| janfields |
Night Open Forum with
webeditor Jan Fields begins in five minutes -- so we'll be answering
any and all writing questions in five minues.
|
| janfields |
Night Open Forum with
webeditor Jan Fields begins in two minutes -- so two minutes to show
time!
|
| janfields |
Welcome to Night Open
Forum for November 2 -- sorry for missing y'all last week. I'm
looking forward to doing some Q-and-A tonight. So, thanks for coming
out, folks.
|
| janfields |
If you want to ask a
question and be sure it has a chance to be posted, you'll need to
use either the "ask a question" button on the bar across the middle
of your screen. OR type /ask...then space once and type your
question. That passes the question to me and I can post it for
answer. If you type the question in the bar at the bottom of your
screen, I may not see it.
|
| janfields |
I notice some questions
in the que already...probably from last week when the bad webeditor
didn't show up for her chat.
|
| janfields |
So, I'm going to run
through those first...so the brave souls will find them in the
transcript.
|
| zebrakitchen |
I have a question about
first rights and critique groups
|
| zebrakitchen |
how careful do you have
to be?
|
| janfields |
Sharing a story with a
critique group does not effect your rights.
|
| janfields |
There are actually a
lot of "urban legends" about rights.
|
| janfields |
People say if you post
an early draft, you can't sell first rights.
|
| janfields |
People say if your
critique group uses one of the discussion group email lists on
yahoogroups, then you can't sell first rights.
|
| janfields |
People say if you get
help on open discussion boards, you can't sell first
rights.
|
| janfields |
Pretty much editors
don't agree.
|
| janfields |
First the people who
will see your work on a writing discussion board is a totally
different audience from the one the editor intends to
approach
|
| janfields |
Little kids don't read
writing discussion groups.
|
| janfields |
Mostly your audience
won't have tracked down your blog
|
| janfields |
Or your
website.
|
| janfields |
Editors know
this.
|
| janfields |
An editor will consider
something published if it is PUBLISHED
|
| janfields |
If it was published by
an emagazine like Wee Ones.
|
| janfields |
If it was published in
your local newspaper.
|
| janfields |
If it was published in
a print newsletter
|
| janfields |
If it was in a print
magazine
|
| janfields |
If you
self-published.
|
| janfields |
But with critique group
lists or boards, or even your blog or website, editors (by and
large) don't actually consider that published.
|
| janfields |
Now, the one concern
about stuff sent to your blog or website
|
| janfields |
Is the not everyone
will respect your copyright
|
| janfields |
And if they like your
story, they'll pass it around via email
|
| janfields |
Or on their own
website
|
| janfields |
And that will dilute
your ability to sell the piece, just because an editor might
doubt
|
| janfields |
your claim to have
written it if it is WIDELY spread around the
Internet.
|
| janfields |
So, for that reason, I
don't post stories, poems, and articles that I want to sell on by my
blog or website.
|
| janfields |
But I don't fret about
first rights and crit groups.
|
| janfields |
I kind of overkill
questions sometimes don't I?
|
| janfields |
Babble babble
babble
|
| janfields |
Alas.
|
| rick |
Do Canadian publishers
count on U.S. markets for sales?
|
| janfields |
I'm not totally sure I
understand this question.
|
| janfields |
Canadian publishers
sell primarily to Canadian readers.
|
| janfields |
Though I am beginning
to see a newsstand prescence of some
|
| janfields |
magazines...like Chirp,
ChickaDEE, and YES mag
|
| janfields |
And I see them
sometimes in libraries here.
|
| janfields |
But those are very well
established magazines.
|
| janfields |
Canadian book
publishers don't usually see a lot of sales in the
US
|
| janfields |
Sometimes an author
will sell foreign rights to a US publisher
|
| janfields |
And so the same book my
be published by different publishers in different
countries
|
| janfields |
Often with different
covers, sometimes different titles.
|
| janfields |
Foreign publishing can
be weird.
|
| janfields |
But generally, the bulk
of any publisher's sales will be in its own
country.
|
| ccollier |
I think he met as a
writing credit
|
| janfields |
Oh, if you have been
published with an established Candian publisher
|
| janfields |
it will count just the
same as being published by an established American
publisher.
|
| janfields |
And if you are
published with a new publisher in Canada
|
| janfields |
It will have the same
"oomph" as a new publisher in the US.
|
| janfields |
Most US publishers know
that Canada has similar editorial standards
|
| janfields |
In fact, they may have
slightly higher as there are few publishers so they can be even
pickier.
|
| janfields |
So, a Canadian press
does impress a US publisher.
|
| janfields |
When you go further
afield to publishers overseas
|
| janfields |
It can be harder just
because it's less likely the American editor will recognize the
publisher's name.
|
| janfields |
But most US editors are
familiar with the Canadian publishers.
|
| money |
what Lhildrens BOOK
writers do you think have lit agents?
|
| money |
what percentage
childrens's writers have lit agents?
|
| janfields |
I know probably a
couple hundred published writers.
|
| janfields |
Among picture book
writers, more than half of the published authors I know do not have
agents.
