The Critique Group

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Today's post is from: http://writeforyourlife.net/ Helpful information on giving and receiving critique. Critiquing etiquette: six ways to provide gracious feedback Receiving feedback is difficult. But giving feedback with grace is even more so. To grow and evolve as a writer you must offer your work to others for critique and editing. It’s one of those terrible truths you come to terms with, sooner or later. The thing about feedback though, it is reciprocal – like a rubber ball it will come bouncing back to you. Why? Quid pro quo. If you invite someone to invest time and effort in your work, at some point they will expect the same from you. While writers will begrudgingly accept the need for un-biased opinion, most writers feel incredibly uncomfortable being the one giving that opinion. It’s like taking the uncomfortable feeling of sharing your work and turning it up to 11. It’s not that you’re stingy, or don’t want to help. It’s to do with that feeling in your gut which warns you away from scary things. And let’s not beat around the bush – giving feedback is terrifying. What could possibly go wrong? What if you accidentally say something hurtful? Or you derail someone’s creativity or confidence with a misunderstood comment? What if they stop writing because of what you said? Or what you said was wrong! It’s much easier to play safe and say nothing. I can empathise. As an editor, and a writer, I have a foot in both camps, and I always find it far more difficult (and stressful) to provide rather than receive feedback. This is despite hangover sensitivities to critique after a bad experience as a young writer. Agreeing to provide feedback is one of the best things you can do to improve your writing skills. Plus, being asked implies the writer trusts you to help them take their story from good to fantastic. The good news is, you can provide feedback which is tough, gracious, thought-provoking and, dare I say, compassionate and constructive. Here’s a six-part guide to critiquing etiquette. 1. It is only one person’s opinion Always frame (and remember) your feedback is only your opinion – that’s all it is. And, it’s also just one person’s opinion. Others may have different thoughts or suggestions – including the author! I have a codicil at the bottom of my feedback emails which states: please accept/reject/alter or ignore anything here as it is your work and this is my take on it. 2. Dialogue between two people What people often forget about feedback is it’s a dialogue, not a monologue. Always offer to discuss your comments or suggestions with the writer. Remember though, it is not gracious and far from professional, to be defensive about your feedback. It’s OK if they disagree with you. It is the writer’s work after all and they do get the final say. Some of the most fulfilling editorial relationships I’ve had with writers have come about due to a lack of consensus. Disagreement opens the channels for discussion, and stories thrive in such hothouse environments. If possible have these conversations live. You can ask questions and get new insights into a story when a writer talks about it in real-time. 3. Stick to Specifics Useful feedback focuses on specifics. Always choose specific examples to illustrate your point/comment and give specific suggestions on how the writer may make changes. Be honest. Feedback, given constructively is more likely than you realise to give a writer an ‘a-ha!’ moment, even if it initially feels like a slap in the face. Useless feedback is broad-sweeping statements or generalisation. It slaps the writer in the face and that’s it. Steer clear of these at all costs. For one, it gives a writer nothing to work with. It is also gives ample fodder for a writer to fill in the details (and they’re never positive, these fillers). Most importantly, never critique or make comment on the author (this is why you should always stick to specifics). It is only, and will always only be about the work at hand. For example, I was told by a writer-in-resident when I was 18 that my writing was naïve and I should go and live in the real world. He mentioned nothing about problematic writing mechanics or narrative flaws in the piece I submitted. I filled in the gaps with shame, believing I’d had the audacity to think I could write. I didn’t show my work to another soul for almost a decade! 4. Be Positive Always, always, always lead off with something positive. Even the worst piece of writing has something good about it – it might be a brilliant idea which has been poorly executed on the page. Again – be specific! 5. Time is of the Essence Be mindful of the turn around. Don’t leave people hanging for weeks waiting. The general assumption is, if people don’t get back to you in good time the your work stinks and whoever you gave it to is struggling to find the right words to tell you that. Give yourself a deadline to return the feedback – or even better, get the writer to provide you with one. If you can’t in good faith provide feedback in that timeframe, don’t agree to take the piece. 6. Work from the brief Ask the writer for a brief. This will assist you in doing your job. In this they should tell you: § what kind of feedback they’re looking for § what draft version they are sending § where they are considering sending it (especially important if for a competition) § the word count § the due date for submission and the date feedback is required. Stick to the brief. If they’re asking for general comments don’t return a file with massive tracked changed edits. If the writer won’t or can’t provide you with a brief, don’t do the critique for them. Start small. Check your ego in at the door. Be truthful. Offer creative alternatives. And know, the more you provide feedback, the less excruciating it will become. Image: Christmas w/a K

First Draft Finished--Now What?

A few days ago I finished writing, Targeted, the third novel in the Chicago Warrior Thriller Series. Whew. It's a great feeling to have completed the story, but the reality is there is still much to be done before turning it over to my editor. The fact that I shared many of the chapters with my critique group was helpful. Non-biased eyes are exactly what I needed to point out weaknesses, cliches, and story lines and characters that needed fleshing out.

