Tag Archives: Writing the Third Dimension

It’s my 8th WordPress Blogiversary!

Happy Anniversary with WordPress.com!
You registered on WordPress.com 8 years ago.
Thanks for flying with us. Keep up the good blogging!

That’s the message I received from WordPress this morning. Eight years I have been blogging here! 

Looking back at the post I wrote on my 7th anniversary with WordPress, I see my goals haven’t changed much from a year ago. I did make PROGRESS, which was my word for 2017, although it’s not apparent to most people yet.  

THIS IS MY 800TH POST!

As of the time of writing this 800th post, my little blog has received 58,906 hits, up from 50,000 a year ago. Thank you for coming to read what I have to share. My official following has increased to 601 with the addition of two new people just this morning. Welcome! Do remember you can go back through my many posts, and by using the search gadget under which I have the heading FIND A WORD OR TOPIC you can be specific in your search, or you can search by CATEGORY. If you’re a writer, I hope you have taken advantage of bestselling author Sue Harrison‘s writers workshop – Writing the Third Dimension – which she generously posted here on Polilla Writes in monthly segments for three years. For free! You can find it by looking in the top bar under the heading Writers’ quotes, helps & workshops. Excellent teaching!

Over the past year I added more quotes, an author/illustrator interviews drop down menu, another contact number under Suicide Crisis Lines, and a gadget so you can read my posts in other languages for if English is a little difficult for you or maybe you are trying to learn another language. I also keep adding to Books I Read This Year, Book Reviews, Buy the Book – because .. well, I’m pretty much focused on books here. 🙂 Reading them, writing them, sharing them. 

I also have been astonished to see my most viewed post is consistently one from March of 2013, The cut worm forgives the plow.

Thank you for making my blogging life enjoyable. 

Please tell me, what has been your favourite or most helpful post here? 

Thanks for reading, and … Creative Musings!  🙂

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Sue Harrison’s “Writing the Third Dimension”, part 35: Fare Thee Well

Welcome back for the final installment of Sue Harrison’s writers’ workshop: Writing The Third Dimension. We invite you to return here anytime to read and learn from the fabulous thirty-five segments from January 2013-December 2015.  (There was no post for WTTD in December 2013.) Simply click on the page title WRITING THE THIRD DIMENSION, found under Writers’ Quotes, Helps & Workshops on my drop-down menu. Please feel free to ask questions and leave comments for Sue. I’ll be sure to let her know when you do so she can reply. We both love hearing from you.

Now for the topic for month thirty-five:

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“Writing the Third Dimension” – part 35: Fare Thee Well

When I began writing these posts for Polilla Writes, I thought I would have enough material for about a year, maybe a year and a half. It turns out that I’m much more verbose than I ever dreamed! However, the time has come for me to conclude the “Writing The Third Dimension” series. What a joyous privilege has been mine to write these posts, get to know all of you, and to learn so much from all of you!

This is not good-bye. I’ll be back, commenting on the wonderful posts Lynn, “Polilla,” shares with us all, and from time to time, I’ll drop in with a post about books — mine and those of others.

In this, my closing segment, I thought perhaps you might like to read the second chapter of the novel I’ve been writing during the time I was also writing for Polilla Writes. Sharing stories is one of the great joys of my life. So here’s another story, at least the beginning of a story. I hope you enjoy it!

[Note from Lynn: Please note, the shared segment is COPYRIGHTED, no copying by any method allowed. Thank you.]

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BONE FIRE, A Novel of Ancient Europe

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Chapter Two

Awna the Woman

The-Month-of-Dying-Sun

(November)

5814 B.C.

 

The earth was frozen less than a hand-length down, so Awna needed only half a morning to chop away the soil and the tree roots to carve out the old man’s grave.

Under the oak trees that spread their autumn-broken leaves against the sky, she used the wide, flat blade of her digging stone to pry up pads of moss. Webbed with the night’s meager snowfall, the moss carried the heavy scent of rich, wet earth, a smell the old man had loved, so Awna layered it as a bed at the bottom of his grave. The size of an eight-winter child, that old man, smaller even than Awna, but she was strong from the years she had spent as his slave, carrying his packs. She easily pulled his body to the hole, her fingers cupped gently over his brittle bones. She lowered him in, feet first, and, when he was lying in the grave, she crouched on the edge as if she might slide down and claim space for herself.

