Scribd Logo
Upload

Welcome to Scribd!

  • Writers Digest 20130708

    Uploaded by

    Thesame
    34 views39 pages
    For Writing

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Report this Document
    For Writing

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    34 views39 pages

    Writers Digest 20130708

    Uploaded by

    Thesame
    For Writing

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 39
    Your Guide to Cons Fiction ¢ SECRETS TO PAGE-TURNING THRILLERS & SUSPENSE Tue. Tyas a el radtd kell moet BIG FOR YA WRITERS OSes Khaled Hosseini INSPIRATION, ADVICE & HOPE FROM THE AUTHOR OF THE KITE RUNNER JeCouKO MNS elKoY ® THE BESTSELLING SON OF SHARES HIS OWN THOUGHTS ON WRITING Ee eee oY write publish market Everything is simple with the full-service support of Outskirts WRITER'S DIGEST SHORT SHORT STORY COMPETITION one okt Et oe eed elaun Std (a) ead ping storyline anc Doing it in fewer than 1.5 i Enter tt and you Digest Confer lies Stag eel) ois eke Ll rata NOVEMBER 15, 2013 ENTER ONLINE AT writersdigest.corm/competition: NLL Get Published in Todays HOT elon ABN 21 What “High Concept” Means in Any Genre ‘Stumped by submission guidelines calling for “high- concept” romance, suspense, young adult or other popular fiction? These seven qualifiers will help you ‘gauge how (and where) your work fits in, Boost your story’ immunity to reader scrutiny with these fortifying nutrients. BY JAMES SCOTT BELL 28 “New Adult”: The Next Big Thin; ‘There's a new genre targeting readers who are outgrowing ‘YA—but is it here to stay? Here's what you should know about the New Adult trend. By TERI BROWN 2 | WRITERS DIGEST | July/August 2079, WRITER'S DIGEST JULY/AUGUST 2073 | VOLUME 93 | NO. 5 INKWELL aN 31 How to Write & Sell the Quality cross- gente fiction has the potential to reach exponentially more readers by appealing to multiple audiences, Broaden your story's appeal with these smart strategies. BY MICHELLE RICHMOND 34 Major Genre Awards ata Glance Whether you're looking to decipher an author's bio, read upon the best in your target genres, or set goals for your ‘own published work, start with this quick guide. COMPILED BY OPHELIA THOMAS S 36 The Once and Future King Joe Hill set out to prove that you don't have to be the son of the most famous writer on the planet to be heir to the horror throne. But it just so happens he’ both AY ZACHARY PETIT 40 ed a ‘Truly great storytelling isa powerful thing, It can cross borders, transcend language, touch hearts, open minds— and make a writer’ most “outlandish” dreams come true. BY JESSICA STRAWSER 45 Short and Striking ‘The winners of WD's Short Short Story Competition prove that the smallest stories can have the biggest impact. BY MARIELLE MURPHY WRITER'S WORKBOOK Artagonists & Antiherees 82 : BY LAURA DISILVERIO 55 BY JESSICA PAGE MORRELL 88 THE ART.OF THE ANTIHERO. BY JESSICA PAGE MORRELL 8 MINLMUSES: Seven popular authors take us behind their desks for alook at the totems that keep their stories going strong, BY JANICE GABLE BASHMAN 10. PLUS: Faith-Based Freelancing “5 Things Novelists Can Learn From Screenwriters «Poetic Asides+ Q&Q: Literally vs. Figuratively+5-Minute Memoir COLUMNS 18 BREAKING IN: Debut Author Spotlight BY CHUCK SAMBUCHINO 20 MEETIHE AGENT: Laura Bradford, Bradford Literary Agency BY KARA GEBHART UHL 48 ELINNY YOU SHOULD ASK: Fstablished Agents vs, New Reps: Coping With Contradictory Feedback BY BARBARA POELLE 60 YouR STORY: The Ticker BY DORI RENNER 60 STANDOUT MARKETS: Brain, Childs AARP The ‘Magazine; Avon Romance BY TIFFANY LUCKEY 62 CONEERENCE SCENE: North Coast Redwoods; 72 Writers Police Academy; Cape Cod Writers Center BY LINDA FORMICHELLI REJECT A HIT: The Exorcist ‘SPOOF-REJECTED BY EDWARD MURPHY PLUS: 4 online exclusives 5 editor's letter 6 contributors 7 reader mail ie om (894 e448 ied mony ec hn Me ayn i gs Neverthe Rk 28, Cw Right Now at OO © Words to Write By Khaled Hosseini (Page 40), author ofthe instant cl sic The Kite Runner and the powerful new release Astd the Mountains Echoed, shares more about his writing rituals, his connection to his characters, and what’ up next for him, © House of Haunted Hill Ifour profile of horror author Joe Hill (Page 36) gives you chills doit miss our interview outtakes in which he talks ‘more about what he's learned from his parents, Tabitha and Stephen King, and what it’s like writing stories with his dad. © Best of the Brief Read the grand-prize entry from WD's 13th Annual Short Short Story Competition (Page 45). PLUS: Visit writersdigest.com/compstitions to find out how to enter your own short work for a chance to win big. © Faith-Based Freelance Markets ‘Once you've got the inside scoop on writing for the Christian niche (Bage 10), get fll submission guidelines for 5 top pubs. To find all of the above online companions to this issue in one handy spot, visit WritersDigest.com/aug-13. ® Download Answers How do you sell a short story? How much should you charge for your freelance work? Find out with our free downloads on these topics and more. Just visit writersdigest.com and look for “Free Writing Downloads’ on the home page Shake up your writing with our stirring guest bloggers. TO PLAN OR TO PLUNGE? Writing coach Don Fry offers anew way of looking at the outlining debate. ‘inyurl.com/bweapay. UNEXPECTED TIPS FROM THE TOP Avnoveliston five surprising things she leamed at the lowa Writers’ Workshop. ‘tinyurl.com/d9mStad. 