Monday, September 19, 2016

I Made a Map!

Okay, you guys. I made my first map! I'm working on a YA fantasy, and one of my less-than-strong points as a writer is description. It's something I always have to add in later, so I thought it might help me to make a pictorial representation of my fictional land. I was in part inspired by this article in Writer's Digest, although my map is nowhere near as fancy as the example. I considered having my husband do it for me, who is a much better artist, but I'm not too shabby in Illustrator. I gathered some images on Pinterest for inspiration and used those to build my own map.

I'm super happy with the result, and it also helped me build my story. I knew how I had described locations, but then I had to put them into a physical space, and that space had to match what I had described. The river was really my focal point, connecting all four cities to one another in a line. I had a day journey from the palace to Chopek and another day to Pisek. I had to change the bend in the river to make that work, but now I have a much better mental of my world to build my descriptive.

Tuesday, August 30, 2016

Comp Titles

Ah, the grueling process of querying. It's fun, right? But let's talk about comp titles. This is when you take a book already on the market and compare it to your work. But it's kind of a double-edged sword. If you say, "my book is reminiscent of HARRY POTTER," the agent sees, "Oh look at me! I'm going to be a best seller! I'm the new J.K. Rowling. La-de-da!"

But if you say, "My book is in the vein of BOOK NO ONE'S HEARD OF," the agent goes, "What is this book? Does the author even know their market?"

Some agents like comp titles. Some don't. The point is, agents aren't just one cookie-cutter person. They're all unique human beings. To play it safe, I've generally opted to leave out the comp titles. If my work (and query) is good enough, it will speak for itself.

Dear Agent (where you of course put in the agent's real name,)

I see from your website you're actively seeking YA fantasy, and I am excited to present MY BOOK, a YA fantasy romance for your review. Told from the viewpoint of a frog turned prince, it's complete at 75,000 words.

From there straight into the query.

But if you do use comp titles, which I have, I think it's best to use them very, very carefully.

Dear Agent (where you of course put in the agent's real name,)

I see from your website you're actively seeking YA fantasy, and I am excited to present MY BOOK, a YA fantasy romance for your review. Told from the viewpoint of a frog turned prince, it's complete at 75,000 words, and I believe, will appeal to fans of Marissa Meyer's, CINDER.

Key words: I believe, will appeal to
In other words, I'm saying, "This is just my opinion. People who like CINDER might also like my book." It shows you have some knowledge of your market without coming off as someone with delusions of grandeur. 

You can also call out one of the agent's own books. 

Dear Mary,

I am a huge fan of your client, John Smith's book, THE RELUCTANT PRINCESS, and I am excited to present my YA fantasy romance for your review. I definitely took inspiration from John's work, especially in his fantastic world building. Told from the viewpoint of a frog turned prince, MY BOOK is complete at 75,000 words.

I always find a little brown-nosing never hurts. You've also shown you know your market, and you've done your research on the agent. But this could also backfire. If your work is too similar to John Smith's, the agent could pass simply because she already has a John Smith. Why does she need two?

I generally take it agent by agent. If you find a call out you can use, use it. If not, I've never had any issues with keeping things generic. If your writing is good enough, it will make it past the gates. If not, that's where you really need to focus your time.  

Thursday, August 11, 2016

Why I'm Almost a Vegetarian

Truth? I can't give up hot dogs. Which is the absolute worst meat out there, I know. You don't have to tell me the gory details. I do my best not to think about it as I bite into those savory meat tubes, usually slathered with cheese. Sometimes onions and good.

Everyone thinks that's odd. But my reasons for not eating meat are not the usual ones. I do care about animals. But I also wear leather boots. I use sugar in my coffee. Eat eggs. Cheese. Seafood. I don't like to lecture people on what they should do. I don't like to put myself in boxes. I really don't eat meat because it grosses me out.

I live in fear of that chewy piece of cartilage you find in your chicken salad. The bit of grissle on the edge of a piece of steak. That string of fat that gets caught in your teeth. The rubbery ends of a strip of a bacon that take hours to chew. That smell of a raw turkey. The juice leaking off of it, filled with salmonella. When I cooked with meat, I would have to wipe down my entire kitchen with Clorox wipes and went to bed worrying about that one missed spot, teeming with the animated on the bacteria on the Lysol commercials. I would take a bite of my dinner wondering, "Did I cook this enough? Am I going to get sick?"

You don't have to worry about that with tofu. It doesn't matter if zucchini is under cooked. You can eat it raw. I love the taste of veggie burgers. Veggie sausage. Tempeh. I don't feel disgustingly full after gorging myself on a salad. But I kept thinking, "Why don't I just go all the way. Why can't I give it all up?"

