Thursday, February 28, 2013
Frances: Writing a Novel One Bite at a Time
Thursday, February 21, 2013
Sara: WriteOnCon's Perfect Your Pitch workshop: The Short Synopsis
The most important part of a query is the book pitch. I tend to skip over any biographical information until I have read the short synopsis. When I read a query I want to know quickly if I want to read the book. That is it. I will look at your credits/ MFA/ hobbies, if I like your pitch. Here are my thoughts on what you need to do to with your pitch to get a request:
WHAT YOUR SYNOPSIS SHOULD DO:
1. SET UP THE STORY/ GIVE US THE HOOK
Setting up the story will mean revealing much of the plot—but not every single thing that happens on every page. (And, please do not reveal the entire plot in the email subject heading which is alarming.)
The hook gets to the heart of the book. It is what makes me want to pick up a book and what keep me reading. What will connect me to this story.
People often think of hooks as gimmicks—but a gimmick won’t keep a story together, won’t make someone keep reading.
2. INTRODUCE THE CHARACTER/S/ CONFLICT
Who is this story about? What is his or her conflict? What is the main conflict of the book?
If a pitch is all about the character or all about the set up/ world, but not about what happens to the character in that world, it is not telling us enough to keep reading.
3. ESTABLISH GENRE/ SETTING/ TONE/ VOICE
Often queries get very specific about the genre and audience, and this is fine, as long as you do not veer into marketing or get too specific, such as all 13 year old swimmers will want to read this or picking an age range that does not make sense for a market such as 2nd grade- 12th grade.
If there is a Sci-fi twist or it is dystopian or a fantasy, I think it can work well to set that up for the reader upfront.
I do want to know the age of the character, as in both MG and YA this is hugely important for the markets, and I want to know that you know your audience.
TONE and VOICE are extras, but are usually present in the best queries. If I can get a sense of the tone of the book and the voice from description, that is a plus. That is not to say queries for humorous books should be funny, but I hope for a line or two in there that shows me that the book is funny.
WHAT YOUR SYNOPSIS MUST DO WHILE DOING THE ABOVE:
1. MAKE SENSE
Reread your query, get others to read it (especially people who have not yet read your book), read it out loud. I am reading at least 30 queries a day, like most agents, and if I have to reread a sentence more than once, I get frustrated and I get disinterested. Many do not make any sense at all.
It has taken me years to be able to truly write a pitch well. Practice! I do not think writing a great query letter correlates to being a great writer.
Bad queries are for the most part the companions to bad books. They are for books that are too long for a human to want to read, 600k words or so, are for the first book in a series of 20 volumes, are for a picture book about cocaine use, stories for all ages, etc.
The tragedy is bad queries for good books: queries that are confusing and sell a great book short because an agent tunes out.
2. SHOW ME WHY YOUR STORY IS UNIQUE
This is not easy. But even if your story is about a vampire or zombie or fairy and the market feels flooded with those stories, you have to fight for your book. This does not mean telling me how much better your story is than the bestselling series about the above. This means writing a synopsis that will show me that this character and this world are different than what I have seen before.
3. MAKE ME WANT TO READ YOUR BOOK
This is about bringing all the above elements together. The best pitches are short and sweet. They tell me the most important details about a character to make me want to know more, introduce the main conflict right off the bat, have a unique hook.
You want to tell me enough about the book that I have a sense of what it is, but you also want to leave me wanting more. Check out book jackets, these are slightly different than pitches, but are a great learning tool.
And it is worth saying again, if query letters and synopses are not your strong point, that is OK. It is a learned skill for most of us. If you struggle with it, keep practicing, and keep it simple.
Thursday, February 14, 2013
Evan: Origins/DR. BIRD'S ADVICE FOR SAD POETS
Named Dr. Bird.
Yes, it's not just some cool name for a DJ or a birdwatching forum username. Dr. Bird is a pigeon, in James's head. A pigeon that James knows is just part of his own mind, but one that still provides wisdom and perspective. It's the one aspect of my book that gets the most bird-like reaction from people. (You can already see it, that little "Oh really?" head tilt.)
![]() |
An imaginary pigeon therapist? Oh really? |
You might think the story, the crisis, would be the best allure. But no, a character that talks to a pigeon to deal with anxiety and depression becomes immediately more fascinating.
Writing a novel about a kid suffering suffering from mental health issues was not something I expected to do. But then I struck up a profound friendship with author Matthew Quick (The Silver Linings Playbook, Sorta Like a Rock Star, Boy21, and Forgive Me, Leonard Peacock). We lived in the same town and began having coffee once a week. Eventually, we started planning a novel with interwoven narratives. The goal: give readers a great, emotional story that shows how things can be better even when they are awful now. This was a big promise to make, especially since things can be awful for teenagers suffering from mental health issues or environmental issues like abuse; but Matt and I both believe that a book can put a hand out and pull a person through a bad day.