|
| janfields |
Among novel writers,
more than half of the published authors do have
agents.
|
| janfields |
And those who have
written a number of novels and had them published, most have
agents.
|
| janfields |
The more you sell, the
more pressure for your time and the more you need an agent to do
your manuscript subs for you.
|
| janfields |
Plus, the more books
you've sold, the better position you're in for negotiation, and the
more you need an agent.
|
| janfields |
Among nonfiction book
writers I know -- very few have agents.
|
| coloradokate |
I enjoyed Nathan
Bransford's first paragraph contest, and liked the winners he
picked, but also was struck by how most of the winners were telling
rather than showing. Is that the nature of a good first paragraph,
do you think?
|
| janfields |
For those who aren't
familiar with Nathan Bransford...
|
| janfields |
he's an agent who has a
blog...
|
| janfields |
he had a little contest
where folks sent him the first paragraph from their
work-in-progress...
|
| janfields |
I dunno...hundreds of
entries...more than 300 I know.
|
| janfields |
And he chose some
favorites for finalists.
|
| janfields |
Now, among those
finalists...a lot of them were for adults or YA.
|
| janfields |
And it is EXTREMELY
common to do a lot of "stage setting" in adult novels...meaning they
often open with telling.
|
| janfields |
In YA, it's gotten very
popular to open by displaying the main character voice in a very big
way...thus...you tend to get telling.
|
| janfields |
And he might just like
that style.
|
| janfields |
He also generally chose
the shorter paragraphs.
|
| janfields |
So, I dunno...I think
he leaned toward first paragraphs with action of some
kind...voice...and a hint about conflict.
|
| janfields |
But in a contest like
that where you only get one paragraph of stuff you know nothing
about.
|
| janfields |
Honestly, he could have
shot dice...first paragraphs don't tell you much.
|
| janfields |
Beyond that the person
can be coherent for 50+ words.
|
| janfields |
I found it entertaining
actually, when you read through hundreds of them
|
| janfields |
To see how many folks
"didn't follow the rules"
|
| janfields |
plus they submitted for
days and days after the contest
|
| janfields |
Which shows you what
agents and editors are up against
|
| janfields |
so many writers don't
read guidelines, don't pay attention to direct
instruction
|
| janfields |
No wonder editors and
agents feel like pounding their little heads against the
walls.
|
| janfields |
Poor
things
|
| janfields |
So, anyway, in a first
paragraph you can do some stage setting...
|
| janfields |
as long as you're
dealing with a novel.
|
| janfields |
But you can also just
jump in.
|
| janfields |
I actually spent a year
copying first paragraphs from like...fifty kid
novels
|
| janfields |
I just wanted to see if
there were any
|
| janfields |
rules
|
| janfields |
And they were all over
the place...some started with dialogue
|
| janfields |
some with a big
action
|
| janfields |
some with scene
setting
|
| janfields |
The more "telling" you
do, though, the more your "voice" needs to be very
strong.
|
| janfields |
Because something has
to captivate the reader early on.
|
| janfields |
And do note, you can
get away with all kinds of things in novels
|
| janfields |
That you can't do in
picture books
|
| janfields |
or magazine
stories...the luxury of all those words is nice.
|
| janfields |
But I love writing
first paragraphs -- wild outrageous first
paragraphs.
|
| janfields |
But, if you can't back
it up with a full story...the initial wow doesn't count for
much.
|
| jan_fields |
zebrakitchen: Jan, how
many scenes do you need for a good picture book?
|
| janfields |
Well, technically, you
could do a whole picture book in one scene
|
| janfields |
I've seen some that
were
|
| janfields |
What you do need is
thirteen very different illustration options.
|
| janfields |
But if your whole
picture book was set at bedtime, in a bed...you aren't really going
to change scene
|
| janfields |
But you might do
thirteen different outrageous things
|
| janfields |
That then give you lots
of different things for the illustrator to portray.
|
| janfields |
The picture book that I
wrote that snagged an agent
|
| janfields |
Had...lemmie
count
|
| janfields |
six
scenes
|
| janfields |
The girl finds a lion
in the garden
|
| janfields |
She tries to teach it
how to drink tea
|
| janfields |
She puts it down for a
nap
|
| janfields |
She takes it to the
bathroom
|
| janfields |
She greets the firemen,
policemen, and reporters at the door
|
| janfields |
The take the lion
away.
|
| janfields |
And then she serves tea
in the garden...until the tiger comes along.
|
| janfields |
Okay...that's actually
seven
|
| janfields |
Kind of a lot for
around 500 words, but because it was comic, it needed a lot of
movement.
|
| jan_fields |
zebrakitchen: But one
scene must make for a more detailed story, hey?
|
| janfields |
Well, you would have to
have a lot happening in that scene
|
| janfields |
Sometimes you have one
scene because a conversation going on allows more
illustrations
|
| janfields |
The illustrator
actually 'draws' the conversation.
|
| janfields |
I read a pb which all
took place in the livingroom between father and son
|
| janfields |
but they were talking
about space travel
|
| janfields |
so they illustrator
followed the topics...rather than the physical
scene.
