Tag Archives: manuscripts

Jan 26

Something We All Hope for: Avoiding Rejection, an Article by Mary Deal

Avoiding Rejection
by
Mary Deal

The following tips are some that have been reconstructed from a handout I gave at one of my workshops for writers already far along in their manuscripts. On the registration form I asked what each attendee would most like to learn. Surprisingly, the frequently mentioned information pertained to feeling insecure about submitting once the manuscript was finished, and how would they know it was ready for submission.

In order to help avoid rejection of your manuscript, you need to think through what you’ve created. Start by analyzing these points before submitting.

Does your story start off strong enough to grab a potential reader’s attention?

Does your plot contain enough twists and turns to keep the reader from knowing the ending beforehand? Or is your story so predictable that it might be boring?

Does any possibility exist that you’ve created a story that creeps along, when it should fly and keep the reader turning pages?

Do you know the difference between a slow moving, arduous read and a story that moves like lightning where the reader has difficulty keeping their eyeballs in their sockets?

Have you included your own opinions in the plot sequences instead of allowing the scenes and characters to write themselves?

Are you preachy and trying to make a statement concerning something in which you believe and wish to share? Have no doubt. It is a definite turn-off and will show in your writing.

Have you developed your story to its fullest potential? If not, that would be the same as a detective having four clues and investigating only three. Whatever happens in your story, make sure you cover all aspects and possibilities of each scene.

What about your narrative voice? Is it different from your characters’ dialogues? Does it sound realistic or forced?

Always be careful of clichéd writing, and the use of stale jargon. Use only the most recent language of the time period of your plot that people in real life would use if they were your characters. To have a story taking place in present time, but using age-old language just doesn’t work. That’s unless the author shows that their particular story requires it.

Does each and every scene pull in the reader? Are the scenes developed so the reader knows when and where things happen and how the characters fit into that scene? In other words, have you written the scenes well enough so the reader will feel a part of it all and not know that they sit in a chair reading a book?

Do you have the appropriate beginning, middle and ending? As already stated, the beginning should grab the reader’s interest and make them want to keep reading. The middle may sag if you’ve simply tried to flesh out the story by adding inappropriate information that doesn’t feed into and forward the plot. The ending should be dramatic or contain the element of an Aha! experience. Whatever the experience, the reader must feel satisfaction for the characters when the story concludes.

Are your characters’ dialogues commensurate with the types of people you’ve created them to be? Do all your characters sound the same? Even if all your characters share the same backgrounds and social status, you must make each of them unique. One of the easiest places to accomplish this is through their dialogues.

As with the story line, the same applies to the characters. Are they lackluster predictable types?

Do your characters perform to the best of their abilities while moving through the plot? They can be demure to dastardly, but whatever they are, make them true to type and the best that they can be for the situation in which you’ve placed them.

Have you had your finished manuscript edited by a new set of eyes, preferably professional ones? A relative or friend critiquing your manuscript just isn’t enough – unless the person is an English teacher, perhaps.

Too, here’s something I do:

I have my final manuscript in one long file. I do a search for various important words that I may have used throughout the book. When I find too many of one word, I replace some of them with a different word or phrase with the same meaning. To read the same words too often begins to make the writing seem amateurish, as if the author had not seen the inside of a dictionary or thesaurus.

Lastly, these are some suggestions that should be thought through before submitting your work to agents or publishers. This information also applies to short story and novella writers, even some nonfiction. Much of this information may have crossed the mind of the writer way before getting to the end of the writing phase. In that case, that author is a huge step ahead and their manuscript will show it.

Please visit Mary Deal’s website for more wonderful articles like this one: Write Any Genre. Read More

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Sep 24

Dual Pen Named Author Alice Griffiths AKA P.A. Wilson Swings by to Guest with Mike Angley

MA: I’m joined today by an author with two pen names, Alice Griffiths and P.A. Wilson (I think for interview purposes I’ll use Alice’s initials to mark your responses). Please tell us about you and what brought you to the writing world.

