesday, October 12, 2010
Blast from the Past: The Two Minute Elevator Pitch
I'll admit it. As you read this, I'll likely be strolling along the beach or making lop-sided sandcastles with the kiddos. But I'm not leaving you empty-handed. Here's a post of mine from earlier this year that may be helpful for those of you who will soon be attending a conference or doing a pitch session to an agent/editor.
I was fortunate enough to attend an SCBWI talk hosted by talented author Hilari Bell and author/illustrator Anna-Maria Crum. The topic: how to give a brief pitch to agents/editors. Even if you're not doing a scheduled appointment, a pitch is something you should have ready at a conference in case an editor or agent happens to ask, "What's your book about?" That's assuming you'd rather have a more coherent response than "Um, well, there's this guy and he goes to this museum, and there's this um, secret society..."
Wouldn't you rather say (well, if you were Dan Brown):
"A murder in the silent after-hour halls of the Louvre museum reveals a sinister plot to uncover a secret that has been protected by a clandestine society since the days of Christ." (I found this summary of The DaVinci Code online -- doesn't it have more 'flow' than the first one.)
What is an elevator pitch?
It's one or two sentences (three max) giving an overall summary of your book -- sentences that are compelling enough to make the editor/agent ask more questions. I know, right? Anyway, Hilari and Anna Maria were masters at it. They listened to attendees read part of their query letter or give a description of their book, and within minutes, they'd distilled it into a few succinct sentences. It was amazing to watch. I listened and learned, and here are a few tidbits I picked up along the way. NOTE: All examples below are fabricated by moi, so blame me if they suck.
Be Specific/Don't Be Cliche
Bad Example: When the space monkey arrived, her whole world turned upside down.
Better Example: When the six-foot space monkey landed in her bedroom, ten-year-old Sarah Connor knew she finally found the topic for her science fair project.
Use Strong Verbs/Active Voice
Bad Example: When six-year-old Ben was given a black eye by the school bully, he looked for a way to get back at him.
Better Example: When the school bully pops six-year-old Ben in the eye, Ben exacts revenge the only way he knows how -- with peanut butter and a Nerf gun.
Other tip: the main character (MC) should be identified in the pitch as well as the obstacle they face. There are exceptions to this but wait until you're famous to break the rules.
So there you have it. Any questions? Now get out there and pitch.
I was fortunate enough to attend an SCBWI talk hosted by talented author Hilari Bell and author/illustrator Anna-Maria Crum. The topic: how to give a brief pitch to agents/editors. Even if you're not doing a scheduled appointment, a pitch is something you should have ready at a conference in case an editor or agent happens to ask, "What's your book about?" That's assuming you'd rather have a more coherent response than "Um, well, there's this guy and he goes to this museum, and there's this um, secret society..."
Wouldn't you rather say (well, if you were Dan Brown):
"A murder in the silent after-hour halls of the Louvre museum reveals a sinister plot to uncover a secret that has been protected by a clandestine society since the days of Christ." (I found this summary of The DaVinci Code online -- doesn't it have more 'flow' than the first one.)
What is an elevator pitch?
It's one or two sentences (three max) giving an overall summary of your book -- sentences that are compelling enough to make the editor/agent ask more questions. I know, right? Anyway, Hilari and Anna Maria were masters at it. They listened to attendees read part of their query letter or give a description of their book, and within minutes, they'd distilled it into a few succinct sentences. It was amazing to watch. I listened and learned, and here are a few tidbits I picked up along the way. NOTE: All examples below are fabricated by moi, so blame me if they suck.
Be Specific/Don't Be Cliche
Bad Example: When the space monkey arrived, her whole world turned upside down.
Better Example: When the six-foot space monkey landed in her bedroom, ten-year-old Sarah Connor knew she finally found the topic for her science fair project.
Use Strong Verbs/Active Voice
Bad Example: When six-year-old Ben was given a black eye by the school bully, he looked for a way to get back at him.
