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Norah Colvin writes in the upcoming The Congress of Rough Writers Flash Fiction Anthology, Vol. 1:
“Flash fiction is a form of short writing. In its various forms, it may be known as, for example, micro fiction, sudden fiction, or six-word stories; the length may vary from as few as six to as many as 1,000 words. Brevity is a constraint, and writers attempt to pack as much story as they can into few words. Each word must count. There is no room for ‘darlings’, let alone a need for them to be killed.”
Carrot Ranch is hosting a Flash Fiction Rodeo with eight different contests throughout the month of October. It’s free and includes first place prizes in each category of $25. The best of all eight winning entries will be dubbed the All-Around Best Writer of 2017 Flash Fiction Rodeo and win an extra $50. You can enter one or all contests (it’s free). It’s a contest, so enter your best, polished work. Quality over quantity matters.
If the thought of entering a contest makes your palms sweat, this will be a good one for you to get in the saddle. It’s a contest, sure. It’s bigger than the weekly challenges, you betcha. But this is still Carrot Ranch. We are a welcoming literary community, and no writer has yet broken an arm while penning flash fiction. You’ll recognize many of the contest leaders and their co-judges as from among the Rough Writers & Friends. Some are from the greater blogging community. Some are pals.
Hands down, these are good people who won’t tarnish your writing enthusiasm.
If you ever needed a push to try a contest, start with the Rodeo. If you need a creative jump-start before NaNoWriMo in November, the Rodeo is it. Thinking you want something different from the weekly challenges? The Rodeo will replace the weekly prompt and compilations for the month of October (regular challenges resume November 2). It’s a great event to build your confidence, challenge your craft skills and push into creativity.
It is with great delight that I introduce you to your leaders for the 2017 Flash Fiction Rodeo:
October 5: Rodeo Event #1 is Norah Colvin’s When I Grow Up Flash Fiction Contest. She will ask you to cast yourself back in time to when you were six. The entry is to be 100 words exactly, not including title. She’ll be joined as judges by two other writers from the community: Robbie Cheadle and Anne Goodwin.
October 10: Rodeo Event #2 is Geoff Le Pard’s The Little and Laugh Flash Contest. He’s pushing you to find the fun in flash. The entry is to be 299 words (with a margin of 9 words under or over) and it is to bring a smile to the judges. Geoff is joined by fellow humor writers, Barb Taub and Lucy Brazier.
October 12: Rodeo Event #3 is JulesPaige’s Septolet in Motion Contest. She’s our resident Rough Writer poet, and introduces contestants to a 14-word, 7-line poem. She’s asking you to get magical and will have a couple of fellow poets to help judge.
October 17: Rodeo Event #4 is Irene Water’s Scars Flash Fiction Contest. As a memoirist, Irene also works in flash fiction and often has a dark twist to her writing. We’ll learn more about her contest and her two fellow judges.
October 19: Rodeo Event #5 is C Jai Ferry’s 9×11 Twitterflash Contest. She will test the wordsmithing skills of writers at both the sentence and story levels. Participants will tweet a 99-word flash fiction stories in 11 sentences of exactly 9 words each. She’ll be joined by two fiction writing judges.
October 24: Rodeo Event #6 is D. Avery’s Dangerous Bull Ride Contest. She’ll first have all writers enter their names just as bull-riders do when drawing a bull to ride. No one knows what dangerous prompt each writer might draw. She’s joined by two local east coast judges to complete the ride.
October 26: Rodeo Event #7 is Sherri Matthew’s Murderous Musings: When Good Folk Turn Bad At The Rodeo Contest. She have contestants write a flash with a criminal theme that explores motives. The fabulous Mike and Hugh join her as partners in crime, judging it, that is.
October 31: Rodeo Event #8 is my own creation I’ve been excited to share with you all. It’s called The Ultimate Flash Fiction (TUFF) and will be the final contest in the Rodeo. It’s also the basis for a workshop I’ve developed. It will push participants to create, cut, cut, cut and revise. It promises to be tough but rewarding!
The Ultimate Flash Fiction imitates the five steps of writing a book. It’s a progressive, five flash writing activity. Your own results will surprise you and improve your approach to book writing. This advanced challenge welcomes all writers, especially those who write books or want to better understand how.
It’s a five step process:
- Free write for five minutes;
- Write a 99-word flash fiction;
- Reduce it to a 59-word flash fiction;
- Reduce it to 9-words;
- Build it back up to 599 words in three-acts.
What if I told you this is how you write a novel?
- Draft an idea (plot, free-write, NaNoWriMo);
- Write scenes and structure chapters;
- Cut scenes and rearrange chapters;
- Reduce entire novel to 9 words;
- Build it back up, fill gaps, connect emotional arc to action, and complete three acts.
That’s the Rodeo line up! Watch for promotional details and share as you see postings come up online. Check out some of the revised pages at Carrot Ranch (barn building in progress). There’s new artwork that’s fun and capture’s the spirit of the community. Check out the Home page and the new Flash Fiction page with nicely polished rules (thank you, Norah) and the fancy chart for TUFF. A hearty thanks to D. Avery for lending her wit and yarns to the Ranch, as well.
Even the Contact page has a bit of new art. Use it to tell me what you think of the new pages, TUFF or any questions you have about the Rodeo of Flash Fiction Contests.
Grab your pens, mark the dates and share the promotional icon to encourage others to join the Rodeo! Remember, the party kicks off October 3:
I have this analogy at Carrot Ranch: That the path to publishing a book is like a rodeo ride. My father, his father and his father were all bull-riders. My father gave it up after high school. I really wanted to ride bulls, coming from a family that did so. I rode training barrels, goats and steers. I never made it to the level of bulls. If I had, all I would have needed was one eight-second ride at a rodeo to prove my merit. I never got the chance.
Now it’s about writing novels. I’ve been a professional writer for more than 20 years, mostly publishing in newspapers, magazines and business publications. But I’ve trained to write novels. It’s a bit like my childhood, comparing my writing experience to that of training with goats and steers when I really want to ride bulls. Every lesser step matters though. It’s how you develop skills and practice your craft.
Also, other life experiences matter.
Parenting teaches you a certain kind of dedication that a job does not — you can always change jobs. Every job teaches you something of value, even if it is the recognition of what you don’t want to do. It can teach you the value of teamwork, negotiation, administrative skills. When you feel stumped about how to ride a bull, think back to what it was like to ride a goat or steer. Back up to what you know and look for connections from your experience to take you down an unknown path.
Publishing is the big dream. Think big. Dream big. Publish. However, it’s not quick and easy.