41 WRITERS DIGEST | July/August 2013, NOT JUST FOR KIDS Ten lessons writers of any age can learn from picture books. tinyurl.com/adSbim7. WRITER'S DIGEST JULY/AUGUST 2013 | VOLUME 93 | NO. error Jossen Staweer Zachary Petit, yee Sehwane CONTRIBUTING EDITORS John Outeene nds Formichell, ‘lane Friedman, Steven lames, {Jory 8. Jenkins, Elpnbet Sis, Art Spi Kare Geert Uhl werreR's pices WRITING COMMUNITY PUBLISHER & COMMUNITY LEADER Pl Sexton ‘ONLINE EDITOR fran A. Klee WRITING COMMUNITY EDITORS. Robert Le Breve, James Duncan, Rachel Randal, Chuce Sambuchino ASSOCIATE EDITOR Titfany Lackey ASSISTANT EDITOR ‘ove Maroy ‘ONLINE PRODUCT DIRECTOR Winter Thelen EDITORIAL INTERNS. his Freoso, Oshels Thomas EDITORIAL OFFICES 10181 Carver Road Ste. 200, (549)531-2690 ext 1403, wutsrseigest@hinedia com, SUBSCRIPTION SERVICE Subscription ingles, oxders and advo ‘changes canbe made at rtestiges.comieatactus, ‘Orby mall Winters Digest, PO. Box 2175, Palm Const, FL 3212, (real (800)533-0153 for US. orders (386246-3372 for ntemational orders Include yur address with alain, Allow sist eight weeks for delivery. BACK ISSUES Backiceve a0 availble for 5.99 3t siteradigetshop.com, Or, send check ‘er maney order lus $399 for shaping) to FAW Mes Product, 709 © Ste (0929, Please specify publication, month snd year EDITOR'SLETTER Same Store, Different Shelf As the son of Stephen and Tabitha King, Joe Fill grew up in a house filed with stories, and with, the idea that a career in writing was attainable— not easily, mind you, but a dream within reach if you had the talent, discipline and determination to go for it, Omitting his surname from his sub- ‘missions, Hill pursued that dream on his own terms, calling in no favors through his famous parents. And after years of rejection, he finally got his break when a publisher took a chance on an unknown. Today, hes best- selling novelist widely considered to be heir to his father’s horror throne. Khaled Hosseini grew up with another kind of horror—the kind that made an uncertain career path such as writing seem unthinkable, Like Hill, he fell in love ‘with storytelling at a young age—but when his home country of Afghanistan was consumed by war, his family lost everything, Granted asylum in the US, they had to rebuild from scratch, Hosseini started high school speaking no English and determined to pursuea stable vocation. He became a doctor—but he kept writ- ing, And he finally got his break when a publisher took a chance on an unknown, ‘Today, his three novels have sold tens of millions of copies all around the world ‘The juxtaposition of our in-depth interviews with these two very different ‘writers (Pages 36 and 40, respectively) is striking, The pairing illuminates that there are many pathways to success—but that even the most disparate journeys imaginable hav how an author interview can not only add depth of meaning to that writer’ ‘work, but inspire us in our own pursuit of creative expression and, ultimately, publication. I hope you'll find that the profile in this issue do both. Tt seems only fitting, then, that we've also devoted this edition of WD to spot- lighting a wide range of genres—and how to succeed in each of them. No matter ‘what yourre writing, you'll discover what you need to give your work a head start. Learn what agents mean when they express an interest in “high-concept” fic- tion (Page 21). Understand how a focused approach to more than one genre can broaden your readership (Page 31). Tap into a new trend that YA and adult nov- lists alike should watch closely (Page 28). Get to the heart of what keeps readers ‘turning pages (Page 24). Up the ante with antagonists and antiheroes (Page 52) And stay savvy by knowing where to look for the best in every genre (Page 34) Remember that all genres are just different shelves in the same store; they have distinctive differences, but alot in common, too. Each one represents something we can use to better our own storytellin and a lot of hard work, convince a publisher to take a chance on an unknown, nilarities in this writing life we all share, I've always loved and, witha little luck WheerDigesm. 1 5 CONTRIBUTORS Author TERI BROWN ("'New Adult’: The Next Big Thing?” Page 28) is most proud of her two children, but coming in a close second is the fact that she once parachuted out ofa plane, and beat the original “Legend of Zelda’ video game. Her young adult historical novel, Born of Illusion, about Harry Houdini’ illegitimate daughter, was released in June, Brown lives with her husband ’ and way too many pets in Portland, Ore, You can reach her at teribrownbooks.com, JEFF LYONS (“What ‘High Concept’ Means in Any Genre? Page 21) is the founder of Storygeeks, a company offering story consulting and editorial services to authors and screenwr ers, He also pens the popular Story Talk column, for Scriptmag.com, is a regular guest lecturer at Stanford University’s Online Writers Studio and the UCLA Extension Writers’ Program, and isa webinar instructor for The Writers Store. Follow him on Twitter @storygecks. SCOTT NOBLE (“Faith-Based Freelancing” Page 10) isthe editor of the Minnesota Christian Examiner (minnesota.christianexaminer.com) and a freelance writer. He is also founder and president of the writing and editing agency Noble Creative (noblecreative.com), and the author of the e-book The Seven Das and Don'ts of Writing Queries. His articles have won several awards, and he holds a master’s degree in theological studies from Bethel Seminary. MICHELLE RICHMOND ("How to Write & Sell the Cross-Genre Novel” Page 31) is the author of The New York Times bestseller The Year of Fog, the literary thriller No One You Know and. the forthcoming novel Golden Stat founder of Fiction Attic