Better Example: When the school bully pops six-year-old Ben in the eye, Ben exacts revenge the only way he knows how -- with peanut butter and a Nerf gun.
Other tip: the main character (MC) should be identified in the pitch as well as the obstacle they face. There are exceptions to this but wait until you're famous to break the rules.
So there you have it. Any questions? Now get out there and pitch.
Tuesday, April 27, 2010
An Important Question to Ask a Potential Agent
I attended my first big conference this weekend (Pikes Peak Writers) and it was the Best. Conference. Ever. The faculty was incredible, I learned a ton, and I met so many wonderful peeps. I told my blog Sisters that I have material to blog about for the next year! One particular session that blew me away was one titled "Industry Climate Change," and no, it had nothing to do with global warming. It had everything to do with the topic that makes my eyes cross more than any other - eBooks and their effect on the publishing industry - which is why I forced myself to attend. I'm so glad I did. First of all, the panel was amazing: super-agents Kristin Nelson of the Nelson Literacy Agency and Scott Hoffman of Folio Literary, as well as lovely editor, Kathleen Gilligan. Donald Maass even came up from the back of the room to throw in his two cents. Yeah, pretty cool. Their competence regarding the issue was impressive, and Kristin's blog today highlights her views way more eloquently than I could. Read them here.
As someone who is about to jump into the query process headfirst, I wondered how I would know if an agent had a good handle on this subject? An aspiring author wants an agent who can negotiate a contract to the best possible advantage of the author, and this has many implications for an author's long-term career. Now, the three agents in this session were clearly made of awesome. But if you're querying someone that you researched online, it's harder to tell from an agent's listing or website if they fully grasp the complexities of industry change. NOTE: Nathan Bransford is another agent who definitely understands this issue - it's one of his favorite blog subjects and he makes my eyes cross on a weekly basis.
The question I'm adding to my "Things to Ask an Agent List" - What are your thoughts on reserving multi-media rights in a contract? Seriously, I added it to my list of questions for potential agents. I actually came up with this question and wrote it down while the panel was speaking, and then a conference attendee asked the panel something similar, so I know I wasn't the only one thinking it. If an agent gives you a comprehensive, knowledgeable response (even if you don't fully understand it), then at least you know the issue is likely something they've handled. If their response is "huh?" you might want to rethink choosing that person.
Here's the thing. As a writer, you want to focus on writing the best book you can. Yes, you'll also have to focus on marketing and publicity, but that's just how it goes these days. You want an agent who has your back and is uber-competent at their job, so that you can focus on what you do best. So, yes, my eyes still cross at this subject but after that session, it made me even more resolved to find an agent made of awesome. Much more PPW Conference wisdom to follow in the coming weeks...
I know it was a big conference weekend. Anyone else have any great tips to share?
As someone who is about to jump into the query process headfirst, I wondered how I would know if an agent had a good handle on this subject? An aspiring author wants an agent who can negotiate a contract to the best possible advantage of the author, and this has many implications for an author's long-term career. Now, the three agents in this session were clearly made of awesome. But if you're querying someone that you researched online, it's harder to tell from an agent's listing or website if they fully grasp the complexities of industry change. NOTE: Nathan Bransford is another agent who definitely understands this issue - it's one of his favorite blog subjects and he makes my eyes cross on a weekly basis.
The question I'm adding to my "Things to Ask an Agent List" - What are your thoughts on reserving multi-media rights in a contract? Seriously, I added it to my list of questions for potential agents. I actually came up with this question and wrote it down while the panel was speaking, and then a conference attendee asked the panel something similar, so I know I wasn't the only one thinking it. If an agent gives you a comprehensive, knowledgeable response (even if you don't fully understand it), then at least you know the issue is likely something they've handled. If their response is "huh?" you might want to rethink choosing that person.
