Litopia – My Favourite Podcast

September 29, 2008 at 11:17 am (Get Promoted, Get Published, Get Represented) (, , )

Redhammer literary agent Peter Cox presents my favourite podcasts in all the world, the tasty ten-minute Litopia Daily each weekday and the sumptuous 50-minute-ish Litopia After Dark at 8pm (GMT) on Friday evenings.

I’m not the only person who thinks these shows are brilliant. Litopia’s audience has been doubling every quarter until this summer, and Peter said recently:

Our audience figures are looking terrific for the quarter about to end. We had an audience of 6,500 for the previous period – with a few days to go, we are just over 18,000! I suspected we’d double, but trebling is amazing!

Litopia Daily usually has three short sections.

  • Peter starts with something important to writers. On Thursday and Friday last week, for example, he and author Peggy Brusseau (Peter’s wife and occasional podcast guest, with whom he co-wrote 27 commercially published books before he became an agent) discussed How To Get A Literary Agent.
  • In the middle section, US lawyer and author Donna Ballman brings us news relevant to writing and publishing.
  • Writer Eve Harvey ends the show with her excellent Salmagundi Club:  “a smorgasbord of items that will interest any writer – maybe some hints and tips, things I’ve discovered on the web, inspiring blogs, procrastination places, cool stuff for writers… etc.”

Litopia After Dark is a delightful show. Peter and his regular guests, Donna, Eve, and writer and lecturer Dave Bartram, are joined by a special guest each week. And they’re often pretty special!

Why don’t you check it out? I can promise you’ll find these shows an informative and enjoyable listen.

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Conversation with your mirror

September 26, 2008 at 10:23 am (Friday Fun) ()

Venus in the Mirror - Velazques

Venus in the Mirror - Velazques

I’m stealing today’s idea directly from Sulz’s post of two weeks ago.

My contribution to her post was:

Mirror: You’re looking good again today.

Me: I know that. I’m a bloke.

Mirror: Beard’s getting a little bushy, isn’t it? You know Grizzly
Adams lookalikes get no two-person sex in this house.

Me: Maybe this time she’ll change her mind.

Mirror: Did you see that pig fly past the window just then?

Wanna play?

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“Ten Ways to Knit the Perfect Sweater” – and Other Feature Articles!

September 24, 2008 at 9:12 am (Get Published, Guest Blogs) (, , )

Steven Barley is a full time writer, parent and househusband but not necessarily in that order! He was recently taken on by the MBA Literary Agency on the basis of a humorous, narrative non-fiction book about his transition from City banker to domesticated househusband. He lives in Hertfordshire, England.

Hello folks. No, we’re not talking about knitting patterns today, nor are we trying to pull the wool over the eyes of commissioning editors for magazines and newspapers, but we are trying to grab their attention and hopefully make a little money to pay for our true novelistic tendencies. The theme of this post is how to get a feature article published.

I started down this route myself, and did all the research – attended courses, summer schools, picked the brains of successful feature writers and even spoke with the man down the pub – but then got sidetracked in my endeavours when I was asked to turn my articles into a book instead. But in this green age of re-use and re-cycling I thought I’d regurgitate what I learnt and pass it on to you.

So instead of ten ways to knit a sweater, here are six key tips on how to get your feature article published:

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Learning how to write sex

September 22, 2008 at 9:56 am (Get it Written) (, , )

Drawing by Jorge Melicio

Drawing by Jorge Melicio

For the past nine weeks I’ve been following a remarkable 31-part “how to write sex” course taught by urban fantasy writer Stacia Kane, who also writes erotic romance for Ellora’s Cave as December Quinn, and whose talent and wit help make her a superb teacher.

To let you taste the flavour of this course, here’s a paragraph from Stacia’s introduction:

No matter what, once your characters have had sex, their relationship changes. Irrevocably. Actually, their relationship should change with every conversation, every casual touch, every glance, every kiss, even if it’s not readily apparent. But it is impossible for your characters to have sex and not see each other differently afterward. And that is one of the “jobs” of the sex scene, to show that relationship actually changing…

I’ll be honest. When we started this course, I thought I could write sex scenes. I wanted to learn how to do it better, but I reckoned I didn’t do too badly already. After all, I’m a sexual human being and a writer. What could be more natural than combining two passions to create good sex on the page?

