Author: SarahLaPolla

Interview with Marilyn Peake

~ SarahLaPolla ~ 13 Comments
I’m beginning Self-Publishing Week with a familiar name to those who read this blog regularly. You may remember Marilyn Peake’s appearances on Glass Cases when she shared Bright Moon and Tiger in Plum Blossoms. Marilyn was an early reader of my little blog and continued to support it as it grew. What Marilyn doesn’t know is that she’s actually the first person I thought of for Self-Publishing Week. 
Marilyn writes science fiction and fantasy, both of which I am huge fans of. I was familiar with her work and even though we didn’t development a working relationship, I was aware of her foray into self-publishing through Twitter. That’s when my own preconceived notions about self-publishing started to change. I knew Marilyn was a good writer who had a passion for her work, and she clearly had a grasp on self-promotion and social media. To me, that made her the perfect candidate for exploring self-publishing, and from her interview below, it sounds like she’s happy she made that decision. I’ll let Marilyn take over now.

How many agents did you query before deciding to self-publish, and for how long?

I queried agents for a couple of my books, THE FISHERMAN’S SON (which is now self-published) and GODS IN THE MACHINE (which I’m in the process of rewriting for the third time).

THE FISHERMAN’S SON has an interesting history.  Years ago, I signed a six-month contract with an agent who was later listed as not recommended by Writer’s Digest.  After she held onto the book for six months, I decided to self-publish it, way back when self-publishing wasn’t particularly respected.  Shortly afterward, I was offered contracts for the complete trilogy of THE FISHERMAN’S SON by an indie publisher who published the trilogy in paperback and eBook formats, and invested money in a professional recording for the audio version of the first book in the trilogy.  Between self-publishing and indie publishing, I sold hundreds of copies of THE FISHERMAN’S SON, accumulated some really great reviews and was interviewed on radio shows across the United States and in Canada.  Eventually, the publishing market changed and sales slowed down, so I requested my rights back, and the indie publisher agreed.  Several months ago, I tried self-publishing each book in the trilogy for 99 cents on Kindle, and THE FISHERMAN’S SON has started selling on a regular basis without much advertising at all.  After a few months, I also started seeing an increase in sales for the second and third books in the trilogy.

For GODS IN THE MACHINE, I queried a lot of agents for at least a year.  To my great delight, Sarah, you had requested a full for that novel as well as some changes to it; although, in the end, you decided to pass on offering representation.  You had mentioned not caring for the main character, which I’m actually changing considerably in rewriting this novel – I even changed the main character’s name.  My plan is to eventually self-publish this novel on Kindle.  It’s a somewhat quirky science fiction novel, so I’m thinking there’s a chance it will do well in the self-publishing Kindle market.

Even though I don’t have a literary agent, I should add that I’ve been referred by another writer to a top Hollywood movie agent who works by referral-only.  This agent has read all my work and has left the door open for me to submit all my future work to him.  At the same time, books that I still have in indie publishing are being considered for a possible TV series through a Hollywood Producer.
How many books have you self-published?
So far, I’ve self-published four novels and four short stories on Kindle, and have a lot of other work published through indie publishing. 

[Note: You can find all of Marilyn’s available titles here.]
Was the genre you write a contributing factor in your decision to self-publish, given the success of other self-published books in that genre?
No, it really wasn’t.  I’ve seen books in every genre selling well as self-published Kindle books, and I’ve personally purchased so many wonderful self-published Kindle books with great reviews and awards, I felt excited about jumping into this arena to see what might happen with my own books.
What self-publishing service did you use? Did you have to pay for their services?
Right now, I’m only self-published through Kindle, and I haven’t had to pay anything.
Did you use outside editors/beta readers/writing groups for your work before self-publishing?
THE FISHERMAN’S SON has been reviewed by many people, including bestselling author Piers Anthony, and the reviews are posted on my website.  At this point, I’ve received enthusiastic responses from people all across the country who have read it, even a couple of librarians who devoted display shelves to it as a book to be read by children who enjoyed HARRY POTTER.
Sending my work out after it’s been published is usually how I approach having my work assessed.  My husband’s a great beta reader prior to publication, but afterward I seek out professional reviews and enter my work in book award contests in order to provide potential book buyers with an impartial assessment.  Waiting for the first review after publication is always nerve-racking.  For GODS IN THE MACHINE, I paid a well-known editor for his assessment.  His advice was awesome and I’m including some of it in the rewrite, although I probably won’t include all of it because he thought I should remove several characters which other people – including you, Sarah – happened to like.  As far as editing for grammar and spelling, so far I’ve done that myself, since I’ve edited books for other writers, including several who work in Hollywood.
What do you do to publicize your book? How do you reach your target audience?
I have a website where I post my publications, reviews and awards, and other information related to writing.  I enter book award contests and seek out reviews because that seems to sell books and also because I like that kind of feedback about my work.  Also, I’ve hired professional artists for most of my book covers, because I think that an awesome book cover is one of the best forms of advertising.  Since self-publishing, I haven’t done much additional advertising other than being on Twitter, purchasing one ad, and having my books reviewed on a couple of indie book blogs.  At some point, THE FISHERMAN’S SON and my short story BRIGHT MOON (which was originally published on your blog) were listed by Amazon under several bestselling Kindle books in the space labeled “Customers Who Bought This Item Also Bought”…and that seemed to work like free advertising to keep my Kindle publications selling.

