Reviews: The Good, The Bad and The Ugly

An inevitable part of writing a book is getting reviews. And part of being a writer is learning how to not to take them personally. Sure, the reviews that compare you to your favorite author or director are wonderful, or the people who say this book changed their life and gave them all the feelings make you feel empowered as you sit down to write the next one, but inevitably there will be bad reviews too.

The reality is: everybody is not going to like your book.

It's important to keep perspective that reviews are merely opinions, and everyone is entitled to one. No two people are going to interpret your work in exactly the same way. Some may embrace the story as just what they needed at the right time while others may dismiss it because they didn't connect to the story at all. Some may wish they were best friends with your main character and wish they knew him in high school, while others may perceive him as exactly the kind of person they would have hated in high school. Because that's high school. And reviews are a lot like being back in high school again.

You put yourself out there, vulnerable and naked, and people judge it. But loudly, and on the Internet, which is forever. Everyone can see and hear their thoughts about your work, and it may influence some readers to discover the book and read it and others to reject it without ever opening the pages and finding out for themselves what is inside.

Despite that the good reviews may far outweigh the bad, it's hard not to focus on the negatives like a big fat red zit. Because let's face it, negative words hurt. You can't stop someone from posting them, but you can only hope, just as in life, that they consider the purpose of their words and if they are truly helpful. If a book is not your cup of tea, it is perfectly acceptable to say why it did not work for you, but it's the way you put it out into the world that counts.

Remember that a book is someone's creative work, and they have spent years pouring their heart and soul into it. Be kind. I personally opt for being of the school of if you can't say something nice, don't say anything at all, and I will simply not leave a review for the book. If people want to know my opinion because it is of value to them, I am happy to share it privately. But to take to the Internet and be openly negative for the sake of simply being a hater or tearing something down does not seem to hold real use to me, and I would hope that potential readers can see that as well.

One of the things I love about my editor, Annette Pollert-Morgan, is that when we were doing line edits, she would sprinkle little love notes about places where things were totally working for her and lines that she adored. It made all the difference when faced with a manuscript filled with things that needed to be changed or enhanced or weren't working in their current state. I find the negative reviews that are the most helpful are the ones that also call out what the writer did well, and explained WHY something didn't work for them. It's empty to just say I hated this character or the plot was unrealistic. WHAT made you dislike the character? WHY was the plot not realistic to you? And equally frustrating is when someone says something is missing from the book that is, in fact, right there. But you can't engage. If you're smart, you won't anyway, because this is simply the nature of the beast.

And the best thing you can do? STOP READING REVIEWS. Especially while you are trying to write the next book. If you want to have a sense of what people are saying, find a trusted friend or family member and have them filter them for you and share with you the positive ones.

Instead, turn your focus to the next book and let your writing mojo be buoyed by the positive reviews, the people that are anxiously awaiting reading the next thing you write. THIS is who you write for.

Happy writing!

Finding the Story Only You Can Tell

I just returned from an amazing weekend at the SCBWI LA International conference, and spent three days surrounded by amazing writers, editors, illustrators and agents. I soaked up knowledge from some of the top people in the industry and met countless new faces, ever-expanding the circle of people in my life who help keep my momentum going. Though there were many wonderful panelists and breakout sessions, there were two main things I walked away from this experience with that I will think about the most: Write for the teenage you, the kind of stories that would have satisfied YOU when you were the age you are writing for, not just the reader. (Courtesy of Tony DiTerlizzi, author of The Spiderwick Chronicles) And courtesy of Ruta Sepetys (Between Shades of Gray), find the story within you that only YOU can tell.

The latter piece of advice really stuck with me all weekend. There are plenty of stories in my head, but really, pieces of them all belong to other people too. How can we not help but be inspired by other great existing works of literature, wonderful movies and television shows? The ones that resonate stay with us forever and unconsciously tend to influence the work that we write even though we are not intending to duplicate nor plagiarize. But what is truly original anymore? However, there is one story that is completely original: your story.

Think about the different events of your life. The moments that shaped you, nearly broke you and brought you to your knees, the secrets in your family history, the skeletons in your very own closet. They exist for all of us, and when we dig deep and find them, we realize that no one else can possibly tell this story the same way because it is ours.

For me, I grew up on movie sets. My father was a producer and a studio executive, and I loathed being pulled out of school to go on location. I started drinking black coffee at age 5 just to keep warm on night shoots, I traveled all over the world first class and one of my fondest childhood memories is sitting with Dudley Moore at the piano bar at the Parker Meridien Hotel in New York City on one of my Dad's shoots. Gene Wilder and I were friends and penpals and he used to babysit me. This, and so much more, were my normal. And I never appreciated it. I just felt awkward, out of sync, disconnected from my peers. And then I realized: THIS is my story. So there's a sneak peek at what I will be diving into this fall - trying to find a voice for my story, and hoping readers will connect to and be interested in a character with an unconventional life. Because teenage Robin would desperately have loved to have read about that girl.

Pushing It To The Finish Line Turtle-Style

June 6th looms on the horizon like a D-day of sorts in my house. Though it means that I will have my kids home for the summer and we have all sorts of wonderful things to look forward to, it also means the end of my quiet, uninterrupted writing time as I know it until late August. I'm almost done with the first draft of my new novel, and the fear of not finishing it before they are omnipresent has really put a fire under me, so I created a series of goals for myself that felt realistic.

THE SELF-IMPOSED DEADLINE
I created an imaginary self-imposed deadline of June 6th to bang out this first draft in it's entirety. Trying to meet that goal, though incredibly daunting, has helped me stay focused and push everything I can to the bank burner (including housework! Sorry family!) so that I can get the words on the page. I have given myself permission to just write, even if it's not perfect, and not worry about correcting ANYTHING at this point. Instead, I keep a pad handy and make little notes to myself so that when I revise later, I can target areas I know from the get-go I will need to address. Writing without the pressure of having that first draft be perfect takes off a HUGE amount of stress, because I have promised myself no one will read this until I have given it at least one revision pass, no matter how anxious I may be to get some feedback. The self-imposed deadline has given birth to an average writing day of anywhere from 8-12 pages, which is great, and also means that if I keep this up, I should meet my goal.

NOT RUSHING REVISIONS
Next, I have given myself the entire summer to tackle revisions. I don't want to rush the process in any way and send my agent something crap, nor waste my crit partners' time by sending them something to read before I think it's truly ready. My mother may be willing to read umpteen drafts of my novels, but realistically, I can't expect everyone else to. Not without a large denomination Starbucks gift card involved at least.

LEARNING FROM MY MISTAKES
I have tried to absorb all I have learned from the process of writing the first one and not fight it. Check grammar, punctuation and verb tenses. Then check them again. Make sure every piece of dialogue and every scene furthers the story along in some way or chuck it, no matter how beautifully written. I saw a great suggestion on a blog this week that said to create a folder called "Darlings", as in "Killing Your Darlings", and cut and paste all the beautifully written chopped passages of your work that were painful to let go of and keep them here. Maybe they will serve a purpose in something you write in the future.

APPLY THE "SAVE THE CAT" FORMULA TO HELP TIGHTEN MY STORY AND FIND THE HOLES
Next, plug my story into the Save The Cat formula and make sure it works and hits all the essential marks. I followed it loosely in the original writing, because it gave me more of a general guideline, but it will really serve as a fantastic tool to help make for a tight revision. If you are not using this method or don't know what it is, you should totally check it out. Truly, if your story doesn't have all the elements described, it helps you hone your focus on how to fix it. Great stuff.

