Character-driven stories focus on the character's emotions, needs, and flaws. That’s right, flaws. Characters should not be cast as perfect. Let the flaws draw in the reader by building empathy. The actions and decisions of the character drive the story, and some of those decisions might be poor choices. By the end of the story, the character should grow and learn from the conflict/quest/problem.
Create characters you care about. If they seem flat and dull to you, they probably will seem the same to the reader. Allow the character to engage the reader emotionally or intellectually, make the reader chuckle or tingle with goosebumps.
Become a people watcher. Notice what people wear and how they act. Listen to conversations. Eavesdrop. Use these observations in your writing.
As your story progresses, give the character an opportunity to surprise you with actions, thoughts, and dialog. Again, if you’re surprised, the reader is likely to be also. Unanticipated behavior adds interest. Refer to the profile you developed to include the character’s background and personality so the behavior remains credible.
Keep in mind the character’s motives and goals, in addition to the background. Focus on a character as s/he goes through a major change. Thoughts and emotion carry endless possibilities for your unique or quirky character. Have fun creating a character that only you can craft.
Stay tuned for part 3
Monday, November 1, 2010
Monday, October 11, 2010
Breathing Life Into Characters by Nancy Kelley Allen
Believable characters make the world of fiction come alive. A character that does not seem real will not be interesting. So how do writers breathe life into characters? The best way to develop a three-dimensional character is to get to know the character as well as you know yourself.
On paper create a character profile. List the character’s physical traits, including hair color, height, and other features. List the character’s likes and dislikes, family members, and unusual mannerisms, such as winking as he smiles or rubbing his hand through his hair when he is stressed. Ask your character questions about favorite foods, sports activities, and friends. Write the character’s answer in a first person voice as though he is talking with you. What are the character’s strengths and weaknesses? What does the character want and why does the character want it? What drives the character? The writer needs to know why the character makes certain choices throughout the development of the plot.
Characters are more interesting if they are not perfect, but they need to be likeable. The reader should want the character to succeed or the story will fall flatter than the page on which it’s written.
Next week: Part II
On paper create a character profile. List the character’s physical traits, including hair color, height, and other features. List the character’s likes and dislikes, family members, and unusual mannerisms, such as winking as he smiles or rubbing his hand through his hair when he is stressed. Ask your character questions about favorite foods, sports activities, and friends. Write the character’s answer in a first person voice as though he is talking with you. What are the character’s strengths and weaknesses? What does the character want and why does the character want it? What drives the character? The writer needs to know why the character makes certain choices throughout the development of the plot.
Characters are more interesting if they are not perfect, but they need to be likeable. The reader should want the character to succeed or the story will fall flatter than the page on which it’s written.
Next week: Part II
Thursday, September 23, 2010
Historical Fiction Contest
check out this link to enter a chance to win $500.00 and 8-month subscription to Children's Writer Magazine. Hurry...deadline is October 30th.
http://www.thechildrenswriter.com/ad192/
http://www.thechildrenswriter.com/ad192/
Friday, August 27, 2010
I love contests!
...especially when free. Please take a moment-won't take much longer than that-and go to http://www.short-story-time.com/remus-2110.html
to read my short story and post a comment.
I'll be ever-so-grateful!
to read my short story and post a comment.
I'll be ever-so-grateful!
Monday, August 2, 2010
The Funny Business of Writing Humor for Kids, Part III by Nancy Kelly Allen
Knowing the sensibilities of the audience is imperative to a writer, especially when writing humor. Young readers use books to help discover the world around them, so the more we know about young readers, the better we can develop the humor in our writing.
Humor should not the focus of a story. The story is a vehicle to make readers think and feel. A story without a purpose is probably going to fall flat, with or without humor.
So how do we infuse humor into a story? When I wrote, The Munched-Up Flower Garden, I wrote the basic story first. In revision, I added the humor. I also wrote in first person so I could flavor the story from beginning to end with the character’s attitude and feelings.
Don’t try to make every character and every word in the dialog funny. One funny character or comment will carry the entire scene.
Watch comedians. They set up the humorous situation and the punch line comes at the end of the joke. Use this technique to end the sentence or paragraph with humor.
Read humorous books written for children at various age levels. Compare how the humor is similar or different among the books and the age groups.
Keep the characters realistic to the story. Even those who inject comic relief have to be developed so the readers will care about what happens to them.
Talk with children. Observe them telling stories and laughing. Notice what action or event or words make them laugh. Play with words and sounds. Make your writing business funny business.
Humor should not the focus of a story. The story is a vehicle to make readers think and feel. A story without a purpose is probably going to fall flat, with or without humor.
So how do we infuse humor into a story? When I wrote, The Munched-Up Flower Garden, I wrote the basic story first. In revision, I added the humor. I also wrote in first person so I could flavor the story from beginning to end with the character’s attitude and feelings.
Don’t try to make every character and every word in the dialog funny. One funny character or comment will carry the entire scene.
Watch comedians. They set up the humorous situation and the punch line comes at the end of the joke. Use this technique to end the sentence or paragraph with humor.
Read humorous books written for children at various age levels. Compare how the humor is similar or different among the books and the age groups.
Keep the characters realistic to the story. Even those who inject comic relief have to be developed so the readers will care about what happens to them.
Talk with children. Observe them telling stories and laughing. Notice what action or event or words make them laugh. Play with words and sounds. Make your writing business funny business.
Wednesday, June 16, 2010
Part II of Nancy Kelly Allen's article, The Funny Business of Writing Humor for Kids.
