Category Archives: craft advice

Marketing Long Before Your Book is Published (And maybe before it is written!)

By Susan Wroble

I used to believe that writing came first, and marketing later. Big Mistake! It is easiest if you learn both simultaneously — they build on each other. Here are a few tips on starting your marketing journey long before your book is published…

Establish writing credentials.

An easy place to start is to write for newsletters. Many groups have regular on-line updates and are delighted to have a member feature or presentation review. For example, when I joined the Denver Rose Society, I knew nothing about growing roses, so I took notes at the meetings. It was easy to turn those presentation notes into short articles for their newsletter. Bonus — I didn’t know the national organization gave writing awards until I got three of them!

Why?

  • Simple — Agents and editors want to see that you write.

Create a blog.

When my writing group, the Story Spinners, created this blog, our goal was simply to push ourselves to learn a new skill. By sharing, we each posted about once a quarter, and we split the costs.

Why?

  • Blogging counts as writing credentials — even if your readership is close to zero!
  • You have a platform that agents and editors can get a feel for your writing and commitment to the industry.
  • A few of the posts have been expanded and been published in paying markets.

Read with purpose.

Read current books in your genre — the key word being “current.” There are blogs for every genre, but one of my favorite ways to find new kids’ books in general (after making friends with librarians!) is through IndieBound, a community of independent local bookstores. IndieBound puts out a quarterly newsletter called “Kids’ Next.” You can pick up a print copy at an independent bookseller, or find it on-line. As an added benefit, it is a fabulous resource for gifts for the kids in your life.

Why?

  • By reading with purpose, you can start analyzing, and learn how other authors have created an arc, or added layers, or built tension…
  • You learn what’s current and what is selling.
  • You learn what is already out there for subjects you want to write about.

Keep a reading log.

Record the author, illustrator (if applicable), publisher, and whatever else is important to you. I find it helpful to snap a picture of the cover. Here’s an example:

Why?

  • You learn the style of various publishing houses.
  • You can track books that are mentor texts.
  • You can track books that are comps for works in progress.

Study and track agents and publishers.

One easy way to research agents and editors is to subscribe to the free twice-weekly Publisher’s Weekly newsletter, Children’s Bookshelf. Other ways to study agents are through the sites Manuscript Wish List or QueryTracker. Here’s a Publisher’s Weekly rights announcement for my friend, author Jocelyn Rish:

Next, track the notices with agents or editors that seem like a good fit for your work. Like my reading log, I created a table in Word. For this table, I record the publishing house, editor, author and title, and the agent who represented the author.

Why?

  • You end up with a perfectly tailored list of agents and editors who represent and publish the type of work that you do.

Use Facebook.

Author Beth Anderson (LIZZIE DEMANDS A SEAT) recently spoke at the Rocky Mountain Chapter of SCBWI’s Denver South Connect & Critique. “I didn’t want to get on Facebook,” she said, “and now I can’t imagine not using it.”

Why?

  • The Groups feature. Instead of scrolling endlessly through a jumble of posts from assorted friends and distant relatives interspersed with ads, you can go directly to a group — think RMC-SCBWI, KidLit411, StoryStorm, 12×12, ReFoReMo, NF Fest…
  • These groups are the easiest places to learn about upcoming events, celebrate successes, and build community. You’ll need that community when your book is ready to debut.

I hope there’s a nugget in this post you find useful. And for you — what are the marketing tips you wish you had known early in your writing journey?

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Filed under craft advice, Susan Wroble

Revising those first ten pages

Edited page from thebookdesigner.com

I keep revising my first ten pages. Over and over again. And for good reason – it’s the first time you interact with a reader, it’s the time when they really decide if they’re going to be invested enough in your story that they’re going to keep reading. You need to establish your voice as an author, establish your main character as someone they will care about, create conflict to keep driving them forward, and on and on.

So much work to do. So much weight that the first ten pages carry – that the first page itself, that the first sentence has to carry.

You work and rework and rework it again. Share it with your crit group, share it with them again.

The right time to shine and polish and edit those first pages can vary for you in your process, and here are two right times to consider.

At the beginning. You basically write and write and rewrite and rewrite the opening until you feel that voice, that excitement, that opening, and then BOOM you rush through and write the whole rest of the book. It’s like a little toy race car that you rev and rev and rev and then whoosh you let it go and you cross the finish line.

This isn’t me. It’s not how I work. And I recommend that, if you take this approach, you make sure that you will eventually let that car go. That eventually you will leave those first pages and that you will finish the rest of your book and that your car has enough gas to get you there.