Press and the creator of the Guided Workbooks for Writers series. She lives, writes and teaches in Northern California, ‘Visit her online at michellerichmond.com or bookdoctororg we is the 6 1 WRITERS DIGEST 1 July/August 2013, Few MEDIA INC CHAIRMAN & CEO David Nussbaun ‘CHIEF OPERATIONS OFFICER/ CCHIEF FINANCIAL OFFICER slomes Osis PRESIDENT avd Blonstild Ched Phelps Vice PRESIDENT, E-COMMERCE cas Hilbert SENIOR VICE PRESIDENT, OPERATIONS VICE PRESIDENT, COMMUNICATIONS Stace Berger ADVERTISING ADVERTISING SALES REPRESENTATIVE il Roesch BOD7 26-9966, ent. 13223; fox (715)485 4097; llueschtamediacom, ADVERTISING SALES COORDINATOR ory Lute 600)726:9966 ext 13315 NEWSSTAND SALES Scott Til att hilOncoeee cm, ATTENTION RETAILERS. Tocarry Wier Digestin your store, pease enact Carte Creston Ca, 730 Ret oad, New tor, NJCTEAG Va prone (20; 2d, vn foe 203698 099 PRIVACY PROMISE ‘nd services thet may be of crest to you Ifyou prefer we withhold your name, “imply eond a note mith the magsnine some Lit Manager FAW Medi ne AWN Printain she USA Gwmedia 5 Rose OUTLINES & ‘ORGANICS Iwas intrigued to read Steven James’ article “Go Organic” in the March! April edition of Writer’ Digest, For a gardener to whom “organic” involves natural fertilizer I expected a comic opinion piece embedded with nuggets of the natural stuff: Delighted tobe wrong. I had no idea that I was an organic writer until digesting this article Wow! That might explain a lot about where Im com- ing from and where Im going, ld love to read more of Steven’ insights, Just one question: What’s an outline? ael Joll Brampton, Ontario When I read “Go Organic” by Steven James, got the impression that Mr. James is saying that outliners follow their outlines rigidly. I per- sonally use outlines when I write my stories, but I have ro problems with deviating from my outlines or add- READERMAIL “When the time comes to determine the appropriate destination for my work, the knowledge I garner from [the Meet the Agent column] will contribute to my making an informed decision.” ingto them. Leven delete scenes when I find they dorit work Like organic writers, Het my characters tell me what needs to hap- pen in the story and when, Thelieve that outlines help bring focus to a story. You just cant let your outline dictate with 100 percent ‘completeness what the story is going to be, Emma Thomas North Pole, Alaska FAMILY TIES Do I dare say Rebecca MeClanahan’ article “Family History Meets Memoic” (March/April) wasan answer to prayer? Tam engulfed in letters, documents, diaries and pictures from my parents history—1865 to 2002, Sometimes I am so over- come with the magnitude ofit all that I watch “Perry Mason” reruns instead! “Thanks to McClanahan, 1 recognize this is not the ygressional Record. My allegiance now is not to the information itself but to the larger story Ihave discov- ered through the informa- tion, a story that very defi- nitely connects to my own, Lam rewriting and going forward with McClanahan’s article in hand! Mary Ann Nielson Salt Lake City INTERVIEW INSPIRATION 1 found Tiffany Luckey’s interview with Emily Giffin (March/April) enlighten- ing in many ways, Firs Giffin stated that each day she revises what she wrote the day before, To me, this ‘means that her books get a hundred or more revisions! She also suggested reading out loud; Ido this, too, and find it the perfect way to check the flow of the story Finally, she declared that she leaves marketing to the publisher. I've gotten differ- ing advice in that area, so it was nice to get another writer’ opinion Michele Rice Carpenter Check, Va. AGENT ADVICE Being a new writer, 'm always on the lookout for resources to hone myefforts and guide me through the ominous seas of the publishing world. One stop I always make on my first run through the magazine is the Meet the Agent column by Kara Gebhart Uhl (Editor's Note See Page 20 for this issues installment). The unique layout is eye-catching and to read. I pick out the “Pet Peeves? “Tips” and “Seeking” sections first, then go back and reread the entire column, When ea the time comes to deter- ‘mine the appropriate des tination for my work, the knowledge I garner from reading this part (and oth- ers) of WD will contribute to my making an informed decision Tanya Jones Lubbock, Texas SPOTTED ON TWITTER Reading [Funny You Should ‘Askin] the new @Whiters Digest. @8pocll is, | think the writers agony aunt Wendlerfull Worth the price of priceless msg.) @colin_d smith Love the rejection letter bingo in the [March/April @WritersDigest @ArsCollide Writer's Digest March/April issue AMAZING on getting personal with your #vmiting @mommykerrie WRITE TO US: Email ritersdigest@fwmedia.com with "Reader Mail” in the subject line. Pleas include a daytime phone number for veiication purposes only and your city and state, Submitted letters are considered for publication and may be cited for claity or space. WeerDigesm. | 7 Mini Muses Seven popular authors take us behind their desks for a look at the totems that keep their stories going strong. 