New Blog!

Finally, I have my new blog up an running.  It’s nicer.  And, hopefully, easier.  Part of the reason I’m switching is because of all the problems I’ve been having with blogger lately.  Since they changed their interface I’ve had trouble logging in, and replying to y’all’s comments.

So, to answer Eileen, yes, this blog will remain live, but I’ll only be updating the new one.

Why don’t you all head on over and check it out?  There’s a nice new post about aesthetics waiting for you:

http://lostetter.wordpress.com/

New Blog

New blog coming soon!  Keep your eyes open for the link!

~Marina
R:45

The Learning Doesn't Stop

Once again I must point you over to the Writers of the Future forum.  Great discussions going on there.  A must-read for any new writer, I think.  Please consider signing up and joining in the discussions, if you haven’t already.  It’s a great place!

http://forum.writersofthefuture.com/viewforum.php?f=16 

This link directs you to the general writing topics sub-forum.  Browse the threads, there are several active at the moment that are worth an in-depth read.  In particular I’d have a look at The cold equations: what are you prepared to do?; The learning and effort doesn’t stop; E-publishing a short story collection; and Reading tea leaves.

~Marina

39/100

P.S. Got another HM in Q2 of WotF.

Consider RKpyx up at Baen's Bar

Want to know what a (non-winning) Writers of the Future finalist story looks like?  If you’ve got an account at Baen’s Bar you can see one right now.  My Q2 2010 finalist story, Consider RKpyx, is up for critique.  I’d love it if you’d read and comment!

The Bar: http://bar.baen.com/default.aspx

~Marina

Goal: 35/100

On Giving Advice

I know once in a while I throw a few tid-bits of advice out.  And, since it’s my blog, I use a lot of “shoulds” and “should-nots.”

Most of what I say comes from my own learning experiences, the rest of it I parrot.  But I parrot it because I think it’s right.

I don’t claim to be an expert on writing fiction.  How can I?  As a currently-unpublished writer, I don’t have enough successes to say for certain that my way is the right way.  All I can say is I think it’s right, and often I feel in my gut that it’s right.

I want to be straight forward about where I’m coming from, because I’ve seen plenty of newbies try to give advice on their blogs.  Sometimes I agree, sometimes I don’t.  Either way, it’s usually harmless.  But occasionally it’s not.

So, when I look for advice, I always look at the source.  If the advice is in the form of a crit, it can usually come from anywhere.  No one has to be a published author to tell you if a story works or not, because really, when you crit you become a reader, and readers don’t need credentials.  They really don’t.

But, when you get down to the nity-gritty of the bizz, it helps to know who’s saying what and why.  Even when general writing advice is given, it’s good to know what kind of authority the individual has, so you can better judge how to interpret the advice.

The most dangerous thing I see is people giving advice about the publishing business and basing it on credentials that have little to do with the reality of the industry.

For instance, a degree in writing does not give you any authority on how to tell a story.  It really doesn’t, which is a shame when you think about it.  I feel the same about someone telling me they have an English degree as an agent or publisher does: So what?  A degree and hard-earned experience aren’t the same thing.

I’m far more impressed by people who are experts in their subject matter.  Writing about science fiction and have worked in the hard sciences?  Cool, I’m there reading your science advice.  Have a degree in psychology and use it a lot in your humanitarian work?  Cool, I’m there hoping to glean what I can in order to improve my character development.

Now, does this mean that newbies can’t give sage writing advice?  Absolutely not.  That would be the same as saying young-adults don’t have worthwhile opinions because they haven’t lived as long as other people.  Life experience doesn’t always equal wisdom.

But it always helps me personally to be able to gauge why someone thinks they have the authority to give advice.  If I agree with their opinion, usually it doesn’t matter to me who said what.  It matters more when I disagree, and it helps me dissect my own thought processes when I try to understand why their opinion is different from mine.  Sometimes I think they have valid evidence to support their views, sometimes I don’t.

I guess what I’m trying to say is, take my advice with a grain of salt.  If you agree, great, if not, that’s ok too.  All I can give is what I know, and when it comes to the publishing industry all I really have at the moment to back me up is research.  Lots and lots of research.  If that’s good enough for you, great!  If the fact that I don’t have anything published yet worries you, don’t listen to me.