“So Rolf, finally I am free. You could have waited until spring. It would have been easier.”

At least he had died quickly, his hands suddenly fisted against his chest, his teeth clenched, his breath pulsing out in one long hiss. She should not have told him. What was there about that crooked old man that so easily coaxed out the truth even when it was best forgotten?

Sunlight, shredded by the canopy of oaks, cast splintered shadows over Rolf’s pile of trade goods. Perhaps all those things were hers now, being who she was. Perhaps they were not, considering what she had done.

She did not care much about the shell necklaces, the birdbone needles, the small flint darts, the arrowheads, not even the oval bracelets cut in one piece from pearled edges of sea-clam shells. The bags of dried and pounded pot clay? She could dig up more.

Most of all, she wanted his thick fox-pelt blanket. Once, in the summer, when some bird spit a fever into Awna’s head, Rolf had wrapped her in that blanket, and the cool, soft fur chased out her blighted dreams, lured her back into the real and living world.

So what could she take and what should she bury? Would the old man come back to curse her if she did not give him enough?  He needed gifts for his ancestors.

Of course, she would not bury the hand-sized flakes of salt sewn into their deerskin packets. If she buried the salt, the earth would leech it away from Rolf’s grave. Perhaps then it would poison the guarding oaks. Why put herself into the middle of that fierce battle?

Always, always, though, that salt had been dearer to him than Awna could ever be, except during the one moment which had killed him.

She gave first what was easiest to give, the flute Rolf had made from the hollow wing bone of a vulture. Rolf had drilled five finger holes into the vulture bone and given it a strange fishlike mouth – pike, not carp — that somehow caught his breath and turned it into the low trembling melodies that only Rolf knew how to make.

She lay flat on her belly at one side of the grave and leaned down, slid that flute into his clutched hands. Some contrary part of her spirit wished for one more night song, firelight dancing. That wish made her eyes burn, so she stood and shook herself loose of the memories. Then she untied her grass cloak, swung it away from her shoulders. She had cut the grass for the cloak and dried it, then stitched it length over length until it hung long enough to reach her ankles. It shed water far better than fox fur ever could. She dropped the cloak into the grave, watched it settle in stiff folds over his beautiful fine-boned face, over his thin crooked legs and large clever hands.

“For you, Rolf, a trade.”

Awna held his fox-pelt blanket close to her mouth, blew into the fur to make it hers. Then, except for the salt, she divided all things between them, gave him half the blades, half the dried meat, half the smoked fish, half the beads and bracelets, half the pot clay, even half of her furred suslik skins, although she herself had caught those tricky ground squirrels, and she herself scraped away the flesh, stretched the small pelts on greenstick hoops, and knuckled soft fat into each flensed side.

When Rolf’s share lay with him in the grave, Awna pushed the forest’s thick, dark dirt over top until the hole was full. She layered leaf mold over the dirt then searched out what stones she could find, those rocks carried high into the forest by the Mother River, one year or another, as that river bucked herself free of winter ice. Awna piled the rocks over the grave so no digging animal could get to the old man.

She brushed the soil from her deerskin tunic and from her leggings. She licked the dirt’s dark stain from the palms of her hands. Would the old man follow her, his spirit given breath by longing? She had buried him so far from his home, traveling as they had been on their last trade journey before winter. Surely he would be restless, even under the comfort of the oaks. She cupped her hands over her belly. Would he try to take her baby now living there?

As small as the cap of an acorn, that baby, as the stem of a cap.

Perhaps Léleks would try to steal it, since she had lost the old man’s protection. Those deadly Léleks, twisted spirits, offspring of lost curses.

The wind sent its edged breath deep into her lungs, making her cough. Winter. Too close.

Always, since her mother sold her, Awna had only followed. How does a follower learn to walk her own path?

She leaned close to the grave, spoke loudly so Rolf could hear her through the stone and earth. “So what should we do, this baby and me? We cannot live outside in winter. Would you let me return to your house and use it as my own?”

A long journey that would be, but better than spending winter’s hard, cold days alone in an oak forest.

As if Rolf had traveled back to answer her, underbrush snapped and voices came from just beyond the stand of oaks. Awna crouched low and small, raked her fingers through her hair until the dark curls fell forward to cover her face. Her breath squeezed in so shallow that her acorn-baby lifted a thin cry of protest from her belly. But as she peeked through her hair, she saw those noisy ones walk into the oak clearing and realized they were just ordinary men.

