New Adult Round-up: Definition, Hurdles, and a Suggestion

If you’ve been following the blogs of agents and authors recently, you’ve probably seen the term “new adult” come up. It’s an interesting development in the world of books, and it’s generating some even more interesting discussion among writers, agents, and editors. The idea of new adult fiction is coming up against some tough obstacles, but it’s also developing a loyal following.

Since it’s such a new and intriguing development, I’ve been doing some research on the topic, and here’s what I’ve discovered, as well as an idea I think might actually solve some of the obstacles NA is encountering.

What is New Adult?

St. Martin’s Press coined the term “new adult” back in 2009 with the launch of a contest for manuscripts with protagonists slightly older than YA range with stories that could appeal to an adult audience.

The current idea is that NA is a category of fiction about a collection of experiences particular to “new adults”- moving out on their own, going to college, maintaining that first adult romantic relationship, buying a car and paying bills, landing and keeping a place in the professional workforce. Kristan Hoffman’s article for Writer’s Digest goes a bit more in-depth on what NA is and could be in the future, and author Sharon Bayliss wrote a great post on the what and why of new adult, so read those if you would like a bit deeper explanation.

Why do we want NA?

New adult currently revolves around the themes and situations common to YA fiction, but takes those ideas further. Becoming independent as a teenager in high school looks different than becoming independent as you move out of your parents’ home and begin your own life. This particular slice of life is rare in adult fiction, and the YA category doesn’t allow for those experiences, either (with a few rare exceptions). YA protagonists are almost always 18 or younger, and 18 can even be difficult to sell. Usually, if the protagonists aren’t teenagers/high school aged, it can’t be marketed as YA. Now this does look different for situations where no high school is involved (say, dystopian or fantasy genres), but the perspective of becoming an adult stays the same. See my post over at YA Stands for a discussion of the unique perspective of YA fiction and what elements make a work YA.

In an interview (here) shortly after that St. Martin’s Press contest, S. Jae-Jones, an editorial assistant at St. Martin’s, talked with Georgia McBride about the gap between YA and adult fiction, and how NA can help fill that gap.  J.J says, “Just as YA is about discovering who you are as a person, I think NA is fiction about building your own life.” I agree; there is a gap between the experiences of adult and YA fiction. Writers who still want to explore the themes of becoming independent and taking on the world, but want to do so beyond high school experiences, might find themselves fighting the current. I haven’t yet heard of a great way to market that kind of work, and I do think there is a readership for it.

In fact, Dahlia Adler, a YA writer represented by Andrea Somberg, argues in her post “Whose ‘Failure’ is New Adult?” a market for NA  exists, and it’s a market authors will reach with or without the support of the publishing industry. She lists some great deals of NA works originally self-published and then bought by publishing houses–proof readers are willing to vote with their money for NA stories.

In September The Guardian asked readers what they thought about NA, and if they would be more likely to buy NA vs. YA works, and then posted some of the responses. Those responses are excellent for reading some new perspectives on the issue, so I definitely recommend taking a look.

So what’s the problem?

Well, it’s not all problems and obstacles. New adult IS enjoying some success, which is great. The word is spreading, the group blog NA Alley is gaining a wide readership, and NA works are occasionally being published.

Tammara Webber, a new adult author, discusses her recent deal here and PR Newswire has also reported Atria’s deal with Coleen Hoover for SLAMMED and POINT OF RETREAT, both NA titles.

Part of the difficulty NA fiction is encountering is that many people in the publishing world believe it’s not really a thing yet. A few agents represent NA, some NA works have been sold and are doing well, some small presses accept NA works, and involved readers are starting to recognize the term. But just barely. Most of my friends, even voracious readers, hadn’t heard of NA when I asked. Many agents and editors insist it isn’t a separate category. NA is still early in its development, and wide-spread recognition still has to be fought for.

One of the biggest problems NA is facing is where to put those books in stores. Currently, a NA section doesn’t exist on shelves. Publishers can’t convince booksellers to purchase books they don’t have a shelf for. Booksellers aren’t going to create a whole new space for something with only a few recognized works. Most agents and editors aren’t going to take on projects facing this kind of issue. NA simply lacks a defined place in the current market, though recognition is spreading little by little. Canadian actor and writer Adrienne Cress wrote a blog post, “Why New Adult Interests Me”, addressing this problem with NA.  She quite appropriately points out the cross-over appeal of upper YA, as some have called NA, but also discusses why it’s hard to sell.

Agent Kristin Nelson discusses another hurdle in her blog post on NA. She says the target audience wouldn’t know where to find these books, even if they were to go looking for them. Would they look for them in the teen section or in general fiction? Creating space for them in a book store would take a shift in process and marketing.