Then I met a woman at a party who said, "My new philosophy? Do it ninety percent. It's better than nothing."

I don't know why I needed permission to hear that. I think because we like to put ourselves into little categories. "I am a vegetarian. I am a heterosexual. I am a web designer." It leaves little room for you to do anything else. You've categorized yourself. You're afraid someone will judge you for breaking out of the category, which they probably will, and so you start lying, hiding, or criticizing yourself for reaching beyond your self-imposed box.

That sucks.

You can't expand if you've closed yourself in a cage. You shouldn't have to feel guilty if you want a hot dog. Or want to change careers, Or fall in love with a woman instead of a man. Leave that open door. That 10% (or more) that allows you to do what you want.

Thursday, July 21, 2016

The Ultimate 90's Alt Playlist

I've been building my iTunes 90's mix and decided to source my friends for the results, because ya know, we grew up in the 90's, and many of my friends moved onto college where we worked at the college radio station together and needless to say...I know a bunch of music experts. And they didn't fail me. So here it is, to share with the world, the ultimate 90's alt playlist. The only thing it's missing is a flannel shirt and Doc Martens.

10,000 Maniacs - These Are the Days
Alanis Morissette - You Oughta Know
Alice in Chains - Would?, Man in the Box
Beck - Loser
Belly - Feed the Tree
Ben Folds Five - Brick
Better than Ezra - Good
Bjork - Big Time Sensuality, Hyperballad
Blind Melon - No Rain
Blur - Song 2
Breeders - Cannonball
Bush - Everything Zen
Cake - The Distance
Cardigans - Lovefool
Catherine Wheel - Black Metallic
Collective Soul - Shine, December
Counting Crows - Mr. Jones
Cracker - Low, Eurotrash Girl
Dandy Warhols - Not if you were the last Junkie on Earth
Dee-Lite - Groove is in the Heart
Dishwalla - Counting Blue Cars
Elastica - Connection
Filter - Hey Man Nice Shot
Flaming Lips - She Don't Use Jelly
Garbage - Stupid Girl, Only Happy When it Rains
Gin Blossoms - Hey Jealousy
Green Day - Welcome to Paradise
Happy Monday - Step On
Harvey Danger - Flagpole Sitta
Hole - Doll Parts
James - Laid
Jane's Addiction - Jane Says
Juliana Hatfield - My Sister
L7 - Pretend We're Dead
Lemonheads - Mrs. Robinson
Lisa Loeb - Stay
Live - Lightning Crashes
Local H - Bound for the Floor
Luscious Jackson - Naked Eye
Machines of Loving Grace - Butterfly Wings
Marilyn Manson - Beautiful People
Mazzy Star - Fade into You
Nada Surf - Popular
Nine Inch Nails - Closer, Head Like a Hole
Nirvana - Smells Like Teen Spirit, Lithium
Our Lady Peace - Superman's Dead
Pear Jam - Alive, Jeremy, Evenflow
Portishead - Glory Box
Proclaimers - 500 Miles
Radiohead - Creep
REM - Shiny, Happy, People
Sarah McLachlan - Building a Mystery
Screaming Trees - Nearly Lost You
Smashing Pumpkins - Tonight
Sonic Youth - Sugar Cane
Soul Asylum - Runaway Train
Soundgarden - Black Hole Sun, Spoonman
Spacehog - In the Meantime
Spin Doctors - Two Princes
Sponge - Molly
Stone Temple Pilots - Big Empty, Vasoline, Interstate Love Song
Superdrag - Sucked Out
Suzanne Vega - Luka
Temple of the Dog - Hunger Strike
The Cranberries - Dreams, Linger
The Presidents of the United States of America - Lump
The Verve Pipe - The Freshmen
They Might Be Giants - Istanbul, Birdhouse in Your Soul
Third Eye Blind - Semi-Charmed Life
Toad the Wet Sprocket - Walk on the Ocean, All I Want
Tool - Sober
Tori Amos - Cornflake Girl
Weezer - Undone (the Sweater Song)

Wednesday, June 22, 2016

Fifteen Types of Scenes

I can't remember the last time I picked up an adult fiction book, and I really can't remember the last time I cracked open an adult non-fiction book. Probably in college. It's not that I have anything against learning, I love learning! I would just rather be reading about dragons and aliens and sword fights and teen drama.

