The Art of Modeling--How Other People's Books Can Make Yours Better

When I was in graduate school, one of my teachers suggested a sketchy idea:  Read a favorite published writer and "model" them. 

She suggested it because I was way stuck--in a (to me unsolvable) problem with one of my chapters.  It needed a lot less imagery.  I love imagery.  So me and the chapter were at a standstill.  I was at a loss:  how to capture necessary emotion without the pictures?

Luckily, my teacher was a minimalist writer.  She was famous for this in her novels and short stories.  I loved them but they were like a foreign language.  She answered my dilemma with a list of books to find and read. 

Like her writing, most of the writers on the list were also minimalists.  A few occasional visual or sensory details.  Imagine Old Man and the Sea but in modern prose.  Sentences short and to the point, characters who didn't mess with thoughts or reflection. 

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Co-Authors? How Successful Are Partnerships on Books--and What Are the Pitfalls to Watch Out For?

When my first book was contracted by a publisher, I was assigned an editor who also wrote for Men's Health magazine.  This editor, being a writer too, knew how scary it was to have a first book.  I knew very little about how to structure a book; my editor showed me the ropes.

Not long after that book got published, I got a call from the same editor.  Would I like to partner up with him on authoring another book? 

We proposed a topic that we were both passionate about.  An agent got interested and we signed a contract. 

The agreement for our co-author partnership was very like our author-editor relationship for my first book.  I would provide the "talent" or the content.  My co-author would help me shape it.  It was a journey we'd travel together--one of us deciding where to go, the other deciding how.

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All about Publishing Excerpts from Your Book to Build a Platform: An Interview with Memoirist Mary Collins

I met Mary Collins in a workshop I taught at Grub Street writing school in Boston a few years ago.  Her writing--and her enthusiasm--stayed with me.  I was fortunate to have Mary join me again in an online class later that year and a weeklong retreat on Madeline Island in the summer.   

I watched her memoir take shape, change, and reform.  She is writing about her growing-up years in England, and her brother's untimely death.

Recently, Mary was honored by the illustrious Brevity  magazine when "Leap," an excerpt from her manuscript won second-place and was published by Brevity.  You can read it here.  

    

I knew Mary was keenly interested in getting her work out there, to build name recognition and a platform before her memoir is finished.  
Here's an interview with Mary, explaining her unique way of approaching memoir and how she won the Brevity contest.

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Five Common Obstacles to Finishing and Publishing Your Book

Choosing vulnerability in your writing. Always being open to learning more.  Embracing the support of a writing community.  Being willing for writing to be a priority.  Knowing how to break a project into steps to keep from being overwhelmed.

Sounds like a magic formula?  It is.  But more, it's a toolbox of skills and choices that professional, published writers use to get a book project finished. 

They're not the same skills as writing great dialogue or crafting a strong plot.  But without them, there's little hope that your book will be published today.

Obstacles to these skills are below.  Read on.

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Most Amazing Guide to Self-Publishing: A.P.E. (Author, Publisher, Entrepreneur)

Most writers know at least one self-publishing success story.  A famous one, almost an urban legend by now, is the story of Amanda Hocking, of Minnesota.  She needed a couple hundred dollars one day, so she decided to self-published her paranormal romance.  In twenty months, she sold 1.5 million copies of her e-book and made $2.5 million.  Not only that, but she signed a huge deal with St Martin's Press. 

Self-publishing used to be called "vanity press," because only the vain would consider it.  Now it's earning more and more respect from both authors and publishers.  Agents regularly scout the self-published books on amazon.com to find new authors who are making it big there.

My indie-released songwriter friends never understood why writers are so hung up about self-publishing.  Musicians have long separated from the labels and ventured out on their own, releasing their own CDs and working with indie distributors like cdbaby.

But we writers have been told that unless we get an agent and go the traditional route, we'll never be taken seriously in our writing careers.

Now, everything has changed--and we'll never go back, I believe.

This allows writers much more freedom and many more options.  It's all good news for us.

