Rx for Writers

Transcripts

Thursday, February 3, 2000

MODERATOR is Kristi Holl. Kristi has published over 100 magazine articles and stories, as well as 23 books for the juvenile market. Kristi has combined writing with teaching for fifteen years for the Institute of Children's Literature.

TERI MARTINI is our speaker, author of 31 books for children and adults, plus dozens of articles and stories. Teri has written under her own and several pen names.

Names color coded in blue are audience members who had questions.

Interviews are scheduled for Thursday evenings: 8 Eastern, 7 Central, 6 Mountain, and 5 Pacific.

MODERATOR: Good evening, everyone! You're in for a treat tonight. We have with us Teri Martini, author of 3l books for children and adults, plus articles and stories too numerous to count. Tonight Teri will talk on the subject, "How Versatile Can You Get?" She's written under her own and several pen names. Teri will talk about learning that mysterious skill of providing what editors "need at this time," how to study market guidelines to find those ideas that fit, trying different styles and subjects for writing, the pitfalls of writing for several genres, the value of pen names, and how to know if such versatility is for you. And now, welcome, Teri!

TERI MARTINI: Thank you, Kristi. It's nice to be here.

MODERATOR: Teri, you've been such a versatile writer. Can you tell us your earliest memories of writing?

TERI MARTINI: Yes, I always loved stories. My mom owned a bookshop and we lived behind it in a small apartment. She told the most terrific stories. I remember them still and I used to like to make up stories too. (There was this giant, you understand, outside the bedroom window.) But I didn't really write anything important until I was in the eighth grade and won an essay contest. I suddenly had ten dollars. Well, it seemed to me that writing was profitable so I told my dad that I probably didn't need college. He handed me a writer's notebook and told me to practice and eventually had me enroll in college to become a teacher. But I kept on writing for myself.

MODERATOR: Great story! How did your first published book come about?

TERI MARTINI: When I was student teaching the supervisor came to observe me. Was I upset when she wanted to know why I didn't have material that the third graders could read themselves. The teaching unit was on American Indians. I told her that I couldn't find such material. She told me that a good teacher would create her own material. So I did. My first book was THE TRUE BOOK OF INDIANS. It sold first time out because I found the right market by studying newly published books. I was lucky, though.

MODERATOR: Did you stay with nonfiction then?

TERI MARTINI: For a while I did. I wrote five nonfiction books, but I had always loved mysteries and after taking a course at NYU with Lee Wyndham, I started my own mystery with Lee's help. That sold the second time out. Again, lucky.

jonJon: What drew you to writing children's stories?

TERI MARTINI: I think that this stemmed from the stories my mom told me. I was imitating her.

SaraJ: I know you use pen names. Is Hermione a pen name?

TERI MARTINI: No, Sara. I chose that because I'm a fan of Harry Potter. That's Harry's special friend.

MODERATOR: Besides writing for children, you've written for adults. How did that come about?

TERI MARTINI: After writing a number of children's stories I noticed I kept moving up until I wrote a story for young adults. Well I thought that was just one step away from adult stories. So I began an adult mystery. The publisher who accepted my adult mystery, "The Dreamer Lost In Terror" seemed interested in me. The editor, Karen, and I were crossing Madison Avenue in NY on our way to lunch. We'd been editing "The Dreamer" She asked me if I could write what she called, "a big woman's book." I was ready for anything. I said, "Sure. What's a big woman's book?" She said she would send me examples and then she offered me an advance that vastly exceeded what I was earning teaching. I was ecstatic, but not sure I could do this at all. I called my mentor Lee Wyndham who chewed me out about not believing in myself. You didn't argue with Lee. So I studied the books Karen sent. And I wrote the book.

MODERATOR: You've written many, many books (fiction and nonfiction) for children and adults. Was that your original goal when you began writing?

TERI MARTINI: No, I don't know what actually I had in mind at the time and so I just planned to be able to make money from my writing and just do what I loved most.

MODERATOR: How important to your success was studying the market guidelines?

TERI MARTINI: Studying the market is extremely important. When I first started out, I subscribed to every writer's magazine there was. I kept up with the New York Times Book Review every Sunday. And I read every new book that seemed to appeal to my kind of writing.

Maudy: When you study the market, what things do you look for?

TERI MARTINI: Usually I study the market with an eye to finding a niche for myself. If I know that I want to publish a certain kind of mystery, then I look for the thing in itself, the book. I then check out the publisher and what they seem to want. I make list of them. And I try to use the most prestigious, highest paying publisher first. Always aim for the top.

dee: Do you still study the markets?