8Y JANICE GABLE BASHMAN, r's desk is home to the usual tools of the trade—computers, pens, reference books, flash drives, coffee, But look closer at that most intimate of spaces, and you just might find what an author really needs to write KELLY SIMMONS, author of The Bird House, keeps.a sym bolic photo of herself asa baby on her desk. “It’s my first birthday.” she says, “and my dress, face and hair are completely covered with 8 | WRITER'S DIGEST | July/August 2013, frosting, yet Lam screaming with joy. “The photo provides a reminder that while writing isa messy business, its also a fun business.” (And, she adds, it reminds her to make time for lunch.) The desk of thriller author JOSEPH FINDER (High Grimes, Paranoia) is full of items meant to inspire him. His favorite: “Probably the hourglass, a gift from my wife. Ifsan antique, but was a movie/T'V prop for many ears. For the 60 mini ss the sands are running, I can‘t check emails or answer the phone. It’ a practical tool and a metaphor, reminding me that time is fleeting” Thriller and young adult author JORDAN DANE’S most cherished pos- session is a framed sticky note, She got it from bestselling writer Sharon Sala, who once read her manuscript— and subsequently found her an agent, who sold her book No One Heard Her Scream at auction. “Its a reminder of one author's generosity, 5 and a constant message to ‘pay it forward;” Dane says. “What feed back did she give me in her stic note? One word: ‘FANTASTIC!’ When I asked how I could repay her kindness, she said, ‘Do the same for someone els For middle-grade and YA fantasy author LISA McMANN (the Wake trilogy), “Its really important to keep the ereep factor alive and percolating in [my] writ ing world... One of the items Tkeep close by when Tim writing isa gift my son gave me, I'S baby doll arm. Not the whole doll, just the arm, I ereepy as anything, and Ilove it—the little forefinger pointing just so, like its tell- ing me to look over there, or behind nse. It are opportuni- ties everywhere—not justin writing, but in life—and I can‘ take advantage of those opportunities if'm too afraid to peer into the shadows or try an unfamiliar path. It makes me feel bold” me... Keeping mein s reminds me that ther When writing her thrillers, J.T. ELLISON (The Cold Room, Where All the Dead Lie) looks up from her desk at the sign on her door for inspiration. It reads: ‘There are no rules except those you create, page by page. “Stuart Woods gave me this incredibly sage advice when I was stuck (in the writing of] my first novel,” she says. “I took a chance writing to an established author whose jacket bio clearly states never to ask him for writ- ing advice, He must have taken pity on me, because we had a lovely exchange, and he left me with this gem. It worked, too, and contin- vues to work. I share his advice with most of the new writers I meet, sim- ply because itis the absolute truth” Sci-fi and fantasy writer GREGORY FROST, author of the Shadowbridge series, has a small black obsidian coyote figurine on his desk. “Id been work- ing with folktales for a while,” he says, “and decided to write a trick- ster story. I read volumes of Navajo Coyote stories, and soon realized that Coyote is the totem for writers Coyote is a creator, but its almost always at his own expense, and almost always because he acts out of desire, without a thought for the consequences, Coyote When writing her thrillers, J.T. Ellison looks up from her desk at the sign on her door for inspiration. It reads: There are no rules except those you create, page by page. ‘On the desk of YA author LAURIE FARIA STOLARZ (che Blue is for Nightmares series) isa glass star A Rising Star award she received from the Germaine Lawrence, a treatment facility for girls with psychological, behavioral or earning challenges. “I had been volunteering there fora few ‘years, speaking to the girls about my books and my path to publication, stressing that perseverance is key. she says. “The award is given to women who effect positive change in the lives of young women. ‘The star reminds me of how grateful I am to be able 10 do what I do for work” stories are cautionary tales. If we writers ourselves aren't this foolish, certainly our characters are, They make very bad choices. They destroy things bly: their own lives, They act badly. wrong. They refuse to see the truth of them- selves and they pay for it. That is so ‘very Coyote. Thus he’ the univer- sal rep fiction: desi most nota- ‘They get everyth nntation of the engine of Coyote overlooks the desk where I write, Nothing I do would be the same without the trickster.” Janice Gable Bashman (aniceaable bbashman.com! is managing editor of the Intemational Thriller Writer’ The Big Thi JOIN THE CONVERSATION: What's on your desk? What inspirational items keep you writing? Share your totems on the discussion forum at} WheerDigesm 1 9 enkwell Faith-Based Freelancing Christian markets offer big readerships and big opportunities—and the best part is, anyone can write for them. Here's how to break in ay SCOTT NOBLE hie article was good. 1d been fairly confident it would be, but we editors never know for sure when working with a new contributor. I had a decent idea the writer didrit subscribe to the same religious beliefs—in this case, Christian—of most of my readers, but she had solid qualifications. Most important, her story idea was a great one, and she handled the resulting assignment professionally ‘This scenario playsitslf out regu larly across the vast world of Christian publishing, which includes thousands of publications that touch on nearly every aspect ofife and faith. With its diversity of markets, often boasting considerable readerships and broad spectrums of content (from nonfic- tion pieces to poetry and fiction}, the Christian niche presents a wonderful opportunity for writers. Yet some freelancers are intimi- dated about querying religious pub- lications. They fear they need to have strong beliefs that mirror those of the publication’ editors and readers in order to land an assignment and ‘write for the market successfully While certain Christian publica- tions