Sensory Writing by Andy Scheer

I woke up the past two mornings smelling smoke.

The trouble is, I'm not at my sister and brother-in-law's camp in the middle of Michigan's Upper Peninsula—a place where that scent evokes memories of campfires, marshmallows, and watching the first stars emerge.

Instead I'm living in northeast Colorado Springs, a few miles from where thousands of acres and hundreds of homes have burned in our second summer of wildfires.

The past two nights as the winds shifted, a cloud of smoke descended over the city with the scent of raw destruction. A scent I once enjoyed now sets my nerves on edge.

In the past few weeks in other communities, people I know have encountered days of flooding and killer tornadoes—events with a signature of scents, sounds, and textures that will always remind them of the events they've just endured.

No wonder, then, that the most powerful writing uses sensory imagery beyond the visual.

I reflect on a novel I just trudged through—largely because new examples of British naval fiction in the age of sail are so scarce. The author was careful to get the nautical details right. Each time a ship changed course, the crew reset the sails. He gave me the statistics of the ships and their crews. But he failed to convey a true sense of place.

Through hundreds of pages I never smelled salt air, or gunpowder, or an infected wound in the overcrowded sickbay. I never tasted salt pork, weevil-filled ship's biscuit, or a glistening, gelatinous pudding. I never felt a freshly holystoned deck or listened to a battered fiddle screech out a shanty.

And I never really connected with the story.

Maybe I'm just unusually attentive to sensory details. But I don't think so. When I read your story I hope I can hear it, smell it, taste it, and feel it.

Is it permissible to contact more than one agent or editor at a time? Certainly . . . unless an agent/editor posts that he or she requires exclusive submissions. So read and follow each agent and editor’s submission guidelines.

To hear back from submissions can take anywhere from a few weeks to a year or more. The most common response time is around ninety days. I don’t follow up on any of my submissions until ninety days have passed.

If authors can submit to only one agent/editor at a time then have to wait a minimum of ninety days, it would take forever to find a place for our work. Editors and agents know that and understand simultaneous submissions are necessary. On those occasions when I am dealing with an exclusive read, I will wait a definite period of time, not to exceed six weeks.

We must observe some courtesy rules with simultaneous submissions. First, submissions should never be made to more than one person in the same agency or publishing house at a time. That can cause problems.

Submissions should be personally addressed, regardless of how many agents/editors we submit to. Many agents and editors believe that if the author does not pay them the courtesy of personally addressing the submission, they don’t owe the author the courtesy of a personal response.

“Dear Sir or Madame” letters are generally regarded by editors and agents the equivalent to “Dear Occupant.” What do you do with your occupant mail? We do too.

Submissions with dozens of email addresses showing in the TO box tend to be regarded as spam. Recipients will look at the list and likely think, “Well, somebody will answer them.” Yet nobody does. Dozens of rejections by omission occur just because the author was too lazy to individually address them.

Back to the submission guidelines: Linda Glaz and I did a survey of agents and editors a while back for an “editor and agent pet peeves” course that we offer at conferences. The number one pet peeve was not following the submission guidelines. A number of things in submissions can be a problem, but most of them can be avoided by looking up and following those guidelines when making a submission.

Can more than one agent or editor be contacted at a time? Absolutely, as long as we are smart and courteous. And in looking at those guidelines, please note that some agents/editors want to be informed if it is a simultaneous submission. Most of us just assume that it is.

Is Writing a Gift or a Honed Skill? by Diana Flegal

You’ve all seen the tryouts for the Voice or American Idol. The painful ones where the Mother pushes her child that has absolutely no talent to seek an opportunity to sing? Lying to your child- building hopes into him/ her that will never be actualized is child abuse.  Singing is not their ‘gift’. Anyone with an ear can discern that.

A really well known singer I love with incredible pipes gets very angry when people say= wow you have an incredible gift from God. He say’s–no- I have practiced 8 hours a day for 19 years. That is why I can do what I can do.

I was disappointed when I heard that. Even if I practiced all that time, I doubt I could sing as he does.

I’ve received many submissions from people who have no writing skills. When I reject their material, inferring gently that the writing is not at the level it needs to be to shop it around to publishers, they respond saying everyone else that read it thinks it is wonderful. Obviously someone is not telling the truth.

I am currently involved in a cool small group study on the redemptive gifts listed in Romans 12. I had taken the Meyers Briggs test years back, and at my age have a fair idea of what my strengths are, but this study using Arthur Burk’s videos and led by group facilitator Matt Tommey at The WorshipStudio, has knocked my socks off. I look at it as one of the most important business classes I have taken.