Dark of hair and eyes they were, as are all people. Two carried a dead boar, hung by its legs from a sapling they balanced on their shoulders, an old boar, blood dripping black from age-stained tusks. The third man, although muscled thick in his arms and shoulders, carried nothing but throwing-spears, cradling them as if he were a woman holding a baby.

The three men stopped and stared at Awna, and the one holding the spears opened his mouth, ready to speak, but said nothing. His hair and beard had grown into a tumble of ringlets; his eyes were large and his ears. He shifted his gaze to the packs jumbled in a heap against the nearest oak. Then he pointed at the grave and asked, “A child?”

Awna pushed her hair back from her face and stood up. “No. He was old.” Why tell them more than that?

The spear-carrier turned and spoke to the others, and he spoke with such a wide swinging rhythm that Awna’s ears were not quick enough to catch all his words. Dried blood marked the men’s faces as if they had used it for paint, and their wide belts bristled with flint-blade knives.

So what was best, she asked herself, to pretend she had people waiting for her? Or should she try to find a place with these three men?

She did not want them to think the old man’s packs were theirs to take, so she walked to the pile and slung the largest on her back. The smaller ones she tied to her belt, and she hung the packets of salt from her shoulders. Slow she was, doing all this, but the men stood and watched. She tied the fox-pelt blanket around her waist. When she had taken all there was to take, she stared down at Rolf’s grave, wondering if she would hear his high, thin voice scolding her for greed, but he said nothing.

Awna pulled in a breath and was sure she could smell the moss of his sunken bed. So how terrible would it be if she and her acorn-baby were killed and left in this good place? They would be safe from winter. Everyone knew the dead did not feel the cold.

She pulled a small chert blade from her belt and cut a few stitches at the top edge of a greased packet, lifted it so the men could see the hand-size flake of salt inside. Then she waited for them to kill her, salt being more precious than any woman’s life could ever be.

The one who carried the spears stepped close and pinched the edge of the salt. He licked his fingers and looked at the other two men, shifting foot to foot under the weight of the dead boar. The salt-taster laughed, a low troubled sound, as if suddenly he had something to worry about.

“Where are you going?” he asked Awna, his words slow enough that she understood.

She pointed east and then south.

He said: “My village is close.”

Of course, their village was close. Men did not carry a dead boar, dripping blood, any great distance. Wolves, dogs, soft-pawed mountain lions would catch the scent. In near-winter, those animals would be glad for the meat, even of an old bitter-flesh boar.

“My village is not close,” she said, trying to match the rhythm of his words. She was a fool to admit she had no protection near, but her back ached and her arms, and she had blistered her hands digging that grave. Inside, she felt so empty that she wondered if her soul had stayed down there with Rolf. Why not give the salt-taster greater reason to kill her? Better to have the pain over soon than waste more time listening to his high-singing words.

Awna breathed in one last smell of moss and earth and oak. She would be a part of it whether these three buried her or simply left her body for whatever animal found it first.  Be strong, she told her acorn-baby, and she tilted back her head, so the man could see the long vein at the side of her neck. “Quickly,” she told him.

He set the butts of the spears on the ground, braced them in the crook of his left arm. He ran his thumb down the length of her pulsing vein, and Awna pulled her thoughts into that warm, dark world where her acorn-baby lived.

The man caught a handful of her hair and tugged gently until she lifted her head to look into his eyes. His voice was little more than a whisper when he said, “My name is Cob. I need a wife.”

copyright, 2015, Sue Harrison

*******

 So this is not Good-Bye, only Fare Thee Well, and Thank You

More than Words can ever Say.

Merry Christmas, Happy New Year, Happy Hanukkah!

Strength to your pen!

Sue

*Writing the Third Dimension, copyright, 2010 Sue Harrison*

Sue HarrisonBestselling author, Sue Harrison, has written two bestselling Alaska trilogies: The Ivory Carver Trilogy and The Storyteller Trilogy – all of which went digital in May 2013. She also wrote a middle readers’ book SISU. Prior to the publication of her novels, Harrison was employed at Lake Superior State University as a writer and acting director of the Public Relations Department and as an adjunct instructor in creative writing and advanced creative writing. For more information, click here. To inquire about booking Sue for workshops or speaking engagements this year, click here.

