Author: SarahLaPolla

Pitches and Strikes

~ SarahLaPolla ~ 18 Comments

If you don’t read agent Jennifer Laughran’s blog, 1) why not?! and 2) you are currently missing out on some great advice if you are planning to attend a conference. While I have no overall conference-attending advice, I thought I’d talk about pitching in person because this past Saturday I participated in the Writer’s Digest Conference Pitch Slam, and it was my first experience with writers pitching to me. Basically, every writer got three minutes to pitch their project to an agent, and once those three minutes were up, a bell rang and then they were sent to be killed. OK, not really. They just had to move on to another agent. In the two-hour, non-stop pitch sessions, the writers I met ranged from all-business to nervous wreck to deer-in-headlights. It made me wonder, what must they be like on job interviews?

There were, of course, a few gems who, even if I didn’t always request their manuscripts, maintained the ideal level of professionalism while still being natural and personable. In case you’re attending another conference that requires pitching to an agent, here are some of the extreme cases I encountered to help you remain the one thing agents want you to be: yourself.

The Overachiever: This writer is ALL business. They are Tracy Flick-meets-Hermione Granger. What’s that? You want to exchange a handshake and a hello? No such luck. Not even a smile. This writer wants to sell, sell, sell. To them, a handshake wastes precious “getting out my binder and carefully typed notes” time and a hello is just another word for “I will now read you my entire query letter, including bio, in under three minutes.” An agent will respond positively to this only if the book sounds like something he or she wants to read. But, overall, it’s daunting and a little scary.

The Walking Nerve Ending: Writers, agents are people too. More importantly, we’re usually the socially awkward bookish people. No need to fear us! Besides, when your voice shakes, we can’t hear what your project is about. All we want to do is hug you instead. Ssh… we’re all just people, and agents need you as much as you need them. If one of us doesn’t particularly want what you’ve written, well then on to the next one! It’ll be OK.

The BFF: This is the opposite of The Overachiever. They might have come prepared with a binder, but you’d never know it because they are just so excited to meet you and are such a fan of [something agent’s done]. This writer might use the phrase “I feel like I know you!” and you wonder for a moment if they will give you a hug or invite you out for a drink after, neither of which are appropriate. It is always a good idea to be approachable and pleasant, especially if you follow an agent on Twitter, read their blog, or have met them before. But you do not want to appear so familiar that you lose your sense of professional boundaries.

The Lost Puppy: Another label for deer-in-headlights. This writer is adorably nervous, but not in a debilitating way like the The Walking Nerve Ending. Instead, this writer stammers and stares until, finally, they’re able to get out their one-sentence pitch just under three minutes. They just need a little love and encouragement, and maybe a gentle shove to keep moving, lest they get hit by a car (or, in this case, a bell signifying their time is up).

The Fast Talker: As someone who fears public speaking more than death, I can relate to The Fast Talker. I know what it’s like to think oh god if I just get through this as quickly as possible it’ll all be over and I’ll never have to speak again! It’s a form of anxiety that I have trouble calling others out on, in case I am labeled a hypocrite. However, I’ll offer some tips on what got me through the few times I wasn’t able to feign illness to get out of speaking (which, yes, I’ve done). 1) Know what you’re talking about. In this case, it’s easy because what you’re talking about is your book. If you can speak confidently and with authority on something, there’s no reason to be nervous. 2) Before it’s your turn to speak, take a break and count to three. It’s pretty textbook, I know, but it tends to work.

The Mumbles McMumbleson: This is the writer who lacks confidence and just wants to disappear. They know finding an agent is important, so they have to do this, but by god, do they really need to do this in person? The answer of course is no. No one is forcing writers to attend conferences and meet agents in person. But conferences are important for writers and they chose to be there, so speak up and speak clearly!

