Monday, June 20, 2016

5 Reasons to Go to a Writers Conference

by
Jessica Nelson


I just got back from the three-day West Virginia Writers Conference in Ripley, WV. It’s one of the best gatherings of writers in the tri-state area. For the past five years, I’ve attended the weekend conference. I always have fun, and I always learn more about writing. And I always come back inspired to dive back into my various projects. So in honor of conference season, I’m giving you five great reasons to go to a conference.

1. You’ll learn something new. Writers conferences are a great place to learn new tips, techniques, shortcuts, and methods to improve your writing. Most conferences offer a variety of workshops in a variety of genres; you can learn more about your chosen genre, or you can branch out and try something you haven’t written before. If you go to a workshop on a genre you don’t usually write, you can learn something new that will help you with your current projects. A poetry workshop will teach you the importance of the perfect word and how to hear the musicality of your lines. A workshop on fantasy or sci-fi will teach you world-building, while a workshop on thrillers will teach you how to build suspense.

2. You’ll have fun. Writers conferences can be a blast! Workshops are filled with laughter as you learn and share stories. Meals are spent swapping stories with new friends and old. Free time is spent chatting with strangers or browsing books. And at the West Virginia Writers conference, nights are spent either around the bonfire with s’mores or hanging out on the back porch with music and adult beverages. Or, if you’re me, nights are spent in the room with your roommates, alternately kicking butt and getting your butt kicked at cards and listening to the Hamilton soundtrack.

3. You can build a network. Having a network of authors, agents, editors, and publishers can be super helpful later down the road. And conferences are a great place to build that network! Many writers conferences will bring in a publisher or an agent or some other kind of book-industry representative. Go talk to them. Say hi. Get their business card. Pitch your novel. Make a friend. These are the kinds of people you will want to help you when it’s time for you to get your novel out into the world.

4. You might be able to go for free or at a reduced cost. I’m not sure about all conferences, but West Virginia Writers allows high school and college students to attend the conference for free in exchange for working as interns. Which is fine by this college student, because it means I do everything I normally would anyway, plus I get to help in workshops and get close to the presenters. This year, WV Writers offered conference scholarships in the name of Terry W. McNemar, a former WV Writers president who recently passed away. Do some research on your local conferences. They might offer scholarship or reduced rates. But you’ll never know if you don’t look.

5. You’ll make new friends. One of my favorite parts of conference is seeing the two dozen or so friends that I only get to see once a year. Sure, I keep up with them on social media, but it’s nice to catch up in person. And every year I make new friends. All I have to do is sit down next to someone and ask an opening question: Where are you from? or What do you write? Then I let the conversation flow. It’s great to listen to fellow writers animatedly talk about their current projects or favorite books. Let’s be frank: it’s just awesome to be surrounded by people whose weird matches your weird. Because those people, my friends, become your tribe.

Thursday, June 9, 2016

An Interview with Sandi Rog

by
Sandi Rog
 
 
Sandi Rog, one of our beloved editors and the author of Out of the Ashes (a 2016 Inspirational Reader’s Choice Award finalist), has announced her imminent retirement from IFW. But she is moving on to bigger and better things--like her own publishing company! We are so proud of Sandi and honored that she agreed to be interviewed about her new company. We wish her the best of luck for the future.
 
And, without further ado, an interview with the splendid Sandi Rog.
 
--Jessica Nelson
 
 
Q: Congratulations on establishing your new publishing company, TULPEN PUBLISHING!What inspired you/made you decide to start your own publishing company?

A: That’s a great question. As you all know, I’m an author, and after getting several royalty checks over the years, I discovered, I can make more money off the blood, sweat, and tears put into my books if I publish them myself. This is becoming a trend among many writers, even bestselling authors.

 A good contract will pay authors 10 percent off the “retail,” meaning 10 percent off the price of the book. So if the book sold for $14.00, the author would get $1.40 per book. This is considered a fair royalty rate from publisher to author. However, there are publishers out there who only pay 10 percent off the “wholesale” price or “net” worth. That means if the book costs $7.00 to print, the author would only earn 70 cents off each sale of the book. I’ve dealt with publishers who pay both these amounts, and in my opinion (and most agents will agree), the royalty amount of 10 percent off the “wholesale” is unethical and unfair to the author. Not what I’d call “author friendly” at all. Ultimately, this is what motivated me to publish my own book, but I also made my company available to other writers because I know a lot of talented authors out there who can’t get a big house to take their work. It’s my goal for Tulpen Publishing to be another avenue for those authors so they can get their books published.


Q: Will you be publishing e-books, print-bound, or both? 

A: I will be publishing e-books and print books. I will say the e-books are the biggest sellers. I’ve made ten times more on my e-book sales than I have on my print sales. E-books are now the biggest sellers in the market.