EXERCISE PATIENCE (IT'S A VIRTUE!)
When we finish typing "The End," if you're anything like me, you can't wait to get your book in front of readers and hope that they will come back saying you're written something epic that needs minimal changes. I have learned this is completely unrealistic, and have learned not to feel disappointed and overwhelmed by this in earlier drafts. That's why it's called a "first draft." Maybe one day I'll possess the skill to knock it out perfectly in one shot, but I have yet to meet a writer who does, so I give myself permission for that first draft to suck and to temper my patience by giving myself a little space and then reapproach it. At the end of the day, I know what I want the story to say, so until it's ready and I feel like all the holes are plugged and I am completely confident about what I've written, I will not jump the gun.

TAKE AS LONG AS NEEDED TO PERFECT THE LOGLINE AND PITCH
Last but not least, don't shortchange my pitch and figuring out how to articulate a great hook for my logline. This is ultimately what will spark the interest of agents and editors so if it's not the best it can be, you may be shortchanging yourself an opportunity to get your work read. I am allowing myself as much time as needed for this piece because it's so very important. My pitch for my first novel went through many incarnations until it reached its present form because either it gave too much away or was too vague or didn't have anything to hook the reader in and make them feel like this might be a story that they haven't seen before even though the theme might be familiar.

For those of you writers in the same boat as me in the coming weeks, enjoy the last of the silence, and then enjoy the time with your kids! That's a gift not to be missed as well! Your story will still be waiting for you when you can get back to it and any time away from it will only give you the benefit of fresh eyes! Good luck!

Predicting the Trends in YA for 2012

The blogs are abuzz with chatter post-Bologna 2012 Children's Book Fair from agents and editors alike talking about what the upcoming trends in YA will be. The truth is, it almost seems like it's anyone's guess, which is refreshing, and feels like it evens out the playing field for all. Perhaps there is a sense that today's YA readers are diverse, and not necessarily just young adults, but like young adults, their interests can vary and change. One minute they may want a good sci-fi novel and the next, curl up with a good mystery, and then get swept up in a good romance. Good news all.

If you watch the listings on Publisher's Marketplace as of late, there seems to be a plethora of books still being bought in the paranormal, dystopian and fantasy realms. However, buzz suggests that psychological thrillers and even science fiction are of particular interest, as stated in informative articles like this one from Publisher's Weekly Online. According to William Roberts, who handles foreign rights for The Gernert Company, dystopian has become "the d-word" and paranormal "the p-word." And agent Sarah Davies tweeted from Bologna that people want melty - as in make you melt into a puddle of goo - romances. Great news for people like me who write contemporary humorous romantic YA! Is the door at last cracking open with an interest to revisit this timeless genre??

Agent Kristin Nelson blogged today on her blog "Pub Rants" that she also didn't know what the next trend was, but she heard lots of people on the plane ride over that the next hot trend could be geeks in young adult fiction, which, of course, would be amazing. I mean, hello? My book is called BAND GEEK? Does it get geekier than that? And there's romance! Did I mention the romance?

On the other side of the fence, as an avid reader and lover of YA, I am excited that my reading choices will be broader. And as a writer, it reinforces in me more than ever the importance of writing what I love to read, because trends constantly change, and eventually what I write may have it's moment to be the flavor-of-the-month. Because I write contemporary romantic YA, it's timeless, and there are always teenagers looking to swoon and fall in love, even if it does not involve vampires, werewolves or zombies.

There's never been a more exciting time to write young adult. Even best-selling adult novelists like Phillippa Gregory and Jodi Picoult, to name a few, are diving in, according to USA Today.

So don't give up because you're feeling discouraged that what you write isn't what is "in demand." Right now, everything is wide open, and what is selling, at the end of the day, is quality writing. The stories that make you curl your toes, stay up late and keep turning the pages. A solid story with memorable characters, a strong voice, and a unique take on events stands out regardless of genre. Remember who you are writing for - yourself and your audience - NOT agents and editors. Write the story you want to tell, and believe that the reader will appear.

The Fastest Way To Date Your Writing (And I Don't Mean Take It To A Movie And Dinner)

There is nothing that can shorten the lifespan of a book (or movie) quicker than references that make it seem dated. But how do you write for today's teens without including the ever-evolving latest technology that is so much a part of their lives? If you want your voice to ring true, you must. However, you need to keep on top of what the latest trends are.

For example, when I was a teenager, it was a big deal to get one's own phone line, and to communicate with my friends, we hung on the phone until all hours every night and wrote notes that we slipped in each others' lockers in the mornings. (And no, I did not also ride a dinosaur to school.) However, when my sixteen year old son wants to communicate with friends, the phone isn't even on the short list of possibilities. In fact, the mere suggestion of actually calling someone and speaking to them incites strange looks and rolled eyes, as if that is just simply too much effort. Even email, according to him, is already old and outdated by the time one gets it, reads it and responds. Kids today want everything instantaneous. Therefore, they text. Incessantly. They instant message. Sometimes they Skype. Sometimes they group chat online or on Facebook. But they rarely talk on the phone.

Chances are, whatever scene you write today about the mode of teen communication, or the game system they are playing on, etc. will already be somewhat outdated by the time your book goes to print, so sometimes it's best to keep things more general. For example, cell phones will be around for awhile, but the style or the features will rapidly change. Your characters may be playing Halo 3 on their Xboxes, but by the time your book comes out, they may be on to Halo 6, or Halo will be a game no one plays anymore, having been usurped by another hot title. Try and avoid referencing specifics unless you are writing something along the lines of THE FUTURE OF US by Jay Asher and Carolyn Mackler, in which the character exist in the 80's and are accessing their future selves. And what makes THE FUTURE OF US so damn funny? Among other things, the references to things like the AOL start-up discs we all got in the mail offering 100 free hours. Instantly, we're transported to a different time. If your book is set in present day, you want to make sure your readers really do feel like they are there.

If you're in doubt as to what the latest technology and trends are, I can't recommend enough the starting point of sitting down and talking to a teenager. They'll tell you everything you need to know. You can also regularly peruse websites like cnet.com, which talk about new technology, and keep up to date with the latest unveilings from Apple, etc. Keeping yourself savvy will lend authenticity to what you write. And obviously, if you're writing something in the future, use your imagination, building upon the realities of what exists today so that it still feels like something believable.

Writing About Controversial Topics For Teens

When I was growing up, a book that dealt with a character whose parents were getting divorced or were having their first sexual experience were considered pretty heady, if not controversial, topics. We still lived in an age where there were certain things that we just didn't talk about, despite the fact that they may be occurring. A book on anorexia or teenage alcoholism or drug abuse was really pushing the envelope, almost as if publishers then felt like teens couldn't handle those topics and censored us from them. Enter present day, where teens are offered choices like never before on subjects ranging from suicide to cutting to homosexuality, and even incest and rape. There are plenty of groups that still exist that wish to silence and ban these books, but teens are buying them. Why? Because they are real.