Like I said, there were definitely some gems and I’m very excited to read the manuscripts I requested. The Pitch Slam was intense, but fun, which is how many of the writers involved saw it too. See, agents are just like you! No need to fear. When all is said and done, just be yourself. We only want you for your books anyway…

You Are Not Original (and that’s OK)

~ SarahLaPolla ~ 19 Comments

We want to believe we are unique little snowflakes. As writers, we create, and we want to believe that what we create is the most original concept that readers will ever see. Nine times out of ten, this just won’t happen. We are not snowflakes. We are barely a box of multi-colored pencils. And for writers, that’s just fine. In most fiction, genre fiction especially, the same premises get repeated. It’s not plagiarism; it’s just normal. In fact, it’s how some sub-genres form in the first place. That said, most of these books use this basic, universal premise as simply a guide. How the writer chooses to enrich that structure is what separates good writing from the forgettable, regrettable wannabes.

I don’t know what it is about January so far, but it seems as if everyone’s New Year’s resolution was to finish their novel and start querying agents right away. While I appreciate the motivation, this is more damaging than good. To put it another way, the number of queries I’m getting per day this month are almost double that of what I was getting in December. The number of manuscripts I’m requesting, however, has more than halved. This is in part because of what I’m talking about above. People seem to be so quick to get out their manuscripts that they’ve forgotten to enrich their basic plot to make it stand out.

Before you send out your query to agents, make sure that when you sum up your book in those few, precious sentences, there is more to it than what’s implied.

Paranormal Romance & Non-romance: I recently tweeted, “In a severely crowded paranormal market, your plot needs to be more complex than ‘MC becomes/is/loves a non-human & must deal.'” I can’t stress this enough, especially since I get more queries for paranormal than any other genre. Agents and editors only want “the next Twilight” in terms of wanting another massively successful series that will make boatloads of cash for everyone involved. This does not mean we’re asking for “girl falls in love with a vampire and is conflicted about it.” It’s been done to death (undeath?)! It’s also not a twist if the person who falls in love with the non-human is a boy, nor does the female character become “strong” simply by being a vamp, wolf, zombie, etc. Sorry.

Literary fiction: People in the suburbs are not what they appear to be. Marriages that are seemingly perfect are actually rooted in resentment and possible adultery. Professor at a liberal arts college has an affair with a student. People living in Brooklyn do things that are seemingly more meaningful than what you’re doing (yep, looking at you, 90% of literary fiction authors!). Sure, these premises continue to work in literary fiction (hey, I still buy them), but unless your last name is, in fact, Franzen, you will need to give your mournful suburbanites a little more depth.

Mystery/Horror: While these two genres are not the same thing, I’ve been getting a lot of cross-genre queries lately that read like tag lines from teen scary movies from the ’90s. A group of people win a trip to a haunted house. A person who believes in ghosts begins seeing them for real. A killer runs rampant in a small town and is more often than not, the main character’s boyfriend/best friend/long-lost relative. Usually all of these premises are offered with a wink. They’ll provide a character who speaks for the audience by his or her cynicism and references to classic movies. There is nothing inherently wrong with doing this. It’s fun to write and it’s fun for the reader. But try not to rely solely on formula here. It’s harder to resist the temptation to do so in these genres, so make sure to add a little twist here and there that strays from the expected. What’s even more difficult is that in these particular genres, the “unexpected” is now what’s expected. (Thanks a lot, Hitchcock!)

Contemporary YA:Your main character’s parents are dead or otherwise absent, so he or she grows up too fast by either a) being overly responsible, mature, and “good” or b) drinks and parties, but is still wiser & wittier beyond his or her years. Then they meet or come across a catalyst for their path to self-actualization. Congratulations, you have a character portrait! But, this is not an engaging story by itself.

Science fiction: A boy (usually a boy) who is an orphan (usually an orphan) must defend his planet/galaxy/race/family because he is The One. A quest is involved. He also has some personal connection to the Force of Evil. This is called Every Sci-fi and Fantasy Novel You’ve Ever Read or Movie You’ve Ever Seen. Luke, Harry, Ender, Frodo, Jesus, Perseus – all of our heroes have the same story when it’s boiled down to one sentence. Think of how these stories stand out from each other before starting your next project. (To my fellow nerds, please refrain from yelling at me about why I’m wrong to compare Frodo to Perseus.)

