Things are different now, and things are the same.

I remember thinking that when I got an agent magic would take over my world. Words would roll out of my fingers like ocean waves. Revisions would feel like a casual stroll rather than a marathon. People would line up at my door to read my beautiful, beautiful words.


Let me be clear. It HAS been magical. And words DO come. And on occasion, people do like to read the tales I spin. But mostly… mostly, writing now is like writing then.

Hard. Beautiful. Gut-wrenching. Satisfying. Revealing.


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It’s still hard writing, post-agent. But sometimes for different reasons. I never had writers block before getting an agent. Never. Hate me if you will, but usually I had a hundred stories lined up in my head, waiting for a little attention. There is a mind switch that happens when you start writing for another reason. Revisions start to take priority, and you don’t let your mind wander as often, because you know it’s only a matter of time before you have to revisit that last story either for an R&R or to polish it up for submission. Sometimes the creative whiplash that occurs from jumping from world to world too often is just too much, so you just don’t write between stints of waiting on feedback on revisions. I’m not saying this is a good thing. I’m just saying it happens.



It’s still beautiful. Though I don’t get to create freely as often anymore, those moments when the story is taking shape and the characters are speaking… well, you know how it feels. It’s the first gaze into your newborn’s eyes. It’s a dive off the top of a roller coaster. It’s a plunge into icy water. It’s exhilarating and just plain beautiful. Thank goodness, that still happens.



You still have to wait, post-agent. And waiting can be so hard. Waiting while you know someone is reading your work. Waiting while you wonder if you sent your very best, if you could have sweat a little harder, bled a little more to make it better. Waiting, hoping, praying for good news. Yes, even after getting an agent, writing is still gut-wrenching.


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There’s nothing, before or after getting an agent, that is more deeply gratifying than typing those two final words: The. End. It doesn’t matter how many times you do it, it just satisfies this deep, deep part of you that no one else but another writer understands. For me, editing can be almost as satisfying. It feels like clay taking shape under my fingers. The features come into view, start looking back at me with these life-like eyes, and I stare back at them and go, “Holy something… I made that!”


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Writing has always been revealing for me, but something about this stage of writing has caused the process to reveal more of my inner self than I could have imagined. Over the past year, writing has been so intensely introspective, a reflection of my values, my brokenness and my strength. I’ve dug deeper and looked harder than ever before. It’s been surprising. And it’s forced growth.

So yes, things have changed in the past year, and no, they haven’t. Writing is the same and it’s oh, so different. It’s still all the things I love and hate. And I wouldn’t change that for the world.








Typings by a Type A

I’ve always thought of myself as a type B. I’m not a sports fanatic like my husband who somehow turns everything into in a competition. i.e. Who can make the best smoked chicken? Who can peel an orange without breaking the rind? Who can make it home from work the fastest? Even a ballgame is no fun for him to watch unless we’ve put a wager for a back rub on it. Nope, I’m the girl who wants everyone to get a trophy. I cheat for the other guy in card games so he doesn’t feel bad about losing. My face doesn’t turn beet-red if my team isn’t winning. I don’t shake my fist at the ref when the call is idiotic. So, I’m not type A, right?

But what I hadn’t thought of was how competitive I am with myself, especially as a writer. Or how I tell everyone else to enjoy the process of writing while they wait for their big moment but I maintain a vicious inner drill sergeant toward my own expectations. I don’t pit myself against other writers but I do make serious goals for myself that become life altering and massively mourned if not met and epically celebrated if achieved. I’m not status-conscious, however there are certain titles I sweat and bleed to own, namely PUBLISHED AUTHOR. There is, however, one thing I’ll admit to being and that’s achievement-addicted. Finishing a manuscript is my bungee jump, getting a full request is my sky diving.

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(Sky diving elephants seemed appropriate here.)

One source described a type A as someone who works late hours to get things accomplished. But that’s just because I have a day job in addition to writing books…isn’t it? And someone who rushes around, seemingly never having enough time in the day to get things done. But I only do that because I’m an introvert who’s uncomfortable with too much eye contact…right?

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The list goes on. Type A behavior can lead to stress because these people try to do everything themselves and eventually become overloaded. They aren’t always the best team players and rarely delegate work to others. They can sometimes seem non-empathetic because they hold everything in which can lead to a whole other psychological and physical ball of wax. ALL RIGHT! ALL RIGHT I GET IT ALREADY! Where do I go for my label?


What kind of a writer/person are you? Here’s a list of questions to ask yourself from

(Affirmative responses suggest Type A personality)

• Are you pressed for time at and after work?

• Do you always take work home with you?

• Do you eat rapidly?

• Do you have a strong need to excel?

• Do you have trouble finding time to get your hair cut/styled?

• Do you feel or act impatient when you have to wait in line?

Hostility-related items:

• Do you get irritated easily?

• Are you bossy and domineering?

• When you were younger was your temper fiery and difficult to control?

If the answer to most of these is yes for you, here’s a positive to dwell on: type As are more successful, which means those goals that mean so much to you, that drive you will likely be met. But one thing the Bs have on us As is that they’re better at enjoying the moment. So, while they may have fewer successes, they truly cherish the one’s they achieve. I’ve seen this with so many of my accomplished writerly friends who finally make it. They have the trophy. They’ve arrived, yet the fireworks and the parade and the ticker tape I expected to see in their lives gets put on hold as they push for the next target. Another encouraging part of this study by revealed that most people are not 100% A or B but we do lean toward one side or the other. When we see that our A side is taking over, we As just need to make our goal to enjoy the moment because whatever we set our minds to, we eventually achieve.


