June 23, 2016 / 3 Comments

Rejected by Inspector #12

            If I can shamelessly namedrop a bit,  I heard a great Richard Matheson quote from Jonathan Maberry a while back, which I will now paraphrase as such.
            Writingis the art of telling stories.  Publishingis the business of selling as many copies of that art as possible.
            If you break it down, this collection of rants is probably 98% about writing, maybe 2% about publishing.  This week, if I may, I’d like to step away from the straight writing stuff that I normally do and touch on an issue more on the publishing side of things.
            Nobody here likes getting rejected. Not for an apartment, not for a job, not for a date. Definitely not for our writing.  But that’s life. Rejection happens all the time, even to the folks who get considered professionals.  I had a short story rejected from an anthology last year.  I’ve been trying to pitch a book trilogy to my editor for two years now, and he’s just not interested. Heck, my agent’s not even that interested in it.  These things happen.
            I bring this up because there’s a meme, or sometimes an article, that floats around a lot, presenting a bunch of facts that go something like this… 
            “Famous writer X showed their manuscript Y to twenty-three editors before someone bought it.  Not only that, bestselling novel Y2 by famous writer X2 was rejected by forty-two editors. Can you imagine that? Forty-two people passed on Y2?  Ha ha ha, how many of them are kicking themselves now?”
            This list can be ten or fifteen authors/books long, and I see it get used a lot to show how A) I shouldn’t give up hope just because of all my rejections, B) editors don’t know anything, C) the publishing industry is a dinosaur that’s going to die out any day now, just wait and see, or D) all of the above.
            So, at first glance, this list can seem like a really awesome thing. It makes me feel more positive about rejection.  It makes me feel more positive about that stupid editor’s decision.  It validates my feelings about big publishing and their ongoing habit of ignoring my letters.  And this is good, right?
            Thing is, there’s three problems here.  And I think they cause more issues than all this positive affirmation solves.  Y’see, Timmy, this list isn’t as clear-cut as it seems…
            First problem is the false parallel that often gets drawn because of this list.  Carrie was rejected many times and my early book– The Suffering Map –was rejected many times.  Therefore, logically, my book must be just as good (and just as worthy of being published) as Stephen King’s breakout hit.
            We can all see the flaw there, right?  Just because an editor rejected a good book doesn’t mean all the books they reject are good. Some of them—let’s be honest—some of them are not good.  Some of them are bad.  We can all probably name one or two folks who aren’t as good at writing as they think they are.  And they can probably name two or three folks, too.
            I can freely admit, I’ve had books rejected by agents.  And they deserved to be rejected.  They were awful.  Honestly, in retrospect, I’m kind of ashamed I submitted one of them. 
            The next problem, to be blunt, is that writers don’t always send stories where they’re supposed to go.  Sometimes we get overeager or don’t do all the research we should.  If I’d sent Ex-Heroes to Harlequin, of course they would’ve rejected it. So would the Black Library (a very specific niche press), Razorbill (a young adult press), or Lonely Planet (a travel book publisher).  Getting rejected from these places would be completely understandable, but would it really say anything about the quality of my writing?  Or that editor’s ability to recognize good writing?
            So should I consider those when I say that my book’s been rejected half a dozen times?
            Heck, a while back I spoke with a woman online as she lamented that her story had been rejected four times.  Ignoring the fact that four times is nothing, it turned out she’d submitted to four radically different markets.  She’d tried marketing it as young adult, sci-fi, fantasy, and as a horror novel.  Which really meant she’d been rejected once.  Once as a young adult story, once as a sci-fi story, and so on.
            Is that worth calling it quits over?
            Also, there are some writers out there who… well, who can’t take a hint.  They’re the literary equivalent of the guy who thinks if he keeps asking Phoebe out every Friday night, eventually she’ll break down and say yes. When an editor rejects a manuscript… that’s it.  Unless they specifically ask to see it again, I shouldn’t try to sneak it back in their pile six months later. No, not even if I explain that I tweaked three of the chapters. My goal is to convince them I’m a professional, and that’s not how professionals work.  But some people do it anyway, often the folks who tend to do “carpet bomb” submissions of twenty or thirty editors at a time.
            If Phoebe rejects my advances twenty times, is that twenty rejections?  Or is it just one (and I’m really bad at taking a hint)?
            So rejection numbers don’t necessarily tell a complete story.
            Finally, this list implies a really big misconception, something a lot of beginners (or willfully uninformed folks) don’t get.  When they hear that bestselling author Wakko Warner was rejected thirty times, they make the assumption that Wakko sent out the exact same book with the exact same query letter thirty times.  Thirty editors all saw the same book that got published, letter for letter, and every one of them passed on it.
            As someone who’s made those rounds, I’d be willing to bet some serious cash that’s not true.
            After a given number of rejections, a good writer’s going to take note that something isn’t working.  It might be a low number, just two or three.  It might be as high as a dozen.  But only a really deluded person is going to keep doing the exact same thing again and again and expect the results are going to radically change.

