Writers in the Storm

Mine is the last of our writing process throwdowns (or in my case, throw up). In case you missed the others, here they are: Fae, Orly, Jenny.

I’ve been dreading this. Not because I’m embarrassed - I’m of the school that if it works, DO IT! I’m been more worried about how to explain my total pantser mess.

First, the good part: 

No haters, now . . .  I'm done in one pass.  I write anywhere from 500 - 1100 words a day. The next morning, I review and tweak what I wrote the day before. When a chapter is done, I turn it into my critters, and when I get it back, I edit based on their input.Then I'm done. I don't go back and do second and third edits. I never read the whole thing again until I get suggestions from my editor. 

Linda Howard spoke at our our local RWA  years ago, and that's how she does it (only she doesn't have a crit group). I'm really happy with this part of my process. The thought of skipping ahead, or writing out of order Freaks. Me. Out. (Yes, I'm looking at you, Jenny.)

The other parts: 

The Beginning

 I this part. I start with a character. A person I’d like to know more about. Timid? Stubborn? Angry? Guilty (a go-to theme of mine . . . let’s leave it at that, unless you know of a meeting I can attend?) I understand who this person is, and their misunderstanding of the world (fatal flaw) before I start. I know the first scene, and spend a lot of time getting it just right. Then I'm off and running, deepening the character with backstory, introducing secondary characters, setting up the world.

In a word: Playing.

I'm having a BLAST! This is going to be a work of untold brilliance. My protagonist is as sparkly as a glitter explosion. Seriously, Atticus's kid, Scout has nothing on my character.

The DUM-DA-DUM-DUM,  Middle

When did my amazing protagonist turn into a whiny, boring, mumu-wearing, cigar smoking, biotch?

Where did my plot go? I swear, it was just here!

From  33% through 62% of of the novel (not that I keep track or anything),  the novel is a wasteland. I know the ending. It's the glimmer over there on the horizon. But between my brilliant beginning and that glimmer? I've got nothing. And I mean nothing.

I know what has to happen. My protagonist needs to move along her arc, in logical, small steps. But those steps seem dry as Midland, Texas dust to me (and after a year of living here, I know Midland dust). I HATE this part. I call and whine, complain, beg for help from my critters. Thank God for them. They calm me down (okay, they laugh) and remind me that I do this every single book (which I forget, every time), tell me I'm not delusional and I will live through it. This book WILL get done, and it'll be good.

Then they help me plot my way through the wasteland, laying stones in the mud as we go. Honestly, I don't know what I'd do without them holding my hand and laughing at, encouraging me.

 It's here! It's finally here! 

Somewhere after 62.5% (not that I'm counting), as quickly as my brilliant plot dissolved, it reappears. My protagonist is the sparkly character I first envisioned, only better, because now they've resolved their issues, and the plot threads are woven together by bluebirds who sing a happy song while they work. It rocks on until . . .

 

Let it be known: I do not suggest, recommend, or in any way endorse this method. It will add gray to your hair and lines to your face.
Your ass will spread, and your skin will sag.

Do not try this at home.

So, WITS readers, seriously, is your process this challenging?

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About Laura

Laura Drake is a city girl who never grew out of her tomboy ways, or a serious cowboy crush. She writes both Women's Fiction and Romance.

She sold her Sweet on a Cowboy series, romances set in the world of professional bull riding, to Grand Central. The Sweet Spot (May 2013), Nothing Sweeter (Jan 2014) and Sweet on You (August 2014). The Sweet Spot won the 2014 Romance Writers of America^®   RITA^® award in the Best First Book category.

Her 'biker-chick' novel, Her Road Home, sold to Harlequin's Superomance line (August, 2013) and has expanded to three more stories set in the same small town. The Reasons to Stay released August, 2014.

In 2014, Laura realized a lifelong dream of becoming a Texan and is currently working on her accent. She gave up the corporate CFO gig to write full time. She's a wife, grandmother, and motorcycle chick in the remaining waking hours.

Twitter  Facebook

 

 

 

Penny Sansevieri

So you got a book event...Great! Now you want to maximize it, right? You've heard your writing buddies (or perhaps read online) about the lack of attendance at signings so figuring out how to maximize the event, regardless of the numbers, might be tricky.

1. Marketing

First and foremost is the marketing of your event. But I'm not talking about the marketing you do through media (though that is great too). I'm speaking of in-store marketing, this is what most folks seem to overlook. This is where you supply things to the store to help them market your event. Because the first phase of a successful event is driving people to it.