A variety of things prevented Matt and I from getting far beyond the initial first chapters, but I'd been struck by all the possibilities of a character named James who recites Whitman and talks to an imaginary pigeon to help cope.
I became absorbed. I had to write a book that made me laugh, and one that let other people laugh and feel a little bit better about the possibilities of the world. I didn't want to write about a character who was caught in muck on page one and only frees himself from the sludge late in the book. Mainly because I would not enjoy writing a book with such a grim density. I wanted to show the highs and lows of life, how one day we can be joyful and miserable. I wanted to spend time with a character that found things -- Whitman, Dr. Bird, poetry, photography -- that helped him get through a rough time of his life.
When I finished the novel after three months of intense writing, I feared showing it to anyone. I didn't think it was a project I was meant to publish. I didn't even show Matt the manuscript.
![]() |
Yawp! |
I didn't hang out with my book, either. I let Dr. Bird sit for a year; then I re-read it and found James and Dr. Bird and Jorie were characters that I could share with others. They were sufferers and survivors. They were funny and real. They could reach out and pull someone through one bad day.
I worked hard to get the novel ready and when Sara found the perfect editor for it, I was elated. More importantly, a few months later, Matt and I reconnected and repaired our friendship. We acknowledged the things we'd done poorly and how our mutual acquaintance, depression, exacerbated issues. We acknowledged the importance of communication and of having friends that understand how it can be difficult to be a good friend sometimes.
During our time apart, we both wrote books that sprang from our initial joint project. Dr. Bird will be released in about two weeks. Matt's Forgive Me, Leonard Peacock releases in August. They are different books, but threads still unite them.
And my goal has become clear: tell great, funny, emotional, profound stories that hold out a hand (or wing).
Tuesday, January 22, 2013
Megan: Mentor Texts - A Wrinkle in Time
I found myself turning to a number of mentor texts as I wrote my Middle Grade novel The Water Castle. In the novel, three kids are searching for the Fountain of Youth, each for his or her own reason. I leave it purposefully ambiguous as to whether they find it, or if there is an actual scientific reason for the strange things to happen in the town. In order for this approach to be successful, the magical and scientific explanations both needed to be believable, and thus I needed to have a plausible scientific explanation. How, I wondered, can you introduce complex scientific content without breaking your narrative to sound like a textbook has been inserted?
Re-reading A Wrinkle in Time by Madeleine L’Engle became a touchstone in my writing process. I first read L’Engle’s classic novel as a child, probably third or fourth grade. I was thrilled to find a book with a character who shared my name, especially a smart girl, especially a girl who got to meet a boy like Calvin (oh, Calvin!) The ins and outs of how Meg, her brother Charles Wallace, and Calvin travelled was less interesting to me than the world’s they visited. My lasting memory of the book is of the street in Camazotz with all the children bouncing the ball in the same rhythm.
While my memories of the book were fond, I might never have revisited it as a writer if it weren’t for a group of middle school readers. As a middle school librarian, I run a book club, and the students chose to read A Wrinkle in Time last year -- just as I was working on revisions with my editor, Mary Kate Catellani at Walker Books. She was pushing me for more clarity around the scientific aspect of the book, and I was really struggling. A Wrinkle In Time helped to solve my problem.
In the book, Meg, Charles Wallace, and Calvin “tesser” -- essentially jumping through time and space. We’re talking quantum physics here. The concept is explained to Meg by Charles Wallace and Mrs. Whatsit -- two bonafide geniuses. Meg serves as our proxy, and her understanding is the key to ours. So, first L’Engle has Mrs. Whatsit explain the tesseract in a very basic way: imagine an ant travelling along Mrs. Who’s skirt, if she folds the fabric, the ant gets to the new location in a much shorter amount of time than if the skirt were flat. Now imagine the skirt is time, and there’s a wrinkle in it. Okay, that makes a bit of sense. But Meg, and through her the reader, knows that there’s more to it. More explanations ensue, accompanied by sketches. Eventually, Meg exclaims, “I got it! For just a moment I got it! I can’t possibly explain it now, but there for a second, I saw it!” In my case, the kids need to figure out the mystery themselves, but, L’Engle’s example let me realize my characters could be uncertain in their understanding, too.
A Wrinkle in Time worked as a mentor text for me in a more philosophical sense as well. L’Engle famously stated “You have to write the book that wants to be written. And if the book will be too difficult for grown-ups then you write it for children.” A Wrinkle In Time is indeed a difficult book. In addition to the science, it tackles difficult themes such as individuality, totalitarianism, and the fallibility of parents. Her example provided me reassurance as I worked through my own take on challenging themes including the lure of immortality and the line between science and magic. As writers’ for children, we can take L’Engle’s work as a reminder not to shy away from these types of big themes. They can handle it, as 50 years’ worth of children can attest.