But I still need to go over the manuscript to ensure the story flows, to make sure back stories are complete and clear, and to add detail and nuance to polish the final product. I need to check for consistency throughout, for my characters, names, places, even dialogue and lingo. I will probably come across spelling and grammar errors, but I will do my best to ignore them and focus on the story. I can do line editing last.

However the very first thing I need to do, now that the manuscript is written, is to step away from it. Over the past eight months it has been my mistress; she was engaging and exciting, but she consumed too much of me. Now it's time for a little relaxation and to see what else is happening in the world around me.

Riverside Writers critique group meeting tonight at Borders Books. http://ping.fm/n7qM1

Today I interview professional editor, Adele Brinkley, who has been editing for 30 years: http://ping.fm/3TUUj

Meet The Editor

JW: Today my guest is Adele Brinkley, a professional editor who can edit anyone’s work ranging from letters to novels and short stories. Good morning, Adele!

Adele: Morning, John. Thank you for an opportunity to promote my editing service, With Pen In Hand.

JW: Tell us a little bit about your background and qualifications to be an editor.

Adele: I’ve been a professional editor for nine years and a high school English teacher for nearly 30. Editing comes as naturally to me as shouting Amen during a southern Baptist tent meeting. I truly try not to walk around with a red pen in my hand, but so far I have failed.

I want my clients’ works to be the best they can be. If they look good, then I look good. It’s a financial ego trip!

I’ve edited papers in all genres from practically every state in the Union. I actually have a couple of clients overseas, one in Sierra Leone.

Also for your Atlanta/Georgia area readers, please note that I am a local editor, located just south of Atlanta in the shadows of the Atlanta Motor Speedway.

Please go to my web page (www.WithPenInHand) to “meet” me and review my credentials.

JW: Do people most often employ you for manuscripts and query letters, or is there a broad range of services requested?

Adele: I do edit a broad range of materials, but manuscripts (fiction and non) and dissertations make up the majority of my work. What I have found with the latter is that doctoral candidates do know their material, but most of them do not know the fine points of grammar that APA requires.

I have edited some wonderful manuscripts. There are so many good writers out there who spin wonderful tales. They have not yet reached the level of Anne Rice, John Grisham, or Agatha Christie, but they produce some awesome books. I hope to see them one day on best seller lists.

I also have several clients who pay me a yearly fee to edit their business letters, journal entries, notes, or whatever they need.

JW: Since much of my network consists of writers of prose, short stories and novels, tell us about your fee and approximate length of time between submission and completion.

Adele: My fee is quite reasonable, especially compared to the fees of editors with major publishers or editing companies. I am strictly a freelancer. The cost for an initial novel of any length is $1.00 per double spaced page in 12 pt. font size and Times Roman font. Because I am not editing works of authors such as Rice or Grisham, I cannot charge exorbitant fees.

I had an author tell me one time that he regretted that he could not use my service because I didn’t charge enough. No problem, I’ll raise the price if people feel more comfortable with a higher fee. I wrote to him that he would get the same quality of editing for $1.00 a page that he would get if I charged him $15 a page. Several weeks later, he contacted me again, saying he had reconsidered. After checking out the “big guys,” I looked good to him!

JW: Adele, in editing novels or short stories, is there any one item that stands out as the most common mistake made by authors?

Adele: Verb tense, verb tense, and verb tense! After that come misplaced modifiers and/or dangling participles, word choices, repetition of words or phrases, and the usual culprits: subject-verb agreement, punctuation (especially with quotes and attributions), switching the POV, etc., etc, etc.

JW: During your career, have you had any published work(s) yourself?

Adele: No manuscripts. I can’t sustain a thought that long. I wrote for a newspaper for 15 years and had hundreds of stories and columns published, some of which were recognized and rewarded by the GA Press Association. The wire services even picked up several of them.

JW: What’s the best way to get in touch with you to discuss a proposal of any type?

Adele: On my web page at www.WithPenInHand.net , your readers will find a contact link. Click on it, and we’re in business!

JW: Thank you for an informative interview, Adele. I know my readers are always looking for reliable, professional people who can help them polish their work. It has been a pleasure.

Does Size Really Matter?

Regarding the length of paragraphs--size, or perhaps better stated, length, is entirely up to the individual author. Many of us like to write the way we enjoy reading. Personally, I like short chapters, particularly when I know I don't have a huge block of time to read. I can get several chapters read and not have to stop in the middle of a scene.

How does a writer know when to end a chapter? There is no acceptable template to follow. I've seen books that have fifty or more pages to a chapter; I've also read books with a one-page chapter. It all depends on content and direction. Ending a chapter on a suspenseful note, causing the reader to wonder what happens next, is a great way to end. But to use that same tactic for each chapter is to overdue it and diminish the use of a great writing technique. Some chapters may be necessarily longer in length to resolve a conflict or create a back story, while others may be shorter to illustrate a point, or simply be informative for the reader.

On one discussion board, I heard a very cogent argument for short chapters. The participant explained his preference for short chapters by saying he compares long chapters to listening to a talkative person. The individual wants to tell you something, but rambles on until it all becomes boring and tiresome. Keep the reader in mind when you consider chapter length--it's up to you, the writer.