do tend toward that end of the spectrum (those that do usually say so in their guidelines), most are open to good writing from writers oll sorts. Ultimately, if you've never seriously considered querying Christ lications, you could be miss 10 | WRITER'S DIGEST | July/August 2019, LIFE After Death + Heres what you should know about pitching these ripe markets: Deliver a well-written query that offers something novel and captivating. Publications with Christian focus are looking for solid stories that are unique, compel- ling, fresh. They are no different from any other publication in that respect. Absorbing story ideas can tramp other shortcomings, and good writ- ing can draw in even the most reluc- tant reader. Don't fake it. If you are a Christian, it doesn't hurt to note that in your pitch, But if you arentt versed in the language of that publication's specific religious subculture, dor't pretend you are, Attempting to sound “rel gious’ or speaking the language of certain Christian subcultures without completely understanding them will only reveal to the editor your unfa- miliary. What you do need, as with any other niche marke simply to have a basic understanding of the beliefs and goals embodied by the publication, and to write content that you feel will appeal to its readership (on some fundamental level Focus on positive, uplifting sto- ries. In both fiction and nos Christian publications are always looking for redemptive stories—sto- ries of people finding hope through difficult circumstances, or through a conversion experience. Ifyoutre not comiriable writing about the later, then embrace the former. Atits heart, tion, is about people finding mness and healing—and those are fairly universal human themes that can be written about ina variety of ways. Some of the best sto- ries for these publications are those about someone overcoming an addic~ tion, serious illness or other signifi- cant life challenge while drawing on her faith to pull her through. Avoid controversial topics ... especially if is your first time querying that market, or you're not intimately familiar with the publi cation’s specific religious position, When Christian publications tackle controversial topics, they're sensi tive to the way the coverage will be received by their readers, so they generally prefer to work with writ- ers with whom they have a history someone who has a proven track record. That can be you at some point, but it will take experience ‘with that publication’ editor(s). Be open to feedback ... oreven to going in an entirely different direc- tion with an article, Ifyou don't have alot of experience in this market but your story idea is good enough to catch an editor’ interest, it behooves you to carefully heed that editor's input in further shaping your angle up front to make it the best, most appropriate fit for his readers. Uhimately, these suggestions won't guarantee your query gets accepted, but they will help you hone your idea so your query stands out among the hundreds of others vying for the ed tor attention, And asa writer in any niche knows, that’ priceless thing Scott Noble is the editor of the Minnesota (Chistian Examiner and a freelance writer The Christian Marketplace Expand your search for new freelance ‘writing opportunities with these lead- ing publications in the Christian mar- ketplace. Fora more detailed overview ‘of each market, along with complete submission guidelines, visitwriters. digest.com/aua-13, —S.N, CHARISMA Primarily focused on the Pentecostal’ Charismatic movements, and seeking features, news and reviews, charismamag.com GUIDEPOSTS Monthiy interfaith publication that reaches millions of readers. intrested instories of how people deepened their faith or how God helped them through @ perticler struggle, guidenosis.com ‘THE CHRISTIAN CENTURY Publication that targets an educated readership with citical analysis of cur rent events and theological news related tothe church. Also accepts poetry ST. ANTHONY MESSENGER Catholic journal that looks for interviews and profiles of Catholic personalities, and also publishes postry and fiction. RELEVANT. Publication geared toward 20- and 20-sorethings and touching on top- ies related to spiritual depth as well as general culture news (including fashion, ‘trends, travel, etc), ‘elevantmagazine.com mms) 50K nO) meu: WRITING Go ynreremvalty NWN ISTore me vu my ee online writing community. =A ‘Since 71994, writers of books, short prose, and postry have been partnering vith Writer's Relief for submission management. We research, target, ‘tack, proofread, create coveriquery letiers, and more. Our targeting is sirtegic and personalized. Full Service cents by invitation only. See website for submission guidelines. We manage your submissions; you focus on your craft. Highly Recommended References = Testimonials WstesDigestam. 