As children develop language skills, the humor of rhymes and nonsense words make them laugh. Preschool aged kids are attuned to the sound of words. They enjoy the playful sound of repeated variations of a word—catty, batty, fatty, watty. Calling a familiar word by the wrong name, such as referring to the nose as an ear, is just downright funny to them. They also find misplacement of a body parts comical—a dog with two legs up and two legs down or a donkey’s head on a turtle’s body. Exaggeration is laughable to this group—a car that is too long or too tall, oversized eyes, or a basketball for a head. They also find impossible behavior funny—a cow jumping over the moon, a talking dog, or a snake that wears underwear. Rhymes, alliteration, and rhythmic text please them.
When kids enter school, they still love wordplay, exaggeration, and physical or slapstick humor. They also enjoy simple riddles and jokes, especially potty humor, and rhyming and nonsense words. Dr. Seuss books are a hit.
Older kids, seven and up, have a better grasp of the language. They love jokes, riddles and other brainteasers, puns, and potty humor. This is the age when chapter books and middle-grade novels are devoured on various subjects. By age eleven, children gain a better understanding of complex literary devices and appreciate humor in irony and sarcasm.
When kids enter school, they still love wordplay, exaggeration, and physical or slapstick humor. They also enjoy simple riddles and jokes, especially potty humor, and rhyming and nonsense words. Dr. Seuss books are a hit.
Older kids, seven and up, have a better grasp of the language. They love jokes, riddles and other brainteasers, puns, and potty humor. This is the age when chapter books and middle-grade novels are devoured on various subjects. By age eleven, children gain a better understanding of complex literary devices and appreciate humor in irony and sarcasm.
Monday, June 7, 2010
An interview with guest author Nancy Kelly Allen on writing humor for kids...
The Funny Business of Writing Humor for Kids by Nancy Kelly Allen
Kids love stories that make them laugh. Editors and parents love stories that make kids laugh. Humor is that delightful element that makes a story funny, but writing humor is serious business.
To create humorous stories for children, writers must consider the age-appropriate stages of humor in the development of children. A story that makes a four-year-old laugh may not be funny to a second grader. Humor is subjective and personal, and although everyone has an opinion of what is funny, the type of humor that connects with a child changes as the child grows older.
Babies, six months and older, laugh at silly actions, faces, and sounds. As writers, when we translate this to books, we can make human characters walk like a monkey, hang socks from ears to look like a dog, or moo like a cow to create a humorous book. Notice how parents interact with babies to get them to laugh. If the activity works for babies in real life, it will probably work for them in a book. The human character is doing something unexpected so it’s funny.
Parts II and III of this article will follow.
Kids love stories that make them laugh. Editors and parents love stories that make kids laugh. Humor is that delightful element that makes a story funny, but writing humor is serious business.
To create humorous stories for children, writers must consider the age-appropriate stages of humor in the development of children. A story that makes a four-year-old laugh may not be funny to a second grader. Humor is subjective and personal, and although everyone has an opinion of what is funny, the type of humor that connects with a child changes as the child grows older.
Babies, six months and older, laugh at silly actions, faces, and sounds. As writers, when we translate this to books, we can make human characters walk like a monkey, hang socks from ears to look like a dog, or moo like a cow to create a humorous book. Notice how parents interact with babies to get them to laugh. If the activity works for babies in real life, it will probably work for them in a book. The human character is doing something unexpected so it’s funny.
Parts II and III of this article will follow.
Monday, May 17, 2010
TURNING IDEAS INTO STORIES...Part 1 from Nancy Kelly Allen's "Writing Workshop"
An idea for a story just popped into your head. A phrase, a feisty character, or maybe a situation. The more you thought about it, the more the story played like a movie in your mind. Days, weeks, even months passed and the story wouldn’t go away. Like a pesky mosquito, it buzzed around in your brain. Sound familiar?
Writers use many techniques to develop story ideas. Some let stories mentally evolve until the characters are strong enough to come to life on paper. Others take an idea and immediately construct a character and plot. Different strokes for different folks. Regardless of how your spark originated-over time or on the spur of the moment-the job ahead is to develop it into a full-fledged account. Try these nine techniques to turn your ideas into stories. These ideas work equally well for professional writers and writers in the classroom.
Who is the audience? Is this story for a four year old or a fourteen year old? When we meet someone on the street and talk face-to-face, we adjust our speech and language to suit the audience. As writers, we have to recognize and understand the reading and interest level of our reader before we begin writing. A four year old thinks the word “underwear” is funny. A fourteen year old will probably roll eyes at the word.
Ask What if. What if a dinosaur came to lunch… What if everyone looked the same… Probe your character and plot with the What if question to develop your story idea. When your story comes to a screeching halt and you don’t know where to go with the plot ask what if. You may be surprised at the turn your story takes and the new ideas you will explore.
Next week, I’ll post part II of this article.
CALL FOR SUBMISSIONS
* Kid Spirit Magazine
KidSpirit Magazine is a unique, unaffiliated spiritual magazine written by and for 11 to 15 year olds. Our goal is to foster dialogue and understanding among kids of diverse backgrounds and traditions about values, spirituality and life's big questions. Free of advertising, KidSpirit empowers today's youth to explore deep issues and mankind's search for meaning in a spirit of openness. Each issue of KidSpirit Magazine is an invitation to look at a big question or idea from many vantage points.
Details at http://kidspiritmagazine.com/submit.html
*Polyphony H.S.