First Person Point of View

I write reviews for the New York Journal of Books, Two of the last three books I've reviewed were written in first person POV. They were good; the writer was able to get the reader inside the protagonist's head much better than if they had used third person.

But for the inexperienced writer, first person POV can be problematic, particularly because there is a tendency to bore the reader with too much narrative and the writer may ramble on causing too many dead spots. When first person POV works, the result is an exciting, thrilling read. When it doesn't, it becomes a major disappointment, even though the story itself may be unique or interesting.

For more on first person writing, check out this piece on Writers Digest: The Ins and Outs of First-Person POV.

Finished writing my review for Chosen by Chandra Hoffman, now on to my editor. http://ping.fm/bhUfL

Top 10 Writing Tips

I ran across Janet Fitch's blog in which she shares her wisdom about writing and enumerates the things that can improve anyone's writing. Janet is the author of "White Oleander" and "Paint it Black," and she teaches writing at USC. The list -- intended for fiction writers but good for many of us -- is reprinted in its entirety below, with Fitch's permission. Enjoy.

1. Write the sentence, not just the story

Long ago I got a rejection from the editor of the Santa Monica Review, Jim Krusoe. It said: “Good enough story, but what’s unique about your sentences?” That was the best advice I ever got. Learn to look at your sentences, play with them, make sure there’s music, lots of edges and corners to the sounds. Read your work aloud. Read poetry aloud and try to heighten in every way your sensitivity to the sound and rhythm and shape of sentences. The music of words. I like Dylan Thomas best for this–the Ballad of the Long-Legged Bait. I also like Sexton, Eliot, and Brodsky for the poets and Durrell and Les Plesko for prose. A terrific exercise is to take a paragraph of someone’s writing who has a really strong style, and using their structure, substitute your own words for theirs, and see how they achieved their effects.

2. Pick a better verb

Most people use twenty verbs to describe everything from a run in their stocking to the explosion of an atomic bomb. You know the ones: Was, did, had, made, went, looked… One-size-fits-all looks like crap on anyone. Sew yourself a custom made suit. Pick a better verb. Challenge all those verbs to really lift some weight for you.

3. Kill the cliché.

When you’re writing, anything you’ve ever heard or read before is a cliché. They can be combinations of words: Cold sweat. Fire-engine red, or phrases: on the same page, level playing field, or metaphors: big as a house. So quiet you could hear a pin drop. Sometimes things themselves are cliches: fuzzy dice, pink flamingo lawn ornaments, long blonde hair. Just keep asking yourself, “Honestly, have I ever seen this before?” Even if Shakespeare wrote it, or Virginia Woolf, it’s a cliché. You’re a writer and you have to invent it from scratch, all by yourself. That’s why writing is a lot of work, and demands unflinching honesty.

4. Variety is the key.

Most people write the same sentence over and over again. The same number of words–say, 8-10, or 10-12. The same sentence structure. Try to become stretchy–if you generally write 8 words, throw a 20 word sentence in there, and a few three-word shorties. If you’re generally a 20 word writer, make sure you throw in some threes, fivers and sevens, just to keep the reader from going cross eyed.

5. Explore sentences using dependent clauses.

A dependent clause (a sentence fragment set off by commas, dontcha know) helps you explore your story by moving you deeper into the sentence. It allows you to stop and think harder about what you’ve already written. Often the story you’re looking for is inside the sentence. The dependent clause helps you uncover it.

6. Use the landscape.

Always tell us where we are. And don’t just tell us where something is, make it pay off. Use description of landscape to help you establish the emotional tone of the scene. Keep notes of how other authors establish mood and foreshadow events by describing the world around the character. Look at the openings of Fitzgerald stories, and Graham Greene, they’re great at this.

7. Smarten up your protagonist.

Your protagonist is your reader’s portal into the story. The more observant he or she can be, the more vivid will be the world you’re creating. They don’t have to be super-educated, they just have to be mentally active. Keep them looking, thinking, wondering, remembering.

8. Learn to write dialogue.

This involves more than I can discuss here, but do it. Read the writers of great prose dialogue–people like Robert Stone and Joan Didion. Compression, saying as little as possible, making everything carry much more than is actually said. Conflict. Dialogue as part of an ongoing world, not just voices in a dark room. Never say the obvious. Skip the meet and greet.

9. Write in scenes.

What is a scene? a) A scene starts and ends in one place at one time (the Aristotelian unities of time and place–this stuff goes waaaayyyy back). b) A scene starts in one place emotionally and ends in another place emotionally. Starts angry, ends embarrassed. Starts lovestruck, ends disgusted. c) Something happens in a scene, whereby the character cannot go back to the way things were before. Make sure to finish a scene before you go on to the next. Make something happen.

10. Torture your protagonist.

The writer is both a sadist and a masochist. We create people we love, and then we torture them. The more we love them, and the more cleverly we torture them along the lines of their greatest vulnerability and fear, the better the story. Sometimes we try to protect them from getting booboos that are too big. Don’t. This is your protagonist, not your kid.