10488290_10152533971360993_7822460364161932901_nThere comes a point in the life of a manuscript when certain questions must be asked. If a FULL manuscript has lived adventurously, traveling the world through cyber mail, visiting the in-boxes of agents galore only to return to you time and time again, it could be because of ridiculously long sentences like this one or…OR it could be because of the way you’ve ended your story.

It has been said that the most important pages you will ever write are the first and last five pages of your novel. If this is true, and I’m beginning to think it is, we have to learn to write better endings. And being the I-like-to-do-things-backwards type of girl that I am, I have learned this the hard way. So here are some things not to do when writing an ending.


1. Tie it into a neat little bow at the end that is all-too-convenient for everyone involved. I know you’ve been writing for eons and you just want the story to end but, don’t do that!

2. Throw your readers off a proverbial plot cliff. Even though things are winding up, your manuscript shouldn’t lose the momentum it had during the rest of the story. It should have the same feel to it even when it’s ending.

3. Be afraid of happy endings. You don’t have to kill your main character to create a twist at the end of your story. Happy endings are still possible. You may just have to think of a funky way for your MC to achieve it.



An earth shattering ending – how, how, how do we write it? Start by looking to the stars. Is it shameful to look to the work of successful writers for inspiration? I say nay-nay! Let’s face it, there is no new thing under the sun. (A quote from my favorite book BTW.) No story has been written that hasn’t already been told. We just put a new twist on it, spiffed up the characters a little bit, modernize the setting and POOF…“new” story. Recently, I sat down and pinpointed what made an unforgettable ending for me and this is what I came up with:


There are  a few different formulas that, for me, produce an unforgettable ending.

1. A magnetic connection to the main character. It might not be the most eventful story I’ve ever read but I am so drawn to the character that I can’t stop reading. I want what he wants and if he gets it in the end then I celebrate with him and if he doesn’t I mourn with him. This type of unforgettable ending is more about the stuff sandwiched in between beginning and end than anything. I KNOW, I KNOW I’m contradicting my earlier statement about the first and last 5 pages. First, shut your snarky face. Second, keep reading and you’ll see that’s still true most of the time. *Sigh* And…I’m sorry I told you to shut your snarky face.

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Moving on. Think about movies like Rudy. Did we really care that he was a scrawny goober who dreamed about fulfilling a destiny that was a size too big for him? I mean come on, isn’t that everyone’s story? Nothing wildly original here. But it was the way Angelo Pizzo wrote Rudy’s character that made us love him, made us want to shout “Rudy!” at the top of our lungs. So when he did make it at the end, which we all saw coming, we felt emotion – not because it was a mind blowing event but because we cared for Rudy.

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Another example is John Green’s Paper Towns. Geek guy falls for popular girl – done a million times over, HOWEVER the sarcastic, irreverent voice of the MC and his cohorts keeps you reading. You want to know what impossibly scornful thing will be said next and before long you are deeply vested in weather Margo will speak to Quentin Jacobsen at school tomorrow or not. I’m a 36 year old educated mother of three…AND I WANT TO KNOW! That, my friends, is the power of an unforgettable ending.

A well written twist – not one thrown in at the last minute to fix a bad ending- can be unforgettable.


2. An amazing twist makes for a unforgettable ending. One of my favorite twisted endings is from The Game, starring Micheal Douglas and Sean Pen. The whole time you don’ t know who Nicholas Van Orton can trust. Everyone has turned against him and he can no longer tell the difference between the game and reality. In the end, *spoiler alert*  his brother shoots him and he falls three stories to what should be his death only to find everyone he knows waiting to congratulate him for making it through the game at the bottom, his brother included. They were all in on it and you never knew it the whole time…or I didn’t anyway. A well written twist – not one thrown in at the last minute to fix a bad ending- can be unforgettable.

We love to see the Wicked Witch of the West shout, “I’m melting! I’m melting!”

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3. Another element that makes for an unforgettable ending is when you are dying to see the villain get theirs. A well developed antagonist can drive your story all the way to the end. Making your reader love to hate the enemy can cause them to hold onto the last drop just to see the villain get what is coming to them. Make it count! Think about it. We love to see the Wicked Witch of the West shout “I’m melting! I’m melting!” It never gets old.

If cupid’s arrow has wedged itself into your heart for the main characters of a story, what happens to them in the end will hold more weight for you.


4. And finally, a romance that makes you fall in love all over again can sear an ending into your mind in a way that makes it unforgettable. When two people have that extra special connection you want to fight for it, because it’s rare. A well written romance can be the momentum for a plot. If cupid’s arrow has wedged itself into your heart for the main characters of a story, what happens to them in the end will hold more weight for you. Look at endings of classic or popular love stories to see how they worked for other successful writers. Scarlet’s ending wasn’t the sweetest in Gone with the Wind but we all gave a darn. And what about The Notebook? Didn’t it rip our hearts out on a Saturday night right before Easter service? And you cried so hard your eyes swelled shut for church the next morning? No? Just me? All right then. And folks keep your boos and hisses to yourself; book and movie sales say it all. The Twilight series had a grip on our culture for a significant amount of time and left its mark on the Young Adult genre so don’t overlook the ending.

So…what about you? What are some of your favorite endings that you, or I – I’m not ashamed to be selfish here – could be inspired by? Do tell.