Some people in the publishing industry believe these divisions aren’t necessary. Michael Stearns, founder of Upstart Crow Literary, argues here that dividing fiction up this much may become a slippery slope. He points out that in his own early 20’s, specifically because he was becoming an adult and figuring out his own tastes, would have reacted against the idea of a category of books developed especially for people in his age group. He didn’t want to be told what he should be reading at that age.

Another problem is that some people argue NA isn’t different enough from YA. NA is about the perspective of transition. But YA is about that too- the transition between adolescence and adulthood. This is, I suspect, one of the biggest hurdles for NA. I can see how NA is a different point in that transition from adolescence to adulthood, but I’m not sure the difference is distinct enough to change the industry. Different experiences, yes- high school is very different from college. Dorms and apartments are distinctly different from living at home with your parents. But that’s not what categories in fiction really deal with.

An important idea here is that categories are different from genres. Many people mistakenly refer to NA or YA or MG as genres, but they aren’t. Genres are divisions like science fiction, contemporary, horror, romance, etc. Genres are primarily about experiences and structural elements that follow similar patterns- water rights disputes, lone wolf cowboys, and girls who refuse to ride side saddle are common elements of westerns, for example.

Categories are basic divisions that separate fiction (and even nonfiction) into works targeted for picture book, middle grade, young adult, and adult readers. Of course, young adult is enjoying tremendous crossover appeal, with as many adults reading the category as teens. So it’s not just the targeted audience that makes something YA, MG, or adult. It’s the perspective, the lens through which the protagonist(s) view the world. In MG, the protagonist has an experience that may teach them more about himself or the world, but in the end still views the world like a child- which is a great thing. That age was a distinct point in my life, and it’s wonderful to be able to go back and remember it through MG works. In YA, the protagonist meets a challenge that changes how they view the world- they go from viewing the world as an adolescent to viewing it more or less as an adult. S. Jae-Jones (JJ) develops the difference between adult and young adult perspective more here.

Do certain experiences tend to gather around these perspectives? Of course. Perspective influences the events of the story and certain experiences gather around the age category. But those experiences are a mark of genre, not a defining element of category.

So here is my own personal suggestion: NA might meet with fewer obstacles and solve some of the issues it’s facing if it were treated as a genre instead of a category. Many of the experiences and structure elements unique to NA could easily be seen as genre elements, and NA could gain its distinctness and place in the market just like other new genres- steampunk and the genre mashup. Many elements of NA stories aren’t currently marketable as YA, but could NA become a genre of adult fiction? That’s what I wonder.

Truthfully, it’s hard to say what NA is or isn’t, since it’s still developing. To book people who believe the difference in perspective is significant, keep advocating for NA as a category, and keep showing readers how different that perspective is. I’d like to see that more clearly, and I’ll cheer on any NA success I see.

My closing thought, however, is that NA might do well as a genre, instead of a category. Could this genre still have fun being part of a mashup- say, NA paranormal, NA thriller? Sure. But some of the objections I’m hearing from agents and editors to new adult as a category might be solved if it were shaped into a genre.

For those of you who write new adult, Vickie Motter, Lauren Hammond, and Sara Megibow all represent NA. In fact, Vickie Motter wrote some advice on querying NA works.

From NA Alley, here is a list of NA books and films (though some were marketed and sold as either YA or adult):

For those of you who don’t write and don’t work in the publishing industry, but still love books and are wondering why in the world I’m talking about this tiny difference, what you need to know is this: whether NA is a category or genre makes a huge difference in who writers can submit those manuscripts to, how their chances of selling that book sit, and what the future NA as a whole looks like. Those first-time-as-an-adult experiences are dear to a lot of people, so go check out a NA book. You might like it!

Review: Shadow and Bone

Shadow and Bone by Leigh Bardugo.

Publisher: Macmillan/Holt

Agent: Joanna Stampfel-Volpe

Editor: Noa Wheeler

I love fantasy. I love exotic stories with close-to-home characters. But I really, truly want a story to do two things: be enjoyable and make me think. The enjoyable element could be painful catharsis- Freak by Rebecca O’Donnell did this- or the pure charm and dry wit of Lemony Snicket. Making me think is generally a product of thematic weight and/or depth of character. When a book does these two things, I always end up caring deeply about the story. I’m hooked. The author has made me feel, and because of that, I won’t be able to put the story down.
Shadow and Bone, book 1 of the Grisha Trilogy, has these elements in spades. I ordered the book as part of a release contest, partially because of the impressive cover (I mean, how gorgeous is that?) and partially because I was intrigued by how much the book was being mentioned on Twitter by agents and authors. I read the first few pages and I was immediately impressed with the writing, before I had even gotten into the story.