I decided not to begin book promotion in earnest until after I finish the final rewrite of GODS IN THE MACHINE.  However, I think that some of the book promotion I did years ago for my books is still paying off.  I receive around 10,000 hits to my website every month, much of it coming from my book titles, from an article I wrote years ago called Archetypes in Fantasy Writing, and other things like that.  Years ago, I did quite a bit of book promotion.  I got to the point where one book promotion led to another, and I eventually had my work featured on a CD that was handed out by two Stargate novelists to Stargate actors and fans at a convention, I had a two-page interview in a print fanzine associated with the University of Glasgow Science Fiction and Fantasy Society, and other really great promotional opportunities like that.
What have the sales been like for your books? Are you happy with the royalty rate you’ve received?
I’m happy with my royalty rate for now.  Pricing my Kindle books at 99 cents each, I’m only seeing about 35% of 99 cents per book.  However, I plan to increase my book promotion substantially after I finish the final rewrite of GODS IN THE MACHINE.  I’m hoping to build a fan base with the low price of my self-published books, and hope that, once I start doing book promotion, my sales will increase.  Eventually, I might try pricing a couple of my novels at $2.99 each, a price at which Amazon pays 70% royalty.

I’m happy to supply my actual sales numbers here because I know writers like to see sales statistics for self-publishing ventures.  I self-published my first Kindle novel, THE FISHERMAN’S SON, on March 21 of this year and most of my other Kindle titles in March and April.  Since self-publishing on Kindle, I’ve sold 447 copies of my novels and short stories, with 209 of those being copies of THE FISHERMAN’S SON novel.  Since I simply uploaded my publications on Amazon and haven’t done much book promotion at all, I’m pretty happy with those sales.
Did you face any unexpected challenges in self-publishing?
Not really.  This has been one of the easiest, most rewarding things I’ve ever done.  (My husband works in computers and formats all my publications for Kindle – that would have been a huge challenge if I had had to do that myself.  Also, I’ve hired artists for professional book covers and my husband created a few clip art book covers, because book cover artwork would have been another huge challenge for me.)
Do you think you’ll ever make the switch to a more traditional publisher if presented with the opportunity? Why or why not?
I would consider it, but the offer would have to be a really good one because I’m very happy with my self-publishing experience.

What advice would you give writers who are considering self-publishing their work?

I highly recommend polishing your work, making it the best it can be.  I strongly recommend having a website.  I also recommend accumulating great reviews from professional reviewers who don’t know you and entering your work in book award contests.  When self-publishing, I think it’s important to never spend more money than you can afford.  Expect to sell zero books, but hope to sell a million books.  Don’t count on any specific number of sales because luck and timing have so much to do with how many books you’ll actually sell.
I want to thank Marilyn again for contributing and hope her experience has been helpful to you all. Come back tomorrow to read about my former colleague and MG/YA author, Tracy Marchini. 

What’s the Deal With Self-Publishing?

~ SarahLaPolla ~ 23 Comments

I’m very excited to begin a new week on the blog with a very important, very specific theme. It will be a week-long series of interviews and stories, and I hope you all learn a lot from them. But first – some back story.

Since 2008, the publishing industry has been… confused. Technology caught up with it just in time for the recession, and it was left not really knowing what to do with itself. Since then, there have been who-knows-how-many articles and blog posts predicting the death of books. These rumors have been greatly exaggerated. It took publishing a while to recover, but we’re doing just fine now, thank you. No matter how books will be read in the future, there will always be an industry responsible for making them.

