Category Archives: Writing

CJ LYONS – DIRTY LITTLE SECRETS OF PUBLISHING

It’s a real privilege to host acclaimed New York Times Multi-BestSelling author CJ Lyons as a guest on www.DyingWords.net. CJ generously offered to share this piece of wisdom about what it takes to be successfully published in today’s ever-changing writing industry.

CJ1B81% of Americans say they want to write a book someday. The most common mistake unpublished writers make is that they don’t write. They talk about writing. They’ll polish the same ten pages for contest entries over and over, bring the same scene to their critique partners repeatedly, work for ten years on the same manuscript, and complain about not getting published.

Here’s Ten Secrets about what it takes to get published.

Secret #10: Writers write… successful writers keep writing.

Yes, they’ll hone their craft. Yes, they’ll pour their heart and soul into a project. Yes, they’ll revise until it’s the best they can do. But they also keep writing. They’re always open for new ideas, new directions, new challenges. It might mean trying a new genre, stretching their point of view skills, or trying a new plotting or editing technique.

CJ2They’re in constant search for something that will spark their passion. That “one thing” no one has tried before or been able to pull off the way they know they can. They don’t want to fit in with the herd. They want to outrace it, be trail-blazers, forging their own unique paths…this is how they find their voice. And once they find it, they embrace it, instead of denying it.

They learn how to finish a project and when a project needs to be set aside because “good” just isn’t “good enough.” They realize that they’re not competing with other unpublished authors, they’re competing with New York Times bestsellers. They’re prepared to work just as hard as any bestseller when it comes to honing their craft, learning the business, and managing their career. 

Secret #9: Your first book won’t be the first book you sell. 

Most published authors will have written at least half a million words, usually between four to six completed novels, before they sell.

Makes perfect sense–you wouldn’t let a college freshman or even a med student do brain surgery, right? Be prepared to finish projects and move on if they aren’t striking a chord with industry professionals. It might mean your writing needs work, or the market is over-saturated, or your wonderful idea just isn’t hitting the right desks at the right time.  

CJ4Embrace every rejection letter not as a failure but a success. Because with each one, you’ve done more than most people dream of…you finished a novel and had the courage to set it free. And, when you do find your voice and polish your craft and hit the right desk at the right time, the first thing your new agent is going to ask you is: what else do you have for me?   

Then you’ll be very happy that you have those other completed manuscripts ready and waiting!

Secret #8: It’s not about finding an agent, it’s about finding the RIGHT agent! 

CJ3Finding an agent is like going on a blind date and getting married that same night. You’ve probably never met, or if you have, it was for a ten minute pitch session when everyone is playing a role and on their best behavior. Once you sign with an agent you are entrusting them with your reputation, your finances, your future. Take the time to find the Right One for you.

Secret #7: Know your readers. Know your genre. Know your market.  

CJ5AOnce you have your agent, you don’t get to slink back to your cave and just write. Yes, your agent may have some ideas about which editors and publishers are right for your work, but you need to know who your A list editors are and why. Talk to your agent about long-term career planning. Do you always see yourself writing in this genre? How do you want your agent to market you? There’s a big difference between an agent telling an editor, “I have a hot new thriller writer” and “I have a hot new romantic suspense author” even though the book might be the same.

Understand where the market and genre you’ve chosen have been, where they are, and where they’re heading. Educate yourself. Target the editors you submit your work to. Find the ones who respond to your writing, but more importantly find one who will champion your work. 

Secret #6: Contracts only favor the publisher!  

CJ6You did it! You’ve sold!! Yeah!!! Now what? Your agent will already have some negotiating points in mind, but first you need to educate yourself on the basics. What’s a pre-empt? What’s an auction?  What’s an advance? Who’s making the most: a “nice” deal for $30 K, a “very nice” deal for $50 K, a “good” deal for $100K? 