Concisely put, here is why I loved Shadow and Bone: substance of character, plot, world, theme, and craft. Ms. Bardugo’s craft is admirable: her opening pages are a model of showing the story rather than telling information. Subtext and implication litter the first few chapters, adding charming detail and raising so many questions that the reader has little choice but to read on in order to find out. Why are these children orphaned? What border wars, and why? What is this Small Science? Who are these Grisha Examiners, and what are they looking for in the children? So smooth, in fact, is Ms. Bardugo’s writing, I barely noticed it. I had to slow down to evaluate her writing- her craft never gets in the way of the story or overshadows it. Instead, her writing upholds the story and amplifies it.

The characters are equally substantial- the book has a wide cast and I’m impressed by how well Ms. Bardugo handles the secondary characters. Each one has a bit of backstory and at least one intriguing detail that makes me want to know more, but none of them steal the spotlight from Alina Starkov. Alina is the protagonist- a girl who, in the middle of a horrifying military assignment, discovers she has a remarkable power. Alina is a beautiful blend of ordinary and extraordinary. She’s tough, smart, and caring. She’s secretly in love. She gets scared and overwhelmed and makes mistakes. Most importantly, she picks up the pieces of the disaster, goes after what she wants, and willingly pays the price for loving someone. Alina is unique not because she’s an abnormal human, but because she’s fully human. Ms. Bardugo makes both Alina and Mal unique characters by showing their humanity and putting it to the test.  Alina and Mal are wonderfully memorable, and I found myself terrified that things would go horribly wrong for them and unfailingly hopeful that they would come out in the end whole and together.

The complexity of the plot is an organic outgrowth of the world Ms. Bardugo built. A Russian-flavored culture, complete with mysterious Grisha, wastelands and palaces, a gritty military presence, and all the extravagance of the magical elite, provides a complex and fascinating backdrop for the equally complex plot. The story wasn’t confusing or fragmented by tangential plotlines- the complexity was the natural outcome of a fully-realized world in which characters have multiple motives. The bad guys don’t all want the same thing. The good guys aren’t all in agreement about everything. A mysterious and primal antagonist makes the reader question which is which. High stakes and international ripple effects add to the complexity. I couldn’t guess the ending, and I normally have at least a good idea of what happens. The plot of Shadow and Bone simply has substance- intriguing, richly-textured worldbuilding makes it real, and solid escalation of the main conflict intensifies the story beautifully.

Theme is, to my writer and English teacher self, the natural effect of a well-shaped story and deeply human characters. What those characters do and who they are can explore the toughest ideas and show the most challenging truths. Shadow and Bone handles theme remarkably well, allowing the profoundness of the subject matter and the humanity of the characters to bring out ideas and truths of life with subtlety and strength. Shadow and Bone contains a world of ideas. From self-sacrifice to the treachery of beauty, the themes are like its world and its characters: deep, substantial, and true to life.

I strongly recommend Shadow and Bone.

To purchase Shadow and Bone: Amazon, Books of Wonder, Barnes and Noble

For Ms. Bardugo’s author website, click here.

For Ms. Volpe’s agency blog, click here.

For an interview with Ms. Bardugo’s editor, Noa Wheeler, click here.

 

 

 

Prose Tips: the Psychology of the Short Sentence

Intentional sentence construction is vital to good writing.  Knowing what you’re doing with your sentences and why you’re doing it is absolutely essential to making the desired impact on your reader. Writers all have different sentence styles, ranging from sparse and cryptic to long and flowing. I prefer short, punchy sentences in general, with longer, more complicated ones taking the limelight where I want some poetry in my writing or else during more contemplative scenes. No one way is perfect, but shorter sentences can bring a dramatic impact that longer sentences often lack.

Readers subconsciously pause when they see the period in a sentence. This pause can emphasize subtext or emotion nicely. Use shorter sentences and back-load them when you want high emotional impact. Readers will process the sentence for a moment more than they might otherwise.

Long sentences (and long paragraphs) can be tempting to skim. Shorter sentences can help your readers stay engaged, because that briefest of pauses between sentences allows a moment to refocus. Be aware that this refocusing happens, and use it to your advantage.

Shorter sentences prompt readers to keep reading, especially sentences with only a handful of words. Because what they are reading now is so brief, it’s just a fraction easier to be wondering “What happens next?” Lining up all these punchy, short sentences together can speed your reader along and heighten the urge to find out what happens in the next paragraph, the next page, the next chapter. They automatically increase the pace of action scenes, as well.

Short sentences are less likely to contain unnecessary words. Because you’re focusing on paring down the thought to something punchy and brief, it’s easier to see what you can cut. Words and phrases like “that”, “there are/is”, and other word clutter are more likely to be tossed out. Additionally, short sentences have a smaller chance of being confusing than long sentences.

Another benefit of short sentences is the flip-side of the point above- as you write your short sentences, you might not only be separating a long sentence into two sentences; you might be reducing your words and turning your thought into something more concise. Conciseness lends itself to subtext- and subtext is a beautiful thing. People aren’t always transparent in what they say and do, and characters shouldn’t be, either. Narrators can use the subject inherent to a great short sentence to full effect, as well. This treats the reader as if they’re intelligent enough to notice and process the subtext, and it makes your characters deeper and more realistic.