1 11 enkwell 5 Things Novelists Can Learn From Screenwriters Life of Pi Academy Award nominee David Magee shares his insights and tips. BY SCOTT ATKINSON avid Magee didn’t learn to write his Academy Award-nominated screenplays Finding Neverland and Life of Prin a classroom. He never cared much for screenwriting books or workshops, and what writing he did in his younger days—random scenes or sctipt ideas he scribbled in personal journals—he hardly showed anyone. In fact, he didn't learn to write from the movies at all. He learned by reading novels—and tearing them to pieces. Originally an aspiring actor, “Magee took a job reading audio- books to make ends meet, a job that required him to first read the full novels, and then their “horrible” abridgements. Despite his shyness with his writing, he couldnt help telling his producer what might have been the most important sen- tence of his career: “I could do better than this” He was given a shot—and over the next five yeats he abridged more than 80 novels for audio. “Treally learned the craft of focus- ing the writing on the dialogue, ‘what an actor could convey, turn- ing back stage and set descriptions to the bare minimum so we could get on with the story. These are all things that are incredible train- ing for someone who is looking to become screenwriter” He found himself learning to 12 | WRITER'S DIGEST | July/August 2019 bea screenwriter, yes, but more imporiant, he found himself learning to become a storyteller. ‘And it turns out there’ @ lot the screenwriter who got his start reading sto- ries—and stripping them to their essence—can give back to novelists 1. Your novel is prob- ably too long, After first abridging books and later adapting them for screen, Magee has come to the conclusion that most books could be “wonder- ful” at three-quarters their published length, “There are crafts- man where every word on the page counts,” Magee admits. “But a lot of books that I read, I see these set- ting descriptions going on forever and not contributing to a greater understanding of the characters or the story.” Magee learned to be “ruthles with his own writing by first being a ruthless abridger. So ifyou're hav- ing trouble killing your own dar- lings, you might do well to head 10 your local used bookstore and buy a thick, beat-up paperback. Then buy ared pen, 2. A story can be built in scones. Some novelists start on Page 1 and knock out a daily word count until they type “The End.” But if that doesn't work for you, don't worry. It doesn't work for Magee, either. He never starts on Page I of a screenplay. He begins with the basic theme and overall journey —what screenwriters, call the controlling idea —and lets it ‘come together, scene by scene—and not necessarily in order, He thinks: “What am I trying fo ‘write about? Am I trying to write about how lonely you can feel even among friends? Am I trying to write about the need to grow up, which vwas the theme of Finding Neverland? ‘Am I trying to write about how sto- ries help us get through life, which is Life of Pi? And then I try to orga- nize my storytelling around the development of that theme or idea, finding ways to tie the main charac- ter and other characters to that idea, “You have some ideas for scenes and you jot them down as quickly as possible, and start to imagine where they might fall into that. And then ‘gradually you start piecing together a collage of those things either on cards or with colored pencils, in a notebook or on a piece of paper, and you start figuring out what happens when” 3. Tension must drive every scene. Once you've got your scenes, each one must count. Ifthey don't have tension and arent moving the story forward or revealing character, they have to go. Movie audiences know: So do fiction readers “In terms of keeping the story going, its a matter of never allowing the tension to completely go out of the scene,” Magee says. “A character wants something, and in the course of a sequence of scenes they try to get it. They either succeed or they fail but at the end of that, all is not resolved. Bither they realize that was not what they ultimately needed, or itleads them to realize what they need next. They're still in peril in 4, Plot and character are not enemies. Some novelists shy away from—OK, despise—an emphasis on plot, focusing instead con character, For Magee, however, isnot a matter of character vs. plot, but rather how character ereates plot. “Plot and character are two sides of the same coin, A character behaves the way they behave, and their behavior makes the plot. You learn about character through ‘what they decide to do, and that creates the plot. So those two cre- ate the story. How do you do it? My analogy is always sleight of hand. A magician learns to focus an audi- ence’ attention on what he wants them to enjoy and focus on, and hhe' slipping in exposition under- neath while they're not looking. Look at the shiny coin over here, but ay no aitention to what I'm doing over here. But what I'm doing down hhere is setting up what's going to happen later” 5. You must bring dialogue to life. Ina screenplay, its essen- tial that dialogue ring true—and a novel should aspire to just as high a standard, While its common advice to read your dialogue aloud, Magee takes it to the next level— hhe performs it, and doesn't care who's watching. “Lhad a neighbor who made fun of me for walking around the backyard, waving my arms around and talking to myself, working out a scene.’ he says, “I do that all the time. “Because of the tradition T came from, and reading books on tape, I consider novels—just as much as screenplays, and just as much as plays—part of an oral tradition, 1 iknow there are writers whose work only lives on the page, or who are doing things that are not meant to be read aloud. That's not the kind of ‘writing that interests me. To me a really good book is something that can be told around a fireside” ‘Seott Atkinson ison arts and entertain ment writar forthe Flin Journal His fiction has appeared in Carve Magazine, MidAmerica and Snail Mail Review, and has been nominated for a Pusheart Prize, ‘WRITE ON THE SOUND Writers’ Conferenc Herero eA October 5-6, 2013 exenn crete rece) Keynote Speaker: Benjamin Percy Ae eee go te ESC eee ome aauny Manuscript Critique Writing Reception/Book Signing Onsite Bookshop Pane iia) ister Online July 22" www.writeonthesound.com WstesDigestm. 