Teens don't like being lied to, nor treated like they are less intelligent just because they are not yet adults in charge of their own lives. They like characters they can relate to and find solace in, or explore subjects that they find interesting. Maybe they have a friend who is transgender, or maybe they are feeling pressure to drink or try drugs as an escape from everyday problems, or maybe they have been bullied. These characters seem far more realistic these days than the perfect, popular cheerleader whose biggest worry is if the boy she likes will ask her to the dance and if she'll find the perfect dress. It's not that teens today are dealing with any different issues than teens were when I was one - it's just that people are no longer afraid to talk about them.

But when it comes to tackling these heavy topics in writing for young adults, what is too much? I, personally, believe that today's teen readers are a savvy group, and the bar is high for catching and holding their attention. I believe they can handle more than most adults give them credit for, and sometimes these stories can offer someone solace in a world in which they feel entirely alone. However, what is the message you are trying to convey in the story? Gratuitous violence, profanity or sexuality bothers me no less in a book than it does in a movie, and can often serve to disconnect me from the story entirely. But, if you are writing it honestly and it fits the character and the story, it can make for gritty, raw, honest writing that can be extremely powerful.

Shying away from taboo topics is like sticking one's head in the sand - that is to say, to deny on some level that it exists. If you have a story inside you that you feel needs to be told, no matter how uncomfortable the subject matter, chances are, it does. Think about powerful books like SHINE by Lauren Myracle, or BY THE TIME YOU READ THIS, I'LL BE DEAD by Julie Anne Peters, or CRANK by Ellen Hopkins, let alone powerful non-fiction titles for teens and adults like Nik Sheff's incredibly raw and moving chronicles of his battle with meth addiction in WE ALL FALL DOWN: LIVING WITH ADDICTION and TWEAK: GROWING UP ON METHAMPHETAMINES. You can't read these books and not "feel" something afterwards. These books stay with you and creep under your skin, and that's a testimony to how important it was for the authors to be brave enough to tell these stories.

How do you feel about the kinds of stories offered to teens today? Do you think they're pushing the envelope or offering something important, helping kids today become stronger and more compassionate, thinking people?

How Reading Craptastic Writing Makes You A Better Writer

There is absolutely nothing more satisfying to me than reading a fantastic book, being completely drawn in by the characters, description and dialogue and immersing myself in their lives. By contrast, there is nothing more frustrating, as a writer, and as a reader, than investing your time and the writing is just blah, the story pointless and the ending unsatisfying. However, there is just as much to be learned from utterly craptastic writing, if not more, than great writing.

Case in point: This weekend I read a YA novel that I had been looking forward to reading for some time. It is in the genre I love, the storyline had me completely hooked in, the author had written an earlier book that had been successful and this had received advance praise, and I anticipated a thoroughly satisfying read. Um, not so much. (Obviously, this is totally subjective and just my opinion - clearly the publisher took a different view, and you might as well.) Because I read so many books in this genre, I was immediately able to spot exactly wasn't working for me, and why, and make a conscious point when writing my own work to not employ any of these mistakes. (At least not consciously, and hopefully that's what crit partners and beta readers are for!) The purpose of this post is not to bash the writer or the book, but merely to serve as a template for showing how what didn't work can truly make or break a story for your reader. So, without further delay, here is my list of writing pet peeves, which an author-who-shall-not-be-named did an excellent job of bundling together in one book:

UNLIKEABLE CHARACTERS THE READER DOESN'T CARE ABOUT
This story primarily focuses on a relationship that evolves over the years between the male main character and his female best friend. At no point did I ever see or feel what bound these characters together, other than history, and both of them were fairly surface, if not unlikeable. Just giving your characters a few likes, dislikes and quirks does not give them a personality, nor does making them angst-ridden and moody make them "troubled" and make me care what happens to them. In fact, one of the characters was so completely "angry" that I wondered from early on why the hell the male main character didn't run like hell. Instead, he starts to fall for her, wanting to "save" her, and based on the way she talks to him and treats him, not to mention what a self-proclaimed stud he is, the reader can't imagine why. The thrill of the chase? Is he just that desperate? A masochist? It's one thing to draw wounded characters, but you must still give them some redeeming qualities that make the reader root for them and have compassion for them. Think of Matt Damon's character in the movie "Good Will Hunting."

DIALOGUE THAT GOES ON FOR PAGES AND PAGES WITH NO PURPOSE OR ACCOMPANYING ACTION
I love great dialogue, especially when it helps propel the story in a way description simply can't. However, I hate just reading page after page of characters talking about absolutely nothing. And just sitting at a coffee shop shoving food around on their plate with their fork over and over while doing it. For six pages. It's worth it to sit with long passages of dialogue and figure out what the objective of the scene is and how what the characters are saying to one another furthers the story. Otherwise, it just feels like filler.

OVER-DESCRIPTION
Nothing helps paint the picture of the character and their surroundings, or the action at hand, than great description. However, over-description can get boring and lead the reader to skim. Is the author just describing the same thing over and over in a myriad of ways? If so, it starts to feel like gratuitous words on a page, or a writer just enjoying hearing himself speak. When this pattern repeats itself a multitude of times over the course of several hundred pages, you isolate the reader.

ONE-DIMENSIONAL UNREALISTIC PARENTS
Parents come in all shapes and sizes, and can be integral characters in a YA novel or peripheral, minor characters. However much they make an appearance, the rules for creating them as three dimensional beings are no different than it is for the main characters. To have parents that say "sweetie, sweetheart, honey, sugar, etc." at the end of every sentence when addressing teens, particularly their own, seems stilted to me, unrealistic and one-dimensional. I may have talked like that to my daughter when she was three or five, but I don't talk to my sixteen-year-old or his friends that way. I I did, he'd probably ask me if I was feeling all right. :) If the character is going to talk like that, back them up with character traits that help explain why. Are they over-protective and always tend to treat the main character like a child despite their age? Are they medicated and spacey half the time? Self-absorbed and dismissive and not even really listening to what the teen is saying? Do you know a lot of people who talk this way in real-life? What are their personalities like? For some reason, I have noticed that giving parental dialogue the short shrift is not uncommon in YA, and I often give these passages of dialogue extra time and review in my own. Part of this has to do with the age of the writer as well. I know before I had kids, it was hard to write parental dialogue with the same ease and truth as it is now that I'm down and dirty in the trenches of it.

GRATUITOUS DEVICES: I.E. CHAPTER NAMES THAT SERVE NO PURPOSE
I actually love when writers use funny chapter names that tie in to the context of the story. It draws me deeper in. In my own novel, BAND GEEK, each chapter of my novel starts with the title of a Beatles song. The main character is a ginormous Beatles fan, and the Beatles play a minor role in the story itself. Additionally, the "theme" of each chapter ties in nicely with the titles of their songs, so I used it. An editor or a reader may not agree, because using chapter names can also be viewed as a cheap or gratuitous device if not used effectively. Case in point: using a song title when the chapter has nothing to do with that song, or the idea the song brings, and not being consistent by using the song titles throughout each chapter. For example, if I titled the first three chapters after Beatles songs, then randomly titled a chapter "Dating For Beginners" and then the next "My Life As A Goldfish" and then the next was named after a Duran Duran song fro the '80's, it's distracting and makes the reader wonder, frankly, what the point is. Bottom line: Be consistent. Use it effectively, or don't use it at all.

What are some of the things that drive you crazy when you see them in books that you pay close attention to in your own writing?

The post where I get to announce I have an AGENT!!!!

Wow. I would be lying if I told you I haven't dreamed about writing this post. The thrill of actually finding a person that champions my story and my writing with as much passion as my mother does is, quite honestly, one of the most incredible feelings on Earth.