Here are a few thoughts.

• Do bag stuffers. You can easily do this in your favorite computer program, do two up on a page, meaning that you use one 8 1/2 by 11 sheet of paper to do two fliers. You'll want to ask the store first if they mind that you provide this, most stores or event venues don't.
• Bookmarks: while most in the industry see these as passé, people still love them. You can do bookmarks and bag stuffers (or staple them to the flier) or you can do custom bookmarks with the date and time of your event. Nowadays it's pretty easy to get these done cheaply. Keep in mind that if you are having the event in a mall or other type shopping area, you might be able to drop the bookmarks (or bag stuffers) off at the nearby stores to see if they'll help promote the event.

2. Book signings are boring

Regardless of where you do the event, plan to do a talk instead of a signing. People are drawn into a discussion and are often turned off by an author just sitting at a table. Marketing is about message and movement so stand up and speak. If speaking in public is intimidating to you, go to Toastmasters or some other local networking/speaking group and see what you can learn.

3. Unique places

If you want to get more attention for your event, consider doing events in unique places. We've done them in video stores, electronics stores, gyms, even restaurants (on slow nights), doing outside-the-bookstore events is a great way to gain more interest for your talk. Why? Because you aren't competing with everyone else at the bookstore for your crowd. When you do an event at a locale that doesn't normally do events, you'll gather more people just because it's considered "unique."

4. Show up early and talk it up

OK so let's say you're in the store and there are a ton of people in there shopping (a book event dream, yes?). I suggest that you take your extra bag stuffers or custom bookmarks and just hand them to the people in the store. Let them know you are doing an event at such and such time and you'd love it if they can sit in. You'll be surprised how many new people you might pull in this way.

5. Customize

Regardless of what your talk is about, poll the audience first to see a) what brought them there, or b) what they hope to learn if your talk is educational. I suggest this because the more you can customize your discussion, the more likely you are to sell a book. If you can solve problems (and this is often done during the Q&A) all the better. You'll look like the answer machine you are and readers love that. If you have the answers they'll want to buy from you. I promise.

6. Make friends

Get to know the bookstore people, but not just on the day of the event. Go in prior and make friends, tell them who you are and maybe even hand them your flier or bookmark (or a stack if you can). Often stores have Information Centers, see if you can leave some fliers there instead of just at the register. Getting to know the people who are selling the book is a great way to help gather more people into your event.

If your event isn't in a bookstore but attached to a shopping area or mall, go around to the stores (and perhaps you did this when you passed out the fliers) and let them know you have an event and what can you do to help them promote it. If you can rally the troops to help you market your talk, you could triple the numbers of people at your event. No kidding.

7. Take names

I always, always recommend that you get names and (email) addresses from the folks who attended. Sign them up for your mailing list is a great way to stay in touch with them and stay on your reader's radar screen. If you have a giveaway or drawing, great! This will help you to collect names. If you don't, offer them a freebie or ebook after the event. Often if I'm doing a PowerPoint presentation I will put together a set of them (delivered in PDF) after the event. Attendees need to sign up to get them and then once they do, I include them in our newsletter list which helps me to stay on their radar screen.

What do you like or dislike about book signings? Have you been to any that really stood out? Do you have questions for Penny?

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About Penny

Penny C. Sansevieri, CEO and founder of Author Marketing Experts, Inc., is a best-selling author and internationally recognized book marketing and media relations expert and an Adjunct Professor with NYU. Her company is one of the leaders in the publishing industry and has developed some of the most cutting-edge book marketing campaigns. She is the author of fourteen books, including How to Sell Books by the Truckload. AME is the first marketing and publicity firm to use Internet promotion to its full impact through online promotion and their signature program called: The Virtual Author Tour™

To learn more about Penny’s books or her promotional services, you can visit her web site at http://www.amarketingexpert.com. To subscribe to her free newsletter, send a blank email to: mailto:subscribe@amarketingexpert.com

Copyright @2015 Penny C. Sansevieri

 

Top photo by Rachel James (Flickr) - CC License

David Teague and Marisa de los Santos

Note from Orly: Last September, I was at a local SCBWI conference. The keynote speaker was David Teague. David was discussing his new middle-grade release Saving Lucas Biggs, co-written with Marisa de los Santos. Marisa was at another writing event that day but had taped some remarks to accompany David’s address. It was fascinating! Not only did you have two authors with different approaches coming together on a project, but they were husband and wife. Can you smell the potential conflicts? So when the WITS gals decided January would be our process month, I had to get David and Marisa to contribute.