I’m just here to provide my perspective, not the end-all be-all of what it means to be a writer.

How do you guys feel about newbies giving advice?  Do you ever listen to it?  Scoff at it?  Wish you could save a newbie from herself?  Let me know!  I’m dying for comments. ;-)

~Marina

Goal to date: 34/100

Editors

Great discussion going on right now over at the Writers of the Future boards on what you can expect from editors and what you can't.  Thought I'd post a link for anyone who isn't a member (PS, you should be!): http://forum.writersofthefuture.com/viewtopic.php?f=2&t=643&start=240

~Marina
Rejections: 33

On Pre-Rejecting

I said it on a message board, and I’ll say it here: For the love of all that’s writerly, don’t pre-reject yourself! 

On the various boards I visit, it seems like there’s a never ending stream of people who are waffling about what they want to write, because they’re afraid it’s not marketable.

“Should I include consensual incest in my novel?  I’m afraid it’ll turn publishers off.”

“Should I write my vampire novel?  There are so many out there right now.”

“Should I write space opera?  I hear that genre gets a bad rap.”

The answer to all these questions is so simple: Follow your bliss.  If you are passionate about it, do it.  Do it!  Do it!

Only you know best how to tell the story that’s inside you.  Yes, critiques and such help you unveil it to the world, but in the end it’s still yours, and you need to be proud of what you’ve created.  That means including everything you think adds to the story.

The other day, my brother said he was bored during his lunch breaks.  So I told him to take a hacky-sack to work and ask if someone wanted to play with him.  He shook his head.  “The guy’s at work don’t like that kind of thing.”

“Oh really?” I said, “Have you asked them?”

 “No, but they’re just not that type of people.”

My response, “How do you know?”

He didn’t have to get rejected by his coworkers because he did it for them.  He tried to use ESP to gauge what they wanted without actually asking what they want.  Don’t be him.  Don’t assume you know what agents and publishers are looking for and pre-reject your work before you send it, or even--heaven forbid--before you write it.

Yes, paying attention to the market is good.  Doing your research in likes and dislikes of agents and editors is good.  But don’t assume you can read their minds.  What, there’s no clause on the submissions page that strictly forbids you from ever sending them a manuscript in which incestuous vampires battle aliens in a game of space-chess for the known universe?  Well then, why wouldn’t you send them such a story?

Write what you want to write.  It’s your passion that makes a story shine.  If it’s amazing, people will read it.  Trust in your bliss.  Trust in your hard work.  Just trust yourself. 

We’re all in this because we love what we do, no?  Kill your darlings, not your passion.  :-D

~Marina

Rejections, goal of 100: 32

Integrity in Science Fiction-- Part Deux

I’m writing this post as an amendment to the first.  The comments I’ve gotten on the other suggest I didn’t communicate my point clearly.  I apologize for that.  Writing’s all about proper communication, and I seem to have failed in that regard.

My use of the word “fantasy” was a little confusing.  I was not at all suggesting there be no cross-genre work.  In fact, when I used the term “fantasy” I wasn’t referring to the genre at all.

I was trying to make a point about suspension of disbelief.

Facts help you ground your readers.  They set the parameters for your story.  In science fiction, or any genre in which the real world plays a large role, people will expect to find shared knowledge. 

They’ll expect that the speed of light is the cosmic speed-limit, and that you can’t go backwards through time, and that if the sun died we’d all die too.

Does this mean that you have to give them what they expect?  Absolutely not.  But, trying to get your reader to believe something they know to be false is on your shoulders, not theirs.

What does that mean?  It means you have to give them reasons to take your word for it.  Any time you differ from what people know to be real you have to explain yourself (and no, that doesn’t mean you state, “This is different from what we knew in the 21^st century because...”).

Fiction is all about suspension of disbelief.  You can’t get away from it.  You’re asking a stranger to accept what you say, to believe in your lies.

You have to make them feel secure, get their subconscious to nod and smile and say, “Yes, yes, I see, yes.”