If the first is for one book, the second for two, and the third for five books, then your “good” deal author may be in trouble. How far are you willing to fight for your subrights, like movie/TV, e-books, audio? Where will you draw the line? You and your agent need to have the answers before you sign the contract.

Secret #5: The average book receives $800 in marketing from their publisher.

Actually, based on some recent conversations, I fear this is actually more money than most books get for their marketing budget.

CJ1Yes, we’re repeatedly told that part of our jobs as writers is to build a platform, create a brand, get out there and blog, Tweet, Facebook, and sell, sell, sell!!!  Here’s the reality: Marketing is worthless without your publisher behind you.  AND the one thing publishers forget while they’re telling you to get busy selling your books, is that the BEST marketing is taking the time to write the next one!  Protect your work instead of getting frenzied promoting it. Write the next book. Then, if you have energy left over to promote, go for it!

Secret #4: People DO judge books by their covers.  

CJ9My first publishing deal was a debut author’s dream: a hard cover pre-empt with a major NYC publisher, over a dozen NYT bestseller endorsements (including one from Sandra Brown!), great pre-orders and pre-sale buzz…enough to lead the publisher to double their initial planned print run. Until…the cover art finally arrived.

Monochrome shades of bile green destined to make anyone trying to read the cover quotes or cover flap material literally nauseous. Yes, my wonderful debut found itself dressed in the ugliest, most physically revolting cover I’d ever seen!

I wasn’t the only one who felt this way. As soon as the booksellers saw it, they cancelled all their orders. But the publisher stood by their cover art (rather than my book) and pulled it 100 days prior to publication….no more debut dream for me…. 

Secret #3: Expect change, embrace change.   

CJ10As you can see from the story above, change is the one constant in this business. You’ll be faced with new editors, new agents, maybe even new publishing lines as companies trim and merge and re-structure. Be professional. Know how to break up and still stay friends. Be alert to new opportunities: new publishing models, new genres…always growing your brand rather than dividing it. And above all else, stay true to your vision! 

(Which, by the way, is exactly what I did and that book-that-never-was is now a bestselling e-book!)

Secret #2: Write 2K / Read 2K  

CJ11Ever have someone tell you they want to write a book or they are writing a book and then say, “I don’t read”? Happens all the time. But if you’re going to have a career in writing, you need to love reading. Read everything. Not just your genre but others as well. Look for the cutting edge in trends, new twists on language that make you smile, even bad writing that makes you cringe—so that you can learn how to avoid those pitfalls.

CJ12It’s difficult, because once we begin to write we often find it hard not to edit as we read–and we have less time than ever. I have finally given myself permission to not finish a book that isn’t working for me. When a book does work for me, when it transports me so that my internal editor turns off, I’ll drink it in, immersing myself in it. Then I’ll set it aside for a day or two before I go back and try to dissect why it worked or make note of any particularly magical phrases, word choices.

Not to steal, but to study.

Why did I connect so strongly with this character? How was the setting used to evoke emotion? What made the plot twist at the end both believable and devastatingly surprising? W2K / R2K is a formula my agent came up with: Write 2,000 words a day / Read 2,000 words a day. 

Secret #1: Writers may write alone, but you can’t be a writer alone.  

CJ13We may have the innate talent to become storytellers, but there’s no way to walk the road to publication without a lot of help from a lot of people. When people ask me the secret to getting published, I tell them, it’s surrounding themselves with the right people – even if they never meet in person.

Those people could be the authors of the kind of books they aspire to write, online teachers and mentors on writing forums who offer support and advice, a group of like-minded professionals like those in Romance Writers of America or International Thriller Writers, the spouse who understands that when they start mumbling dialogue it doesn’t mean they’re talking to themselves.

Throughout history storytellers have held a revered place in communities.

CJ14EIt takes a village–support from non-writers (aka enablers who feed your addiction), fellow writers who understand all about the voices in your head, mentors, your publishing/career team, booksellers, reviewers, and above all readers.