American Short Fiction

For those of you who like to write stories, there's a place on the web where you can both read and submit fictional stories. It's called American Short Fiction, and it allows you to submit your story for the paltry sum of two dollars. The site also holds contests for its followers. Check it out; it's another way to become published and get your work in front of others.

Borders Finally In

Borders announced that it has finally entered into the e-book market, by launching its own electronic book store. Although it has taken them some time to join others in capitalizing on what's being referred to as the future of publishing, Borders says its aim is to capture 17% of the industry. Read the entire story here: http://tiny.cc/xv9k4 The store, at http://ebooks.borders.com, has more than 1.5 million titles and thousands of free ones, and will feature various formats suitable for a variety of eReaders.

Check out my Author Page on Amazon. http://tiny.cc/ds3vg

Query Letters, The Worst Mistakes

Drawing from my recent attendance at a writers conference, I took some notes from a publisher who related some of the most egregious mistakes committed when submitting query letters:

• The salutation reads, "Dear Sir," when the publisher is a woman.




• Crazy, non-traditional fonts, all caps, and underlining.




• Getting personal is big. If you've met them or spoken on the phone with them, remind them of that.




• It's okay to say, "I've written about a social issue," etc.




• Stay within the publisher's genre.




• Be professional.




• Have a clear, concise summary of what the book is about--don't ramble.




• Include the genre and word count. If you're not certain, check out books similar to yours at the book store--don't tell them yours doesn't fit into any established genre.




• If a manuscript is requested by mail, don't over-tape the box--it annoys publishers.

Warriors In High Heels, Part II--check it out http://tiny.cc/54wrb

Two New Book Reviews

I just completed two book reviews for the New York Journal of Books, find them here: http://tiny.cc/jlwds. If you enjoy reading thrillers, both books will fill that desire. They're Watching by Greg Hurwitz, and Still Missing by Chevy Stevens.

Creating Suspense

Your novel doesn't have to be a thriller to incorporate suspense, it can be any genre. But including suspense in your writing ramps up the readers' interest. That begs the question: How do I create suspense? I attended a writers conference a couple of weeks ago in which this element was discussed on at least two panels. On one of those panels, Simon Wood, a well-known author, provided some simple guidelines.

Give the reader a lofty viewpoint. Provide your audience with both points of view: protagonist and antagonist.

Use time constraints. Time should favor the bad guy, while the clock works against the protagonist.

Consequences or high stakes. Some dire consequence must be the outcome, one that will devastate the hero.

Creating dilemmas. Constant challenges laid down in front of the hero, causing him to make tough decisions and costing time to solve.

Unpredictability. The protagonist should be unable to solve every problem he faces.

These are some of the elements that go into the mix of creating a story with suspense. And, if you're able to pull it off, using first person POV will allow your reader to get inside the heads of your hero and bad guy.

Building the Platform

In the past, we've discussed the importance of building an author's platform, getting your name and work out there. It can be a chore at times, posting on Facebook, Twitter, blogs, etc. During the writers conference last week in Vegas, I discovered a tool that allows you to post to all these sites simultaneously. The website is: http://ping.fm/ It's a free service that makes updating your social networks a snap. I've begun using it; it's a time-saver--give it a try.

Grandson Colin scored again in hockey--I missed it--I'm in NY :-(

Thriller or Mystery?

I just spent three days in Vegas at the Public Safety Writers Convention. It was a great opportunity to meet with fellow authors and columnists from around the country. I also appeared on two panels, one of which had four of us discussing the difference between a thriller and a mystery. One of the panelists was best-selling author, Simon Wood, whose new novel, Terminated, has just released.

We all agreed that the basic difference between the two is simply this: a mystery begins with the crime or main event happening immediately, and what follows is the effort to solve it. The thriller, on the other hand, is structured in such a manner so that there is an ever-increasing crescendo of action that culminates at the end with the big event or crime. It's somewhat akin to a roller coaster ride, with highs and lows, but nonetheless, the climax comes at the end.

I was thoroughly pleased with the conference. I learned several things that I'm sure will enhance my writing in the future. One thing which was reinforced for me was the importance of a critique group. I am thankful for our own Riverside Writers group that meets at Borders. Thanks to all who have helped me in the past. I'll be sharing some other topics from the conference in future posts.

Grandson Colin's hockey team won today; he scored! Great Fathers Day gift.

It Is A Learning Experience

Getting a book published is a journey. Some may experience a longer trip than others, but all who travel the publishing road will have many things in common. I came across a good article on the topic in which Alan Orloff describes: 7 Things I've Learned So Far. Take a look at it, it's worth reading whether or not you're published. Items two and six, rang true or me. Number two talks about getting help from critique groups, editors, etc, while item six reinforces what I've learned: other writers are extremely generous in helping new authors with time and advice on a myriad of subjects that will help the newbies reach their goal of becoming published.