Tuesday, January 15, 2013
Michael: 5 Tips for School Visits
1) Interactivity works. There are times when you stand up in front of a classroom or auditorium and think: Uh oh. The students might be staring at you glassy eyed and zoned out. They might be looking at everything except you and fidgeting with enough chaotic energy to power a small city. They might, occasionally, be glaring at you with expressions shifting between distrust and outright hostility. I've found one thing that works in all of those cases: Asking them questions.
I try to involve the students early and often in my presentations. I am dyslexic and spent a second year in second grade, rereading the same few Dick & Jane books over and over again. Instead of explaining what a Dick & Jane book is, I ask if anyone knows. Interestingly, many of them do. The same goes for Dungeons & Dragons (the first books I read independently). As a bonus, the kids' definitions of both are often pretty funny.
In general, instead of giving examples, I like to ask for them. Instead of telling a story, I like to ask for volunteers to help me create one. The transformation can be remarkable, from a few half-raised hands at the start to a roomful of kids pumping their hands upwards as if they’re trying to touch the ceiling.
2) Embarrass yourself!
Another great icebreaker is humor. Specifically, humor at my expense. I like to show one of my old school photos near the start of the presentation. It lets them know that I don’t take myself too seriously and never have been able to dress myself. In addition to getting them laughing, it levels the power dynamic a little and makes them more comfortable talking to me.
3) PowerPoint is your friend. I shied away from using any sort of AV component in my early school visits. I had visions of technical difficulties dancing in my head and was concerned that technology would create a barrier between me and the audience. I was wrong about that. So very wrong.
Using PowerPoint, or a similar program, to illustrate your talk allows you to do more than just project mortifying middle school pictures of yourself in comically large proportions. It adds another element to your presentation and, just as important, gives it structure. Clicking onto the next image, watching the little video, whatever it is, it allows you to reset things, to proceed neatly and sequentially to the next point. It provides a framework that the students grasp immediately.
It's also unobtrusive. I used to pass around old Super Bowl press passes from my sportswriting days. I thought it would be fun: Show and Tell! Instead, it was a distraction. Kids were handing them the wrong way, looking over each other’s shoulders, grabbing. Now I show a picture of me standing next to an NFL player, and then a Sports Illustrated Kids cover story I wrote. They look at it, get the point, and we move on. The sports fans think it’s cool; the others aren’t unduly bored.
From a technical perspective, I bring my own laptop and adapters, and every school I’ve been to so far—from inner cities to small towns—has been able to provide the rest.
4) Memorize it! It really, really helps if you memorize your presentation. (The PowerPoint pictures are great helpers/placeholders.) In fact, you should have it memorized well enough that you can make adjustments on the fly without losing your place.
I learned this lesson back when I did standup comedy, and it is the same with school visits (though, thankfully, without a two-drink minimum). If students see you reading, they will tune out. It’s amazing how quickly it happens. I carry a printout with me (or leave it on the podium, if I’m using one), in case I lose my place. As soon as I look down at it—within seconds!—I hear kids start to fidget and sometimes whisper. I can hear myself losing them! As important as it is to engage them early, it is just as important to keep them engaged.
The picture above is from a visit to Arlington, VA. Note: There's a dinosaur on the screen and no paper in my hand. Also, note that there are several hands up and I haven't asked a question. They were just waiting for the next one.
5) They are awesome! School visits used to make me nervous beforehand and leave me exhausted afterward. That is because I was doing them wrong. My visits were loosely structured, semi-memorized, and a bit chaotic. They consisted too much of me talking, too little of me listening, and didn’t have nearly enough funny pictures. Now they are more entertaining and informative for the students (and for me), and I can do three in a day without anyone yelling “Clear!” and slapping electrified paddles to my chest.
Obviously, every author is going to have his or her own style and approach. But these are the things that have worked for me. Involving the students, keeping their attention, knowing what the heck I’m going to say next and having some interesting way to illustrate the point . . . That’s what I learned in middle school last year.
Tuesday, January 8, 2013
Lisa: What writers can learn from Homeland
Anyway, seeing Claire up on that stage, talking about her role in Homeland, got the voices going. You really need to watch it, Lisa.
Then I started hearing about it on twitter. And the voices got louder. It sounds so good. Watch it, Lisa! Get the DVDs!
My husband doesn't really understand why I love to curl up on the couch after a hard day of writing and watch TV. The thing is, it's not mindless TV I want. What I want is the same thing I want when I'm looking for a book to read. I want to fall in love with characters. I want a good story. And as much as I love reading, there are times when I'm working really hard and my brain simply can't take any more words on a page.
And so, there is television to give me characters to love and writing to admire.