Dystopian: The world as we know it has been destroyed by a virus! The world as we know it has been destroyed by climate change! The world as we know it has been destroyed by economic turmoil! The novel has been destroyed by Find & Replace! Writers, no matter how the world as we know it ends and no matter what the world you’re writing about is like, make what happens in that world worth caring about. Romance? Adventure? Mystery subplot completely unrelated to how the world has changed? All examples of how to bring your dystopian (another insanely crowded market) to the next level.

I could go on to give the basic formula for “chick lit,” but I’ll save you all some time and say that no one should use that phrase anymore and please don’t write it anyway. Thanks 🙂

Have a good weekend, everyone!

Parental Units in Fiction

~ SarahLaPolla ~ 22 Comments

Question of the day –

Assuming you’ve encountered a book where the main character’s parents actually remained alive, whose parents would you most like to have had growing up?

Note: aunts and uncles raising the main character as their own do not count.

I want to say the Weasleys, but I think I’d grow impatient with Molly and her overbearing ways. I’d also want Atticus Finch as my dad, but again… I’m without a mother. What gives, fiction? Why are your moms unacceptable to me? Can I borrow Joyce Summers even though she’s not literary? Mother Goose, perhaps? Sigh.

What say you, friends?

Crossing Over with YA

~ SarahLaPolla ~ 12 Comments

I often get queries that state plainly, “I’m writing to you because I know you enjoy crossover YA and I think my story is perfect for you.” Yes, it is true I prefer my YA to be more enjoyed by more than just teens, but I noticed that many of the eager writers are missing the point when submitting their crossover manuscripts. Like with most things, there is no “one ultimate rule” when defining what makes crossover YA. There are, however, many traps writers set for themselves when trying to write in this style. As a fan of the genre when it’s done right, I’m hoping to debunk the spiral of lies that writers often fall into so that the wide definition of Crossover becomes a little more narrow.

Crossover YA Means Older Teen/Younger Adult Characters:
Having a college-aged main character or a senior in high school who find him-or-herself in “adult situations” can mean that older readers will latch onto your story. Though, for the most part, having an older character, in my opinion, can do your YA a disservice. By focusing too much on having the age of the characters match that of your intended audience, you not only risk alienating a wider audience, but you could also lose focus on the story you want to tell vs. the story you think you should tell. Writing what you want should always take precedent. Worry about where characters’ ages fall later.(This is also true in deciding on Middle Grade vs. Young Adult.)

But Adults Won’t Read Books With Narrators/MCs Under 14:
Tell that to J.K. Rowling, Harper Lee, Jonathan Safran Foer, and Orson Scott Card – to name a few. While J.K. is the only one on that list to have a “true YA premise,” the others have proven that just because a character’s voice hasn’t yet changed doesn’t mean it can’t still resonate with the big kids.

OK, but back to this “true YA premise” – Won’t that alienate adult readers?
Fair point. I’ll return to the Harry Potter example from above. Tell the average grown-up that you’re reading a book about eleven-year-old wizards who attend a magic school and regularly encounter giants, unicorns, and dragons, and they will probably say, “That’s nice, Junior; now go run along and play.” Tell the same person you’re reading a book about three friends who work together to battle a force of evil responsible for the deaths of the main character’s parents, and they might be more inclined to take you seriously. Adjust the general plot for the more fantasy-minded reader, and you have a book they won’t want to put down, regardless of age. In other words, a great story is a great story. What a reader chooses to take from isn’t always what the author writes intentionally.

My Main Characters Takes a Bunch of Illegal Drugs, Has Sex With Four Different People, and then Murders Someone Within the 1st Thirty Pages. Not exactly the stuff YA is made of.
How old is this drug-taking nympho murderer? Who was murdered and why? Does another teen have to solve the case? Is there a lengthy and potentially boring-for-teens trial? Will the main character learn something about him-or-herself by the end?