Here's the thing. As a writer, you want to focus on writing the best book you can. Yes, you'll also have to focus on marketing and publicity, but that's just how it goes these days. You want an agent who has your back and is uber-competent at their job, so that you can focus on what you do best. So, yes, my eyes still cross at this subject but after that session, it made me even more resolved to find an agent made of awesome. Much more PPW Conference wisdom to follow in the coming weeks...
I know it was a big conference weekend. Anyone else have any great tips to share?
Monday, February 1, 2010
1st Pages with Agents Kristin Nelson & Kate Schafer-Testerman
Super-agents Kristin Nelson and Kate Schafer-Testerman were gracious enough to spend several hours dissecting the first pages of aspiring writers' manuscripts. As they've read thousands of first pages between them, I couldn't wait to hear their thoughts on what made for a strong (or weak) beginning. I figured most of those in attendance would be newbies like me, but my colleague pointed out multiple published authors in the crowd which surprised me. Since the event, Kristin has blogged about her experience from an agent's perspective so I'm here to give a writer's opinion of the process. On her blog, Kristin also includes examples of her own clients' first pages which offer amazing insight into what makes a great opening.
This SCBWI event involved the first two pages of a manuscript being read aloud by a volunteer. To demonstrate how Kate and Kristin read through their 'slush pile,' they would stop the reader when they had heard enough to make their decision -- then they'd give feedback about why they stopped. From a writer's perspective, it was an intense experience. They gave the option for people to back out if they didn't feel comfortable having their work read aloud but nobody declined. Kristin also stopped several times throughout the event to ask how the attendees were feeling which I found thoughtful. I'd guess there were about 50-60 people in attendance and I believe a total of 18-20 first pages were read aloud. As there were no queries or synopses attached, they based their opinions totally on the first 2 pages of the manuscript. Many times, it took them only a paragraph. For confidentiality purposes, I'm not giving specifics on the manuscripts -- just the feedback.
Trends in Feedback aka Things Kate and Kristin Didn't Like
* Characters waking up or beginning the story with a dream (the dream creates a faux conflict that doesn't really apply to the story)
* Abundance of alliteration :)
* Use of exclamation points at beginning of story before you've set up any real suspense
* Not connecting with the characters
* Tense switching, grammatical errors
* Humanizing animals -- they both really liked one that included this element and really didn't like all the other ones that did. I was surprised at how many stories involved animals. NOTE: If your story involves talking animals, it better be flippin' amazing.
* Story started in the wrong place -- this was a common one. They'd notice something interesting on page two of the story but felt page one was lacking.
* Flat narrative -- this one seemed harder for them to articulate being that there wasn't a specific stopping point, but more of a "I'm really not into this" feeling. I suspect this is one they catch in a minute when reading on their own and don't need to explain it -- they just know it's not working for them.
* Stories that have an 'education for children' vibe -- this was a huge turnoff for both agents. Tell a good story and leave the lecturing to parents/teachers (okay, this was my interpretation but you get the idea.)
* Stories sounding like an adult writing for MG. Yes, everyone attending was an adult, but the point was not to 'write down' to your audience. It's condescending and kids know the difference.
* Too quirky or confusing. As Kristin pointed out, you want the agent to keep reading because they have to know what happens, not because they're confused and have no idea what's happening. You can give teasers but don't deliberately withhold important information.
Personal Feedback Trends
Both agents said that they wouldn't represent something that was too similar to something they already represent or have already sold. For instance, one agent didn't want another superhero story and one didn't need another environmental issues book. These are things you might not know ahead of time unless you do a lot of research on each agent. NOTE: See my prior post on researching agents.
One page they both really liked (involving the aforementioned humanized animal) had a distinctive voice that was very humorous. I laughed out loud several times while it was being read, as did others around me. Kate and Kristin also interspersed their feedback with reading successful first pages of their clients which was extremely helpful. Overall, I can't state enough how invaluable the experience was for me. I learned a ton and greatly appreciate the time they took to do this event.