Thanks for joining us! Please feel free to leave your questions and comments. Sue has generously shared her knowledge and expertise with us for free all these months. This has been a tremendous gift, one for which I am very grateful. If you want to let Sue know what this has meant to you, if her teaching has benefited you in any way, I’m sure she would be thrilled to hear about it.

Thank you, Sue, so very much. I look forward to receiving posts from you when you have something to share with us. 

 

 

Sue Harrison’s “Writing the Third Dimension”, part 34: A Fairy Tale for Writers

Welcome back! For the rest of this year we invite you to return here, specifically on the fourth Thursday of each month for the newest installment of Sue Harrison’s teaching: Writing The Third Dimension. You can read and learn from all the fabulous segments from 2013-2015 by clicking on the page title WRITING THE THIRD DIMENSION, found under Writers’ Helps & Workshops on my drop-down menu. Please feel free to ask questions and leave comments for Sue. Now for the topic for month thirty-four:

*****

“Writing the Third Dimension” – part 34: A Fairy Tale for Writers

Once upon a time in a deep dark woods, lived a girl named Write-arella. More than anything in the world, Write-arella wanted to write novels, but publishers told her that her books were too long, or they were too short. They were too silly, or they were too serious. And by the way, why was every book set in a deep dark woods?

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Finally after writing and writing and writing some more, Write-arella finished a book that publishers liked, and they published it. Then Write-arella and her handsome prince lived happily ever, eating chocolate-covered strawberries and going on book tours.

The End

Yeah right. The truth is…

The deep dark woods are real. The book tours are real, and sometimes even the chocolate-covered strawberries are real. Write-arella did marry a prince of a guy, but he told her that if she really wanted success as an author, she couldn’t just sit around eating chocolate-covered strawberries and watching football games. (Actually, the Prince was the one who watched the football games.)

The prince said Write-arella needed to do more than write a book and get it published. She had to work for her success.

So after Write-arella’s book was published, she begged libraries, churches, and schools for speaking opportunities. She asked friends and family members to set up book signings in their local bookstores. She judged chili contests, hawked books at boat shows, and attended blueberry festivals. She spoke at writers’ conferences.  She gave commencement addresses at high schools and colleges.  She dropped in for reading week at local elementary schools.

The Prince decided they should also travel all over the country and visit every little bookstore they could find.  At each store, they introduced themselves, talked to the manager, signed stock, chatted with customers, and then went on to the next town and the next bookstore.

After they arrived back home at the castle, Write-arella mailed notes to the bookstores they’d visited and added them to her Christmas card list.

She and the Prince bought copies of her books from her publishers, and they sold them at craft fairs and community gatherings and at local gas stations and restaurants and curio stores. She started her own blog and her own Facebook page. She met a wonderful writer who allowed Write-arella to post how-to columns on the writer’s blog, Polilla Writes.

And every day — or almost every day — Write-arella wrote.

The moral of the story? A writer’s work is not finished just because the book is. If you self-publish or if you sign a contract with a publisher, you need to be ready to celebrate – not only with chocolate-covered strawberries, but also with a lot of hard (and fun!) work.

What out-of-the-box ideas do you use (or plan to use) to sell your books?  What out-of-the-box ideas have enticed you to buy a book?

Strength to your Pen!

Sue

*Writing the Third Dimension, copyright, 2010 Sue Harrison*

Sue HarrisonBestselling author, Sue Harrison, has written two bestselling Alaska trilogies: The Ivory Carver Trilogy and The Storyteller Trilogy – all of which went digital in May 2013. She also wrote a middle readers’ book SISU. Prior to the publication of her novels, Harrison was employed at Lake Superior State University as a writer and acting director of the Public Relations Department and as an adjunct instructor in creative writing and advanced creative writing. For more information, click here. To inquire about booking Sue for workshops or speaking engagements this year, click here.

Thanks for joining us! Please feel free to leave your questions and comments. We invite you to come back December 24, 2015, for part 35, which is the FINAL installment of this fabulous series.

 

Fun Quiz: how long would you survive an alien invasion?

Hello, Everyone!