The Importance of Reading

Do you want to become a good writer? If the answer is yes, then it's important that you become a good reader first. Whenever I appear on an authors' panel, or speak to a group about writing, I stress the importance of reading. This simple pleasure is an invaluable tool that allows a writer to learn the many skills needed to write, whether it be fiction or non-fiction.

The key to learning from reading is to read with a critical eye--try to discover the techniques the author uses to get the reader involved in the story. How does he develop his characters, what point of view does he use to draw the reader in, and does he use language that makes the story credible and believable? Look for these teaching points when you begin your next book. Here's a link to an excellent post on the same topic: Book Publishing News.

Top Ten Ways NOT To Improve Your Writing

I came across an excellent posting by Jodi Wisenhunt about the top ten ways NOT to improve your writing. Since it's such a complete and concise list, I'd like to share it with those of you who follow my blog. Here's the link: Aim For Perfection Editing.

My favorite on the list (and also a pet peeve) is number seven:

7) Use cute little "catch phrases" and be sure to place quotation marks around them so the reader "gets" it.

Read the list to see if you find yourself involved with any of the "no-no's."

My thanks to Ms. Wisenhunt.

Hooking A Reader

If you're like most of us who shop for books, the first thing you do is open the book to the first chapter and read the first sentence. More often than not the first few sentences or paragraphs will serve to aid your decision to buy the book or not. That means your opening sentence is probably the most important one in your book. It has to "hook" the reader, drawing him in with excitement, or perhaps shock, wanting the reader to know more about the story.

As an example, I offer the first paragraph of my second novel, Gripped By Fear:

It was done. He stood and fastened his pants, then became one with the darkness as he slipped out the door and into the alley. This time of night welcomed only demons and devils. It was good, but not nearly enough. He would need more . . . soon.

For more on the importance of your first sentence, read this post: On Writing: A Tate Publishing Blog.

You Are Your Own Best Publicist

I'm at the doctor's office this morning, reading my Kindle as I await my turn to be seen. A woman is leaving and sees me, she asks, "Is that a Kindle?" I reply that it is, and a conversation ensues in which we discuss e-readers (she has a Barnes & Noble Nook e-reader).

Being always prepared, I hand her one of my bookmarks which contains information about both my novels. I tell her that it's available on Kindle and other readers; she is interested and reveals that she manages the B & N in Alexandria. A few moments later we agree to arrange a book signing.

The bottom line of this chance meeting? No one can market you, better than you. Always be prepared to sell yourself and your work.

Debut Author Herm Groman

JW: Former colleague, and now fellow-author, Herm Groman is my special guest blogger today. Herm, we spent ten years together in the Detroit Division of the FBI, all of which helped cement the special bond we share today. Your first book, Pigeon Spring, debuts this month. Give our readers a thumbnail sketch about your background.

HG: What a great ten years it was too! I know this might sound a little weird, but Detroit was the most exciting city we could have been assigned to at the time. Being an FBI Agent there exposed us to the best criminal work that an FBI Agent could hope for. I got transferred to Detroit from the Pittsburgh office in 1982 and was first assigned to an organized crime squad, then to a drug squad, and finally to a public official corruption squad. During all three of those assignments, I was fortunate to work a lot of undercover operations and major cases. Then I went to the Las Vegas FBI office where once again I went undercover on several major organized crime and public official corruption cases. When I retired five years ago, I was on the Special Operations Team. This was post 9-11, so we did a lot of work related to terrorism all over the country.

JW: What prompted you to write a novel, it seems a rather ambitious beginning to a writing career? Why not start with a short story to get your feet wet?

HG: Good question John. The answer is I fell in love. I fell in love with rural Nevada, its people, the history, and the landscape. I already loved Las Vegas, but there really are two Nevadas. I wanted to tell a story about both of them. I guess it’s a lot like any large project. You think you know where you are going with it, and before you know it, it develops a life of its own. It was a labor of love.

JW: You’re Chief of Security at a major casino in Las Vegas, which had to play a huge role in your book. Tell us how that impacted your story.

HG: It does play a major role in the novel. As you know from having the good fortune to have served as an FBI Special Agent, we were exposed to an incredible number of real life situations and characters that serve as a basis for great stories. The casino business is the same target-rich environment for these wacky colorful stories. I couldn’t make up some of this stuff. My imagination isn’t that good. But it doesn’t have to be; real life is so much more entertaining.

JW: I know the excitement and emotion I felt when I saw the finished product for my first book. Share with us what your feelings when you opened the box and saw Pigeon Spring for the first time.

HG: The closest I can come to describing it is, it’s like Christmas morning and Santa just left the house. I still go to Amazon.com at least once a day and just stare at the book cover and shake my head. To say it’s exciting is an understatement. Today some guy came into my office at the casino with six books he purchased and asked me to sign them. It’s a blast!

JW: I know the book is a mystery, but without giving away too much of the story, tell us what Pigeon Spring is about.

HG: It’s largely set in rural Nevada, but the story takes the reader from the glitz, glamour, and scams of a Las Vegas casino to the serene beauty of the Sierra Nevada where retired FBI Agent Matt Steel encounters someone from his past. The story has a mystical twist to it as well. I like to think there is something for everyone in the book. There’s action, mystery, history and a surprise ending in which an ancient Native American artifact plays pivotal role.

