I learn something new with every book I write. Usually, it's craft-related, or characterization, high concept--concrete things. 

But this next book taught me something deeper and more important. I'm hoping something in my pain and suffering will keep some of you from the same.

First, a bit of backstory. The past almost two years, I've taken huge hits in my career as an author. I love romance, but have wanted to break into women's fiction fo-evah. So:

• I wrote the book of my heart. I loved it. NY loved the writing, but eventually turned me down - not a large enough audience for a Western Women's Fiction. Okay, fine, I self-pubbed it. (Days Made of Glass).
• I started a hard-hitting, Jodi Picoult-esque women's fiction proposal. I slaved over every word. The editors loved it. Except. It was too sad. So I rewrote the proposal and synopsis. They still thought it was too sad. Ouch. I've put the book in the drawer until I can find a way to appease NY, and still write the book I want.
• I took time out of chasing NY to write a romance novella for an anthology with some friends of mine. (Cowboy Karma).

I was lost. I had a heart-to-heart with my agent and she suggested I go back to what I know NY wants - my brand of romance. My publisher, Grand Central, wanted more books from me (thank God).

This book. It started differently. The character came to me - a funny, irreverent voice that is so not me. She came with an opening scene that just flew off my fingers. But that's all I had. I could have just smiled, and put it in a drawer. Except, I really liked it! 

So, in my normal pantser style, I dug in and started writing. I didn't know anything about this woman except her town, and surface things. And the plot wasn't developing with the writing, as it usually does. 

That's where everything fell apart.

My critters didn't like it. They usually make comments, I fix it, and move on. This time, they didn't like my character - they didn't 'get' her.

Do you have this fear? That the ideas will dry up? that you'll never figure out what comes next? That your editor will line the bottom of her bird cage with your pages?

Yeah. That's where I was. 

Thank God I have amazing writer friends who buck me up, and talk me off the ledge. I called, and they helped. But if I called a lifeline every time I was lost in The Pit of Despair with this book, they'd be dodging my calls.

 

Then vultures showed up

I was freaking out. Literally. Nightmares, depression, thinking about backing out of the contract. I was out of options.

Desperate times call for desperate measures. This crisis pushed me places I'd never been before. See, I'm a doer. I believe that the best way out of a mess is action. As my Alpha Dog says, 'Do something, even if it's wrong.'

What To DO?

I did what scared me the most. I sat with the fear. I sat with the looming possibility of disaster. 

I. Sat.

You know what I found? There's an eye in the middle of the storm. When I stopped fighting, expected nothing, and just sat with the story, a calm came over me. I wasn't afraid. I was almost disassociated from the mess, seeing it from the outside. 

Did I have an epiphany? No. Did I unravel the plot? No, I didn't. 

I got something better.

I remembered that I can do this. Those eight books weren't a fluke. I remembered - I'm a goddamn WRITER! I'll figure this out, type The End, turn it in, and go on to the next. 

It was like my brain sent me my own lifeline. But it didn't do it until I was willing to fail. Until I was willing to take on my worst fear in a stare-down. 

I'm now writing the second half of that book. I know the end, but not how I'll get there. But I'm no longer freaking out, because I have my confidence back.

If you're stuck in this horrible place (and I pray you never are), try it. The weirdest recommendation ever:

Just sit.

What do you think, WITS readers? Have you ever tried this? Are you willing to?

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For a limited time, Laura's RITA winner, The Sweet Spot, is on sale at all retailers!

Piper Bayard
of Bayard & Holmes

We writers tend to be an odd and solitary lot, lurking in the corners of libraries and coffee shops and playing with our imaginary friends. Though most of us are content with our solitude, we periodically meet up with writer friends or migrate like spawning salmon to conferences, where we bounce ideas off each other like ping-pong balls. Usually, we hit these ideas back and forth and then take our balls and paddles back to our corners, where we once more play with imaginary friends.

Sometimes, in the course of batting around ideas, something magical happens. That rare successful writing partnership is conceived and book babies are born like little miracles.

Let’s take a look at how those little miracles can come about by examining the “W’s” of Writing Partnerships – the What, Why, Who, Where, When, and How. Yes, I know. “How” doesn’t start with a “W.” Which brings me to . . .

The Cardinal Rule of Writing Partnerships: Be flexible.

What #1

A writing partnership is a business partnership, and the purpose of business is to make money. I want to be very clear about this. Writing is an art. Publishing is a business. Writing partnerships for the purpose of publishing are businesses.

Business partnerships require controlling documents that establish the nature of the business, define the scope of the partnership, spell out how expenses and profits will be divided, and establish a legal method for the partnership to dissolve. I highly recommend you talk to an attorney in your home state and get them to draw up these essential documents. Even if the two of you are only working on a single project rather than going into long term business together, if it involves money, have a contract that defines the expectations and the financial specifics.

Bottom Line: Lay the foundation of the writing partnership in writing.

What #2

What are you going to be writing?

Make sure that you and your partner are on the same page, so to speak. If one of you is writing a romance and the other is writing a literary dystopian high fantasy thriller, you’re going to need the Dissolution Clause from the “What #1” in short order.