Q: Is there a set royalties factor for each title, or will royalties be based on the genre?

A: I’m eager to treat any author who writes for Tulpen Publishing with a fair royalty rate. All authors, of any genre, will receive 10 percent off the retail price of their book.


Q: Do you plan to publish an equal number of male and female authors? (I ask this, because numbers are adversely skewed in favor of men with the majority of US publishers, outside of the romance genre.) New and established authors?

A: I plan to publish books that have a great story and are written well, no matter who the book is written by, whether male or female, or new or established. If you’re a new author and your book hasn’t been edited, please don’t submit it. Don’t waste your time, or mine. I will reject it. I’ve already had to reject several manuscripts for this very reason. This is also why I’ve added Inspiration for Writers (IFW) to my website. For people who need an editor, they can go to someone I trust. It’s important they know I’m not making a profit from any of their edits if I send them to IFW. If you run into a publisher that offers editing services, RUN in the opposite direction. They can’t be trusted, and they may just be out to get your money with the promise of publishing your book if you pay an exorbitant amount of fees. An author should never have to pay to be published (unless they specifically hire a self-publishing company). Tulpen Publishing is a traditional publisher. We don’t charge our authors for anything.


Q: Do you consider a writer's platform before offering a publication contract?

A: Platform is very important; however, I’ve seen authors without platforms become big sellers because their story is great! But I will look at an author’s platform, and that will have an influence on my decision. For those who don’t know what a “platform” is, read this ARTICLE.

Platform is kind of like managers saying, “We won’t hire you if you don’t have any experience.” Well, how do you get experience if you can’t get a job? Many publishers won’t take on an author if they don’t have a platform. In my experience, a GOOD STORY is what sells and what will then help build your platform, so don’t be discouraged if your platform is a little flimsy. Still, I do hope to see an author online: Facebook, website, blog, etc. We want more than just family and friends to buy the book.


Q: How involved will your company be with promotions? (i.e., book tour, advertising, free review copies, interviews, etc.)

A: Once an author is published with Tulpen, we initially offer 20 free books for promotions, giveaways, copies to keep, etc. The author’s book will be on our website, along with the author’s bio and a brief description of the book. We will also provide more copies (if the author has need) for promotions such as book signings, etc.

 Publishers today, whether big or small, have little to do with marketing. All the marketing belongs to the author, which is why it’s important to have a platform. I do share a Marketing Plan Sheet with my authors, and in fact, HERE’S A LINK to a welcome letter I send to all of Tulpen’s new authors (something few publishers offer).


Q: Will your company's books be stocked in independent bookstores, major bookstores, department stores?

A: Tulpen Publishing is a POD press, so if a person wishes to purchase an author’s book from, let’s say B&N, the buyer will have to order it, and will likely even be charged shipping (unless they’re a member of B&N; then they won’t have to pay for shipping). As for independent bookstores, if the author knows of one in their hometown, Tulpen can send the bookseller the author’s book(s) to put on their shelves. These small booksellers are usually more open to putting local authors’ books on their shelves, and it’s best for the author to make initial contact while Tulpen does the follow-up.

Tulpen Publishing’s wish is to put God first: to be ethical, honest, furnish reliable edits, and offer an "author-friendly" environment with no upfront costs, industry-competitive compensation at 10 percent off the retail price, world-wide distribution, and numerous tips and help for marketing.


Q: Are you actively seeking submissions? If so, where are your submission guidelines posted?

A: Yes, we are open to submissions. You can read our submission guidelines HERE.


Q: Will you only be publishing Christian books?

A: If a book is clean according to your best judgment and a character experiences moral growth, Tulpen will be willing to take a look. But Tulpen is principally focused on Christian books.


Q: You're already a multi-published author, so what advice do you have for new writers who want to break into publication?

A: Write a story that you’re passionate about, a story that excites you. If you’re not excited, your readers won’t be either. Finally, learn the craft! The editors here at IFW can teach you a lot. But before hiring an editor, get your hands on the books below. Not only will they make your editor’s job easier, learning on your own first will improve your manuscript so much that you won’t have to hire an editor two or three times to get your book where it needs to be.

"Self-editing for Fiction Writers" by Dave King and Rennie Browne
"The First Five Pages" by Noah Lukeman
"As the Plot Thickens" by Noah Lukeman

Thank you so much for having me. It was an honor to be interviewed by my favorite editors.

Thursday, June 2, 2016

Pacing

by
Sandy Tritt


Pacing is a tool writers have to control the speed in which a story reads. Lush, descriptive segments slow the pace, giving readers a breather. Rapid-fire dialogue speeds the pace, leaving the reader breathless. It is up to the writer to decide when the pace needs quickened and when it should be put in slow gear.