BlEJtsaCMAA7os9“I didn’t connect with your MC.” I’ve heard it so many times. In one of my more recent rejections the agent doted, saying she “absolutely loved” my concept and that my take on the setting was “genius.” She used the word genius! Ultimately though, she rejected me because she did not connect with my character. After reading this my mind was filled with questions. What was it about my main character that caused you not to connect with her? Is this something agents just say when they know the novel is not for them  but they just can’t pin-point why? If not then how, how, how can I make you connect with my character?

I have one of three reactions to rejection: 1.) A short pouting session where I turn my back on all things literary. 2.) A ravenous search for knowledge where I tear through every piece of advice ever written to improve the fault the agent has exposed. 3.) Both one and two combined in that order. This time I experienced the latter.

So, after completing step one, I did a little research on what can make the reader connect with the main character of a story and here’s what I came up with.

Make your MC Suffer

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We are a sick species who can’t seem to turn our eyes away from tragedy. It twists our insides to watch but we have to see the outcome. Capturing this element creates intrigue and ultimately a story that can’t be put down. One of my earliest mistakes in writing was giving my MC what she wanted too soon without enough trial and tribulation. I loved my main character, providing for her like a spoiled child. The problem with this is that it’s just not an interesting read. We understand more through empathetic and sympathetic communications than any other method. It’s important to put your MC through the cheese grater and then put them back together on the other side before you conclude your story. Sick as it is, it’s what people want to read.

Tap Into Your MC’s Emotions


From fleeting emotions to the more grounded ones that make your character unique, the reader needs to understand, know and feel your MC’s emotions for themselves. Showing not telling is key.  Her stomach roils, his skin prickles, her blood speeds up creating torrents in her veins. Stressful situations expose the true character of a human in real life. It should do the same in your story. No matter the action or the cleverness of the writing, regardless of the fascinating twists, if the main character’s reactions are not identifiable then the reader will not make a connection and will be left with that “meh – it was all right” feeling at the end of the story. We’ve all been to that movie. The special effects were mind blowing. The character’s were hot, the plot was riveting but you never got to know the character on that deep level of human connection. Those stories are the ones we forget because we didn’t feel anything.

Another essential element of writing emotions is making sure your MC is growing emotionally through the journey. They should not be the same person at the end of the story as they were in the beginning. Maybe they are less  of a person: broken, weak, lonely. Maybe they have grown stronger, realizing their purpose and finding confidence. Whatever the case, it should be a gradual growth the reader can track from start to finish. Though the reader may not realize it, the outer journey should be the subsequent one. The real odyssey should be the inner transformation that is taking place.  It is easy for authors to miss this because we have so much work to do putting the intricate details of a believable plot together. Creating an emotional tracker for your main character and describing his or her state of emotions as they progress can help make sure this development is occurring and provide the dramatic action that makes a story a page turner.

The Reader Needs to Care about the Goal

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Dramatic action revolves around the characters goal and, while the character may not be aware of it, their methods of achieving that goal develops their emotions. Their reactions to the successes and failures that occur while achieving that goal reveals even more and the goal itself helps to define the character.  But here’s the kicker: if your reader doesn’t care about the goal then you’ve lost them. Writing the goal  isn’t the real obstacle though. The goal doesn’t have to be this big flashy thing. Your character doesn’t have to aspire to save the world. It could be something as simple as being a good writer or understanding themselves (Eat Love Pray). The trick is making the reader care about the character’s goals because they care about the character. We can do this by showing (not telling) the MC’s reactions to setbacks and failures and success. Another way to do this is by creating tensions and obstacles for our character to prevent them from achieving this goal too soon in the story.

Now, it’s your turn. How do you get your reader to connect with your characters? I’m a sponge. Fill me!



The Multiple Personalities of an Author



On so many occasions I‘ve as asked  my writerly friends on this path of pursuing traditional publication why we put ourselves through this whole torturous obstacle course. Is it some sort of deep rooted need to punish ourselves or twisted masochism that makes us continue?

I don’t know about you, but I experience emotional ebbs and flows toward my writing. It can be the result of a rejection or from reading something that is so magnificent it makes all my work pale in comparison. These emotional ups and downs are fairly common/natural, however they can affect our work.

When we start feeling insecure, it effects the quality and quantity of our scribblings. It’s usually a good idea to take a break from writing when experiencing a valley. I’ve tried to push through and be productive during these times and it usually ends up in a lot of re-writing later. The trick is not letting these pity parties last too long so they don’t effect the quantity of our writing. Many times, we wait so long to get back into “the mood” that we lose momentum in our stories. When it’s been too long, try to find a good quality in your story and build on that. It may mean re-writing and making some plot changes but this approach has resulted in some of my best story lines.


The Peaceful Writer

Writing Gives Me Multiple Personalities. 


Despite the valleys, there are times in the journey that are pleasant. My favorite times are the times of peaceful writing. I’m convinced that most writers are users. They use writing to obtain peace. They love the euphoric sensation of  being swept away to another world – away from their own responsibilities and problems, even if the main character’s problems are worse than their own. While anything can be abused, with balance, pouring oneself into a story, feeling the emotions of the characters and finding creative ways to work out their problems (which often times emulate your own), can’t be all that bad.






The care free part of me likes to write just for the sake of writing. This is usually in the early parts of a manuscript when I’m just trying to get the story on paper. My fingers fly and the story flows out of me as fluidly as coffee from the carafe, which is typically consumed in high quantities during this stage. I’m not worried about flow or transitions or overuse of adverbs or world building or character descriptions. It’s all about regurgitating the plot. This is a fun time to write for authors. That excitement and passion for our story is there and so is our faith in it.  We know its value. We know it has potential. I’ve been on the roller coaster enough times however, to know the rush I get from being on the peak doesn’t last but that never keeps me from screaming all the way down.


