Tag Archives: writing

Dec 9 2013

The Road to Publishing: Going on Submission

By Cindy L. Rodriguez

At this point, you have written a novel with the help of critique groups and beta readers and landed your agent of choice thanks to a killer query letter. Now what?

Before I answer that, I want to emphasize that each writer’s road to publication is different. The process so far–write book, write query letter, get an agent–can play out in myriad ways. Some writers craft a book quickly and wait a long time to connect with the right agent. Some complete several manuscripts before moving ahead in the process. Others choose not to have an agent at all. Please remember there is no one way or right way to get your work published. In general, however, if you plan to head down the traditional publishing path, then you will likely follow the basics outlined in our series so far: write book, craft the query letter, land an agent.

Now what? Your agent may ask you to further revise your novel before it’s ready to submit to editors. When the manuscript is ready, your agent will send it to certain editors based on her experience and knowledge of the editors and publishing houses.

And what do you do? You wait and worry and dream and go to your day job and clean the house until it’s sparkling and check your email a thousand times a day at least and then you try to calm down by reminding yourself it’s out of your hands and after a few deep breaths and zen-like moments, you start a new project and whenever you have a moment, you refresh your email again and again.

Or, maybe that was just me. Like I said, everyone is different. In general, though, many writers agree that the process includes angst-filled waiting because your manuscript is now in the hands of editors, the people who may fall in love with your novel, take it to internal meetings, and offer you a contract.

At this point, the process can take weeks, months, or years. Your friend could sell her novel at auction to a major publishing house with a six-figure advance. You may be rejected dozens of times before receiving a contract. You will both end up on bookshelves, no matter how you got there. Don’t compare yourself to other writers. You will, but you shouldn’t.

Back to the process…editors will read your novel and say yes, no, or maybe but we want you to revise and resubmit. If the novel doesn’t sell, you and your agent may discuss the patterns in the rejections. If certain aspects are routinely criticized, then your agent may ask you to revise further before you go out on another round of submissions. This is exactly what happened to me.

I began working with Laura Langlie in August 2010. I revised certain chapters based on her notes, and we went on submission a few months later. Some editors responded within weeks, while others took months. This is normal. After a series of rejections, an editor expressed interest but wanted some changes. I revised and resubmitted the first eight chapters. After a few months of waiting, we learned she had left the business completely. Sigh.

I revised the rest of the novel in the vein of chapters 1-8. Once done, Laura submitted it to another batch of editors. More rejections–some very flattering, some not so much–and more submissions. In June 2012, we received an enthusiastic response from Mary Kate Castellani from Bloomsbury/Walker. She asked me to revise and resubmit the first nine chapters. After reading those, she gave me the thumbs-up to keep going. I completed the revision, and Mary Kate shared the novel with her team. We had an offer in March 2013.

I have since done another major revision and am currently working on what should be the last round of writing before it moves along in the process. Right now, the novel is scheduled to be published in Winter 2015 by Bloomsbury.

This was my first novel ever. I expected to make lots of revisions, but the thing is, I agreed with the suggestions. I didn’t make changes along the way only because I wanted to get published. I revised each time because I knew my agent’s or editor’s suggestions would improve the story. This back-and-forth between the writer, agent, and editor could make or break the submission process. As a writer, I often asked myself:

What is the heart of the story? Can I cut this or add that and maintain the heart of the narrative? The answer was yes.

And what is the goal? The goal is to share this story, to take it from notes on napkins to hardcover.

Do I trust my agent and editor? Are they respectful, professional, and enthusiastic? The answer was always yes.

So I trusted them, revised, and I made it through a long submission process that required a lot of work. In the end, I knew without a doubt that my much-improved novel landed in the right place.

Best of luck to all of you on submission! Please share your experiences with us in the comments.

Nov 18 2013

The Road to Publishing: Receiving Feedback from Beta Readers & Critique Groups

For this series of posts, we are writing about the road to publishing. You should start with our overview. Today, Stephanie discusses beta readers and critique groups.

By Stephanie Guerra

How important are beta readers and critique groups to the writing process? Take a look at any acknowledgments page for a quick answer: very. Beta readers provide much-needed perspective for authors who’ve seen the same pages often enough to recite them from memory. They contribute feedback that ranges from formative to collaborative to editorial to cosmetic. Some of the feedback is valuable; some isn’t. Sometimes it’s hard to tell the difference.

I’d like to share a list of tips for the most effective ways to work with beta readers and critique groups. This list is focused on productively receiving feedback; I’ll post another later on giving effective feedback.

Over the past decade, I’ve done an MFA in creative writing, I’ve had critique partners, I’ve participated in writing groups, I’ve worked with teachers who run student writing groups, and I’ve taken four books through the editorial process. Please take what’s useful from my thoughts; leave the rest. That’s the first rule for this list and any other advice you’re offered as a writer!

Seek criticism. Seems obvious, right? But many writers secretly want cheer leading rather than tough feedback—and many beta readers and critique groups are (understandably) hesitant to offer truly honest criticism. Writers tend to be sensitive and beta readers are often friends or colleagues with investment in the relationship. My strategy is to insist verbally and then repeat in an email that I want the toughest criticism my beta reader can offer, and that I see it as a major gift. If the critique still comes back too glowing, I’ll ask further questions, specifically targeting areas I know need work.