But if they hit something in your story that makes their brain stumbled, makes them say, “Pft, no way,” it’s over.  Sure, some people will keep reading.  Some won’t.  And for those who do, they’ll have a more critical eye turned on your work.  They’ll be counting strikes against you.  Maybe not consciously, but a reader can only be jarred out of a story so many times before they decide it’s not worth the effort.

What I’m trying to say is: Don’t give them a reason to put your story down.

I’ve had people tell me, “Well, if it’s a good story, factual problems won’t matter,” as if there is some difference between a good story and its content.  No, a good story is good because it grabs you and doesn’t let you go.  Everything works in harmony in a good story: the plot, the characters, the prose, the setting, and the events. 

So, when there are clear scientific and factual errors--basic errors, ones that are obvious and easy to find--the audience notices.  Some people are forgiving, some not so much.  There’s a lot of fiction out there, so much that’s it’s impossible to consume it all in a life time.  Time is precious, and most people dole theirs out judiciously.  If there is something wrong with your story they don’t owe you a second more.  If you fail to keep their attention they’ll move on.

Factual errors are like bad prose or boring characters, they give people reasons not to read what you’ve spent long hours putting together for them.

As I said before, everyone is bound to make mistakes.  No one can be expected to know everything, and slip-ups will happen.

But there is a difference between a mistake and getting something wrong because you don’t care enough to get it right.

I’m advocating for research.  Enough to let your audience know you care about them, that you don’t expect they’ll just gobble up whatever you say, that you love your work enough to do it right.

That you respect their intelligence.

That’s what I was trying to say with the last post.  That the author is always responsible for explaining the universe he or she has created.  If there are differences between current, accepted knowledge and your world, you are responsible for making the audience believe.  If you differ on the basics of the real world, it better be purposeful, and you should explain it to your audience.  Otherwise they might just think you have no idea what you’re talking about and move on.

It might sound harsh, but it’s true.  Put on your reader hat and think about how selective you are.  How much time do you give a story?  How many times can your brain say, “Yeah, right,” before you stop reading?  

Fact is, fiction is bull.  It is.  Writers are snake-oil salesmen, the lot of us.  And if you tell someone that Advil cures tonsillitis they won’t buy your Grogork potion that cures cancer.  Get it?

Ok, hope I made myself a little clearer.  Thanks for sticking with me, ya’ll.

~Marina

Rejections with goal of 100: 29

Childhood Dreams

Have you ever noticed how becoming an adult lets you be an even bigger kid?

I recently returned from my first trip to Washington DC.  I saw a lot, but my favorite was the Smithsonian. I only had time for two and a quarter of the museums, and I knew I couldn't miss out on Natural History or Air and Space.  

Yep, I wear my geek badge proudly.

So, my husband and I were walking through an exhibit of planetary photography when he came up with a great idea: We should decorate our bedroom with Hubble pictures!

Remember those glow-in-the-dark stars you begged your mom to let you stick to your ceiling?   I mean, come on, what nerdy little kid didn't want a space-themed bedroom? 

And now I get one!  Only no plastic stars for me.  We're going all out.  It's the super duper, totally awesome, beyond-that-seven-year-old's-wildest-imagination version.

How about you?  Anything you wanted as a kid that you realized you can have--but better--as an adult?

~Marina

Rejections: 29     

Integrity in Science Fiction

...or integrity in Historical Fiction, or any other fiction in which the real world plays a large part in conveying the elements of the story. 

By integrity I mean factual integrity.

Put the science back in science fiction.  When did fantasy start muscling its way into Sci-fi?  I love fantasy, don’t get me wrong, but I hold the firm belief that if you’re going to label it as “science” anything, actual science should play a part.

There is a scale of tactile differences when it comes to sci-fi: you’ve essentially got your hard and your soft, and a lot of it slides around in-between.  Factual accuracy is much more rigorously sought after in hard sci-fi than anywhere else, but does that mean that “soft” writers are exempt from knowing anything about science?

Let me give you some background on why I’m writing this post, why I’m advocating for artists motivating themselves to keep integrity a part of their art.

Recently, on several forums dedicated to the wonderful world that is sci-fi story telling, I’ve run into factual problems.  People who seem to have very little, or no basic understanding of the science upon which their stories are supposedly based.  Actually, I’ve run into this a lot.  And not just on forums filled with aspiring authors. 