My Pastor Nick Honerkamp is beginning a 4 week study on the redemptive gifts as well and in this week’s prelude to the series he said, ‘Our problem is our perspective’. We only know what we know and we come to that conclusion by what we see. God knows all about us. He speaks from what he knows and sees. We judge God’s word based on what we can produce and speak from what we see. We need new dreams and visions.

So what is the truth? And as a writer, is it merely enough to hope to write a novel because you have a decent story idea?

Before I was formed in my mother’s womb He knew me, formed me, sanctified me, and ordained me. We come into the world with gifts; some prophets, servants, teachers, exhorters, givers, rulers, and those full of mercy. Then our parents ‘raise’ us, our teachers place us in our boxes and organized denominations further aid them. Could it be that some conform to the ‘system’ and let go of their early dreams? Is it time for you to consider them again, to seek God on what specific gift or talent you have and revive it?

Writing can be learned but not if you have no inherent ear for it. If you have a lasting desire to write, I believe there is a gift inside of you to do so. But you need to be honest and write from your gifting. Do not conform and try on another’s genre or style. Be uniquely you. Speak from your voice.

In the next couple weeks I would like to look at the writing styles of those with different gifts. It is something I have been mulling over. A teacher will write nonfiction and historical fiction from a heavily researched perspective. They have a high need to get all the facts right. Where a prophet might skim over the facts - wanting to impart the bigger picture to their reader. It explains why one authors writing might not be your particular cup of tea. We gravitate to those that think like us- and therefore write for us.

I think it will be fun to look at our particular gifting in a fresh way. I hope it will release you from trying to write like someone else. Celebrate and enjoy your uniqueness. After all, You were born that way!!

 

 

 

 

 

Picture This by Andy Scheer

The author photo you send makes a statement about you—even before the recipient opens the document. The simple fact of how you label the file sends a message about your professionalism.

Am I overstating the issue? Just ask any periodical or compilation editor. Or anyone in a publisher's marketing office.

A Tale of Five Photos

Today for the publication I edit, I received five photos. Only one showed true professionalism; the other four were typical. And this was before I opened the files.

IMG_5159.jpg
Is anything right with this image?

The quality of the first image was laughable. Intended as a headshot, the image was taken horizontally (“landscape” rather than “portrait”). Standing against a harshly bright outdoor background, the person's face was in deep shadow, with a pole in the background emerging from her head.

The image forced me to ask the author for something else. Surprisingly, the replacement was focused, correctly exposed, and taken against a neutral background. It was still a horizontal, but the 3MB file size allowed me to crop a head-and-shoulders image.

Two other photos were simply adequate. They weren't awful, but they didn't communicate that the writer really cared.

In all fairness, the fifth photo set the bar high. A studio image, its lighting was flattering and the image was crisp and tightly cropped. The subject, who speaks professionally to promote her writing, wore a scarf that matched the background color. Nothing in the image was over the top. It quietly said, “I'm a professional.”

What's in a File Name?

The file name of the fifth photo made me expect something good. The name of the image, from Ima Writer, was “Ima Writer 2013.jpg.” I was dealing with someone who cared to make things efficient for an editor. She knows what it's like to search a folder of anonymously tagged files.

The other four photos, two from “from Wanna Bee,” were labeled: “bookcover mug.jpg”; “newWBmug.jpg”; “#0053.jpg”; and IMG 0058.jpg.” Enough said.

You Don't Need a Studio

Producing an adequate author photo doesn't take a trip to a studio. With a bit of planning and a digital camera, you can achieve a photo that’s fine for publication. Just make sure you, and the friend who takes the photos, follow these tips.

1. Dress appropriately. Your appearance should say you’re a professional.

2. Stand in open shade, not facing the sun or with the sun at your back. This prevents harsh shadows or glare. If the camera has a “fill flash” option, try it.

3. Check what’s in back. Stand before a plain, uncluttered background—one not the same color as your outfit or that doesn't clash. Avoid the “tree-growing-from-the-back-of-your-head” syndrome.

4. Step away from a wall—if you take a photo inside. The flash will cast a harsh shadow behind you. Stand six to eight feet from a wall (and make sure it’s plain).

5. Turn the camera sideways and zoom in. Unless the publisher requests an “environmental portrait” that shows you at work, use a telephoto setting and take vertical “head-and-shoulders” shots.

6. Use the camera’s “portrait” setting.

7. Don’t settle for the first try. Taking extra digital images will yield better results. Try several poses, with multiple shots of each. Then send only the best one—clearly labeled.

Fiction and Theatre

Portions of this post are from my blog, January, 2010.