It’s these manic episodes, these ebbs and flows, that result in the final product. 





Once the story has taken shape and I’ve read over it and made it through the valley of I-Hate-It and the trenches of This-is-Crud, I eventually find myself in the plains of I-Can-Work-With-This. This is when I hit hard. I get a few critic partners to look at it for me and I devour every word they have to say. Then I cut the fat, slash the ramblings, polish the descriptions, obliterate the adverbs and capture the voice…at least those are my goals. I have gone through the full cycle multiple times, from Happy Writer to Driven Writer and back again, during the course of editing a single manuscript. Don’t feel sorry for me though. It’s these manic episodes, these ebbs and flows, that result in the final product.  I endure the multiple personalities of writing, BECAUSE I can’t settle for a mediocre product.

What about you? What are the names for your writing personalities. Come on, you know you have them too!






IMG_20130728_113951Perspective. It’s abstract yet it’s everything. It’s what keeps our writing fresh and makes it relevant. It’s what gives our stories that malleability to conform to whatever we want or need it to be and it’s what causes an agent to fall in love with or instantly disconnect with our work. Perspective is essential, yet if we lose it we are spinning our wheels in the proverbial mud that is our WIP. So how do we get it?

Make sure people are looking at your writing.

Many of us are quiet about our endeavors in writing. We tell ourselves we will be more outward with it when we are finally published. (Mostly because we’re tired of answering the question: “Oh, you write? Where is your book sold?”) But if we want to be able to answer that question with a resounding “BARNES AND NOBLE” then you have to let other people see your work. We lack the perspective as humans to stay objective toward our own work. We need a fresh eye and a different outlook. You might be influencing your characters to act the way you would in a certain situation while others would do it differently. Letting other people read our manuscript, opens us up to a whole new range of scenarios for our characters. Think of other people’s input on your MS as deposits into an idea bank. You don’ t have to spend them if you don’t want to but the ideas are there when you need them.



Contests are not for the weak of heart. It can be discouraging when you don’t even make it passed the initial selection rounds, however, many contests come with fantastic (and not so fantastic) feedback from published authors, editors, bloggers and the reading public in general. I have been at the place where I worked so hard on a manuscript that the words didn’t even look like words anymore. I had gone manuscript blind. Perspective from contests (even when we don’t win the contest) give us insight to issues with the MS that we couldn’t see before.

Take Criticism


If someone told you your baby was ugly you’d punch them in the face. Okay, maybe you wouldn’t but you sure as heck wouldn’t give them roses. Our manuscripts are our babies – our blood, sweat and tears – but we MUST learn to take criticism for them. After all, our readers are why we write and if they don’t “get it” then we aren’t doing our job. I say this with total subjectivity. Of course, we don’t write to please all readers but we must be open to change for the sake of the reader if  it’s not compromising our voice or the integrity of our work.

Take a step back for saturation’s sake!


I know you would never abandon your child and that’s what it feels like when you walk away from a manuscript but sometimes taking a step back to work on another project for a while – and I mean a while – can bring all the perspective we need. It’s the best thing we can do for ourselves and the WIP.

What about you? How do you find perspective? I’d love to try your techniques.

Beta you wish you were better at self editing.


I’m a writer for gosh sake. Grammatical blunders stand out to me like turds in a punch bowl. I can spot formatting errors on a manuscript on the sidewalk from the roof of the Willis Tower. (For your information, that’s the tallest building in the U.S.) I can detect a homophone misuse better than a shark smells blood in the water…UNLESS it’s in my own writing. Dadgum, this chaps my chassy! I just wish I could write something and edit it myself.

Don’t get me wrong I love, love, love my beta readers and the valuable criticism they give. Even if I wrote a squeaky clean novel, I would still give it to them for their input. However, the times I wish I didn’t need them are for the edits that don’t require a full rewrite. Any time I want to clean up some dialogue, add a scene or give a few more details I have to give puppy dog eyes to my betas so they’ll give it another look or in a perfect world give it to a whole new set so the MS is new and fresh to their eyes. That’s what it’s all about really – fresh eyes.


The reason we are the worst editors for our manuscripts is we are saying the words before we even read them.

We know what it’s supposed to say. Heck, we have it memorized. Taking a month or two break from your MS can help with editing but that is so much harder to do than people think. The only way I can do that is by writing something else and putting it out of my mind for awhile.


I’m guilty of it. I’ve made a few small changes before sending to an agent. I read it over. I had my husband read it over and it looked great. WHY….why oh why do we not see our typos until after we’ve hit the send button? Is it because we have to psych ourselves out to hit it in the first place? Don’t think just do, we say. Hit send. HIT IT NOW! Once it’s out there I think I’d rather not see the blasted blunders at all because I’m on the verge of vomiting for about three days after I realize I’ve launched my own personal blooper reel into someone’s slush pile.

The moral of the story is, sending a manuscript quickly never feels as good as sending a pristine one. Besides, we all know the turn around rate. It’s not like sending your MS quickly will merit you a thirty minute response.


Do breathing exercises, have someone talk you down, relive nightmares from the past, whatever you have to do to make yourself send only when your manuscript is ready. Preachin’ to the choir here.

How about you? Have you ever sent too soon? Has mercy and grace abounded to you and you actually got a request from it? Please tell me it’s possible. Tell me your horror stories too! (Horror is one of the typos I sent in a query recently. Guhh!! Two R’s in horror. Finger slipped, spell correct failed me and I was too eager to hit send. Caught it seconds afterwards.)

Are you an MS abuser?