Two years. 9 revisions. Lots o'queries, the bulk of which were long before the book was truly ready to query. 16 Fulls, 3 partials, many rejections. I truly felt, at times, like I was on a roller-coaster. After all this time, and so many mistakes, the book was FINALLY ready and where I wanted it to be. But was it too late? And then, something happened that changed everything.

Do you ever meet someone and just know that they were brought into your life for a reason? Something about the moment you meet seems super-charged, as if the universe were orchestrating this moment into play for a very specific reason? I felt like that when I met YA author Jessica Brody at a writing workshop she led this past November. Our instant banter led to an easy friendship, and she was kind enough to pay it forward and offer me up a referral to her agent, Bill Contardi at Brandt and Hochman. She couldn't sing his praises enough, and she was also honest in saying that he had never once signed anyone she'd referred, but she encouraged me to go for it. I did, and Bill responded instantly, requesting the full, and then, last night, I got "the email", the one I'd read about on so many blogs where the agent says they loved your book and would like to set up a time to talk to you.

I have to be honest and say that I had to read the email three times at least before I screamed and called my family downstairs, because I'd grown accustomed to seeing, "I read BAND GEEK and I really liked it BUT . . ." This one said that too, but there was no BUT. Bill is an unbelievable agent. He not only represents Jessica, but Alyson Noel, who is one of my favorite YA authors, like, EVER! He's well respected and has worked in publishing for close to 30 years, including having a background in film and handling the film rights for clients like Meg Cabot and Ursula LeGuin. Holy cow!

The feelings racing through my brain and body were indescribable. How can you put words to that moment where suddenly everything you've worked for and dreamed of might possibly be one step closer to fruition?

Five minutes on the phone with Bill the next day, and I knew he was the right one for me. He loved the book, the voice, the character, and is as passionate about the project as I am. He has vision for where to send it and what it's future potential might be. In that moment, I got what all those blogs are saying. You shouldn't just sign with someone because they are interested in your project, nor should you mourn the ones that said no because you thought they seemed so perfect. You should go with your gut. The person you say yes to should be as excited as you are about your work, and not one iota less. And you can hope that when they send your work out into the world, their excitement can't help but be contagious. The "no's" are a gift, because they are clearing the path for the right one.

So the journey continues, and now the road merges in a new direction. I've never been so excited to hurry up and wait anew.

Writing the Dreaded Query Letter

Just seeing the words 'Query Letter' give me an involuntary shudder. Admittedly, I hate them. How is it possible to take several hundred pages and sum them up succinctly, flavor them with the voice and tone of your story, and put them into one to two paragraphs to relay the entire essence of your book? And further, how do you pitch yourself as an author worth taking seriously when you do not have a long list of writing credits?

The truth is, I don't have the answer. I struggle with it myself. The best place to start is by reading other query letters. Very often, agents will offer up ones from their published clients that show what worked for them and why they were hooked. What do theirs have that yours don't?

One of the biggest mistakes that can be found in a query is that it is too wordy. I speak from personal experience. Back when I started querying my novel, before it was truly ready to be queried, I might add, my query was nothing short of an epic. Too much detail, too many character names - in short, it was utterly craptastic. That summer, I attended an amazing online writing conference called WriteOnCon, and they offered up a Query contest which was to be judged by agent Joanna Volpe of Nancy Coffey Literary. You can imagine how thrilled and excited I was that she chose mine as the first one to break down. (You can read her comments here.) Although it was unnerving to put myself out there like that and have all my newbie mistakes on display, Joanna gave me an incredible gift - she actually told me what I was doing wrong (and peppered it with what I was doing right, thankfully.) For must of us, we send our query out and when we get no response, we either tweak it or continue to send another round. I actually had new direction now, and from the comments, other writers were helped by it too because they had made similar mistakes. If you have the opportunity to enter your query in a contest, or get feedback from other writers on it, do so, preferably before you submit it to half of New York City. After making these changes, interest in my book jumped.

Shortly after, I befriended YA author Eileen Cook online, and in our banter, she was kind enough to offer to take a look at it for me and sent further comments and revisions my way, helping me turn it into the query it is today. Ever since that further change, the interest spiked again. It underscored the truth that a great, tight query is everything. You have an agent's attention for approximately 45 seconds or less. If you can't hook them and get that idea across, they are on to the next one. They literally get hundreds every week, so yours must stand out.

As for pitching yourself as a writer with limited credits, look into your history and see what parlays as experience. For me, I had a history in motion picture development as a reader, as well as writing Outreach materials for a PBS station in Seattle, specifically for a popular children's television show. I'd graduated from the Screenwriting program at UCLA extension, and of course, maintain this writing blog. Not as effective were the countless hours of my childhood spent in front of a typewriter fancying myself the next Judy Blume, or the meeting I got to have with the Editor-in-Chief of Putnam Publishing when I was thirteen based on a submission, or the interest I'd had from the Disney Channel in a script I'd written when I was a teenager. Nothing ever happened with those things, so they aren't useful, except to me to reassure myself that this has always been in my blood and been my passion for as long as I can remember. You don't need to spell out "I've never been published." Saying "This is my first novel" can be enough. But don't overdo it. Less is more.

For some great tips on query letter writing, check out YA author Elana Johnson's blog entry, and even better, her free eBook "From The Query To The Call." For an excellent list of 10 query no-no's, check out this link. AgentQuery.com has a great how-to list that gives you great structure and tips. Another great resource is The Writer's Digest Guide to Query Letters. A quick Google search will bring up countless more.

What are some great tips you use to make your query stand out? Good luck, and may the force be with you.

What's Original Anymore?

One of the biggest challenges in creating a new work is making it original. There will always be a market for romances, thrillers, a good cozy mystery, and a road trip novel, but what makes yours stand out? Agents and publishers want to see that spark of something they haven't seen before, so how do you catch their eye when everything has been done before? Living proof of that is the plethora of novels out there right now on zombies, vampires, angels and mermaids. Not to say they aren't good - many of them absolutely are - but isn't one zombie or vampire the same as the next? It absolutely can be, and can ensure your book stays in the proverbial drawer, unless you do the work to make sure it has that extra somethin' somethin'.

When I am writing something new, i.e. a road trip novel, for example, the first thing I do is try and read every novel I can get my hands on that falls in that vein. I also watch any movie I can that fits that subject too. I do this first for inspiration, that it may spark some ideas of my own. I do it second because I want to make sure I don't duplicate what someone else has already successfully done. However, here's the reality: We know in every good road trip novel, there are a series of mishaps that keep the pacing going and keep the reader turning the page. Will our MC get from point A to point B? What obstacles will she encounter along the way that keep him/her from getting there? Will he/she find romance along the way? The answer is: Most likely, yes. This is what is known as a formulaic plot. (Think of the movie "The Sure Thing" with John Cusack). However, let's give that a spike. Yes, it's a road trip of sorts, but so much more: Think "Thelma and Louise" with Susan Sarandon and Geena Davis and a young, shirtless Brad Pitt. They face a lot of choices that determine what happens next and an unexpected twist at the end. THAT'S what you want to aim for. Another great example is the recent YA novel "Au Revoir Crazy European Chick" by Jon Schreiber, which is best described as Ferris Bueller meets La Femme Nikita. Perry, the main character, is forced to take his European exchange student to the prom, which ends up to be a night on the run through the underbelly of New York City when she actually turns out to be an assassin. The twists are surprising, and the author successfully manages to have the reader suspend their disbelief and take the wild ride along with the MC. Just driving from point A to point B, running out of gas and falling in love is not enough to engage the sophisticated teen literary tastes of today. Think out of the box.