Well, it transpired that lots of things came more naturally to me. For example: telling rather than showing.

I know, I know. That’s one of the basic writing faults we all learn about early in our careers.

But it turns out that many writers “tell rather than show” when writing sex. I don’t know why others do it, but I was doing it because I was uncomfortable.

Which, again, is plain weird. I’ve tackled uncomfortable things before in my writing and working through them fine, and anyway, I’m very comfortable about sex. So what’s the deal, here?

Actually, I did know I had a problem with one scene I’d already written, but I didn’t identify the problem until the end of Stacia’s brilliant course.

It wasn’t that I’m uncomfortable writing sex, but that I was uncomfortable writing this particular bit of sex. This one is a love scene, a romantic “first time between these two” sex scene, a universe-rocking recognition of mutual love.

Oh, and there’s the complication of their psychic connection, which allows them to hear each other’s thoughts and feel each other’s sensations as well as their own. But I always saw that as a wonderful opportunity rather than a problem.

No. My problem was that I wanted their love to shine through, to make it much more than just sex, and it seems that desire made me uncomfortable about being too graphic.

I wrote it all wrong. Instead of exploring their wonderful love through wonderful sex, I showed their thoughts and emotions but told the sex.

I backed away from it.

On Stacia’s course, I learned not only how to engage with the sexual love, but also how to write it well. It’s an art in itself. And I didn’t have a clue. I didn’t even know enough to know there was stuff I didn’t know.

I do know I’ll return to Stacia’s course content again and again, and I recommend it to you. It’s simply the best How To writing course I’ve ever experienced. Part 1 is here.

I’ve cross-posted this article to my Writing Journal and placed my rewritten sex scene under a Friends-only cut. I do it this way with all my excerpts, to protect against theft and maintain first rights. You’re all welcome to Friend me there, if you’d like to read snippets of my work in progress.

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Hearts and Minds competition result!

September 19, 2008 at 11:27 am (Friday Fun, Guest Blogs) ()

Rosy chose two names out of a hat this morning, and the winners are…

Kate and Suburbanlife

Congratulations! You’ve each won a copy of Hearts and Minds!

I’ll email you both today. :)

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Cambridge Law Don Revealed to be a Comedy Author!

September 17, 2008 at 7:39 am (Get Published, Guest Blogs) (, , , )

Rosy Thornton is a Fellow of Emmanuel College, Cambridge, as well as a rookie novelist. She lives in a Cambridgeshire village with her partner, two daughters and a small pack of spaniels.

You could win a copy of Hearts and Minds in our competition.

Details below!

First, may I say how grateful I am to David for giving me this space to air some thoughts about writing? Writers relish nothing more than being the chance to write – and being both an academic and a lawyer as well as a novelist, that’s two more reasons in my case for being ever ready with an opinion!

I told David that I might talk about the dangers of ‘writing close to home’, because that is a topic which has been much on my mind in the past few weeks; I hope he will forgive me if it ends up also being about confused identities.

When I first started to write fiction in 2005 it was very much a secret vice. I came clean about my habit at home, to a certain amount of gentle ribbing from my nearest and dearest, but mentioned nothing to anybody at work.

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How do you deal with rejection?

September 15, 2008 at 10:40 am (Get Represented) (, )

No, really, I mean you. I think I deal with it fine, but just lately I’ve heard from several writers who seem to struggle with it. So here are some quick thoughts from me, then it’s over to you.

I’ll start with definitions. What is and isn’t rejection?

What isn’t rejection?

Crits aren’t rejection. The only way they could be considered to be rejections is if they’re personal. And they’re definitely not personal. They’re not aimed at us, the writer. They’re aimed at the specific piece of writing they’re addressing. If they are personal, file them under B for Bin. They’re worse than worthless. Pay them no more attention. But don’t, for goodness sake, take a crit personally when it wasn’t written that way. It’s isn’t about you.