When I first set out, I was so certain I’d ride the biggest, baddest Brahma bull the rodeo had to offer. I would get published. Turns out, that requires getting an agent and the agent brokers the ride. It’s a long process. In the meantime, I kept writing. With my third WIP, I discovered that genre really does matter when it comes to getting published in the bigger arena. This means I won’t get my chance to ride until I finish revisions on my third. And just because a publisher is interested to read doesn’t mean it will get picked up. I have much anticipation on one ride, but it is a strategy and I’m committed to see it through to success or failure.
Well, no one can take from me what I’ve already written. If one ride doesn’t work out, there are plenty more rodeos to aim for. I will most likely consider a new strategy or shop it out to other publishers and agents. Then there is self-publishing.
Self-publishing has remained low on my list of rodeos to consider. To me, it’s like aiming for the county rodeo when I really want to ride at the Nationals. However, it can be a legitimate strategy for authors. Some start with the county rodeo with the intention to get picked up for the national ride. Others enjoy the county rodeo and that’s where they want to be. Many are successful there. It doesn’t matter which rodeo you want, as long as it fits the ride you seek.
While some might think self-publishing is an easy ride, they speak from a lack of experience. It requires a writer to provide more, and to understand book publishing regardless of your entry point. It’s one thing to know how to ride bulls, but do you know what each rodeo requires of you? Self-publishing requires specific skills and planning. It’s more than knowing how to upload a digital file. It requires every step that book publishers take. Thus the author becomes a publisher. It also puts your book into the same market. Thus the author becomes a distributor.
The P-word: planning. Not every author likes the p-word. In fact, a successful author I follow had a hard-truth-response to an author who said they’d self-publish and see what happens. C. Hope Clark, author of several mystery series and the weekly Funds for Writers, responded:
“I have no problem with people writing as a hobby. I encourage it, actually. I have no problem with people publishing as a hobby. I encourage that, too. But . . . when they hint that they do not have the time to do it right . . . when part-time is an excuse for not doing it thoroughly, I just want to get to a microphone someplace and rant!
Of course ranting to anyone is not the way to make them understand. I don’t want someone shaking their finger at me, either. So I try to educate.
1) A book not prepared with a professional eye, will not sell.
2) A book not edited hard by people other than the writer, will not sell.
3) A book placed on Amazon with no steady promotion, will not sell.
4) A book published without the author marketing herself, will not sell.
One gentleman threw those words at me, “and see what happens,” and I simply replied, “It won’t sell.” He looked like I’d slapped him.” (Read the full post, “I’ll Throw it Out There and See What Happens.”)
Planning is essential. I love the craft of writing, too; I love creation, to create, to dwell in the hum of creativity. But I want to ride bulls to make the purse. In other words, I want to publish what I write to earn a living. I’m not so ignorant of the state of this profession to not see how difficult that is. In fact, it’s why I equate publishing books to making a rodeo ride. But consider this: I have student loan debt for a writing degree; I worked in the trenches at newspapers, magazines and in marketing departments; I workshopped my craft on my dime each year and invested money in craft-related books. This isn’t a hobby for me. And just as I have nothing against those who do write for a hobby — I know and admire many who are on this path — I want to help myself and others who are serious to make writing a viable career.
If you do plan, understand it can take years to come to fruition. I wrote a guest post for Rachel Poli about planning and how it’s part of establishing your writer’s platform. You can consider three different plans, all or one. A vision plan is great for all writers. It helps you understand what you want out of writing, an answer only you can give. Once you clearly see your vision, decide if you need a business or marketing plan. If you are having trouble keeping to your plan, adjust it.
Don’t beat yourself up every time you fall off the bull. You will fall off the bull 8,000 times, but you only need one eight-second ride.
You will fail to meet your plans. You will be rejected by others. You will fail to convey your ideas in words. You will experience disappointment. Don’t linger in disappointment (back in the 1850s, it was a common reason for getting committed to an insane asylum). Connect with other writers who are on similar paths. Study the rodeo rides of successful authors and absorb that the ride can be done. Find your voice and use it. Acknowledge your falls, but get back up and try again. You might even want to quit for a while until the itch to ride brings you back to the arena.
The purpose of this post is to give a backstory to posts to come. I’ve been working to define a writer’s platform as what you build from branding, community, credibility and audience. Currently, I’m stuck on audience building. It’s similar to building community, but often harder to make the connection. Community is getting to know your fellow bull riders. But say you had to fill the grandstands with rodeo attendees. Sure, a few bull riders might attend, but most are going to be in the arena with you. So, how do you find people to come watch the show, buy tickets and see your ride? That’s the same question every author has — how do I get people to find my writing, buy my book and read it?
I’m also exploring the world of publishing, specifically self-publishing. Currently the Congress of Rough Writers are collaborating on our first anthology. Sarah Brentyn is riding as Trail Boss; she’s our editor. Volume 1 will include flash fiction from our first year of writing at Carrot Ranch and will introduce several chapters of new work, including essays from our memoirists and longer stories from our featured fiction writers. Sarah Brentyn is also writing a chapter to make this anthology a teaching tool for book clubs, writers groups and classes. Several writers are assisting on teams to guide the processes involved. We plan to self-publish. As Lead Buckaroo, the planning is my task.
What I’m learning is that the marketing channels for traditionally published and self-published books are the same. The difference is what and how distribution is available. Another difference is that as self-publishing, I’m the publisher.
Subsequent posts will explain:
- the marketing channels,
- the role of authors,
- each publishing requirement,
- the process of planning,
- ideas on pricing,
- how a writer’s platform applies to the anthology.
An anthology is a way to explore at low risk. Each participant is risking little on this ride. If it’s successful, it benefits many. It it fails, it doesn’t take down any one writer’s hard work, like a full novel. If I fail, I learn from it. We can always try again. My hope is that the anthology becomes a practice arena of sorts. We can experiment with self-publishing, pricing, distribution, platform and even craft and content, which are all lessons we can individually apply to our greater individual rides. As a group, we have greater experience and skills to share, too.
Stay in the saddle! Once a week, I’ll post something new from what we are doing, learning or discussing. Feel free to add to discussion in the comments.
It’s Monday morning, 1 a.m. so technically, I think it’s Tuesday. But I have had a huge breakthrough, the one I needed. A mighty big THANK YOU to Geoff Le Pard who took time from his Nantholgy to review my research dilemma and explain it in clear terms that made sense. Not only did it make sense, but it led to a revelation.
Two secretes held by Sarah Shull — who shot Cobb McCanles and why was Cobb accused of absconding with taxpayer’s money in North Carolina. They both were intelligent. In fact, that’s the basis of their attraction. Mary was beautiful, a fine cook and loving mother and Cobb adored her, but he couldn’t resist his wicked urges or ambitions of the mind and body around Sarah.
