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When Do I Write Book Two?

by Tamela Hancock Murray

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Recently someone posted a question I get asked all the time:

After finishing my current book should I write the sequel or start something new?

This question is usually posed by a new author whose agent is marketing a series. The editors have not had a chance to weigh in with their interest in the series or lack thereof. Meanwhile, the writer is bored and wants something else to write.

What about curve balls?

If the series is contracted and the author already has much of the second book written, there is less to do and less pressure. Sounds like a plan. Well, maybe. Maybe not. While it seems to make sense to get as much done ahead of time as possible, with the contract offer still being pie in the sky, writing the second book may not be productive except as keeping with the discipline of being a writer. And, what if you get a contract offer, only to find the editor wants the second book to focus on a different heroine than you planned? Or what if the first book takes a different direction that will make huge plot impacts on the second book? I’ve seen these scenarios more than once so the idea that you’ll turn in two or three books that will remain almost untouched is unlikely. This is often a reality even for experienced authors.

Misused Words and Phrases

by Karen Ball

 literally

The English language is full of persnickety quirks, the most despicable of which are buzz words. Words and phrases we’ve decided work better than plain speech. Why say what you mean when you can just toss out a phrase that says what you want, but in such a vague and convoluted manner than people spend so much energy figuring it out that they can’t challenge you? Genius! Or how about those words we overuse, or misuse? Oy, da pain!

So here, for your reading pleasure, are some of the words and phrases that drive this logophile right up the wall. Literally!

Can you unpack that for me?

Nope. I can’t. Literally. What’s more, I don’t want to. I don’t like packing or unpacking. And what does packing have to do with anything? Whatever happened to the plain and simple, “Would you explain that, please?”

Repurposed

Folks, we all know what this means. Fired. Laid off. Out of a job. You can’t take away the devastation by giving it some innocuous name and hoping nobody challenges you on it.

Baby bump

Seriously? It’s not a bump. It’s a baby. Way better than a bump.

Do Some Plots Break Their Contracts?

by Tamela Hancock Murray

businesswoman tears contract

In 1995 I watched the movie Cold Comfort Farm. A British comedy, the story was not without charm, though I wouldn’t recommend this parody of literature for everyone. Early on, Aunt Ada, who seemed to be a bit crazy, said, “I saw something nasty in the wood shed.”

Throughout the movie, I waited to find out what Aunt Ada saw. I waited. And waited. But the question was never answered, at least not for the viewer. I tried to find out if the novel solved the mystery and was unsuccessful in that quest, making me believe the book did not reveal the answer, either.

In my mind, the story broke its contract with the viewer. Since whatever Aunt Ada saw had a great effect on her, I think the nasty something should have been revealed.

Apparently I am not alone. Even now, the Internet is rife with posts about the mystery.

A is for Agent

by Steve Laube

open-book banner

I thought it might be fun to write a series that addresses some of the basic terms that define our industry. The perfect place to start, of course, is the letter “A.” And even better to start with the word “Agent.”

If you are a writer, you’ve got it easy. When you say you are a writer your audience lights up because they know what that means. (Their perception is that you sit around all day thinking profound thoughts. And that you are rich.)

If you are an editor, you got it sort of easy. Your audience knows you work with words and all you do is sit around and read all day. In my editorial days I was often told, “I’d love to have your job.”

But tell someone you are an agent and there is a blink and a pause. If they don’t know the publishing industry they think “insurance agent” or “real estate agent” or “secret agent.” Or if they follow sports or entertainment they think “sleazy liar who makes deals and talks on the phone all day.” I resent people thinking that I talk on the phone all day. (Hah!)

Even at a writers conference I always have someone ask, “What is it that you do?”

Deal Maker

An agent works on commission. Fifteen percent of the money earned in a contract they have sold to a publisher on behalf of a writer. I will be bold to say that any prospective agent who asks you for money up front is someone you should stay away from.

This is the category that most people focus on when defining the role of the agent. But it is only one small facet of what we do. Two months ago I published a list of the activities our agency had recently done as a way to help dispel the myth that we are only deal makers. It is how we earn our living but only a small part of our work.

Don’t get me wrong. This is a crucial part of what we do. Our contract negotiations are critical to the long-term health of the publishing/author relationship. Last Fall I taught a course at a conference called “Landmines in Your Book Contract.” Each time I read one from an “offending” contract there were gasps in the room. There is a good reason to have a professional review any book contract you are ready to sign.

Leave ‘Em Wanting More?

by Tamela Hancock Murray

The End Green Road Sign Illustration on a Radiant Blue Background.

Do you like stories with unsure endings? Where you don’t know if the main characters will live happily ever after?

I am a reader who doesn’t like open endings, probably because I enjoy novels that are heavy on romance and I like to know the couple can expect a happily-ever-after. My personal preference is for a novel that doesn’t beg for a sequel for the protagonist.

A Satisfying End?

