In addition to a pre-conference session, Donald Maass also did a worshop called Creating Depth of Character. I was only able to stay for about half of this session until I had to leave to get ready for my pitch session with Sarah LaPolla.
What makes for deeply engaging chracters?
Their jurney, their arc, their transformation.
What makes people interesting?
What they think
What they feel
emotionally unexpected
Something new to us, a fresh perspective
How can this be accomplished?
Through opinions, especially the strength of those opinions
Try to provoke the reader through the character's strong opinion so as to connect and engage the reader.
Consider you protagonist and his/her sidekick or best friend. Think of someone that the protagonist hates about the other person. At the end of the story, turn around the opinion through acceptance and tolerance.
And that's all the notes I have on creating depth of character. What do you think best creates depth of character?
Showing posts with label the write stuff. Show all posts
Showing posts with label the write stuff. Show all posts
Tuesday, April 5, 2011
Thursday, March 31, 2011
More Notes on Pitching
Things to include in your pitch:
1. Who - as in the protagonist and their personality at the beginning of the story to serve as a baseline such as quiet, tomboy, etc)
2. When/Where - the setting, background
3. Why - inciting incident, the call to action
4. What - the stakes. What drives the story?
5. Hook - end with the promise of more action
Research market, category, genre, age group
Mention similar titles based on tone (not comparisons like my book is the next Harry Potter, instead my book will appeal to the readers of... or something along those lines)
For an elevator pitch, you need the MC + call to action + the challenge they face. (so the Who, Why, and What)
I've pitched several times face-to-face. With 3 agents and 1 editor. All of them requested pages. I've also gone to the Long Island Romance Writers Luncheon twice and pitched to agents there, although that pitching is more of the elevator kind instead of a sit down. The nice part about that is that all of the agents I spoke to said to send the project so I did (according to their guidelines) and was able to mention meeting them in the query letter. Each one then gave me a personal response (no form rejections).
I think the biggest keys are being calm but enthusiastic about your book, and using the time wisely. Have a dialogue with the agent instead of giving a long speech. It will take the pressure off of you. Trust me.
1. Who - as in the protagonist and their personality at the beginning of the story to serve as a baseline such as quiet, tomboy, etc)
2. When/Where - the setting, background
3. Why - inciting incident, the call to action
4. What - the stakes. What drives the story?
5. Hook - end with the promise of more action
Research market, category, genre, age group
Mention similar titles based on tone (not comparisons like my book is the next Harry Potter, instead my book will appeal to the readers of... or something along those lines)
For an elevator pitch, you need the MC + call to action + the challenge they face. (so the Who, Why, and What)
I've pitched several times face-to-face. With 3 agents and 1 editor. All of them requested pages. I've also gone to the Long Island Romance Writers Luncheon twice and pitched to agents there, although that pitching is more of the elevator kind instead of a sit down. The nice part about that is that all of the agents I spoke to said to send the project so I did (according to their guidelines) and was able to mention meeting them in the query letter. Each one then gave me a personal response (no form rejections).
I think the biggest keys are being calm but enthusiastic about your book, and using the time wisely. Have a dialogue with the agent instead of giving a long speech. It will take the pressure off of you. Trust me.
Tuesday, March 29, 2011
Tuning Your Pitch
At The Write Stuff conference, literary agents, Blair Hewes (Durnham Literary) and Katie Grimm (Don Congdon Associates) did a wonderful session on pitches. They gave a handout and here it is for you all to learn from:
Tuning Your Pitch: The Essential Notes
1. Create a Pitch
DO: Fiction - use WHO, WHERE/WHEN, WHY, and WHAT to brainstorm and the Main Character, Call to Action, Challenge they Face to focus. Non-fiction - tell us WHAT need your book is fulfilling, WHY we need to know now, and WHO you are. Practice your pitch to anyone who will listen.
DON'T: Try to summarize all of the plot points or use generaic sweeping statements that could apply to many projects. Don't dwell on personal details that aren't pertinent to your qualifications as a writer.
2. Come Prepared
DO: Practice some more. Bring a cheat sheet with key words in case you lose your place, some research on the agents you're about to meet, and any uestions you may have. Also, bring a pen and paper for taking notes.