The revelation is that the duo repeated their deed scheme in Nebraska. It’s been there all along in the documents and histories. No one has seen it for what it is. I even felt sorry for Cobb, thinking he kept selling land or bridges or wagons and having to collect them and sell them again to someone who would pay in full. But what if he never intended for anyone to pay in full? Geoff set off my realization when he said Cobb, as sheriff in North Carolina, would have kept the deeds in his dealings. So many historians have written about his selling terms which included…him keeping the deed. He’d get some money out of each buyer, but retain the deed and sell again to someone else. And all the while, Sarah kept his books.
I revised a scene tonight and feel like I have the right tone between the two. While this is a big breakthrough, revision continues to be daunting. Irene Waters said something last week about a page and a half a day; 179 to go! And I thought, that’s why this feels so intimidating — the mind only sees a mountain to climb when all we can do is muster a step or two, but have to reach the peak in an impossible stretch. To all fellow writers in edits and revisions and new drafts, stay the course!
And here’s a bonus scene from today’s revisions:
KATE SHELL by Charli Mills
“You need to go by another name.” Sarah McCanles, Leroy’s pinch-faced wife cleared the evening meal.
Sarah slowly rose to help and calmly replied, “My name is Sarah, too.”
“Leroy, honestly, it’s confusing, two Sarah’s living here and working in the store.” When Sarah McCandles’s voice pitched to the volume of a whine, Leroy grabbed a jug and indicated with a toss of his head to Cobb that they should go out on the front porch.
Sarah envied the men their retirement to the cool evening air. “Do you ever go by another name? Like Sally?”
The other woman frowned, creating creases in her forehead. “Sally. That’s for old ladies. My mother had an Aunt Sally. Oh, do please change your name!”
After the dinner dishes were washed and dried, Leroy’s wife shuffled the two little ones off to bed and Sarah slipped outside. Cobb made room for her on the rough hewed bench. Leroy leaned against the post, staring out into the darkness. “Mountains, that direction,” he said.
“Pining for mountains again, Brother?” Cobb pulled back on the jug and took a long swig.
Leroy turned around and noticed Sarah. “Ah, it’s Sare-Bear.”
“Sare-Bear?” Sarah smiled at the silly name.
Cobb looked at her, his eyes slightly glazed. Liquor or lust. “How about Bare Sarah?”
She poked him in the ribs. “Behave, Mr. McCanles.”
“I’m behaving,” said Leroy.
Sarah shook her head. If ever two brothers had matching mirthful grins, it was this pair when in each other’s company. Too much whiskey though and they were trouble.
“Kate!” Leroy’s wife stepped outside and all three turned perplexed looks her direction.
“Who’s Kate, Wife?”
“She is,” pointing at Sarah.
Cobb chuckled low in his chest. “You were a bonnie Scot in disguise all this time.”
“I don’t think so. No one seems to be confused. Traders respectfully call you Mrs. Leroy McCanles, and they call me Sarah.”
“I hate that! My name ain’t Leroy! You can be Kate and they can call me Sarah. Kate Shell. That’s your name and I’m going to tell everyone it is, that’s all there is to it.”
“Oh for fuck’s sake, woman!”
Everyone turned to look at Leroy who seemed more surprised than any at what he just said. His wife, eyes wide and filling with tears, screeched and ran back into the cabin. Coyotes across the flat responded with yips.
“Leroy, there’s a reason our father always said never swear in front of the women folk. You might be sleeping in the barn tonight.”
Sarah covered her face with palms to hide her want to laugh.
“Damn it. I—” Leroy looked sideways at Sarah. “Sorry.”
Sarah couldn’t hold back and laughed loud.
Leroy reached for the jug, but Cobb held it back. “Think you had enough, already.” He joined Sarah in laughing. Leroy headed to the barn, muttering and a few words Sarah could distinctly detect as swearing.
Cobb walked her across the dark yard to the back of the stone structure that would be the post office soon. She stepped through the door and turned to face him, leaning against the frame. “Come in?”
He breathed deep like a man smelling dogwood blossoms. “Best get home to Mary.”
“Hey.” Cobb reached for her hand.
It felt small, gripped in his larger one. “Yes?” Her voice was breathy and inwardly she said a few of Leroy’s choice words.
“I’m thinking of selling the toll-bridge.” He kissed the palm of her hand.
“I wondered when we might get around to such.” She smiled like a real mistress.If she couldn’t have Cobb in her bed, she could have his clever ambitions to plan and hide.
“Think of some terms. Goodnight, Rosebud.”
Terms. Yes, there would be terms. Down payment. Deed, of course, she’d keep that filed. Difficult terms to meet. The new owners would never really own it. He who has the deed…it was her comforting thought as she readied for bed. Kate Shell. Maybe she could take an alias. No matter. Folk would be slow to catch on in this Territory. Rumors seeped out of North Carolina, but no one really understood how Cobb made off with the cold hard cash and left the bondsmen bickering over land deeds. It would take Weith years to sort it all out. Before turning down the covers she lightly tapped her fingers on the leather ledger.
No one knew Cobb like she did.
NanoReviSo is an acronym of my own making. It’s a nod to one of my favorite drafting tools, NaNoWriMo, which officially began yesterday, but acknowledgement of where I’m at in my writing process this November — revision.
Week 1 began with a bang; I might have broken my big toe. It’s swollen in all the wrong places and is a purple bloom of bruising. It’s my big toe on my left foot which has been my tripping toe for years. It’s the toe that I thought would cause me to break other bones, but ironically, I broke it and on the eve of NaNoReViSo.
It reminds me that I will revise Rock Creek by December 15, “no matter what.” No matter if I feel overwhelmed by the volume of material I have. No matter if I doubt my plot arc. No matter if I have holes in my history that I can’t find plausible answers for, including an entire year (1858) when none of my historical counterparts to my characters did anything. It’s like 1858 slunk into a fog. No matter. I’ll get this.
Even if I did break my toe.
What’s a big toe to a writer anyhow? Well, it can become a distraction. Distractions are why I’ve set an hourly increment to two vital processes, revising and reading. Revising is much messier than drafting. It’s parts of writing: part dismantling, part tinkering, part building up, part organizing, part tightening. When you are dealing with 70,000 words or more, it’s like looking at a Lego creation, one piece at a time strewn across the floor. Reading is yet another part. I need to find unanswered history questions, re-read vital primary documents, read chapters and scenes with a critical eye. Distractions easily upset the process.
Thus, I’m using hourly increments the way NaNoWriMo fights distraction through a daily word count.
I’m hoping to discover revision bliss. NaNoWriMo helped me discover that my drafting bliss occurs at word 900. It can feel like painful slogging to write a scene up to 900 words, but after that, the story takes shape or the characters reveal themselves through dialog and the remaining words flow. Will I find that with revision? I hope so!
