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How Not to End Things
(originally published on Beyond the Margins)
Allow me to pull back the curtain just a bit. Yes, I am a developmental editor who gets paid to be an instructional expert...to know what I’m talking about, in other words. And yet, the writing process is separate from editing skill. All writers make mistakes, and I think that the ability to fix them is the measure of talent/ability.
For those of us who have struggled to end a piece of writing, we know that there are a series of pitfalls that the ending can fall into. Below, I have tried to break these into five broad categories based on the particular flaw in each argument. (I should mention that there was one runner-up, the speech which reveals all ending, which didn’t get quite enough votes to be included...)
The too-precious ending.
I have done this. But I’m not the only one. The poet John Ashbery once ended his book with a word that no one knew. He liked the idea of his readers having to go to the Dictionary to look it up, that way they’d be “closing one book and opening another.” Um, no. That is just too precious. This example also falls into the next category:
The overly obscure ending.
I have done this. I didn’t want the reader to have a clear sense of who was right or wrong--after all, haven’t thoughtful people accepted relative morality by now? My readers could not participate in what my story ultimately meant; as a result, they didn’t have a clear fix on what actually happened, either.
There is such a thing as an open-ended ending (pardon the repetition).
In something that is open-ended, the gestures are symbolic enough and the words spoken are applicable enough that we know what something means to us, but we don’t necessarily seek to impose that meaning on other people. I would say that’s a good thing, carried out in the spirit of fair play, and not at all the same thing as being overly obscure.
The horrifying ending that awaits us all.
I have done this. Are you sensing a pattern? Sometimes we can fall into the trap that we should end our tale in utter darkness. That would make us cool--plus, it would be so much easier. Take every series of events and just head them down the toilet.
In the last century, the modern critic William Dean Howells said, “What the American public wants in the theater is a tragedy with a happy ending.” I’m not suggesting that your ending (if not dark) should be overly light either. As readers, we’re just asking for an ending that befits the rest.
The abrupt, that’s what it is ending.
We’ve all done this! This is really a failure of the middle more than the end. Someone took out the fourth act, the falling action, and evidently forgot to return it. We think we are appealing to people’s shrinking attention spans, but the result is that our readers finish the race ahead of us.
In Greek drama, the equivalent would be the appearance of the Deus ex Machina, that scene where a God comes down on a mechanical contraption and ends the play with what happened next and forever. Time to go home, people.
The irresponsible ending.
I have done this: written an ending and then claimed not to have engineered it. A variation of the sentiment that “my characters are stronger than me,” is “I can’t say why it happened, it just did.” The problem with this ending is that everything we create, especially the ending, is an act of projection that clearly identifies our values for all to see. To not own your projection just adds insult to injury.
The ancient theorists called the ending the apportionment of fates. There was no way around it--what the playwright or poet thought about the world was encoded in the ending.
If the ending communicates your values, befits your story, lets things play themselves out, doesn’t make us feel stupid, and helps us keep our bearings, then you’re good. Your readers know the end is coming, they can see the number of pages they have left roughly in the book they are holding or track their progress in their e-readers. That the end will come is not the question. When you will start wrapping things up, and how you will wind up packaging the experience are the things we are really watching for.
Pros & Cons of a Pen Name
An important factor to remember when considering a pen name is this: you already have a name. You’ve been using it your whole life, and hopefully there are a fair amount of people who know you by it.
So why change?
There are a few good reasons to use a pen name. They are mostly logistical, and relate to promoting clarity in your writing career. There are some pretty bad reasons to use a pen name, too. I’ll highlight those first:
“My real name is boring.”
Exotic names do not sell books (Dan Brown, anyone?). Good writing will sell your book. Altering your name for shelf appeal will not convince readers to fork over their money--it’s the content that counts.
“I don’t want anyone to know that it’s me.”