DON'T: Bring material for the agent to take home like business cards o sample material - they'll tell you how to send your projects to them later.
3. Relax
DO: If you need a moment to settle in, ask a simple question to break the ice. As soon as you're ready, give your pitch, and speak slowly enough for the agent to be able to process it.
DON'T: Read your pitch word-for-word for the agent - it's okay if you need to refer to your notes, but simply reciting your pitch or giving the agent something to read is a waste of a great opportunity to have a fun and informative conversation about your work.
4. Listen
DO: Be ready for the agent to ask you some questions and give feedback - take notes if you need to. Someimes agents will give advice that might require revisions, so be open to this sort of dialogue.
DON'T: Dismiss their feedback outright. While you might not agree with their assessment, take the time to understand their points.
5. Ask
DO: Ask if the agent wants to see your material. If you discussed specific revisions, ask if they want you to revise first. Find out exactly how many pages they want, and how it should be delivered. Keep things professional regardless of the answer.
DON'T: Feel rejected if the project is not for the agent. There are hundreds of reasons that agents don't request projects, and their decisions is more about how they do business than your skill as a writer. You've just had the opportunity to practice your pitch and get some feedback.
6. Discuss
If there's time left, you can ask any other questions you haveL about your next book idea, publishing industry terminology, blogs to follow, or favorite books read latetly.
7. Have fun!
This was a great learning experience, and with so much helpful information, I thought you all would enjoy it. I'll post more information about the conference throughout the rest of the week, although tomorrow Jen Wylie visits my blog for a fun interview.
Tuning Your Pitch: The Essential Notes
1. Create a Pitch
DO: Fiction - use WHO, WHERE/WHEN, WHY, and WHAT to brainstorm and the Main Character, Call to Action, Challenge they Face to focus. Non-fiction - tell us WHAT need your book is fulfilling, WHY we need to know now, and WHO you are. Practice your pitch to anyone who will listen.
DON'T: Try to summarize all of the plot points or use generaic sweeping statements that could apply to many projects. Don't dwell on personal details that aren't pertinent to your qualifications as a writer.
2. Come Prepared
DO: Practice some more. Bring a cheat sheet with key words in case you lose your place, some research on the agents you're about to meet, and any uestions you may have. Also, bring a pen and paper for taking notes.
DON'T: Bring material for the agent to take home like business cards o sample material - they'll tell you how to send your projects to them later.
3. Relax
DO: If you need a moment to settle in, ask a simple question to break the ice. As soon as you're ready, give your pitch, and speak slowly enough for the agent to be able to process it.
DON'T: Read your pitch word-for-word for the agent - it's okay if you need to refer to your notes, but simply reciting your pitch or giving the agent something to read is a waste of a great opportunity to have a fun and informative conversation about your work.
4. Listen
DO: Be ready for the agent to ask you some questions and give feedback - take notes if you need to. Someimes agents will give advice that might require revisions, so be open to this sort of dialogue.
DON'T: Dismiss their feedback outright. While you might not agree with their assessment, take the time to understand their points.
5. Ask
DO: Ask if the agent wants to see your material. If you discussed specific revisions, ask if they want you to revise first. Find out exactly how many pages they want, and how it should be delivered. Keep things professional regardless of the answer.
DON'T: Feel rejected if the project is not for the agent. There are hundreds of reasons that agents don't request projects, and their decisions is more about how they do business than your skill as a writer. You've just had the opportunity to practice your pitch and get some feedback.
6. Discuss
If there's time left, you can ask any other questions you haveL about your next book idea, publishing industry terminology, blogs to follow, or favorite books read latetly.
7. Have fun!
This was a great learning experience, and with so much helpful information, I thought you all would enjoy it. I'll post more information about the conference throughout the rest of the week, although tomorrow Jen Wylie visits my blog for a fun interview.
Thursday, March 24, 2011
Going to a Writer's Conference This Weekend
Last year I went to a local writer's conference called The Write Stuff in Allentown, Pa. I had a blast and met several cool authors. I'm going again this year, and I can't wait! Like last year, I'll take plenty of notes at the different workshops and pass along the information onto you.
Have you ever been to a writer's conference? If not, would you ever go to one? What do you or would you hope to get out of a writer's conference?