Now, it’s impossible for someone to know everything about everything.  Mistakes are bound to be made.  I’ve made plenty myself.  It’s silly to expect people to be 100 percent accurate in story telling.  After all, just because someone’s never been to the Sistine Chapel doesn’t mean they’re precluded from ever setting a story there.

But you’d expect them to at least look at some pictures, wouldn’t you?

Let’s take an example from recent media: V, the new version.  I’m on the fence; I want to care about the show, but I’m having a hard time because it seems like the writers don’t care.  They don’t care enough to look up something basic, like how DNA is structured (hint: if large chunks are missing, the nucleotides left without end-caps won’t float in a nice double-helix for you).  And they don’t care enough to make sure they understand the terminology they’re using; just because something is unstable doesn’t mean it’s “weaponized.”

They don’t care enough about their work to make sure very basic, easy to look up facts are right, so why should I care at all?  If they’re not going to put real effort into their story telling, I’m certainly not going to waste my time forcing my belief into suspension.

And that’s the kicker:  If you care enough about your work to make sure the basics are correct, you’ve taken a step in the right direction.  When you get basics wrong people notice, and they care.  You think using too many adverbs is bad?  Getting facts about the world around you wrong is worse.

Let’s take another favorite:  Death by exposure to the vacuum of space.  Ok, we’ve all seen this one a hundred times, and it seems to happen a hundred different ways.  Astronaut takes off his helmet and--wham--his head explodes, or he freezes solid, or his blood boils, or he’s fried by all those microwaves bouncing around out there.

Why are there so many different versions of the same thing?  Surly taking your helmet off in space isn’t a crapshoot-- it’s not like they are all possible options, right?  Right.

So, why?  Why can’t anyone in Hollywood (or sci-fi in general) agree on how space-exposure kills?

Because they don’t care enough to look up the facts.

Guess how long it takes to find out what really happens?  Five minutes.  Five lousy minutes to access NASA’s website and read the articles pertaining to vacuum exposure (of course, for any stories that pre-date the web this would have taken longer to find out.  And any stories that pre-date scientific knowledge on the subject are exempt).

Want to know what happens?  Go look it up.

Again, if you don’t care enough to look up even the easy stuff, why should I care enough about your story to read it?

Integrity is important.  Any scientific idea central to your story should be as accurate as you can make it.  No excuses.  If then you run into problems, fine, but at least you tried.  As I said, no one is expected to be perfect.

But there is a second point to this: accuracy is even more important if you’re trying to point out someone else’s mistakes.  I try not to do this too often, especially if I’m not 100% sure about something, because there’s a chance they really do know and I don’t.  I try and fact-check myself before I attempt to fact-check anyone else, because this can really get you into trouble.

Point in case:  I occasionally run into people who try to correct my descriptions of electricity or the conduction there of.  This really irks me.  My husband has a PhD in electrical engineering, and he’s my first reader.  Believe me, if there’s anything wrong with the way I describe anything electrical, he’s already fixed it.  And these instances are sad, because the people who are “helping” me really don’t know what they’re talking about.

Arrogance masquerades as know-how all the time.  Don’t get fooled, and know the difference in yourself.

And don’t assume you know things.  You know what they say about assuming.  Be sure.

Moral of the story: Don’t leave it up to your audience to catch your mistakes.  Know what you’re talking about.  Just because there’s a portion of the population out there that won’t know the difference doesn’t mean you’re excused from trying.

I repeat: integrity is important.  Spend the five minutes to verify your details.  Your audience will thank you for it.

~Marina

P.S. Rejections: 27

P.P.S.  If I’ve made any mistakes in this post, chalk it up to irony ;-)

What Is Up With Thursday?

I’ve got one of those great “stat counters” linked into this here page, just to give me an idea of how many people are stopping by.  And I’ve noticed a peculiar trend: without fail, my highest visitor count of each week falls on Thursday.  So, what are you people doing on Thursdays?  Why do you come here on Thursday?  Hmmm???  Is that “visit an obscure blog day” and I missed the memo?