It’s still uncertain, the way every business is uncertain in times of economic instability, and it’s competitive as ever to get your book published. While publishing was at its weakest, technology allowed a new viable option – self-publishing. And it sure looks attractive these days. Self-publishing has been around long before 2008. Lulu.com, for example, began almost ten years ago, even before self-publishing was as simple uploading a PDF and having your book immediately available for download.

In a way, self-publishing is a bit like internet dating. First, it was only for those who didn’t have what it took for “the real world.” The stigma was massive; it was something to be ashamed of. Then you hear about your friends doing it, and suddenly you become less skeptical. And now it is practically commonplace.

Commonplace, but not without stigma that is.

I’m not going to pretend I haven’t been guilty of looking down at self-published authors. After all, it’s my job  to make sure authors aren’t doing this alone. No one in publishing wants to see an author get taken advantage of, which is why we’re always telling writers how much value there is in traditional publishing. In fact, I like the tradition. Agents are important. Editors are important. Publicists and copyeditors and subrights managers are important.

There are writers out there who believe agents and publishers are “threatened” by self-publishing because it bypasses the steps we usually handle. They claim that’s why we in the industry “hate it.” I can only speak on behalf of myself, but that is not why self-publishing makes me nervous.

There are three things about self-publishing that scare me, actually.

1) There are still writers out there who aren’t aware that companies like PublishAmerica and AuthorHouse shouldn’t be charging them to publish their books, and that they should be the ones paying the writers for the privilege.

2) Too many forums and comments online have enforced an idea that agents and publishers are greedy or want to hinder writers’ creativity. This turns many writers against traditional publishing, making them take matters into their own hands. And that’s when writers can do themselves a disservice without even realizing it. Writing takes a lot of time and then even more time to get right. All writers need an editor. Then, even once the book is finished and you press that Publish button, the work doesn’t stop. You become your own accountant, publicist, agent, and assistant. Where’s the time to write your next book? It’s a lot of responsibility that most people are not experienced in having all at once.

3) Then there are the success stories. We’ve all heard them. Amanda Hocking and John Locke are self-made millionaires. Barry Eisler walks away from a $500,000 advance to self-publish instead. These success stories are wonderful for the authors involved, and they serve as proof that self-publishing is no longer a dirty little secret among writers. The stigma, however, remained in a way that was even more polarizing. The allure of self-publishing was even greater because now, in addition to avoiding rejection, there was a chance of becoming a millionaire. Doing anything for money is always a bad idea. Always. Chances are, you won’t become rich. Like the person on the news who won the state lottery, success stories can be great and inspiring. But they are too rare to rely on.

For every writer who uses self-publishing to become success story, there’s one who is just sick of being rejected. Those are the two extremes, and unfortunately they have clouded the judgment of many, myself included. I also believe that most people don’t fall under extremes. Most writers have nothing against tradition; they just want their stories to be heard and found a way to do it. Truthfully, sometimes self-publishing is the better option (as explained in more detail by literary agent Meredith Barnes), and if traditional publishing can have mid-list authors, why can’t self-publishing?

These smart, talented, tech savvy mid-list authors are who I’m devoting this week to here on the blog. Self-published writers Marilyn Peake, Tracy Marchini, Michelle Davidson Argyle, and Karen Hooper, who did not self-publish but decided to go indie without an agent, will all share their experiences on going it alone.

NOTE: Yes, I am still a literary agent. Yes, I will always tell writers to exhaust all traditional options before looking into self-publishing. This week isn’t about me. This blog is, and always has been, for writers and as a place for writers, it’s important to me that I present any helpful information I can offer. Glass Cases is mine alone, and does not represent the agency I work for in any way, shape, or form. I cannot stress that enough.

Hope you enjoy this break in our regularly scheduled programming, and check back in tomorrow to hear about sci-fi writer Marilyn Peake’s road to self-publishing.

Taking Advice

~ SarahLaPolla ~ 29 Comments

I saw this list of quotes from Stephen King today, and immediately thought “YES!” when I read the first one: “The road to hell is paved with adverbs.”

As you know, I give writing advice a lot. I speak from a Bachelors and a Masters in creative writing and (more importantly) as a professional in the publishing industry. I’d like to think I’m pretty qualified to give writing advice, as are many other publishing professionals who offer advice on a regular basis. All we can do is sit back and hope people listen. (Mostly so we don’t have to repeat ourselves.)