Today I thought you might enjoy another fun quiz. This one helps you find out if you would survive an extraterrestrial alien invasion. Of course, it is very important to know this. One must be ready at all times!  (snicker)

alien-spaceshipI have much to do on my week home, starting later this morning, which means my blogging could remain scanty for awhile. There are things I am trying to complete, change, and redirect in my life, and it all takes time when setting a new course. (nautical term)  I will be checking here every day, though, hoping for new comments from you. 🙂  Or you can always send me an email if you prefer. Go to contact page for that if you don’t know my email address.

I already wished a Happy Thanksgiving to my US friends and readers; what are your plans? That day I should have another installment of Writing the Third Dimension to share with you. I expect you’re all very busy getting ready to cook, travel to connect with others, eat a lot, and then shop a lot the next day. Be careful out there!

Have you started your Christmas shopping yet? I only had a few things, then this week I managed to get out to a Christmas shopping party at which I found some nice items for all my daughters. It’s alarming how little time remains until December 25!

Enough chatter, did I hear you say? Okay, now for …

alien-spaceshipthe QUIZ  (click here)

Would you survive an extraterrestrial alien invasion? Do tell!

Thanks for reading, and … Creative Musings!  🙂

 

 

 

 

Sue Harrison’s “Writing the Third Dimension”, part 33: Alternatives

Welcome back! For the rest of this year we invite you to return here, specifically on the fourth Thursday of each month for the newest installment of Sue Harrison’s teaching: Writing The Third Dimension. You can read and learn from all the fabulous segments from 2013-2015 by clicking on the page title WRITING THE THIRD DIMENSION, found under Writers’ Helps & Workshops on my drop-down menu. Please feel free to ask questions and leave comments for Sue. Now for the topic for month thirty-three:

*****

“Writing the Third Dimension” – part 33: Alternatives

When I began writing Mother Earth Father Sky way back in the 1970s, options for publication were pretty much the following. You could submit your novel directly to a small publisher or university press. You could find an agent who would begin the submission process to larger publishing houses. You could pay big bucks to a vanity press to publish the book. You could self-publish, which would still cost thousands and pretty much relegate your novel to the dreaded “ignored” category. Ignored by bookstores, ignored by reviewers, ignored by readers.

Today, with the advent of ebooks and print-on-demand, self-publishing carries no loss of prestige, and it doesn’t break the author’s budget.

I’m not an expert at self-publishing because I haven’t  gone that route yet. I believe someday I will, but right now I have too many projects on my desk to pursue that possibility. So this post is not about those steps of pursuit. You can find many self-publishing experts on line. I recommend literary agent Rachelle Gardner’s book, which will walk you through the decision process. How Do I Decide? Self-Publishing vs Traditional Publishing (A Field Guide for Authors) is available as an ebook through Amazon for $2.99. Definitely worth the price!

Rachelle-Ebook-02-Self-vs-Forest-Green-White-Lettering-Small

Meanwhile, let’s talk about the positives and negatives of self-publishing.

Positive aspects:

1. You are in control. You decide what gets edited out of your novel and what you want to leave in. You control cover art. You control font choices. You control length.

2. You decide what time of year to publish your book. If you want to bring it out in time for Christmas, you can. If you want to arrange publication according to your personal schedule,  you can. You’re not in lockstep with the publishers’ other books, waiting your turn.

3. You can keep your novel in print as long as you want. Publishers usually “retire” in-print novels, many times it’s after only a few months on bookstore shelves.

4. Once you pay the costs, you don’t have to split the profits with a publisher.

Of course, there are negative aspects:

1. You pay. If your novel comes out as an ebook, you might pay between $100 and $300 to have your manuscript formatted. Hard copy books are of course more expensive, but print-on-demand allows those costs to come to the author in a more gradual way. You may decide to hire an editor to vet your work before you publish it. Editing costs can range from several hundred to several thousand dollars, but the choice is up to you. I do recommend an editor, not only for grammar, spelling, and typos, but for content. You want your novel to be the best possible. Otherwise, you may lose your readership for a second book.

2. You must find your own cover art and pay the artist.

3. You may have to acquire more “techie” skills to ready your manuscript for ebook formatting.

4. You must do your own PR work. In the current publishing climate, that’s also true with many commercial publishers. So this isn’t as much of a deterrent as it used to be. Still, you can’t sit back and expect someone else to research the market for you or find bookstores willing to carry your novel.

5. Most national reviewers don’t review self-published novels. On the local scene, though, many reviewers do. It’s your job to find them.