My plan is to dive in and not be intimidated by the work I know I need to do. I have historical timelines to shore up and an arc to build from my idea of the original arc I wrote. I might have made this too complex, writing from multiple points of view (POV) and starting with a story timeline that weaves in and out of the 1930s and the 1850s, all headed to a final revelation of what really happened July 12, 1852 at Rock Creek Station in Nebraska Territory. I have to be prepared to defend my theories, my fiction that is rooted in fact and a plausible conclusion.
No distractions 5 hours a day while attending to other responsibilities and icing my purple toe. I prepared by creating to-do lists for the other responsibilities over the next six weeks and by designating a week off, even from those tasks. I prepared by finishing out the last of the firewood hauling from the mountains (and the weather agrees with my plan, it’s now to muddy and snow has hit the higher elevations). I prepared by cleaning my house, decorating with fall candles and leaves, shopping to stock up my pantry and freezer with groceries, and baking a cake.
It was in baking the cake (not hauling firewood) that I broke my toe. Who breaks their toe mixing batter for a yellow buttermilk cake? Me, apparently. I accidentally knocked over my heavy Pyrex measuring cup and it landed square on my big toe and felt like an iron rock. Kitchen accidents do happen, but they seem ridiculous. Sympathy withers when you say, “Oh, I did it baking a cake.” Was it somebody’s birthday? An anniversary?
No, it was just the start of NaNoReViSo.
To all my fellow writers doing (or not doing) NaNoWriMo and to my special NaNoReViSo buddy, Sherri Matthews, go punch someone in the gut! Make those readers feel your words! Stay the course, no matter what.
Little did I know that when I slung the “ranch open” sign on a literary project called Carrot Ranch Flash Fiction Challenge that I would find some of the best writers in the world. As a Rough Writer, Geoff Le Pard has been one of the most prolific flash fiction contributors, writing an entire saga week by week, 99-words at a time. His dedication and enthusiasm for craft is inspiring! He’s the author of two novels, and joins us today to discuss the importance of beta readers to his second novel, “My Father and Other Liars.”
Welcome guest blogger, Geoff Le Pard, to Carrot Ranch.
My beta readers have been critical to me: how did I find them and chose them and what does having informed and knowledgeable beta readers mean to me?
I learnt early that no book can be created in isolation. It needs to be read and read by people who haven’t lived, eaten and breathed it for months, years maybe. Even writing for yourself, you will not spot what doesn’t work, you will misdirect yourself over plot errors, character inconsistencies and unbelievable story lines. It is easier to suspend one’s own belief than have others do it for you.
That’s where Beta readers come in. And they are gold dust.
Let’s just get a definition out the way. Beta readers don’t edit. Sure they may spot typos, may be grammar nerds, may be brilliant at spotting clunky dialogue, fantastic at picking up continuity errors but, for me, this isn’t why you use them.
For me they do two things.
Firstly they replicate your final reader. They are the one time reader who needs to be drawn in, wants to turn the page and see the story with the clarity of a committed reader. Therefore asking someone who is a fantasy nut to read a piece of kitchen sink human drama is rather pointless. Clearly countless people read widely but they aren’t always available. Just be a bit careful who you choose because you want someone who has the chance to be engaged in your story.
What you want is an honest appraisal. And that is difficult to give. People don’t want to offend. We read about a number of people who say they won’t post a review for an Indie author if it’s less than 4 stars. Which is fine and grand but would be useless in a Beta reader. For me at least. If it’s two stars I need to be told.
The people who can eviscerate my novel are perfect for me. Sure I don’t want gratuitous criticism but if it’s pointing out a failing I’m not that concerned if it’s wrapped up in brown paper or in nice jolly wrapping paper or unwrapped. I have between four and six people I’ve learnt to trust but with every book I try and involve someone new. You never know. And those who give it a try, often not sure if they’ll be any good, turn out to be excellent.
Because My Father and Other Liars has taken about five years to reach this point, it’s probably been read by upwards of ten people. Of those, four have given it a nod and nothing much more and the rest have done me the biggest favour someone can do a writer; they’ve given their work detailed attention and spent time articulating what they thought about it.
The second use for me, is the specialist reader. With My Father and Other Liars I have really needed expert help.
As I explained over at Annecdotal, there is a lot of science – and especially genetics, life sciences and biology – that underpin this book. I gave up biology in the second year, year 8 at school. When my children had biology homework I nodded in another’s direction. It was beyond me. But I researched and checked and read and listened and I thought I had it pretty clear. But still… Then the Vet mentioned one of her friends who was just finishing her Biology degree at Oxford. ‘Would she…?’ I wondered. Yes she would. Indeed a second Biology grad asked to read it. Between them I had several lectures, a deeper understanding and a much better book.
The second area, which I discussed over at The Daily Echo, was the subject of locations. I moved my story around, crossing the Atlantic. Washington, London, New York, Surrey, San Francisco and Northampton. I’ve been to these places, I’ve developed a sense of what they are like. I feel I can describe them with a degree of accuracy. But two locations caused me some trouble because in one case, I’ve not been and in a second I made the place up and stuck it in the back of beyond in Oklahoma!
Nicaragua was the first of these. It’s a Central American country and I used a real city, Leon. If people have been they may have questions for me that I may well not be able to answer. I’ve researched all I can; my son and his girlfriend visited and gave me great feedback, but at the end of the day it may sadly fall short. I hope not. People who have read the book and have a sense for Central America feel it passes muster but still I worry. A Nicaraguan beta reader would be marvellous (I still have one possibility, but that would be for the second edition!) You may ask ‘Why not change the story?’ ‘Take it somewhere you know about.’ Sadly the story demands a Central or South American setting and Nicaragua was perfect.
Sometimes you do your best and then hope some!
The second location and one I feared for most was the fictional town of Beaumont in Oklahoma. My fictitious Church needed a fictitious home and it needed to be remote, and in the Bible belt states in the US. On a metaphorical toss of the coin I came up with Oklahoma. I read about the state, I did all the usual Google earth stuff but still. I placed it close to the Panhandle and wrote away.
Months, nay years later and I’m asking for some beta readers. To my American friends I asked if anyone knew anyone who lived or had lived in Oklahoma. Charli, my host today pings back. Her fellow in-law – her daughter’s husband’s mother – hails from Oklahoma. Better still she grew up in a strict Baptist environment. Better than that she wanted to be a Beta reader. Joy and double somersaults all round. Paula not only gave me a sense of place but she pointed out timing fallacies, errors in how the local airports work in practice, the ubiquity of the red dirt and the language ticks as well as lots of good stuff around food that added nice little touches to the narrative.
There. The benefit of blogging to a writer in a nutshell. I’d never have found Paula Moyer without blogging, never have got the introduction. My Father and Other Liars is a tale that romps hither and yon; its pace defines it. Yet if something like the location descriptions, just as much as the language of the characters, jars with any of the audience, it’s like driving with the hand brake on. Possible but deeply unsatisfying.