Have you ever been to a writer's conference? If not, would you ever go to one? What do you or would you hope to get out of a writer's conference?
Friday, April 9, 2010
The Write Stuff - How to Write Damn Good Prose
Sorry it took me longer than I wanted to get this blog post up. Another workshop from The Write Stuff conference and another from James Frey - How to Write Damn Good Prose:
Attitude
- There are no born writers, everyone can learn
- I'm a good writer but I want to be a damn good one. If you adjust your attitude to this, you will, with work.
Style
- Violation of rules - grammatical errors.
- You first have to know the rules in order to break them well.
Sense-ous details
- How many sense used in each page? (sight, sounds, smell, touch, taste, "sixth sense")
Viewpoint
- Writer creates narrator who creates the characters.
- Your writing is a letter between you and the readers through the narrator.
- Author is invisible - just reporting on the characters.
- Limited omniscient
- 1st person - wised-up person looking back, has a take on the story.
- Voice of the narrator is crucial
Scene
Dramatic narrative
Show the reader what causes the reaction. Show the rat first, then the recoiling.
Telling details versus generic terms.
Switch between narrator and character voices.
That's the last of the workshops notes that are worth sharing from The Write Stuff. I'm going to go back through my notes from EPIcon and post them next.
Attitude
- There are no born writers, everyone can learn
- I'm a good writer but I want to be a damn good one. If you adjust your attitude to this, you will, with work.
Style
- Violation of rules - grammatical errors.
- You first have to know the rules in order to break them well.
Sense-ous details
- How many sense used in each page? (sight, sounds, smell, touch, taste, "sixth sense")
Viewpoint
- Writer creates narrator who creates the characters.
- Your writing is a letter between you and the readers through the narrator.
- Author is invisible - just reporting on the characters.
- Limited omniscient
- 1st person - wised-up person looking back, has a take on the story.
- Voice of the narrator is crucial
Scene
Dramatic narrative
Show the reader what causes the reaction. Show the rat first, then the recoiling.
Telling details versus generic terms.
Switch between narrator and character voices.
That's the last of the workshops notes that are worth sharing from The Write Stuff. I'm going to go back through my notes from EPIcon and post them next.
Thursday, April 1, 2010
The Write Stuff - The Power of Premise
Next workshop from the Write Stuff: The Power of Premise with James Frey.
An example of a premise: Love leads to insanity (through a chain of causal events [jealousy]) - Othello's premise
Drunken slob leads to religious enlightenment (drunk, lose job, lose family and kids, get divorced, attempt suicide, seeks help, AA, finds religion)
Honesty leads to ruin.
Premise is not a moral.
Irony: man drowns wife, collects insurance money, buys a boat, goes out sailing and drowns.
Knowing your premise is a tyrant (because it helps you to focus on what scenes you need and don't need)
Elements of a dramatic story:
- Dramatic Character
Theatrical, extreme of type.
Active, determined.
Governed by a ruling passion (which can change throughout the story)
- Dramatic Struggle
High stakes
Don't have to be life or death
Honor, marriage, love
-Dramatic transformation
Never have a static character.
All transforming characters have a premise.
Alcoholism destroys love - plot premise
He triumphs alcoholism (MMC premise)
She doesn't. (FMC premise) (An example of a character with a changing ruling passion: first love of husband, then love of alcohol, he gets her into drinking)
Next blog post will be about How to Write Damn Good Prose (again from James Frey)
An example of a premise: Love leads to insanity (through a chain of causal events [jealousy]) - Othello's premise
Drunken slob leads to religious enlightenment (drunk, lose job, lose family and kids, get divorced, attempt suicide, seeks help, AA, finds religion)
Honesty leads to ruin.
Premise is not a moral.
Irony: man drowns wife, collects insurance money, buys a boat, goes out sailing and drowns.
Knowing your premise is a tyrant (because it helps you to focus on what scenes you need and don't need)
Elements of a dramatic story:
- Dramatic Character
Theatrical, extreme of type.
Active, determined.
Governed by a ruling passion (which can change throughout the story)
- Dramatic Struggle
High stakes
Don't have to be life or death
Honor, marriage, love
-Dramatic transformation
Never have a static character.
All transforming characters have a premise.