Here’s what they had to say:

In writing a novel together, we became superb outliners, if we do say so ourselves. Both our books—Saving Lucas Biggs and the forthcoming Connect The Stars—are told by two narrators, in each case a 13-year-old girl and a 13-year-old boy. The girls, Margaret O’Malley and Audrey Alcott, are voiced by Marisa. The boys, Josh Garrett and Aaron Archer, are voiced by David. In each book, the characters narrate their own chapters, and take turns telling the stories as the plots unfold. It’s also how we wrote the books: one chapter at a time, each handing the manuscript off to the other at chapter’s end.

So we both had our own “territory.” There was rarely if ever a case where we both worked on the same scene or the same sentence, because each of us had our own set of story and character tasks to fulfill, and our own space in which to fulfill them.

Also, we had the added plot dimension of time travel to contend with in Saving Lucas Biggs and a mystery to unravel in Connect the Stars.

Each of us had to know where we were in the story at all times, for both our sakes.

So David went from being a somewhat unfocused plotter (a scattershot approach involving post-its on a whiteboard, notecards, electronic notecards, notebooks from Walgreens full of “inspirations,” etc.) to a disciplined one. And Marisa went from being an avowed pantser to a devoted plotter, even now, outside our collaborations, in her solo work.

The collaboration couldn’t have worked any other way. It’s one thing to paint yourself into a plot corner and have to retrace your steps. It’s another thing to paint your writing partner into a corner—she can’t retrace your steps, because she wasn’t there when you took them. So we needed to be able to start one another in the proper place once a week, when the chapter hand-offs occurred, because we also wrote these books fast—proposal to galley in under a year each.

What we did was start by writing a twenty-page treatment for each book, devoting about five hundred words to each chapter. We tried to account for every single plot point in the storyline. We wrote complete sentences, complete paragraphs, complete actions. We tried to be as disciplined as possible about making the outline comprehensive and readable as a stand-alone document—no shortcuts or placeholders re: plot events.

Obviously, here and there, one or the other of us strayed a bit in the execution of the outline, because in telling a story, you have to, but spending a month of brainstorming and trying to anticipate every single plot complication paid off in the end: we wrote more efficiently once we actually started composing.

And we doubt if any of the aforementioned is particularly surprising—mostly it seems like common sense. Writing solo is a disorderly process. Writing with a partner tends toward the chaotic. Introducing into it every command and control structure known to humankind only makes sense.

But here are the things that really opened our eyes in all this:

As fiction writers know, it’s not enough to keep track of plot development. Character has to develop systematically, too. So not only did each of us need to know what our own narrator was thinking, looking at, capable of, incapable of, ready to say or to accomplish, or not ready to say or to accomplish at any given point in the story, we also needed to know the same things about our partner’s narrator.

And so we had to learn to speak in our partner’s voice. We needed to be able to enunciate the words of our partner’s character convincingly in our own narrator’s telling. This description is getting complicated. Much like the process itself.

Each of us learned to see through the eyes of our counterpart’s narrator, and act as he or she would act, and speak as her or she would speak.

We became ventriloquists.

It was great—in some ways, more eye-opening than any writing experience either of us has had to date.

And it all came from the outline—once we realized that we not only needed to know what would happen at every turn, but also how our characters would accomplish every turn, and perhaps more than anything, how each would describe it all.

Collaborating also ratcheted up discipline levels. Knowing that one’s esteemed writing partner will not only be reading a chapter immediately upon its completion, but also depending on its quality to go ahead with his or her own work kept us both honest.

Even more honest than we already were.

And lest it be lost in all this, the process of writing with an astonishingly talented partner was spectacularly fun.

Your turn, WITS readers—anyone have experience collaborating on a project? Did you have to change as a writer?

About David and Marisa
Marisa de los Santos has published three New York Times bestselling novels for adults, Love Walked In, Belong to Me, and Falling Together. Her fourth book, The Precious One, comes out in March. David Teague is the author of the picture book Franklin’s Big Dreams and the forthcoming The Red Hat. The middle-grades novel  Saving Lucas Biggs is their first joint venture, and their second collaboration, Connect the Stars, will appear in September 2015.  Married for over twenty years, Marisa and David live with their two children, Charles and Annabel, in Wilmington, Delaware.

You can find them online at: https://www.facebook.com/dteagueauthor and https://www.facebook.com/marisa.delossantos.writer