The answers to these questions will help you decide which age group this falls under, but never assume that something can’t be YA just because of content. There are always contributing factors that make it go one way or another.

A Book Without an Target Reader in Mind Won’t Sell
According to my query pile, writers seem very concerned about which section of a bookstore their work will be displayed. I completely understand why writers of crossover YA would be concerned about this. That said, it should in no way effect how you approach writing your novel. Sometimes you will find that given then story you created, the only logical age your characters can be is around nineteen, twenty, or twenty-one. Where they end up in a bookstore, in these cases, is dependent on the nature of the writing and the plot.

So that means I should, like, make my characters talk all YA, even though the plot is epic and totally more appealing and appropriate for people, like, way older?
No. Your characters need to make sense given the situations they are in and the tone you are trying to master. If a teenager is in an adult situation that can only be an adult situation, write their character accordingly.

Fine. But what if my freshman-in-college protagonist and her senior-in-college boyfriend go on a road trip in search of the mother she thought she lost in Katrina, but when they arrive in New Orleans, the only thing they find is… themselves.
Other than having an overly sentimental cliche on your hands, I’d say you have a perfect example of “either/or.” In this case, use your instincts. I’ve given advice to make a character younger or older based on the plot and writing style. Likewise, I’ve had writers tweak their plot to better suit a younger audience. These minor changes are inevitable when you have this type of novel. But, for the most part, the minor changes are never deal-breakers.

So, what you’re saying is I should just write my story and stop freaking out that it’s not YA enough or too YA?
Right. Be mindful of a potential audience, keep your story in keeping with the characters, and let the characters adapt to the plot in a way their ages and life experiences would realistically allow. But don’t get wrapped up in who’s going to read it. Just focus on the story you want to tell.

This, of course, is all easier said than done. The best way to avoid the spiral is to remember to trust your reader while writing, and then trust your agent and editor while trying to publish. Mostly though – trust yourself as a writer to get across what you want to say to the people you want to say it without even trying 🙂

Let’s Call the Whole Thing Off

~ SarahLaPolla ~ 26 Comments

When someone asks you what you do, what do you say? Writer? Author? Artist? Do you mutter a general job description and immediately follow it up with … but, ya know, I’m just doing this for now!?

There’s always a little bit of a debate in the yet-to-be-published community on whether they are “writers” or “authors.” I know industry people who think they are one in the same, that the words are interchangeable. I am not one of these people. To me, a writer is a person who is serious about his or her craft and has the drive, knowledge, and skill to someday get published. An author is someone who has been published.

Now, there was some news this week about a certain Jersey Shore cast member and her work of fiction that looks astonishingly like her real life. Folks, I hate to say this, but Snooki is an author. I know. I’ll give you a minute.

OK, now that we’ve calmed down, a slight digression: When I was little, I wore Barbie lip gloss and ate Flinstones vitamins. The packagers stuck a familiar face on an otherwise commonplace product so that they could better compete within specific markets. Enter Snooki’s novel.

In the same way that Hanna-Barbera Productions did not manufacture pharmaceuticals in between creating beloved cartoon characters, Snooki having a book with her name on the cover does not make her a writer. (This is also in part because her book was, presumably, largely ghostwritten.) That’s not to say other celebrities who have written books aren’t writers. It’s just that Snooki and her ilk (be it Kardashian or Hilton) are the brand of celebrities that are, well, brands. The line is a fine one, but it’s there. President Obama, for example, is a writer. For one, he actually penned his words. And two, he was not a celebrity or even a politician of much note when his memoir was published. And in the manner of being fair and balanced, I’ll admit that Bill O’Reilly is also a writer. I repeat, it’s a fine line, but if you look closely enough, the differences between real writers and “people who have book deals” are clear.

So, back to you.