A word of warning: Variety is key here. An entire paragraph of four-word sentences would probably bore the most dedicated reader. Be careful that you feed your reader a variety- no one wants the same meal every day, so mix it up.  Long sentences can be a gorgeous, winding adventure full of voice. Don’t avoid them. Just use long and short sentences in the places where the pacing and subject matter are prime for them.

How do you decide what type of sentence to use for which moment? Do you have a specific style, or do you go with your gut on a case-by-case basis? Tell me what you love about short sentences.

A companion post in praise of the long sentence is in the works.

Prose Tips: Be the Biggest Loser

Avoiding empty words and cutting  unnecessary words are two fantastic things you can do to immediately improve your writing.

Even if you already do this, check again. Empty and unnecessary words slip by even the most watchful writer. Actively avoiding these kinds of words helps, but searching for them and cutting them out is a normal part of the revision process.  Hunt them down and hack them out.

Empty words include words like there, is, are, this, that, etc. Rather than being content-bearers, these words are grammatical markers carrying little meaning themselves. Starting a sentence with “There are” or “there is” weakens the sentence and makes the writing unwieldy and vague. Cutting out these power-drains in your sentences will noticeably improve your prose. For example: “There was a loaf of bread on the counter, crusty and golden in its perfection” can be easily revised to read “A loaf of bread rested on the counter, crusty and golden in its perfection.” Adding an action verb can fairly easily solve the issue.

Most uses of the word “that” are unnecessary as well. “The girl waited for the train that she was sure would never come” becomes “The girl waited for the train she was sure would never come.” Use ctrl-F to highlight each use of “that” in your writing, and check to make sure you’re only using it when absolutely necessary. If it seems necessary, see if you can rewrite the sentence so it isn’t.

Cutting unnecessary words is a bit broader topic. Writing good fiction (and nonfiction) requires condensing. Many writers use rambling phrases to say what could be said in a word or two; knocking these out and replacing them with concise, punchy words is necessary to brighten your prose. Of course, many fantastic writers use long, flowing sentences- but every word is necessary and specific. Don’t use more words than you need to say what you mean. “Grover walked slowly over to the counter, picked up a knife from the knife block, and cut back and forth through the loaf of bread” is much better as “Grover strolled over to the counter, picked up a knife, and sliced the bread.”

Right now that sentence reads like an action beat to break up thoughts or dialogue. If the event is an important moment for the character or is meant to carry metaphorical meaning or subtext, much should be cut or rewritten. The sentence probably still contains detail that doesn’t matter, even though it’s condensed. If what matters is the bread being sliced, then we may not need to hear about Grover walking or choosing a knife. The fat needs trimmed. “The knife rasped through the crust, breaking apart the loaf” is a more specific image conveying similar information.

To avoid unnecessary words, think about what has to be conveyed and why- and then say it in as few words as possible. Linking words together to get Grover from point A to point B waters down the prose and simply doesn’t grab your reader. Make sure the words you use are necessary. Keep in mind “necessary” doesn’t deal with simply the information conveyed- tone and voice play into what words are necessary, too.

Don’t let your sentences be candidates for a reality TV weight loss program. Say the same thing in fewer, more specific words, and your sentences will be better off. Avoid words that don’t add meaning. Your readers will notice the difference.

Do you have a favorite editing trick or tool for cutting the fat out of your writing? Tell me about it!

Writing Contests

I’ve discovered a whole string of worthy contests of late, and so I’m sharing the love and posting them below. If you’re a writer, check them out. Some end tonight or tomorrow! If you’re a reader, stalk the contests.  Reading the pitches for as-yet unpublished books is fascinating, and you never know- you might see the book on the shelves next year.

Share the Lobov Critique Giveaway from Karen Akins

Pitch Slam 2 from YALITCHAT

Operation Awesome Mystery Agent from Katrina Lantz and the rest of the wonderful writers over at the Operation Awesome blog. This one is run monthly!

Crits for Water by Kat Brauer- contests/auctions for charity here until the end of June

Three Two One Pitch contest from Dorothy Dreyer

Tons of Giveaways for writers and readers- closing midnight tonight!

Miss Snark’s First Victim regularly runs writing contests- sometimes weekly! Keep an eye on the blog.

Cupid’s Literary Connection– contests run here regularly as well.

Mother. Write. (Repeat.) – The fabulous “An Agent’s Inbox” is run here monthly. Don’t miss it!

Watch Monica B.W.’s blog Love YA  and Brenda Drake’s blog Brenda Drake Writes for contests, giveaways, and more valuable info for writers and readers. These ladies are fabulous and recently hosted a major contest with Mother.Write.(Repeat.) and Cupid’s Literary Connection.