          Personally, I’d rewrite my cover letter after every fourth or fifth rejection.  Sometimes it would be to update it with a new sale or credit.  Other times I’d come up with a cleaner, slicker way to get a point across.  All too often, it was to fix the typo that had slipped past three revisions and didn’t get noticed until after I sent things out.   Whatever made me do it, it was rare for more than a handful of editors to get the exact same letter from me.  And  different people interpret those letters different ways

            Not only that, if I was lucky enough to get any sort of feedback… I listened to it.  I didn’t always follow it word for word, but if the people who were in the position to buy my stories offered suggestions, I considered them.  The Suffering Mapwent through a pretty decent revision halfway through my submissions, and then another one right after I attended the SDSU Writers’ Conference. 
            Out of its dozen or so submissions, I’d guess at least three different versions of it went out under three or four different cover letters.
            So, with all of this in mind…  is it that amazing a particular book was rejected forty-two times? 
            It seems kind of, well, normal, doesn’t it?
            It’s always fantastic to look back at the people who inspired us and how they got their start.  If I want to walk that same path, though, I need to look at that start without any blinders or preconceptions. Which is going to make the path look a lot tougher.
            But it’ll also make it easier to follow.
            Next time…
            I don’t know. Between the ranty blog and the Writers Coffeehouse, it feels like I’ve been going on and on about so many things, it all feels a bit repetitive to me.  Is there an appropriate writing topic anybody’d like to hear me babble on about?
            If not… I’ll put something together…
            Until then, go write.
January 10, 2015

The Friends and Family Plan

Running a little late. Sorry.

Hey, last week there were two posts in a row. You’ll survive. Really.

Anyway, let’s talk about the system you’re using.

I think one of the harder things to find is an honest opinion. Odd to say, I know, with all the folks who like to shout about the truth on the internet, but I think there’s a certain level of honesty that’s difficult to get from people. Most of us don’t like saying “No.”  Everyone worries about offending someone and the possible ramifications it could have, especially these days when so many comments are taken out of context and so many folks are ready and waiting to be offended by… well, anything.

My time in Hollywood taught me that a lot of folks have almost brainwashed themselves against saying “no” or offering any kind of negative feedback. My differing opinion can get me fired, after all, so I keep it to myself. The person asking “Do you like this?” could end up deciding whether or not I get health insurance and a new office next year, even if they’re just the office PA right now. They don’t always say yes, but pretty much nobody says no. No is all but forbidden.

Unless you’re one of the lucky few who has a partner, writing is something we have to do alone. The odd conundrum here is that one of the very few ways we can improve as writers is to get feedback. People need to read our work and express their thoughts and opinions about it. I need to have an audience. A real audience.

What counts as a real audience? Well, it’s people who will give me an honest opinion. People who are willing to say no. A solid beta reader, as they’re often called, won’t mince words or spare my feelings, because they understand I need to know what’s wrong with my work so I can improve it. Kindness and white lies don’t help me at all.  They only undermine my attempts to get better.

A little story…

When I was a kid, my mom read pretty much every piece of half-finished crap I wrote. And believe me, I wrote a lot of it. She slogged through at least three versions of Lizard Men from the Center of the Earth between third and seventh grade. There were also a few good-sized pieces of Boba Fett and Doctor Who fanfic (long before there was such a term). Plus a bunch of short stories and a truly awful sci-fi “novel” called A Piece of Eternity that had cosmic rays and mutants and cute little robots and bug-aliens that were shamelessly ripped off from the old Marvel Micronauts comics.

Now, there’s no question in my mind that I wouldn’t be where I am today if my mom hadn’t kept reading this stuff and encouraging me to write more. None at all.

However…

I eventually realized something. My mom was pretty much always going to say she liked what I was writing because she’s my mom and that’s what good mothers do. It didn’t matter if the material was good, bad, or borderline nonsensical, my mom would congratulate me on it.

Which is when I realized I needed to start getting other opinions.

Now, granted, this is an extreme example. I’m not saying my mother should’ve told the eleven-year-old me that my writing was childish and predictable and I didn’t have a chance of ever getting published. That would’ve just been cruel, and also a bit unfair. In one way, this blind kindness was a good thing.