We never really know when discouragement is going to come or what will bring it on. I’ve received plenty of rejections and most days I can just twitch my shoulders and chalk it up to subjectivity. But other days a rejection can feel like someone just tossed me a bag of concrete I wasn’t ready for.  I’ve been catching concrete this week.

Why all of the sudden, you ask, are rejections so hard to take? I entered a contest recently and got some wonderful feedback on my latest MS. Good criticism equals lots of work and sometimes it’s hard to pull up your sleeves and dive back into a manuscript you thought was finished…but then again, what am I if I don’t? I’ve been so tempted just to move on and start another novel with hopes this one will be the one that won’t draw a single rejection, though I only started sending out queries for this MS in May and have had more request for it than any other I’ve written. But what is my writing if I don’t make it better when I know it can be?


Walking away from a manuscript when you’re weary is like neglecting a child when she’s being more trying than usual.

When we feel like abandoning our latest novel in a bassinet on the front steps of the closest orphanage for unloved manuscripts we need to find a way to get excited about approaching our work from a different angle. View it as a new project all together and if you are lucky enough to have some good criticism to get you started then break it down piece by piece and get the most out of it. This is an opportunity to make your story whatever you want it to be all over again without having to spend months drumming up another 80K words. The bulk of your story is there; just squish it between your fingers and mold it into the new, shiny, better MS I know you can write.

Here are some ways you can renew your excitement for writing.


1. Read! Pick up a new book. Get excited about it and think about how you can bring some of that excitement to your own writing.


2. Change things up. Sometimes trying the same query with the same manuscript that keeps pulling in rejections over and over is a bit like beating your head against the wall. Rework your query from a different angle. Or maybe work on the story itself. Write a few new exciting scenes for your novel or rework old ones. Run them by your editor and see if they might improve the story. Think of your main character from a different perspective. Maybe even change their name. 


3. Read success stories of authors who’ve been rejected tens of hundreds of times like this one for encouragement. See what they did and didn’t do to get their work out there.

What do you think? If you have fears that maybe there’s just not a market for your novel or you think you’ve got an idea for a better story do you move on or do you make perfection out of it before you walk away and if no one picks it up, at least you knew it was your best work?

Agent/Author Etiquette

222221_10150272979930993_6771236_nYour phone chimes with that special notification that alerts you an agent has responded to one of your queries. (What? You don’t have an email account set up JUST for agent responses? You should! Just a tidbit: Did you know that there are many agencies that will boot out emails as spam from big free email groups like gmail, Hotmail and yahoo? But I digress…) So where were we? Oh yes the notifying chime! You hesitate to open it, knowing its just another rejection and you’re not in the mood today. After forcing yourself to look, you discover that….Holy Shmuckoly! It’s a full manuscript request.

After the initial lightheadedness and overall flushing of all your body parts you get right to work collecting your manuscript and reading over it one more time at lightening speed for any refining that needs to be done. You resist, with all that is in you, making major changes in the first three chapters and tell yourself now is no time for self doubt. Finally, you hit the SEND button followed by the strong urge to wretch. Oh, Lord was everything perfect?  If it’s not, too late now.

The rush of the whole experience lingers for a day or two and then the questions overtake you like a swarm of killer bees.

Questions1. How long should I wait before nudging?

A nudge is reserved for specific situations. An author should never use a nudge for a query submission. Most agents (if I were more daring I would say all agents) have information on their website that let submitters know how long they can wait for a reply. Some agents state upfront they will not respond to queries which do not interest them and that a no response can be considered a rejection. If an agency states that, after a lack of response within a certain amount of time, you can resubmit then do so but do not nudge.  In my opinion, it’s good practice to send your manuscript with a short respectful note inquiring about what sort of time frame you can expect to hear back from them. Generally they will reply with a time frame of about 6-8 weeks and give permission to follow up after that time period. Nudges should be used only when agents have requested your material and have exceeded the time they initially told you it would take to look at the work or an acceptable amount of time to review the MS.

2.What is the best way to follow up with an agent?

Again, dare I say all agents, prefer email. A simple reply to the initial request is sufficient via email. Then just find something to distract you for the next 6-8 weeks while they do their thing.Many agents have twitter accounts now that you can follow and they often host “Ask The Agent” forums where they answer FAQ’s by authors. Generally though, I wouldn’t inquire with an agent about a query on twitter. Use their email for that. Following agents on twitter can be informative, however. I follow agents on Twitter who post when they have made it through their query piles and that if you haven’t heard back from them to resubmit. So, if you have submitted a query to an agent, it’s a great idea to follow them on Twitter. I said FOLLOW, don’t stalk….that’s just pathetic and creepy.

3. Should I give an exclusive if asked?


Exclusives should rarely be given. If authors granted exclusives every time we submitted we would be published at the ripe old age of 103. Now if an agent asks for an exclusive while reading your manuscript, and he/she is your DREAM AGENT,  it might be in your best interest if you only granted it for a short time period.  For instance, you might say I’ll grant exclusivity for 2 weeks in which I will not submit to, or make a commitment to, any other agents. This ensures a swift response for you and does not lock up your manuscript so that you miss out on an opportunity for representation by another agent in the process.

4. Why did the agent ask if other agents were considering my work?

Agents want to know if your work is being considered by other agents so they know how to place it in the slush pile. If you are being seriously considered by other agents then the agent might make an effort to look at yours sooner to avoid losing an opportunity to represent the novel. Make sure you don’t tell an agent your novel is being considered unless it truly is though. Integrity is a huge part of the relationship between author and agent and if you are eventually represented by the agent you don’t want that uncomfortable white lie coming between you.

