Papa Don't Preach

At The Master's Artist blog J. Mark Bertrand has an excellent discussion on why CBA books are often preachy. Check it out: Content isn't what makes a book "preachy." We don't have to write stories cleansed of religious characters, sneaking our beliefs in under the radar. You can put a preacher smack dab in the middle of your story. (I just did.) But that preacher, like everybody else in the story, has to do some work. His ideas have to be tested -- not for show, but for real. If it is really method and not content that makes fiction didactic, then we are free to write about whatever we want. The key is to approach the subject through the method of fiction, not the method of instruction. I would add that for faith not to be preachy, the stuggles of everyday life and the application of trust in God must be instrisic to who your characters are. If it's extrinsic your readers won't buy it. Faith as in real life must bubble from a deep core within the character who demonstrates it. Like those folks we meet on the street--if they preach the gospel at us but don't know how to be kind we don't buy it. It's no different in fiction. If your characters struggle as all of us do, your books can explore any theme without fear of sermonizing. More later, Traci

Jessica Simpson is Not a Girl

Okay, she is a girl. But when it comes to creating characters with depth--characters your readers will relate to--don't make them Barbie perfect. Straight teeth, impeccable complexion, unrealistic figure. Although I hardly think Jessica qualifies on the perfect round either. At least she's ditzy--it gives her charm. Unless you're writing for Harlequin; then you can make the men and the women as Stepford-like as you want.

I recall working with one particular author, who shall remain nameless. He wrote suspense/thriller types of books. The females were so feminine that I wanted to smack them--and I consider myself fairly girlie-girlish. Whenever the tension got high and the chase was on, this author left the women to sit at home and pine while the men did all the sweating. After several books that went this way, finally I could stand it no more. Why do you leave the girls behind? I said. Wouldn't there be a lot more stress and tension if the protagonist had the female in the midst, either to protect or to show him up?
It was a revelation for this author and to his credit he changed. His books became stronger for it.

A few rules I can think of for writing the female character (please feel free to add in your own ideas!):

• Women want the same thing as men--to be valued, to have meaning in their lives. Most often this is made evident in the relationships in their lives--as mothers, daughters, wives, friends...
• While fathers teach their children about risk, mothers teach their children about security. That is focal for women, at least most of us, unless you're Amelia Earhart.
• Don't stereotype your female characters. Some women are a bit mannish in their way of dealing with the world, some are insensitive, some are rude, some are sweet as pie. The diversity will bring your writing richness.
• Allow your female protagonists to be intelligent and strong--because women are amazingly strong. That's why there are more widows than widowers. (God knows we can cope better; either that or some macabre alternative!)
• Show the female character's weaknesses, but don't always let those weaknesses be a cute guy. Sometimes it's called for, like in romance novels. Other times it's cheesy.

More later,
Traci

A Writer's First Speaking Gig

When I first signed on for this writing gig I had no idea that people would expect me to give speeches. I'm a solitary person. I like being home alone for long periods of time, in my make believe world with make believe people. So why would others assume I'm a public speaker?

When you give a speech the words just come out--you can't edit them to perfection like writing a book. You have to move on. I hate that. The thought of standing in front of strangers talking on a topic makes my stomach curdle and my stutter comes out. Singing--now that's something I can do. The words and melody are already set. I can handle that.

But if you want to be a successful author you have to get the word out about your books. NO one is invested in selling your books like you are. Your publisher is somewhat invested, but remember that they also have a lot of other books to sell. Not just yours. It can be a rude awakening for the shy, unassuming novelist to have to sit at a table and push books at strangers.

The thought that usually ricochets in my head is, "You don't have to buy my book. I understand if your house is too cluttered already or your budget is tight. Hey, I'm in the same boat!"

Some authors are more gifted at selling their work than others. But it's just the way things are so we have to learn to deal with it.

I remember my first "Reading" at a great little bookstore in Montgomery, Minnesota. Since I'd never attended another author's reading I was playing it all by ear. Then I saw this room FULL of spectators and it dawned on me--These people expect me to say something smart!

That's when panic set in.