JW: I suspect we may see some Herm Groman traits in your protagonist. With all of your undercover experience, does your book’s character get involved in that work as well?

HG: I couldn’t keep him out of it. The undercover work comes out in a big way, but Matt Steel isn’t the Hollywood stereotypical flawed protagonist. You know…the drunken divorced retired cop who drives like a maniac. I don’t know about you, but I’m tired of that guy. He’s predictable and boring. Matt is an honest straight forward guy with a sense of humor. You know he’s a good guy right away, but I think readers will find him to be an interesting character with a few tricks up his sleeve.

JW: Sounds fascinating, Herm. What are your plans after Pigeon Spring, perhaps a sequel?

HG: I’ve really learned a lot about the writing process this past year. I’m taking that experience and moving forward with a sequel. I feel like I’ve found a place for Matt and the characters he encounters at the casino and rural Nevada. Both places are a rich and diverse source of colorful stories and I enjoy blending them together. This next one starts off with the bribery of an unnamed politician, the murder of a prostitute, and centers around a nuclear waste repository in rural Nevada.

JW: Thanks for being a guest on my blog. For those of you interested in Herm’s work, you can go to his website: www.hermangroman.com/about/about.htm. I took a look at your site, Herm . . . you have plenty of signings and appearances lined up. For those who can’t make it to Vegas, I know your book is available online at Amazon, Barnes & Noble, Books-a-million, and of course through your publisher, TotalRecall Press. Good luck, my friend.

What Is A One-Word Sentence?

Can one word be a sentence? Can I use one word for emphasis? Find out here: A one-word sentence.

Your First Book Signing

Let me disabuse some of you of the notion that once you've been published, it's smooth sailing afterward. Take a look at this video and please leave comments: Signing In Walden Books

Don't Get Sidetracked

You're writing and things are moving along, your muse is alive and operating on all cylinders. And then it happens--you get to a point where you're not sure about something . . . an address, a date, something that needs to be researched a little. Do you stop and look it up?

Here's a practice that has worked for me: simply type, in all caps, the words MORE INFO after whatever it is that needs verifying, and then move on. You can return later and do whatever needs to be done, but don't stop the flow of ideas, particularly when they're running downstream like a twig in a strong current.

Rejection Letters

It's not easy to accept a rejection letter. Every writer feels the same, that they've done their best and polished their manuscript to the point of near perfection. To have your work rejected by publishers pains even the strongest of us. But all is not lost. Follow this link to discover that you are not the only one to suffer this indignity: Famous Rejections.

Strangely, it comforts me to know that an author such as John Grisham, had his novel, A Time to Kill, rejected by 16 publishers before finding an agent who eventually rejected him as well.

Do I Need A Literary Agent?

The short answer is: maybe. There are publishers who won't even give your query letter a look, if it hasn't been submitted by an agent. If you are a new author who doesn't know his way around the publishing industry, having an agent is probably a wise idea, and here are a few reasons why:

• they know which publishers to contact, which saves you from sending out useless inquiries
• they work to sell your book to a publisher, since they don't get paid unless your proposal is sold
• they ensure your proposal is solid and powerful, and will work with you if it's not

Where do I look for an agent? There are a number of publications in print: Writers Digest Guide to Literary Agents, Writer's Guide to Book Editors, Publishers, and Literary Agents, are two places to start. And there are numerous sites online, the best is the Association of Authors' Representatives (AAR). If your agent is not a member, continue your search.

Here's a link to an excellent article by Bobbi Linkemer, herself an author of 14 books, an editor, ghost writer, and book writing teacher: WHAT EVERY AUTHOR SHOULD KNOW ABOUT LITERARY AGENTS.

Character Development

If you're writing a novel that involves many characters, how do you keep track of them? What does each one look like, habits, dress, family history, etc., these are things which can slow you down, just when you get rolling on a chapter. One way to solve the problem is to maintain a character chart. Here's a link to a blog with a free downloadable chart: Character Chart.

It's quite a comprehensive one to be sure,and it's a bit too lengthy for my tastes. When I start a novel, I have a general idea of who the characters will be and their role. Then as I get into the story, I flesh them out, depending on what the story dictates. As I develop them, I write down new traits, or characteristics, idiosyncrasies, etc., and when I'm finished writing, I go into a Word document, named "Characters." I keep a bulleted list of each character, briefly describing them and their background. Whenever I need to add another dimension, I simply go to the document and add another bullet.

It works for me, but if you're having a problem with keeping your characters straight, particularly if you haven't worked on the piece for a while, reading your character chart is a quick way to refresh you memory.

What's An ISBN?

The International Standard Book Number (ISBN) is a 10-digit number that uniquely identifies books and book-like products published internationally. The number identifies a title, or an edition of one, and allows booksellers, libraries, and book wholesalers and distributors an efficient way to market books.