The most important thing for a writer with a completed first novel to know is that self-publishing exists as a viable option. You do not ruin your career if you decide to self-publish. You’re simply getting your novel out there to an audience.

Have you considered or pursued self-publishing? Tell us your experience!

Strength to your pen!

Sue

*Writing the Third Dimension, copyright, 2010 Sue Harrison*

Sue HarrisonBestselling author, Sue Harrison, has written two bestselling Alaska trilogies: The Ivory Carver Trilogy and The Storyteller Trilogy – all of which went digital in May 2013. She also wrote a middle readers’ book SISU. Prior to the publication of her novels, Harrison was employed at Lake Superior State University as a writer and acting director of the Public Relations Department and as an adjunct instructor in creative writing and advanced creative writing. For more information, click here. To inquire about booking Sue for workshops or speaking engagements this year, click here.

Thanks for joining us! Please feel free to leave your questions and comments. We invite you to come back November 26, 2015, for part 34.

Sue Harrison’s “Writing the Third Dimension”, part 32: Let Me Tell You About My Book…

Welcome back! For the rest of this year we invite you to return here, specifically on the fourth Thursday of each month for the newest installment of Sue Harrison’s teaching: Writing The Third Dimension. You can read and learn from all the fabulous segments from 2013-2015 by clicking on the page title WRITING THE THIRD DIMENSION, found under Writers’ Helps & Workshops on my drop-down menu. Please feel free to ask questions and leave comments for Sue. Now for the topic for month thirty-two:

*****

“Writing the Third Dimension” – part 32: Let Me Tell You About My Book…

The subtitle for this post is “The Query as a Sales Tool,” so I’ll begin the boring way – with a definition. A query is a business letter, sent to an editor, agent or publishing house, as a sales tool to generate interest in possible publication or representation of a writing project. 

That’s it. The query is a sales tool, and you – the writer – are trying to sell your novel, just like Walmart sells dog sweaters and J.C. Penney sells shirts.

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Years ago, my husband and I attended a company Christmas party. I knew very few people there, and I’m not great at small talk. I was standing alone when a woman came up and started a conversation. After a few minutes, she asked me what I did. I mentioned that I was writing a novel.

Her reply went something like this: “Hmmm. Well. I guess I’d better go look for my husband.” And off she went.

I was puzzled by her reaction, but now, years later, I understand. Hearing about other people’s books can be a trying and even boring experience, and thus we have a gem of knowledge to guide novelists both in casual conversation and in query letters. Be quick about it!

During my writing life, I have written some of the most terrible query letters out there, so I’m not going to sit here, all high and mighty, and only tell you how to write one. I’m going to tell you how NOT to write a query letter.

1.      Do NOT scribble a casual note.

DO write a polite business letter. If you’ve never written a business letter before, you can find templates online that will give you the needed parameters.

2.      Do NOT start your letter with “To whom it may concern:”

DO begin with a salutation that is personalized with the agent’s or editor’s name.

3.     Do NOT begin with ‘I have written a novel.” Of course you have. That is exactly why you sent the query letter, and the agent or editor knows that.

DO begin your letter with your strongest sales tool. The first point of your query letter should be to “hook” or entice the agent or editor to read the rest of the letter. Your hook should be precise and quick, one or two sentences. The hook might be the presentation of the protagonist of your novel. It might be the location or the plot. It might be something unusual that you have experienced or accomplished which relates to the reason you wrote the novel. It might be that you have met the agent/editor at a conference or in an elevator, and he or she expressed interest in your work.

4.      Do NOT write multiple paragraphs describing your plot and characters.

DO write one paragraph about the book in which you give a brief overview of the main character (or two), his or her problem, and the setting or time period.

5.      Do NOT criticize another author’s work.

DO cite two or three other published novels that are similar to yours, and then mention what will make your novel stand out to readers of those novels and that genre.

6.      Do NOT resort to hyperbole. One way to turn off any agent or editor is to guarantee sales in the millions or the advent of an instant New York Times Bestseller.

DO give facts. “More than 2,000,000 people in North America enjoy the hobby of knitting.” (Which may be potential readers for your novel about a group of knitters!)