I managed to get through, relying heavily on reading passages of my new book and taking questions from the audience. Since then I've started writing whole speeches, word by word, and editing it until I'm happy with the final speech. Having a script to rely on takes away much of the panic. I can rely on my text when the stutter wants to take over. I put key words in BOLD on my page so I'm not reading the whole time and then I practice over and over until I feel halfway confident. I'll never feel completely confident, I've discovered, because I'll always be that shy girl who prefers alone time.

More later,
Traci

The Red Green Show

Do you ever watch the Red Green Show? At the end of most episodes, when the men gather for their lodge meeting, they say the following "Man's Prayer":

"I'm a man,
But I can change.
If I have to.
I guess."

In good fiction male characters shouldn't feel like females with masculine names. We shouldn't try to change anyone. It can be challenging to write from a male character's perspective if you happen to be of the female persuasion. The truth is, men have a different take on the world and how to relate to others than us women.

I'm speaking in generalities so don't let me offend those sensitive New Age men who don't mind showing their emotions and letting their softer side show.

What motivates men? The same things that motivate women--yearning for importance, wanting to be loved unconditionally and lauded for our gifts and abilities.

It's how these yearnings manifest themselves that the differences arise. Our culture doesn't value crybabies or mama's boys--men are taught from a young age to suppress such expressions. Just ask Dr. Phil.

So when I write from a male character's point of view I try to keep these things in mind:

• Don't overexplain--actions speak louder than words when it comes to why men do what they do. Men feel deeply; they just don't go on about it.
• Don't be a chatterbox. It's usually the ladies who use up their quota of words each day. Men tend to be sparer with words.
• Feelings are to be suppressed. This isn't to say that male characters don't have feelings--they do. But they express their feelings in more subtle ways, a flinch of the cheek muscle, or in thier private thoughts.
• Work is supreme. Men are taught that their value comes from providing for their family. Some do this even to the point of losing the very family they're trying to provide for. But most men seem to be wired this way.
• Everyone wants to feel important.

Now, there's a spectrum of variation on all these points. Some men are more apt to cry at a movie, others will only talk sports. If you show both the inner and outer side to your male characters--flaws, idealisms, good traits and bad--your men will be three dimensional.

As with all characters in fiction, keep thier actions and reactions consistent with who your reader has come to know. Or let the reader in on the "why" of an out-of-character action so it won't seem pasted on. And always show the reader who your characters are the same way you discover who people are in real life--in their dialogue and body language and add in "markers" to make them unmistakeable.

More later,

Traci

Finding Self Worth in a Bubble

When I worked as an in-house editor I had the luxury of a spacious, quiet office, ergonomically correct office furniture. I dressed for the job and enjoyed feeling well put together. I attended meetings to discuss this project or that, and felt that my opinion was valued by others in the publishing house. I called authors to discuss revisions and took a few out to lunch when they came to visit.

It was a confidence boost, sure. I felt important and appreciated.

Now that I've been working from home as a freelance editor (for ten years) and an author (five years--can that be right?) that sense of feeling appreciated is much harder to attain. I'm alone all day. I don't see another adult until my husband comes home from work. No one sees my writing until my deadline. I have no cheerleaders. I don't even get to dress up.

I realized that my sense of self worth for my work was too dependent on outsiders. It wasn't under my own control; it was left to the likes or dislikes of co-workers. And with no one around to pat my back I became insecure in my own abilities--that's a rollercoaster. But people are fickle too, and relying on others for that feeling of appreciation wasn't right. If I was going to make working from home a healthy outlet I needed to become confident on my own and find ways to reconnect with the outside world.

Last summer I partook in the Mankato Festival of Authors and Books. I shared a table with the amazing Faith Sullivan where we autographed copies of our books and visited with fans. The two of us, along with a couple other Minnesota authors, then discussed writing in a panel discussion. The subject of writer's block came up and Faith said, "I don't believe in writer's block--I believe it's merely a symptom of depression."

I tend to agree with her.

To that I added, "To write we need solitude, but to make characters that live we also need to be fairly introspective to understand the human psyche. The combination of the two, solitude and introspection, is a recipe for depression. Is it any wonder so many writers and artists have mental illness?" Whenever we place too much focus on ourselves we can't help but feel down in the dumps, because it's in reaching out to others, when our focus is off ourselves, that joy rises.