TERI MARTINI: Well, now I have an agent. I have since I first started writing adult books. So I don't have to study the markets quite the way I did. Still I study them and I listen to advice from my agent.

bernie: How many yearly market guide books do you (or did you) check?

TERI MARTINI: Well, today I guess I depend on the Writer's Digest Writer's Market. And the market put out by ICL, plus their newsletters.

jonJon: So studying the markets was something that you picked up early on in your career and you have succeeded from this?

TERI MARTINI: Absolutely. It's how I sold the Indian book. I saw that Children's Press was starting a new series called True Books. I saw a place for my first book there.

Norene: Do you find it easier to work with or without an agent in the beginning?

TERI MARTINI: I don't think many agents accept newcomers. It's really unusual for newcomers to snag an agent. The reason I got the agent was because adult books involve a lot of money and rights. I remember calling Lee Wyndam, who at that time was very ill, though you would not have known it. It seemed that CBS owned Popular Library who was buying that "big woman's book". There was the possibility of TV Series Rights. Truthfully I didn't understand what anyone was talking about when it came to rights, etc. So Lee told me I needed an agent. She took care of it too. She got me the best agent in New York who might not have looked at my work if it weren't for her. Of course, I already had the contract. I just hadn't signed it.

MODERATOR: What mentor you had in Lee! It's neat to hear about the lady behind the name on our textbook! Can you give us an idea of the broad range of writing you've done?

TERI MARTINI: Sure. I've written just about everything from picture books to the adult novels. I've written articles for children and for parents and adults as well. I was always ready to write anything and one time that backfired. When you agree to write on assignment you have to be ready to give what the editors want. But once I took an assignment to do an interview. I didn't prepare as I usually did and as I was taught to do. I didn't study the magazine. I plunged ahead. The editor was angry and of course did not accept the manuscript.

jonJon: Was the Indian book a picture book?

TERI MARTINI: Yes, it was. It was meant for second and third graders. I still have the plates for the pictures that the artist let me keep. The book sold for forty years. Can you believe?

lana: As a beginner writer, is there any age for children to start writing for that's better than another?

TERI MARTINI: I honestly think that is up to you and what you want to write. Some people, like one of my students, has a superior young adult novel just about ready. This is what he likes and wants to do. You decide what you like and want to do because at this you will be the best.

MODERATOR: Did you have role models (in addition to Lee Wyndham) you patterned your career after or looked up to?

TERI MARTINI: Another role model I met through Lee was Phyllis Whitney. Now Phyllis writes for children and for adults. She showed me how to pace myself and how to prepare each book carefully. She always did her first drafts in pencil. To this day I do the same thing.

MODERATOR: There are several well known children's writers who have been successful with versatility over the years. Could you discuss a few of them (in addition to yourself)?

TERI MARTINI: Yes, Avi is the most prominent writer today who, I think, can write anything and everything. I also would point out writers like Beverly Cleary. We all know her Henry Huggins and Ramona books, but she has also written books for young adults and autobiographical books. One of my favorite authors, one I would love to emulate is Mary Stolz. She wrote "The Noonday Friends" which I think is still selling today after maybe forty years too. She has a marvelous book for young adults too called "To Tell Your Love." Then there are classics like Esther Forbes and her definitive biography of Paul Revere for adults. She wrote the Newbery Award Winner "Johnny Tremain". I think writers write what they want to write and know they can write well. "Johnny Tremain" was historical fiction based on her research for Paul Revere. But the important thing was that she knew how to make it interesting to children.

bernie: Do you think we should experiment and do all kinds of writing for all ages until we find what we like most?

TERI MARTINI: Oh, yes, I think you should experiment. One thing I know, if I really like a particular writer like, say, Rosamund Pilcher, then after reading and studying her books, I might want to give that kind of book a try. This is what you can do. Browse the shelves in bookstores and libraries. I read a book by Bruce Brooks, though, called "The Moves Make the Man." I love that book, but I know that I couldn't write it. I don't have the feeling he has for teens and sports. But you can find your niche or niches by studying what's out there in the market.

christine collier: Phyllis Whitney has written some wonderful mysteries, almost gothic-like; do you ever write this type of mystery, almost like Victoria Holt?

TERI MARTINI: Well, I did once. The first adult mystery, "The Dreamer Lost in Terror" was something I hoped would be like Victoria Holt. I don't think I quite reached my goal, but for that kind of book, my book sold well and was even translated into German and sold in Germany.

lana: Being a new student, did I understand that you can publish before completing the course?

TERI MARTINI: Sure you can. I've had that happen to some of my students. It's rare because there is so much to learn, but it does happen.