I’m deeply grateful to each and every reader. Some gave me a few sentences but each of those are like rivers of nectar from the gods. Those who sent me pages of thoughts, or a manuscript dotted with tracked changes and comments, I’m both touched and emotional at the thought of the effort involved. You all are part of this project, every one of you. Thank you.
His first book, Dead Flies and Sherry Trifle can be found here:
Geoff Le Pard started writing to entertain in 2006. He hasn’t left his keyboard since. When he’s not churning out novels he writes some maudlin self-indulgent poetry and blogs at geofflepard.com. He walks the dog for mutual inspiration and most of his best ideas come out of these strolls.
Be sure to catch more guest posts from Geoff Le Pard in Week 2 of his Blog Tour at these fine blogs:
When Anne Goodwin rode up to Carrot Ranch with her first flash fiction challenge, I knew she was competent in the saddle — Anne knows her craft. With 61 short stories published, it’s no surprise Inspired Quill picked up her debut novel. However, like many skilled writers, Ann was reluctant to promote her work. In her guest post, Anne addresses how she mastered the launch of her debut novel.
Anne Goodwin, Guest Blog:
I’ve enjoyed Charli’s posts on writer branding, even as I bristled at the idea of considering myself, or my output, a commodity. Yet now I have a genuine product to sell in the form of my debut novel, some of Charli’s expertise must’ve rubbed off on me, because I’m determined to do the best job I can in getting my book to readers. This is very much an idiot’s guide cobbled together from the things I’ve done, or wished I’d done, in the process, and is particularly targeted at the anxious writer who balks at the idea of self-promotion (i.e. most of us, at least in the beginning). I can’t guarantee that following these steps will result in phenomenal sales. I can’t guarantee that it will remove all discomfort from the process. But I do believe that by confronting and managing our anxieties as outlined here we can be confident we’ve given ourselves and our books the best possible chance of success.
1. Cultivate your communities
This isn’t about forging friendships to flog your books. Not only is that slimy and cynical, it’s probably ineffective. But, on the other hand, there’s no point being a shrinking violet. Your relationships, both on and off-line, are an important conflict between you and your readers. This doesn’t mean, as an introvert (as many writers are), you’ve got to transform yourself into a socialite. It’s more a matter of not neglecting those ordinary human qualities of generosity and friendship. I’m not a great networker, but it turns out I have sufficient social capital to generate a mammoth blog tour that’s now in its fourth week and two launch events with forty or more people at each. If I, with a little thought and preparation, can achieve that, just think what Charli Mills, lead buckaroo of the Congress of Rough Writers, could achieve with all the goodwill she’s generated through her support of other writers.
2. Edit your way to a book you can be proud of
Let’s assume you’ve written the best book you possibly can and have secured a publisher or made the decision to self-publish. Isn’t it strange that, no matter how many edits you’ve gone through already, as soon as publication flips from an impossible dream to impending reality, you notice all kinds of new problems with your novel? Now’s the time to bring all those niggles to light and address them, not only for the obvious reason of enhancing your readers’ enjoyment, but also because anything that makes you feel awkward or apologetic about your words will be a barrier to promotion.
So, whether you’re publishing yourself or traditionally, you need to make full use of your editor. Their role needn’t only be to point out what they think can be improved, but to help you sort out any areas with which you aren’t one hundred percent happy. In my own experience, my editor’s suggestions enabled me to look more critically at my novel and make cuts and amendments to sections where she hadn’t felt it necessary to wield her virtual red pen. My editor was also able to reassure me about sections I thought were perhaps a bit iffy; if you trust your editor (and if you don’t perhaps you should find another) it’s a marvellous boost to the ego to receive her enthusiastic endorsement of your words.
3. Work through the limitations
A thorough edit should lead to a text you can be proud of (at least for the moment; many authors report still finding fault with their novels years after publication). Yet perhaps there are still aspects that make you cringe when you think about it making its way in the world? You might worry that you’ve tackled a controversial issue in a way that might upset some readers. You might fear that certain experts will criticise the shallowness of your research. You might be anxious about the overlap between the events in your novel and your own life: will people misconstrue your fiction as autobiographical or will you struggle to keep the personal personal in discussing your book? You might just be concerned that your mother, your hairdresser or your next-door neighbour will think it’s a load of crap.
It’s important not to dismiss such concerns; if you deny or belittle them, they’re more likely to hold you back. Discuss your feelings with trusted friends, your editor, other writers, a therapist. Go to events and observe how more experienced authors manage these areas in relation to their own work. For example, I found it extremely helpful to watch local author, Eve Makis, respond to a question about Armenian history (featured in her novel, The Spice Box Letters) from a reader with an Armenian background (and to discuss the parallels with my own novel afterwards with a close friend).
Your book, especially if it’s fiction, is not the definitive take on a topic, and nor is it meant to be. (It just feels like that, because you’ve spent so much time absorbed within it.) Readers are free to take from it what they wish – and that’s a good thing. But it’s worth addressing your anxieties about creating the perfect book so that you can allow it to be different things to different people.
4. Identify your potential readership
Make a list of everybody who might be interested in reading your book – and I mean everyone! Don’t limit yourself to people you can be fairly sure will like it, or like you enough to pretend they do. Think big and, at this stage at least, don’t let thoughts about the awkwardness of contacting them get in the way. Potential readers include, but are not limited to, anyone who knows you, in whatever role (not only writing), or has known you in the past; people who read your genre; people local to you or to your novel’s setting; and, for an “issue” based novel like mine, communities with a personal interest. I’ve been surprised by pockets of support in places I didn’t expect it but, two and a half weeks post-publication, I’m still knocking on doors I thought would be easier to open.
5. Identify ways of connecting with your readership
If you’ve done Step 1 and cultivated your communities and Steps 2 and 3 to produce a book that people will be happy to champion, you will have a lot of people who genuinely want to get the word out. But going beyond your immediate circles takes a little more courage. To get author and expert endorsements, you need to make contact well in advance of publication and to risk (as with those initial submissions) them telling you they don’t like your book. To get reviews, you need to approach reviewers in a courteous manner and accept that they’ll tell the world what they don’t like about your baby, as well as what they do. If you’re self-published, or with a small press like me, it’s amazingly difficult to get your books into bookshops, but often worth approaching your local favourites to give it a try. If they won’t stock your books, they might host you for a signing session, although with the big chains, even this is proving difficult. Some libraries are more amenable, however, especially if you’re doing author events. Don’t forget the local media, both print and radio. They are always pleased to celebrate an achievement, especially if you can demonstrate some connection with the area. I’m expecting to be in my local newspaper this week, in time for a library event the following Tuesday. I also had a feature in a newspaper that had previously published my short stories as part of a regional competition.