Unfortunately, pen names offer very little protection. They’re pretty flimsy in terms of true anonymity: with the Googlability of the world, anyone who wants to know the true author of a publication will find out. There are ways to use your publisher as an intermediary, but ultimately, whatever you write is your responsibility--no matter what name you put on it.
You’re not sure if it will succeed.
This seems like a lose-lose situation. If it flops, you’re going to have little to show for the input of your time, energy, and resources--and if it is a great success, you’re going to have trouble ensuring that the work always gets related back to you. Why not give it your all, and write something you’re proud of in the first place?
Still think you need a nom-de-plume? Here are some good reasons to consider one:
You write across genres.
If your first publication was ground-breaking literary theory, you’re going to have a particular audience who may not follow when your next book is a hospitality expose. When you develop readership in one genre, it is important to maintain their interest by continuing to write to them. Many successful writers do this: one name per genre.
Your name is taken.
Your parents may have thought it prudent to name you Stephen King or Emily Dickinson but there can be a downside to sharing a name with someone famous (especially if they’re not famous for writing). Having an already-famous name will get confusing pretty quickly--but this could be helped if you have a middle name: Stephen King becomes S. Matthew King; Emily Dickinson could become E.R. Dickinson. Before committing yourself to a completely new name, try giving different versions of your real name the Google test to see how they stack up against the greats.
You have a difficult name.
I once knew a 9 year-old girl from South America with a last name that sounded off at eight-syllables. When her family immigrated to the States, they lopped off the last five and called it a day. If your name often renders people speechless, you may want to consider editing it for clarity.
Your genre has certain expectations.
J.K. Rowling used her gender-neutral initials (instead of her first name, Joan) so as not to turn away young boys (her target audience). As an author, considering the expectations of your genre may include considering the expectations of authorship. Romance writing has become an arena of name changers: a male author trying to attract an audience may have better luck as Ava Valentina than he would as Mark O’Shea.
If you are pursuing a traditional publishing route, it is likely that someone along the way will let you know if & when you need a new name. If you’re self publishing, whether or not to use a pen name (and every other decision) will ultimately be up to you.
Finding a Literary Agent
A great agent can be your mentor, your guide, and your representative during the publishing process. Much ado surrounds the job of securing one—to the point that it has become a benchmark of success to even find representation. The reason they’re so hard to connect with is because agents sit comfortably on the receiving end of what has to be one of the most uneven supply & demand relationships in any industry.
Agents can receive upwards of 20-30 queries a day, and only take on four or five new clients each year—leaving a lot of people rejected, and usually feeling so for all the wrong reasons. A rejection is not necessarily a grade; it is the agent saying “this doesn’t suit my portfolio,” or more often, “this is not ready.” While they are looking for blockbusters and best sellers, an agent’s rejection is not the mark of a bad book. Jessica from Bookends, LLC draws a parallel between literary agents and investors. You pitch your idea as best you can, and they invest in the projects they believe have the strongest chance of succeeding in the market.
Finding the right agent for your writing can take a considerable about of time.
For some authors, it takes years of writing and revising before the work is strong enough for another person to join the project. For others, the right agent never emerges, and then the decision becomes whether to write book two or to self-publish.
Your agent’s job is to represent your book to publishing houses, performing the job of negotiating contracts, rights, advances, edits, permissions, and keeping you on track once your book is sold. An agent is crucial because publishers do not work directly with authors—it takes a professional to navigate the process on your behalf.
Once a relationship with an agent begins, there is a new person intimately connected to the writing. The agent will have an authoritative editorial voice; an agent will help your book become the best version of itself. She or he will be your source of industry knowledge, expertise, and nuance. Ultimately, an agent is your representative, your advocate, and your champion. Theirs is a job which covers anything and everything related to an entire industry, and requires an innate sense of taste, market, and talent.
If you’re at the querying stage, search for agents via the Association of Author Representatives, who have a sizable database of agents, covering most genres. Many agents have their submission guidelines listed; for those who do not, try Googling their agency for details. Usually, email is the way to go; if you can’t find an agent’s email address, the standard submission process is to print your query letter and mail it to the agency with a self-addressed stamped envelope.