A student-run national literary magazine for high-school writers. Our title is a combination of the Greek term meaning many voices, and the abbreviation for High School. Polyphony H.S. was co-founded by Paige Holtzman (Latin School of Chicago ’06) and Billy Lombardo in August 2004. At that time, there was no other magazine like it in the country; that is, a professional quality, national literary magazine for high school writers, edited by high school students from public, private, and parochial schools; and there is still nothing like it in the world. Not only do our editors invite high school writers to submit their work for professional publication, but also they give editorial feedback to every author who submits a manuscript. This extends to continuing a dialogue with accepted authors in an effort to strengthen each piece.
http://www.polyphonyhs.com/guidelines
* Amberley Greeting Card Co.
PAY: $150/card idea
Seeking humorous cards only. Submit maximum 10 ideas per batch. Send SASE for writer's guidelines before submitting. Mail to: Dave McPeek 11510 Goldcoast Dr. Cincinnati, Ohio 45249.
Writers use many techniques to develop story ideas. Some let stories mentally evolve until the characters are strong enough to come to life on paper. Others take an idea and immediately construct a character and plot. Different strokes for different folks. Regardless of how your spark originated-over time or on the spur of the moment-the job ahead is to develop it into a full-fledged account. Try these nine techniques to turn your ideas into stories. These ideas work equally well for professional writers and writers in the classroom.
Who is the audience? Is this story for a four year old or a fourteen year old? When we meet someone on the street and talk face-to-face, we adjust our speech and language to suit the audience. As writers, we have to recognize and understand the reading and interest level of our reader before we begin writing. A four year old thinks the word “underwear” is funny. A fourteen year old will probably roll eyes at the word.
Ask What if. What if a dinosaur came to lunch… What if everyone looked the same… Probe your character and plot with the What if question to develop your story idea. When your story comes to a screeching halt and you don’t know where to go with the plot ask what if. You may be surprised at the turn your story takes and the new ideas you will explore.
Next week, I’ll post part II of this article.
CALL FOR SUBMISSIONS
* Kid Spirit Magazine
KidSpirit Magazine is a unique, unaffiliated spiritual magazine written by and for 11 to 15 year olds. Our goal is to foster dialogue and understanding among kids of diverse backgrounds and traditions about values, spirituality and life's big questions. Free of advertising, KidSpirit empowers today's youth to explore deep issues and mankind's search for meaning in a spirit of openness. Each issue of KidSpirit Magazine is an invitation to look at a big question or idea from many vantage points.
Details at http://kidspiritmagazine.com/submit.html
*Polyphony H.S.
A student-run national literary magazine for high-school writers. Our title is a combination of the Greek term meaning many voices, and the abbreviation for High School. Polyphony H.S. was co-founded by Paige Holtzman (Latin School of Chicago ’06) and Billy Lombardo in August 2004. At that time, there was no other magazine like it in the country; that is, a professional quality, national literary magazine for high school writers, edited by high school students from public, private, and parochial schools; and there is still nothing like it in the world. Not only do our editors invite high school writers to submit their work for professional publication, but also they give editorial feedback to every author who submits a manuscript. This extends to continuing a dialogue with accepted authors in an effort to strengthen each piece.
http://www.polyphonyhs.com/guidelines
* Amberley Greeting Card Co.
PAY: $150/card idea
Seeking humorous cards only. Submit maximum 10 ideas per batch. Send SASE for writer's guidelines before submitting. Mail to: Dave McPeek 11510 Goldcoast Dr. Cincinnati, Ohio 45249.
Wednesday, May 5, 2010
Do Contests Really Help?
My 80+K-word novel, BLOOD MONEY, recently made it to the quarterfinalists in the Amazon.com new novel contest. I was elated. I was selected as one of 250 out of 5k entries. Unfortunately, that was as far as the manuscript went in the contest, but I was happy to have made it that far. Then I used that info in a query to a popular online YA site. The 'would-be' agent-wanna-be didn't read past my 'claim to fame,' stating the fact it didn't win spoke volumes and one should never include 'near misses.' I still believe a creditable contest can draw positive attention and will continue to use the quarterfinalist info in my bio.
Now the review by PW on said entry is another blog...I'm still smarting over that.
Now the review by PW on said entry is another blog...I'm still smarting over that.
Monday, April 19, 2010
Congrats to Nancy K. Allen, winner of Kentucky Arts Council Grant...
Nancy won a 2010 Individual Artist Professional Development grant from the Kentucky Arts Council [KAC], the state government agency responsible for developing and promoting support for the arts in Kentucky. KAC creates opportunities for people to find value in the arts, participate in the arts and benefit from the arts through programs, grants and services.
For Tennessee grants, check out the info below:
Individual Artist Fellowship (IAF): This award provides fellowships to outstanding professional artists who live and work in Tennessee. No matching funds are required and no specific project has to be carried out with the grant award.
Individual Artist Fellowship Guidelines
Individual Artist Fellowship Application - eGRANT
Professional Development Support (PDS): A program of the Tennessee Arts Commission, is designed to help Tennessee individual professional arts administrators and artists of all disciplines take advantage of unique opportunities that will significantly benefit their work or career development.
Professional Development Support Guidelines
Professional Development Support Application - eGRANT
For Tennessee grants, check out the info below:
Individual Artist Fellowship (IAF): This award provides fellowships to outstanding professional artists who live and work in Tennessee. No matching funds are required and no specific project has to be carried out with the grant award.
Individual Artist Fellowship Guidelines
Individual Artist Fellowship Application - eGRANT
Professional Development Support (PDS): A program of the Tennessee Arts Commission, is designed to help Tennessee individual professional arts administrators and artists of all disciplines take advantage of unique opportunities that will significantly benefit their work or career development.