|
| janfields |
And I read one recently
where a grandfather is explaining where wrinkles come
from
|
| janfields |
And again...it happens
all in one place
|
| janfields |
but the illustrator
actually draws from the grandfather's stories...as he described the
events that produced each wrinkle
|
| janfields |
So...it was one scene
in the physical but lots of places in the
illustrations.
|
| soradina |
Jan can you explain what
my instructor possibly meant when
|
| soradina |
correction nothing is
physically happening in my novel
|
| soradina |
synopsis
|
| janfields |
When an agent/editor
asks for a novel synopsis...they want to know what the character
will be doing.
|
| janfields |
What actions are going
to carry the plot along.
|
| janfields |
And what those actions
mean for each character.
|
| janfields |
For example, if I were
to write a synopsis for the moster apocolypse novel I am
writing.
|
| janfields |
I could focus on the
inner turmoil of the main character...which is the soul of the
plot
|
| janfields |
And it would look like
nothing HAPPENS in the book
|
| janfields |
Because it would look
like it's all going on in my main character.
|
| janfields |
But in fact, the
physical circumstances she is in, the actions she does, the setting
and scene and movement
|
| janfields |
would all be a
necessary part of the synopsis
|
| janfields |
To show that my novel
can keep the reader interested.
|
| janfields |
Because reader like to
see characters grow and change and work through inner
turmoil
|
| janfields |
But they want to see
them do it while fighting monsters (in my case) or going to mall to
buy hot shoes or while smacking down the girl going after her
boyfriend
|
| janfields |
Or whatever she
actually DOES physically that parallels anything that is happening
inside.
|
| janfields |
So, you want to make
sure your synopsis doesn't just focus on the theme/inner struggles
but also on the physical playing out of that -- what will the
characters be doing and how does that drive the
plot.
|
| janfields |
I would guess your
instructor feels your sysnopsis is focusing on the inner/thematic
aspects of the book rather than on "what is happening" physically --
what the characters are doing.
|
| janfields |
It's good that you
asked your instructor to help you understand, because he can
actually use examples from the synopsis.
|
| janfields |
So..for folks reading
the transcript -- don't be afraid to ask instructors to
explain.
|
| janfields |
That's why we get the
big bucks.
|
| janfields |
Hahahahahaha
|
| janfields |
Sorry about
that.
|
| janfields |
But I actually
appreciate it when my students ask very pointed
questions.
|
| janfields |
Cause then I get more
excuse to pontificate.
|
| janfields |
I mean...um...cause
then I can be sure to be my most helpful.
|
| mk1 |
can you ask instructors
the questions inbetween assignments,
|
| janfields |
Sure, you can send a
note any time actually.
|
| janfields |
Though if you send like
a note a week, we're going to have to answer them in
batches
|
| janfields |
But I've had students
who sent long lists of questions BEFORE their first
assignment
|
| janfields |
And that was cool with
me...I don't mind.
|
| janfields |
But if you have a
problem that you need an answer for before you can continue
comfortably with the assignment -- send a note.
|
| janfields |
You can also do it via
email by sending it to the Institute and letting them forward
it.
|
| janfields |
I get notes from
students that way a lot.
|
| janfields |
If you have a general
question, by the way, about a market or somethign not course
specific
|
| janfields |
You can also just ask
me via email...that's part of my job too.
|
| janfields |
I don't know everything
(go ahead, gasp in shock) but I will answer if I
can.
|
| rainchain |
When writing in a
different period say Colonial America
|
| rainchain |
how much should you alter
the dialogue without making it
|
| rainchain |
a
distraction?
|
| janfields |
Do you mean how much
should you try to sound like someone in Colonial
America?
|
| janfields |
Generally you just want
to flavor the speech
|
| janfields |
But write it pretty
much like people talk today without ANY slang.
|
| janfields |
You cannot use slang
unless you research and use period specific slang.
|
| janfields |
But you don't have to
use specific idiom from the time unless you choose
to.
|
| janfields |
But once you make the
choice to do something...like write in the speech of the time, you
must be 100% accurate and you must be consistant.
|
| janfields |
Rainchain said it's a
time travel novel with speakers of different time
periods.
|
| janfields |
You would want them to
sound different.
|
| janfields |
The modern speaker
could use slang, for example.
|
| janfields |
The Colonial child (if
well to do) would probably speak more precisely...more exactly
perfect speach.
|
| janfields |
While the modern child
would be more casual
|
| janfields |
more relaxed
speech.
|
| janfields |
Not using contractions
can give a "antique" feel to the language.
|
| janfields |
Again, it helps to read
journals from the time period
|
| janfields |
There are some actually
online
|
| janfields |
They can give you a
feel for the common speech
|
| janfields |
Since a journal will
often be the casual speech of the period
|
| janfields |
Letters from the time
period are another way to get a "feel" for the common mode of
speech.
|
| janfields |
Okay, I hope my
babbling was helpful tonight.
|
| janfields |
It's ten o'clock and my
husband tells me he needs me to come pet his achy leg...actually
strap a heating pad to it, I think.
|
| janfields |
Thanks for coming to
hear me
babble.
|