6. Make those connections in as pleasurable away as possible
You won’t be able to do everything, so you need to prioritise. If you’re time poor, you might feel it’s not worth your while to write lots of guest blog posts, as I’ve done. On the other hand, if you enjoy writing articles, or want the opportunity to develop your skills in this area, it might be something to invest in. For the things I found tedious (e.g. contacting a local printer to produce some flyers for my launch events) or scary (having a slot on local radio) I focused on the learning opportunities afforded rather than enjoying it or doing it well.
If you’re particularly daunted by the whole thing, perhaps you should go for quick wins to build your confidence. A launch party is great fun, even for shrinking violets, and I was touched how far my guest had travelled and how pleased they were to have been invited to mine.
Making it pleasurable for your supporters is bound to pay dividends. Write good content for those guest posts (obviously, this one is an aberration). Respond promptly to any queries and thank them for their contribution, however small. Because after all, a writer needs her readers. And you might want to do the whole thing again with your next book.
What strategies have you found most useful in promoting your work? What has been most difficult?
Anne Goodwin writes fiction, short and long, and blogs about reading and writing, with a peppering of psychology. Her debut novel, Sugar and Snails, was published last month by Inspired Quill. Catch up on her website: annethology or on Twitter @Annecdotist.
As a writer riding the rodeo circuit to get published, my recalculations are not always because of missed turns or errors. Sometimes, I see a new opportunity or connection. I tend to grab the bull by the horns, but often find I have a corral full of bulls and have to figure out what next.
My corral is full at the moment, and for a pantser, that feels good. I like the energy of having multiple projects in the works. My overarching goal to publish books is always my priority. My motivation remains high when I feel inspired and connected.
However, my friend Kate, who despite having terminal cancer, remains a wise council for me. She pointed out that while I write down my goals, I should also write out my full plan. Another friend also once advised me to create an individual business plan for each of my books. I certainly know how, but as a pantser I tend to balance it all in my head. To that, Kate reminded me that when you write it down, you have a better chance of succeeding.
“Goals in writing are dreams with a deadline.” ~Brian Tracy
While I balk at self-imposed deadlines, I do know that I want my goals to come to fruition. I have several written down beneath my overarching goal of publishing, but perhaps it is time to plot more deeply. After all, that is a recalculation I do in my writing process: I draft freely like a pantser, but buckle down and revise like a plotter.
“Goals allow you to control the direction of change in your favor.” ~Brian Tracy
And change is blowing across the prairie, nudging me to change direction. My goal stands, but my tactics need recalculating because of recent opportunities. This is why I like having a corral full of bulls — more bulls, more rides and a better chance to make the ride I need.
I intended to publish Miracle of Ducks first. It makes sense; it’s complete, professionally edited and my first manuscript. I took it to LA, met with a publisher who advised me to find an agent, and met with an agent who declined. I messed up my first submission, uploading an earlier draft and was told that I didn’t have enough social media. I’ve not heard back from any agents since.
So weird thing happened on the way to the rodeo…a publisher answered an email I sent seven months ago. She asked if I was still working on the project, Rock Creek, which is my current WIP still in draft form, awaiting research for gaps I discovered in the writing. She expressed interest and advised me on how to submit the manuscript.
You might be wondering why I was contacting publishers about an unfinished manuscript. It began as a call to an editor of a western history magazine to ask if she’d be interested in research that I had from a distant cousin. I thought I could pitch the copious amounts of research I have on the topic of the shoot-out at Rock Creek, Nebraska. She was clear in what her magazine publishers wanted and I filed it away for the day I could pitch it as an author because magazine articles in big publications can help promote one’s book.
But first one must publish (write!) the book.
The editor also gave me two great leads in regards to my writing: one was for an association called Women Write the West and the other was for a publisher who is looking for new women’s voices in the genre of western historical. I wasn’t sure about signing up for the association until I was further along on my western book, but I took the opportunity to write the publisher.
In my mind, I hear Garmin stating, “Recalculating…”
No hard fast rule says my first novel has to be my first manuscript. Over the past two weeks, I’ve played out several what-if scenarios in my mind. The more I think about it, the more it makes sense to get Rock Creek finished and reviewed by an interested publisher. I could join the association, pitch my research articles and opt the manuscript movie rights to an interested feature writer and director. Um, yeah, about that…
While posting the flash fiction that got me started down the road to write Rock Creek as a novel, I was contacted by a feature writer and director who was working on an undisclosed television project that included the life of Wild Bill Hickock. The producers wanted to include the Rock Creek incident as a turning point in Hickok’s life. The feature writer found Carrot Ranch because I had tagged both the place and the gunfighter’s name.
As of last week, I now know the name of the series with which I shared my research. I’m not a conservative so it stunned me to realize that I shared with Fox News! The show is Bill O’Reilly’s Legends and Lies: Into the West. The episode about Hickok is called, “Plains Justice.” I already know that the producer’s goal was to show Hickok in a white hat and McCandles in a black one, so the outcome will not surprise me. The good news is that there remains much interest in Hickok in general and in what happened at Rock Creek.
My contact on the project told me:
“This is all very interesting. During my research, the Rock Creek incident is the most cloudy and confusing. After every email and phone call with you, it seems to gain clarity. You are at the forefront of knowledge of the subjects involved and what really happened that day. Keep tackling and uncovering, Charli!”
It seems the stars are aligning over Rock Creek.
So what is holding me back? I wanted to publish a novel before Rock Creek because I feel the need to build my credibility, after all I’ve not published a book before. Without a book, I feel like everyone is excited over my idea, but they might think my novel-writing skills are less than expected; they are unproven, and that creates the doubt I’m battling.
Also, I feel an odd sense of disloyalty to Miracle of Ducks. I know I’m not abandoning it, but I would shelve it. Instead of finding an agent for generalized women’s fiction, I would have a publisher in a genre I love. I could always self-publish Miracle of Ducks after I build up a better author name, or if I fail at Rock Creek, I could return to my original plan.
As I recalculate, is there any sage advise for me to consider?
We tend to stick close to familiar territory. When I was a little buckaroo riding at the Bolado Rodeo and Saddle Show, I knew every inch of the arena at Bolado Park. I knew the back ways, where the stables were located and how to find my cousins to share a can of Coke. When I rode there, I felt at ease.
As a teenager, I entered a horse event with my friend who lived in Carson City, NV. I couldn’t trailer my horse so I rode one unfamiliar to me. The event was new and so was the arena. Trying to find where we were to queue up for a parade entry, we trotted our horses past a camel that spit at us. I felt unsettled.
My ride to get published has pushed beyond my familiar arenas. Anytime I read posts about marketing I feel connected. Marketing is familiar. But when I read posts abut the book publishing industry, my eyes boggle in my head. The temptation is to pass and bookmark such posts or articles for later.