How do you know you made it?  

CJ15For some it’s being able to quit the day job, for others seeing their name in print and getting good reviews, but for me it’s hearing from fans who tell me my stories–those silly voices in my head that got me into so much trouble when I was a kid–that my books have made a difference in their lives. Like the commercial says… priceless. Becoming a career novelist is not simply a question of perseverance. It’s a question of passion.   

Where’s your passion? How can you be the best you instead of a pale imitation of someone else? Are your stories the kind of stories that speak to the eternal, that resonate with your audience, that will still have something to say to people decades from now? Be committed. To lifelong work, lifelong learning, lifelong growth. You’ll never have all the answers. 

CJ16Take a lesson from writers like Stephen King who insist on constant re-invention and challenging themselves. King says, “Talent is cheaper than table salt. What separates the talented individual from the successful one is a lot of hard work”.

When asked, “How do you write?” I invariably answer, “One word at a time.”  

Happy writing!  CJ 

*   *   *

CJ17As a pediatric ER doctor, CJ Lyons has lived the life she writes about in her cutting edge thrillers. In addition to being an award-winning, bestselling author, CJ is a nationally known presenter and keynote speaker.

CJ8CJ has been called a “master within the genre” (Pittsburgh Magazine) and her work has been praised as “breathtakingly fast-paced” and “riveting” (Publishers Weekly) with “characters with beating hearts and three dimensions” (Newsday). 

CJ20Her award-winning, critically acclaimed Angels of Mercy series (LIFELINES, WARNING SIGNS, URGENT CARE and CRITICAL CONDITION) is available now. Her newest project is as co-author of a new suspense series with Erin Brockovich.

You can learn more at http://www.cjlyons.net or find her writing books at www.NoRulesJustWrite.com .

Follow CJ on Twitter @CJLyonswriter

Like her on Facebook 

Here’s the link to download CJ’s original article

WHY YOUR CHARACTER’S GOAL NEEDS TO BE 1 OF THESE 5 THINGS

I’ve been following KM (Katie) Weiland’s ‘Helping Writers Become Authors’ for a few years. She recently posted this piece on character motivation. It’s excellent, so I asked Katie if she’d share it with DyingWords followers.

Every story comes down to just one thing. Know what it is?

KM Weiland8Conflict’s a good guess (“no conflict, no story” and all that), but before a story can offer conflict, it has to first offer something else:desire. In short, story is always going to be about a character’s goal.

Your character has two conflicting goals. The thing he Needs. And the thing he Wants.

Between them, these two desires drive your entire story, pushing and pulling your protagonist and the people around him until they end up in a completely different place from that in which they began the story.

But here’s another question for you: Does it matter what your character wants?

Obviously, a character’s goal has to tie into the plot in a logical way. But there’s more. In order to resonate deeply with your very human audience, your character’s goal needs to be one of five specific things.

Take a look at the motivation triangle in Maslow’s Hierarchy of Needs and Why It Matters to Authors.

KM Weiland1

Abraham Maslow’s “hierarchy of needs” is a theory that suggests all human desires fall into five categories, grouped from basic physical needs to those of self-empowerment and realization: physiological, safety and security, love and belonging, esteem and recognition, and self-actualization.

According to Maslow, the order of these five needs is also the progression humans must experience as they grow into a better awareness of themselves and the world around them, allowing them to become centered, healthy individuals.

Same goes for your character. Your character’s wants and needs–your character’s goal–is going to fall into at least one of those categories, depending on where he currently finds himself in his progression from primal survivor to empowered individual.

Let’s take a closer look at each of the five categories of needs.

