Making Eye Contact

I survived the hottest recorded day in Phoenix—122 degrees, June of 1990.

Slogan tee-shirts celebrated our feat of endurance and brought camaraderie to Phoenicians. Strangers on the street—If we were crazy enough to be outside that particular June—shook heads and bonded without muttering a word. Normally in metropolitan Phoenix, people don’t make eye contact with strangers. But survivors bond.

 On writing island, the heat’s rising and the competition’s growing.

Passivity kills. We must seize all survival tools to inhabit, flourish, and keep our cool. There’s a handy item in the writer’s backpack that can catch the eye of tribal leaders.

A Killer Book Proposal!

I hear your groans. I groaned when the mercury hit 122.

But book proposals create eye contact with your agent or editor.

If you need a format, here’s a simplified version of the one from my backpack.

Title Page  – Title, author’s name, and literary agent’s contact information.

Proposal Overview  – This vital area creates initial eye contact. It’s the premise for a book or series. Be precise. 1-2 sentences for each book.

Synopsis – Deepen interest. About three pages of story summary (My most recent included a twist and a takeaway) After that, do a ¾ page synopsis for each sequel. Note how the books tie together. (For nonfiction proposals, this area contains chapter outline and short summaries)

Manuscript Details – Word count and date when the finished manuscripts can be available (First time authors need to have the manuscript completed)

Author’s Uniqueness – One page. Includes education, credentials, awards, and personal experiences which relate to your book, your writing style as compared to others, and genre. If you’re published, bring in quotes and snippets of reviews to describe your writing.

Marketing – Bullet style, brainstorm what will sell the book. If you write romance, are there some romantic elements that will appeal to readers? Mention them. Tell what you’re already doing to promote your platform or books. Explain what you’re willing to do. List your website and blog links. Talk about your social media outreach. List memberships and organizations.

Affinity Groups – Research what specific groups of people will read your book. If you have previous works, this is easier. You can even use Facebook or website tracking to pinpoint the age of followers. Being specific helps editors promote your idea to an acquisitions committee.

Books Under Contract (or) Previous Works– Before I had books published, I listed magazine articles and plays. In my last proposal, I only listed a series under contract because it gave a fresh representation of my readership. Include sales in units and earnings. You can get this from your agent or royalty statements.

Author Bio – Mine is about 1/2 page, with professional credentials and some personal information.

First Three ChaptersThese significant chapters allow your person of interest to look deep into your writing soul. Shine and represent your style.

On each page, a header contains the book’s title and author’s name. Single space the proposal and use 1½ spacing for sample chapters and between headings. My numbered pages usually run about 35 pages total, including sample chapters. Also, write a short summary, about 1-3 paragraphs, to accompany the cover letter or your agent’s email to publishers.

To survive writers’ island, proposals can’t be rushed. Make the most of the opportunity to create eye-contact. My format contains years of personal tweaking, but you’ll want to embellish whatever format you use with your own creativity and style.

Unlike television’s Survivor cast, the Watercooler’s a safe place for interaction.

What’s your spin on book proposals?

And just for fun . . . what’s the temp at your place?

WordServe News: July 2012

Exciting things have been happening at WordServe Literary!

On the final post of each month you’ll find a list of Water Cooler contributors’ books releasing in the upcoming month along with a recap of WordServe client news from the current month.

New Releases

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Something Blue by Dianne Christner

Publisher: Barbour

Agent: Greg Johnson

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One Big Thing by Phil Cooke

Publisher: Thomas Nelson

Agent: Rachelle Gardner

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Serving God and Country by Lyle Dorsett

Publisher:  Berkley Caliber

Agent: Greg Johnson

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The Well-Lived Laugh by Rachel St. John-Gilbert

Publisher: Barbour

Agent: Greg Johnson

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Son of a Gun by Anne de Graaf

Publisher: Eerdmans

Agent: Greg Johnson

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A Bride Opens Shop in El Dorado, California by Keli Gywn

Publisher: Barbour

Agent: Rachelle Gardner

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Shrewd by Rick Lawrence

Publisher: David C. Cook

Agent: Greg Johnson

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Desperate for Hope by Bruce W. Martin