Here's an exercise to make yourself feel better when you feel like your writing feels "un-sparkly": Pull out 20 of your favorite books and see if you can break them down into a simple formula. You can bet each one has one. Then try and discover what gives each one their "spark." If you need a little extra help in coming up with some great plot ideas, check out Martha Alderson's new book "The Plot Whisperer" and watch her video series on Yahoo.

Most of all, if it doesn't come to you all initially, don't despair. That's what revisions are for. Additionally, sometimes real life will surprise you and throw an idea in your path. For example, just the other night I went to a writing workshop and found myself lost in downtown Los Angeles at 11 p.m. with some pretty interesting peple on every corner. Though I was not quite so into it at the time, that's the kind of stuff you want to save up and channel for later, and you can write it honestly because you've experienced it. You know what it felt like to have that adrenaline pumping through your body, the panic setting in as eyes are on you alone at a stop light, praying for it to change so you can peel out of there and find that freeway on-ramp. Don't worry about getting it all in in that first draft. Think sparkly!

How To Keep Your Readers Turning The Page

I went to a fantastic writing workshop last night taught by bestselling YA author Jessica Brody that offered some fantastic nuggets of wisdom about how to keep your readers turning the page and hungering for more. The fact that I got lost coming home in the streets of downtown Los Angeles at 11 p.m. and felt like I was in a bad Corey Haim movie is a whole other story for another day, but I digress . . . These simple techniques can be applied to any type of story in any genre, and can make all the difference in making your book one that they can't put down.

HIDING THE BALL AND CREATING SUSPENSE
Jessica said that one of the best ways to get your reader engaged right away is to "hide the ball" - that is, to start in the middle of an action and write around it, but never actually reveal to the reader what is actually going on. It keeps them guessing. You plant the seeds of what is going on all around them - what they are seeing, smelling, small pieces of backstory that led to what has occurred, etc. If you can write your entire first chapter this way, the reader will be anxious to read the next because now they are dying to know what has happened, and if they guessed correctly.

CLIFFHANGER ENDINGS
It's always best to cut in the middle of the scene so that it ends before the resolution. This way, the reader continues to be propelled forth along with the character to find out what happens next. She often likes to end with a line of dialogue that sets you up for the next scene, whether it be in the MC's interior monologue or another character speaking. Sometimes she will not even say who says that line of dialogue, which adds further intrigue. Ending with a character's dilemma or the character figuring out something about themselves or the situation they are in allows the reader to be in sync with the MC, because you don't want your reader to be ahead of them or your story can become predictable.

SHORTER CHAPTERS
Ever read a book that seemed like a fast read that you just couldn't put down? The length of your chapters can make a huge difference in the pacing. Short chapters lasting 4-6 pages in length can create the illusion of speed, especially if each one ends with a cliffhanger.

PEPPERING YOUR STORY WITH LITTLE MYSTERIES
Adding mystery to your story keeps the reader going even through the slower parts. The "A" story is your character's story (i.e. the logline of your book). The "B" & "C" stories are the secondary stories that involve who your character meets, their relationships, the subplots, etc. All of these stories should converge with your "A" story, showing us your character's world. For example, in Jessica's book "My Life, Undecided", her MC is volunteering at an old age home and meets a crotchety old lady. Uncovering the mystery of why this woman is so bitter keeps the reader not only intrigued in that "B" story, but also serves to showcase to the MC what she will turn out like if she doesn't make some changes in her own life. Plant seeds along the way of things that will show up later and prove to be important.

Pick up a few of your favorite novels and see if you can find these techniques applied throughout!

Sky Diving, Eating Pumpkin Cupcakes for Breakfast, And Other Things You Might Not Do But Your Characters Should

Okay, so admittedly, I have eaten pumpkin cupcakes for breakfast. Really, how are they that different from a donut? Or a muffin? Everyone knows muffins are just ugly cupcakes anyway. But, there are plenty of things I don't do because, truthfully, I'm not a hugely adventurous sort. I have great admiration for those that do, regularly branching free, fearless, from their comfort zones and launching themselves into new experiences.

There is no better place to take chances and live the life you've only wished you had the courage, means or resources to live than through your characters. While we search for universal truths when writing so that people can relate to our characters, it's also that special spike of a unique experience or a quirky trait that can transport us from our realities into another world. Not to mention, it's just plain fun to write.

Another great reason to write characters that are not flat (everyone does laundry, takes a walk now and then, goes on the occasional trip, whether it be to the Bahamas or Grandma's) is because it gives you a great chance to dive in and research. You can drive across country nowadays without ever leaving your chair via Google Earth and numerous websites. Your characters can bungee jump, fly on trapezes, climb Mt. Everest, run a marathon, etc., and finding out the terrain and what you can expect is also all at your fingertips. And best of all, it might inspire YOU to move out of your comfort zone and try something new yourself.

A great example of writing about something with total authenticity despite it not being an actual part of your life is C.J. Omolulu's amazing YA novel DIRTY LITTLE SECRETS. The novel is about a young girl forced to hide her mother's secret hoarding habit, until one day she comes home to find her mother dead and has to decide how far she'll go to keep the family secrets safe. I asked C.J. about her book at SCBWI LA this summer because I was so blown away by it, and she shared with me that neither she nor anyone else in her inner circle is a hoarder; she culled all that information purely from people sharing their stories and doing extensive research. It shows the power of how one can write so convincingly about something they have not experienced, and helps remove the stigma that you can only write what you have experienced firsthand. (P.S. If you haven't read this amazing novel yet - buy it today! It's six kinds of awesome!)

Putting your character in a life polar to your own makes the writing more fun and challenging. What reader wants to escape from their life by just simply reading about a character just moving through their day to day with no depth or dimension? We all long for that extra something something that allows us to tune everything else out and get lost. This doesn't mean if you're writing a contemporary YA novel that your character shouldn't be dealing with traditional high school problems and issues. But look for that spike - what if they had to deal with vampires too? (Think Twilight) Or ghosts of dead cheerleaders that only they can see/hear? (Think The Ghost and the Goth) or even something like THE SUMMER I TURNED PRETTY, by Jenny Han, where the main character must choose between the love of two brothers, but the setting plays as much of a role as the characters do, and you are swept up in the romance and the eloquence of her words.

So whether you're writing late at night because you're working or shuttling kids or whatever during the day, or you have the luxury of devoting yourself full time to your craft, get out and live a little. Take chances. Do new things. And know that it's all risk-free, because your characters are doing all the work! Besides, the worst that happens is you write a killer story, right? Now get writing!

HOW BETA READING MAKES YOU A BETTER WRITER

We all tend to fall in love with our words when we write. C'mon, admit it. You've done it too - refused to cut that one line because it was just so snarky and clever, or waxed poetic about the character's surroundings even though they in no way truly furthered the story by the end but . . . but . . . it was so perfectly written!!! In short, editing is like butchering babies, and although butchering babies is never an easy task, it's even harder when it's your own. When we are so close to our work, the best thing we can do to see what's REALLY working (and what's totally not), along with catching all those pesky punctuation errors we've flown by a million times and the repetition of words and phrases, is to have a few trusty beta readers.