But later is now. I need to get familiar with the different arenas of traditional, hybrid and independent publishing. Traditional is my first choice. So is riding my own horse. But sometimes our first choice is not what we get. The more familiar we can become with different arenas, the better.
In my own newness, I don’t have much to say about Amazon. I know it is the number one retailer of books. I’ve read posts on rankings and reviews. I buy lots of books from Amazon and I’m researching how to become an affiliate to boost the sales of books from the writers I know in my Bunkhouse Bookstore. Yet, not everyone likes or sells on Amazon. But that’s about the extent of my knowledge.
So I want to share an important post that I read today; one that gave me greater insight. You see, when we know more about the arena where we might ride, we feel more at ease. I hope you will find this post informative. It’s called, The Top 10 Things All Authors Should Know About Amazon by Brooke Warner.
Also, I’m researching Bibliocrunch, which is a platform that helps authors publish books by connecting them with pre-screened publishing professionals. One of my writing mentors sent out a letter from the CEO of Bibliocrunch announcing free downloads and books for authors through the first week of March. You do need to create a Bibliocrunch account to get these free books:
What insights do you have to share on the arena we call Amazon?
February 20, 2015 marks a special occasion: bloggers around the world have committed to speaking out on compassion. #1000Speak. Voices unite. Words move mountains. Compassion is expressed.
Many will be writing today about topics, people and places they have compassion for. Some will write to share awareness. Some will tackle the daunting questions — what is compassion and how can we arouse it in others? Compassion is a deep well from which we can draw.
My take is literary compassion: how writing literature can be an exercise in finding compassion; how reading literature can be an entry point to developing compassion for people, places or causes; and how literary communities can be compassionate places to grow among other word artists.
Writing Literature: How to Find Compassion for a Soldier
My journey to write Miracle of Ducks was one to find compassion for my husband, a former US Army Ranger. Often we have compassion for war-torn places. We protest war. And we feel puzzled as to why anyone would volunteer to go to war.
Soldiers serve. I never really understood that about my husband because he signed up for the military and got out all before I knew him. I recall his mom saying how scared she was when she learned he was on a C130 headed to Grenada. In military history, “Operation Urgent Fury” was the shortest conflict that America ever fought. Many don’t even remember the event and other soldiers often scoff that it “wasn’t a war.” Even my husband minimized his experience until he went t a 20 year reunion for the event.
Thanks to a friend, I began to volunteer with soldiers in need of stress-relief. It opened my heart to my husband and understanding his experience. Soldiers are human. I began to feel compassion for those who have served so I began to think about a character who is trying to understand why her husband would suddenly want to go to Iraq 20 years after getting out of the service. My character, Danni Gordon, is left behind with her husband’s three hunting dogs. She even contemplates leaving him. But he doesn’t come home; he goes missing.
In this scene, Danni is coping with her grief by collecting the stories of war widows. She’s making an effort to understand why her husband Ike would have put himself in a war zone voluntarily.
From Miracle of Ducks by Charli Mills
“Okay, Genny. Thank you for taking the time to talk to me, today. I want to let you know I am using audio equipment to fully record your stories.” Danni explained and listened to the ear piece to make sure her voice, as interviewer, was picking up.
“And I thought you were just draping me in newfangled techno-jewelry.” Genny joked, sitting upright on the studio stool.
Danni smiled. “Just required to state the obvious: you’re being recorded. As I mentioned to you on the phone, I am a historical archaeologist, meaning I collect both written and oral data that can be used to assist with the scientific recovery of data from the ground.”
“So, one day when they dig up the war zones of this century, there will be oral data to support it?”
“Something like that,” said Danni.
“Well, honestly, I don’t know how much light I can shed on war or military.”
“Actually, I’m here to collect your story as a war widow,” said Danni sitting down opposite Genny.
They were in a tiny studio at Northland College in Ashland. Danni was using her skills to collect these stories from war wives and widows. If Ike could serve, she’d find a way to serve, too. It was like the time when Danni had been a fellow on Baffin Island and she used audio equipment in the field to collect the disappearing oral traditions of the Inuit. Back then, nothing had surprised her more than to hear throat singing first hand. She wondered what would surprise her today.
“Why are you doing this,” asked Genny.
“I’ve interviewed a woman whose husband was a pilot in WWII and several women in our community whose husbands have or are serving in Iraq. I’ve even met other women who were married to Vietnam vets and one who is the war widow of the Korean conflict. They said no one ever asked for their stories before.”
“Why me,” asked Genny.
“My husband served with yours. After my husband went to Brad’s funeral, he enlisted with a private security company and tried to explain to me his need to serve. I’m trying to understand. I thought your story would be important to this collection.”
“You do know that Brad and I were divorced almost 10 years before he was killed,” Genny said.
“Married or divorced doesn’t matter. Your story can communicate what it is like to be a war widow. Ike said you were at Brad’s funeral.”
Genny was silent, poised on the stool in the studio. Then she asked, “I’ve heard through the grapevine that Ike went over to train for Watersand Security. He seemed to get the ‘brother fever’ at Brad’s funeral, but I never did hear what came of him. Are you a war widow?”
“I don’t know. Ike’s been missing for 15 months. Officially, Watersand Security called off the search.”
“I’m sorry,” said Genny.
“I’m doing this because I want to hear something different than ‘I’m sorry.’ I’m trying to understand. When Ike came back from Brad’s funeral, raving about how he was needed over there, I thought he was deranged. I thought it was a mid-life crisis. Why do they put themselves in danger?”
After I wrote the novel I felt more compassion for my husband, his army brothers and those who serve. Writing literature can be a powerful experience and can bring about the understanding necessary to feel compassion for something outside our own experiences.
Reading Literature: Getting Readers to Care About Something
My second novel is still a work in progress and its working title is Warm Like Melting Ice. I found Will Steger’s Global Warming 101 Expedition across Baffin Island (2007) so profound that I have wanted to write about the people of Baffin Island ever since. In 2008 I had the privilege of hosting a farm tour and dinner for the first ever cultural exchange of high school students from Baffin Island to Minnesota. I wanted others to know about this cultural group. I wanted others to develop compassion for their plight with melting ice.
Here’s a video that shares a story that moves me. Note the compassion that the Inuit guide expresses in his statement:
Literature can draw us into to stories we didn’t know about. We meet characters in situations we didn’t think existed. We finish the book and know about a new place. We get curious about those who live there and we learn that climate change is a big threat. Suddenly, a reader who once dismissed climate change, has a change of heart. She’s found compassion through literature.
The following stories are from 21 writers who all took on writing 99-words of literature using compassion as a prompt. What we find in reading these stories is a variety of situations, points of view and understanding we may not have had prior to reading. Think about it. A reader can feel compassion in 99 words. It’s a seed, a beginning, a turning point. Literature matters: Stories of Compassion.