So, how do I balance the two? Friends. I make a point of taking time for my friends, for volunteering in my community and church activities. Reaching out to others has brought back that sense of worth, and the beauty is it's not in achieving amazing literary feats (although I hope I'm still doing that) it's from having contact with people and caring about them.

Plus, a trip to the local diner can be attributed to "research" for my books.
More later,

Traci

A Place to Create

I've always dreamed of a little place in our "woods" where I could go to write. I've even picked it out--check out Walpole Woodworkers Great stuff on their site.

I don't know when I'd ever be able to use it with two preschoolers in the house. But my dream is still to have the solitude to write. I wonder, though, if my writing would be that much better. Sometimes the things that happen in the midst of my writing--the stranded motorist at my doorstep needing a tow, a phone call from a neighbor--inspire my work.

I read in Stephen King's book On Writing that he too had this dream so at least I'm in good company.

Until then I'll be at my dining room table gazing at the steer in the pasture with the sounds of Sesame Street and a gurgling baby to cheer me on.

More later,
Traci

Publisher Hopping

It's a rare thing nowadays for authors to stay in the same house where they published their first book. Why is that? we wonder.

Publishers claim that they want to groom authors for greatness; they want that long-term glowing relationship. But authors leave before that breakout book. It's unfortunate for the publisher. But while they want that ideal, they're also looking for the next big thing TODAY!

Is this malady solely the fault of authors with a straying eye? No. The fault lies on both sides of the relationship. Here are some of my ideas of what causes publisher hopping (please feel free to add in your two cents!).

1.) When an author feels underappreciated it's easy to look elsewhere, especially if there's an offer on the table from another publishing house. As with most affairs, once the initial romance wears off there has to be staying power, a real relationship; if there isn't you're a prime candidate for the wandering eye. This is why it's so essential that editors and authors connect, but not just editors but in each department of the publishing house where the author has contact.

2) Appreciation is "SHOWN" not "TOLD"--if you've read any books on writing you've heard this phrase, but it applies to relationships as well. A publisher can send chocolates and flowers, free books, tickets to the theater, but if their loyalty isn't shown in their everyday contact, you'll feel like a prostitute and not like a bride. The first "Showing" of course is in the initial deal. I'm not talking about getting a $100,000 advance here, but about respect. To show appreciation, return phone calls the same day messages are left. Answer e-mails immediately even if it's just to tell someone that you'll have to look into their question, and then follow up. It's basic courtesy that everyone deserves.

3.) The "Showing" goes both ways--if you're a Prima Dona, whiny and demanding in every interaction with your publisher, they'll eventually tire of dealing with you. Show them your gratitude daily, individually. People never tire of being thanked. And be humble enough to realize that your publisher can help you create a great book and that they truly are there to serve you.

Loyalty is a two way street.
If you as an author (or as a publisher, if you're a publisher) make an effort to get to know the people on a more personal level, the general good will toward you will rise. Take an interest in others, but talk honestly, respectfully about problems that arise. Condescension helps no one. Never fly off the handle. Never assume that others have less than the best of intentions.Treat everyone well--this says more about who you are as a person than about those around you. Say "hi" to the receptionist and ask about her children.

Authors are customers. While they might be selling a product like a vendor, they are the bread and butter of publishing. I believe that authors want to be loyal to that first "love" but if the romance dims and they feel they'll never break out of that "newcomer" pigeonhole, they are left with little choice but to find a publisher who appreciates them. A publisher who will reap the benefits of all the work that first publisher put into molding that author.

A great way to find out how to deal with your publisher or with your authors--take a course on excellent customer service and use what you learn there in your interactions with everyone. It will change your life!

More later,

Traci

Why I wanted an agent

I thought today would be a good day to touch on the subject of agents. Several weeks ago, in David Long's Faith*in*Fiction blog, David wrote:

Day 1 of Agents - Finding Nemo: "Do you need an agent to get published in CBA?
The answer is: No. The simple fact is that authors are signed who don't have agents. And also, many successful published authors are still unrepresented."

Definitely the words of a publisher (but David does go on to provide excellent advice to any seeking an agent).