5. Is it a bad thing if more than one agent is looking at my work?

Simple answer. No. Agents don’t hold it against you if your work is being looked at by other agents. That’s the nature of the business and it only shows you have an interesting story. Just be sure to COMMUNICATE WITH THE AGENTS! Tell them that your work is being considered by other agents so they can plan accordingly. And if you receive an offer of representation in the meantime, notify agents so they know to stop looking at your work OR to finish reviewing it so they have a shot at it too. It’s okay for you to tell an agent you need time to think and notify other agents that you are considering them for representation.

6. And finally, what if you send the manuscript along with a short message asking when you might hear back and after a week receive no response? Should you resend?


What are you looking at me like that for? Oh! You think I have the answer. No, this question is for you! I’ve read  it is important to respond with a bold message in the subject line that says something about REQUESTED MANUSCRIPT. Of course, I read this after I sent the email and merely replied to the initial email. I have a tendency to over think things. Perhaps your thoughts on the issue will ease my mind. So take it away.


386558_10150591178055993_62231348_nYou are a  door to door salesperson who sells vacuums. Finally, after months of having doors slammed in your face, a potential buyer stands in the doorway long enough to ask you a question. “What kind of vacuum is it?” You hem-haw and squirm because you really don’t know so you just spout off the most popular vacuum type you can think of. “It’s a zero-turn-radius, bagless, cyclone chamber with scented filters.” When really it’s one of those old models that looks like  a set of bagpipes. What does the potential client who you could have made enough off of to not  have to sell another vacuum for a whole month do? He slams the door in your face, of course.

Our manuscripts can be just as difficult to sell (not that any of or work is like a bagpipe vacuum cleaner, I should hope) and finding a genre our manuscripts fit into to market them can be even more difficult. However, without the proper packaging, you can have an amazing product but never move it off the shelf. Face it, most of us buy name brand just because it looks more trustworthy. It would be nice if we could just go without picking a genre and just let our work speak for itself  but in the world of publishing there is no such thing as No Genre Bob.


The last writer’s conference I attended had a “Read the Slush Pile” event, as many do. Three agents sat on a panel while someone read the first five pages of our manuscripts to them. When they didn’t want to hear anymore they raised their hands and the reader ceased. Then the agents told why they would have stopped reading that particular piece if it were in their slush pile. It was very informative and helped me to better develop my first chapter. But one of the main reasons they stopped reading was when an author incorrectly billed a piece as a certain genre. At first I thought they were just being picky but they explained their reasons for this.


The first reason was that a writer should know their genre. If they don’t, the agent can already see that working with this author may consume a little more time than they have available. The second reason why agents say writers bill their work as a genre that it is not, is because they are scared their work falls under a dead category and think if they bill it as something else it will seem more appealing. The fact is:

You have a better chance at getting an agent’s attention with your work under its true genre (even if the genre isn’t so hot right now) than you do if they start to read it and find out it’s not what you claimed it was-no matter how good your work is.

That doesn’t mean agents are uppity or snide. It just means that, like you and I, they like to get the product they are told they are getting. So, knowing your genre is the key. I remember flipping out when I heard the agents respond that way because I had pitches scheduled with them the following day and I wasn’t prepared to commit to a genre at that point. What would I do if they put me on the spot? I stayed up for hours in my hotel room researching different genres and comparing my story to others that have already been marketed under certain labels. It was hard because one of the agents I was pitching to wasn’t particularly fond of the category my manuscript seemed to be consistently falling into with my research. I had to be straight forward with her and she asked me to send her a partial!

There are some great resources out there for pinpointing your genre. 


First, start by reading lists of genres and weed out the ones that don’t apply. Sometimes books fall into multiple categories like YA/Science Fiction/Romance, so  don’t try to narrow it down to just one yet. Make sure the list you are looking at is up-to-date. Some genres are called by different names than they used to be and there are new ones, like NA (New Adult), that are added to the list. Here are a few good lists to start with: List Of Fiction Genres and Bubble Cow’s Genre List. You may have to piece a few lists together to get a complete list. As you can see, NA is not even described on these lists yet because it is so new.

Then once you’ve narrowed it down to a few genres, start looking at books that are similar to yours. This is a good practice anyway because most agents are going to want you to compare your book to something that is already on the market. While most of us would like to think our book is one of a kind that’s not always a good thing. People like to read things similar to what they’ve already enjoyed. We naturally choose by comparison. So look at other books that compare to yours and see what genre they fit into.

It’s not an easy process. It’s like choosing a label for your child. You, young one, will forever be known as a…carpenter or psychologist or mother or construction worker. It’s tough stuff but we can do it! Anybody else out there struggle with labeling your baby?


45844_482113340992_6896901_nI’m supposed to impress you in these first few words with shocking, dazzling prose that will wreck your heart and send laughter spilling out of you like Niagara so you’ll keep reading. Have I done it? If I haven’t by now, chances are, I’ve already lost you as a reader.

Ooo! You just folded your arms up onto your chest, pursed your lips and scowled didn’t you? No need to pout like that. It’s not going to change the fact that you have one chance and a few characters to impress the judges. Think of it as the Twitter post of your lifetime.


I was reading at  and here is what he had to say about making your first paragraph count.

If your first paragraph is characterized by clunky style, pretentious and flowery figures of speech, clichés, literary throat clearing, descriptions of the weather, clumsy efforts to shoehorn backstory into the narrative,  or other stylistic bads, it’s going to take a lot of brilliant writing to dispel that first impression.