Professional Development Support Guidelines
Professional Development Support Application - eGRANT
Monday, April 5, 2010
Rejection by Nancy Kelly Allen
SDU: Author Nancy K. Allen offers insight on how to make those pesky rejection slips work for you:
When I think of my early writing days--seven years to land the first contract; five years to get the second one--I realize that being a librarian and working with kids and books on a daily basis is what kept me inspired, along with the driving desire to write and get published. In twelve years I accumulated two contracts and a mountain of rejection letters. My career momentum has shifted to a higher speed since then, but each time I get a contract, a troublesome little question pops up like a jack-in-the-box and squeezes the life out my confidence: Will I ever get another contract? The doubts are there, but I don't dwell on them; instead I start writing a brand new something or other, either a picture or chapter book.
Rejection letters are never easy to read, but can offer some insight into what works in a manuscript and what does not. Ask yourself these questions: Did I target publishers that accept the genre of my manuscript? Did I research each publisher to determine that they did not already have a book on the same subject or presented in a similar format? Publishers don’t want two of their own books to compete in the marketplace. Was my cover/query letter error free? Did I capture the editor’s attention in the first sentence?
Let’s move on to informative rejection slips, those in which a personal note or letter states why the manuscript was not right for the publisher. The reason stated may be so vague you don’t have a clue as to why the story was rejected; however, if the editor took time from a busy schedule to write a personal note, you have made a positive impression. You’re doing something right. Some rejection slips are in the form of a checklist. What area was marked? That information may give a clue as to why your story didn’t work for that publisher.
Some rejection notes state that a similar story was recently accepted. From that information, you can infer that you’re on the right track with the subject matter or type of manuscript. Some may state the story was too slight. That often means the plot was not strong enough. Others may state that they felt no empathy for the main character. Reread the manuscript to determine how the editor came to such conclusions. If you can recognize the problem, you can find a way to fix it.
Part III of my article, From Rejection to Reflection to Selection, will follow next weeks.
When I think of my early writing days--seven years to land the first contract; five years to get the second one--I realize that being a librarian and working with kids and books on a daily basis is what kept me inspired, along with the driving desire to write and get published. In twelve years I accumulated two contracts and a mountain of rejection letters. My career momentum has shifted to a higher speed since then, but each time I get a contract, a troublesome little question pops up like a jack-in-the-box and squeezes the life out my confidence: Will I ever get another contract? The doubts are there, but I don't dwell on them; instead I start writing a brand new something or other, either a picture or chapter book.
Rejection letters are never easy to read, but can offer some insight into what works in a manuscript and what does not. Ask yourself these questions: Did I target publishers that accept the genre of my manuscript? Did I research each publisher to determine that they did not already have a book on the same subject or presented in a similar format? Publishers don’t want two of their own books to compete in the marketplace. Was my cover/query letter error free? Did I capture the editor’s attention in the first sentence?
Let’s move on to informative rejection slips, those in which a personal note or letter states why the manuscript was not right for the publisher. The reason stated may be so vague you don’t have a clue as to why the story was rejected; however, if the editor took time from a busy schedule to write a personal note, you have made a positive impression. You’re doing something right. Some rejection slips are in the form of a checklist. What area was marked? That information may give a clue as to why your story didn’t work for that publisher.
Some rejection notes state that a similar story was recently accepted. From that information, you can infer that you’re on the right track with the subject matter or type of manuscript. Some may state the story was too slight. That often means the plot was not strong enough. Others may state that they felt no empathy for the main character. Reread the manuscript to determine how the editor came to such conclusions. If you can recognize the problem, you can find a way to fix it.
Part III of my article, From Rejection to Reflection to Selection, will follow next weeks.
Tuesday, March 16, 2010
Nancy K. Allen's new book: TROUBLE IN TROUBLESOME CREEK
The Troublesome Creek kids are back with a new adventure. Their favorite swimming hole has dead fish floating in the water. Stiiiinky! Can the kids solve the mystery of the dead fish?
Check out Nancy K. Allen's blog at www.nancykellyallen.blogspot.com
for news and updates on her latest books, contests and writing tips.
Check out Nancy K. Allen's blog at www.nancykellyallen.blogspot.com
for news and updates on her latest books, contests and writing tips.
Thursday, March 11, 2010
Lauren Sharman, Author of romance/suspense
The McCassey Brothers Series:
No Worries. . .#1 BESTSELLER, December 2006
The Devil's Candy. . .#2 BESTSELLER, May & June 2007
Dusty Rose. . .#1 BESTSELLER, February 2008
The Long Road Home. . .#1 BESTSELLER, November 2008
The McCassey Cousins Series:
When Night Falls...#1 BESTSELLER at Fictionwise, August 2009
Betrayed...#1 BESTSELLER, December 2009, January 2010
Book 3...Available August 1, 2010
www.LaurenSharman.com
All books available at: www.WhiskeyCreekPress.com
No Worries. . .#1 BESTSELLER, December 2006
The Devil's Candy. . .#2 BESTSELLER, May & June 2007
Dusty Rose. . .#1 BESTSELLER, February 2008
The Long Road Home. . .#1 BESTSELLER, November 2008
The McCassey Cousins Series:
When Night Falls...#1 BESTSELLER at Fictionwise, August 2009
Betrayed...#1 BESTSELLER, December 2009, January 2010
Book 3...Available August 1, 2010
www.LaurenSharman.com
All books available at: www.WhiskeyCreekPress.com
Tuesday, March 9, 2010
Jessica Leader, Author, NICE AND MEAN
See message from Jessica Leader below regarding her new MG novel:
NICE AND MEAN debuts from Simon and Schuster in a mere! 3! months--minus one day!
To celebrate, I am giving stuff away--NICE AND MEAN bookmarks, Dr. Pepper lipgloss and Indian bangle bracelets (the latter two are objects in the book.) The contest is being run at http://tinyurl.com/nicemeangive.