However, this kindness can also be a trap. And many people, willingly or not, fall into it.

Dot, for example, surrounds herself with people who won’t give her honest opinions. She’ll only show her writing to immediate family members, or friends who are so close they’ve got all the same interests and background. Parents, siblings, friends, lovers—people with a strong desire not to hurt her feelings, and, on some level, a vested interest in keeping her happy.

Is it really that surprising to learn these people all say Dot’s writing is great. Her mom and dad think it’s wonderful.  Her friends got all the jokes. Her brother Yakko loves it. Her boyfriend (or maybe girlfriend—Dot’s very open-minded) thinks she should send it out to some magazines or agents.

Are they all lying to her? Possibly not. There’s always that chance Dot is the next Harper Lee or Ernest Hemingway, unable to produce anything except Pulitzer-level material when left alone with a word processor. Maybe she really is a writing savant, able to put down words on the first try that are going to make the Nobel Committee weep tears of joy.

But, as they say in Vegas, I wouldn’t put money on it.

Worse yet, sometimes these well-meaning folks will tell Dot to ignore the good criticism she is getting. Did Phoebe’s feedback sting a bit? Did it make Dot question her abilities a little? Well, just ignore it. What does she know, anyway?  She’s just one person, and she’s probably jealous of Dot’s talent. That’s why she’s tearing the story apart like that.

We all start out rough. Our first works suck. Usually our second works, too.  But we can’t get past that until we admit it and really consider some of the feedback we’re getting… and the people we’re getting it from.

Finding a real, honest audience for your work can take years. Some folks mean well, but are coming from a place of no education and/or no experience. A few of those folks are coming with no education or experience and they’ll ask you for money. And some of them… well, let’s be honest.  Some people are just jerks. They like to look down their noses and criticize people—sometimes for no real reason, sometimes so they can feel superior. They’ll give an opinion and expect you to treat it as fact.

Over the years since Mom read all my stories, out of the hundreds of people I’ve met in the film and publishing industry, I’ve found maybe a double handful of people whose opinions I really trust. They have the education, they have the experience, and at the end of the day they want to see my writing improve almost as much as I do. Several of them are merciless and blunt to a point that could make small children cry, and I consider myself lucky for that.

And, for the record, Mom still likes a lot of my stuff, too. But she only sees the final version.

Speaking of my mom, next time I’d like to tell you my story. It’s the most interesting thing ever. Really.

Until then, go write.

October 17, 2014 / 3 Comments

My Thoughts On Criticism

            I am running soooo far behind.  Very, very sorry.  It turns out my new book is going to get a hardcover release which is making me feel even more pressure than normal and I’ve been freezing up a bit.  Plus I was out at the Books in the Basin festival last weekend (which, granted, was a lot of fun).  And my editor and I just did another back and forth over the manuscript.
            So, alas, still no Clint Eastwood.  But it’s coming.  Next week for sure.  And it’s going to be fantastic.
            For now, just so I don’t keep falling behind, I wanted to offer a few of my thoughts on criticism.
            I’ve mentioned a few times how important it is to get good feedback from people, so here’s a nice simple rule of thumb about criticism.  If I have to include myself in the critique, there’s a semi-decent chance it’s not valid criticism.  If I’m giving you feedback for something, and my notes have an abundance of statements that begin like this–
            “I think…”
            “I really…”
            “This didn’t do it for me.” 
            “I feel…” 
            “I just don’t…”
–or with some similar (or more emphatic) phrasing, my critique probably isn’t that objective.  I’m not offering advice based on facts or rules, just off my own opinion.  And while opinion has a place in criticism, it’s also something that needs to be weighed and ignored sometimes.
            My editor just sent me back a 540 page document (okay, really 270 because I crushed it to single space for efficiency) with all his notes and comments on it.  I think this is our third pass back and forth, but there are still a couple things we’ve been wrestling with on our respective sides.  I’d say there’s probably about thirty-five or forty solid comments throughout the whole manuscript (plus some quick corrections on the odd typo or tweaked descriptor).
            Out of all these, maybe four or five of them use “I think” or “I feel.”  Maybe ten percent of his feedback.  There are a few places he’s telling me how he feels about things, but for the most part he’s pointing out things that needto be adjusted, and giving me reasons why when it might not be clear.  Very little of his notes are opinions.
            And again, that’s not to say opinions are bad.  But opinions are subjective.  They’re “soft” criticism, not as useful because they revolve around a single reader.
            So be clear about the criticism you’re getting.  And giving.
            Next time, I absolutely swear, Clint Eastwood.
            Until then, go write.
April 24, 2014 / 2 Comments