Beta readers are other fellow writers (your Mom and best friend and the 10th grader down the street who loves all things paranormal don't count) who can read your work for you and objectively give you such feedback. But where to find them? By networking. Go to local writing events and conferences and get to know fellow writers in your area. If you are a member of SCBWI, there is usually a regional coordinator who can hook you into other writers looking for beta readers and critique partners. You can also go online to various writing websites and often there will be forums for people looking for other writers to do just this.

Granted, it seems hard to build that trust with another writer you don't really know. Will they know what they're talking about? Does it matter if they are published or unpublished? How often do we need to send material back and forth? The best thing to do is to exchange the first ten pages of what you're working on. Just like agents who want to read those critical first ten pages, it will give you a feel for the writer's style. If it seems like quality writing, and something you could connect with, fantastic! Hopefully, the feeling is mutual! Published or unpublished is truly no matter. Writers that today are unpublished may one day be published, and writers that are now published were once in the trenches waiting for their big break. Both are fully capable of providing different levels of insight based on their knowledge of writing and their place on the journey.

When I read other writers' work-in-progress, it is a fantastic opportunity for me to really break apart the mechanics of the story and see what works, what doesn't and why. In turn, I can apply that to similar sections of my own writing. I pay special attention to dialogue transitions, because I tend to write dialogue-heavy stories. Dialogue, while engaging, is boring if every other sentence just ends in "she said" or "he told me." I learn to eliminate that sometimes entirely to put in a small descriptive action that helps keep the action moving on the page. I am also able to discern much easier in someone else's work when there are huge passages where nothing is happening. Again, when we are in love with our words, it's much harder to do that with our own work. I learn about style and voice, description and how to convey action and emotion effectively. The insight and detailed feedback my critique partners and beta readers have offered me has been absolutely invaluable.

Just as our stories are never truly "done," we are also never "done" learning from others. The writing community is incredibly supportive in that way. It is such a welcoming group, eager to pay-it-forward. So if you're not connecting with other writers to help make your work stronger, start now!

Things To Do While You're Waiting To Hear Back From The Publishing World

I might, possibly, be one of the most impatient people in the world. I admit it. So, it's obviously completely ironic that I've chosen to be a writer and enter the world of publishing, which far surpasses the world of "Hurry up and wait" that the film industry is. But I survived that, and I'll survive this too, because there are many lessons to learn from the tortoise rather than the hare.

First and foremost, when things are moving at the speed of molasses, it offers a great opportunity to work on your craft, and it might give you the spark that you've been looking for. Here are some great things you can do while waiting:

READ EVERYTHING YOU CAN GET YOUR HANDS ON IN YOUR GENRE
When I'm not writing (or packing lunches, shuttling kids, squeezing in time for a shower or doing laundry), I try and read everything I can in my genre. It's great to know what is selling and why. Further, it allows you the opportunity to learn from published writers that write in a style similar to your own. When I read, I will often sit with a notebook and pen and write down key phrases or lines of dialogue or things that caught my eye as well written. I may have written, or will write, similar things, but I study the eloquence with how they crafted those sentences and break them down to see why they worked so well. It's like a free master class. Further, as I query agents, I can use an example of an author they may know (or represent) to give them a sense of what to expect from my writing. Authors will often thank their agents in the acknowledgements, and it becomes a perfect way to target someone who might be an appropriate fit for your work.

USE WRITING PROMPTS
Many authors (like Laurie Halse Anderson, who does this often on her blog) will offer up writing prompts to help inspire you to write. If you have a day where you are simply looking at the blinking cursor on the page, this is a great way to get inspired. Who knows what it can bring forth story-wise? At the minimum, it means you are writing, and whether or not you trash every word or write something amazing, the key is to aim to get words on a page daily, to make it a habit like brushing your teeth or drinking your coffee.

READ WRITING BLOGS
There is such a wealth of free, insanely good writing advice out there on numerous blogs, many from agents and writers themselves. These tips can help you ask yourself the right questions when revising, hear their personal experiences to help you know you're not alone, etc. Often, agents will even put up stats like where they are in their query letters or slush pile, which can help you calm down and refrain from biting your fingernails to nubs, wondering why you haven't heard anything.

SUBSCRIBE TO PUBLISHERS MARKETPLACE
For just $20 a month, you can get a daily email elivered to your inbox that tells you what is selling, in what genre, who is representing it and what publisher bought it. This may also help you hone your focus and know if the work you are trying to get out there is something that certain agents/houses might be interested in. You can also track Agent Deals and find out what agents represent what authors.

ATTEND WORKSHOPS AND CONFERENCES
Workshops and conferences are excellent networking oppportunities - you never know who you will meet! Often, they have manuscript critiques available for that critical first ten pages, and it can be extremely helpful to get that insight from a variety of industry professionals, even if you've had it done previously. I have yet to go to a conference or workshop where I didn't leave with some new nugget that I carry forth and incorporate, and I can't find enough words to describe, at the minimum, how inspiring it feels to be in the company of fellow writers. You can't help but leave this environment and not want to go home and get busy. It doesn't matter if it's an SCBWI event, or something at your local community college. Get yourself out there and get involved. It will help keep up your momentum.

BLOG
If you don't have one, start one. You're helping establish your presence in the marketplace, getting your name out there, and offering yourself another outlet to write. See? I'm procrastinating today's writing by writing this blog right now!! Just kidding. (sorta)

And above all, keep on keepin' on. Don't give up!!