NICE AND MEAN debuts from Simon and Schuster in a mere! 3! months--minus one day!
To celebrate, I am giving stuff away--NICE AND MEAN bookmarks, Dr. Pepper lipgloss and Indian bangle bracelets (the latter two are objects in the book.) The contest is being run at http://tinyurl.com/nicemeangive.
Thursday, February 25, 2010
This is the final section of Rita Sexton's interview on her experience of self-publishing. To get your own copy of MY JOURNEY TO MY HAPPY HOUSE, visit Amazon.com or B&N. com
Welcome back to my interview with first-time author, Rita Sexton, on the pros and cons of ‘self-publishing’:
Sandi: As you may know, editors/publishers don’t or won’t recognize ‘self-publishing” as ‘credits’ when it comes to pitching a book proposal. Some editors/publishers won’t even accept a query from an unpublished author—some agents, as well.
Again, I understand why you wrote ‘My Journey to My Happy House”, but how do you feel about not being considered a ‘real’ author—especially since I know you’ve already had several book signings.
Rita: It’s not about being anything more than what I am. I had a story, I’ve told it – it’s being read. It doesn’t bother me if the world sees me as an author or not. I did something I was suppose to do….I can say one thing – I had a mother she had nine children – obviously she was impregnated, carried each child, went through the birthing and delivery, and that’s where it ended, however the world considers her a mother.
Sandi: Other than telling your story, did/do you have the desire to continue to write? If so, are you interested in any one particular genre?
Rita: It’s amazing the positive effects of an accepted submission. The blood, sweat and tears put into your ‘first born’, just like childbirth, are forgotten, and the desire once again to put pen to paper (or typed word) is rebirthed. I haven’t a particular genre, my thoughts often because of daily events, spawn ideas of all kinds. Mostly my writing desire is motivational and or spiritual (both of which, in my world bear the same message).
Sandi: Well, again, I want to commend you on your book and reiterate my own congratulations for finding your ‘happy house’. Thanks for sharing your insight with us regarding the publishing process.
Rita: Thank you for this opportunity and certainly for your heartwarming comments.
For information about Rita’s book, visit www.amazon.com or www.barnesandnoble.com and search for Rita Sexton’s
“My Journey To My Happy House”.
Sandi: As you may know, editors/publishers don’t or won’t recognize ‘self-publishing” as ‘credits’ when it comes to pitching a book proposal. Some editors/publishers won’t even accept a query from an unpublished author—some agents, as well.
Again, I understand why you wrote ‘My Journey to My Happy House”, but how do you feel about not being considered a ‘real’ author—especially since I know you’ve already had several book signings.
Rita: It’s not about being anything more than what I am. I had a story, I’ve told it – it’s being read. It doesn’t bother me if the world sees me as an author or not. I did something I was suppose to do….I can say one thing – I had a mother she had nine children – obviously she was impregnated, carried each child, went through the birthing and delivery, and that’s where it ended, however the world considers her a mother.
Sandi: Other than telling your story, did/do you have the desire to continue to write? If so, are you interested in any one particular genre?
Rita: It’s amazing the positive effects of an accepted submission. The blood, sweat and tears put into your ‘first born’, just like childbirth, are forgotten, and the desire once again to put pen to paper (or typed word) is rebirthed. I haven’t a particular genre, my thoughts often because of daily events, spawn ideas of all kinds. Mostly my writing desire is motivational and or spiritual (both of which, in my world bear the same message).
Sandi: Well, again, I want to commend you on your book and reiterate my own congratulations for finding your ‘happy house’. Thanks for sharing your insight with us regarding the publishing process.
Rita: Thank you for this opportunity and certainly for your heartwarming comments.
For information about Rita’s book, visit www.amazon.com or www.barnesandnoble.com and search for Rita Sexton’s
“My Journey To My Happy House”.
Thursday, February 11, 2010
Welcome back to my interview with first-time author, Rita Sexton, on the pros and cons of ‘self-publishing’
Sandi: Once the book was finished, what was your total cost and how is the book ‘marketed’?
Rita: Officially the book cost a total of $3,900 to publish, which included the editing, layout, cover design, etc. After the initial cost, I received some free starter books. I now pay $5.20 for each book. The selling price of my book is $12.99. The book is marketed through a distributor, which I believe is Tennessee-based.
Sandi: What do you do on a personal level to promote your book?
Rita: Book Signings, Church, Civic Clubs, Book Clubs speaking engagements. I have also spoken at Dinners with several hundred people, as well as, Conferences of several thousand.
Sandi: What have you enjoyed most about the entire process? What have you enjoyed the least?
Rita: First and foremost, the realization that God has taken something so very ugly and used it to benefit others going through similar circumstances by allowing them to know they aren’t alone. Second, by allowing me to say because of the positive difference it’s making for others, I wouldn’t change a thing. I am so honored to be used in such an uplifting way. Third, the way people have accepted my mistakes with love and mercy is so healing; I see God smiling every time someone shares that love and mercy with me.
Sandi: Continuing with my question, what about this Company did you like the best? The least?
Rita: I liked my story being accepted the best!!! Whether I earn enough to pay my sweet husband back is irrelevant because it’s more about breaking the lies and ties that bind so many. Events that consume our lives that make us merely breathing beings instead of the realization we’re blessed beings. What I liked least was waiting…..I continually reminded myself, “In God’s timing not mine” and “patience is a virtue”.
Sandi: What about ‘rights’—who owns your book?
Rita: The Company’s representative made it very clear in the beginning, the ‘rights’ to my book are mine and will always be.