When a certain on-line retailer put the first season of Homeland on sale for a ridiculously low price, I couldn't resist. I bought it, wrapped it up, and put it under the Christmas tree. I told myself it would be my reward for finishing a really intense editorial revision.
Once I started watching, I could. not. stop.
I think there are probably a whole bunch of reasons why this was the case, but the primary reason was because the writers introduced a mysterious element early on and until I knew the answer, I was haunted by the question. I had to keep watching to find out if Brody, a US marine who had been a POW for 8 years, had become a terrorist or not. Yes, his behavior was odd after he returned home, but was it simply because of how badly he'd been treated, or was there more at work here?


In my latest novel, Falling For You, the reader finds out on the first page that something has happened to Rae, the main character. She's in the hospital, but you don't know why. The story then goes to six months before, when things in Rae's life begin to change. And so it goes, alternating between present day and the months leading up to the accident. The book has only been out a short time, but I've already been told by some readers that the book pulled them in and they had to keep reading to find out what happened.
Watching Homeland solidified in my mind how important it is to have at least one question in your book that looms there, haunting the reader. Keep the reader guessing. Keep the reader's desire to continue to read as high as possible. Yes, you have to have interesting characters and a strong plot and all that other stuff too.
But consider this: I watched five episodes of Homeland in one day. I did not want to do *anything* else. Isn't that what we want people to say when they are reading one of our books?
Tuesday, January 1, 2013
Sara: Happy New Year!
Nina LaCour's THE DISENCHANTMENTS received 5 starred reviews, and is a Boston Globe Best Young Adult Book 2012, A Chicago Public Library Best of the Best 2013 and on BookPage’s Top Children’s list for 2012. It was also an NPR Summer Book pick and a PW Staff Pick for Best Summer Reads
Veera Hiranandani's debut THE WHOLE STORY OF HALF A GIRL received 2 starred reviews
VARIANT by Robison Wells and THE DISENCHANTMENTS are on the 2013 TAYSHAS list
DUST & DECAY by Jonathan Maberry won the Bram Stoker Award for Best YA
DEAD OF NIGHT by Jonathan Maberry won The Dead Letter Award for Best Novel
Jonathan's ROT & RUIN was added to more state lists this year to add to the many it is already on. It won the Keystone to Reading Secondary High School Book Award for 2011.
TRAPPED by Michael Northrop is on the Virginia Reader's Choice List and was nominated for the 2012-2013 Pennsylvania Young Reader's Choice Awards.
IT'S RAINING CUPCAKES by Lisa Schroeder was nominated for the Colorado Children’s Book Award (CCBA) 2013
THE ELEVENTH PLAGUE was selected for the 2012 IRA Young Adults’ Choices reading list and was a USA Today Bestseller
Michael Northrop's debut MG PLUNKED and Kim Baker's debut PICKLE are on the NYPL best Chapter Books List
and PLUNKED and PICKLE are also on the Fuse 8's 100 Magnificent Books of 2012 List
MONSTROUS BEAUTY by Elizabeth Fama is a Nerdy Book Club Award Nominee
2013 promises to be exciting with 9 debuts to come:
DR. BIRD'S ADVICE TO SAD POETS by Evan Roskos
TAKEN by Erin Bowman
A GIRL CALLED PROBLEM by Katie Quirk
TIDES by Betsy Cornwell
45 POUNDS (MORE OR LESS) By Kelly Barson
NANTUCKET BLUE by Leila Howland
SKY JUMPERS: THROUGH THE BOMB'S BREATH by Peggy Eddleman
ENTANGLED by Amy Rose Capetta
PETER LUBINSKY AND THE MAGICIAN'S DOG by Frances Sackett
and,
Megan Frazer Blakemore's THE WATER CASTLE, her MG debut
2013 also brings Lisa Schroeder's 5th YA novel, FALLING FOR YOU (TODAY!) and her 3rd Cupcakes book, FROSTING AND FRIENDSHIP in the fall, FRAGMENTS, the second PARTIALS book by Dan Wells, the 5th Joe Ledger book from Jonathan Maberry, EXTINCTION MACHINE and the 4th book in his ROT & RUIN series, FIRE & ASH, Dianne Salerni's historical YA THE CAGED GRAVES, Michael Northrop's 3rd YA novel, ROTTEN, Kristen Tracy's 4th MG novel, TOO COOL FOR THIS SCHOOL, Coert Voorhees's YA thriller, IN TOO DEEP, a new YA by Jeff Hirsch, as yet untitled, Brian Yansky's sequel to ALIEN INVASION, HOMICIDAL ALIENS, and a new series by Robison Wells, beginning in the fall with BLACKOUT.
Wishing everyone a fabulous 2013! I resolve to be better about keeping up this blog among other things. I am grateful for all the surprises from my amazing authors this year, and look forward to more happy surprises in the year ahead, and to falling in love with more manuscripts from them and from the slush pile.
Sara