AG: I’ve been writing for decades but I have been seriously interested in publishing for the last few years. I think the catalyst for the change was National Novel Writing Month. In 2008 I happened upon the site and impulsively decided I could write a 50,000 word novel in 30 days. It didn’t matter that I’d taken years to write previous manuscripts. I could do this.

When I typed ‘the end’, I had completed 82,500 words and my first full manuscript. I put it away for a month and then started the process of revision and polish. By April, I’d entered it into a contest and by June, I had created an indie e-publishing company with a partner. Off Track was published December 23, 2009 and I had graduated from writer to author.

I write in two genres with a pen name for each. I write romances under the name Alice Griffiths, and gritty mystery thrillers under the name P.A. Wilson. At first, I thought the lines would be clear between the two genres, but that’s not what happened. My romances have elements of violence and my mysteries have elements of romance.

Now, I work as a project consultant and managing editor, and author, my days are full but never boring.

MA: Tell us more about your background before becoming a writer.

AG: In the professional world I am a project management consultant. I worked in the corporate world for more than thirty years before I decided to go it on my own. I have to say that I have less time to write now than I did before, but more energy when I do write.

I’ve been working on projects for more than ten years and I have to say it’s taught me more about writing than anything else in my past. I get to meet so many different people that I can use to fill out my characters. I use project management methodology to get started on writing a book. I figure out what I’m going to write, investigate what I’ll need to learn to write the first draft, and then I plan out the different scenes. Writing for me is building the story up in layers.

MA: I’ve met many authors who use a methodical approach such as this. One thriller writer I met is an engineer by degree, and takes a disciplined design approach to crafting his stories. Why fiction?

AG: I have tried to write short stories and poetry but I don’t seem to have the talent for that. I guess I’d say novels chose me, rather than the other way around. I like having some room to build in secondary plots and more detailed richness. In shorts you have to keep it clean and precise and I don’t have that skill. I admire people who do, because when I’m in the middle of the third revision pass and wondering if I’m contradicting something that happened 60 pages ago, it would be nice to have a short story to handle.

MA: Tell us about what you write…I’m struck by the fact you write in what would seem like two very different genres.

AG: I haven’t yet found a genre I can stick with. I guess my constant is that there’s a romance somewhere in the story and that lots of people die.

I’ve written a fantasy romance, Off Track by Alice Griffiths, and that was my first National Novel Writing Month book. It’s the story of a lawyer on the track to partnership who finds herself pulled into a magical world as the result of a prophecy. Along with her easy going assistant, Madeline has to accept that she needs to fulfill the prophecy and figure out what it is exactly she’s supposed to do. While that’s happening, she meets and falls in love with a knight who really wants to be something other than a knight.

My serial killer novel, Closing the Circle by P.A. Wilson, is currently under review with my business partner in PaperBoxBooks.com. In this story Felicity Armstrong is the focus of a brutal serial killer who has taken her religion, Wicca, and twisted it in to something evil. The killer stalks and kills her friends, leaving their bodies in prominent sites around San Francisco as Felicity works with FBI special agent Sam Barton to identify and stop the murders.

I’m working on two other books, and planning out my NaNoWriMo book for this November. One book is a thriller set in Vancouver BC with gangs, human trafficking and teen hookers. The other a YA science fiction story with three heroes who raise a rebellion to save the humans.

Then my NaNo book will be an Urban Fantasy with a wizard, Sidhe, and Raven. That’s about as far as I am in planning.

MA: Well, sounds like you are keeping very busy with all those projects! I’m almost afraid to ask how you approach character development since you have such a varied writing style.

AG: I develop characters though a process of discovery. For Madeline, I sketched her out physically and gave her a flaw – she finds it difficult to trust people – and then I started to write some back story for her. I wasn’t happy with the lack of depth when I was done and I turned to something that romance writers use all the time. I read her Tarot. It sounds flakey (or at least it did to me at first) but by doing the Tarot reading I was able to push aside my own personal preferences and dig into Madeline’s psyche. I had to interpret the cards based on what I knew about her.

It turns out that Madeline doesn’t trust easily because when she gives her word it’s for life. She has difficulty making commitments as well because she wants to know she’ll stick with any commitment. Interestingly, this brought forth a habit that I could use. Madeline is a dabbler in learning; she takes courses, does well but gets bored and leaves. This means when she’s in the magical world, she has a bit of grounding in a lot of skills she’ll need. She learned how to ride horses, but still needs the knight to help her get better, and she has taken some martial arts, etc.