When an agent offers to represent you, spend some time researching them. You can expect opinionatedness from any agent; you, in turn, will need to know how (and when) to stick to your guns, while being flexible enough to appreciate when someone has more insight than you. It will be tempting to partner with the first person who shows interest—but take some time to choose the agent who will be the best possible partner for you and your writing.
Non-Fiction Book Proposal
The non-fiction publishing process has more parts than fiction. In fiction, you write a polished manuscript and submit a query letter to agents, spending 250 words or less pitching your work for representation. In non-fiction, however, you have the space of a 48-75 page proposal—basically, a business plan for your book.
Non-fiction book proposals traditionally have seven parts:
1. OVERVIEW
The overview will be more inclusive and straightforward than your book’s introduction, as it should contain all of your major pitching points. For agents and publishers who are interested in your book, this is the place they expect to find a summary of everything contained in the proposal. We recommend writing this section last.
2. ABOUT THE AUTHOR
This section is about you, and why you are the best person to write this book. Do you have past publications, credentials, expertise, or experience in the field? Outline it here. Anything that highlights your unique perspective on your subject should be shared, in detail. Also any publishing experience you have (past publication, former career) will help to bolster your credit as an author. Even your experience as a performer, lecturer, or radio host will showcase your ability to interact with your audience. Include it!
3. MARKETING & PROMOTION
Marketing and promotion is probably the most critical part of a proposal, as it is where you outline your current platform and talk about your existing audience. The amount of author work in this role is expanding; many publishers see a part of the author’s job as building and maintaining their own brand. In the marketing and promotion section of your proposal, use facts and numbers, rather than projections and plans. How many blog subscribers do you have? How many followers do you have on twitter? How many tastemakers in your field are waiting to read your book? This is also the place to list your relevant contacts—include anyone you could use to bolster your platform. These could be notable people in your community, B- or C-list celebrities you may know, or conference executives across the country. Your book probably has both primary & crossover audiences. Explore their scope here.
4. COMP TITLES
Competitive titles are tricky. A publisher wants to see that books in related niches have done well, which shows that the market exists, but that it has not been as fully captured as it will be by your book. Obviously, you cannot write a book that already exists; in the competitive titles section of your proposal, spend some time exploring how your book will go above and beyond the ones already on the shelf.
5. CHAPTER-BY-CHAPTER OUTLINE
This is where you sketch the outline of your book. As there are some full chapters included in the proposal (section seven), this outline expands upon the introduction to show exactly how you are going to share your ideas. The chapter-by-chapter outline is a structured summary of your book. Write a sentence or two about chapters that are in the proposal, and a full 2-3 paragraphs about chapters that are not included. Take some time to map the iterations of your major series, and write in such a way that showcases the tone of the work. Include the most vibrant, poignant, or catchy sentences, phrases, and ideas. Spend some time on this. Don’t just throw materials in here; use it as a chance to begin developing the book—that way, you wont have to start at square one when you begin writing.
6. PROPOSED TOC
This is the easy part, and is included to be able to envision your book as a whole. Write your chapter-by-chapter outline first, and condense it here.
7. SAMPLE CHAPTERS
The sample chapters you include do not have to be the first ones in your book. They should be the strongest, or at least the ones that most accurately display your tone, your style of writing and presentation, and your expertise on your subject. Make sure that your chapters differ from one another in order to highlight the scope of your work.
Keep in mind that you are not merely reporting on your idea, you are selling it. Use authentic language, but write about yourself with style and confidence. As you write your proposal, you may find your material evolving and changing—especially when you begin reading your competitive titles.
Make sure the project you sell is actually the one you’re going to write.