Sandi: Back to the submission process, those of us who could paper a wall with rejection slips, was the process you went through to publish your book painful, at all? Did you know, for example, they would ‘accept’ your book from the beginning? Do they accept all submissions?
Rita: Once my book was submitted I received an email stating they would either return my manuscript to me with a rejection letter, OR they would contact me via email of acceptance. They made me aware they received over 15,000 (that’s fifteen thousand) a year and only accept 4%. To say the least, I watched for my manuscript in the mail. However, six weeks later I received an email along with an attachment of contract and agreements which said – “Congratulations on being part of the 4%”. I cried.
Join us next week for the finale of Self-Publishing: An Interview With Someone’s Who’s ‘Been There, Done That…Bought The Book’’
Rita: Officially the book cost a total of $3,900 to publish, which included the editing, layout, cover design, etc. After the initial cost, I received some free starter books. I now pay $5.20 for each book. The selling price of my book is $12.99. The book is marketed through a distributor, which I believe is Tennessee-based.
Sandi: What do you do on a personal level to promote your book?
Rita: Book Signings, Church, Civic Clubs, Book Clubs speaking engagements. I have also spoken at Dinners with several hundred people, as well as, Conferences of several thousand.
Sandi: What have you enjoyed most about the entire process? What have you enjoyed the least?
Rita: First and foremost, the realization that God has taken something so very ugly and used it to benefit others going through similar circumstances by allowing them to know they aren’t alone. Second, by allowing me to say because of the positive difference it’s making for others, I wouldn’t change a thing. I am so honored to be used in such an uplifting way. Third, the way people have accepted my mistakes with love and mercy is so healing; I see God smiling every time someone shares that love and mercy with me.
Sandi: Continuing with my question, what about this Company did you like the best? The least?
Rita: I liked my story being accepted the best!!! Whether I earn enough to pay my sweet husband back is irrelevant because it’s more about breaking the lies and ties that bind so many. Events that consume our lives that make us merely breathing beings instead of the realization we’re blessed beings. What I liked least was waiting…..I continually reminded myself, “In God’s timing not mine” and “patience is a virtue”.
Sandi: What about ‘rights’—who owns your book?
Rita: The Company’s representative made it very clear in the beginning, the ‘rights’ to my book are mine and will always be.
Sandi: Back to the submission process, those of us who could paper a wall with rejection slips, was the process you went through to publish your book painful, at all? Did you know, for example, they would ‘accept’ your book from the beginning? Do they accept all submissions?
Rita: Once my book was submitted I received an email stating they would either return my manuscript to me with a rejection letter, OR they would contact me via email of acceptance. They made me aware they received over 15,000 (that’s fifteen thousand) a year and only accept 4%. To say the least, I watched for my manuscript in the mail. However, six weeks later I received an email along with an attachment of contract and agreements which said – “Congratulations on being part of the 4%”. I cried.
Join us next week for the finale of Self-Publishing: An Interview With Someone’s Who’s ‘Been There, Done That…Bought The Book’’
Wednesday, January 27, 2010
Read my 3-part interview with Rita Sexton on self-publishing...
Welcome back to my interview with first-time author, Rita Sexton, on the pros and cons of ‘self-publishing’:
Self-Publishing:
An Interview With Someone’s Who’s ‘Been There, Done That…Bought The Book’’
Forward:
I’ve known Rita Sexton for many years. We worked together; I saw her on a regular basis. So imagine my surprise when I heard she’d written a book. I read the entire book in one sitting, alternating between tears and laughter. The contents of the book are not the topic for discussion today, but let me say, it’s definitely a ‘journey’. My interest today is the process involved in self-publishing a book, and Rita has graciously agreed to this interview:
SDU: Rita, thanks for agreeing to do this interview. As you may be aware, ‘self-publishing’ is a hot topic among writers today. The very process of submitting to agents/publishers is daunting, to say the least. Let’s get past the experience of the first draft and re-writes; did you ever consider the ‘normal’ submission process?
Rita: You’re welcome and I appreciate the opportunity. To be quite honest, I had no idea of the difference between ‘self-published’ or ‘normal’ once it was time to submit my manuscript. However in recent months I have found the route taken in the ‘self–publish’ method was one which yielded more benefits for the first time author. It was at times exasperating to say the least. While my story was one of a personal journey, it wasn’t one that I chose to do freely-- that in itself was extremely difficult. So in answering your question, “no” the path I took was one chosen for me. However, now that I’ve experienced the ‘self-published’ route, I would, if I choose to submit for publication again, entertain or investigate the path of ‘normal’ publication.
SDU: How much control did you have over ‘edits’? Can you describe that process to us?
Rita: I had total control, although suggestions were made. Because the staff at the Company I chose was such a professional team, I moved in favor of their suggestions unless it changed the meaning or truth. In actuality, not many changes were suggested by them. However, it was left up to me totally – the suggestions were there for consideration. From a legal standpoint they watched out for my benefit due to the very nature of some of the personal events.
SDU: Can you describe for us the process from submission to proof of final product? And how long did it take?
Rita: Once I began writing, I stopped frequently to recover. The pain and re-surfacing issues at times were too much to handle... As I mentioned in the book, often times I would sit typing with my eyes tightly closed, I just didn't want to revisit what I was writing. The process was a long one, but the publishing aspect was the longer of the two, editing approval, cover approval, content approval...everything was managed tightly, which was very professional. It took approximately 18 months from start to finish.