The ISBN consists of ten digits, divided into four parts, each separated by a hyphen. It is unique to the book to which it is assigned, identifying it as: large print, trade paper, hardcover, audio CD, downloadable audio, Kindle e-book, Sony e-reader, etc. Without an ISBN, book stores, especially online, would not know what the customer is actually ordering.

If your book has an ISBN, make sure you get it listed in BIP (Books In Print). R.R. Bowker runs the US ISBN Agency. It licenses BIPs to Barnes & Noble, Borders, libraries, and the top three search engines. Without an ISBN, your book will not automatically appear in searches like Google. Then you're left to your own devices, your own marketing expertise, to get your book out to the people.

ISBNs are a gateway to marketing; not having one is like knocking on a door and getting no answer.

Sometimes Smaller Is Better

Many writers would love to have the opportunity to choose between a large publisher and a small one, or an independent, as they're called. So which one is better? Each has their own unique capabilities and each will accomplish the same thing: get your book out to the reading public.

This year's Pulitzer Prize winner in fiction can tell you that bigger isn't always better. Here's his story: Is bigger always better? It's an interesting read, one that gives hope to those who are working with small, independent publishing houses (I'm one of them).

One of the the things that struck me while reading the insightful interview was how the author built his platform, something we've been discussing on my blog. Public appearances, book signings, Internet presence--they all add up to develop readers who are loyal to you and your work. Check out the link, it's good stuff.

Basic Mistakes

We all make them, mistakes that seem obvious . . . afterward. As the words are flowing and ideas are popping in our head like kernels of corn floating in hot grease, we fall into them, naturally. Writer's Digest came up with a short list of 8 Basic Writing Blunders. I could add to the list, but at the risk of embarrassing myself, I'll pass only these eight on to you. It's good stuff; a great reminder about how important it is to be concise and not over-state the obvious.

Ever Read A Publishing Contract?

I'm not a lawyer, I don't even play one on TV, but it almost takes one to decode some of the language in publishing contracts. If you're fortunate enough to be offered a contact, here's a good source to take a look at before you sign: Rachelle Gardner's Literary Agent website.

How Many Words For A Novel?

Writers are always wondering about the length of the book they are writing. Should they be counting pages or words? Most publishers will ask for a word count, rather than page count. The number will vary with each author, depending on style, and I've heard a lot of numbers thrown about. My best answer is this: anything under 50K is considered a novella, and over that number would be a novel. The average word count for a novel is generally between 80 - 120K. Of course the best answer is to continue to write until you've finished telling your story.

Free Books

Going shopping for books? Do it from home while sitting in your pajamas. You can shop for free eBooks right on your computer, download them, and begin to enjoy your new books in minutes. Just click on this link and get started: Top 20 Sites For Free eBooks.

The Query Letter

What separates published authors from those who are not? I submit that it's not talent, or a compelling story, no, more than likely it's the query letter. I ran across a great article about that topic here: The Query Letter, it's written by Garly Samailes, who has ten books in print by four separate publishers.

I urge you to read his blog. In it he shares his secret: the four paragraph approach to a query letter. It makes a lot of sense, and includes some of the things I've blogged about earlier, things like web presence via your own website, Twitter, FaceBook, and other social networks.

After you've read that entry, click on some of the other informative links on his site. It's a great blog to follow, which is another way to improve your chance of writing success.

Don't Be Invisible

Whether you've had your work published or not--a novel, book, poetry, or short stories--you need to get your name and your work out there. Think about it . . . who better to promote your work than yourself? There are a myriad of ways to market your wares, many of which can be done while sitting at your own comfortable desk. Here's a website that expands on marketing, how to build your platform, as it were: Author Marketing Experts.

The good news is the standard query letter has not gone away. Publishers continue to utilize this tried and true method of ferreting out manuscripts for publication. And you can increase your chances of success and being noticed through social networking via Facebook, Twitter, Squidoo, and blogging. Don't forget to build your own website, where you can link to other similar sites and people can link to you.

Make no mistake, this is the electronic age where ePublishing, eReaders, and virtual books are a burgeoning market and necessary tool. To ignore this simple fact diminishes your chance for success.

Kindle Makes A Move

Beginning next week, the Kindle reader, which was formerly sold only on Amazon's website, will be available at Target. This is a huge move, one that reflects the enormous growth of eReaders and ePublishing. (free Kindle software is already available as an iPhone app) It follows Best Buy's lead--they are selling the Barnes & Noble eReader, The Nook.

eBooks Are Here To Stay

Publishing is in the midst of an upheaval not seen for decades. While many of us long to see our work memorialized in something tangible--a hardcover book with a beautiful dust jacket--the fact is that more publishers are coming to terms with ePublishing. The fact that companies such as Google and Apple are aggressively seeking books to publish on their readers isn't bad for the industry. It means the market is more open than it's been in decades.

Rather than bemoan the fact that conventional publishing seems to be in a state of decline, revel in the burgeoning market of electronic publishing. At this moment it may not be as lucrative monetarily, but it is a vehicle for your work to reach thousands of readers.