What I've Learned Thus Far

So, here I am, two years in to this journey, and I do feel slightly farther down the path than when I started. Although I still have not found that perfect agent, nor had the thrill of holding my published book in my hand, I have learned so much, and in the end, it can only stand to make me a stronger, better writer.
JUST BECAUSE YOU'VE FOUND THE PERFECT AGENT DOESN'T MEAN THEY'RE PERFECT FOR YOU These past few weeks, a couple of friends of mine have taught me a lot about the realities of having an agent. When we're new, we query everyone we can in the hopes that someone will bite. Admittedly, we are just so excited to see our words in print and our dream realized that we are not truly as selective as we should be. Finding the perfect agent has been likened to a marriage - you want to be in this relationship a long time, so you should be able to look at the world the same way, to communicate effectively, to get along well and mutually get what you need from one another. You would not pick a guy to date simply because he's the next guy to walk through the door, so why should you pick an agent simply because they are the next name on the list? Take the time to research them, to know what kinds of books they like, to hear feedback on their personalities and the ways they communicate (or don't), and assess if they would truly be the right fit for you. THEN query. And what if you find your dream agent and they don't want YOU? That's the part that's the toughest of all - to remember that it may not be THIS project that brings you together, and that you must keep writing, and with each book comes a new opportunity to connect.
YOU MUST KEEP WRITING It's hard to let go of a project, or put it on the shelf, when you've invested so much time and energy into it. But sometimes it's necessary. The reality is, if you do not keep writing and have something new, when you get "the call," an agent is going to know what else you've got and if you have nothing, that may not be what they're okay with hearing. After all, at the end of the day, publishing is a business, and they can't make money if they don't have a project to sell. Nor can you. So, although some days I just want to dive in and re-tweak just one more scene, or just query, or not write at all, I remind myself of the harsh reality that THIS book may or may not be the one, and I need to keep moving. I currently have two books I'm working on, and we'll see which one makes it to the finish line first.
IT'S IMPORTANT TO SURROUND YOURSELF WITH WRITERS I cannot stress enough the importance of having writer friends and surrounding yourself with them, whether in person at the local coffee shop to write together, at a conference, or online in forums, on blogs, or any other social media site. We are a strange breed, and can understand each other and it often helps to have that extra boost of support when we need it most. They are a wonderful resource to find out about upcoming events, promotion of your work when it's ready, information about agents, publishers, and the industry in general. And when you're talking about writing or sitting and actually doing it together, you're much more likely to feel inspired and keep on keeping on. Writing is a solitary business, and it's easy to let the self-doubt creep in, especially in an industry where things move at a snail's pace and you might not hear a peep for months.
WRITE WHAT YOU LOVE If you write what you love, chances are, it will show in your writing. There is something authentic and true that shines through when a writer is passionate about their subject matter. Although I enjoy reading a well-written paranormal now and then, I write (and love) contemporary romantic/humorous YA. I like characters I can relate to, situations that I may have been in or would love to be in, young romance that makes me swoon like I was sixteen years old all over again. For many teens, a good book is an escape, and if I can make someone laugh or look at their world in a different way, I have done all I set out to do as a writer. I know where my strengths are. That said, it's not that I don't advocate moving out of your comfort zone to challenge yourself by writing something that isn't your norm - I think that's a GREAT exercise to do - but write for YOU. Write what you love. Don't worry about getting agented and getting published for now, or what the latest trends are and how to meet them. Like fashion, everything comes around again in its own time, so write what moves you.
DON'T GIVE UP One of my most prized possessions is the signed title page from Laurie Halse Anderson's novel TWISTED. Laurie did a one-on-one critique for me at the SCBWI LA conference, and she told me she absolutely loved my book and I should have no problem selling it. She told me I'd nailed the voice and the writing was nearly flawless. I laughed and told her from her mouth to an agent's ears. She made me promise I would never give up, that I clearly had talent as a writer and must remember this is a process, and a long one at that. And she signed her book for me "To Robin: Who is not allowed to stop writing Love, Laurie". Every time I feel that niggling self-doubt filling up the silence and the dead space, every time I stare at that blinking cursor and wonder what the heck I'm going to write next, every time I stare at that inbox longingly in the hopes it will light up with great news, I think about that. It may well be one of the greatest gifts anyone has unknowingly given me in my lifetime, and it is truly then that I realize how subjective it all is and press on.

Me with Laurie Halse Anderson, amazing writer and fellow band Mom, who continues to inspire me daily.

My summer vacation...writer style

Although my summer has been deprived of writerly events thus far like ALA and ComiCon, I have been able to live vicariously through the blogs of fellow writer friends who were there, and am excited for SCBWI LA, which is right around the corner. That event changed my life last year, introducing me to wonderful people and instilling me with confidence and strength I didn't even know I had to press forward and pursue this crazy dream.

I have spent this summer tweaking, revising, querying like a madwoman, working on not one but two WIP, and above all, reading. I have probably read close to 75 YA novels this summer, and while part of it was just to know what is popular, what is getting published and why, it has been the best education in writing I could ever hope for. There is much to be learned from both good AND bad writing. When I read, I will often sit there with spiral notebook and pen in hand, scribbling down passages where the author described something so perfectly, or wrote a witty comment that made me snort out loud. When I see how someone does something well, when faced with a similar situation in my writing, I can refer back to that and see how to incorporate those descriptions and word choices into my own to make it stronger. One of the biggest things I've learned is about showing, not just telling. Writing a line of dialogue followed by "he said" is far less effective than writing the line of dialogue preceeded or followed by a description of the expression on the character's face or what was in his/her head at the moment. The reader can still tell who is doing the talking but they are drawn deeper into the story and the emotions of the moment by this one small change. (Thank you Stephanie Perkins, especially, for that one!)

The agent search still continues, and this summer has shown a flurry of interest, which has been equally exciting and nerve-wracking. It's hard to keep in perspective sometimes just how long this road is, and that you need to keep the three P's in mind: Positivity, Persistence and Patience. I think the last one might be the hardest for me. I'm from a long line of impatient women. :)

Summer is winding down, and soon my kids will be back at school and quiet will return again, restoring my house to my writing sanctuary where I can blast my playlist and write uninterrupted by the strains of Disney Channel or Xbox or making lunches. I'm trying to savor the moments in between with my kids, because truly I learn so much from them and infuse it into my writing as well. They are ten and almost sixteen, and I am blessed with the rich opportunity of being able to re-live those ages again daily through their stories and experiences (minus the acne and the bitchy girls).

I am savoring every minute of the journey, and eagerly await the next chapter.

Life is what happens while you're busy making other plans....

So it's been forever and then some since I've updated this blog. In that time, I revised the novel completely and then re-entered query hell. I tried to embrace it as a process rather than something to be dreaded or feared. This was an essential step - putting the book (and myself) out there, knowing that just as in life, some people would think it's terrific and want to hang out more and others would decide it's not for them and move on. I keep reminding myself that I have yet to meet an author who wasn't rejected hundreds of times before landing their agent or their first book deal, and this is part of the journey.

And at the end of the day, all it takes is one yes.

And then, a blip occurred. I lost a close friend of mine, and suddenly my proverbial snow globe was shaken up. I couldn't even begin to think about querying, let alone working on the new novel I'd started, and with each passing day, I lost the resolve I'd worked so hard to build.

Then, a light bulb went off.

It's okay. It's important to take time to grieve, to take in all these feelings, to fully feel this experience, and somehow know that one day, this will be useful. Because the truth is, we write best what we know. And as painful as this experience has been, it can only ultimately add depth to my writing, to make it more authentic, and provide me with yet another topic which I can write about with authority and honesty. I'd rather it wasn't in my list of life experiences, granted, but I knew that I was starting to feel better when suddenly what I was feeling was also sparking ideas of how to exorcise that pain through my writing. The story is not fully formed, but it lays in it's embryonic state, waiting to be fleshed out when I am ready. I know that there will be healing in writing it, and ultimately, it too may move or touch someone.

It's hard not to feel discouraged when you're on a linear path pursuing what you want and life throws you detours and roadblocks, but the most important thing is to realize that sometimes your story can actually lie in the detours and roadblocks even more than on the path you originally envisioned. Be open to the world around you and take in your experiences, big and small. You never know where your story lives and only you can tell it.

The Highs and Lows of Rejection

Summer is over, the kids are back to school, and once again my house is filled with the sweet sounds of silence that mean only one thing - time to get writing again. Mug of coffee at the ready, check. High carb salty snacks with a chocolate chaser. Check. Inspiration and motivation. Now where'd I put that again?

This is an interesting part of the journey for me. I started writing Band Geek a year ago at this time, and every day the words flowed as if channeled from somewhere else. No writer's block. I felt certain when I started writing again, this book would come the same way, but no, apparently not. Instead, two stories showed up, each fighting for my attention, one middle grade and one YA. I started one, then flip-flopped to the other. Now I'm writing both simultaneously, and trying to maintain my sanity while awaiting the response to my partial and full requests that are dangling out there. It's daunting to start a new project without the first one having been sold, let alone agented. It eats at my resolve, especially each time my inbox lights up with another rejection, and I have to remember, this is part of the process. I can do this.