Don’t argue or explain. Resist the temptation to justify your work. When a beta reader offers criticism, take it as the gift that it is, take notes (if appropriate), and listen carefully. If the feedback raises further questions, feel free to ask them. But don’t tell the beta reader why they’re wrong or what they missed.

Choose your critique partners and beta readers carefully. Not everyone is skilled at offering useful feedback. It’s best when your partners are professional writers as good as or better than you, industry professionals, or literature/writing professors. Of course, that’s in an ideal world. Many people who are simply avid readers can give great feedback, especially when guided by questions from the author.

Try out different writing group formats. There are many ways of running critique groups. One popular method involves members reading aloud from their work while the group follows along on hard copies, making notes. After the reading, there’s a group discussion. I find this method frustrating in general but sometimes useful for moral support and fine-tuning. I’m a novelist and I need big-picture feedback on full manuscript drafts. However, this format works well for people who want to take a picture book, short piece of writing, or single scene to the next level.

Image from Creative Commons

Another format involves emailing work ahead of time to members, who then read it and prepare feedback (usually in writing) to be discussed at the meeting. I like this option better than the first; I think digestion time is conducive to stronger feedback.

However, after ten years of experimenting, I’ve decided writing groups eat up too much of my time without enough to show for it. I now focus exclusively on manuscript trades (or other trades) with trusted writer friends and beta readers.

Offer trades. Don’t lose sight of the fact that when you ask for feedback, you’re asking for a significant amount of work from someone. No matter how graciously your reader refuses, insist on a trade of some sort. If he or she is a novelist, offer a critique—even if it’s a future critique. If your reader is in another line of work, offer something. And don’t take no for an answer. Free babysitting, a gift card, a gift basket… something to show you recognize and appreciate his or her time and effort.

Don’t ask for another read too quickly on the heels of the first. (e.g. “I made some changes. Now could you read it again and tell me what you think?”) First of all, the changes you made probably aren’t as significant as you think they are. Second, it can be torture to reread anything but a cherished classic, let alone someone else’s work-in-progress. If at all possible, seek a different reader for the new draft.

Guide the feedback. Don’t be afraid to state exactly what you’re hoping to get out of a critique. “I’m ready to submit this and all I want is fine tuning and line editing.” Or “I’m struggling with the narrative arc, and need you to tell me where it feels slow.” Or “Can you read for Joanna’s character, paying attention to when you start to distrust her and when you know for sure she’s mentally ill?” Be specific and offer a written list of questions or areas of concern.

patienceBe patient. You handed off the manuscript yesterday, you’re doing the math, and if your book was really interesting, he’d have started last night and finished by now! So where’s his email? A joke, but not that far off from how some of us feel when handing off our newborn. Remember that the urgency is yours and yours alone. The manuscript is just another thing on your beta reader’s giant to-do pile. So cut him or her some slack. Don’t pester. I’d say two months is a fair wait before a nudge. (Although I’d skip nudging altogether if possible.

Notice trends. If you hear the same feedback from several readers, it’s definitely something to work on.

Know your readers and their talents. People have different kinds and levels of skill in offering feedback. Some are great at big-picture feedback. Some can nail plot problems and suggest fixes. Others have a feel for characters or language. And a few gems can do everything. Know your beta readers’ strengths and ask for critiques correspondingly. For instance, don’t give your copy editor friend a first draft. Do ask your character-savvy reader to take a look at an early draft to give a thumbs up or down to your cast.

I thought I’d stop with ten, but this one has to be said. Enjoy the process, take the criticism, and realize that none of this is a huge deal in the grand scheme. We’re just lucky to be writing!

Nov 4 2013

Author Meg Medina Talks About Writing Villains

 

By Lila Quintero Weaver

Meg Medina knows how to connect. When she writes, her words crackle with strong storytelling and believable characters. When she stands at a microphone, her Cuban-American-inflected vitality will reduce you to tears—of laughter. You can imagine how much her young readers love her. So do we! And we’re delighted to present an interview with Meg about her latest book.

First, here’s an introduction to her earlier work. She’s the author of a picture book, Tía Isa Wants a Car, winner of the 2012 Ezra Jack Keats New Writers Award; a middle-grade novel, Milagros: Girl from Away; and a previous novel for young adults, The Girl Who Could Silence the Wind.

Tia Isa Wants a Car      Milagros: Girl from Away      The Girl Who Could Silence the Wind

Meg’s most recent contribution to YA bookshelves is the Kirkus starred Yaqui Delgado Wants to Kick Your Ass (Candlewick, 2013), a gripping story set in Queens, NY, where sophomore Piddy Sanchez lands after a crosstown move. Readers come to know Piddy at her best and worst, as she grapples with a new high school environment. Let’s just say that everything gets dicier when she enters a bully’s lair.

What can we learn from Meg’s gift for storytelling? For one thing, she writes with a keen eye toward characterization. Her eponymous villain, Yaqui Delgado, is a craft lesson on legs. Happily, Meg has agreed to unpack a bit of her villain-making magic for us.