Bottom Line: Know what you are writing.

Why?

Why would you write with this person?

A. Because we’re friends.

B. Because we came up with the idea together.

C. Because it was my idea first, and I’m afraid they’ll steal it if I don’t tag along for the project.

D. Because each of us brings something to the partnership that the other person doesn’t have.

"D" is the only answer that is likely to bring you a successful business partnership that spawns book babies.

For example:

I am half of Bayard & Holmes. My writing partner is a 40+ year veteran of field intelligence. Together, we write factual fiction spy thrillers and non-fiction books about espionage, history, and current events. I bring the writing skill. He brings the espionage experience.

As a partnership, our finished fiction products are the result of our stories, his experience, and my writing. Our finished non-fiction products are his experience, his research, our writing, and my editing. We each have something to bring to the table that is wholly independent of the other, and it results in 1 + 1 = 3.

In another example, it’s a thing now for big name writers to team up with lesser known writers to produce books that have BIG NAME WRITER and lesser known writer on the cover. What that often means—though not always—is that the lesser known writer actually wrote the majority of the book, and the big name writer did some degree of editing and directing of the project. The big name writer brings the audience, and the lesser known writer brings the sweat. Each has something to give that the other doesn’t have.

 

 

Trouble starts rapidly when two writers are wearing the same dress to the writing party. When two writers have the same strengths and the same weaknesses, they are lopsided in their overall potential. Competition over the same tasks will arise, and at that point, 1+1= 1/2. Not the best equation for a successful business venture, and Dissolution Clause of “What #1” is imminent.

Bottom Line: Writing partners who enhance each other’s abilities are going to be more successful.

Who?

Our best writing partners are people with the same ambition, ability level, and work ethic.

 

Nothing is more frustrating than being the only horse in the team that is pulling the wagon. Don’t look at what your potential partner promises they will do, look at what they actually have done.

If they have been writing for five years, but they have never completed a manuscript, they’re not a good bet for finishing a book in the next six months. If the manuscript they have completed is not fit to use as kindling for small fires, they aren’t going to magically start writing bestsellers.

If they are aiming to one day self-publish their memoirs, while you are shooting for the bestseller lists, you’re going to be at What #1 before you get through the first draft. Partners need to be able and willing to work at the same pace and at the same level.

Bottom Line: If you’re a draft horse made for heavy hauling, don’t hitch up with a Shetland pony. If you're a Shetland pony, stick with those who will match your pace.

Where?

The where of partnerships is not a physical where. Technology puts us all at each other’s fingertips, which is kind of a creepy thought, but moving right along . . .

The “Where” of writing partnerships is “Where is this project going?”

Every business needs a business plan, because the saying “All who wander are not lost” never applied to a business. You need to spell out and agree to timelines for plotting, drafting, and editing, and you need to be on the same page about the delivery details of your book baby. Are you going to self-publish, go indie, or seek out an agent and one of the Big Five? Any of those paths can work, but you both have to be on the same path.

Bottom Line: Make a business plan that suits you both at the beginning of the partnership.

When?

The “When” can be the true beauty of the writing partnership, or it can be the killer blow. Even in the best of partnerships, it’s hard to say which it will be. That’s because Life happens when we’re making plans.

Well-matched partners can produce better work faster than the solo writer. Tasks can be divided and accomplished in three-fourths or even half the time.

For example, Holmes and I often divide by non-fiction and fiction tasks, with him working on our non-fiction titles, while I draft our fiction and ask him lots of questions about the sound of bodies dropping and the finer points of jungle warfare. Together, we have compiled eighteen non-fiction and fiction manuscripts over the past few years, ready to take to market at the time of our choosing. But that’s when things are going well.

In real life, even if we are diligent and write something every day, every writer has down times—times when our creativity is sapped, our kids are sick, we are sick, house guests are visiting, we’re dealing with storms or other natural disasters, or a loved one has died. Those down times can set our plans back, and with two people, those down times can be doubled.

If one partner has a child in the hospital, the other must do double duty to keep to the schedule, or they must agree to let the schedule slip. And sooner or later, the time comes when both partners are down. At that point, it can take monumental commitment to each other and to the project to stay hitched as a team.

Bottom Line: Partnerships can produce twice as much, but they can experience twice the drag.

How?

How do successful writing partnerships work? With communication, humor, and, above all, respect.

You and your partner have to find a way to work together without crushing each other. We all have egos, or we wouldn’t sit down at the [eventual] page thinking it’s okay for trees to die if that’s what it takes to get our words out. We also all come up with different ideas, and many of those ideas suck. Blurting out “That sucks!” at the wrong time can end what would otherwise be a successful partnership.

Diplomacy is always an excellent alternative to crushing condemnation, but style for successful communication depends completely on the individuals in the partnership.

For example, I grew up in the rural Southwest, which means direct verbal confrontation was unheard of unless you were ready to take it outside and mix it up. When I’m off in what Holmes calls My Little Pony Land with my fanciful tangents, and I throw out a horrific idea, he says, “Let me chew on that a while.”