Anyone else notice a similar spike on their blog?

Just curious ;-)  Let me know!

~Marina

Rejects: 24

@TheFuture

No, that’s not my twitter account, but that is the announcement:  I now have a twitter account!  Yet another way to access my ramblings.  You can find me under @MarinaLostetter.

Don’t worry, I plan on using it for helpful announcements, rather than to tell you what I had for lunch. 

~Marina

Rejections (Goal 100):  24

Your Title Here

Alright, Everyone!

It’s that time again, another Writers/Illustrators of the Future quarter is winding down.  Get your entries in ASAP.

My biggest obstacle this time was coming up with a decent title.  I had a long list of ok titles.  You know, those ones that fit but don’t really have that “come hither” quality.

Titles are very important to me as a consumer.  I’d say, just after the cover, the title is the most important factor in determining whether or not I pick a book up off the shelf to see what’s inside.

And in general, I tend to find Sci-fi/fantasy titles to be... horrible.  Yes, sad but true.

Why?

Simple.  Because most of them can be slapped onto any other book nearby and fit just as well.

That’s not a title.  That’s a placeholder. 

Example: Go to your favorite bookseller’s website, and look up “Ill Wind.”  Tell me how many hits you get.  And no, just because some of them have modifiers like “An” and “Yon” that does not make them different.  Can you really tell me those were the most apt, the most memorable titles that could have been assigned to those works?  How many books can you think of that you could slap that title on and never know the difference?

While you're at it, look up any of the classic sci-fi/fantasy buzzwords you can think of.  You know the ones I’m talking about.  “Blood”--If it’s on a vampire novel, I’m even less impressed.  “Dragon”--Just because they’re in there doesn’t mean you have to name your book after them.  I mean it, you don’t have to shove it down my throat that this is a fantasy novel.  “Sword”--really, the book's about a sword?  Wow, so is that book over there.

Get my drift?  I’m not saying the words should become taboo.  But how often have you seen something called “Blood Rites” or “Dagon’s Song” or “The Sword of Truth”?  If you’re going to use a buzzword, you better get damn creative with it.

I know, I know, the poor titling is not always the author’s fault.  The publisher has a big hand in labeling the books they sell.  If they don’t like an author’s title, they change it.  And hell, as the author, you want your book printed, don’t you?  Just make the change and get on with it.

I have to remind you, I’m speaking as a consumer, not as a writer.  If the publisher thinks Marina the writer will sell more copies by calling her sci-fi thriller “Prince of the Damned,” then by hell, guess what she’ll change it to?

Marina the consumer, however, doesn’t agree with the publishers.  Titles like “Mage’s blood” and “Dark God” and “Winter’s Wind” do not get me to buy books.  DO NOT.  I’m looking for something unique and interesting when I browse a bookshelf.  Something needs to jump out at me.  Do you think seeing the word “Darkness” on every other book makes me want to pick up any of them?  No. 

So, you authors who have full control over your titles, here’s my advice.  Spend more than a couple of minutes deciding what to name your story.  Sure, occasionally a title just jumps out at you, and that’s fine if it’s astute. 

Here’s the test.  If, at random, you pick five books from your personal collection and your chosen title fits at least one of them, you have more work to do. 

The title is just as important as the rest of your story.  It’s the first taste of your writing someone gets, be it a novel’s title or a short’s title.  Don’t give them wheat bread when they’re looking for an exotic pastry.  Tell them you can write a good story, just by proving you can get their attention in five words or less.

Of course, this is only my opinion.  Thoughts?

~Marina

Rejections with goal of 100:  23 (I swear there should be more coming in soon)

Pretty Pictures

Just a quick pop in to let you know I’m still here!

Nearly done with my Q2 entry for WotF 2011... Hopefully it goes as well as Q2 2010 did for me.  :)

Nearly ready to send of my first Illustrators of the Future entry, too.  I really have no predictions for how that one’ll go.

And, I remembered I promised a few of you some wedding pics, so here’s a couple:

 This is the wedding party waiting in the rain, lol.  This characterizes my wedding in one frame: wet, colorful, and happy.

My flower girl's basket full of stems to hand out to the ladies.