Latin@s in Kid Lit: Meg, thank you for talking to us about craft. Your novel Yaqui Delgado Wants to Kick Your Ass puts the protagonist in a terrible bind. Before we discuss Yaqui, can you give us a better sense of who Piddy is and how she lands in this fix?

Meg: Unfortunately, Piddy is at a new school. Essentially, she’s the little gazelle that got separated from the herd. Never good. Up until that point, she’s an ordinary girl. She’s bright, engaged in school, but like lots of us at 16, she’s struggling with her mother and is starting to question the choices her parents have made. The fact that she gets targeted is purely random. A horrible fact of bullying is that it has very little to do with the victim. Kids can get bullied for virtually any reason…for being smart or for being slow; for being unattractive or for being too attractive; for being poor or for having too much money. The reason for the attack usually resides in what makes the bully nervous or insecure. Kids can easily forget that. It’s easy to internalize the message that they are in some way a loser.

Latin@s in Kid Lit: You give readers a wicked combination of physical and cyber-bullying. How did you become interested in girl bullies? Can you share tips about using hot-button issues in fiction?

Meg: To be honest, I don’t think about hot button issues to write about. They change too quickly! In this case, I had been invited to write a short story for an anthology about Latinas as a turning point in their lives. As I thought about turning points in my own life, I decided to base the story on a bullying incident I lived through long ago, mostly because it made such a lasting negative impact on how I saw myself and how I moved through the world. The anthology project died, but my editor at Candlewick asked me to turn the story into a novel. I layered in new characters and dimensions that hadn’t been part of the story, and I added in the details that are part of bullying today, such as YouTube and social media.

Yaqui Delgado Wants to Kick Your Ass

Latin@s in Kid Lit: Yaqui fits a certain type of inner-city bad girl that many of us know only from the movies, but by the end of the story, she’s achieved a dimensional status that satisfies and amazes. What was your process like for keeping Yaqui from collapsing into stereotype?

Meg: I really just concentrated on writing the truth about my own bully long ago. My feelings were a strange mix of hatred, dread, and admiration for all her power. The fact is, no one is all good or bad, and the gloriously bad character is often charismatic or fearless in a way that’s really interesting. Also, no one behaves so violently or poorly without a reason. We don’t have to excuse a character’s awful behavior, but it helps to understand it. I dabbed all of those things on Yaqui as a character to make her compelling, and to make her a worthy foe.

Latin@s in Kid Lit: Through much of the story, Yaqui remains aloof and doesn’t enter Piddy’s space until the right moment. Your portrayal of her evokes a wolf silhouetted against the moon. Chilling. Please share more about enhancing dread through this technique.

Meg: Well, dread is actually the perfect word. I worked on dread inside Piddy as character and inside the reader. For the reader, watching Yaqui circle closer is like watching the fin cut through the surface of the water behind a swimmer at the beach. Oh no! Something horrible is coming, but you can’t stop it. In this case, it’s not an ocean, but a school and neighborhood, places where we think we ought to be safe. In terms of building dread inside of Piddy, I tried to recreate the feelings we might have when we’re in a room or social situation with someone we really dislike. Think of how that goes: You avoid eye contact. You try your best to think of something else, to look calm, to avoid the spot where that person is standing. But all you can think of is that person and the awkwardness of being nearby. Their presence becomes oppressive.

Latin@s in Kid Lit: There’s a powerful scene where Piddy begins to adopt Yaqui’s look. She pulls her hair back into a severe bun and plucks her brows to a thin line. She puts on dark lipstick and steps back to admire her handiwork as “expressionless and strangely vicious.” It’s a horrifying turn of events. Can you talk about pushing your protagonist this close to the edge of villainy?

Meg: Pain can lead us to some terrible places. In Piddy’s case, she tries on the Yaqui costume, so to speak, as a way to explore and protect herself. If you’re scary and vicious, who will bother you? I took her to that edge because as a writer you always make sure the stakes are very high for your character. I was after a problem that threatened her very sense of who she was, a problem so tangled that an easy answer was hard for her – and for the reader – to solve.

Latin@s in Kid Lit: Piddy’s best friend, Mitzi, has moved, too. She’s blossoming in the paradise of the suburbs and is mostly unavailable to Piddy. She reminds us of what Piddy’s life used to be. What else does sweet Mitzi contribute? What do apprentice writers need to know about using secondary characters for the benefit of the story’s arc?

Meg: Yes, Mitzi definitely shows us the “old” Piddy. She wasn’t in my first draft except in that sentence that refers to Piddy’s friend moving away. But as I worked on the manuscript, I built up scenes to show the old Piddy and also to keep a path open for the way back. I also liked how she worked as yet another version of a normal Latina girl: brainy, scientific, sports-impaired, middle class.

Photo credit: Petite Shards Productions

Photo credit: Petite Shards Productions

Latin@s in Kid Lit: Meg, mil gracias! We celebrate your achievements in Latin@ kid lit and look forward to your next book!

To learn more about Meg’s work, the latest on her author appearances and much more of interest to readers and writers, please visit and follow her blog.