DebO: Is it harder to sell a book or story that crosses over genres than one that fits neatly into a given genre?

TERI MARTINI: Well, I don't think so. If you have a good book like "Across Five Aprils", which is a Civil War novel for teens, and is as good as that book is, I think it will sell. The value is in the writing itself. Think of Harry Potter. He's on the bestseller list for children and adults.

christine collier: What was your bestselling book?

TERI MARTINI: "To Love and Beyond" was my first "big woman's book." It sold all over the world. There's nothing like being in a foreign city and seeing your book in the window of a bookshop. But I think "Dreams To Give" another big woman's book, as the editor said, was a close second.

Marv: Do you find writing for adults as fulfilling as writing for children?

TERI MARTINI: Yes, I do. I become completely engrossed in the writing project of the moment. I love to write...anything, I guess... and I find the process fulfilling.

Norene: What year did you write "To Love and Beyond?'

TERI MARTINI: Let's see. That was written in 1979, but I think it came out the following year. I finished the manuscript, which the editor liked, sent it to my agent and got a phone call from her. This is what she said: "Start over!" Was I depressed! I thought I had done this great job. She didn't and after I read the six hundred page manuscript through as she told me to, I saw the flaw. I think it was because of her editing that the book was the success it turned out to be.

christine collier: Are your books available on amazon.com?

TERI MARTINI: Some of them are, but the big books under the name of Therese Martini will soon be available again. The Author's Guild has a new program called Backinprint. Some of my books will be coming out again. "To Love and Beyond" is for sure.

MODERATOR: I'm going to switch tracks a moment here... Being versatile must have its own set of challenges and pitfalls. I, myself, would be confused by the different genres and their requirements. Did that happen to you?

TERI MARTINI: Yes, that did happen to me. This is where Phyllis Whitney's advice was so good. She always wrote one children's book and one adult book a year. After she finished one of them she stopped for a couple of weeks. Then she began planning the new project. I found that was a good idea except for one thing. Every time I finished a book I was afraid I could never write another one, that I would never have a new idea. So I tended to rush things. That happened when I wanted to write a light romance/mystery. Because I didn't plan out the characters carefully, it took me two years to write something that should have taken six months.

DebO: Can you give a brief outline of how you go about writing a project? Do you outline first, or just dive in?

TERI MARTINI: What I like to do is start with a character. When I wrote "Tune In For Murder", the one that took me so long, I didn't do that. I started with an event and filled in the characters as I went along. That was a terrible first draft. I like to write character sketches first. Then I work out the motivation for action. Last of all I summarize in very general terms what the plot will be like. I do not outline chapter by chapter. Although for some people that is an excellent way to go. Once I have the character sketches and the general idea of the plot, I start writing. Of course this goes through several drafts before it's ready for market.

MODERATOR: That's very helpful! Teri, how did you maintain focus while moving from genre to genre?

TERI MARTINI: Well, it's not easy, but what I do is read. I collect as many books in that genre as I can and I read them. This gets me immersed in the kind of book I want to write. Then I work on my characters.

MODERATOR: How many projects did you work on at one time?

TERI MARTINI: Oh, my! One at at time, except once. Lee Wyndham needed me to help her out with something. I was working on a teen novel when she asked if I would consider working with her on a project, a book about Florence Nightingale. I stopped what I was doing to research that subject. I would have done anything for her, after all Lee had done for me. I was pretty much immersed in Flo when Lee was ready to run with the manuscript so I went back to my project... Ugh. It took me several months to get back into my characters.

MG: What do you include in your character sketch?

TERI MARTINI: Oh, when I say a character sketch I mean I begin writing about my character as if I were watching him or her in action somewhere, like coming into a crowded room of hostile people or something like that, or returning to loved ones and finding some conflict situation.

MODERATOR: I've never heard of doing that before! Very interesting!

bernie: When you say work out motivation for action, do you mean in scenes?

TERI MARTINI: No, I watch my character in one or two scenes and I see how that character behaves. Honestly, I'm not always sure what the character is going to do myself. After I finish the scene I do work out a chart. Each character has little boxes that describe appearance, positive traits, negative traits and mannerisms, etc. Then I work out the story scenes as I go along.

DebO: So you write about your character for awhile, see how it feels and then build your plot around it?

TERI MARTINI: That's it exactly. I don't know that this works for everyone, but it does work for me.

dee: Are they or will they be scenes that will later be in the book?

TERI MARTINI: Sometimes they are. More times than not. Others I just deep six.

MODERATOR: What different pen names have you used over the years?

TERI MARTINI: Allison King, Therese Martini, Wendy Martin and my own name.