7.      Do NOT assume the agent or editor knows who you are, even if you are famous.

DO write a concise biography. This isn’t a resume. No need to go on and on about your education or job history unless that information is connected to your novel. If you have writing credits, mention that. If not, mention anything pertaining to writing – a writers’ group, a critique group, a writers’ workshop you’ve attended. Read the brief writer bios on the backs or jackets of published novels to get an idea of what will work for you.  However, be aware that the bios on books are written in third person. For your query letter, your bio should be written in first person.  (As in, “I make my living as a fisherman in the Bering Sea.”)

8.     Do NOT forget contact details.

DO include your street address, email address, and phone number on your query letter. I usually include those details in two places, at the heading of the letter (even if it is an email) and under my name at the bottom of the letter.

9.      Do NOT write one-size-fits-all queries.

DO enough research to know something about the agent or editor you are contacting.  For example, for an agent who is a dog-lover, you might mention in your bio, “I am the proud owner of a very spoiled schnauzer.” The personal touch reminds the agent or the editor that you are a real person, with joys and hopes and goals.

10.    Do NOT  be over-effusive as you end your letter.

Do be polite. I often end a query by writing, “May I send you sample pages and a synopsis? I look forward to hearing from you.” After that, it’s simply, “Sincerely,”

11.     Do NOT  wait overly long for an answer.  If you haven’t heard from an agent in a couple months, you can assume your query was rejected.

DO send multiple queries. The very good news for writers today is that the acceptable practice is to write and send multiple queries. Keep a notebook about where and when you sent queries, and if you received an answer.  Be sure to follow the guidelines for each agent/editor/publishing house. That can make all the difference between acceptance and rejection.

12.     Do NOT write a multi-page query. Although this post is quite lengthy, please remember that query letters should not be.

Do keep your letter to one page if possible, and that page should be well-edited. No typos, no spelling errors, no grammatical mistakes. Use a normal font that is easy to read. No fancy stuff, even if your novel is set in Victorian England. If the agent or editor/publishing house requests a hardcopy query, use white or cream good quality paper. Again, nothing fancy.

Good luck, and remember, rejection is part of the game. Many great novels have never reached their audience because the novelist gave up after a few rejections. A rejection letter with comments is almost as good as a request for sample pages. Agents are extremely busy, and any comment or suggestion means your query intrigued them even if they rejected it.

Next month we’ll address self-publishing — Pros and Cons. Meanwhile,  Strength to your pen!

Sue

 *Writing the Third Dimension, copyright, 2010 Sue Harrison*

Sue HarrisonBestselling author, Sue Harrison, has written two bestselling Alaska trilogies: The Ivory Carver Trilogy and The Storyteller Trilogy – all of which went digital in May 2013. She also wrote a middle readers’ book SISU. Prior to the publication of her novels, Harrison was employed at Lake Superior State University as a writer and acting director of the Public Relations Department and as an adjunct instructor in creative writing and advanced creative writing. For more information, click here. To inquire about booking Sue for workshops or speaking engagements this year, click here.

Thanks for joining us! Please feel free to leave your questions and comments. We invite you to come back October 22, 2015, for part 33.

 

Sue Harrison’s “Writing the Third Dimension”, part 31: What’s a Literary Agent?

Welcome back! For the rest of this year we invite you to return here, specifically on the fourth Thursday of each month for the newest installment of Sue Harrison’s teaching: Writing The Third Dimension. You can read and learn from all the fabulous segments from 2013-2015 by clicking on the page title WRITING THE THIRD DIMENSION, found under Writers’ Helps & Workshops on my drop-down menu. Please feel free to ask questions and leave comments for Sue. Now for the topic for month thirty-one:

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“Writing the Third Dimension” – part 31: What’s a Literary Agent?

You’d be surprised how often I hear that question — from audiences at book presentations, from readers, from new writers, and even from a few long-time writers. So as we tackle the challenge of presenting a book to publishers, let’s start with a post about literary agents. I’ll present this information in a question-and-answer format to make the post more user-friendly.

Q: What does a literary agent do?

A: A literary agent presents his/her clients’ work to companies that might be interested in publishing that work.

Q: Can’t I do that myself?

A: Many small publishers and university presses do accept manuscripts submitted directly from the author. Large commercial publishers do not. They know that literary agents take on only the manuscripts they believe they can sell, so in this way the agent acts as a first reader, weeding out books that are not marketable.

Q: What types of manuscripts do literary agents accept?

A: Most literary agents accept only full-length material. In other words, not poetry, not short stories, and usually not magazine articles.