If you’re not familiar with these kinds of contests, go here for a great post on the topic and some worthwhile tips.

Like my posts? Follow my blog, and follow me on Twitter!

Book Giveaway!

Hello, readers. I have some exciting news. The fabulous Rochelle Melander, writing coach and author of WRITE-A-THON: Write Your Book in 26 Days, has offered to give away a copy of WRITE-A-THON to one of my readers. See my review of the book here. Honestly, I think you’ll love it. Ms. Melander writes insightfully and honestly about the perils, rewards, and challenges of being a writer. It’s motivating and full of unique ideas. Frankly, this book is good company.

To enter the contest, do the following:

1) Follow my blog, if you haven’t already, and comment below that you’d like to enter the giveaway. I have all kinds of goodies and useful materials for writers coming up, so you’ll want to anyway.

2) Follow me on Twitter here. If you don’t have an account, you should. Twitter is one of the most helpful tools I’ve seen yet for making professional connections and finding invaluable resources.

3) Follow Rochelle Melander on Twitter here. Tweet to me that you followed Ms. Melander, using her Twitter handle so she sees the tweet too.

That’s all you have to do! Here’s what you can win:

First prize: WRITE-A-THON by Rochelle Melander

Second prize: An ebook copy (readable on PC) of Writing Fiction: The Practical Guide from the Gotham Writers’ Workshop, one of America’s leading private creative writing schools. This book isn’t just the thoughts of one author on how to write fiction; each chapter is contributed by a different writer, all 11 of them published authors. Publishers Weekly calls this one “fresh and full of concrete advice.” You definitely want to win a copy- you know you do.

Third prize: Yes, there’s a third. Everyone will receive something- something I’ll announce when we have our winners. Check back to see what it is!

Contest ends Friday May 4 at 5:30 pm central time. That’s this Friday- so enter while you’re here! I’ll use random.org to choose the winners Friday night- results will be announced on Twitter. Thanks so much for reading!

List of Agent Blogs and Interviews

A writer’s job is to read, read, read. Read fiction. Read nonfiction for research and nonfiction on your craft. Read your manscript aloud. Read publishing industry news. Read more fiction- bestsellers, books in your genre, and books nothing like your own. Read until your eyes cross. Read, read, read.

One of the most important things for aspiring authors to read is agent blogs. Whether you are querying agents, trying to break into the publishing business, or simply learning more about the world of books, agent blogs are an absolutely necessary source of information. During my plunge into querying agents, I’ve painstakingly divested the internet of its most valuable resource (don’t argue with me on that descriptor): agent blogs.

Blog posts from industry professionals contain the personal details you need to make your queries stand out, the contests that will give you a leg up, and the industry knowledge that will help jump start your writing career.

Actively Maintained Agent Blogs

Thoughts from a Literary Agent: blog from Marisa Corvisiero.

The New Literary Agents– blog of Kae Tienstra and her business partner, Jon.

Chip’s Blog: Blog of MacGregor Literary.

Ask a Literary Agent: Blog from Noah Lukeman, president of Lukeman Literary and author of multiple books on writing queries and fiction.

Carly Watters: Blog of literary agent Carly Watters. Great post from July 12 on making your query stand out in the slush pile.

Bookalicious– blog of agent and top YA book blogger Pam van Hylckama Vlieg.

Mandy Hubbard: author and agent with D4EO Literary.

LaVie en Prose: blog of Meredith Barnes, ex-literary agent now working in digital marketing for Soho Press.

Rapid-Progressive: The blog of Victoria Marini, agent with Gelfman Schneider Literary Agency.

New Leaf Literary: The blog of a brand-new agency headed by Joanna Stampfel-Volpe

This Literary Life: The stylish and thought-provoking blog of Bree Ogden, agent with D4EO Literary Agency.

Magical Words: Featuring posts on helpful topics by several literary agents and published authors.

Confessions: Posts by agent Suzie Townsend.

Janet Reid, Literary Agent: Posts by agent Janet Reid of FinePrint Literary Management. This blog in particular contains a wealth of information and blunt advice for writers. Janet has also been known to host contests.

Query Shark: Janet Reid, master shark of the query waters, also maintains this blog where she dices queries to bits. Enter yours, if you dare! Reading the archives is one of the most entertaining and alarming things you’ll do as a writer.

Pub Rants: Maintained by agent Kristin Nelson of Nelson Literary Agency. Personal, informative posts about all things literary.

Rachelle Gardner: Posts by Rachelle with Books and Such Literary Agency. Many of these posts contain enormously helpful information on the daily life of a successful author- taxes, social media, and the changing publishing landscape are all covered.

Coffee. Tea. And Literary: Blog of the Nancy Coffey Literary & Media Representation.  Contests are occasionally run here as well.

Kathleen Ortiz: Agent with Nancy Coffey Literary & Media Representation.