Perhaps the easiest way to judge is to ask questions as you read. Do you start drifting? You need action. Is the conversation or action moving too quickly? You need narrative to even out the pacing. Beware, though, not to use repetition to slow your pace. Instead, find new things to say or new things to focus on. For example, during a highly emotional scene that is moving too quickly, allow the character to study a picture on the wall or watch children playing nearby. Or allow him to remember a conversation from the past. Or focus on one of his other senses, such as the smells or sounds in the background. This can add depth and an emotional layer, as well as slowing the pace.

We can also slow the pace of a chapter or even the entire manuscript by adding more description, more exposition (background information) and more internal dialogue (character thoughts).

Let’s look at an example:
 

Ray walked the mile from the hospital to Bob’s Sunoco. He found Gary in the bay, changing the oil on a pale blue Cadillac. He kicked his brother’s feet until Gary rolled from beneath the car. “We gotta talk.”

            “I get off at three.”

            “Now.”

            “What’s up?”

            “Let’s walk.”  

            Gary followed Ray outside and toward town. “What did the doctor say about Mom?”

            “He put her in the hospital.”

            “Why?”

            “He got the tests back.”

            “And?”

            “What did the doctor say?” Gary repeated.

            “She’s got cancer.”

            Gary stopped walking. “Cancer?”

             “Something about a mass in her brain.”

             “Does she need surgery? Does she have to take chemo? Or radiation?”

            “He says there ain’t nothing they can do. He says it’s too late.”      
 
            “Too late? Too late for what?”

            “Dr. Brown says . . .” Ray rubbed his head. “He says it’s too late. He says she ain’t coming home.”

            “What’re we gonna do?” he said.

            “About what?”

            Gary took a new pack of Marlboros from his pocket and tapped it against his palm. “The boys.”

            “I guess we gotta pick them up from school and fix them something to eat.”

            “I don’t mean now,” Gary said, opening the cigarettes. “Until they’re grown. Who’ll take care of them?”

            “Mom will.”

            “You okay?”

            Ray scratched the five-day-old stubble on his chin. “They made a mistake. We just gotta find Dad and get this all straightened out. Dad will know what to do.”

            Gary lit a cigarette and slowly exhaled.

 
This is an important scene, filled with kinetic emotion. Yet, it passes so quickly we don’t feel the full impact of it. This is where we need to slow the pacing down. To do this, we add two things: internal dialogue and description. In our rewrite, I will put the internal dialogue in red and the added descriptive passages in purple. See how slowing the pace adds power to the words:           

            Ray walked the mile from the hospital to Bob’s Sunoco. He found Gary in the bay, changing the oil on a pale blue Cadillac. He kicked his brother’s feet until Gary rolled from beneath the car. “We gotta talk.”

            “I get off at three.”

            “Now.”

            Gary stood and wiped his hands on an oily rag. “What’s up?”

            “Let’s walk.” Ray feared his brain was going to explode. Too much was going on, too many things were changing. He’d read the front page of the newspaper over and over while waiting in the doctor’s office. The Apollo 7 astronauts were heading home after eleven days in space. President Johnson was negotiating for the release of fourteen North Vietnamese POW’s. And Jackie Kennedy, the dead President’s wife, was marrying a Greek billionaire the very next day. He didn’t even know if it was legal for the President’s widow to marry a foreigner.

            Gary followed Ray outside and toward town. “What did the doctor say about Mom?”

            “He put her in the hospital.”

            Colorful leaves swirled around their ankles, the drier ones crunching under their heavy steps. Gary kicked them out of his way. “Why?”

            “He got the tests back.”

            “And?”

            A young mother, her sweater flapping in the wind, pushed a baby carriage over the uneven sidewalk with one hand and pulled a stubborn toddler with the other. Ray stepped into the street to let her pass.

            “What did the doctor say?” Gary repeated.

            “She’s got cancer.”

            Gary stopped walking. “Cancer?”

            Ray slowed down until Gary caught up. “Something about a mass in her brain.”

            Gary was quiet for a long time, then spoke softly. “Does she need surgery? Does she have to take chemo? Or radiation?”

            “He says there ain’t nothing they can do. He says it’s too late.” Ray remembered that part very well. He’d argued with Dr. Brown, insisting there had to be something. She had three young boys who needed her.

            “Too late? Too late for what?”

            “Dr. Brown says . . .” Ray rubbed his head. “He says it’s too late. He says she ain’t coming home.”

            They walked slower, silently, past the library and into the park. Pre-schoolers played on the swings and slide, laughing and shouting.

Gary leaned against an oak tree, his dirty gray jumpsuit blending into the trunk. “What’re we gonna do?” he said.

            “About what?”

            Gary took a new pack of Marlboros from his pocket and tapped it against his palm. “The boys.”