The Query Letter
Your query letter is your foremost sales tool in the world of traditional publishing. Comprised of 250-300 well-considered words, it is your pitch to gain representation by a literary agent. It is a daunting task to summarize years of work in a single page, so you should hire Book Architecture to write your query for you. (Just kidding. Not.) In all seriousness: like any writing endeavor, there can be a structure-based method to writing your query.
Sorche Fairbank spoke about query letters at the Muse and the Marketplace this year. She, like many agents, warns against seeking a formula or template for writing queries. If your letter is too business-like, she warns, “you’ll just suck the life right out of it.” Your query letter is the first opportunity you have to show off your writing skills. Don’t pass up the chance by being overly formal; let your voice shine through.
Fairbank explained the information that most agents want to see in a query, and says these must be included for an agent to even consider requesting a partial:
- Give the agent an understanding of your genre and audience. Some sources say this information should come first, some say last, but most agree that it should definitely be in there somewhere, along with a rough word count of your manuscript.
- Include a short synopsis of your book. Whether it is one paragraph or three, it has to be in there. In a few sentences, include your protagonist, your antagonist (not necessarily a person, the force opposing your protagonist could be alcoholism, a repressive government, alien invaders), how the antagonist creates the conflict, and a resolution. You don’t have to give away the ending in your query, just offer a sense of a conclusion.
- A brief author bio. If you have been previously published, this is where your credentials go. If you haven’t, no problem—every author has a first book. State that fact, and then include a sentence or two about what inspired the work, or why you are the best person to write this book.
Two further points that Fairbank added:
Share your platform details. An agent wants to know how connected to your audience you already are, and whether you’re already set up to do a lot of the marketing and promotion.
Personalize the letter for each agent. Do you have a mutual acquaintance, or even better: has one of their clients recommended you? Have you read a book that he or she represented? Heard them speak at a conference? Mention it. Agents are people too, and appealing to their human nature might get you a closer read-through.
The goal of a query is to have an agent request pages from you. Write something that will get your book to stand out in the pile.
To take a line from our forthcoming book, “this isn’t easier said than done, or harder said than done. It is what it is.”
Designing Your Book
Judging a book by its cover is real.
Book design has become a key part of marketing and then selling books. And, for better or worse, it starts with the cover. Whether a customer is at Amazon.com or Porter Square Books, a compelling cover that quickly communicates a book's contents is invaluable. The initial "judgment" of a book is obtained at first glance and a decision is typically made within 5 seconds as to whether a reader will dive deeper. There are many excellent blogs that focus on book cover design.
Does the interior of a book matter? Yes, it does. We all know that cookbooks and books on interior design, celebrities and disaster survival are nothing without strong photography and great layout. But any book that has been well-crafted and thoughtfully written deserves a typographic treatment that will allow the reader to fold themselves into the writing, the story, or the characters.
The landscape of book design is changing quickly with the advent of e-publishing. But the fundamentals of engaged design will always apply. In choosing a designer or studio to craft the visual structure of your book cover and interior, keep in mind the following rules:
- Create a cover that reads from a distance--but without shouting.
- If you have a great book title, flaunt it.
- Don't put a photo of yourself on the cover. And do consider using a real photograph or illustration on the front--not a stock image.
- Ensure that the interior typography is legible and crisp--and not tiny. We are not getting younger.
- Welcome oddity, beauty, incongruity, and the unconventional--but not all together and at once.
Designing your book does not have to be complicated but it should be a highly considered part of the book-making process.
-Andrew Boardman, designer and owner, Manoverboard.
The State of Publishing
Virtually everyone in our industry has referred to the “rapidly changing state of publishing” at one point or another. It is a blanket statement that covers a number of different trends. And yet, there are many aspects of the publishing industry that have stayed, and are staying, the same. I tried to bear these contradictory facts in mind and come up with a few basic observations, regarding...wait for it...the rapidly changing state of publishing.
Agents
Agents are people, too—we should appeal to their human nature by being kind, respectful, and upbeat. (This advice probably applies to business in general.) They have a job to do that you as a writer can either make easier, or harder.