Draft Bored

            See what I did there?  A clever play on words.  Not quite a pun, definitely not a pop culture reference, but… well, it’ll do.
            It’ll do, pig.
            Also, random note—I set up a Tumblr a while back.  If you ever want to ask a quick question, send anonymous insults, or whatever, please feel free to stop by.
            Anyway, I’m about to wrap up this draft of my current project and it struck me that I haven’t blabbed on about the drafting process, so to speak, in a while.  A lot of folks hate doing drafts.  Some folks skip them altogether, convinced their words are gold the minute they’re set down.  And a few folks get caught in an endless loop of writing and rewriting and rewriting and rewriting and…
            So, here’s a basic step by step of how I go from bare idea to something I’m willing to hand to an editor.  And when I say editor, I mean “someone who will pay for these words I’ve written.”  That being said, this is also a good time to bring up the ever-popular golden rule.
What works for me might not work for you,
and it almost definitely won’t work for that guy.
            I’ve mentioned once or thrice before that we all have our own way of writing.  Working through drafts in this way helps me a lot, but it’s not a guarantee of success for anyone except me.  You might need to modify these steps a bit, or maybe a lot.  But I think this is a good baseline method.
            To begin…
            While I’m working on a book, I usually scribble down notes and thoughts about the nextbook.  Characters, dialogue, action moments, reveals… all sorts of different elements.  I’ll shuffle these around into more or less the order I think they’ll end up.  These notes serves as a very, very rough outline, just enough so I can start writing on page one and go when it’s time to start…
            The First Draft—In my mind, this is the “just finish it” stage.  I just want to finish this draft with a beginning, an end, and the majority of points in between.  I don’t worry about catching typos or crafting every subtle moment in the plot. 
            Consider this… diamonds don’t come out of the earth as clear, faceted gems.  They come out as ugly blobs that need lots of cuts and polishing.  So if I dig up a ten-gram diamond, I can’t expect it to make a ten gram gemstone.  If I’m lucky, I might get three or four grams out of it.  It’ll shrink as I work on it, because that’s how I improve it (see below).  So if I’ve got a ten-gram diamond and I’m insisting on a 9.9 gram gem… well, that’s going to make a pretty crappy engagement ring, yes?
            At this early stage, I don’t hold anything back.  I let dialogue, descriptions, and action scenes run on a bit longer than they probably should.  I know I’ll be cutting eventually, so there’s no reason to worry about length now.  For this stage, it really is quantity over quality. 
            If I get stuck on something (an awkward conversation or complex action scene), I’ll just skip it.  Things might not be perfect right now, but I know I’ll be able to go into the exact details of that conversation or this sequence later, so I’d rather keep moving forward and leave that stuff for Future Peter to deal with.  Again, for me, the most important thing is to get the overall frameworkdone.  It’s a lot easier to think about the little things when the big things aren’t looming over you.
            Depending on the book, this process takes me anywhere from two to three months. I had one book take about six weeks, but that was pretty rare for me.
            I don’t show this draft to anyone.  I may take a night off, work on something else for a day, and then it’s right back for…
            The Second Draft— Remember all those problems I left for Future Peter to deal with?  Those need to be dealt with now.  Gaps get filled in.  Characters get fleshed out a little more, and sometimes renamed.  All those awkward knots get worked out.   Because I can see a lot of these elements in relation to the whole story now , I’ll usually find the answers to these problems are more apparent. 
            The goal with this draft is to have a readable manuscript.  No more little notes to myself  or trailing paragraphs that need to get connected somehow.  Someone should be able to pick this up and read it start to finish without thinking they lost a few pages or only got my notes on a chapter.
            Keep in mind this doesn’t mean I do show it to people.  It just means I should be able to.  Really, the only person who might see this is my lady-love, and not even her always.  Usually she has to wait.
            For some folks, this stage would really be the first draft.  Those people have nice pages of their own somewhere out there on the web.  This isn’t one of them.  Plus, breaking it up like this takes a lot of pressure off, which I think is a good thing when you’re trying to treat writing like a real job.  No one likes a high-pressure job.
            Okay then, so… now I step away for a couple of days.  Maybe as much as a week.  I’ll watch movies, work out a little, or maybe even scribble up a few ranty blog posts in advance.  The goal is to push the manuscript as far out of my mind as possible.  Don’t look at it, try not to think too much about it. 
            I’m just into this now with The Albuquerque Door, for those who care about such things.