That said, I understand why some writers don’t take our advice.

With so much subjectivity in the field, how does one differentiate between personal taste and unarguable truth? The thing is, there are always going to be exceptions to rules, so nothing is ever set in stone. But! For the most part, especially for a debut author who’s way less likely to be able to break any rules, there are some things you’ll just need to take an editor’s word on.

Bringing me back to adverbs. Poor, poor adverbs. The thing is, they can be used in moderation, but no one ever uses them sparingly enough, so they get ruined for everybody. Adverbs are words that seem to be universally hated by writing professionals, and yet writers continue to use (and abuse) them. It makes me wonder who is listening to writing advice out there.

So I ask you, fair writers:
How often do you listen to writing advice from professionals, either via blogs, conferences, or Twitter?
How many second opinions do you require before you’re able to think of suggestions as “rules?”
When something is as frowned upon as adverbs, are you still able to write it off as “personal preference?”

Thanks, friends 🙂

What’s In a Name?

~ SarahLaPolla ~ 17 Comments

To answer my own question – a lot.

I’m a big fan of titles. A clever or evocative title is what makes a reader – myself included – pick up a book off the shelves. In fact, its title first drew me to The Perks of Being a Wallflower and the rest, as they say, was history.

Titles, like books themselves, can have trends, which I’ve spoken about before. Right now, for example, one-word titles or thought-provoking “The [something] of the [something]” seem to be the hot new things in marketing. These things change, but what never changes is the importance of a title that will grab a reader’s attention.

It’s very hard to come up with a good title. I’ve heard writers say they don’t bother coming up with anything too creative because “the publisher is going to change it anyway.” Honestly, this is sort of true. Depending on the way the market is going by the time your book comes out, or what hip new trends are popular, the publisher will input their expertise based on what will make your book more eye-catching to a buyer. No one is out to stifle your creativity or make you think it’s unappreciated. But sometimes that’s just the way it is. It’s about selling your book.

Publishers don’t always change your title on you though. And what’s more, from an agent’s point of view, seeing an unimaginative title, or one that doesn’t capture the spirit of the book, makes me think you’re not trying hard enough. If you slap a lame title on your book, who’s to say your writing isn’t unimaginative too? Is that a fair statement? No. Is a good or bad title a deal breaker? Absolutely not! But I’d be lying if I said it didn’t run through my head, even if just momentarily.

So, what do I mean by “bad” title?

– Ambiguous verbs that can be the title of any book
– Titles that evoke no emotion, image, or intrigue
– Titles that have been done before. (It’s true, titles are not protected by copyright law, but use your best judgment. You can’t name your book after a bestseller or popular film. Song titles are also a bit cringe-worthy, but there’s more wiggle room there.)
– Unnecessarily long or hard to say out loud. (See “Rural Juror” episode of 30 Rock – it’s very important to read things aloud before committing to any kind of phrasing or word choice)

Conversely, a “good” title is one that grabs a reader’s attention without giving too much away. It should encapsulate the book in a way the reader doesn’t understand yet.

Sure, your story is what matters most, but those little things can add up in your favor too. Titles are hard, but don’t shy away from them because you think they’re not important or will get changed. You know what else is hard? Writing. And we all know that gets changed in the editing process all the time.

Personal Politics

~ SarahLaPolla ~ 8 Comments

If you’ve been in the blogosphere and Twittersphere today, you may have heard about this article, which told the story of two authors who were told by an agent to “straighten” their gay characters. The authors, Rachel Manija Brown and Sherwood Smith, weren’t sure if the agent in question had a personal stance on LGBT people, or if the decision was about LGBT characters who, in his or her opinion, might have been marketing liabilities. After you read the article, and this blog post, please check out the #YesGayYA hashtag on Twitter. Agents, editors, and authors who write and accept LGBT characters have been saying some very reassuring things over there. (While I have yet to contribute to the hashtag, let me just say that I am one of the agents who seek out LGBT characters!)

This introduction is my way of talking about a larger issue. It’s one that I’ve been thinking about for a while. Like the authors of the article, let me just repeat that I do not know, or even assume, that the agent’s political or religious beliefs affected their decision. I choose to believe that the agent thought straight characters would gain a larger audience, which is a little sad and misguided, but it’s not sinister or even homophobic. Still, I think it warrants the question, should someone’s personal politics affect their business choices?