Alcoholism destroys love - plot premise
He triumphs alcoholism (MMC premise)
She doesn't. (FMC premise) (An example of a character with a changing ruling passion: first love of husband, then love of alcohol, he gets her into drinking)
Next blog post will be about How to Write Damn Good Prose (again from James Frey)
Tuesday, March 30, 2010
The Write Stuff - Pitching Do's and Don'ts
The Write Stuff (GLVWG conference) was such a gem on useful information that for the next couple of posts, I'm going to share my notes with you all.
First up, Kim Lionetti shared with us Pitching Do's and Don'ts.
Don't:
- Read the full synopsis.
- Allow your nerves to take over.
Of course this one has to be one of the hardest aspects of pitching. But take a step back and relax. Keep in mind that you are the expert on your book.
- Pitch more than one novel.
- Memorize your pitch.
2-5 sentences is best. Narrow your focus. Read book blurbs to get an idea of what exactly you should be trying to say when pitching. Keep in mind how your book is different from others on the market and who is your audience. Above all else, know your book.
Now for the Do's:
- Research prior.
Research the agent, who they represent, what books, but also research the market.
- Ask questions.
If your novel is incomplete, just ask questions and talk about the market.
- Show enthusiasm and let your personality shine through.
- Know who you would compare yourself to.
- Come across as a business person, not just a writer.
If you want writing to be your career (I know I do!), then you can't just be a writer. You also have to be a business person. So learn the business side of publishing.
- Be comfortable with your book.
- Know its marketability.
Currently, Kim is looking for romance (80-100K), women's fiction, mystery (75K), true crime, pop culture, YA (romance, paranormal to a degree, 50-75K, coming-of-age). She is especially on the lookout for women's fiction and YA.
With your comparisons, keep them current. Should be at least one book, can also use movie or TV shows.
The query letter should be like a business letter. I am seeking.... Appeal to the readers of... Blurb. Close business-like.
If told to submit, use a cover letter that includes the query blurb to refresh the agent/editor's memory.
Always query broadly unless agent asks for exclusivity.
Let agents fight over you if someone offers representation.
If you don't receive a response from an agent, re-send query with "I had sent at such and such a date..."
Now this part is from me. Pitching is best when you try to relax and just talk about your book. Start with your logline and go from there. Be engaging. Be yourself. That's how I went into my first ever face-to-face pitch session and I like to think it went well.
Next blog post will be about premise.
First up, Kim Lionetti shared with us Pitching Do's and Don'ts.
Don't:
- Read the full synopsis.
- Allow your nerves to take over.
Of course this one has to be one of the hardest aspects of pitching. But take a step back and relax. Keep in mind that you are the expert on your book.
- Pitch more than one novel.
- Memorize your pitch.
2-5 sentences is best. Narrow your focus. Read book blurbs to get an idea of what exactly you should be trying to say when pitching. Keep in mind how your book is different from others on the market and who is your audience. Above all else, know your book.
Now for the Do's:
- Research prior.
Research the agent, who they represent, what books, but also research the market.
- Ask questions.
If your novel is incomplete, just ask questions and talk about the market.
- Show enthusiasm and let your personality shine through.
- Know who you would compare yourself to.
- Come across as a business person, not just a writer.
If you want writing to be your career (I know I do!), then you can't just be a writer. You also have to be a business person. So learn the business side of publishing.
- Be comfortable with your book.
- Know its marketability.
Currently, Kim is looking for romance (80-100K), women's fiction, mystery (75K), true crime, pop culture, YA (romance, paranormal to a degree, 50-75K, coming-of-age). She is especially on the lookout for women's fiction and YA.
With your comparisons, keep them current. Should be at least one book, can also use movie or TV shows.
The query letter should be like a business letter. I am seeking.... Appeal to the readers of... Blurb. Close business-like.
If told to submit, use a cover letter that includes the query blurb to refresh the agent/editor's memory.
Always query broadly unless agent asks for exclusivity.
Let agents fight over you if someone offers representation.
If you don't receive a response from an agent, re-send query with "I had sent at such and such a date..."
Now this part is from me. Pitching is best when you try to relax and just talk about your book. Start with your logline and go from there. Be engaging. Be yourself. That's how I went into my first ever face-to-face pitch session and I like to think it went well.
Next blog post will be about premise.
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