My dad 'n' me on the way to the tent where my fiancé and the guests were waiting.

My husband and I on the beach after the ceremony.

Hopefully I’ll be back with a meatier post soon-- I know you all want something you can sink your teeth into.

~Marina

Rejections with the goal of 100: 21



Lessons in Rejection: Brought to You by American Idol

I’m officially back from my hiatus!  Yay!  To start off the new year, I’d like to talk about rejection.

Ok, I’ll admit it.  I’m one of those people who’s on the fence when it comes to American Idol.  I could take it or leave it, especially since during the gut of the season (when the episodes are two hours long) I fast forward through more than half the show.

But, that being said, there are some valuable lessons to be learned from the preliminary competition--those gut-wrenching, heart breaking auditions.

Half the people we get to see are rejected, and less than half of them take it well.

Similarly, a lot of writers don’t know how to take rejection well.  In fact, they take it down right poorly, and behave badly as a result.

Now, I decided to write this blog post, comparing the two “audition” and rejection processes, because I’ve seen writers (specifically those who are no good at getting rejected) complain about how ridiculous the people on American Idol act when they get booted.  Let’s see if we can open those eyes and show them why their behavior ain’t so different.

Below are all of the variations of post-rejection behavior I can think of.  If you’ve got another, let me know!

1.  On Idol: “I can sing something else” or “Let me try it one more time.”

Who these writers are: The type that wants to send in revised versions after the story has been rejected. 

Why this is “taking it poorly”: They already said no, and you don’t know why.  If you did know why, you would have fixed it before you submitted it, not after.  That means any revisions you do to try to appease one editor probably won’t make a lick of difference in the quality of your work.  Check off the market and move on.

2.  On Idol: “What can I do differently?” and, subsequently, “Ok, let me do that for you now...”

Who these writers are: The type that writes back after a form rejection to demand why the story was rejected.  Also, the type that writes back immediately after receiving a personal rejection with the “fixed” version.

Why this is “taking it poorly”:  These people don’t owe you anything.  Freelance writing, whether it be fiction or non, is like being a door-to-door salesman.  Or worse, a telemarketer.  You’re trying to sell a stranger a product they didn’t ask you for.  How often do you just say “no thanks” and shut the door?  I know people who hang up the phone without a word once they realize someone’s trying to sell them something.  Do you owe the salesman an explanation as to why you don’t want to buy their product?  Hell no, right?  That would be a waste of time.

And part B, the people who say, “Ok, look, I’ve fixed it per your request” (when no such request was made)?  They’re door-to-door salesmen who come back!  Any sort of feedback is a parting gift.  In the dating world, it’s equivalent to your date telling you at the end of the night that next time, you might want to wear deodorant.  He doesn’t want to go out with you again, but he’s giving you a tip that’ll help with the next guy.

3. On Idol: “They don’t know what they’re talking about.”

Who these writers are: People who take it personally, because they think they’re perfect. 

Why this is “taking it poorly”:  “How dare they reject me?”  Well, they didn’t reject you.  They rejected something you did, which is not the end-all-be-all of you (at least, I hope not).  This person tends to reject any and all criticisms.  They have the biggest egos, and the thinnest stilts on which to place them.  They refuse to improve, deciding instead that everyone around them is stupid; everyone else needs to evolve their tastes to be able to appreciate the wonder that is The Author.  Arrogance incarnate. 

4. On Idol: “It has nothing to do with my singing, you don’t like me because...”

Who these writers are: The type that believes only people who are already professionals get published, that freelance is closed to the amateur.  Mostly these are newbies who believe in all those lovely writing myths.

Why this is “taking it poorly”:  Because it’s just one giant excuse.  It’s the writer refusing to see the real problem.  This attitude is a roadblock to improvement.  Instead of trying to figure out what you can do to force a publisher to take a chance on an unknown quantity such as yourself (by learning the most you can about how to craft a great story--and then successfully applying that knowledge), you say “I can’t.”  “I can’t” is always a self-fulfilling prophecy.  You’re right, if you say you can’t, you really can’t.  Change your attitude!