Like I said, I’ve thought about this before today, and to me the answer is no. I don’t think it’s too much of a stretch to assume, based on things I say in real life and online, that writers are aware I’m a liberal. It’s part of my personal belief system, and while I try to keep it at bay in a professional setting, things do slip out. I don’t ever want to get into a political discussion on my blog because that’s not what it is for, so allow me to explain why I bring this up.

Sometimes I get queries that have agendas. And sometimes writers will query me with them because they think I share their desire to spread that agenda. I don’t. I never will. It’s true that I wouldn’t feel comfortable representing a book whose purpose is to promote a belief I don’t share – particularly if it’s one I feel strongly about. However, there are other queries that clearly have an anti-Republican stance, and the fact these writers think I’d want to spread that stance is insulting. On the other side of it, some projects might even have a story about a specific “liberal” cause I personally believe in, but I have absolutely no interest in perpetuating something so overt. These types of books are sometimes called “issue books,” and plenty of agents represent them. They even seek them out. But those books make me uncomfortable most of the time because it’s hard to talk about a specific issue without choosing a side. Good fiction, in my opinion, should come without political motive. When a story is good, the reader will interpret their own meaning from it. One person’s cautionary tale is another person’s happy ending.

There have been books I love – even projects I represent – who have characters who think in a way I do not, or have underlying themes that aren’t always in keeping with my personal philosophy. It’s an important part of this business to know what will offend vs. what might be disagreeable. If the hero of your story happens to be a religious man who thinks marriage is between a man and a woman, then he can still be a hero to me even if I disagree with him. However, if your story is about a religious man who tries to stop a gay marriage law from being passed in his home state, then to me he is no longer a hero. It’s a fine line, but it’s there.

If you’re ever in a situation – and hopefully you’re not – in which an agent or editor tells you to change a character in a way that fundamentally alters that character’s livelihood, then don’t be afraid to ask why. If they claim a marketing standpoint, then go do market research to try to prove them wrong. Or look for other agents and editors who might think differently. (Note: I mean look to see if they exist. Don’t leave your agent on the spot.) If it seems unanimous that the agent might have a point (or mostly unanimous since nothing in this business ever is), then try to consider their suggestion.

But if you think the agent or editor is imposing personal politics on you, then you have every right to reject them. If they aren’t willing to compromise their morals, then you shouldn’t be the one who has to.

The article I linked to is sad, but it doesn’t speak for all of us. I think most agents and editors do put aside personal politics for the greater good. Stories are what matter. Writers are what matter. Readers are what matter. If your work speaks to readers, we will find a way to work with you.

What The Fudge?

~ SarahLaPolla ~ 24 Comments

In high school, my AP English teacher gave us the freedom to choose which book to read individually for our final paper. She tried to push Catcher in the Rye by adding “you’ll like it; there’s swearing in it.” (Despite what you may believe, based on the name of this blog, I did not choose Catcher. I had already read it, so I chose Lord of the Flies.) I remember she specifically added the “swearing” bit because when I had read it I didn’t even notice those words were there. I was too wrapped up in the ball of emotion that was Holden Caulfield and the journey through New York City to pay attention to things like that. If he swore at all, then it was as natural and as necessary as any other word.

We often talk about sex in YA, violence in video games, and other things that might not be “appropriate” for our nation’s youth. While the question of gratuitous language does come up, it’s discussed – on the whole – far less. I should mention that when I talk about “colorful” language in books, I’m not just talking about YA. If anything, teens use curse words way more than adults because, like drinking, adults learn when to hold back, when it’s appropriate, and when to indulge.

I bring this up because I was recently reading a manuscript – one that I was excited to begin – and I could not get over how many F-bombs were on the first page. Obviously this narrator was mad. But I didn’t know who he was, why I should care, if the person he was angry with really was a “bitch,” as he claimed, or even where he was. It felt like I was being bombarded with emotion that I wasn’t ready to take on as a reader. The narrator went on to drop this language into conversation, and every time it felt forced and unnatural. Eventually I had to give up on the story because it was so distracting to read.

Certain things are translated differently when they are on the page, which is why, as novelists, you need to be more conscious of the image you project. Writers like Quentin Tarantino and David Mamet don’t have to worry about that as much. (If you’re familiar with their work, you can probably guess why I chose them as examples.) They aren’t writing for the page. In the flash of a single image, their world, setting, and even character can be immediately established. As a result, their characters can say whatever the fuck they want.

