Inside, Outside
by Anna Sheehan
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Success is a strange room to suddenly find yourself in. Having spent
all my life amidst the crocodile swamps on the front lawn of the
publishing industry mansion – or occasionally huddling, loose leaf
papers in hand on the front porch, waiting for the butler to let me
into the entry foyer – I got used to being an outcast. It’s a
well-worn path. The front porch is littered with the abandoned
manuscripts of those who came before and left unsatisfied. The swamp
is also littered with dire warning signs of those who never made it
to the porch: "Impossible," "Commercial sellouts," and (my personal
favorite), "A waste of time."
But, those who dodge the crocodiles and the nay-sayers, who
patiently wait out the interminable time between Query and
Acceptance, doggedly beginning the journey again when the answer,
inevitably, is "no," will eventually find that front door opened.
The inhabitants of the mansion will peep out the window and see you
patiently waiting. Perhaps, as in my case, they’ll realize, "I’ve
seen her out there before, haven’t I?" You’ll catch an agent’s eye,
or an editor’s heart, and suddenly there you will be, in the foyer,
awaiting further discovery.
And then your path changes. Beginning again isn’t such an arduous
journey. You have a friend in that mansion, and your agent or editor
has shown you the back door, where there are no crocodiles, and you
don’t have to wait for the butler to let you in.
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The Best Way to (Possibly) Be Wrong: The Art of Prognostication
by Jennifer Paros
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Several years ago, a friend of mine had lost a substantial amount of
weight and a mutual friend asked if I thought she would be able to
keep it off. I said, “ Oh yeah – sure!”
I remembered this exchange recently and realized I’d been wrong.
That person had gone on to regain the weight. But although I was
clearly wrong, there wasn’t any other answer I would have
preferred giving, and certainly not the one that would have made me
right. I had been asked to give my prognosis, but a prognosis is
ultimately just a guess. So I guessed in favor of the best change.
Diagnosis is when we’re told What We Have, basically another
way of saying Where We Are Right Now. Prognosis is when we’re
told What Might Happen – basically another way of saying
Where We Might Go Next. People tend to be enamored with
prognosis; it grows from our discomfort with the unknown. But it’s
easy to see the weakness in prognosticating, for there are more
variations of possibilities than there are people on the planet. To
feel empowered, it’s necessary to get grounded in where we want
to go rather than fixated on an idea of where we could end up. more... |
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Book Reviews
Editor's Pick
A Brewing Storm
reviewed by Jeff Ayers
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Fans of the Castle TV series know that the author Richard Castle
wrote a series of novels starring Derrick Storm prior to writing
about Nikki Heat. The last Storm book killed off his main
character. With the release of the first e-book short A Brewing
Storm, the reader quickly learns he faked his death.
Enjoying retirement, he’s called back to the CIA by his old boss.
Under an assumed name so Storm can technically stay dead, he’s given
an assignment that at first seems routine. A powerful senator’s son
has been kidnapped, and strangely two different sets of ransom notes
appear. Storm has to fight the FBI, the CIA, and the senator to get
answers. Everyone seems to have secrets.
The author ghostwriting for Richard Castle has the formula down
cold. The narrative teeters between pulp parody and classic mystery
without going over the top. more... |
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Getting Hooked Before You Throw in a Line
by Erin Brown
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There are a few things that a writer
must decide upon before embarking on the journey that I like to call
“Writing a Novel.” Okay, most everyone else calls it that too, but I
just wanted to sound high and mighty for a brief moment (at least
I’m honest). As an editor, I give countless recommendations to
writers during the revision process—work on your character arc,
tighten the plot, delete this scene, make every line of dialogue
count, kill the hero, don’t use 34-point font, make your historical
novel longer than 30,000 words, etc. You know, the usual. But there
are some issues that you should really decide upon before you ever
put pen to paper—or fingers to keys. There are three things that I
believe you must establish from the get-go in order to create a
novel that is unique, has a chance to sell, and won’t entail going
through every single line one by one after the fact in order to make
minute changes (and please note this is my opinion, so feel free to
think of your own things and curse my name while feeling superior:
“Duh, she didn’t even think of that one, stupid editor.” Of course,
that’s not very nice, but I digress).
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