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Lesson from Argo: Why Storyboards Are Great Tools for Building Great Books-- And How You Can Make Yours Unique

I recently watched the movie Argo, which was just released on DVD.  Movies like these I prefer seeing at home, so I can study their structure.  This one was amazing.  As most people know, it's about a classified mission that took place during the Iran hostage crisis, where six Americans were secreted out of Iran on the pretense that they were part of a film crew scouting locations.

At one point in the movie--and I won't give any more away, in case you haven't seen it--there's a great episode with storyboards.  In Argo, these are half-sheet sized poster board, with drawn-in scenes.  Each shows a different pivotal moment in the movie, what the outer story (action) is, where it takes place, and who is acting in the scene.

Put together, these boards give us the "essence" of the movie's high spots.  Which is exactly what a storyboard is designed to do. 

And these small boards, surprisingly, help win the happy ending for Argo.

 In my classes, I propose they will do the same for any book.

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What Genre Is Your Book? A Look at the New Hybrids in Creative Nonfiction

A January 18 essay in the  New York Times Sunday Book Review, "I Change, You Change," by writer Rebecca Tuhus-Dubrow, discusses a new genre called the memoir/self-help hybrid.  More than just traditional memoir, this kind of book also addresses the reader directly, offering advice, examples, even exercises to spur change.

I enjoyed the essay very much--and I am glad all sorts of hybrids are being discussed in the New York Times.  But, hey, folks:  this genre isn't new.  There have been writers and readers preferring it for decades--because it solves a conundrum.

A personal example:  When I published my second memoir in 1997, I debated its genre.  The book was a combination of my stories of loss and change, and good advice I'd received over the decade I went through cancer, bankruptcy, divorce, marriage, and other such upheavals.

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How to Fill the Creative Well with a Well-Timed Rest Break

There are some important signs of burn-out that writers need to attend to. 

An overactive Inner Critic. 
A feeling of the blues about one's work. 
A sense of deep depletion, despite enough sleep and exercise.

Any of these sound familiar?

Yesterday I was working on a chapter revision.  After about the fourth draft--making changes, printing out a new version, reading outloud and editing again, then inputting the changes--I noticed I was making it worse.  This is a sticky chapter, an important one, right at the end of the first act.  Everything is supposed to go down. 

It was.  But not in the story--in my own work on it.

I had a deadline.  But I wondered, was it better to take a break now, despite all the urgency of my deadline, and fill the creative well?

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The Five-Day, 17,000 E-Book Download--A Self-Publishing Success Story

July 2010.  I'm sitting next to Therese Pautz, a woman in my Madeline Island book-writing retreat.  It's midsummer and outside the fields are beautiful with grasses and wildflowers.  Beyond the fields is the blue expanse of Lake Superior, where this island is located. 

Therese has been for a six-mile bike ride that morning and looks ready for our first class session.

We share a little about ourselves, and I learn she is a lawyer and marathoner, writing her first mystery.  I'm impressed by her determination to learn a creative skill she has no experience with.  I've read an early draft of her story--it's set in Ireland and has a fiesty young woman as its main character. 

There's loads of local color in the narrative--Therese loves Ireland--but the story isn't really holding together.

Therese makes a lot of progress on her storyboard that week, basically rebuilding her book, using the book-writing skills we study each day in our class.   By the end of the week, the book shows more promise, and I am curious to see where she'll go with it. 

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Why Studying Other Authors Helps You Practice Your Book-Building Skills

This week I am finishing yet another round of edits on my revision of Breathing Room, my next novel.  My wonderful editor, a flight expert, and a screenwriter friend have given me their feedback, and I have a pile of notes to think about, incorporate, and make changes from.

The solution to manuscript problems isn't always easy to see.  That's why I turn to other authors.

For instance, my screenwriter--who has a wonderful eye for the cinematic--recommended I boost the character visuals:  She couldn't always see the characters in each scene.  We writers internalize our characters easily, so we sometimes forget that readers outside our heads can't do this. 

Clues are needed--a quirk, a way of moving, a physical characteristic.  Not too much, but enough to be able to set the person onstage in front of us.

This is especially important, my friend said, in the opening pages.

I agree--but I also hate when the opening scene is loaded with too much description.  It slows things way down.

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