Novelists don’t have that luxury. Yes, their characters can say whatever they want, but when they can say it matters a little bit more in books than it does in movies. It takes longer to introduce your character and establish a connection to your reader – especially if you’re writing in 3rd person. First-person narration might makes things easier since you’re establishing your main character’s voice right from the beginning. Even still, the reader needs to understand his or her POV before they’re forced into it. 

Now, lest you think I’m just being prudish about “the devil’s words,” I’ll admit that not all swear words are bad and no one needs to be sheltered from them. Sometimes they need to be added, not taken away. If your character finds himself in some seriously fucked up shit, then he better call it like he sees it. Even the mildest person in the world will let out a quiet “motherfucker!” when they stub their toe. It’s natural and sometimes a curse is the only word that can sum up events.

Whether you’re writing YA or adult fiction, treat swear words the same way you would any other word. Sometimes they need to get edited out, and sometimes they fit so perfectly that the reader barely notices them. If you’re ever in doubt about whether you’re being excessive or not excessive enough, just ask yourself two questions: Is this something my character would say? and Does this type of language fit the situation? Like with most things, there are exceptions to rules and ways to bend them, but in most situations, answering these two questions will suffice.

I’m of the mindset that almost everything can be appropriate for all ages if done properly. Why hold anything back if it will resonate with your audience and enrich your story? But make smart choices. Swear words are just words the same way sex and violence are just actions. They each have a slightly heavier weight than their counterparts, sure, but ultimately it’s up to you whether your story needs carry it.

Things You Didn’t Do

~ SarahLaPolla ~ 17 Comments

Writers who are ready to query can be overzealous sometimes. In their excitement and in their quest to have the “perfect” query, sometimes it’s the simplest things that make an agent scratch his or her head. While these things are rarely make-or-break for the query itself, you might want to re-think saying you did the following:

1) Enclose a SASE with your e-query. I’m sure you read all over the internet that agents won’t even respond to queries that don’t have a SASE enclosed. Going down your check list of what you need in a query, it makes perfect sense to remember your SASE – but remember which method you’re sending the query.

2) Write “(sign)” after your name as if you wrote your signature. You didn’t do this. We can see that you didn’t do this.

3) Write a fictional novel. Well, maybe you did. I mean, who hasn’t mapped out an entire novel in their minds? But you really shouldn’t query unless you put that idea down on paper.

4) Write a non-fiction novel. “Novel,” by definition, is a work of fiction.

5) Write a 10,000 word novel. This does not work in any genre or age group.

6) Write a 200,000 word MG. If you did, then chances are it’s actually a four-book series that you combined into one. Or you’re George R.R. Martin trying to mess with people.

7) Send a query letter to “Mr. Curtis Brown.” This one is specific to my agency, I know. But I see it all the time. Yes, there was a real Curtis Brown. No, he is not still alive. No, I am not “Mrs. Brown,” let alone Curtis himself.

Have any of you ever made any “common sense” mistakes you care to share?

How to Get an MFA in Five Steps

~ SarahLaPolla ~ 27 Comments

This week, GalleyCat promoted New York Writers Workshop’s free ebook of Portable MFA in Creative Writing. While I have nothing against the existence of this book as a writing guide (the people over at the New York Writers Workshop are successful, well-known, and respected in their fields), I was skeptical of it proclaiming to give writers the MFA experience. A GED does not have the same weight as a high school diploma, and a certificate from the University of Phoenix is not a college education. So how could a free ebook come close to substituting a Masters degree? [Note: I don’t think the writers of this book believe it can either. It’s just a catchy title. But, it’s one that implies “an MFA is too expensive, so buy this book instead.”]

I’ll be the first to admit that an MFA in creative writing is a luxury degree. No one needs it. That doesn’t mean that, even after my accumulated $60,000 debt, I regret getting one. I’d recommend an MFA program to anyone who’s serious about writing, but I can see why some might not think it’s worth the price of admission. The good news is there are ways to cut costs and achieve (relatively) the same results. You just need to be willing to put in the work, and realize it’s not going to come from one source or happen overnight.

So here goes – my MFA in Five (Not-Always-Easy) Steps:

1. Buy the following books:
On Writing by Stephen King
Reading Like a Writer by Francine Prose
The Breakout Novelist by Donald Maass

There are a million writing guides all proclaiming to be the only one you need. Do you ever only need one book though? Besides, if you found this blog you’re already savvy enough to know the internet is full of free advice that comes directly from agents, editors, and published authors. The three books I mentioned, however, are what I consider “the best” of many, many books on writing. You want to pick them up, trust me. And hey, buy the Portable MFA while you’re at it (or download it for free!) because it sounds like they have some good people over there. (I realize that sounds sarcastic, but I promise I’m being sincere!)