Glass Cases: Blog of the fabulous agent Sarah LaPolla with Curtis Brown, Ltd., featuring short stories, flash fiction, and memoir and novel excerpts from readers.

dhs liter show + tell: The wide-ranging blog of DHS Literary/Inkwell Management.

DGLM: Blog maintained by Dystel and Goderich Literary Management. Frequent posts revealing the world of publishing and writing in valuable detail.

Full Circle Literary: Blog of Full Circle Literary, with archives going back to 2006.

Et in arcaedia, ego. Blog of Jennifer Jackson, powerhouse agent and Vice President of Donald Maass Literary Agency. Frequent “query wars” reports  and contests. Archives back to 2003.

The Knight Agency: Blog of The Knight Agency- fantastic recent post on preparing your manuscript for submission.

Lucienne Diver’s Drivel: News, advice, and entertainment from author, agent, and superhero Lucienne Diver.

Agent Savant: “publishing morsels from Laurie McLean.”

Agent in the Middle: posts by RT-award-winning literary agent Lori Perkins.

KT Literary: blog from “shoe-obsessed superagent Daphne Unfeasible.” Immensely informative peeks into her query pile included.

Call My Agent!: Blog from Australian “Agent Sydney.” Emailed questions will be answered in a blog post.

Writing and Rambling- A Literary Agent’s Industry Musings: posts by Nephele Tempest.

Fresh Books, Inc.: infrequent but substantial posts from Fresh Books literary agent and founder Matt Wagner.

All that’s new(s) from A to Z: posts from The Zack Company, Inc.

Ask the Agent: Posts from Andy Ross.

Kidlit: Blog from YA and children’s lit agent Mary Kole.

The Forest for the Trees: Maintained by Betsy Lerner- author, ex-editor and agent with Dunow, Carlson and Lerner Literary Agency.

Between the Lines: Business Blog of Books and Such Literary Agency

Jennifer Represents: the blog of Jennifer Laughran, children’s and YA fiction agent with Andrea Brown Literary Agency.

Bent on Books: news and musings from The Bent Agency- Jenny Bent, Molly Ker Hawn, Susan Hawk, and Nicole Steen.

Susan Says: Blog from Susan Hawk of The Bent Agency. Excellent recent post detailing what Susan is actively seeking.

Jill Corcoran Books: posts from Jill Corcoran, children’s book agent with Herman Agency.

Agent Incite: Posts from agent Mike Kabongo

Red Sofa Literary: Red Sofa’s agency blog. Eclectic industry news.

Babbles from Scott Eagan: posts from Scott Eagan from Greyhaus Literary Agency. Frank and unique presentations of industry news and advice.

Slush Pile Hell: “one grumpy literary agent, a sea of query fails, and other publishing nonsense.” Sometimes it helps to see what not to do in your query.

The Steve Laube Agency:  Browse it and learn from it- you’ll love it. Fantastic “News You Can Use” feature.

Upstart Crow Literary: new book announcements, advice on getting published, and more.

Navigating the Slush Pile: “Agent and book lover discovers the world of publishing one fast paced, eye opening step at a time, armed with only a handful of books and an English Lit Degree.” Posts by Vickie Motter, agent with Andrea Hurst Literary Management.

Inactive Blogs

BookEnds, LLC- A Literary Agency: Recently inactive, but chock-full of must-read posts on submissions, query letter samples, and pitch lines.

Fox Literary: Blog of Diana Fox of boutique agency Fox Literary.

Miss Snark, the literary agent: Inactive since 2007, but still a valuable resource.

Deep, Deep Thoughts: informative posts from John Jarrold of John Jarrold Literary Agency.

B.G. Literary: inactive blog of Barry Goldblatt Literary.

The Rejecter: Blog of a super-secret agent. See if you can find out who it is! Contains fantastic archives going back to 2006.

Lyons Literary LLC: “tips and quips on publishing from a literary agent,” Jonathan Lyons, formerly of Curtin Brown, Ltd., and McIntosh & Otis, Inc.

A Gent’s Outlook: inactive since 2007, but still valuable archives.

Blogs Interviewing Agents

Chuck Sambuchino’s Guide to Literary Agents Blog featuring new agent alerts, “How I Got Published” stories, conference/event spotlights, and author interviews.

Hunger Mountain: The VCFA journal of the arts Listed by interview type, the archives contain interviews with authors and agents.

Algonkian Writer Classes: Online Workshops and National Conferences for Agents: Great list of interviews with well-known agents.

Stacey O’Neale: Writer, Publicist, Superhero.  Most of these interviews are very recent and therefore most likely to contain accurate information.

Agent Advice: “a series of quick interviews with literary and script agents who talk with Guide to Literary Agents about their thoughts on writing, publishing, and just about anything else.”

Literary Rambles: “spotlighting children’s book authors, agents, and publishing.” The agent spotlights are invaluable for personalizing your query letter.