Gone with the Wind ended with Scarlett O’Hara saying that tomorrow is another day. Because we had spent considerable time with Scarlett — 1200 pages, in fact, we knew that Scarlett would get her way. Somehow. Because she was Scarlett. So while in the most technical of terms, Margaret Mitchell left us with an open ending, it was still satisfying enough. Except that later, some felt the story did beg for a sequel. The sequel was panned in most quarters.

Is Your Novel Historical or Whimsy?

by Tamela Hancock Murray

Farmington Colonial Home 2

As a proud native Virginian, I find it painful to read about the possibility that our early settlers may have practiced cannibalism when my state was but a mere colony. If you have been following the story, you have seen that much of the media presents conjecture as fact but at this point whether or not they resorted to cannibalism during the starving season is speculation. Speculation or not, the idea makes me shudder.

The Gallant Sir Walter Raleigh

My third grade Virginia History book opened with the story of how the gallant Sir Walter Raleigh placed his cloak on the mud for Queen Elizabeth I so that Her Majesty’s feet would not have to touch the ground. Then, as far as I can remember, we moved on to the House of Burgesses, the heroic Pocahantas (not the Disney version), and the founding of the College of William and Mary (not necessarily in that order). I’m sure they mentioned the colony’s hard times. An eternal optimist, I like to focus on success so those facts didn’t stick as well with me. Of course, we were told a few more brutal tidbits during high school, but still, according to my memory, the accounts were coated with frothy icing.

But Surely Everyone Was Rich!

As a teenager, I used to imagine myself as a heroine in an historical novel as being among the rich women who wore pretty dresses and drank tea all day. A more realistic scenario is that I would have been wearing simple clothing while toiling with my husband to eke out a living from the Virginia soil. Perhaps like my great-grandmother, I would have given birth to seven boys.

Looking for a Brown Mule

by Tamela Hancock Murray

01 Looking For a Brown Mule 18x24

I am beyond proud of my uncle, Eldridge Bagley.

Uncle Eldridge is a professional artist. He paints in oil on canvas. Most of his scenes depict Southern rural life in the mid twentieth century. The picture above, from 2001, is entitled Looking for a Brown Mule. 

This picture speaks to me. Does it speak to you? Why? Why do you think he chose that title?

Now let’s have some fun. Use your imagination to write a sketch about this picture.

Everyone is a Critic

by Steve Laube

chef

One of the burdens an artist must bear is the scrutiny of public opinion. It can either be exhilarating or devastating. At the risk of oversimplifying the issue let’s look at some of the categories that define this topic.

Opinion
Everyone has an opinion. The problem for the author is to determine how much weight to give to those opinions. One mistake a writer will make is to ask someone or group of someones, “What do you think of this?” with “this” being your work or the cover of their latest book.

Think of it this way, if someone is asking for your opinion and genuinely says they want to hear your thoughts, you will give that opinion…and it is often critical. It is as if we don’t feel like we have been “honest” unless we find something wrong or something we don’t like. We can become overly nitpicky and focus on things that are not vital to the design or the composition of the project. And this is where it becomes dangerous for the author. The tendency is to place too much credence on these type of opinions given by those who may not have the experience or know-how to truly be of service. That is not to say their opinions are wrong or misinformed, merely that discernment must be used when filtering these comments.

The gathering of too many opinions can clutter a sure vision or shake your confidence. It can become like the cynical definition of a committee: “A body that keeps minutes but wastes hours.”

Fancy Schmancy!

by Tamela Hancock Murray

Isolated crown

I just saw a funny short video about how to go from boring to fancy. Examples included labeling the same bread as “bread” and then “artisan bread” and the identical “cheddar” as “aged cheddar.” I would have gone with “artisan” cheddar, myself. The last time our family dined in a restaurant with my in-laws in Connecticut, “Cheese made by Vermont artisans,” was offered as an appetizer.

How about adding letters to an ordinary word? An example: Ye Olde Shoppe. Would you rather shoppe there than shop at Nordstrom?

Does drinking water out of a crystal goblet make the water seem fancier than drinking the same water out of an everyday glass?

How about paying money for water that comes bottled instead of from the tap? I have read articles that claim some bottled water is, in reality, tap water. I don’t know if that’s true.

I DID Finish Your Book…and I Plan to Read it Again!

by Karen Ball

Reading a book

After reading Steve’s and Tamela’s thought-provoking blogs on why they don’t finish books, I decided to talk about the flip-side. I totally agree with all that Steve and Tamela said. I’m not among the camp that has to finish a book once I’ve started it. But what a delight it is to find a book that I not only want to finish, but that I wish would never end. Those are rare treasures that live on my bookshelves, friends I can’t wait to be with again.

So here’s why I finished your book—and plan to read it again and again and again:

Consuming Story

From the first page I knew the story was powerful—and that spending time in it would be not just worthwhile, but wonderful. Your attention to the ebb and flow of the tale; to making it true to life and heart; to giving me a moment to catch my breath, then plunging me even deeper into the conflict; to the powerful and satisfying ending…it all wove the story together into a tapestry that I will revisit to catch new details and beauties and truths.

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