Madeline is highly competent and learns quickly; this allows her to integrate quickly – and saves me and the reader from having to wade through her learning curve. She’s also accepting of differences so she doesn’t judge people on first glance.

Unfortunately, despite her external image, she’s not confident in her own skills and talents. She focuses on the fact that she is a lawyer and doesn’t have any understanding that the prophecy brought her to the magical land for something else.

MA: Who did you throw into the story to stand in Madeline’s way? Who’s the antagonist?

AG: Madeline faces two antagonists. Throughout the story she is facing her own demons and is convinced she won’t be able to fulfill the task she was brought there to complete. She is used to being in control and finds it almost impossible to go with the flow and trust that it will all work out – as everyone keeps telling her.

The final antagonist she faces at the end is the enemy who must be killed. He is a marauding creature who is going to destroy the people Madeline is aligned with in fulfillment of an ancient feud. Madeline hopes her task isn’t killing the villain, but worries that it is.

MA: Considering how prolific – and disciplined – you seem to be with your writing, what are your future plans? Any sequels?

AG: I would like to be able to produce two books a year – I am certain I can do a first draft in a month other then November but I haven’t yet been able to prove it.

I also want to write a series, or a trilogy. I am fascinated by the idea of such a sweeping story and I want to explore the process.

The book set in Vancouver BC has always been a series concept. I need to finish this first story and then I already have a germ of an idea for the next one. I think the trick is going to be planting the seeds of the second book into the first, a great new challenge.

MA: Is there any particular challenge for you in writing?

AG: I find writing the romance difficult. The saving grace for me up to now is that the romance has been the secondary plot – important but can be dealt with in revision. I tend to write the story and clumsily insert the romance in the first draft and then thread it back into the story during the first revision pass.

And, my writing group will tell you I am not good with description. I have settings all worked out but I have difficulty putting it on the page. I have learned to insert some setting in as I go along and then each revision pass has a note – add description.

MA: Thanks, Alice, er, P.A.  Folks, please visit Alice Griffiths at: http://www.alicegriffiths.ca/, and visit P.A. Wilson at: http://www.pawilson.ca/

Read More

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Jun 30

“Author Intrusion” An Important Writing Tip from Mary Deal

Author intrusion is something I saw a lot of in new writers’ manuscripts when I did a lot of editing.

A story is usually told through the mind of one or more characters. It’s known as the story’s point of view (POV). The reader is only allowed to know what the point of view character perceives and experiences.

Here’s a correct sentence written through a character’s mind, told in 3rd Person POV:

“Sara watched with nerves on edge, unsure of what she was seeing.”

Now told using author intrusion:

“If we look at Sara, we see that she is hesitant about getting involved.”

In the 3rd Person POV, we are in Sara’s mind experiencing hesitation with her.

In the author intrusion example, the author stopped the story to speak directly to the reader, telling the reader what Sara experiences, instead of letting the reader be Sara.

In the past, many stories were told in this manner. The author seemed to speak directly to the reader, as if the writer were addressing a group of people. This method of storytelling has become passé. Readers want to become their favorite characters and experience with them and not simply be told by a narrator.

Author intrusion is easily avoided if the writer stays in the mind of the point of view character. The character will not stop the story to speak to the readers.

Mary is the author of four suspense/thrillers. She can be contacted through her website writeranygenre.com Read More

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Mar 10

“Building a Story” By Mary Deal On The Child Finder Trilogy

A friend of mine—I’ll call her Judy—had written a novel and was in the process of sending it out to literary agents seeking representation. She and I knew that first-time authors typically needed to have two or more completed manuscripts in hand. Publishers do not make large profits on an unknown writer’s first book but on subsequent publications. Money is spent on publicity for the first book, to establish a reputation for an author and build readership. With these aspects already established, on subsequent books, larger profits are realized. Too, publishers were more apt to believe that a writer was capable of turning out numbers of books if they did so of their own volition. Read More

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