E-Books
E-books are the way—not of the future—but of the present. The advice of agent Jason Allen Ashlock is to not to get hung up on the “container” of your writing. However your material is presented (e-book, printed book, audio book), the content still has to be amazing. If your audience members are receiving it, then the communication is complete.
Editors, Commercial
Within commercial publishing houses, there are many more acquisition editors than there are developmental editors. There are also more copy-editors than developmental editors. (There aren’t many developmental editors left in commercial publishing.) If you follow this publishing model, you will still (fundamentally) have to write your book on your own.
Editors, Developmental
Finally, we are getting the respect we deserve!
Publicity
At this point, the self-published author’s marketing and promoting responsibilities are very similar to those who publish by commercial means: either way, it’s going to be a lot of work.
Self-Publishing
Self-publishing houses (which were once considered the bottom rung of publishing) are now alive with ideas, innovations, and worthwhile products. I heard someone call it “indie publishing” the other day instead of “self-publishing,” and I thought that was cool. I recommend keeping an eye on the rebirth of Vantage, which is being reconstructed from the ground up by new owner David Lamb.
Writers
No one should write for a better or different reason than sheer passion for the craft. The odds are too great, the money too scarce, and the gratification is too delayed to justify any other central motivation. If you have to write, you’ll write...and then you can figure out what to do with it.
When Should I Start Book Two?
(reposted from Grub Street's Friday Five-O)
“I keep wondering when I should start book two. Should it be when book one is done? When I find an agent or a publisher?”
—Play it Again Sam
Dear Sam,
That is an excellent question. It presupposes, if I may, that you have an idea for book two. Congratulations! Ideas like that, for things that are as long as a book, should be celebrated when they arrive.
Let’s say you have a good idea for book two. This just happened to me, about three months ago. I know what my next book is going to be (a prequel to the book on revision, applying The Book Architecture Method to creation). When I got my idea, it came with an uprush of information about its content, and then it went quiet.
Recording your ideas is enough to suspend them in time.
For God’s Sake, Sam, tell me you have a journal? Tell me that when a phrase or a paragraph comes to you, you have a place to write them down? In your dayplanner, on a smart phone, or in something lavishly bound... Wherever the tidbit goes, when the prompter speaks, you have to make a note of it. That is enough to suspend your ideas in time.
Keeping track of your notes is important.
Right now I could find those notes on my book two. I could also find the notes for three short stories which I know I must write at some point. Finding the time for this is another question, but ideas either go away or they don’t.
If you keep good notes, and remember where they are, you are for all intents and purposes ready. As to when you start, which is what you asked, I hope you appreciate an informative non-answer as much as I do! I don’t know. When your agent, your partner, your neighbor, your publisher, or most powerfully, one of your readers, asks for it?
Or alternately, when you know it is time to commit your soul completely to seeing something through to the end. That’s a perfect time.
Going on Tour
So you have a green light from your publisher, the book has gone to print, and you have a few months before a release date—the perfect amount of time to kick your marketing & promotion efforts into full gear. Your new goal, after completing edits and meeting deadlines, is to get your book in front of as many readers as possible. If your publisher has a publicist, or will hire one for you, consider yourself lucky. (If you don’t, take solace in the fact that any author would have to do most of the work anyway.)
If you’re considering a Book Tour—going into the wild to interact with your audience and sell you book—you must first decide if you’re really working with a Book Tour book.
Traditional book tours are best suited to “event-ready” books. Can you craft an event around your book that turns it into an evening out? Be creative. If your protagonist lives in wine country, see if a nearby vineyard will let you (and your book) host a tasting. If you wrote a thriller surrounding the World Chess Championships, build a giant chess set for readers to play with. The whole “author at the microphone” event does not get people out of their homes anymore. I recently went to a release party for Grace Bonney’s Design Sponge at Home, where we all sat down and did a craft from the book. I paid almost twice the cover price for the event, and went home with a signed copy and two unevenly monogrammed napkins. It was amazing!