Inevitably, I call him back a few hours later and say, “That idea sucked. Let’s not do that.”

“Yeah. It was epic.” And then we both laugh—hence the humor part of the equation. All writers have to be able to laugh at their stupid ideas if they are going to survive.

Holmes, on the other hand, grew up in a part of New York City where the cops only stopped in to get freebies from the brothels. If he comes up with something that doesn’t work, I say, “That won’t work.”

He says, “Okay. If it doesn’t work, it doesn’t work.” And we move on. He has worked hard over the years to get me comfortable with skipping the diplomacy and going straight to direct contradiction.

You’ll notice, though, that I still don’t say, “That sucks!” Because even hard core Yankee city boys require a certain modicum of . . .

R – E – S – P – E – C - T

Let’s get straight to the bottom line on this point. If you don’t respect each other, or at least become a master of behaving with respect even when you don’t feel it, the partnership, IMHO, is a non-starter. I’m not saying you have to like each other, but you do have to keep top of mind that you chose to work with this person for reasons, and if you took care of your “Why,” they are good reasons. We can’t let any impatience or differences overshadow our respect of our writing partners, or the partnership will not thrive for long.

That takes us back to The Cardinal Rule of Writing Partnerships . . . Be flexible!

 

Have you ever worked in a writing partnership? What was your experience? What tips would you give?

 

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About Piper

Piper Bayard is an author, a recovering attorney, and the managing editor of the Social In Worldwide network. Her writing partner, Jay Holmes, is an anonymous senior member of the intelligence community and a field veteran from the Cold War through the current Global War on Terror. Together, they are the bestselling authors of the international spy thriller, THE SPY BRIDE. You can find Piper at BayardandHolmes.com.

Susan Spann

This week, I’m preparing my lecture notes for the Rocky Mountain Fiction Writers’ Colorado Gold Conference, which takes place this weekend (September 9-11) in Denver. Since conferences are on my mind, let’s take a minute to review some important do’s and don’ts about workshop and conference-related blogging and social media shares:

1. Presentations, Slides, & Handouts Are Subject to Copyright.

Everyone loves a great presentation, conference workshop, or writing class. When you attend a fantastic workshop, it’s tempting to blog or share the content on social media—both because you found it useful and because you want to help others who couldn’t attend the event in person.

However: in almost all cases, workshops, lectures, and other presentations are the intellectual property of the speaker who presented them. Reproducing a speaker’s handouts, powerpoint slides, or content (including recordings of the event) without the speaker’s permission is almost always a copyright violation.

Sharing your general impressions, or a helpful tip or two, is fine. Speakers love to hear that you enjoyed the class, and generally appreciate people blogging, tweeting or otherwise sharing a quote or a sound byte (or even a few). Praise the speaker and the workshop all you’d like on social media (or your blog) – but don’t reproduce the presentation content or post the handouts unless you’ve requested (and received) the speaker’s permission in advance.

2. Beware of Posting Photographs of Strangers.

In many places, you have to have permission from “recognizable people” in a photograph in order to post their images online (especially on an author website or in promotional material). When taking conference photos, try to crop out strangers (either at the time or after the fact, using photo editing software), unless you have permission to post their images.

(Note: if the strangers’ images are blurry, and not recognizable, you’re ok. Most photo programs allow you to blur a face – and if the face is small enough, it isn’t obvious that you did.)

Some conferences post signs and warnings about photography during the event, stating that attendees grant permission for their photos to be taken and used in connection with the conference. However, while these warnings protect the conference organizers, they may not protect private individuals (i.e., attendees like you and me) against liability for use of someone else’s image.

Even when taking photos with your friends, make sure they understand you’re planning to post the photographs online. (And it’s nice to ask ahead of time if the photo isn’t flattering). Some friends may expect this—but others may not—so be aware.

3. It’s Always Polite to Link.

When posting online about conferences, workshops, and other events, the organizers or presenters appreciate when you link to their websites (or social media tags). Not only does this let the presenter (and event organizers) know you liked the event, but it encourages other people to attend and support the presenters and workshops too.

Obviously, this isn’t a complete or exhaustive list of the potential legal issues surrounding conferences and blogging. That said, it’s important to treat our fellow writers, presenters, and conference organizers—and their work—with respect and appreciation.

Have you had people plagiarize you, or even just share something online you weren't prepared for? How did you handle it? What other questions do you have for Susan?

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About Susan

Susan Spann is a California transactional attorney whose practice focuses on publishing law and business, and is also the author of the Hiro Hattori (Shinobi) mysteries, featuring ninja detective Hiro Hattori and Portuguese Jesuit Father Mateo. Her fourth novel, THE NINJA’S DAUGHTER, released from Seventh Street Books in August 2016. Susan was the Rocky Mountain Fiction Writers’ 2015 Writer of the Year, and when not writing or practicing law, she raises seahorses and rare corals in her marine aquarium.

Find her online at http://www.SusanSpann.com, on Twitter (@SusanSpann), and on Facebook (/SusanSpannBooks).

 

Susan's latest release!

Betrayal at Iga