In Conclusion:
For me, the voice was what stood out most in the examples of successful pages. So if you go through the DON'T list above and feel good about it, check the voice of your story. Read your 1st 2 pages aloud or, better yet, have someone else do it so you can hear it from another perspective. I'm in the process of reading my entire ms aloud which has greatly helped the revision process.
Whatever you do, don't write a story about Sid the Superhero Squirrel who struggles with narcolepsy while trying to educate dumb children about recycling. I'm pretty sure Kate and Kristin don't want it.
This SCBWI event involved the first two pages of a manuscript being read aloud by a volunteer. To demonstrate how Kate and Kristin read through their 'slush pile,' they would stop the reader when they had heard enough to make their decision -- then they'd give feedback about why they stopped. From a writer's perspective, it was an intense experience. They gave the option for people to back out if they didn't feel comfortable having their work read aloud but nobody declined. Kristin also stopped several times throughout the event to ask how the attendees were feeling which I found thoughtful. I'd guess there were about 50-60 people in attendance and I believe a total of 18-20 first pages were read aloud. As there were no queries or synopses attached, they based their opinions totally on the first 2 pages of the manuscript. Many times, it took them only a paragraph. For confidentiality purposes, I'm not giving specifics on the manuscripts -- just the feedback.
Trends in Feedback aka Things Kate and Kristin Didn't Like
* Characters waking up or beginning the story with a dream (the dream creates a faux conflict that doesn't really apply to the story)
* Abundance of alliteration :)
* Use of exclamation points at beginning of story before you've set up any real suspense
* Not connecting with the characters
* Tense switching, grammatical errors
* Humanizing animals -- they both really liked one that included this element and really didn't like all the other ones that did. I was surprised at how many stories involved animals. NOTE: If your story involves talking animals, it better be flippin' amazing.
* Story started in the wrong place -- this was a common one. They'd notice something interesting on page two of the story but felt page one was lacking.
* Flat narrative -- this one seemed harder for them to articulate being that there wasn't a specific stopping point, but more of a "I'm really not into this" feeling. I suspect this is one they catch in a minute when reading on their own and don't need to explain it -- they just know it's not working for them.
* Stories that have an 'education for children' vibe -- this was a huge turnoff for both agents. Tell a good story and leave the lecturing to parents/teachers (okay, this was my interpretation but you get the idea.)
* Stories sounding like an adult writing for MG. Yes, everyone attending was an adult, but the point was not to 'write down' to your audience. It's condescending and kids know the difference.
* Too quirky or confusing. As Kristin pointed out, you want the agent to keep reading because they have to know what happens, not because they're confused and have no idea what's happening. You can give teasers but don't deliberately withhold important information.
Personal Feedback Trends
Both agents said that they wouldn't represent something that was too similar to something they already represent or have already sold. For instance, one agent didn't want another superhero story and one didn't need another environmental issues book. These are things you might not know ahead of time unless you do a lot of research on each agent. NOTE: See my prior post on researching agents.
One page they both really liked (involving the aforementioned humanized animal) had a distinctive voice that was very humorous. I laughed out loud several times while it was being read, as did others around me. Kate and Kristin also interspersed their feedback with reading successful first pages of their clients which was extremely helpful. Overall, I can't state enough how invaluable the experience was for me. I learned a ton and greatly appreciate the time they took to do this event.
In Conclusion:
For me, the voice was what stood out most in the examples of successful pages. So if you go through the DON'T list above and feel good about it, check the voice of your story. Read your 1st 2 pages aloud or, better yet, have someone else do it so you can hear it from another perspective. I'm in the process of reading my entire ms aloud which has greatly helped the revision process.
Whatever you do, don't write a story about Sid the Superhero Squirrel who struggles with narcolepsy while trying to educate dumb children about recycling. I'm pretty sure Kate and Kristin don't want it.
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