The second way is – at the very end. This is what I’m doing right now. I planned and plotted out my novel. I drafted my novel, revised it. I gave it to various readers, got their feedback, and revised it again. Now I’m majorly reworking the beginning. Cutting away, slicing away, melding chapters together, cutting chapter two completely, saving just a few lines of important information. Trimming again and again, literally thousands of words. If you’d asked I would have said, no way can my story stay intact if I cut that much. And yet it can. And it’s better. I’m also adding in more voice, making the beginning sound more like the middle where I was really hitting my stride.

There are surely other times to do it, but I think the key is that, if you perfect chapter one at the start of your process, don’t forget to finish your story. And once the book is finished, regardless of how much work you put in, be prepared for how much work you may still need to do on the beginning to get it right.

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Filed under Coral Jenrette, craft advice

Whole Novel Critique

There are lots of opportunities to get a page, a set of pages, scenes, or even chapters critiqued – and then to sit down and polish those sections until they shine. Each of these are helpful and important steps to creating the best possible manuscript. I do encourage you, early in the process, however, to do what it takes to get a full novel critique.

Why?

The key thing in a novel is how your main character changes and transforms. Unless you’re writing something more episodic (and I would argue that even in those types of stories, your main characters do have an internal shift over time), a key factor to whether your story will resonate with readers is what happens to the main character – not their external plot. You can’t get that valuable feedback on how well that shift is working unless someone reads the whole piece.

Plot holes? Can’t find them unless you’re reading extended sections of your novel.

Each of your scenes (even each of your pages!) could be filled with tension and conflict. They could have beautiful description, and zippy dialogue. But maybe your pages don’t have much description at all – and your critique group doesn’t say anything because hey, you just submitted chapter 5, and they’re assuming that the description is there in Chapter 4 (spoiler alert – it wasn’t).

How?

PURCHASE IT: One way to get a whole novel critique is to pay for one – the one you want at the early stage of your novel is a developmental edit. There’s no point in a copy edit (where grammar and typos are fixed) if the story needs to change. If you take classes, some of the teachers also do developmental edits on the side. There are many folks online who do as well (including some folks who are or work with literary agents!) – most will offer a sample of their work, and most are pricey, so really talk through what you want to accomplish and what they plan to deliver to make sure you’re paying for something that will be valuable. Ask questions around depth of edit, whether it’s a letter or inline comments (or both!) and how fast they will deliver. Developmental edits take time (typically weeks).

Here are a couple of ways to get your novel critiqued using the barter system.

NOVEL SWAP: One option is to ask someone to read your novel and give feedback, knowing that you’ll do the same for them in return. Keep in mind that this is a big ask, and that you’ll have to put out the work on the flip side as well. Make sure you’re ready to be grateful, regardless of their feedback, and that you are ready to be gracious in turn. Also be forthright with your word count, for both your sake’s. Think about how to make it feel equitable. Not all books are the same: if one of you wrote a 35,000 word middle grade novel and the other just finished a 155,000 epic fantasy (and you still want to swap!), be prepared for how you can make that work and feel good for everyone involved.

If you’ve met someone who is at a similar level to you at a conference or workshop, you could approach and ask them if they’d be open to reading and giving feedback on your novel and you would do the same for them. Classes (like Lighthouse Writer’s Workshop here in Colorado), especially those that involve getting feedback on pages, can be a great place to meet people and see if there’s someone you want to approach.

If you’re not an active participant of an in-person community, or you’re an introvert who can’t imagine asking someone to do this in real life, you can turn to online writing message boards. I’ve actually read someone’s whole novel and provided feedback when I was active on Absolute Water Cooler. If you’re a member of SCBWI, you could look to get feedback by posting on the Blueboard. I HIGHLY recommend that you engage with the community first before you start asking for folks to read your whole novel.

ADJUST THE FOCUS OF YOUR CRITIQUE GROUP: Already in a critique group? You could totally ask a member of your group if, on the side, they’d be willing to read your full. But you can also shift the focus of the group. In our critique group, we decided that each member could submit a full-length piece one time per year to get feedback from the group. And if you didn’t finish a book that year, you could opt to submit whatever you had – your choice. It kept the flexibility for folks who didn’t finish a book to still have plenty of opportunities to submit shorter works each month, and for others who did finish to get that critical whole novel feedback.

 

Whatever your method, make sure that you’re looking at your novel both in parts and as a whole so that you create the best piece of work that you can.

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Filed under Coral Jenrette, craft advice, critique, Uncategorized