If a critter misses the point of the piece completely, or brings her own issues to a piece that doesn’t deserve or need them, file them under B for Bin. Probably. Possibly. Or, maybe better, study their crit anyhow and look for nuggets of wisdom hidden among the rubble of misunderstanding.

Most crits are neither personal nor complete misunderstandings. Most of them are valuable, and some are worth their weight in gold. The art of giving and receiving crits graciously is an essential skill for writers.

What is rejection?

Rejection is an agent or publisher saying, “This isn’t for us.”

That’s it. And that’s all they’re saying. They’re not saying, “you can’t write” or “this is crap” or anything else like that. Maybe you can’t and maybe it is, but that’s a different issue entirely and they’re almost certainly not saying it. They don’t normally have time to say that kind of thing, anyway, so why torture yourself by inferring some message that was never implied?

What is an agent’s rejection, really?

I’ll tell you what they are to me. They’re stepping stones to my Perfect AgentTM. Simple as that.

My way?

My way of dealing with rejection, then, is to get over it and get on with the job. I think that to do otherwise is to walk a dangerous path to unhappiness and instability.

How about you?

Feel the Love: How Giving and Receiving Critiques Will Improve Your Writing

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Diary of a Time Traveller

September 12, 2008 at 10:49 am (Friday Fun) ()

If you could travel in time today

If you could travel in time today

Where would you go?

Who would you see?

What would you do?

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How do you get inside a character’s head?

September 10, 2008 at 9:55 am (Get it Written) (, , )

Psyche Opening the Door into Cupid’s Garden – John William Waterhouse

Rebecca Laffar-Smith asked me this question. Here’s what she said:

My number one protagonist is Tori, and I’m really connected with her. But I can’t quite get inside the head of my second protagonist, Lucas. That makes him weaker in the whole book and I need to get to grips with him for the rewrite. When I write scenes in Tori’s point of view, it’s easy. It flows. She does all the work. Lucas is stilted, like I’m dragging him through the mud. How do you get inside a character’s head?

I reminded Bec about my series on getting into the head of an unpleasant character and suggested that procedure should work for Lucas, but she said she’s tried that method.

Okay, then. In that case, I’d take Lucas off somewhere out of this specific storyline and encourage him to talk to you in his own voice.

How about an exchange of letters between you and him, perhaps? Or even emails?

Get him to relate a scene from his life in his own words? Again, this might work best for you if it’s something unrelated to the story.

Have him write a daily journal for a week or two.

Choose some aspect of his past experiences, or one of his dreams for the future, and interview him about it.

Anything to get him talking to you.

Can anyone help Bec out, here? When a character is giving you problems like this, how do you get inside his head?

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Publisher Lynn Price talks about Author Platforms

September 8, 2008 at 10:28 am (Get Promoted, Get Published, Guest Blogs) (, , , )

My guest today is Lynn Price, editorial director for Behler Publications.

Hi David,

Thanks for inviting me to talk about author platforms as seen from my perspective. The reason for promotion is to create demand. You can’t create demand if no one knows your book exists. And this, in large part, comes from the writer’s platform. This is the name recognition the author creates for himself in order to increase his and his book’s visibility and, therefore, marketability. This, in turn, impacts sales. We all know that the bigger the platform, the bigger sales potential.

I know many authors are taking their platform creations to the internet, which can be very powerful. For instance, I’m working with the authors (doctors) of an extremely popular medical blog on a book that discusses how medicine is broken as told through their intimate perspective. They’ve already established their platform via their blog, and we anticipate this book to have some serious legs due to their popularity and the subject matter.

From my perspective, I’m less choosy about the kind of platform – just that they have a solid one. When a author offers up a quickie platform, it tells me they’re savvy to the industry and know what I’m looking for. There are a couple elements that play into a platform.