Join us next week for part two of Self-Publishing: An Interview With Someone’s Who’s ‘Been There, Done That…Bought The Book’’
Self-Publishing:
An Interview With Someone’s Who’s ‘Been There, Done That…Bought The Book’’
Forward:
I’ve known Rita Sexton for many years. We worked together; I saw her on a regular basis. So imagine my surprise when I heard she’d written a book. I read the entire book in one sitting, alternating between tears and laughter. The contents of the book are not the topic for discussion today, but let me say, it’s definitely a ‘journey’. My interest today is the process involved in self-publishing a book, and Rita has graciously agreed to this interview:
SDU: Rita, thanks for agreeing to do this interview. As you may be aware, ‘self-publishing’ is a hot topic among writers today. The very process of submitting to agents/publishers is daunting, to say the least. Let’s get past the experience of the first draft and re-writes; did you ever consider the ‘normal’ submission process?
Rita: You’re welcome and I appreciate the opportunity. To be quite honest, I had no idea of the difference between ‘self-published’ or ‘normal’ once it was time to submit my manuscript. However in recent months I have found the route taken in the ‘self–publish’ method was one which yielded more benefits for the first time author. It was at times exasperating to say the least. While my story was one of a personal journey, it wasn’t one that I chose to do freely-- that in itself was extremely difficult. So in answering your question, “no” the path I took was one chosen for me. However, now that I’ve experienced the ‘self-published’ route, I would, if I choose to submit for publication again, entertain or investigate the path of ‘normal’ publication.
SDU: How much control did you have over ‘edits’? Can you describe that process to us?
Rita: I had total control, although suggestions were made. Because the staff at the Company I chose was such a professional team, I moved in favor of their suggestions unless it changed the meaning or truth. In actuality, not many changes were suggested by them. However, it was left up to me totally – the suggestions were there for consideration. From a legal standpoint they watched out for my benefit due to the very nature of some of the personal events.
SDU: Can you describe for us the process from submission to proof of final product? And how long did it take?
Rita: Once I began writing, I stopped frequently to recover. The pain and re-surfacing issues at times were too much to handle... As I mentioned in the book, often times I would sit typing with my eyes tightly closed, I just didn't want to revisit what I was writing. The process was a long one, but the publishing aspect was the longer of the two, editing approval, cover approval, content approval...everything was managed tightly, which was very professional. It took approximately 18 months from start to finish.
Join us next week for part two of Self-Publishing: An Interview With Someone’s Who’s ‘Been There, Done That…Bought The Book’’
Wednesday, January 20, 2010
The truth about SELF-PUBLISHING
Self-publishing is the publishing of books and other media by the authors of those works, rather than by established, third-party publishers. Although it represents a small percentage of the publishing industry in terms of sales, it has been present in one form or another since the beginning of publishing and has seen an increase in activity with the advancement of publishing technology, including xerography, desktop publishing systems, print on demand, and the World Wide Web. Cultural phenomena such as the punk/DIY movement, the proliferation of media channels, and blogging have contributed to the advancement of self-publishing. - (2008, July 14). In Wikipedia, The Free Encyclopedia. Retrieved 20:20, July 14, 2008, from http://en.wikipedia.org/w/index.php?title=3&oldid=223389944:
You’ve finally finished the book! You’ve written and re-written, proofed and re-proofed. Every word smacks of wonder and amazement; every punctuation mark defines the genius you are; every anecdote brings a wry grin; every sub-plot weaves magic; every…you get the idea.
Now it’s time to ship that puppy off to the hundreds of markets that spelled out in black and white they were just waiting with bated breath for this very story. Then the waiting begins: grass grows, paint dries, seasons change. Finally you receive a form letter that clearly wasn’t meant for you. Surely, this cold, indifferent, vanilla-coated letter couldn’t sum up your blood, sweat and tears in one check-mark: “not for us.”
Many have fallen victim to the infamous ‘rejection letter’. It’s enough to drive some people to drink…or even self-publication. Because of the difficulty to break through the ‘slush pile’, many are throwing caution to the wind and bearing the expense of self-publishing and ‘print on demand’.
Is self-publishing so bad? Or is it the ‘way of the future’? Join me next week for the first of a four-part interview with first-time author Rita Sexton who made self-publishing her first choice.
You’ve finally finished the book! You’ve written and re-written, proofed and re-proofed. Every word smacks of wonder and amazement; every punctuation mark defines the genius you are; every anecdote brings a wry grin; every sub-plot weaves magic; every…you get the idea.
Now it’s time to ship that puppy off to the hundreds of markets that spelled out in black and white they were just waiting with bated breath for this very story. Then the waiting begins: grass grows, paint dries, seasons change. Finally you receive a form letter that clearly wasn’t meant for you. Surely, this cold, indifferent, vanilla-coated letter couldn’t sum up your blood, sweat and tears in one check-mark: “not for us.”
Many have fallen victim to the infamous ‘rejection letter’. It’s enough to drive some people to drink…or even self-publication. Because of the difficulty to break through the ‘slush pile’, many are throwing caution to the wind and bearing the expense of self-publishing and ‘print on demand’.
Is self-publishing so bad? Or is it the ‘way of the future’? Join me next week for the first of a four-part interview with first-time author Rita Sexton who made self-publishing her first choice.
Wednesday, January 13, 2010
Nancy Kelly Allen's final interview on CRITIQUE GROUPS...
SU: Nancy, I've learned so much from you and the others in our group. Thank you for sharing your thoughts in this 3-part series on how a critique group works.
NKA: A critique group is vital to the development of a writer, not only in the realm of the craft of writing but the emotional ups and downs associated with publishing. Here's an inside look at the critique group to which I belong.
Members of my group provide emotional support for each other. If a member has a manuscript rejected or another personal problem, we listen and provide words of encouragement. When a member receives good news, we perform a chocolate dance in celebration.