            The Third Draft—Time to make like a slasher and cut, cut, cut.  Two great rules-of-thumb I’ve mentioned a few times—
one adverb per page, four adjectives
2nd draft = 1st draft – 10%
            Yeah, the second rule goes off the previously mentioned assumption that my first clean, readable draft is my first draft.
            I spend this draft tracking down adverbs, adjectives, pointless dialogue descriptors, and so on.  If they can be cut, they get cut.  One thing I also go after here is common padding phrases that don’t really do anything (sort of, somewhat, kind of, more or less).  One of my regular readers dubbed this somewhat syndrome, and I still call it that.  I like to tell myself I’ve gotten much better about it now that I’m aware of the problem. 
            Sometimes I also like to tell myself that I haven’t gained that much weight since college…
            At this point I’ve gone through the whole manuscript at least twice, so a few larger cuts should be apparent, too.  Overcomplicated descriptions that slow down the narrative.  Awkward sentence structures.  Extensive character moments that really add nothing to the character, the story, or the plot.  Many of these things get tightened or cut altogether.
            I spend a week or two doing this.  This is usually when I let my lovely lady have a look.  She’s my first set of eyes and lets me know I screwed up and I’m too close to see it.
            The Fourth Draft–This is the first big polish.  I go through sentence by sentence, looking for words that come up too often or stilted dialogue.  I also make sure all the cuts and swaps from the last draft haven’t messed anything up.  Are the logic chains still complete?  Did I forget to change Pash’s name to Veek anywhere?  Does Arthur still have time to get that pistol?  Are there any odd character tics that I forgot to remove or add?  Does the whole thing have a good flow to it
            This draft doesn’t take long.  Just a day or two.  It’s just one slow, careful read of the story.
            Once I’ve got a solid fourth draft, I send it off to folks to get fresh eyes.   I generally use four or five friends I’ve know for years.  All of them are all professional writers and editors who know how to give useful criticism.  Not to beat a dead horse, but by professional I mean they get paid to do this for a living.  They have actual credentials.
            Speaking of which, some folks might hire a professional editor at this point. Nothing wrong with that.  The important thing is to get an opinion I can trust to be honest, even if I have to pay for it.  A few folks might argue that this is the publisher’s job, but I need to get a publisher first, and why are they going to bother with my crap manuscript?
            Anyway, this draft goes off into the world and it may be two weeks to a month before I look at it again.  The challenge is to resist messing with it while those people are looking at it.  I try to spend the time relaxing a bit, scribbling down ideas for later books (see above), or flexing different mental muscles.
            More than once, I’ve cleaned my office.
            The Fifth Draft— Now I’ve gotten notes back from the folks I begged/ blackmailed/ paid to read this thing.  I go through the whole manuscript page by page with their comments.  If you’ve got multiple monitors, this is a great time to use them.
            Page one… what did everyone think?  What about page two?  How’s page three look?  As I’m doing this, I’ve also got my own copy of the fourth draft that I’m using as a “master document.”  This way I can see all the notes and make whatever changes are required. 
             I mentioned that I ask four or five people to make notes for me.  That gives me a broad sampling on each note/ issue that comes up.  If four people like something but one doesn’t, odds are I’ll call that good.  Nothing’s going to work for everyone.  If three don’t and two do (and of course I do, or I wouldn’t’ve written it), I’ll sit and give it a good look.  If nobody likes it, well… I’m smart enough to admit when I’ve screwed up and something doesn’t work.
            This draft can take another two weeks or more to finish with a full book manuscript.
            The Sixth Draft— This one’s another polishing draft, just like the fourth.   I need to make sure everything still works now that I’ve made those changes and tweaks from my reader’s comments.  So, yet another line by line reading, adjusting as I go.
            And at this point… this is when I’m done.  There’s only so much a given writer—in this case, me—can do with a given story.  There comes a point when further work accomplishes nothing and I’m just rewriting for the sake of rewriting. I’m sure we all know someone who’s just been working on the same manuscript for years and years because they’ve got another one or two drafts to put it through.  If my manuscript’s not ready for a publisher (or film producer) by now, it probably means I screwed up something big right at the start. 
            Maybe with my initial idea of rebooting the Laff-A-Lympics as a medical drama starring a gender-swapped, alcoholic Captain Caveman.
            Next time… well, if there’s anything next week it’ll be really quick.  I’ve got a flight on Thursday.  If you’re in Dallas next week, please swing by Texas Frightmare and say hi.  I’ll be in the Made in Texas room.
            Either way, go write.

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