1. Physiological

Gone With The Wind

Gone With The Wind

Physiological needs are those essential to human survival. Without these, your character dies. They’re the foundation of the pyramid. If your character has to consciously think about pursuing these needs, then he’s not likely to have the time or energy to devote much thought or effort to those needs higher up on the scale. Physiological needs might include:

  • Air
  • Water
  • Food
  • Clothing
  • Shelter

EXAMPLE OF A CHARACTER’S GOAL:

In Gone With The Wind, Scarlett O’Hara’s vow to “never be hungry again” is born of her starved search for a root in the ruined fields of Tara at the end of the Civil War.

2. Safety and Security

The Maze Runner

The Maze Runner

Once physiological needs have been met, your character’s goal will most likely evolve into a desire for safety and security for himself and those he cares about. He wants to protect his body, so he doesn’t have to consciously think about his physiological needs. Safety and security needs might include:

 

  • Protection against assault or injury
  • Adequate money
  • Steady employment
  • Good health
  • Protection of private property

EXAMPLE OF A CHARACTER’S GOAL:

In The Maze Runner, Alby and the other boys build a sustainable sanctuary in the Glade in order to avoid the lethal Grievers that roam the Maze.

3. Love and Belonging

Wuthering Heights

Wuthering Heights

Once basic physical needs are met and assured for the foreseeable future, your character will get to focus on his emotional needs and desires. If your character isn’t on the run or trying to keep from getting killed, then he’ll probably be dealing with interpersonal conflict in an attempt to find harmony and fulfilment in his relationships with other people. Love and belonging needs might include:

  • Friendship
  • Romance
  • Intimacy
  • Family

EXAMPLE OF A CHARACTER’S GOAL:

In Wuthering Heights, every bit of Heathcliff’s lifelong quest for vengeance is based on his burning desire to be loved (especially by Cathy) and to find a sense of belonging in a world that rejected him almost entirely from his childhood onward.

4. Esteem and Recognition

THE PURSUIT OF HAPPYNESSOnce your character has his physical and emotional needs reasonably met, he’s going to start wanting to feel as if who he is and what he does is worthy of respect. We all want to feel as if we’re doing a good job, as if we’re making a difference in the world around us. Otherwise, what’s the point? Your character’s goal in this category may not be immediately quantifiable as a desire for “esteem and recognition.” What readers may end up seeing on the page will be simply his desire to be President, to get someone to buy his invention, or to get an A+ on his history paper. Esteem and recognition needs might include:

  • Independence
  • Compensation
  • Respect
  • Promotion
  • Credit
  • Gratitude
  • Appreciation

EXAMPLE OF A CHARACTER’S GOAL:

In The Pursuit Of Happiness, Chris Gardner wants to not just find a job that will allow him and his son to survive, but to become a successful stockbroker.

5. Self-Actualization

KM Weiland6Finally, at the tippy-top of that hierarchy of needs is the desire to find and fulfil the deeper meaning in life. Your character wants to do more than just live, he wants to thrive. He wants to reach the full extent of his personal potential. He probably has most of his other needs taken care of, which allows him the time and energy to focus on discovery and creation. Self-actualization needs might include:

  • Higher education
  • Spiritual enlightenment
  • Artistic pursuits
  • Travel and experience
  • Altruistic and charitable contributions to others

EXAMPLE OF A CHARACTER’S GOAL:

In My Man Godfrey, Godfrey abandons his riches and social position to live first as a hobo and then as butler to another wealthy family, out of a desire to find a purpose in his entitled life.

When Your Character’s Needs Overlap

KM Weiland9Have you spotted which of the categories into which your protagonist’s story goal fits? It could be his goal actually fits into more than one category. In fact, it’s pretty likely. Life isn’t exactly as neat as Maslow likes to make it look. We may be struggling through any combination of these needs all at the same time. For example, the protagonist in Pursuit of Happiness has a main goal that fits into all the categories except Love and Belonging (and we could maybe even make an argument for that one too).