Mother. Write. (Repeat.) Long list of agent interviews. Be sure to check out the main page of this blog for “how I got my agent” stories, contests, and more.

YA Highway: Writers hosting contests, introducing agents, and collecting publishing news. Fantastic resource.

Comment to let me know what you think of these! I’d love to hear any agent-related blogs you follow. I’ll add them to the list! As always, thanks for reading.

Synesthesia

This week I was working on synesthesia in writing with my students. It’s not used prolifically in modern fiction, and I am surprised because it is an extremely powerful tool.

M.H. Abrams defines synesthesia as “one kind of sensation in terms of another; color is attributed to sounds, odor to colors, sound to odors, and so on.” When writers do this, they give the reader another level on which to experience the idea or image. This adds weight, and not only that, the unusual nature of synesthesia almost guarantees your readers will remember it.

Common examples from everyday speech would be a “warm” color, a “heavy” silence, or a “bright” sound. Each of these things describe something perceived with one of our six senses to another sensory perception. Warmth is something we feel while color is something we see. Adding this layer of experience to a color gives it a 3D effect. These are, of course, very basic examples.

Switchfoot uses synesthesia to great effect in their song “Restless,” with the line “the endless aching drops of light”. This line has other poetic effects going on within it, but describing light in terms of drops, and more than that, describing the drops in terms of an emotion, gives them enormous power.

Many people have probably used synesthesia without noticing it; you’ve probably used some of those common examples yourself. The technique is well-worth using intentionally, however. A well-crafted use of synesthesia can make a passage memorable and impacting.

So, as I work over the draft of my novel to edit the language for active verbs instead of passive verbs, conciseness, fewer modifiers in exchange for stronger verbs and nouns, etc., I’ll be adding intentional, poetic use of synesthesia to the checklist.

What about you? Have you ever used synesthesia in your writing? Have you come across a great use of synesthesia in literature?

The Basics of Character Development

As I work on revising my novel this week, I’m going over my character development. My novel has a wide cast and that’s challenging (but fun) to manage. Currently I’m working out notes on each character to make sure my portrayal of each one is consistent and that they are as fully developed as their roles require. This has, of course, brought me back to my books.

My post for this week will therefore be a breakdown of the nuts and bolts of character development. As always, challenge, question, and comment below, please!

The goal of character development is to create characters  exactly suited to your purpose. In my experience, there are 3 levels of characters. Tertiary characters (background people- the cab driver or cashier, perhaps) should be flat characters that don’t distract your readers. They aren’t interesting and they shouldn’t be interesting. For them, this this is good character development.

Secondary characters are much more complicated, of course, as are primary characters. These two types of characters are what I will generally be referring to throughout this post.

With primary characters, the goal is exactly the opposite of flat and uninteresting. They should be, as Brandi Reissenweber puts it in Writing Fiction: The Practical Guide from New York’s Acclaimed Creative Writing School, “real enough to cast shadows.” Before we look at how to do this, let’s look at why we want this from our characters. In Master Class in Fiction Writing, Adam Sexton says, “If they are well-wrought, stories intrigue, entertain and satisfy us. But it is characters that we love— and love hating. In the short stories and novels we read and reread, it is characters above all that we cherish.” Characters are what make your readers attached to your work. They make your writing memorable. Ebenezer Scrooge, Neville Longbottom, Elizabeth Bennett and Anne Shirley are an enormous part of what makes their novels compelling.

So, how do you make the next Huck Finn, the next Atticus Finch? There is no recipe for characters like that, and a lot of it has to do with talent (both learned and natural talent). However, there are consistent elements involved in developing characters that are complex, memorable, and realistic.

Active protagonists are essential. With few exceptions, a story with a passive protagonist will eventually wither and die. Protagonists set the story in motion; they drive the action. If they aren’t active, neither is the story. An active protagonist is one who wants something. This is key to a good protagonist. Again, Reissenweber says, “Desire beats in the heart of every dimensional character. A character should want something. Desire is a driving force of human nature and, applied to characters, it creates a steam of momentum to drive a story forward.” How badly the character wants  whatever they want tells the readers how hard to root for them to succeed– if Atticus only sort of wants to win the trial, readers will only sort of care.

This desire must be something internal and external. Characters have to desire something tangible that is core to their identity. For example, a teenager put into foster care as an infant may desire to know his birth-mother. This may be borne of an internal desire to find his identity- who he is and why. The tangible, plot-propelling expression of that is the hunt for his mother. Note that because this desire is key to who he is, he will, guaranteed, want it badly. Linda Seger, in her book, Making a Good Writer Great, notes says that “Yearnings push and pull at us…Sometimes they’re so strange that we wonder what anyone would think about us if they really knew what we yearned for, or how much we yearned for it… Too many characters lack guts and vibrancy because they only have a wee bit of want, rather than raging desires.” An internal desire to be loved, to be accepted, and to take control of one’s life (and many more desires like these) are realistic internal desires that a character could have, and the tangible, concrete counterpart desires he may have are endless. Your character must have them, however.