MODERATOR: What is the value of a pen name?

TERI MARTINI: Well, people seem to peg you as a certain writer when they see your name. When you see Mary Pope Osborne today you think of the early reader chapter mysteries. So when I write for children, I mainly use my own name. When I write light romance/mysteries, I use Wendy Martin. People associate a kind of book with a name.

MODERATOR: While I love the idea of being versatile, so far I have just written middle grade fiction and adult nonfiction. My brain gets in a cramp thinking of being more versatile than that! How can you tell if it's for you?

TERI MARTINI: I think you know it's not for you if you don't enjoy doing the writing. I don't think I could write articles on science, for instance, but I love doing biographical sketches.

Jen Falcon: What inspires you to choose a certain name... the market?

TERI MARTINI: Maybe so. Allison King was chosen because it sounded British and I had a kind of Gothic novel/mystery, so I used that name. I was also trying to hide the fact that I was a fifth grade school teacher at the time who was writing slightly racy novels. I don't know how the Board of Education would have reacted. The next year I left teaching, though.

MODERATOR: Can you tell us what a typical work schedule is for you when working on a book?

TERI MARTINI: I'm an early riser. Don't faint, but I get up at 5AM. I will write for three hours then before anyone else is up. That way you can't get interrupted much. Then I go out and walk, usually along the beach nowadays. Later in the day I reread what I have written and revise it, save it, or throw it away. Some days are not good. Still, if you don't write every day, I think you lose something. Often people don't continue or complete their projects. They lose the thread.

MODERATOR: I heard that you write rough drafts in pencil. Why?

TERI MARTINI: I feel much closer to the writing that way. I never wrote on a typewriter and now I can't seem to do it on the computer. Something special happens when I'm curled up with paper and pencil. But I think people are different. Many people just work on computers, I'm sure.

MODERATOR: Do you belong to a critique group yourself? Do you recommend them to your students?

TERI MARTINI: I've never belonged to a critique group. Once when I was studying literature, I read that Sinclair Lewis used to talk about an entire plot at a party and expect praise for his idea. He got it. Everyone was ready to applaud his past successes. But were the people being honest with him? I wonder how objective we writers can be when we are listening to others, while thinking about our own plans. This is just my opinion, you understand. However, I would much rather trust the judgment of my agent, the one who told me to start over. No explanation either, by the way. Or my editor like Suzanne Sorice at Warner Books when she saw a serious flaw in one of my characters. She had the experience and she didn't have a personal ax to grind. I believed her. She's the best editor I ever had.

Sheila: I'm a beginner and just found a critique group; should I go to the meeting so soon?

TERI MARTINI: If you really want to go, Sheila, sure you should. You have to see what it is like for yourself. If you don't like the group or feel it isn't helping you, you can always drop out. Give it a try.

MODERATOR: Thank you, Teri. Now I'm going to flood you with some questions that have piled up in the moderator box!

Norene: Didn't you find it hard to use a pen name at first, or did it seem to give you an edge, like a fresh outlook to the editors?

TERI MARTINI: Actually, the editors know you by your real name, Norene. They take the pen name later. However I will tell you a story that my agent told me. One of the biggest gothic novel writers was never known by her real name and is not even today because she had written a novel that got dreadful reviews under her real name, so my agent gave her a new name and guarded her identify with her silence. To this day, I'm not sure if anyone knows what her real name is. The author got a fresh identity and a fresh start, and terrific reviews. I was asked to use a different name by an editor so that people would not associate one name with several genres. Reader like to know if they are reading Stephen King, they will get what they expect from Stephen King. I believe he writes different kinds of materials under a different name too.

jonJon: Being successful means being in the right place at the right time or lucky? Or maybe doing the right research of publishers' needs?

TERI MARTINI: All of the above, jonJon. You can be in the right place at the right time and not have the skill to produce the material the editor wants. You need to cover all bases. Do not neglect anything. That way you are sure to be a success.

buffie: Can you give some examples of what publishers may be looking for?

TERI MARTINI: That questions is really a bit broad. But I'll say this. Editors want to be able to tell from the material you submit what you know what kinds of material they want to publish and that you are a skillful writer. The editors want to see that you are a professional and have taken the time to research the guidelines and the published works available. That's being a professional. Do not waste an editor's time and they will give you their time by not using those simply dreaded words: This manuscript does not fit our needs at this time.

mwalker: Picture books interest me. Did you work with an illustrator?