Publisher: Revell

Agent: Rachelle Gardner

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The Soul Saver by Dineen Miller

Publisher: Barbour

Agent: Rachelle Gardner

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The Art of Neighboring by Jay Pathak and Dave Runyon

Publisher: Baker Books

Agent: Greg Johnson

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Central Park Rendezvous by Marylu Tyndall and others

Publisher: Barbour

Agent: Greg Johnson

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DawnSinger by Janalyn Voigt

Publsiher: Harbourlight Books

Agent: Barbara Scott

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New WordServe Clients

Dave and Claudia Arp and Peter and Heather Larson. The Arps started “Marriage Alive” 25 years ago. Now the Larsons are transitioning into leadershp roles for their ministry to marriages.

Dr. Dave Stoop, a longtime Greg Johnson client when he was at Alive, has rejoined Greg at WordServe.

New Contracts

Marcus Brotherton to collaborate on Austin pastor Matt Carter and NFL quarterback Colt McCoy’s book on BIBLICAL MANHOOD, to be publsihed by WaterBrook Press.

Leigh Ann Bryant sold her book, IN MY DEFENSE. It’s the true story of a life of shame and abuse with a husband she finally had to kill in self defense to protect herself and her small son. Soon after, she came to faith and has built a life as a pastor’s wife and a minister to those in prison (though she served no prison time). Our first sale to the new publisher Authentic Publishers. (Agent: Greg Johnson)

Roberta Kells Dorr was a Christian novelist who wrote biblical fiction in the 70s and 80s. Though she died several years ago, her family and estate wanted the books back in print, especially as e-books. We were able to do a 5-book deal with Moody Publishers for an unpublished work of biblical fiction and four previously published and out of print books. (Agent: Greg Johnson)

Ken Gire to collaborate on Chrissy Cymbola Toledo’s memoir of her prodigal life. Published by Tyndale House Publishers. (Agent: Greg Johnson)

Caesar Kalinowski, pastor and thought leader in the missional movement for the Soma Communities network of churches, a book with a working title of TRANSFORMED. A new way of seeing who we are in Christ and what a foundational difference that makes as we attempt to represent Jesus well to our network of friends.  Sold to Zondervan Publishers. (Agent: Greg Johnson)

Amy Sorrells debut novel CANARY SONG and another untitled work to David C. Cook Publishers. Synopsis: Tucked into the groves of a pecan plantation near the coast of Mobile Bay, secrets deep within the Harlan family simmer until they boil over one long, languishing summer. Will Anna Pearl Harlan, her family and friends seek hope in the midst of unbearable pain, or allow it to destroy their lives? Inspired by Tamar in 2 Samuel 13, Canary Song combines one girl’s coming-of-age with another woman’s redemption to show how God heals the hearts of the broken, and how crooked branches can one day provide the best shade. (Agent: Barbara Scott)

Shellie Tomlinson, our All Things Southern Belle (www.allthingsouthern.com), sold to WaterBrook Press, LORD, I WANT TO LOVE YOU MORE, a book for those who have ever wondered how to get from “belief” to “passion.” (Agent: Greg Johnson)

What We’re Celebrating

Jan Drexler‘s Amish novel slated for publication by Harlequin’s Love Inspired line (titled  Love Bears All Things) placed second in the Inspirational category of the The Fool for Love contest sponsored by the Virginia Romance Writers. 

Bestsellers

Rebecca Alonzo’s book The Devil in Pew 7 reappeared on the New York Times Bestseller lists after her episode on Dr. Phil re-aired:

#4 – Primary e-book best seller list

#14 – Primary combined print & e-book list

#26 – Extended paperback non-fiction list

Karen Witemeyer’s book Short Straw Bride made it two months in a row on the list, moving up from #13 (July) to #10 (August).

Mike Yorkey’s book Playing With Purpose: Tim Tebow (Barbour) debuted #32 on the ECPA Top-50 list for July (May release). (Sorry we missed this last month, Mike.)