However, a fellow writer suggested this book, which is incredibly good and helpful, but I find myself mentally translating it into language I can understand. So for you, I've done that below, for the segment on the fifteen different types of scenes. But please, if you're looking for ways to punch up your writing, pick up the entire book. You might not need to translate as I have.

Scene 1
Theirs: Climax Scene
Mine: The Hell Yeah Scene
This isn't the big battle at the end, this is the mini-battle somewhere in the middle, where your character wins a fight but not the war.

Scene 2
Theirs: Contemplative (or Sequel) Scenes
Mine: The What the Hell just Happened Scene
Some stuff happened in the previous chapter, now I need to think about it.

Scene 3
Theirs: Crisis Scenes
Mine: The Oh Crap Scene
Kind of the like the Hell Yeah scene except the opposite. It's not the big letdown. It's a little letdown. We can still recover.

Scene 4
Theirs: Dialogue Scenes
Mine: Dialogue Scenes
It's pretty self-explanatory.

Scene 5
Theirs: Epiphany Scenes
Mine: I Totally Get it Now
"It finally makes sense, why he disappears during the daytime, why he doesn't eat food, why he can move fast, and has no reflection...he's a vampire!"

Scene 6
Theirs: Escape Scenes
Mine: Escape Scenes
Again, pretty self-explanatory.

Scene 7
Theirs: Final Scenes
Mine: Final Scenes
This is the big explosion at the end, where Luke destroys the Death Star.

Scene 8
Theirs: First Scenes
Mine: First Scenes
The first few chapters where you lay everything out: the setting, the characters, and the dilemma.

Scene 9
Theirs: Lay-of-the-Land Scenes
Mine: Those Boring Scenes where You Describe the Paintings on the Wall

Scene 10:
Theirs: Love Scenes
Mine: Make Out Scenes
There had better be some "lips pressed hard," somewhere.

Scene 11:
Theirs: Recommitment Scenes
Mine: This Sucks, but I'm Doing it Anyway
Frodo gets stabbed by the Wraiths and keeps plugging along for Mordor.

Scene 12
Theirs: Resolution Scenes
Mine: The Scene at the End where the Big Explosion has Happened and Now We're Going to Neatly Tie it Up
If you're smart, you'll also leave an opening for a sequel.

Scene 13
Theirs: Transition Scenes
Mine: We're on a Boat. Now We're on a Plane. How Did We Get There?

Scene 14
Theirs: Suspense Scenes
Mine: The Nail Biters
What's going to happen? I can't watch.

Scene 15
Theirs: Twister Scenes
Mine: This is How M. Night Shyamalan Built His Career
What? Bruce Willis is a ghost? OMG!

And that's it. As the book suggested, combine all 15 of these scenes to make exciting storylines!

Monday, June 6, 2016

A Smashing New Trend

I think I've uncovered the latest trend in YA book covers---breaking stuff on a black background. Check out all the smashing new finds below.

Friday, May 13, 2016

How to Get from A to B

I've encountered this problem twice in the past couple of weeks, once in my own writing and in a fellow writer's work at group. You have your story all laid out. The next move your character makes is to charge into a burning building...but why?

(please keep in mind, these are made up examples)

My writer friend had her MC charge back into the building to get his phone. This method of getting him into a flaming house made him look...

A: dumb
B: superficial

Neither of these fit with her character, who is actually very intelligent and not materialistic. But she did want him to come off as a little naive so I suggested she have the antagonist trick her MC into the building by saying there is a little girl trapped in there. Her hero rushes off to save the girl, discovers he's been fooled, feels like an idiot, and we, the reader, feel terrible for him (because we've all made mistakes like that.) We also love him for being so selfless to try and save a little girl, and we hate the antagonist that much more for tricking our hero into the burning building.

In my own example, I had everything figured out. My MC was going to rush into the building to save the little girl on his own, because he was the typical all-American selfless hero. Then, tooling around on Goodreads I found a review that struck me.

Oh goody, another book about the all-American good guy, running into save everyone.

She was right. It was probably new a hundred years ago, but it's old now, and struggling to break into a competitive market, it's imperative to be different. I didn't have to re-think my entire plot, only the motivation and character aspects. Instead of my MC going into the burning building on his own, I had him dragged in there by my antagonist. Now I have something interesting. Why did the antagonist pull him in there? How is my MC going to get out? I can still showcase some of his more heroic aspects by how he resolves the conflict, and I've created a question that will (hopefully) keep readers reading.

And on a side note, I encourage everyone to go on Goodreads, start following the heavy readers and reviewers and take note on what they say. They probably read almost as much as editors and agents, and I've gotten many ideas on what to do and what not to do by what they find unoriginal or overdone.