TERI MARTINI: In my first two books I did. Let me say that it is NOT necessary to work with an illustrator. Editors have their own art departments and contacts. My niece wrote her first book, "The Real McCoy", by just sending in the manuscript. The editors found the illustrator. My friend, Charles Heston, was a commercial artist. He wanted to get into publishing and after I completed the book he made a few sample pictures. They were sensational. Usually editors split the royalty fifty-fifty between writer and illustrator. Did you know that? The pictures are just as important to the success of the book when it's a picture book.

dee: When you have an idea...and the ending... how do you come up with strong chapters in the middle before you start to write? Would you say that if I am having difficulty with my plotting that I need to strengthen the characters more?

TERI MARTINI: If you have a good idea, that's a start. But without a strong viewpoint character whom you must really begin to develop as a strong person, you will get stuck in the middle. Did you try working on character sketches? That's the key, I think.

Sheila: As a writer, do you get to choose or help decide on the illustrations for your book?

TERI MARTINI: Sometimes. It depends on the editor. When Little, Brown was getting illustrations for my book, "The Secret Is Out," they were nice enough to show me the pictures and ask for suggestions, but they chose the artist. On the other hand, I did get a chance to choose the illustrator for my book, "Feliz Navida, Pablo". It all depends on the publisher.

dee: Even when I have great outlines of characters, just trying to get the rough sketch of ALL the chapters is HARD!!

TERI MARTINI: Dee, I know what you mean. If I were you, I would start with what you have. Try to develop a dramatic first and second chapter. Then go back and see what you can do with the other characters. I'll bet you will feel more comfortable if you do it that way. But get into the story now.

Sheila: I have read many Phyllis Whitney adult books but never any children's; is there a special one you liked?

TERI MARTINI: My favorite is "The Mystery of the Haunted Pool."

Ducky: Should the critique group you belong to do the same kind of writing you do, or doesn't that matter?

TERI MARTINI: Well, once again, I don't do critique groups, but I certainly think that the group should have some knowledge or interest in the kind of writing you do. I have a sister who does write on scientific topics. Truthfully that will put my feet to sleep. I would not be of any help. Find a group with similar interests.

dee: When writing a query letter: I have written/published other genres than children's; should I list those or only my articles for children?

TERI MARTINI: Well, I think you should mention anything you have published, either for adults or children. You want to show that you are a professional. I would be selective, though, and offer information on your very best sales.

Marv: I'm thinking of changing a main character from male to female, simply because there seems to be a need from the publishers for female heroines. Am I headed in the right direction on my decision?

TERI MARTINI: Sure, if you are absolutely certain that this is what the publisher wants. The problem will be that the character and motivation are going to change too, Marv. You have to sit down and start with that character sketch. But it can be done. You're smart to latch on to a need like that.

christine collier: Couldn't a pen name work against you for making money? Say someone loves your work, looks up that name for more of your books, but none are there?

TERI MARTINI: I didn't think of that, but it's possible. Usually, you do use different names for different genres so it's possible that readers who liked one kind of book, won't like others that you have written. Still, it's a consideration.

christine collier: I'm writing a middle grade mystery book, with a mystery for each month, around 850 words to 1000 each. I just finished a Valentine one; can you see this selling?

TERI MARTINI: Is this a collection of different mysteries for each holiday? What is holding the book togther? Are the same characters involved? Actually what you are doing sounds more like a series of mysteries for a good magazine market. Have you found such collections of stories in books today? I don't think that I have.

christine collier: Yes, each mystery is different.

TERI MARTINI: But are you using the same characters?

christine collier: No. Would it be better to have them all connected with same characters?

TERI MARTINI: I think it would if you want it to be in one book. I don't think that you see too many collections of short stories for children in print. If you could connect the stories in some way by having characters grow and change as a result of the involvement in these mysteries, that should work.

bernie: Does a book have to be a bestseller on any list to end up selling foreign rights?

TERI MARTINI: Not that I know of. The other countries decide if they want to buy and market it. I've been in Norway, England, Italy and Germany with my books. I can't tell you why they were chosen. Sorry.

MODERATOR: I'm sorry to have to interrupt, but we're out of time for tonight. Thank you so much for coming and sharing tonight, Teri. I feel inspired to branch out myself now!

TERI MARTINI: Thanks. You were a great audience.

MODERATOR: Do come back next Thursday night, February l0, for another "Open Forum" with me, Kristi Holl. I've published over 100 magazine articles and stories, as well as 22 books for the juvenile market. I've combined teaching for fifteen years and raising six children with my writing, and I will welcome your questions on time management, getting started, writer's block, marketing, or anything else you'd like to discuss. Bring your QUESTIONS and OPINIONS to this moderated open forum next week! And now, good night, everyone!

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