I automatically began examining my own writing after reading this quote.

Realistic vector magnifying glass

  • Clunky style– Does my first paragraph read smoothly? Are there sentences that have to be read over again so they can be understood.
  • Pretentious and flowery figures of speech- Does my work have an overabundance of phrases like: The grandiloquence of this discourse nauseates my very soul; if ever a soul could be sickened by such foul text. Sometimes we become very attached to statements like this in our writing because we work so hard on developing them. The fact is people don’t talk like this and while a profound statement here and there is thought provoking, too many can just seem heady and arrogant. Make sure your writing is something people can identify with at the same time as being beautiful and stimulating to the mind.
  • Clichés- Just know what they are and AVOID THEM. You are a talented writer. Surely, you can come up with a better way of saying it.
  • Literary throat clearing– Empty words  and phrases, as well as repetitive descriptions can slow down our stories and cause people to stop reading. (Check out for some great pointers on cutting our literary throat clearings.)
  • Descriptions of the weather: Again, just don’t do it. If we talk about the weather when we’re bored out of our minds or when we’re trying to avoid real conversations with people then the topic does not belong in our writing.
  • Clumsy efforts to shoehorn backstory into the narrative- we’ve all read a book where the entire first chapter was used to catch us up on everything the main character has thought or eaten and the consistency of their bowel movements for the last 16 years. These are sometimes things we need to know, however there is a method to getting the information on paper in a way the reader doesn’t even know they are getting it. As writers, we must master this art.

As an author, I want to write  moments that rip the reader’s hearts out, make them throw the book across the room then walk back over to pick it up and read more. I want to write humor that surprises the reader. No lead up, no warnings, just outrageous unexpected humor that people can identify with in their own lives. You and I have to indicate we can do these things in the first few paragraphs in order to get a chance to share our work with the world.

How do you catch a reader’s attention, whether it’s an agent or fan? Do you use these techniques outside of your writing?



Marjorie Brimer

So you’ve sent out your queries and you’ve waited with exceeding angst for replies. Then they start to trickle in, the “we wish you all the best but this isn’t right for us” messages or the “we’ve considered your work and graciously decline. Remember, the market is subjective and we hope you find a good fit for your work,” letters. In the beginning you are just excited to get  responses from real life agents, however pre-formatted they may be,  but after about the 15th to 20th time (maybe the number is different for you) you start to get a little discouraged and ask…

 What is wrong with my work?

Is this a fair question to ask of ourselves? After all, the market is subjective and not every agent is going to love our work. When is it time to go back to the drawing board and how much should I change when it is time?

There are two reasons you could be getting repeated rejections.

Number one is your query. I usually give my query another good looking at each time I send out a batch. I send 7-10 out and wait about six weeks or until all have been responded to then send out a new batch. After waiting and reviewing, I have often found that the query could be better or even has errors-GASP. This is one good reason not to blanket the market with your query! I don’t know about you, but by the time I’m done writing it, I have my query memorized and it’s easy to miss small mistakes because my mind substitutes the correct words for the wrong ones or the ones that aren’t even there at all!

Maybe your hang up isn’t an error. Perhaps, your query isn’t a good representation of your work. We know our stories and it’s easy to fall into the pit of assuming other people understand the plot when they read the excerpt in our queries. It’s a good idea to get someone who doesn’t know your story to look at your query. Ask them questions about it and if they have a different idea of your characters and plot than you do then it’s time to revise. I have a formula I’ve developed after working with some published authors on my queries.

Start with a hook!

Start with a hook!

  • Hook!
  • Use a close narrative voice. Don’t fluctuate!
  • Show don’t tell.
  • Establish the setting.
  • Mention genre, word count, and title and use your character’s full name the first time you mention it. (You  might even capitalize it.)
  • Brief but convincing bio- even if you’re not published say a little something about your platform you’ve been working so hard on and establish the fact that you aren’t a loon.


    Establish that you are a stable author – not some loon!

The next reason for constant rejection would be your synopsis or manuscript sample. Maybe you’ve noticed that you get requests for your manuscript and THEN you get rejected. A few of these are to be expected because again…SUBJECTIVE. But if this becomes a trend, say five or six, then you may consider revisiting the way you’ve summarized your work in your synopsis. Obviously, your query is doing the job but your work isn’t standing on it’s own. Ask yourself if your synopsis captures your style and voice? If you are submitting sample pages then consider a new opening and comb over that baby with fine teeth for errors. Make sure the cadence of your work flows so  there are no sentences that have to be re-read in order to understand.

And after all this, if you are still receiving rejections consider revisions of the entire manuscript or pitching from a different approach. Is the dystopian concept of the novel truly the forefront or is the romance the focus? If so, pitch it this way. Sadly, there are times that we need to walk away, work on another project and come back with a new approach. Sometimes, time provides the fresh look we’ve been trying to conjure!

Is there a magic number for you when you feel like it’s time to go back to the drawing board? Has anyone revised  successfully and received representation as a result? Do tell!



So, I’m just going to write a book, find an agent and live happily every after. Bwahahahaha!

When I first started this journey, over a year ago, I spent half my time writing and the other half researching how to be a writer. I remember the first time I read about platform I thought, I’ve got a lot of work to do! Wait, back up a little bit. First I thought, what the Hector Zaroni is a platform? The first visual I received was something you jump off of before landing in the water. I was close.