As Angela Ackerman and Becca Puglisi point out in the appendix to their Negative Trait Thesaurus (which includes tons of great examples of goals and motivations for all five categories of needs):

KM Weiland7Please note that needs may fit into multiple categories depending upon the character’s motivation. For example, the need to acquire an education could be based on a need for security (if the character’s purpose is to escape a bad neighborhood), esteem (if the goal is being pursued out of desire to prove oneself to others), or self-actualization (if the character is seeking knowledge as a way to become more self-aware).

In many stories, an overlap between the categories can actually be an asset, since it creates multidimensional motivations and goals for your character.

But even if your character’s goal only falls into one of these categories, you’ll be able to verify you’ve created a deeply realistic story, one that will resonate on a primal level with readers everywhere.

Tell me your opinion: Which of these five categories does your character’s goal fit into?

*   *   *

KM Weiland10K.M. Weiland lives in make-believe worlds, talks to imaginary friends, and survives primarily on chocolate truffles and espresso.

KM Weiland11She is the IPPY and NIEA  Award-winning and internationally published author of the Amazon bestsellers Outlining Your Novel and Structuring Your Novel, as well as Jane Eyre: The Writer’s Digest Annotated Classic, the western A Man Called Outlaw, the medieval epic Behold the Dawn, and the portal fantasy Dreamlander.

When she’s not making things up, she’s busy mentoring other authors on her award-winning blog at KMWeiland.com. She makes her home in western Nebraska.

Check out Katie’s website at www.KMWeiland.com.

Follow her on Twitter @kmweiland

Find her on Facebook https://www.facebook.com/kmweiland.author

WHY ARE WE WIRED FOR STORY?

Lisa Cron’s book Wired For Story was a writing ‘A-Hah’ moment for me. I’m so pleased to to have Lisa share this game-changing information as a guest at DyingWords.net. 

Wired2What would you say if I told you that what the brain craves, hunts for, and responds to in every story it hears has nothing to do with what most writers are taught to strive for? What’s more, that it’s the same thing whether you’re writing literary fiction or a down and dirty thriller?

You’d probably say, prove it. Fair enough.

Wired1First, the mistaken belief: From time immemorial we’ve been taught that things like lyrical language, insightful metaphors, vivid description, memorable characters, palpable sensory details, and a fresh voice are what hooks readers.

It’s a seductive belief, because all those things are indisputably good. But they’re not what hook the reader. The brain, it turns out, is far less picky when it comes pretty prose than we’ve been led to believe.

What does the brain crave?

Wired9Beginning with the very first sentence, the brain craves a sense of urgency that instantly makes us want to know what happens next. It’s a visceral feeling that seduces us into leaving the real world behind and surrendering to the world of the story.

Which brings us to the real question: Why? What are we really looking for in every story we read? What is that sense of urgency all about?

Thanks to recent advances in neuroscience, these are questions that we can now begin to answer with the kind clarity that sheds light on the genuine purpose of story and elevates writers to the most powerful people on earth. Because story, as it turns out, has a much deeper and more meaningful purpose than simply to entertain and delight.

Story is how we make sense of the world. Let me explain . . .

Wired7It’s long been known that the brain has one goal: survival. It evaluates everything we encounter based on a very simple question: Is this going to help me or hurt me? Not just physically, but emotionally as well.

The brain’s goal is to then predict what might happen, so we can figure out what the hell to do about it before it does. That’s where story comes in.

By letting us vicariously experience difficult situations and problems we haven’t actually lived through, story bestows upon us, risk free, a treasure trove of useful intel – just in case.

And so back in the Stone Age, even though those shiny red berries looked delicious, we remembered the story of the Neanderthal next door who gobbled ‘em down and promptly keeled over, and made do with a couple of stale old beetles instead.

Wired8Story was so crucial to our survival that the brain evolved specifically to respond to it, especially once we realized that banding together in social groups makes surviving a whole lot easier.

Suddenly it wasn’t just about figuring out the physical world, it was about something far trickier: navigating the social realm.