It's simply such a timely piece, that I wanted to rolled it around in my mouth

again and spit it out here::

When the doctor delivers that first unique baby, all

creamy and pink, you gasp, you cry, you laugh, you

remember the pain to get where you are in that particular

moment in time. Then, another cry and whoa!

“Hey, there’s another baby in here!”

Okay, maybe in today’s technological hospital setting,

this wouldn’t be a big surprise, but in my day—forever ago,

it was frequently a surprise. And some women

got Twofers. Some—identical twofers and others—fraternal.

Enough alike to be related, but with

unique enough characteristics to be different.

Much like what we all want when creating the perfect work of fiction.

Another art form does primarily the same thing, in its

own inimitable way, it utilizes many of the same qualities that are

used to define a work of fiction. This second art form is theatre.

Both forms are created to entertain, educate, amuse, and delight.

Whether you are imagining the sinister characters in a book or

seeing them played out on a stage depends on your viewpoint.

Do you like to see the story enacted live, or

see the story in your mind's eye where you are able to control

appearances, settings, and strength of emotions?

Whether an avid reader, or theatre aficionado, stories are being brought to life.

My kids are all "readers" of a sort. The two oldest devours book in the same

manner that I devour chocolate during writers' block.

The youngest, who doesn't have time to read novels, reads scripts by the dozens.

In the end, they all love to have a story told to them.

They both entertain, both educate at times, but more importantly, they both

encourage us to expand our thought process. Reach outside the box, outside the comfort

zone and think of something with a new twist, perhaps. To look at the human condition

and decide how and when we might want to step in and partake.

Theatre and fiction aren't that far apart, only the method of delivery.

Authors Shifting from Book Store Signings to Virtual Campaigns by Jennifer Hudson Taylor

We have an interesting conversation going on my  Facebook Author Page. I've asked readers if they ever attend author book signings and why or why not. Most of the comments favor "no" because most book signings are too far away. A few said they would drive a long distance only if they really like and want to meet the author. Then there are the various ideas of what is reasonable distance 30 minutes to 1 1/2 hours.

On my writing loops, I've "listened" in on a few discussions among authors who are booking fewer and fewer book signings. Most reasons are obvious ranging from the cost of travel and book stores closing to more readers are buying ebooks and no one bothers to show up. Is there any wonder that authors are looking for more ways to reach readers where they hang out in a cost efficient manner that won't break our near nonexistent budgets?

For most, the answer has been building a blogging or podcast platform and feeding it through network connections via social media. When new books come out, authors launch promotion campaigns and go on blog tours ranging from interviews, guests posts to book review spots. Others hire publicists such as Litfuse for Facebook Parties and Upon the Rock Publicist for Twitter Campaigns, and a host of others for blog tours. Some simply post online announcements and hope for the best.

Online bookclubs are becoming a popular way for authors to promote themselves and their books, such as Yahoo Groups, ACFW, Goodreads, and The Bookclub Network.

Of the following online activities, which ones have you tried and would you do them again? What promotion efforts have you done that are not listed or mentioned? Share with your colleagues!

• Online Bookclubs
• Facebook Parties
• Twitter Campaigns
• Blog Tours (book reviews, interviews, guest posts)
• Social Media Announcements 
• Virtual Book Signings

Conference comments by Terry Burns

Writing from the Write to Publish conference at Wheaton College in Wheaton Illinois. Great conference, good attendees and faculty as well as lots of great content.

A number of faculty have been talking among ourselves about a trend we have been noticing the past couple of years, however. Signup sheets for appointments used to be packed, but lately, not so much. We've been speculating on why.

Some of it is probable the emerging ease of being able to take a book straight to ebook or to self-publish. I've blogged on that several times and have no problem with self-publishing as long as it is a business decision and not a knee-jerk reaction to the rejections that we all have to face. But it could be part of the trend I'm talking about.

At recent conference there seems to be a greater percentage of new writers and this might account for some of it. Often they don't realize you don't have to have a project ready to pitch to speak with an editor or agent. If someone sits down and says "I don't have anything to pitch but I do have a few questions" most editors and agents are fine with that as long as they know up front what is going on and aren't sitting there waiting for a pitch that isn't coming. Most of us enjoy a teaching appointment.

The numbers are smaller at recent conferences but the rules for handling appointments doesn't reflect the smaller number resulting in a lot of wasted appointment slots. This is a hard balance to hit, however, and still give people an equal shot at appointment time.

Great content in the courses and workshops is really good for attendees but it also makes it difficult for them to leave something they are really enjoying to go do an appointment , , , or maybe not schedule the appointment in the first place. This one adds to the number of times we are "stood up," and I get that.

These are some of the things we've come up with among ourselves. Do you have thoughts on it?