5. On Idol: “But I’m a recording artist!”

Who these writers are: People who self-publish because “that’ll show those big greedy publishing houses, I’ll make millions on my own!  Then won’t they be sorry if they don’t publish my next book...”  (NOTE: this is a very specific breed of the self-published, and does not at all reflect everyone who chooses to self-publish.)

Why this is “taking it poorly”:  Oh really, you’ve already chosen the “better rout” by bypassing those great, greedy fingers in New York?  So what are you doing here?  Putting a self-published book on a writing resume does not count (unless, of course, it’s a reprint).  Publishers and Agents alike frown upon this big time.  So, if you’re looking for them to represent or invest in your work, don’t wave your disregard for the process in their face.  Even if you don’t out right say it’s self-published, they can easily find out.  Believe it or not, there is a large quality gap between the majority of people self publishing and the majority of people publishing traditionally.  But these people don’t see it: “I think it’s good, so it must be!”

These are also the type of people who aren’t upfront with the fact that they’re books are self-published, something that really irks me personally.  I’ve met several people who, when I tell them I’m a writer trying to get published, they say “Oh, I’ve got a published book, it’s a...”  I get all excited because I’m thinking, hey, here’s someone who might be interested in showing me the ropes, someone I could learn from, how cool!  Then I find out their book is self-published and they’ve never tried to get anything else published in their life.  They did it just so they could say “I’m published.”  This is dishonest, and is a slap in the face to all those people who toil for years to get published professionally.  It’s hard work, and in the end you get something to show for it.  Just finishing a manuscript does not mean you’ve accomplished enough to hold yourself in the ranks of all those people sitting on the shelves of Barns and Noble, yet that’s what they’re trying to claim.  Full disclosure, people!!!  (Ok, mini-rant over.)

6. On Idol: ”I got two nos and one yes,” (when they really received three nos.)

Who these writers are: The type that only hears what they want to hear.  They’re the people who jump onto message boards at three in the morning to post the “personal” rejection they just received--and lo and behold it’s a form rejection you’ve seen a billion times.  Again, mostly these people are newbies who are looking for some semblance of encouragement.  Not necessarily bad, but still delusional. 

Why this is “taking it poorly”:  Because they need a reality check.  They need to grow some thick skin asap because this industry is tough.  People don’t have to like your work, and to begin with most people won’t.  The sooner you realize that not everyone wants to pat you on the back about the good things (while glossing over the bad), the better.  There doesn’t have to be a silver lining behind every rejection--unless you count the fact that you get to send the story to a new market!

7.  On Idol:  “Thank you for your time.”

This is the correct response to rejection, 100% of the time!  It is the only correct answer!  And guess what, as a writer, you tell the editor this before they reject your work.  That means a rejection requires no response from you whatsoever!  Yay for everyone who takes rejection this way; it is the hallmark of a well rounded, mature individual.

~Marina

Rejections, goal 100: 16

PS.  I also added one WotF honorable mention to my achievements last year :-)

This Year in the Life...

Hello, Hello all.  This is probably going to mark the beginning of a short hiatus from the web for me.  I’m getting married soon and will be off on wonderful adventures for a while.

So, quick end-o-the-year writing re-cap:

*Thirty two short story outlines were created.

*Sixteen Stories made it to the writing stage (no less than 2,000 words in the document at this time).

*Ten stories made it from beginning to end.  Six completed to my satisfaction.

*Six stories currently making submissions rounds-- 2 novelettes and 4 shorts.

*Seventeen submissions made, equaling no acceptances, 12 thus-far rejections, and one WotF Finalist. 

*And then tens of thousands of words spent on three stuttering novels...

Which all adds up to...

Me needing to get myself in check!  Those numbers are pathetic, man.  I’m doing this full time, do those look like full time accomplishments?

I know I’m incredibly slow when it comes to the editing stage-- fixing consistency errors, believability issues, etc.  I don’t re-write things, but I do a good deal of chopping and adding. I’m sure as time passes I’ll get quicker, and also not need to do as much fixing.  That all comes with writing maturity that I probably don’t have yet.

Though my daily writing goal (set only a few months ago) was 2,000 words, on average I made 1,000.  Not so bad, but I definitely need to force myself to meet the goal.  What’s the point of having a goal if I don’t have the gumption to make myself reach it?  So, that has to change.