Readership

Authors have to know their readership. It’s amazing how many authors don’t take that into consideration. The usual answer to that question is, “this book is for everyone.” That’s great, but I don’t have “everyone” in my Rolodex. I do, however, have in my Rolodex wheelchair companies, alternative medical practitioners, Jewish community leaders, procrastinator’s groups, etc. If a book is SF, for instance, then that author better know where SF readers hang out. One of our authors, for instance, attends all the Star Trek conventions, and his book sells like hotcakes.

But what happens if your book is mainstream? Keeping an eye on readership trends and social events are great ways to gauge whether your book has any of those exploitable aspects. For example, we pulled the element of ‘procrastination gone wild’ out from one of our author’s book and approached all the procrastinators groups. They loved it. Had the author been savvier, he could have established those contacts first before submitting to us.

I remember talking to Dominique Racca, head of Sourcebooks, the largest indie press in the US, and she told me about the time she was trying to pitch a YA book to the media at the same time 911 happened. It was a tough go because everyone’s mind was on the tragic events. But Dominique pulled out the discussion on how teens are also afraid for their future and whether they would they grow up to be adults. It was a perfect lead-in for the book and it was a hit.

Look for the elements that can help you define a readership and look for ways to find that audience. Can’t be done unless you know your readership.

Who Are You?

Look for the promotional tie-ins to your story. Are you the nurse or doc who wrote a medical thriller? See if there are ways to exploit your occupation to garner demand and events. What kind of things are you comfortable doing? Do you seek your inner hambone by doing seminars? Many books, including fiction, have great food for thought which translates over to public speaking. Whether it’s a church or rotary club, people are always looking for speakers who have something interesting to say.

Some shy away from the limelight and are more comfortable with writing articles. A few of our authors write articles for some very big magazines and newspapers, and they usually manage to get references of their books into the articles. Their bios always have the title of their books as well. Others are very techno savvy and have blogs that feed into their book material. I know a jet jockey whose blog is incredibly huge because he talks about all the latest jets and his military experiences. He self pubs his books, and I have no doubt he has very good sales. Another big blog gives out humorous mom tips, which feeds into her book, which is very big.

It’s vital to define what and who you are, and what you’re willing to do before you figure out a platform because effective platforms are the difference between a 2500, 5,000 print run, and a 10,000-25,000 print run. Or as Buzz Lightyear says, “To Infinity and beyond!”

Sample promo plan:

  • Talked to three of the local hospitals and invited me to speak to medical personnel in their lunchroom.
  • I am involved with giving Reiki treatments to the Wounded Warriors at Camp Pendleton, and they will host a book party and book signing for me.
  • The hospital gift shops have given their go-ahead to a book signing during peak visiting hours as well as offering to carry the book.
  • I’ve spoken with the local alternative healing groups in my area, and they’ll be joining together to throw me a book party as well as inviting me to speak at their various meetings and seminars around the country.
  • The manager/owner of a popular restaurant has agreed to host a reading/signing of my book.
  • I’ve contacted my local newspaper and they’ve agreed to write an article about how my book could be very influential to the way people look at the medical community.
  • I have a list of all the alternative healers (this includes chiropractors and acupuncturists), and I plan on sending them postcards to advertise my appearances.
  • I give regular seminars and talks to churches that tie in to the major themes of my book.
  • I have spoken with a leading NY publicist, and we have agreed to a radio, television, and internet ad campaign.
  • I have also discussed my book with a leading online publicist, and we have devised a four month online book tour that will reach all the large online review sites.

Lynn Price is the editorial director for Behler Publications, an independent trade publisher specializing in fiction and nonfiction personal journeys. Our works contain strong elements of social relevance and reflect emotional issues that create timeless significant stories that will continue to touch our lives twenty years from now. Twelve of Behler’s titles are award winners. Many of Behler Publications’ books have received enthusiastic reviews from Library Journal, Publisher’s Weekly, Kirkus, Bloomsbury Review. Out title, KTLA’s News At Ten: Sixty Years With Stan Chambers just made the LA Times Bestseller List.
Our blog, http://behlerblog.blogspot.com/, details aspects of writing from our perspective, why our synapses fire the way they do, and sometimes ponders my sanity.

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