            “I guess we gotta pick them up from school and fix them something to eat.”

            “I don’t mean now,” Gary said, opening the cigarettes. “Until they’re grown. Who’ll take care of them?”

            “Mom will.”

            “You okay?”

            Ray scratched the five-day-old stubble on his chin. “They made a mistake. We just gotta find Dad and get this all straightened out. Dad will know what to do.”

            Gary lit a cigarette and slowly exhaled.

            Ray watched the smoke disappear into the October-blue sky. A foreigner. Two hundred million people in the United States and the President’s widow was going to marry a foreigner. No wonder the world was so damned screwed up.

 

 Likewise, to speed the pace, omit everything except for the direct action or dialogue. Ignore descriptions, ignore reactions, ignore anything other than the bare necessities. This is necessary when the action is more important than character reflection. Let’s look at the following example, in which Gary and Ray are trying to repair a barn roof destroyed in a storm when the storm comes around again. Gary slips on the wet roof and is now on the steep slope of the roof, his weight partially held by a fragile drainpipe below. Ray is able to extend one hand, which Gary has grabbed onto. David is trying to reposition the ladder so Gary can climb down. Here’s how NOT to do it: 

            “Can you reach the ladder with your foot?” Ray asked. He wondered how long it would be until the drainpipe gave way.

            “If I move it,” Gary said, “I won’t have anything to hold onto.”

             “Just me.” Ray’s arm ached from holding Gary’s weight. He hoped David had seen what was going on and would try to move the ladder. Someone had to do something. Otherwise, Gary would fall.

            “I don’t trust you that much,” Gary said.

            “Looks like you ain’t got much choice.” The rain still fell. Ray looked at the sky. Dark clouds hovered even lower. The rain was there to stay.

            The ladder vibrated again.

            “Shit,” Ray whispered. “I wish they’d stop shaking that thing.” It made him nervous. Surely David knew that shaking the ladder also shook the gutter. And any little movement added pressure to it. It could snap at any time.

            “I wish they’d stack up some hay underneath me.”

            “Hell, as much rain as we’ve got today, you’d just land in the mud. Ain’t gonna get much softer than that.” The mud had to be deep. But still, he knew it was a long fall and Gary would most likely break some bones or worse. He remembered when he’d broken his leg in tenth grade. It was so difficult trying to get around the school on crutches and it seemed that his leg itched all the time. He’d stuck an unbent clothes hanger under the cast to scratch his leg.

            “You trying to tell me to jump?”

            “Nah. You’d probably pull me down with you.” Ray knew Gary wouldn’t really do that. But he also knew Gary was still angry with him for spending the money on the drum set.

            “I’d damn sure try.”

            “Let me have your foot,” David’s voice said.

            “No,” Gary answered.

            The roof shimmered in the rain. If the situation had been different, it would even have been beautiful.

            “I’m right underneath you,” David said. “If you lift your left foot, I’ll put it on the rung.”

            “Shit,” Gary said. “I’m trusting Ray to hold me and you to guide me. I might as well jump.”

            “Or apologize for being such an ass all the time.”

            Ray smiled. David had a point. All the boys had taken Ray’s side of the argument. Except maybe for Joey, who hadn’t said anything. But then, Joey never did talk much.

            “I’ll jump first.”

 

It’s difficult to be too worried about Gary with all the internal dialogue muddying the situation. Let’s look at how cutting all the internal dialogue and description adds immediacy and excitement to this scene: 

            “Can you reach the ladder with your foot?”

            “If I move it,” Gary said, “I won’t have anything to hold onto.”

             “Just me.” Ray’s arm ached from holding Gary’s weight.

            “I don’t trust you that much,” Gary said.

            “Looks like you ain’t got much choice.”

            The ladder vibrated again.

            “Shit,” Ray whispered. “I wish they’d stop shaking that thing.”

            “I wish they’d stack up some hay underneath me.”

            “Hell, as much rain as we’ve got today, you’d just land in the mud. Ain’t gonna get much softer than that.”

            “You trying to tell me to jump?”

            “Nah. You’d probably pull me down with you.”

            “I’d damn sure try.”

            “Let me have your foot,” David’s voice said.

            “No,” Gary answered.

            “I’m right underneath you,” David said. “If you lift your left foot, I’ll put it on the rung.”

            “Shit,” Gary said. “I’m trusting Ray to hold me and you to guide me. I might as well jump.”

            “Or apologize for being such an ass all the time.”

            “I’ll jump first.”

 
Reading our prose aloud is perhaps the best way to judge the pace. Listen as you read and consider if the action is happening too fast or not fast enough. And remember, there is never one right answer. The pace of your story is just one more element that contributes to your unique writing style. Experiment, study, write. But in the end, use your own judgment.