1 13 inkiwell PUBLISH YOUR BOOK Z és ‘ Professionally printed books In Memoriam Gy nerwork opie eb seis ete —— Hea B18 EIS bE Chinua Achebe Filan torent poet at of pe ame cn pape tips, networking and advice by following Writer's Digest Novels, Poetry, Memoirs, Manuals, History, Cookbooks, BY ROBERT LEE BREWER Nigerian Novelist (Things Fall Apart), critic and poet, 1930-2013 ae POETIC FORM: PANTOUM Journals and More! Q@writersdigest wntoum is a form native ay lan icial tongue “think every book I've done has tried to be differents this is what I set out to aerate oe roe Seen jaune beard aoa has Bling ye ‘so easy! do, because I believe in the complexity of the human story and that there's no ‘Deraiicies sl oe . ae ae InstantPublisher.com way you can tell that story in one way and say, This is it. Always there will be Gdigbdsorcr eee eae ccc accepts manuscri| someone who can tell it differently depending on where they are standing; the @chucksambuchino aio ths example by Pte Asides Hoppa cnet Welton all formats and same person telling the story will tell it differently. I think of that masquerade 7 - 8. custom designed in Igbo festivals that dances in the public arena, The Igbo people say, If you ‘And become covers, along many want to see it well, you must not stand in one place. The masquerade is mov “rises by Van Gogh" ‘stock covers to choose io . - GU from, all with prices ing through this big arena. Dancing, Ifyou're rooted to a spat, you miss alot eee a Ls Sea ee a eosmumataitteutewectaede uatiaes Even in madness, Beauty canbe found: — ‘the second and four anyone can afford “ites Gomtawdiicareecea =2=~OU~*~S*S aceaagk.con farlersd aes 2 Van Gogh found timasyum gardens. ‘ins over stanza starting at *$100 for 25 should be told—from many different perspectives vel sini "As 1d in The Paris Re 1998 From this, his masterpiece emerged, unbound: repeat inthe first and copies, or $1.00 each for TAS auoked in The Faris Rowen 4 anonodyne of blue purple pardons. <—@—— thi linesof the net 1000 copies. SPEAK, WRITE, PROMOTE BECOME A MOVER & SHAKER Nov 1-3, 2013 « New York City, NY. en a ee ea a Ch ae esis aun cus Workshops Directed by Hay House President/CEO Reid Tracy Featuring Marianne’ Led by Chery! Richardson, a #1 New York Times best-selling author who created a successful multimedia ci Van Gogh found it in asylum gardens, geely Influenced by Japanese woodblock art tn anodyne of blue-purple pardons <——~ and vibrancy-filed brushes touched his heart Traditional pantoum Infuorced by Japenese woodblock at, yf inescheme wid black outlines made expressive this flower stanzas, though some and vibrancy-flled brushes touched his heart, ee transporting him from his lonely tower. aan petition pattern, Black outlines made expressive this flower, Van Gogh's madness created such splendor, Transporting him from his lonely tower. reer. Cheryl offers an unprecedent- threed of hope, no matter how slender ee poenieeT ee. seller list and 4 books side view" into what it takes to Athread of hope, how stench sirele, its good form ~7 binding styles (inducing #ispotl id'a successful brand! to tepet the stand hardback paperbacs) a‘ Van Gogh's maciness created such splendor. fiieline o be ee Full control of your book ADDITIONAL CONTEST Sai ithe tangent ena ee Ne setup hedden fees PRIZES INCLUDE: A thread of hope, no matter how slender and fourth lines ofthe mS ‘+ One Workshop Participant will be selected to Host a weekly radio show on Hay House Radio for one month ‘Act On Your Dream Today ~ Register Early and Save! Call 1-800-654-5236 or visit www.hayhouse.com/events was hayhouse.com? peed es toy 14 | WRITER'S DIGEST | July/August 2013 i : From this, his masterpiece emerged, unbound. final stanz Robert Lee Brewer's the editor of Poot’ Marker, the former Poot Laureate ofthe Blogo: sphere, and the author ofthe forthcoming collection Solving the Work’ Problems. © INSPIRED TO GIVE IT A SHOT? Try your hand atthe pantoum, and thon share your work alongside other writers on the Poatie Aides blog: tinyurl.cam/Zniybex, Poss Bor Teg are eas ee os Cece a al WisteDigestam. 1 15 inkwell QUESTIONS & QUANDARIES BY BRIAN A. KLEMS w tus tsue: Literally vs. Figuratively I've been accused of misusing the word literally. Can you explain the correct usage? —M.M. If you watch the TV show “Parks & Recreation,’ you know the running joke that Rob Lowe’ character's favorite word is literally. He says it constantly—but he rarely uses it correctly. (“Pawnee is literally the greatest town in the country” he says, “There is literally nothing in this ‘world that you cannot do,” he ‘The definition of iteralyis, “in a literal sense; exact” So if you say something literally happened, by defi- nition you mean it actually happened. ‘Of course, when most people sa “Lliterally fell on the floor laughing they dont really mean that. Instead, they're using hyperbole, or exaggera- tion, to give emphasis to their point. ‘There’ a big contemporary argu- ment as to whether or not you can use literally as hyperbole, Stickers for grammar (and many editors) who don't believe in using erally when you mean figuratively will call out your grammatical misstep. But many professional writers have long used literally to emphasize points. For example, in The Adventures of Tom Sawyer, Mark Twain writes, “Tom was literally rolling in wealth? Its lear that Tom wasnt actually flop- ping around in a pile of coins. And if ‘Twain can do it, we can too... right? Maybe. Its usage is evolving, Some major resources, such