Our platforms are how people know us. If you were to walk into the mall or into the world dominating franchise that is Wal-mart, what would people be whispering? “Oh, I know him, he’s that guy on face book who had his photo taken, kissing a komodo dragon.” Or, “That’s the guy who rocks the base at the Blue Note on Saturday nights.” Or maybe, “She’s the chick who won the head cheese eating contest at the last Heritage Days Festival!” The methods we use to get people to recognize us are our platforms.

I realize that writers don’t often want to bring attention to themselves, however, the ugly part of writing is marketing; but it doesn’t have to be that way if  you change the way you think about it.

If you are uncomfortable with the idea of marketing yourself, think of it as marketing your work instead.

Platform has changed. It used to be you had a good platform if you’d: ever been on television, you were previously published, you made it big in some other industry like Country Music or NASCAR, you won the lottery or your parents were famous. Today, we are lucky because we can build our own platforms.

Tools to build your platform are plentiful.

Your gonna need a hammer, a level, some screws…Naw I’m just kiddin’. You don’t need any of that stuff. What you will need, however, is a laptop, willingness to learn new things and time. There are so many websites today that help us put ourselves out there like Facebook, Twitter (which I just recently caved and became a twit. FOLLOW ME! @MargieBrimer #shameless plug), Tumbler and the beloved WordPress. These sights make us visible to thousands of people who we could have never have been exposed to otherwise but there is a strategy to networking. You have to be active and responsive and authentic and RESEARCH your butt off on effective ways to format and communicate. Be creative and bold and real.

Don’t wait until you’re famous to build a platform. If you build it they will come.

 These days, many agents are looking for authors who have already put in the work to build a strong platform. It’s an exciting process really because the whole time you’re making relationships and maintaining those relationships and staying on top of posts, it is for a purpose. It’s for the day when it finally happens and when it does your platform will be there for you to step up on….and jump off of.

What other platforms do you use besides our dear WordPress? Can somebody expound on Tumbler and how Pintrest can be used to promote an author’s work? I’m excited to learn.


So, you’ve been to a conference. You pitched your manuscript and you didn’t vomit on the agent’s shoes! You actually delivered a decent pitch. Then the agent looks at you and says, “This is an awesome concept. I ‘d like you to send me the whole manuscript.” What do you do?

Celebrate...then be realistic.

Celebrate…then be realistic.

Do you walk out in a dignified manner, acting as though you expected that response or do you throw yourself over the table at the agent, kissing her hand repeatedly, thanking her for a chance and promising her you won’t let her down like those contestants on American Idol who’ve made it through the first round and act as though they’ve won the whole contest? Do you wait until you’ve nearly reached the door and break into a little “I did it” jig? I’m just saying, I may or may not have done a combination of your first and third options. I sort of forgot that old football motto,

“Just hand the ball to the official and  act like you’ve been there before.”

Then as I sat in the waiting room, I watched others as they came out. A few were dejected, others were indifferent and still others were sporting the same look I had minutes ago. Throughout the day at the conference, I asked about the response others had received from certain agents. There were quite a few that were asked to send partials of their manuscripts to the agents. This got me to thinking, are my chances here the same as any slush pile my manuscript has landed in?

dont hold your breath

I probably shouldn’t be holding my breath here.

I started to question everything. What was the point of coming here and the months of rehearsing, stressing out and whitening my teeth..MY SENSITIVE TEETH- I shriek internally every time I inhale! I started doing research on how much value these request actually held.

Don’t stress just yet.


But then again, don’t start taking out loans based on your book sales either. I read a wonderful blog by Wendy Lawton called Books&Such where this situation is put into perspective from the agents point of view. I’ve read articles that speak of agents in a less than positive light about the way they lead authors on by asking for samples when they may not be as eager to represent the author as one might think. The Books&Such article clarifies why agents might ask for a manuscript sample and then not give you the gleaming results you are awaiting OR they may take much longer to respond than you had anticipated.

Here are 5 reasons she noted:

  • It’s most likely a serious request based on liking the initial pitch and being interested in the writer. Whether the agent is being realistic about his ability to manage the additional work he is agreeing to evaluate is the unknown element here.
  • Or it could just be the general giddiness and I-can-do-it-all feeling that comes from letting an overworked agent out of the office. At a writer’s conference we are predisposed to falling in love with ideas and writers. We’re talking with colleagues and brainstorming possibilities. Heady stuff.
  • It can mean the agent has been meeting with writer after writer in fifteen-minute blocks all day long and has finally admitted he is braindead and cannot evaluate anything and the best thing is to just see the work and evaluate later.The danger here is that he knows he is loading himself up with work, not taking into consideration the already critically backed-up workload at the office.
  • It might mean the agent knows he can’t evaluate fiction based on a query. He has to evaluate the writing. Some agents and editors ask to see anything that may hold promise based on the pitch. (Sadly some writers pitch like big leaguers while their writing isn’t even ready for the farm team.)
  • It might mean the agent is drawn to the writer himself and, regardless of the writing, wants to continue to explore. This is the power of meeting in person. These are the not-quite-ready writers that agents sometimes decide to sign, even earlier than normal, in order to mentor them. It’s one of the values of a writing conference–the inexplicable connection that sometimes happens.

So if you’ve received a face to face request CELEBRATE! Then revise as requested, send your manuscript and if you feel comfortable ask about a time frame in your query. Then wait but Heavens to Mergatroid QUERY WHILE YOU WAIT. Don’t put all your tofu in one recycled plastic tote (sorry, I’m vegan.) Keep sending out those queries just as you would, had you never gone to the conference at all. 

Have any of you received partial requests at a conference? How about a full? I received both this weekend and I’d love to hear the outcomes of your requests to give me something to ponder while I wait for my own response!