One more important note is that this abstract, internal desire is often a big part of what connects us to a character. For instance, most of us know and empathize with the need to be loved, and we will connect with a character who wants that badly.

Besides a strong internal desire mirrored by a strong external desire, there are 4 more main traits of solid characters. The second trait is complexity. No human can be reduced to a stereotype, and characters shouldn’t be, either. Characters may start with a type- the farmer, the feminist, the rural preacher, the hipster, the gold digger– but they must, absolutely must, transcend type. They must be different from anyone else of that stereotype. The farmer might secretly study foreign politics. The feminist may love gardening with a passion. The preacher might be a compulsive liar. The reasons why they do these things that separate them from their stereotypes make them real people. These differences should include flaws and virtues, as well. The sinless hero and the completely evil villain are stereotypes themselves.

The third element is contrasting traits. All people, as you peel back the layers, have conflicting characteristics. Personally, I am a social person– to a point. I am social, and I am also not. One of my characters in my novel does not want a husband- but she does want children. Ebenezer Scrooge is a hard-hearted miser, but deep down (deep, deep down), there is a part of him that is still a little boy. These contrasting traits happen because of all the baggage we carry around with us. All the things that influence who we are help create these contrasting layers. My husband still surprises me with the things he does, and not because I don’t know him well or because he’s an inconsistent person (he isn’t). It’s because people are complex beings with multiple reasons for why we do what we do. Sometimes one reason wins out, and sometimes another does. This creates those layers, those contrasting traits, and the characters in our fiction should have them too. A character without them won’t be convincing.

I just mentioned consistency, and that is the forth element of round characters. Consistency is  the effect of readers being able to see why the contrasting traits exist. So as your characters live out their lives in  your plot, make sure there are solid, consistent reasons behind why they do what they do. They may do surprising things (and they should) as long as we can see why that choice was made. Elizabeth Bennett said she’d never marry Mr. Darcy, but she did, and we believe it because we can see why she did. She changed her mind, but the reason she did is still consistent with who she is.

Of course, Elizabeth Bennett and Mr. Darcy both changed as characters over the course of the novel, and ability to change is the fifth characteristic of sound characters. The possibility for characters to change keeps us reading and keeps the characters from being predictable. We want to know if Scrooge becomes a better, happier soul; if Neville Longbottom rises out of his shy, bumbling childhood; if Elizabeth and Mr. Darcy can change enough to value each other as they ought to. They might, they might not– we read to find out. Here too we find ourselves rooting for this kind of character, and if he or she has a strong internal and external desire, we’re doubly captivated.

Those 5 things -desire, complexity, contrasting traits, consistency, and ability to change- are the main elements of compelling, realistic characters. Now, say you’ve got that all worked out. More than that, you’ve got pages filled with who this character is beyond these 5 traits. You know his his backstory, his favorite kind of peanut butter, his nervous habits, and what makes him happy, sad, and angry. How do you make all this complexity come across in your writing? How do you characterize him within your story?

There are 4 main methods of characterization. The first is what the character does. This is the closest thing we have to objective information about who a character truly is– what she does. Adam Sexton also points out that, “if readers have observed an aspect of character in a scene, they will more likely remember it.” So, instead of telling us what she did, have her do it in a scene. It gives us strong evidence about who she truly is, and we’re likely to remember it since we saw it.

The second method of showing character is through what the character says (or thinks, if we have access to that through the point-of-view.) This is, of course, more biased and subjective than actions. Kind words, judgmental statements, or pithy thoughts let us in on how characters think and who they are. Complaints, wise advice, thoughtful responses… these things are great opportunities for readers to see who your characters are.

The third method is through what other characters say or think about that character. This method is especially useful because it characterizes both the speaker and the character about whom she is speaking. If I say harsh words about a friend of mine, it may tell the reader something about my friend, but it will likely also tell the reader something about me. It may tell a great deal, in fact.

The final main method of showing characterization is through what the narrator tells us. Except for cases of unreliable narrators, the narrator is honest and unbiased. We don’t have to filter what he tells us. Make use of this reliable perspective for elements of your character that you absolutely don’t want doubted, and then support those traits with the other methods.

In all these things, subtlety is the goal. If these things are done heavy-handedly, readers will feel forced or manipulated. Being too obvious is just as bad as being confusing, if not worse, so this is where practice and good feedback is important in character development. Learning to see where you are overwriting and where you are being too subtle is important to having truly realistic characters, characters who keep readers coming back and are real enough to cast shadows.

Of course, there is much more that can be said about each of these areas, and I have glossed over and abbreviated many things. The three books I reference in this post have excellent sections on character development and I highly recommend turning to them for additional examples and explanation. Thank you for reading!