If not all writers are authors and not all authors are writers, where does that leave you? I bring this question up because I think it’s something fun to think about. There is no right answer. It’s only slightly bothersome to me when a writer queries me claiming to be a “published author” when they mean “I know how  to click a button that will bind my manuscript for me,” which is why I make my own distinctions between writers and authors. But writers who are serious about what they do deserve more than just being called “people who write,” so they have every right to claim that label proudly for themselves. But you tell me – what do you call yourselves? Or do you just say “I’m awesome” and leave it at that?

Finally, as you ponder what to call yourselves this weekend, I leave you with this week’s Winner of  the Internet, James Van Der Beek and his Vandermemes. Personally, I’d like to thank Mr. Van Der Beek for finally justifying my preference of Dawson over Pacey. It  took over a decade, and I was getting tired of defending my choices (you’d be surprised how often it would come up over the years), but I feel that my love of the Van Der Beek and my indifference to Joshua Jackson has been vindicated. Well done, sir.

What I Learned Over Christmas Vacation

~ SarahLaPolla ~ 15 Comments
Welcome back, friends! After a blogless week and a half, I’m very happy to be back, well-rested, and ready for another year of Glass Cases submissions. Last year, I took an extended break from NYC and many life lessons were learned. This year, even though I was back in good ol’ Queens after Christmas, I’m again sharing my top five points of self-discovery and interest.
I can consume a lot of food:
After weeks of eating nothing but cupcakes and various cookies that were brought into the office, I went upstate to my parents’ house and ate for pretty much four days straight. I should also point out that nothing I ate was a vegetable, unless you count the ones that were baked in heavy cream. I think I saw a strawberry once, but I was distracted by the cheesecake underneath it. I was simultaneously disgusted and happy, but it made me appreciate living in a close proximity to Trader Joe’s, where I can go to fill my cupboards with flax seed chips and edamame once again. 
I am a fairly decent bowler and awesome at board games.
Life upstate is a simple one, and I think I’d win at it. Too bad I like living somewhere eight million times more complicated. (Remind me why that is, again?)
Whatever happens in the future, there will always be a way to say “fuck.”
I read a book over the holidays. I know, I know, what else is new, right? But, this book was different…. this was read FOR FUN. What a concept! The winning novel was Across the Universe by Beth Revis. It was a disturbing and beautifully written YA sci-fi novel that you all should definitely buy. (Some might classify it as a dystopian, but I’m not.) While enjoying the concept, characters, and strong romance, I was also pleased to learn that in whatever future/parallel universe we live in (whether we’re frexing on Revis’ ship, Godspeed, or killing frakking toasters on the Battlestar Galactica), we’ll have a fun, new replacement for our most diverse curse word.
The radio is a wonderful thing.
As someone who doesn’t drive or have an ipod, listening to music while commuting isn’t something I consider a necessity. But the radio is amazing – mostly because in my hometown, it is always 1996 and my favorite local DJs of yore are still employed, crankin’ out those hits from such newcomers as Days of the New and Oasis. Never underestimate the power of singing by yourself while behind the wheel, especially if you intentionally pull up to the car next to you so they can judge/admire you.
Change should happen naturally:
Perhaps this is a more passive view on life, but much like my former colleague, Nathan Bransford, my word for 2010 was “transition.” Many a-changes were made in 2010 and I think I’m all the better for it. But if anyone follows me on Twitter, you may remember that I decided to take this “whole new Sarah” approach to life a step further and try to intentionally do things I’d rather soon ignore. With only a few days into the new year, I am already putting an end to this plan. See also: unless you’ve spent your year in a ditch, on crack, beaten, and without friends, then you probably don’t need to be so adamant about change.
I’m very excited about 2011 and the work I can do as an agent, a writer, and as your humble blogger. Thanks for entering another year with me and don’t forget to submit those stories!

Looking Forward, Looking Back

~ SarahLaPolla ~ 10 Comments

This will be my last post of 2010. Last year, I spoke a bit about New Year’s resolutions. Namely, that I don’t make them. Instead, I like looking back on the year and seeing if I had left anything unaccomplished that I would have preferred to do before the start of another year.