2. Read Literary Fiction.
Rarely will you find an MFA program that teaches genre fiction, and the reason is not because it’s “looked down upon.” My former colleague Nathan Bransford summed up what he called “the reverse snobbery” of literary fiction quite nicely (here), and I could not agree more. There seems to have been a backlash against literary fiction – that it’s too high brow, that they want something “real,” and that it’s not accessible. The thing is, sometimes those things are true and sometimes none of those things are true. Like with every genre, the stereotypes attached to it give it a bad name.

“Accessible” literary fiction like Michael Chabon, Jennifer Egan, and Jonathan Lethem are what I tend to fall back on when I’m able to read for fun. We all have our favorite genres. But if you’re trying to give yourself an MFA-style education, you need to push yourself. That’s why they teach the uber-literary in MFA programs. Reading the same book you’d read while commuting or at the beach is not going to help you learn anything you don’t already know. So pick up something you’d never buy otherwise. Pynchon maybe? Nabokov that’s not Lolita? Personally, I’d recommend some post-modern Barthelme. Sometimes you need to read something that will make you scratch your head, stretch your mind, and remind yourself that you’re a scholar.

3. Go to readings at your local bookstore.
This is something all the advice in the world can’t replicate. Seeing established authors in person reading aloud from their published work. Then, if you’re lucky, speaking to them – whether in a Q&A session or during a quick handshake before they sign your book. Witness what writing is when it’s off the page.

4. Give yourself “in class” assignments.
Set a timer for 10 minutes and write as many words as you can. It doesn’t matter what the topic is or even that they make sense as a cohesive idea. Just move your pen. Or type – whatever your preference. The goal isn’t to develop a story, but just to see where your mind takes you.

Another favorite in-class assignment of mine was to take a famous writer, study their sentence structure, and then try to replicate it. You’d be amazed at how hard this is. Pick literary writers, or the classics, for this task. Stretch your limits and go beyond your comfort zone. I once had to mimic Proust and produced a long, lyrical sentence about Wal-Mart. Like with the previous assignment, the importance isn’t placed on what you write, but rather how you’re writing it. 

(Although once you deem yourself ready to graduate and want to focus on publishing your work, I recommend taking authors within your genre and studying their structures. While it won’t be as “artful,” it’s a good way to learn what they’re doing, how you’d compete, and what you’d add to the market.)

5. Join a writer’s group or take a creative writing class at a local college.
Again, physically being near other writers is something you can’t find in a book. The most important aspects of an education is experiencing, learning-by-doing, and meeting people. Specifically, meeting strangers. Cheat on your beta readers and workshop your manuscript with people you don’t know, and maybe aren’t even sure you can trust. Sit uncomfortably and optimistically while your classmates tell you every single thing that is wrong with your work directly to your face. It’s wonderful and horrifying and makes you a stronger person. Their word isn’t bond, but how you interpret their advice will make you a smarter, more prepared writer.

This Five-Step Program will not, and should not, take less than one year to complete. Diplomas will be awarded upon graduation, though I cannot guarantee they won’t just be photos of corgis in party hats.

Good forth and learn, you bright young things!

What Do You Write?

~ SarahLaPolla ~ 32 Comments

I know I don’t let her out very often, but I’m speaking to you today as Writer Sarah. As most of you know, I also write. By which I mean, sometimes I jot down a paragraph that could someday end up in a novel, and then let it sit for months without writing anything new because “free time” is a thing of myth and legend.

But, sometimes I write.

In New York, if you say you’re working on “a novel,” the response is not “Oh, how interesting. What’s it about?!” It’s more likely to be a subtle eye roll and a polite “oh” with the clear subtext: “Yeah, who isn’t?” I appreciate this about New Yorkers. Nobody here is special, and many New Yorkers will think nothing of reminding you of that fact. It’s one of the things non-New Yorkers think is “rude” about us, but it’s actually quite refreshing.

