PAM'S POINTERS

Tips to Help You Get Published

by Pam Zollman                                                                                             

1)      Age – Aim High.  Word Count – Aim Low.

2)      Never sleep under the same roof with a rejected manuscript.  Send it out again as fast as possible!

3)      A manuscript in your file drawer is rejected.  A manuscript in the mail is not.

4)      Always have a list of places to send your manuscript.  That way, if it comes back, you can send it right out again without doing more research and using that as an excuse for not resubmitting it.

5)      An editor rarely calls and asks to buy what you have in your file drawer.  So mail that manuscript today.  You can’t sell it if it’s sitting in the drawer.

6)      Enter contests.  Giving yourself a deadline is a good way to make you finish that manuscript.  If you lose, so what?  You have a perfectly good story to submit to other publishers.  Besides, you never know…you might win.

7)      A writer writes every day.  A writer writes the best she can in everything she does.  A writer experiments so that her writing doesn’t become stale.  A writer tries other fields of writing, because she might discover another area she enjoys.

8)      A writer reads every day.  A writer reads in his field to keep up with the market.  A writer reads outside his field to broaden his mind.  A writer reads for research, and a writer reads for pleasure.

9)      Use the Buckshot Method of Submission:  Submit 10 manuscripts to 10 different publishers. You have a significantly better chance of selling than if you submit 1 manuscript to 10 publishers.

10)  The Secret of Successful Writing:  Put the seat of your pants in the seat of your chair and write!



Feel free to contact me, Pam Zollman, if you have problems with your stories.  I'd love to help!  My email address is pam (at) anauthorworld (dot) com.  Visit www.anauthorworld.com. 

Pantser or Plotter?

by Pam Zollman

At our AAWC (www.anauthorworld.com) meeting yesterday, we talked about whether we were pantsers or plotters.  These are individual writing styles.  Which are you?

A pantser writes by the seat of his pants -- he just sits down and starts writing, without a plot or knowing exactly where he's going.  He allows his characters to dictate where to go; he loves the spontaneity of his writing.

The pros of this type of writing is the freedom it allows.  You don't have to have anything more than a vague idea in mind before you start writing.  You can allow emotion and intuition to guide you, rather than a formal outline.  You can go off on as many rabbit trails as your heart desires.  Most beginning writers start off this way, and many professional writers still do this.  Any outline they might have, they keep inside their head.  Pantser feel this style of writing gives them the most creativity.

The problem with this kind of writing?  Well, you might wind up with a rambling story and confusing plot.  It may be overwhelming, especially for a beginning writer, to revise and fix.  The inconsistencies and logic flaws can snowball into a huge amount of revision work.  It's easy to get writer's block because you don't know where you're going with the story.  You'll have pages and pages that you'll have to discard because they don't add to your story (even if they were fun to write).

A plotter writes down a detailed outline of his story before he even starts.  He knows his beginning, middle, and end of his story; he even knows all the parts in-between.  He has detailed character sketches, so that he knows everything he needs about each character and how these details will fit into the plot.  All the backstory is worked out ahead of time.  He can catch and correct any inconsistencies or logic flaws either before hand or as he writes.  He can write fast because he knows where he is going and how he's going to get there.  Writer's block usually isn't a problem.

The problem with this kind of writing?  Well, you could wind up with stale prose.  All the creativity went into making the outline.  Sure, you can write faster, but is the emotion still in it or has it all been drained out?  Your brain thinks it's already written the story because of the detailed outline.  You write fast because you just want to get it over with; the love is gone.  You can feel confined to following the outline, even though your characters and your heart tell you to change course.

And then there's the plantser:  that's someone -- like me! -- who outlines her story ahead of time, but not in such detail that she becomes chained to it.  I do a detailed character sketch ahead of time, so that I know my characters very well.  Then I use my characters to dictate my story.  I know my beginning, my ending, and all the major plot points in-between.  But since I haven't outlined my entire novel, I have the freedom of letting my characters dictate much of the story.  However, I don't let them change the major plot points or ending, unless I realize that their way is better It's not always -- sometimes it's just a fruitless rabbit trail they wanted to follow, and I have to know this and stop it before I spend too much time and energy going in the wrong direction.

So which are you?  A pantser?  A plotter?  A plantser?

Whichever one you are will depend a lot on your personality.  For some people, writing any type of outline just kills their creative spirit.  For others, they are totally lost without their guide map, their outline. There is no one right way.  I have successful, multi-published friends in each catagory.

So which are you?  It doesn't matter, as long as you sit down and write.

If you need help with your writing, feel free to contact me at pam (at) anauthorworld (dot) com.

8 Ways to Beat Post Conference Blues

I've been attending large writing conferences for twelve years and they all have ONEthing in common—post conference blues. It’s only natural. A week-long conference is an exciting, grueling experience. Just physical exhaustion alone could get anyone down—add to that the mental and emotional effects and you have the perfect set-up for a huge let-down.