Carol Award Finalists

Though these authors are no longer with WordServe, we’re so very proud of their accomplishments and their books that were contracted under the WordServe banner. Rachelle, of course, had a great eye for good writers and good stories, so the kudos goes to her, as well.

Roslyn Elliot is a finalist both for “Debut Novel” and “Long Historical” for her book Fairer Than Morning. (Thomas Nelson)

Lisa Jordan is a finalist for “Short Contemporary” for her book Lakeside Reunion. (Love Inspired)

Erica Vetsch is a finalist for “Short Historical” for her book Light to My Path. (Heartsong Presents)

Karen Witemeyer is a finalist for “Long Historical Romance” for her book To Win Her Heart. (Bethany)

What writing celebrations do you have?

Small Pond, Big Splash

Make a Splash!

On my recent mini book tour, I discovered how easy it is to create major buzz in a small geographical pocket.  Since Phoenix has 1 ½ million residents, I haven’t made much of a local splash for all my marketing efforts. Call me a city girl, but you can imagine how thrilled I was to create major splash in several small communities?

I chose a small Ohio town (the setting of my novel) and an Indiana Mennonite community because my characters are, yes, Mennonite. In twelve short days, I connected with hundreds of people who started a local buzz about my books. I did my part, and the rest just happened.

Imagine hundreds of rocks simultaneously tossed into water. The ripples intersect and make a major splash. The same disturbance would go unnoticed in the ocean, but is visible in a pond.

Helpful Tips for a Mini Book Tour

Establish a relationship with local influencers. They work hard on your behalf. Influencers booked my speaking engagement, organized book signings, and blogged and promoted my events. They placed newspaper notifications for me. See what I mean about easy?

Keep costs down. If you need to buy books, don’t over purchase (like I did) unless you wish to haul them around. I left unsold books with influencers. I did cover half of my expenses, and I’m sure I can do better next time.

Book at least one paid speaking event. My event had 200 + guests. I sold 40 books and gave free handouts with my contact information. It was a bonus when a newspaper reporter covered the event.

Take a guestbook to your events. I didn’t, but I will next time! A guestbook would provide a relaxing way to get name spellings, information, and jot notes for later—all while making pleasant conversation with readers. I frantically jotted notes that got shoved into my purse. Not very professional.

Attend local events, even if it’s not your event. When a book tour is the reason for your visit to a community, the topic naturally accompanies personal introductions.

Giveaways. Offering free bookmarks opens conversations with people who wouldn’t otherwise make eye contact. Book giveaways are both promo and ministry. Trust God with your offerings.

Get prayer support. I would have remained fearful and frazzled without my prayer support team. Thanks guys!

Take your vitamins. Even good stress is hard on the immune system, and I ended up going to Urgent Care two days upon my return. (Probably because I was an introvert on overload)

Benefits and Blessings

          Meeting local authors

          Opportunity to sign shelved books in local bookstores and gift shops.

–          Networking – (Got featured in summer reading group. They approached me!)

–          Media/newspaper coverage

          Unexpected opportunities – Books placed in church and school libraries

          Purchasing items for future promo.  Of course I bought a handcrafted Amish doll.

          Photographing opportunities for website, blog, and promo use

–          Research for blogging topics

          Gleaning new information about the book industry

–          Ministry – planting spiritual seeds and encouraging readers

–          Personal growth

 

Who are your influencers? Are you building relationships with them? Do you implement the small pond, big splash method for marketing your books?

Creating Characters with Personality

My characters didn’t always have personality.

In blind date jokes, the matchmaker skirts around the topic of a candidate’s looks and plays up their wonderful personality.  It was the reverse situation for my characters.  According to an editor, they had the looks, even the quirks, but no personality.  I was mortified to discover I had cardboard characters. I didn’t understand how it could be possible when I had developed a character notebook filled with descriptions, pictures, and imaginary back story.

I might have stayed in denial if my editor hadn’t challenged me to study personality typologies.