In short, we’re wired to turn to story to teach us the way of the world and give us insight into what makes people tick, the better to discern whether the cute guy in the next cubicle really is single like he says, and to plan the perfect comeuppance if he’s not.

Wired10The sense of urgency we feel when a good story grabs us is nature’s way of making sure we pay attention to it. It turns out that intoxicating sensation is not arbitrary, ephemeral or “magic,” even though it sure feels like magic. It’s physical. It’s a rush of the neural pleasure transmitter, dopamine. And it has a very specific purpose.

Want to know what triggers it?

Curiosity.

Wired5When we actively pursue new information – that is, when we want to know what happens next — curiosity rewards us with a flood of dopamine to keep us reading long after midnight because tomorrow we just might need the insight it will give us.

This is a game changer for writers.

It proves that no matter how lyrical your language, or how memorable your characters, unless those characters are actively engaged in solving a problem – making us wonder how they’ll get out of that one – we have no vested interest in them.

Wired11We can’t choose whether or not to respond to story. Dopamine makes us respond. Which is probably why so many readers who swear they only read highbrow fiction are surreptitiously downloading Fifty Shades of Grey. I’m just saying.

I know that many writers will want to resist this notion. After all, the brain is also wired to resist change and to crave certainty.

And for a long time writers were certain that learning to “write well” was the way to hook the reader.

Wired6So embracing a new approach to writing – even though it’s based on our biology, and how the brain processes information — probably feels scary. The incentive to focus on story first and “writing” second, however, is enormous. To wit:

  • You’ll reduce your editing time exponentially because story tends to be what’s lacking in most rough drafts. Polishing prose in a story that’s not working is like rearranging deck chairs on the Titanic.
  • You’ll have a 1000% better chance of getting the attention of agents, editors and publishers. Yeah, 1000% is arbitrary, but it’s not far off. These professionals are highly trained when it comes to identifying a good story. They like good writing as much as a next person – but only when it’s used to tell a good story.
  • You’ll have a fighting chance of changing the world – and I’m not kidding. Writers are the most powerful people on the planet. They can capture people’s attention, teach them something new about themselves and the world, and literally rewrite the brain – all with a well-told tale.

Indeed, the pen is far mightier than the sword.

That is, if you know how to wield it.

*   *   *

Wired3Lisa Cron is the author of Wired for Story: The Writer’s Guide to Using Brain Science to Hook Readers From the Very First Sentence (Ten Speed Press). I’m thrilled to have Lisa share her knowledge, observations, and wisdom through this guest post at DyingWords.net.

Wired2Wired For Story caused me to go right back to square one and revise my No Witnesses To Nothing manuscript. For someone like me who comes from a totally anal adherence to science, I had a Eureka moment when I Lisa showed me the straightforward science of storytelling. Our brains are hard-wired for stories – always have been, always will be. This is a science ap for a page-turner. I’m serious. If you want to bring up your writing game… READ THIS BOOK!

Lisa has worked in publishing at W.W. Norton, as an agent at the Angela Rinaldi Literary Agency, as a producer on shows for Showtime and CourtTV, and as a story consultant for Warner Brothers and the William Morris Agency. Since 2006, she’s been an instructor in the UCLA Extension Writers’ Program.

Lisa works with writers, nonprofits, educators and organizations, helping them master the unparalleled power of story, so they can move people to action – whether that action is turning the pages of a compelling novel, trying a new product, or taking to the streets to change the world for the better.

Lisa’s literary agent is Laurie Abkemeier at DeFiore and Company.

Her video tutorial Writing Fundamentals: The Craft of Story can be found at Lynda.com.

Watch Lisa’s Ted Talks video here:  https://www.youtube.com/watch?v=74uv0mJS0uM

Visit her website at  http://wiredforstory.com/

Follow on Twitter   https://twitter.com/LisaCron

Here the Wired For Story Facebook page  https://www.facebook.com/pages/Wired-For-Story/116220388438647