Literary Communities: Places of Compassion
It’s not easy, walking the road to becoming a published author. Some writers are content to blog, others call their writing a hobby and some work at it t build a career. No matter, each writer communicates with an unknown world. Negative comments about quality of writing or content, bad reviews or the difficulty of finding an audience can break down a writer’s resolve. A community can form out of like-minded writers, fellow pilgrims on the path, to take the sting out of sore feet.
“When we offer more to others than what we ask of them in return, good things happen. When we work to benefit the greater good of our literary circles, everyone benefits.” Lori A, May, author of “Why Literary Citizenship Matters.”
What does compassion look like in literary communities? It’s writers who focus on building up other writers, who point out strengths, who create safe places for writers to express voice or practice craft without judgement. Compassion is found in acts of encouragement, sharing experiences, reading, commenting, sharing writing. Meet the Rough Writers who form a compassionate literary group at Carrot Ranch.
Please take time to read about compassion for the bloggers supporting #1000Speak. Use literature to express, encourage and explore compassion.
We are writing around the world in one big literary connection:
If the ride to getting published is a rodeo, then you need to find places to ride. In other words, you need a game plan for your manuscript. Just as a cowboy might map out the range of rodeos in his area, so will a writer map out her places to present her manuscript. If a cowboy rides broncs, he won’t be interested in the bull riding festivals. If a writer writes mysteries, she won’t send her manuscript to a publisher of romance. Thus it is important to research the rodeos.
First, let’s clarify different paths to publication. We want to be clear on which rodeo we are seeking.
A writer has more options than ever to get published:
- Independent (indie) publishing (self-publishing)
- Commercial publishing (traditional publishing)
My rodeo arena of choice is the traditional publishing path. I received my Bachelor of Arts in creative writing in 1998. Back then, I was encouraged to seek an MFA to get published. I even met with a literary agent who voiced the same advice. Reality was that I needed to find a job before I could continue.
Fast-forward to 2012 and I was ready to make the leap to finish at least one of my manuscripts. In that span of time, an MFA lost some relevancy. First, too much time elapsed after my first degree and I no longer had professors to recommend me and second, I really didn’t care to go in debt any further on student loans. The return for income as a writer does not equal the debt for earning degrees.
So I skipped the MFA. But all along, I’ve worked at keeping my creative skills sharp by attending annual workshops on craft. And I built a writing portfolio from my freelancing. It’s important to keep creativity in tact, to learn and to grow. I also read books on craft and good novels that I truly enjoyed to read.
Next I had to do what I set out to do — write that novel! I took a different kind of workshop that focused on preparing a manuscript for book publication. It helped me arrange my scenes and eventually chapters. I sent it to beta readers and revised it. Then I sent it to an editor for an analysis and revised it twice more. After that, I sent it to an editor for copy-editing. And I revised, line by line in accordance to her changes and suggestions.
I mention all this because of the rodeo arena I have selected — commercial publishing. There is a higher standard and a concern for marketability. My choice means that I might be asked to use a different saddle or even horse if I get a chance to ride. That means, I might have to make changes to make it acceptable for publication because commercial publishing houses want what they think they can sell.
And the word “sell” is key here. It will make you answer questions like:
- What genre is your book?
- Who would want to read it and why?
- What other books are similar to yours?
- How is your book different?
- Will it sell?
If you are uncomfortable with these questions, take stock of that now. Because this rodeo arena is a hard ride! If you have a book that you want to publish the way you wrote it, traditional publishing may not be the right venue. In fact, you’ll most likely earn less profit. So why do it? Personally, it ties back to my own training in the craft and to get “picked up” would be to fulfill a long-held goal. It feels more “credible” to get published by a commercial house.
Those are merely my own thoughts. You need to think long and hard on your reasoning. However, if this is your chosen path know that we have greater opportunities than ever before.
For example, many large commercial houses have created imprints for specific genres. There are more smaller commercial houses and many are specific to the region where you live or to the stories you want to write.
Therefore, we’ve come to the most important strategy to make this publishing ride work: Research!
Once you have defined your genre and target audience, you need to decide if you are going to go directly to publishers or to a literary agent who can represent you to publishers. It depends upon the size of publishing house you are seeking (some only accept manuscript submissions from agents) and how much time you are willing to wait. It can be a long process to find an agent and longer yet for them to sell your manuscript.
If you are interested in smaller publishing houses, regional presses, or even the growing hybrids (like Booktrope), you most likely won’t need an agent. Whatever you decide, have your manuscript scrubbed clean (and don’t blunder like I did and send a dirty copy). While you are finishing the polishing touches (best achieved through a trusted and professional editor; I use the Write Divas) research the best matches for your manuscript.
How do you find the publishers (or agents)? Here’s several ideas:
- Subscribe to the magazine, “Writer’s Digest” or at least follow their editor blogs.
- Purchase a current copy of “Writer’s Market” that comes with an online publisher database (if this is not affordable, go to your local library and use the reference guide there).
- Subscribe to the free weekly newsletter “Funds for Writers.” C. Hope Clark often includes publishing houses and agents seeking clients.
- If you live in a large metropolitan area, use your telephone yellow pages.
What do you want to research once you find the resources?
- Look up your resources online because bookmarking your selections is the quickest way to organize and filter your search. I set up folders designating publishing houses by “commercial,” “regional” and “hybrid.” I keep a separate folder for agents.
- Find out if your manuscript fits. Even agents seek specific genres. Carefully read what they do not accept. Sometimes, in our excitement, we miss the words, “do not.”
- Find out if they are accepting submissions.
- Find out how they want submissions. This can vary widely so read their guidelines thoroughly.
- Note how long they will take to get back to you, or if they will. Many agents or publishers will only contact you “if interested.”
Set up a strategy:
- Start with your best matches.
- Reread the guidelines and if time has passed since you last researched, make sure they are still accepting submissions.
- Be thoughtful and thorough with your submission (don’t blunder out the gate like I did, and if you do, get back in there and ride again).
- Just do it! Hit send! Post the package! Many a cowboy has sat on the bull’s back in the bucking shoot and decided not to ride; but he sticks to it. So will you! Set aside fear and doubt.
- Expect rejection. I know a writer who posts all her rejections with joy because it means she had the courage to ride and she’s one less rejection closer to her goal.
- If you are lucky enough to receive feedback, consider it.
- Explore options for attending conferences that focus on getting published more than on craft. Make sure the conference has a good line-up of literary agents and publishers. Don’t go to a huge conference; find something in between to give you the chance to meet publishers and agents.
I’m a new rider, so if you have further experience or knowledge, please share! How have you gone about finding a publishing house for your book?