I quickly discovered by using type theories that someone else had already done all the work. I didn’t have to dream up any more character bios or answer a hundred silly questions about what my characters would do in various situations. I dreaded those kinds of exercises.  But I loved research. In a sense, this was researching my characters. All I had to do was find a key piece, and all the other pieces fell into place. I didn’t have to force myself to do something I didn’t enjoy. I found the process fascinating.

Now all my major characters have designated personalities which drive their actions and dialogue, and create tension and plot. I use a popular personality typology called the Enneagram. If you’re interested, personality TYPE helps are as easy as Googling personality typology.

First I look at my story premise to see what will be expected of my heroine. Then I examine the Enneagram chart’s short summaries to see which type will allow her to perform what’s required for the story. After reading more about her type, it’s easy to match her personality or purposely clash her personality with other characters by setting all their personality types. Some typologies even recommend matches, especially in the love and occupation departments. Back story practically writes itself because there’s also a section devoted to childhood.

Once you set a character’s personality TYPE, the story unfolds in a more believable way. That doesn’t make it predictable. It deepens it.

During writing when things aren’t clicking like they should, we often tear into our plots. But uncooperative characters may actually be the culprits. Before they can enhance the story, they must be equipped with personalities that will move the plot forward.

A roller coaster slowly climbs to its peak. In the same way, a story builds toward its climax. Imagine what would happen if the occupants of the roller coaster jumped out, swung from the scaffolding or pushed the coaster off its track.  It might be perversely entertaining at first, but the ride would be ruined. Readers expect characters to stay on track, so the story’s climax is thrilling and fulfilling.

I use the Enneagram at the beginning, when the story gets in trouble, and before I start edits.

While personality typology works for me, it’s not the only way to get the job done. What method do you use?  Just for fun, do you know your personality type?

The Standalone and the Series

Which is better, a standalone novel or a series?

This is a complex question, given each writing career is unique; but here’s what I’ve learned:

Sequel plots evolve naturally.

Most often while writing a novel, an author gets ideas that can spin into sequels. Sometimes minor characters beg for their own stories. Such inspiration is useful in layering the plot of a standalone or planting leads into the first novel of a series.

Most publishers want sequels written six months apart.

This means a solid eighteen months or more of the author’s time is contracted. With so many unknowns for a writer, this brings a sense of security. Since the advance represents the entire series, the extra money is valuable upfront for marketing purposes.

Usually less research is needed for a series than subsequent standalone novels, which gives the author extra writing time. With successive deadlines, he is forced to write consistently which also hones his skills and productivity.

Series are popular with publishers unless

the first book doesn’t sell.

If the first book doesn’t sell, it makes the sequels harder to sell. By the time the author discovers what went wrong, he’s probably already into the third book of the series and finds the publisher less willing to spend marketing dollars on the sequels.

For newbies, a series leaves little time for conditioning;

you hit the ground running.

The character roster quickly snowballs, yet needs to be worked into the ongoing series. Since each book also stands alone, there is back-story to incorporate. It takes skill to tie it all together. Maintaining consistency makes record keeping imperative from character charts to research files. There’s a struggle against boredom, and if the author gets bored the reader will too.

Deadlines threaten quality and marketing time.

It’s difficult to write quality work with tighter deadlines and also find time to market the first story which is the most important story for the success of the series. Usually the first story is quite detailed in the original book proposal. But one of the sequels may need major time-consuming revisions once the editor sees that story evolving.

Why not write a standalone with a series option?

While it sounds like the perfect solution, it’s always harder to go down a path when you don’t know where it’s leading.  It’s not impossible, but it makes writing the book proposal and novel trickier.

My personal experience – writing a series is like running.

At the beginning, I was excited and fresh. The middle book was written under the most duress. I was struggling uphill because of the increasing time crunch, revisions, and unexpected personal obligations. But the final book was like getting my second wind. It was exhilarating. With writing muscles in peak condition, it was the easiest and most enjoyable to produce. And just beyond beckoned refreshment and reward.

What about you? Are you a sprinter or a marathon runner?