2010 was a pretty transformative year for me, in both my professional life and personal life. I sort of loved this year. I added the word Agent to my professional title, took on some outstanding authors, and even made some serious headway on my own novel, which I finally started. For obvious reasons, I keep my personal life out of this blog, but I will just say that independence, self-discovery, and confidence had a lot to do with making 2010 loads better than 2009. Plus, I started watching Community. I mean, that alone made this year awesome.

I’m looking forward to 2011 and excited to see where I’ll end up by the end of that year too. Maybe it’s the fact that since I was about eleven years old, I’ve wanted to be a grown-up, but realizing I actually am one has been making every year better and better. Don’t worry, I expect this to taper off around age thirty-three, and if you check in with me again in ten years, I’m sure I’ll be way less Pollyanna about the whole aging thing.

My goals of 2011 are to work as hard as humanly possible for my clients, keep publishing wonderful stories on Glass Cases, and maybe (gasp!) finish my own novel. If you follow me on Twitter, you also know that I’ve resolved to “live outside of my comfort zone.” I expect that to last about a month, tops.

Tell me, writer-friends, what is your #1 goal for 2011 and what were you proud of accomplishing in 2010?

Happy Holidays, everyone!

 

Knocking on Carver’s Door

~ SarahLaPolla ~ 4 Comments

There’s an old story about short story master Raymond Carver that he’d write his real life distractions into his stories. Most notably of these is the “knock at the door.” Supposedly, while Carver was writing, a porter knocked on his door, and by the time Carver got rid of him and returned to his work, he couldn’t remember his train of thought. So, instead, the porter’s interruption became part of the story. I really want that to be true, so I will present it here as fact.

Last night, I had a dream in which a friend of mine from childhood was telling me a very long story about… well, something. I can’t remember the actual story, but thinking of it now, it makes sense that the story itself was beside the point. What I remember about the dream is that our location kept changing and her story kept getting interrupted by pretty banal things. In one scene, we were at my apartment, but she decided she was hungry, so we ended up in a pub. Then a bartender took our drink orders. Just when she started the story for a third time, we suddenly took a trip to the bathroom (the way girls do). It was bizarre and, frankly, would have been very boring had I not been so aware of what was happening.

I woke up with a number of questions; namely, why would I dream about someone who I’ve known since birth, but was never really close friends with? More than that, I wanted to know why my subconscious kept interrupting her narrative.

This got me thinking about life’s little distractions and how they influence the way we tell stories. How often have we sat down to write, only to remember that we need to take out the trash or make a phone call or, for those of you with kids, tend to a crying baby? If we, like Carver, can’t avoid real life, as unexciting as it could be sometimes, do we have no choice but to let “the small things” infiltrate our work?

You tell me: Have any of you been inspired by seemingly insignificant real life events while working on a project? As a side note, have any of you ever changed a story midway through writing as a result of something more significant?

E-Book Paranoia Is So 2009

~ SarahLaPolla ~ 9 Comments

Last year, I wrote a blog post about one of the many “books are dying” panels that went on in 2009. For the record, I also love the smell and feel of books and stand by my post. Real, physical books are not going anywhere! Anywhere, I tell you!

Now, some perspective.

If Nathan Bransford’s annual e-book poll is any indication, it looks like even more people are embracing this newfangled e-book “trend” than ever before. That’s right. Apparently e-books were not just some phase publishing went through in college. Something tells me that by 2012, that percentages in Nathan’s yearly question will reach more than half. And even when that happens, I will still stand by my 2009 blog post. Here’s why:

We all knew an e-book majority was coming. It’s what we’ve been preparing for. So when I saw this article this morning by Leah McLaren, I had to rub my eyes and remind myself what year this was. Are we really still anti-e-reader? Are we seriously, in 2010, lamenting over the still-hasn’t-happened-yet loss of physical books? This line, particularly stood out to me: “…the act of giving books as gifts – once the simplest of holiday rituals – has been perverted beyond recognition as a result of technology.”

