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