After the Glitter, Get Inspired

When the glitter settles, I often discover that my creativity has gravitated from the work place to family, friends, and holiday festivities. In other words, it goes into play mode. Christmas can leave me feeling unmotivated to return to the hard task of writing. When this happens, a pep talk is in order to remind the creative side of my brain that it loves writing.  I find it helpful to think about a time when I was able to produce and convince myself that I’m capable of doing so again. I try to focus on the positive and not entertain negative thoughts or lingering distractions so that I can prepare the way for my inner writer to quicken.

I know that I must allow the left side of my brain (the logical or analytical side) to provide a safe uncluttered place for my creative right side to emerge.

In other words, I clean up the glitter. For me, it’s getting my hair done, putting away the Christmas decorations, and cleaning off my desk and workspace. I organize my desk and schedule and make necessary adjustments to reincorporate my writing time. I order a calendar for the upcoming year. I often need to re-prioritize my writing goals and ask, “What is my next step? What day and time will I begin?” I allow my left side to formulate a plan for my inner writer, rather like one friend spurring another to do something great.

With the glitter removed, I coax my right side to get back to my fiction writing.

 I stoke the dim flickering desire by intentionally doing things that heat up the inspiration. I may read a book on writing, go to a writing blog, or connect with another writer. I dig out the inspirational quotes. If I’m lazy, I may read a novel or two. I think about my readers.

When my motivation intensifies, I know it’s time to get started.

Even if it doesn’t, when the designated appointment time arrives, I sit at my desk. It feels familiar like I’m coming home again. I begin by reading what I last wrote or looking over my plot outline.  When my creative mind knows I mean business, it will emerge–sometimes slow and sulky and other times eager and crashing through the gates. My lips quirk into a smile and my fingers glide over the keyboard. It may feel rusty, but I know this isn’t the time for me to worry about perfection, but just be thankful that I’m writing again.

How do you go from glitter to inspired?

 

Four Ways to Engage Fiction Readers

 

From listening to my readers and following book reviews, four key topics repeatedly surface. While they’re not new ideas, they contain basic value in creating fictional worlds.

Readers wish to be swept away from their normal reality.

If readers wish to be swept away from their normal reality, our fiction has to contain something compelling or unique. This element must be intentional, not just something we hope for in our writing. And it should be identifiable. It can be an unusual setting or a fresh plot idea. Or how about an uplifting theme or a unique friendship? In order to offer something fresh yet appealing, I find it helpful to identify my readers and understand my genre.

Not only that, once we’ve swept readers off their feet, we must protect their experience by keeping them airborne—in their fictional world. They trust us not to let them come crashing back to earth without warning. Good writing remains invisible while creating a safety-net of lasting and vivid impressions. In other words, we must be careful not to do anything to draw them out of the story and ruin their fictional experience.

Readers need their emotions engaged and gratified.

 In order to engage and gratify readers’ emotions, we must create fascinating characters with whom they can identify—because they are looking for an emotional connection with the story. Our stories, and especially our endings, must not leave them up in the air, but provide emotional satisfaction and resolution. Again, we target the emotions associated with our genre. Suspense readers are looking for the adrenalin rush. They enjoy a short fall as long as they land safely in the end. Romance readers need to set their feet back on earth with a contented sigh.

Readers expect a takeaway.

 Readers also expect a story takeaway. When they have to come back to reality, they want something to take with them to enrich their everyday lives. It can be a spiritual theme that gives them hope in the real world. For a mystery, it might be an unexpected and intriguing twist. In women’s fiction, it might be a distinct image that provokes further thought or action—such as a family that solves their problems around the dinner table. While we foremost entertain, it’s this lingering takeaway that lives on inside our readers’ minds and excites them to spread the word about our stories. It compels them to follow our works.

Readers want to know more about authors.

Readers want to connect with us. It’s humbly amazing, and it’s the source of our greatest blessings. There’s something very intimate in the breath of story, the giving and taking that goes into the entire fictional experience. As authors, we’re sensitive beings who delight in the wonder and fear of it. And so we gladly leave our signature—a link for readers to interact with us or find out more about our writing.

What else? What do readers want from fiction?