Would I prefer not to need an agent so that my publisher and I could work in close symbiotic relationship? Absolutely. But it just isn't the real world. The publisher's job is to promote their line of books, which isn't always the best thing for your books or for you as an author. They strive to settle contracts that best benefit the publisher, deadlines that suit their particular line. They rank their titles according to which are "A" list books and which are "B" and "C" list books. ("A" meaning a grand slam--think Left Behind; "B" a book that earns out but doesn't stray from it's mediocre place in the market; "C" doesn't earn out, doesn't warrant a whole lot of attention.)

I remember when I first learned this. I was so naive in my youth! An author had called to complain because no one was returning her calls. She had no idea what marketing and publicity was doing to promote her works. When I talked to the person in charge in that department, she said, "What more does she want? She's a C author." I was stunned. That author has since moved on and become a best selling novelist with a different publisher. Many authors, once they've signed the contract and have turned in their manuscript are left on their own. In defense of publishers, most wish this weren't the case, but they're overworked and underpaid. There's only so much time in a day and publishers simply don't have the manpower or the money to promote all books equally.

We're caught in a Catch 22. We want our books to sell big, but without a great marketing plan we can't give our books away. To get the big marketing plan we need to sell big. It's an endless cycle most never escape from.

When I signed my first contract I was unrepresented. My publisher and I haggled back and forth about this and that. By the end I felt as if I'd signed away my life. Then it was time to work together as a team in the editing process. The switch from Jekyll to Hyde was too abrupt for my preference. How could I feel worked over on one side and then feel as if my publisher was going to help me create the best possible book? Given the amount of money they were or, I should say weren't, willing to pay, they obviously didn't think we'd sell a lot of copies. "But, Traci," the argument went, "once you earn back your advance you'll get the same money in royalties." But, you see, people work harder for what they've paid for. Publishers may deny it, but when all your publisher is giving you is a spot in their fall catalog I would beg to differ.

That was when I decided to sign my first agent. When it was time to sign contracts for the next two books (with the same publisher, I might add), I didn't have to haggle. My agent did it for me. He talked up my abilities, my potential--this isn't something that comes naturally to me (I'm a Minnesotan!). He talked about creating a brand. The vision became more than that one book, but a long term relationship. Since the stress of contract negotiations was gone I felt much more at ease in the editing process. My editors and I didn't have to switch relationships mid stream. This isn't to say I was unhappy with how my first book turned out. I was very happy with it, but it would have been easier without the stress. (BTW: I did manage to quadruple the returns on my first book--I worked my butt off to get TV and radio interviews, newspaper and magazine articles; we even built a float for a big regional parade and I waved from the top of it like a dork! And I personally visited 100 bookstores in Southern Minnesota.)

Keep in mind that not all agents are created equal. Many will happily sign you, take your money, even negotiate your contracts, but that's it. I wanted an agent who would strategize a life-long career, who would believe that I could be the next big thing. Your agent needs to be your biggest fan--if he isn't he can't sell your work like someone who is. The same goes for your publisher.

More later,

Traci

A Simple Thank You

The Writing Life: Low-Tech Appreciation

Here's a great post by Terry Whalin today on the value of the thank you card.

I wanted to add that it isn't just us editors who like thank yous. Way back when I was working at Bethany House, before I was even in the editorial department, I used to take phone orders from book buyers. Hardly a glamorous job. They'd usually tell us to behave ourselves if authors were scheduled to come through on tour. Soon after Bodie Thoene signed on with Bethany, I recall my boss asking me what my ring size was. Bodie wanted to know what everyone's ring size was because she was sending Christmas gifts and it wasn't another box of chocolates that lined the snack room counters. It was personal and accompanied by a handwritten card. I still remember and think of Bodie with fondness for that simple kindness. And now here I am editing top authors in the industry. I'd happily take on any book by Bodie and Brock.

You just never know where your kindness today will take you tomorrow.

Plus, it's a good thing to be a thankful person regardless of the rewards here on earth!

Here's a connection to one of my favorite Thank You card sources--It Takes Two. It's a local card company owned by a dear friend!

More tomorrow,

Traci