Now, I also have a tendency to write 1,000 words one day, and get rid of them the next.  Sure, it’s practice, but it’s not product.

Also getting in the way was life, as I discussed a little previously.  I’m supposed to be writing every weekday, but some times I didn’t have the time to do more than a couple of sentences, which sucks (and I don’t count those as days I wrote).  But, that means I have to find the time no matter what, even when my day is full.  No excuses.

And, I have focus issues!  I am easily distracted.  Not cool.  I’ve been working on an entry for the Illustrators of the Future contest, and that’s eaten a little into my writing time.  It takes me way longer to get a finished illustration than it does a finished story, believe it or not.  I can do one in a month if that’s all I do.  So, if I miraculously win, quality won’t be sacrificed. 

So, come the new year I need to get it together.  That’s it. 

Have a great holiday season, guys!  See you next year!

~Marina

Emotions going "Whole-Sale"?

So, bear with me a moment, I’m going to talk a little tragedy, but it really does relate to writing, you’ll see.  (And forgive me if I go all train-o-thought on you.)

I’ve been a bit subdued on-line wise lately, and it’s because I’ve got two major stresses in my life taking up most of my time.

One: My grandparent’s illness.  My grandfather just passed away a couple of days ago from Alzheimer’s complications.  He is the second grand parent I’ve had pass away this year, and it’s been tough.  He’s survived by his wife, who also has dementia. 

Two: My wedding is just around the corner.  Getting plans finalized is a hassle.

My wedding has gone hand in hand with tragedy in the family since the beginning.  But, what I’ve realized is that instead of tainting the happiness of my marriage, the impending wedding has actually served to soften the blow of my loved one’s passing.

My great-grandmother died the day after I bought my wedding dress, but that doesn’t mean my excitement about it was short lived.  I am so thankful I was able to tell her about it before she passed away (she was far too sick to leave the house, of course).  I had flown back to Oregon to go wedding dress shopping with my mom and grandma, and my great-grandma lived just long enough that I was able to share it with her.

So, the writing point:  When death accompanies birth or marriage in books, it almost always signifies more impending tragedy, or some sort of emotional black-cloud that looms over the event. 

Having experienced what I have in the past year this theme is (for me, I realize other people react to tragedy differently) unrealistic. 

Instead of lamenting that my grandparents can’t come to my wedding, I’m eternally grateful that they got to meet my fiancé and be part of the preparations before they died.

Now, I can see the sentiment being “black cloud” if the deaths were unexpected or sudden.  Neither of the ones I’m talking about were.  My great grandmother was 97, my grandfather had been sick for years. 

So, perhaps that’s the difference.

What’s I’m trying to get at is emotional situations in writing should not be treated “whole-sale,” and they often are.

Not everyone grieves the same way.  Not everyone loves the same way.  There is no equation for feeling, no “this event = this emotion.”

As a writer, I need to get into a character’s head and know how they would specifically react to given situations.  As a reader, I often see sets of standard-reaction-cards being put in place of real emotions in stories.

Why is this?

I think it comes from the same place clichéd sayings come from.  We see it repeatedly, and it becomes an ingrained, knee-jerk description (like “knee-jerk,” for example).   It’s not the most effective way to get the point across, but it’s convenient.

In plots and prose, convenient is a dirty word.

So, how to overcome it?

When you’re in that moment, feeling those feelings, write it down.  When I was grieving for my great-grandmother, that’s what I did.  Just an hour after she died I knew I wanted to capture what I was going through in words (to be honest, more so for my personal sake than my writing’s, but it translates well).

On my wedding day, I plan to have a note-pad on stand by.

The key to this exercise is not to use any words that are standardly associated with the feeling.  If you can’t find a more specific way to write it, at least use little-used synonyms.  This will divorce your thinking from the whole-sale carbon copies.

I’ve found this to be a very good way to stay genuine and not have stereotypical pseudo-feelings creep into my work as much as they would other wise.

Have you ever done this before?  If not, maybe you’ll find it useful too.  Hope so!

~Marina

Rejections with the goal of 100: a measly 9