as Merriam: Webster, now include a second defi- nition: “in effect virtually” So if you do use it for exaggeration, youre no Jonger incorrect by all accounts. But there will stil be folks who will liter ally wag their fingers at you for usi it figuratively. Brian A. Klems (utitersdigestcom ‘nlinaekita isthe online editor of WD, } HAVE A QUESTION? Postit inthe comments et writeradigestcom/ calinswedlor, or emel it tosuritersdigest® ‘umedia.cam with “O80" asthe subject line, Check VD (and Brians blog for ansivers Wrote a book bout rockets? Weill print it in 16 | WRITER'S DIGEST | July/August 2019, T minus hours. Tales From the Writing Li It’s a Wonderful Life BY FRED ROSEN co youever wonder why you became a writer? I do, every time my bank account falls below $100. Hook down at my worn loafers, listen to my daughter ask for one more designer blouse, and think. When Twas 9, my teacher gave the class an assignment to cor- respond with an author. librarian to whom I will forever be grateful recom- mended the book Sabre Pilot by Stephen W. Meader, After reading the story, about a Korean War fighter pilot, I wrote Meader (who the book said had become “a happy-go-lucky roofer”) a leer. He responded kindly ‘That got me going A few years later, I saw the film The Great Escape, about prisoners of war who escaped a Nazi camp. I went to the library and got the book it was based on.# Then I wrote the author, Paul Brickhill, whol been one of those POWs. I wanted to know what had happened to the Germans who had massacred the escapees, Brickhill, who lived in Australia, wrote back. Getting a letter from Australia was a big deal to a 12-year-old. By the time I was in college, my life had unraveled. I was depressed and con- templating suicide, I turned on the TV and began to watcha movie about a guy who figured he was a failure, and wanted to kill himself, too, As he stood ona bridge contemplating the a in to save him—and the film saved me. I went to the library again, this time for the autobiography The Name Above the Tile by Prank Capra, the films director, Ivwrote to him about what i a Wonderful Life® had done for me. Capra wrote back: “Your letter gave me an opportunity to see a young soul Looking for his place in the worl, just like George Bailey” When [later attended USC’ film school, I met Capra during a screening of that film. Later, we even became friends. By the 1980s, Td become a freelance journalist. One of my favorite novelists was Ross Thomas, who wrote thrillers with irony and humor. I set up an interview, and asked about his process, “I write for five hours a day, and then T'm through.” “What do you do then?" I asked. an angel jumped into the water below. The guy dove “What am T supposed to do, take a job?” he replied. “Writing five hours is like 10 hours of laying bricks” Less than a year later, Pd decided to becomes novelist So did my friend Bob, who suggested we go write in Mexico, ‘where it was cheap and there were no distractions. We made plans, but justas Pf ftt itt hung up the phone, it rang again. “Freddie, your father has My mother’s voice was breaking. I called Bob back and told him Mexico ‘was off. “What happened in the last five minutes?” he asked, stunned. While Bob went off io Mexico, I waited for my father to die. He did, nine months later, When someone gave me an opportunity to write true crime shortly afterward, Heft my dream of being a novelist behind. love true crime. And now, 'm that author—I get emails from readers, and reply personally to every one. Times have been tough, but keep going. And 25 published books later, m under contract for my first nove Itall comes back around. And every experience of a writers life shapes tomorrow's page. “You see, George, you've really had a wonderful the angel in Capra’s film, ‘And with that, now Ihave to go buy my daughter that new blouse. ® "said Clarence, Fred Rosen ja veteran true cime author With more than 20 books published. A former [New York Times columnist, he teaches fm at ‘tho Now York Institute of Technology © caterer suamissions: soo endef ht Mey aig anda with “Minute Memoir inthe subject fine WsteDigestm. | 97 BREAKINGIN Debut authors: How they did it, what they learned, and why you can do it, too. Amy Sue Nathan @ The Glass Wives r (women’s fiction, St Martin's Grif, May) DM nse ron'scom pelled to take in her ‘exchusband's young widow and baby, causing secrets to be revealed as she redefines the meaning of family." aires FROM: Near Chicago. BEFORE wives: [started blogging and writing articles in 2006, and began freelanc- ing for the Chicago Tribune. [Writing] short-form pieces left me wanting ‘more—to dig deeper than a few thou- sand words allowed, TIME FRAME: “The first words of what became The Glass Wives go back to 2007. For the firsttwo years, the novel was written in first person, One day I had a hunch that iT rewrote tin third person, the book would be more personal and. intimate. Iwas right. [I found out] it’s never too late to make big changes. ENTER THE AGENT: My agent is Jason Yarn of the Paradigm Agency, and we met through a Query Tracker {pitch] contest {in which Twon a 10-page manuscript critique). WHAT | LEARNED: Wiiters I knew were land- ing book deals and experiencing other things I was working toward, so T ‘made a decision to earn from them instead of begrudging them, Nlearned that another author’ success doestit infringeon mine. WHAT 1 ID RIGHT: know its cliché, but maintained a 18 | WRITERS DIGEST | July/August 2012 positive attitude (whenever possible) and kept writing through divorce,

    You might also like