The eBook Mall

Online Writing Courses

Writers need advice, critiquing, and interaction. One of the ways to get help with your writing is to simply take a course. Since many people's lives are busy: kids, school, work, etc., many of us cannot commit to signing up for a course at the local college. The answer: an online writing course.

Is it worth it? Probably, although a class in which there is human contact, real-time critiquing, is more valuable, an online course is the next best thing. Here's a link to an article that discusses the topic at length: Should I Take An OnlineWriting Course?

Some of the considerations to look at before signing up for a course can be found here: How To Choose an Online Writing Class. Now, go do your homework.

Marketing Your Work

You've written, edited, and sold your book to a publisher . . . you're done now, right? Not hardly, now comes the hard work--marketing. Here's a link for those of you who think you're finished once your book is published: WRITERS DIGEST. To give you hope about your future in the industry, here's a quote from the article: "The mediocre writer who can sell is usually more successful than the talented writer who cannot."

The article, Why Don't Publishers Market & Promote the books They Publish?, is an education for those of you who are new to the business of writing. The bottom line is money, it's just not available to all but a few proven writers, and even then the publisher is hoping the writer's reputation will suffice. Indeed, 70% of books don't even earn out their advance.

So if you think that all you have to do is write that novel and then sit back and wait for the royalty checks to roll in, think again. Pack you bags and get ready to hit the road.

Plot Ingredients

The following advice on building a successful plot comes from Frank Creed, The Finishers.Biz:

The most common problems in plot that I have encountered are:

•A slow beginning
•Any inclusion that does not advance the plot (secondary character, dialogue, subplots, narrative, etc.)
•Pacing of events that moves too fast
•Pacing of events that moves too slow
•Subplots that aren’t tied into the main plot at some point
•Protagonist not involved in all events, either directly or indirectly
•Weak conclusion

If these flaws are cleared up in a manuscript, further rewrites to improve plot will merely move information around, not improve quality. It is said an artist is never done with a story; there just comes a time when one must stop working on it.

Great advice, and I agree with his conclusion--"...there comes a time when one must stop working on it." The conundrum--deciding when it's time.

How to Find the Right Editor

How to Find the Right Editor This is a great article explaining the various types of editing and the importance of ensuring your work is a good fit for the editor you choose.

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Self-Publishing Gains Foothold

Some people tend to look down their nose at books that are self-published--they may be missing out on some good reads. Yesterday, according to Publishers Weekly:

A staggering 764,448 titles were produced in 2009 by self-publishers and micro-niche publishers, according to statistics released this morning by R.R. Bowker. The number of "nontraditional" titles dwarfed that of traditional books whose output slipped to 288,355 last year from 289,729 in 2008. Taken together, total book output rose 87% last year, to over 1 million books.

That is an amazing stat; you can read the entire article here. I'm not sure what this revelation means as it relates to sales, but suffice it to say, traditional publishing is by no means "traditional" any longer.

Too Young To Retire?

I'm just revising a piece for my May monthly article that will appear on Officer.com (click on the link to read my April column). In the coming piece, I discuss the issue of mandatory retirement for law enforcement. Years ago, Congress passed legislation requiring federal law enforcement officers to retire at age 57--that was then, this is now. One of the many things that have changed in the last twenty years is health and fitness. There have been programs implemented that have caused the workforce to be healthier and stronger. Indeed, life expectancy in the U.S. has risen to age seventy-eight. To force a person to retire in his fifties means that individual is potentially looking at twenty-five years or more of reduced income and/or inactivity.

My article will go live on Officer.com May 3rd; I'll supply a link next month.

Expanding My Horizons

Last night our little writers critique group met at the local Borders. We are an eclectic bunch--novelists, poets, short story writers, and now, a children's book enthusiast and creator. The two hours spent reading our work and discussing the content is priceless. I'm learning so much, and I am grateful for the friendship and camaraderie. A couple of weeks ago, a new face was added. Jackson, a local performing artist, has exposed us to his work--fascinating. I look forward to hearing more. The critique group is an education not available in schools--it's reality. Thanks, everyone.

So Simply Stated

"You can't be a good writer if you don't read; you can't be a good writer . . . if you don't write!" These are the words of Tony Wren, author, columnist, and master gardener. He recently spoke at our monthly meeting of the Riverside Writers, in Fredericksburg, Virginia, and brought along several of his published books on architecture.

He has an encyclopedic wealth of information about writing, but that simple statement of his about becoming a good writer, stuck with me like a stamp to an envelope. Tony told us that reading is important, not only within your own genre, but reading all types of books and articles. See how others create characters, and describe feelings and places--even the senses--touch, feel. And then, Write! To procrastinate, to make excuses, hinders your ability to move forward as a writer. The question becomes, "What if what I write is not good?" The response: What if it is?

The Virginia Festival of the Book

I was privileged to appear on a panel of fellow authors to discuss the topic:  "Why We Write What We Write."  This discussion was part of  a five-day event which celebrates authors from every genre.  It was the 16th Annual event which takes place each year in beautiful Charlottesville, Virginia.  Afterward, I was priviliged to sign copies of both my books for members of the audience..