 Q: How do I find a literary agent?

A: The Internet has become a valuable tool for writers who are seeking representation by a literary agent. Simply do a search for “literary agent” and you will find pages (and pages and pages) of agents. Go to their websites and read their requirements and preferences. Then list those who seem to be interested in the type of book you have written.

Q: How do I know the agencies I’ve selected are reputable?

A: One of the best resources out there for authors is a website called Preditors & Editors at http://pred-ed.com/peala.ht. On their home page, click on “Agents & Attorneys,” which will give you a comprehensive list of literary agents, including those who are legitimate and those who are not. The Preditors & Editors website also explains the “rules” of etiquette between agents and clients and potential clients. Just knowing those usually-unwritten rules can tilt the odds in your favor as you try to acquire a literary agent.

 Q: How are literary agents paid?

A: Literary agents take a percentage (usually 15%) of whatever money your work makes once they sell it. If your agent sells rights beyond direct publication — foreign rights, movie rights — they will probably  work with another agency that specializes in these areas. In that case, the usual rate is 10% to each agency, a total of 20%. Do NOT ever pay a literary agent to simply read your work. Most agencies that ask for money up front seldom sell anything. Why would they? They can earn a fine income from writers willing to pay $500 or more to have their work considered.

Q: How does the author get paid?

A: We’ll discuss advances and royalties in the next few months, but just to give you a general idea, most monies are paid directly to the agency. The agency then deducts their percentage and a small amount for expenses (for copies, mailing, long distance phone calls) and sends a check for the remaining funds to the author. Most agencies are very good about forwarding money due their authors within several weeks or less.

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Q: Besides sell my book, what else does an agent do for me?

A: I’ve had the privilege of working with three very fine U.S. literary agents (my home country), and each of them helped me in so many ways, including generating enthusiasm among potential acquiring editors; providing information about the publishing world; opening connections to professional writers, editors, and publicists; walking me through the legal complications of contract negotiation; vetting all contracts; and sometimes just providing a kind and encouraging comment in the face of rejection. I also have worked with numerous agents in other countries. They, too, have positively influenced my career. Their services include translating and negotiating contracts, providing information about income taxes in other countries, and sometimes even arranging publicity tours. Once you have an agent, you are part of a team. You’re not facing that large, sometimes vicious, world of publishing on your own, which can make all the difference between failure and success.

Q: How long did it take you to find your first literary agent?

A: Almost five years! Writing books is not a life for the easily discouraged.

Q: Why so long?

A: In those days, prior to the Internet, the querying process took much longer than it does now. Everything had to go through snail mail, and simultaneous submissions to various agencies were discouraged. (Now they are accepted as a part of the “game.”) However, there was a more important reason. My novel, Mother Earth Father Sky, wasn’t yet good enough for publication. Through the suggestions of agents who rejected my queries but were kind enough to explain why (That doesn’t happen often, but it does happen.), I was able to shape Mother Earth Father Sky into the novel that became an international bestseller.

Q: If I decide to self-publish, do I need a literary agent?

A: Not unless you begin to receive offers from other publishing entities: audio, movie, foreign, or large commercial publishers. If you are an experienced contract lawyer, you may not need an agent, but in general a good agent will get you a better contract than you can negotiate for yourself.

Q: If I want to procure an agent to represent my work, what do I do next?

A: It’s all about having a worthy manuscript — no multiple blatant typos, a manuscript formatted according to agency preferences, a strong voice, characters who pull a reader into the story — AND a very good query letter. Next month on Writing The Third Dimension, we’ll discuss query letters.

Do you have other questions about literary agents? I’ll do my best to answer them in the comment section.

Strength to your pen!

Sue

 *Writing the Third Dimension, copyright, 2010 Sue Harrison*

Sue HarrisonBestselling author, Sue Harrison, has written two bestselling Alaska trilogies: The Ivory Carver Trilogy and The Storyteller Trilogy – all of which went digital in May 2013. She also wrote a middle readers’ book SISU. Prior to the publication of her novels, Harrison was employed at Lake Superior State University as a writer and acting director of the Public Relations Department and as an adjunct instructor in creative writing and advanced creative writing. For more information, click here. To inquire about booking Sue for workshops or speaking engagements this year, click here.

Thanks for joining us! Please feel free to leave your questions and comments. We invite you to come back September 24, 2015, for part 32.