Each month, a member is responsible for generating a weekly newsletter that provides news about grants, conferences, and all aspects of writing, marketing, and promoting our work. Since my group consists of four people, I will be responsible for the newsletter three months (twelve weeks) per year.
The primary purpose of a critique group is to read and evaluate works in progress for each member. My group submits manuscripts, a maximum of 1,000 words per submission, on the first and fifteenth of each month. That means that each member critiques three, 1,000-word manuscripts every two weeks. That also means that each member receives three critiques per manuscript every two weeks. Critique groups require a vast amount of time and effort from each member to be successful, but the rewards gained are invaluable.
If you decide to join or form a critique group, set guidelines. How often will members submit work? What is the time period for critiquing and returning each manuscript? What is the maximum number of words per submission? How extensive are the critiques, line-by-line or general overview? Set guidelines on allowing additional membership once the group is established. Remember to critique the manuscript, not the writer. Be respectful of the writer at all times. Be honest in your critique.
I want the members of my group to be honest in each evaluation of my work and react to my manuscripts as an editor would. Anything less than total honesty is of no benefit to me. I want to know WHY my manuscript didn’t get the contract and HOW I can improve it. If I could figure out WHY and HOW on my own, I wouldn’t need a critique group. The honesty of each member and their varied viewpoints can only make my work stronger, better, and more likely to be accepted for publication. Therefore, I have a responsibility of not taking the criticism personally. I wear my rhino hide when I read the critiques and often think AHA! She’s right! When I read a criticism or a suggestion. Why didn’t I see that? Because I only see from one perspective—mine.
SU: In a few weeks, I'll be posting information about Nancy's new book, THE TRUTH ABOUT PRINCESSES. Can't wait to grab that up for the 'princesses' in my life!
Be sure to catch my interview with author Rita Sexton on her experience with self-publishing.
NKA: A critique group is vital to the development of a writer, not only in the realm of the craft of writing but the emotional ups and downs associated with publishing. Here's an inside look at the critique group to which I belong.
Members of my group provide emotional support for each other. If a member has a manuscript rejected or another personal problem, we listen and provide words of encouragement. When a member receives good news, we perform a chocolate dance in celebration.
Each month, a member is responsible for generating a weekly newsletter that provides news about grants, conferences, and all aspects of writing, marketing, and promoting our work. Since my group consists of four people, I will be responsible for the newsletter three months (twelve weeks) per year.
The primary purpose of a critique group is to read and evaluate works in progress for each member. My group submits manuscripts, a maximum of 1,000 words per submission, on the first and fifteenth of each month. That means that each member critiques three, 1,000-word manuscripts every two weeks. That also means that each member receives three critiques per manuscript every two weeks. Critique groups require a vast amount of time and effort from each member to be successful, but the rewards gained are invaluable.
If you decide to join or form a critique group, set guidelines. How often will members submit work? What is the time period for critiquing and returning each manuscript? What is the maximum number of words per submission? How extensive are the critiques, line-by-line or general overview? Set guidelines on allowing additional membership once the group is established. Remember to critique the manuscript, not the writer. Be respectful of the writer at all times. Be honest in your critique.
I want the members of my group to be honest in each evaluation of my work and react to my manuscripts as an editor would. Anything less than total honesty is of no benefit to me. I want to know WHY my manuscript didn’t get the contract and HOW I can improve it. If I could figure out WHY and HOW on my own, I wouldn’t need a critique group. The honesty of each member and their varied viewpoints can only make my work stronger, better, and more likely to be accepted for publication. Therefore, I have a responsibility of not taking the criticism personally. I wear my rhino hide when I read the critiques and often think AHA! She’s right! When I read a criticism or a suggestion. Why didn’t I see that? Because I only see from one perspective—mine.
SU: In a few weeks, I'll be posting information about Nancy's new book, THE TRUTH ABOUT PRINCESSES. Can't wait to grab that up for the 'princesses' in my life!
Be sure to catch my interview with author Rita Sexton on her experience with self-publishing.
Tuesday, January 5, 2010
Nancy Kelly Allen continues her thoughts on critique groups...
NKA: You’ve pounded the keyboard day after day, week after week, creating your story. You’ve spit-shined the revisions, rearranged the sentences, and typed the last word. Now you’re ready to kiss your manuscript good-bye and ship it off to strangers, AKA editors.Not so fast! Mailing you’re manuscript at this time may be a little premature. Consider joining a critique group. Not only will group members view your work with new perspectives, they will also provide feedback, positive and negative. The critique group will hone in on areas of quality writing, praising your efforts, and will offer examples for improvement in areas that need revision.
I’ve been writing for publication for twenty years and have had thirteen picture books and one chapter book published. During that time, I completed revision after revision, relying on my skills, alone.
A couple of years ago I joined, via the Internet, a critique group composed of four children’s writers. In that short period, my critique group has provided professional input into picture and chapter book manuscripts, making each work stronger. This group completes line-by-line, in-depth critiques, rather than general overview critiques. For me, the more specific the evaluation, the better.
Next week: Nancy gives details on how 'our' group works. You won't want to miss that!
I’ve been writing for publication for twenty years and have had thirteen picture books and one chapter book published. During that time, I completed revision after revision, relying on my skills, alone.
A couple of years ago I joined, via the Internet, a critique group composed of four children’s writers. In that short period, my critique group has provided professional input into picture and chapter book manuscripts, making each work stronger. This group completes line-by-line, in-depth critiques, rather than general overview critiques. For me, the more specific the evaluation, the better.
Next week: Nancy gives details on how 'our' group works. You won't want to miss that!
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