For those who aren’t expecting the post conference blues they can—worst case—derail your writing career for a year or more. At the least they can set even an experienced writer behind several work days.

The feelings can run the gamut of a vague sense of unease to out-right panic. I’ve found that once I’m at home all the nice things people have said about my writing morph into something ugly.

• They were just being polite—they didn't really like my writing.
• They don’t really want me to send in that proposal.
• hey’ll never publish that (article, devotion, whatever) they told everyone to send something in.

All of these are lies. I've sat on the editor side of the desk and believe me when I say this. Less than 30% of the writers I request something from actually send something in. I’m convinced that a big reason is the post conference melt down.

Here are some tried and true ways I’ve found to minimize the effects.

• Give yourself permission to feel deflated when you get home.
• Arrange your schedule so you have a few days to recuperate.
• Pamper yourself. Sleep in, go out to eat, spend some much needed time with family.
• Before you dive into conference generated work take time to evaluate what happened.
• Make a list of things you want to accomplish over the next year, next six months and next month.
• Develop a plan to stay in touch with new friends and contacts.
• Reach out to others who may be feeling the same way.
• Take your next steps in small increments.

All of these things can help you navigate the post conference blues. Now it’s your turn. Have you experienced the let-down? If so, what have you found to help you cope?

USING SCENE AND SEQUEL AS CHAPTER HOOKS

by Pam Zollman

When most readers reach the middle of a chapter, they start counting the pages to see how many are left.  They do this to find a good stopping point.  The problem is that sometimes, if the book is slow, the reader will not pick up your book again and you’ve lost him.  The trick to keeping him turning pages and keep your story fast-paced is to use scenes and sequels to create hooks at the beginning and end of chapters.

Your story should start with some sort of hook to make the reader want to continue.  Most often action is used to sweep the reader along.  After using the scene-sequel pattern, you come to the end of the chapter and must decide where to stop.

Chapter Endings:  If at all possible, try to end each chapter with a cliff-hanger to force the reader to turn the page.  The cliff-hangers can vary in intensity, but should make the reader curious enough to find out what happens next.  The best way to do this is to use one of the following:

1)  Disaster – End the chapter at the end of the scene with the point-of-view character being hit with the disaster.  The reader will want to turn the page to see if the character survives it and what happens next.

2)  Dilemma – End the chapter in the middle of the sequel with the point-of-view character having to decide what to do.  His choices aren’t great, but he has to do something!  What will he do?  The reader must turn the page to find out.

3)  Decision – End the chapter at the end of the sequel with the character having made up his mind what he will do.  He’s picked the best of his bad options, and the reader will turn the page to see if the decision was a good one or not.  Plus, now the point-of-view character has a new goal, and the reader will want to read on to see if he can achieve this one.

Ending a chapter with Goal, Conflict, or Reaction are weaker choices.  However, even these can be very effective with the right plot situation.

 

Chapter Middles:  End chapter 1 with either Disaster, Dilemma, or Decision, so that chapter 2 starts out in the middle of the scene-sequel cycle. By the time the reader reaches the middle of the chapter and starts counting pages, you’ve started the scene-sequel cycle all over again.

Chapter Beginnings:  Whichever part of the scene-sequel cycle you ended the previous chapter with, you start the next chapter with the next part of the cycle.

Next time we'll discuss how to use Scene and Sequel to pace your story.  Feel free to contact me at pam (at) anauthorworld (dot) com, if you need help with your writing.

Conference Etiquette

Today I’m finishing up my series on attending a writers conference with a great post from my writing and critique partner—Vonda Skelton. She originally posted this on her blog in 2009. Read the original here. She offers great advice on how to be a gracious addition to any conference!

Vonda Skelton is a national speaker, freelance writer, and the author of four books, including Seeing Through the Lies: Unmasking the Myths Women Believe and the Bitsy Burroughs Mysteries for kids. She is the owner of The Christian Writer’s Den Writing Blog, She and Gary have been married 41 years—and they’re still happy about it! 

Conference Etiquette

Here are some suggestions on how to be a gracious receiver of an editor's or agent's or other faculty member's time and input:

1. Seriously pray about and consider who you should meet in faculty appointments. Don't just take an appointment because there's an opening. I did that the first year. Signed up to talk to just about everybody-even if I had no intention of ever writing what they'd be interested in! Wasted my time and theirs.
2. Be on time for your faculty appointments and be considerate when the faculty member says the time is up. I think most instructors are like me and try to stay on schedule in fairness to all those with appointments.
3. Listen more than you talk. Like many others, I tend to talk too much when I'm nervous. And before I learned this lesson, the less I knew, the more I talked! The best use of your time is to make a short introduction, tell a little about your experience, ask a sensible question, and then listen. Don't plan your next question while the person is answering the one you just asked. Really listen. Take notes if necessary. Follow up with other questions as time allows.
4. If you're getting a critique, don't defend every point the critiquer makes. If you do, you're wasting valuable time you could be using to learn. Of course, you may have questions you need answered for clarification, but don't argue or rationalize every point. Sincere questions are one thing, continually being on the defensive is another.
5. Realize that instructors will most likely be unable to take your manuscript home from the conference. Remember, you're one person. Multiply that by 300-400 students. If they are interested, they'll give you instructions for sending it to them.
6. Faculty members love to eat with students, answering questions and giving encouragement. But don't hog the conversation at meals. Occasionally there are those who dominate the conversation, treating the opportunity as one-on-one time.  Not good.
7. One more thing about meals with faculty: It's really nice when they can get a bite or two of food in.
8. Be considerate: Don't shove your manuscript in their faces in the restroom. Don't interrupt a conversation or break in line to speak to someone.  Don't bad mouth one instructor to another. ;-)
9. And a common courtesy that's often missing in our culture today: thank you notes. Handwritten ones are especially nice, but email ones are certainly acceptable. I cringe every time I think of those kind people who invested in me...and yet, I never even wrote a thank you note. Sadly, that wasn't something that I was taught as a child, and I didn't even take such notes seriously until someone mentioned it regarding conferences. Now I try to write notes to everyone who does a kindness to me. Sometimes I forget, but it is something I want to do. They've invested time in me. The least I can do is invest time to write a note.

So there you have it--suggestions on how to present yourself as a professional writer, as well as a kind, considerate person. ;-)

Now it's your turn - have you witnessed any crazy behavior at a writers conference? Have you seen anyone go above and beyond at a conference? I want to hear your stories.

Decisions, Decisions, Decisions

We all know how important the right decision is. The more important it is, the more time we take to process all the information we know that concerns that decision. Your character has reacted to the last scene's disaster. He has realized his dilemma of not knowing what to do next. After weighing all his options, he now makes a decision. And, yes, this is a very important decision!

The decision your character makes will determine his next course of action. This decision of what to do next becomes the goal for the next scene. The decision section of Sequel leads your character back to the beginning: the goal of the next Scene.

Be sure to make your character proactive, that he actually makes the decision and that one is not forced on him (making him passive and not as interesting). Give him options, but don't make any of them easy. The more risky the decision, the more intensely involved is the reader. This is another way to raise the tension.

However, be sure that the decision is workable, even if the percentages are small (otherwise, you paint yourself into a corner). Now the reader is forced to turn the page to see if the decision is the right one and if it will work.

Remember:

3 parts to a Scene

*Goal

*Conflict

*Disaster

3 parts to a Sequel

*Reaction

*Dilemma

*Decision

Scene and Sequel work together to move your story forward. Next time I'll show you how to use Scene and Sequel in all types of fiction.

Visit AnAuthor World's website (www.anauthorworld.com) for information on our fall writing conference, The Story Continues. It will be Saturday, October 15, 2011, at Furman University, 3300 Poinsett Highway, Greenville, SC. If you have questions about the conference or just writing questions in general, feel free to contact me at pam at anauthorworld dot com.

Dilemma!

by Pam Zollman

“What do I do? What do I do now?”

Your main character has been through a scene where he had a definite goal to accomplish, but ran into trouble. That trouble or obstacle caused conflict between your character and another person or nature or society or even with himself. This conflict didn’t turn out the way your character hoped; instead, it was a disaster. He didn’t achieve his goal; in fact, things probably just got worse. Your character reacts to this disaster with horror, grief, surprise, sadess, disgust or some other emotion.

Now your character has to ask himself, "What do I do now?"

The second part of Sequel is Dilemma. Your character now finds himself in a bad situation. During this part, you will raise the tension as your character goes through his options. His options should be few and none of them good. Even if your character does nothing, that is a choice and usually a really bad one. As your character examines all his options, your reader will be on edge, worrying about what will happen next.

How much time do you spend on Dilemma? That all depends on your story and where you are in your story. As discussed in previous blog posts, the bigger disaster requires a longer sequel. A small disaster requires a smaller sequel. Sometimes all your character can think (or is implied) is, “What do I do now?” Other times, your character must weigh all his options before he takes another step. If the plot calls for it, let your character work through his choices, even if this slows down the pace. If this is a major decision, then your reader will want to experience the character’s thinking process. Otherwise, don’t let your character agonize over every single dilemma in the story.

For example, if your character finds that he’s standing on a landmine at the end of the scene (okay, that’s a pretty big disaster), his reaction and dilemma will have to be explored. After all, this is life or death, or, if not death, then maimed for life. If your character finds that he has a flat tire at the end of the scene, it’s probably not life or death. His reaction is probably frustration because he’s on his way to a job interview and his dilemma might be whether to change it himself and get dirty, but be on time, or to call for help, stay clean, but be late for the appointment.

Don’t skip Dilemma, even if it’s so small as to be implied. At least imply it. Your reader may not know why, but he will be dissatisfied. The missing piece, no matter the size, could pull your reader out of the story as he tries to figure out why your character does what he does.

Questions? Feel free to contact me at pam@anauthorworld.com and I’ll try to help you with any story problems.