At first, the rejections felt personal - how could they not? I tried to remind myself that writing is subjective, and just as I do not fall in love with every movie or book that critics love, so will it be the same for my own work, but I have to have faith that one day, someone will read it and connect. Instead of making a bonfire with rejection e-mails and toasting marshmallows and throwing myself a pity party, I realized that maybe these rejections were actually doing me a huge favor. Maybe they were forcing me to take a step back and put some time and distance between me and my book and let me come at it anew with fresh eyes and a list of comments and suggestions from those few agents and fellow writers who had graciously taken the time to offer them up.

Recently, I went to a meeting of my local SCBWI chapter, and one of the authors there said that "Your book is never done. Even when it's published, it's never perfect. You can always find things you want to go back and change." True that. Just because my book is "done" doesn't mean it's ever really "done". If an agent falls in love with it, chances are they will have a take on what they feel it needs to make it even better, and the publisher will have an even bigger list. In many ways, rejection almost has more value than praise for a writer. I think it makes us BETTER writers. Sure, it feels good for someone to say your work is wonderful, don't get me wrong, but when someone really takes the time to tell you what DOESN'T work, that is actually the greatest gift of all. It gives us the building blocks to rework our stories in ways that can serve to make them stronger that we may be too close to the work to see.

I'm thankful for each and every person that has had the courage along the way to be honest and take time out of their busy lives to help me make my work the best it can be. The old saying goes "That which doesn't kill us only serves to make us stronger." Well, I'm still alive and kicking, and though I may be down for the count momentarily each time a new "no" comes, I know if this is what I want, if this is what I'm passionate about, if this is what I MUST do, then I always have to get back up again.


So don't give up. Keep writing. Keep moving forward. There are many stories within each of us.

My first SCBWI conference...a.k.a. What It Felt Like To Be A Real Writer For 48 Hours

It's been awhile since I've posted as summer has hit and I've been in mommy mode rather than up to my neck in query letters and writing and revising (and revising again) the synopsis and the novel. At this moment, I am entering week 8 of a 6-8 week window of hearing back from an agent who has my full manuscript, and got to meet him at my first SCBWI conference and told him "Dude, you owe me a manicure - I've bitten off all my fingernails," which, thankfully, made him laugh.

The SCBWI conference was amazing. I met so many incredible authors doing exactly what I want to do, and hearing their individual stories of the road to get where they are today echoed my own, which gave me lots of hope. I attended some amazing panels and breakout sessions led by bestselling YA authors and top agents, and garnered information that was invaluable and I will put to use every time I sit down in front of my computer to write for the rest of my life. But most of all...for 48 hours...I felt like a real writer. I cannot recommend this experience enough to any writer at any stage of their career. The people I met were so welcoming, despite the fact that they were all published and enjoying their respective successes. They were absolute cheerleaders for where I was at, having been there not so long ago themselves. A couple offered up referrals to their agents, which can make all the difference in the world for getting one's foot in the proverbial door. The key to any real success, the kind that really matters and makes you well respected within your community of peers, is remembering the importance of paying it forward. Sitting amongst a sea of 1100+ people, all doing or wanting to do exactly what I've wanted to do all my life, I felt exhilarated, inspired and all the more motivated to thicken my skin and press on, because if they can do it, why can't I?

I woke up today and sent out six more query letters (and got one rejection back right off the top but that's okay!) I realized I can't just sit around waiting for things to unfold, I have to press on and be proactive, and much like throwing pasta against the wall, eventually something is bound to stick.

Now my mind is swirling with ideas for the next book. Originally I intended to write a YA romance/road trip book but now my mind is buzzing with ideas for a middle grade story, as that seems to be the newest trend the marketplace is hungry for. That said, I'm not one who ever really wants to chase trends - I write because I can't not write. I write the stories I want to read, the kind of stories I loved as a kid about real kids in contemporary settings that I could relate to, that made me laugh, that made me root for them, that gave me hope. When I wrote as a kid, I never wrote for others - I wrote for myself, and the words flowed. It's tempting to write for others - but at the end of the day, I think we need to write for ourselves, the stories we NEED to tell and want to tell, because that authentic voice will shine through.

The waiting is the hardest part

5/24/10

Hi everyone! I decided to join this century and set up my own blog to help chronicle my road to publication (positive thinking!), discuss great new books I've been reading, music I can't stop listening to, links to writing tips and websites I think are invaluable for the writing process, and most of all, a place to vent! Welcome!

So as anyone who has known me for a while can tell you, I've wanted to write since I'm about three. At 13, I wrote a novel that I submitted to the then editor-in-chief of the children's division at Putnam Publishing Comapny, and that got me a meeting with her in New York. I remember walking into the marbled and esteemed lobby of this incredible place with my mom, thinking myself very dressed up in a tan blazer and pleated cords, overwhelmed by just how much I wanted to be a part of the writing world. The editor told me I was not quite ready for publication but handed me a stack of books by writers whom she said wrote in a similar style to myself, and suggested I read them and study for them, and above all else, keep writing and feel free to send her anything I wrote without even a query from that point on. Naturally, at that point I was a teenager, and shortly thereafter became more interested in boys and a social life than writing, so I sadly let this opportunity slip away. The dream of being a writer, however, remained a constant. It was just simply...dormant.

I wrote here and there over the years, went through the UCLA Screenwriting program and completed a screenplay, but when I finished it, I was nearly nine months pregnant with my daughter Katie, so I opted not to shop it around, and then once again, life had other plans and I devoted myself to being a full-time stay-at-home-mom. However, I turned 40 last year and it was like something hit me hard. It was time. This could no longer be back-burnered. It was time to stop dreaming about being a writer and do the work. A famous writer friend of my parents once said that "You're not a writer unless you're writing." I didn't like that answer, and so it helped to propel me forth and face my biggest fear in the whole process - rejection.

I started writing "BAND GEEK" in the fall of 2008. I wrote the first 11 pages and put it away. I took it out again in the fall of 2009 and committed myself to a writing routine of writing Monday through Thursday from 8:45-1 while the kids were in school. It worked. I completed the novel in seven months, and honestly, I never once experienced a day of writer's block. The words just flowed. I think part of the reason was because I'd never had a story idea delivered to me in one piece like this before - characters so clearly developed, a unique hook and an ending. Ironically, as I wrote the book, the ending changed, and I hope the one I came up with will satisfy the reader far more.

I started making revisions, passed it around for feedback, and when I felt it was tight and solid, began working on the dreaded query letter. Oh. My. God!!!! Writing that was waaaaay harder than writing the actual book. It was so incredibly daunting to boil down 303 pages to two paragraphs and include all the key details, let alone figure out how to format in Apple Mail from a Microsoft Word document, which apparently remains one of life's greatest mysteries along with where the other missing sock went , so I'm in good company. And then...the synopsis!!!! Hang me from the tallest tree right now. That was even worse!! And the most frustrating part is...these two documents, which barely capture the flavor and voice of the book enough to do it justice, are what will win over an agent and/or an editor. I've got basically 45 seconds to wow them and then they turn off my spotlight.

I got my first rejection a record 43 minutes after I sent the first query (thank you Nathan Bransford!! I still think your blog is awesome!!!) and several others followed suit ranging in response time from hours to weeks to the dreaded not at all. And so...I wait. I continue to query, I sit on my hands, I bite my nails to the quick, and I hope beyond hope that my chance will come, that someone will believe in what I wrote and think it's fantastic. At least, someone that isn't a blood relative