Has it?

Among McLaren’s other “most alarming” concerns about e-books is that:
1) “It has robbed us of the ability to share, discuss and passive-aggressively communicate through our mutual gift-book choices.”
2) “Once e-books completely take over, it will become impossible to know who actually reads and who doesn’t”

These quotes make me think she’s winking at her own foolishness, but this article was still written and published, so it’s getting talked about. With 2010 now ending, it makes me wonder why this article was published in the first place. Was it written in 2008 and shelved? Has the author been out of the publishing loop for some reason?

No matter the reason, the point is that the whole e-book “debate” is still, in fact, a debate. Books still make the best gifts. They always will. Unlike CDs, tangible books are still the dominant format, so gift-give away!

Speaking of the music industry, which is the best and easiest comparison, we’re used to updating our music collection with the advent of new technology. 45s, 78s, 8-tracks, cassettes, and CDs were all viable ways to listen to music. So, the dawn of mp3s weren’t really that big of a deal. They were just one more evolutionary notch. When I get an iTunes gift card, I don’t think it’s impersonal or tacky. I just think “sweet, now I can buy stuff I like in the format that I usually listen to it.”

But books have been in the same bound-pieces-of-paper format since, well… since books were invented. So naturally, we’re freaking out that someone is trying to change them. I find it sad that people like Leah McLaren are still writing articles that fear technology, rather than embrace it. It’s also upsetting that people with that viewpoint need to be reminded that CDs are still around. People even still buy them regularly! Even the majority of people who now get their music digitally are buying them. They just use them differently now, which, ironically, are more for gift-giving purposes. Owning a special edition or boxed set of your favorite band’s work just isn’t the same when you can see the work put into the packaging and liner notes.

The only difference between books and music is that we have a romanticized notion of what a book means. Or, more specifically, that it has meaning at all. I count myself among those who have this view, by the way. But, for the sake of my job and for the sake of the future of literature, I must put my personal feelings aside. 

Books will eventually become novelties too, reserved only for the retro, the collector, or the die-hard. And yes, to me this is sad. There are those of us (let’s face, if you’re reading this blog, you are included in this group) who will always buy books the way music purists still buy CDs (and even records). But we live in a small world, us literary folk. Eventually the “rest” will win. How they buy books will determine how they are sold. As the minority, we’ll do what we can and adapt to the change, and hopefully through it all, we remember that the words inside the pretty covers are what ultimately matter anyway.

Method Writing

~ SarahLaPolla ~ 16 Comments

Last night I read a manuscript – not even a client’s, mind you – that made me cry. Well OK, technically I just teared up a little, but still! It was so true to life that I ended up empathizing with the character as if she were a real life friend. Or, more accurately, a real life “me.” It actually inspired me to return to my nonfiction roots and expand an old personal essay.

This made me wonder if the author had experienced her character’s ordeal as well. How many of you fiction writers become your characters by infusing real life emotions in your work? Are you a Marlon Brando and Daniel Day Lewis when you write? Or are you Cary Grant and Tom Hanks?

Personally, I think I’m a Cary Grant, or a “non-method” writer. (Note: I am in love with Cary Grant, but this is not why I chose him as my writing-equivalent.) Cary and Tom are both great actors (or, were, in Cary’s case); they say their lines, become a character when they need to get the job done, and go home at the end of the day as if they spent it in a cubicle. (Presumably.. obviously I have no idea how they’d go home at the end of the day after a shoot.) This is my approach to writing – to writing fiction, at least. It’s something I’m enjoying at the moment, but personal essays are, at least I’d like to think, what define me as a writer.

Method actors put their entire beings into a character, and in turn, the character fuses into them. There’s obviously great value in this type of writing too. Some might argue there’s more value. Both approaches work in acting, usually with the same results depending on how good you are (I mean, look at Tom Hanks). So, I wonder… is the same true for writing?

What are your approaches to writing fictional emotions? Do you think it matters whether an author experienced them in real life?