New Yorkers in general might not care about what I’m working on, but when friends and family hear I’m writing a novel, they ask the inevitable “What do you write?” It’s a harmless enough question, but I hate answering it. Mostly because this is what usually happens:

Q: What do you write?
A: Fiction.
Q: Yeah but what kind?
A: For teens.
Q: Is it a mystery? Scary? Romance?
A: No. Just fiction.
Q: That sounds boring. You should add vampires to it.
A: ::falls over and dies::

Or this happens:

Q: What do you write?
A: I’m working on a young adult novel right now.
Q: What like vampires?
A: No, like just regular fiction. But for teens.
Q: ::does not compute:: ::thinks I’m not a “serious writer”::

I feel the need to give my credentials when people give the “you write for teens?” look. It’s mocking and ignorant and I’m always tempted to quote Shakespeare and rub my MFA diploma in their faces (if I knew where said diploma was). But I don’t do that and instead just say to myself “Yep, YA. Oh you don’t know understand what it is? You must be really stupid then.” and merrily walk away. (I hope you other writers do the same. But seriously, only say it to yourself. Not out loud.)

Maybe my “non-specialness” of being a New Yorker has made me shy away from this question. Truthfully, I’m more concerned about coming off like a novice, even though that’s exactly what I am. So, I’m curious what you real writers answer when asked “What do you write?” Do you downplay what you’re working on out of modesty? Do you proudly offer your genre even if it’s not taken seriously by the less-informed? Or do you just ignore people and keep typing?

Happy Writing this weekend 🙂

Do Endings Matter?

~ SarahLaPolla ~ 16 Comments

As you know, I didn’t love how Harry Potter ended. That said, I was quite satisfied with it. Does it matter whether Harry lived or died in the end? Not particularly, at least not to me. Does it matter that there were flaws or lapses in logic? Nope. It was an amazing story with amazing characters who did amazing things. Not being blown away by the final installment didn’t ruin that for me. I don’t regret reading it and I got what I wanted from the series. J.K. Rowling could have had Ron flip on a boombox, blast Alice Cooper’s School’s Out, and kill everybody, and I still would have been satisfied. It wouldn’t have changed the fact that for over 10 years, and for six+ books, I was riveted.

When Lost ended, I wrote about my feelings on satisfying endings. (There are no spoilers for those who want to go back and read it, but you’ll notice that I do manage to talk about a certain epilogue.) In fact, another J.J. Abrams production is what got me thinking about endings in the first place. I was already playing around with whether endings really matter after seeing Harry, but then I saw Super 8.

I loved it. Like, loved it. It was basically every movie you’ve ever seen rolled into one, but somehow still managed to be fun and original. And the kids – the kids! They were just great. Anyway. When I went to express this love to my fellow geeks, I was met with shrugs and “yeah it was OK.” Shocking! I didn’t understand this “meh” attitude, especially from people whose opinions I respect on these matters.

Then I realized their problem. They had this desire to be satisfied. Like with Cloverfield, we don’t really get to see the physical threat in Super 8 too often. For a monster movie, the danger is sort of beside the point. It’s easy to compare that to Lost too. Pretty much all of J.J. Abrams’ sci-fi works can be summed up with: “There’s a monster. People are dealing with it. Focus on how they deal. Don’t worry about that monster.”

It’s sort of infuriating when people say they “wasted six years” watching Lost. I feel bad for these types of people. Were they not still tuning it every week? Were they not coming up with theories and having fun and waiting to see what would happen next? How does one episode ruin that experience, as if it never mattered? If anyone was expecting logical answers in the end, then they missed what the show was really about – people reacting to crazy shit happening to them. Sure, the last episode was a bit of a cop-out, sort of confusing, and full of cliffhangers. That basically describes the entire series, so in my opinion, it was a pretty fitting ending.

But to many, it was unsatisfying and I suppose I understand that to an extent. For me, monsters are cool, but I’m way more interested in human nature, so in my opinion, storytellers like J.J. Abrams are perfect. Yes, I want the threat to be real and not metaphorical. Yes, I want to see some action. Yes, I need a plot to follow. But no, I don’t need everything neatly wrapped up, or know where that monster came from, or even what it looks like. J.J. delivers on all of these points. (It’s not like he’s M. Night Shyamalan, who fails at plot, character, and endings.)

So, I ask again – do endings matter? Of course. As writers, you need to reach a conclusion that’s in keeping with your story and that will satisfy your readers (there’s a reason Ms. Rowling didn’t just kill everybody). But, as readers, how much do they matter to you? Will an unsatisfying ending ruin an experience you otherwise enjoyed?

Oh, and see Super 8 if you haven’t already. You’ll want to hug it.