Some books are suited for particular circuits or venues. If you’re writing about the black plague, head to a Renaissance fair. If you’re writing about literary theory, tap into the conference circuit. Your marketing and promotion efforts are all about closing the gap between you and your readers. The idea of such a focused tour is to go where your audience already is, in order to put your beautiful book directly into their hands.
Book Tour
- Start close to home. It will keep your expenses down, and will probably allow you to incorporate the largest parts of your social and professional networks. Reach out to the libraries, indie book stores, and book clubs in a 100 mile radius to inquire about hosting an event for your book.
- Venture out with a plan. If you have a website for your book (I hope you do), set up Google analytics to track where your readers actually are. That way, you can better determine where your audience is most likely to show up. Your website visitors will probably coincide with any friends and family you have around the country—graciously approach these people to see if they have contacts in their cities.
If you don’t have the means to take six months off to travel, or if your book is not particularly “event-ready,” consider a Virtual Book Tour instead.
Virtual Book Tour
- Go global. Virtual Book Tours are brilliant in that they allow you to reach readers in all corners of the globe; with the ease of the Internet, you can reach hundreds of new readers and provide simple links for them to purchase your book online. It also allows you to interact with niche audiences interested in your subject matter—enhancing the likelihood that you will pick up new readers.
- Network with everyone. A substantial VBT will depend on your preexisting online following. If your site gets a few thousand hits every day, write a teaser post that directs readers to that day’s tour stop. That way, the VBT works as a trade-off, between you and the blogger: you bring your regular readers to this new blog, and their readers get to learn about you. It’s a win-win: both you and the host blog get a new audience.
- Be flexible. Many authors report that Virtual Book Tours are most effective when spread out. Do multiple week long mini-tours: five days, five posts, five blogs, one week a month for 3 or 4 months. Varying your questions and answers, respond to comments, and you should be able to pick up new readers at every stop.
You could even do both; stay local for your in-person events, tapping your local haunts to host readings and release parties, and then going online to visit your readers in the Australian Outback, Paris, and Winnipeg. The only limits are the ones you imagine!
A Necessary Evil: The Synopsis
A synopsis is a 3-5 page summary of a novel. (If you’re writing non-fiction, equivalent material is generated for the book proposal.) It should include the characters, conflicts, main plotline along with a few sub plots, and a satisfying resolution of your work. Like the query letter, your synopsis is a new piece of writing entirely; it is not extrapolated from the text itself. To me, they read more like case studies or event reports: all of the info, less of the drama and suspense.
A synopsis is a tricky thing to write, but will be infinitely clearer for those well-versed in the Book Architecture Method. (insert something like, “don’t worry, book coming soon!” link to CC subscription to “be the first to know” or something...)
SERIES is one of the three major elements in the Book Architecture Method (steps 8-12, for those in the know). What others call theme, we map through the text in a way that allows each iteration to be objectively examined and made to stand on its own, giving you a better sense of what your book is about. When you put your series sentences into the order in which they first appear in the narrative, you not only have a springboard for the synopsis, but you can clearly see where each series begins. A synopsis is a report of your series.
For those of you not yet familiar with the method, try expanding upon the elements of a query letter:
- Your protagonist. Who is the book about? Why should we care about him or her? What makes his or her plight special?
- Your antagonist. What is the force opposing the protagonist? An evil step mother? A mutant rodent uprising? Spend some time setting up the conflict, without bogging the reader down with too much detail.
- The resolution. After discussing the obstacles and exactly what the protagonist was up against, tell us how he or she saved the day. What changed in order for them to succeed? Or if they didn’t succeed, what were the unyielding forces that made her change her mind?
A synopsis could be a place where your beta readers come in handy. Ask them what your book is about. It could be the case that as an author, you are too close to the work to write an effective summary. An outsider’s perspective could be the 10,000 foot view you really need.
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