Joseph Nassise

Tax day and deadline week all at the same time, means I’m quite literally swamped, but that doesn’t mean I don’t have something for our readers today.  As I was adding up the fees paid to my literary agent for his work this year, I thought it might be interesting to talk about just why I’m willing to give up this money and what I think an agent does for my career.

This will be a two part essay, so today we’ll look at the first five reasons to use an agent.   While having a literary agent is not a necessity, my personal experience has shown it to be a very beneficial relationship and I would recommend it wherever possible.

Reason #1 – An agent knows the marketplace better than you do

Given that it is an agent’s job to be aware of who is buying what from whom for how much, the vast majority of literary agents know the inner workings of the market better than most authors and it is their job to use that knowledge to your benefit.

Reason #2 – An agent has a personal relationship with multiple editors

An agent is, to some extent, a professional networker and has built up personal relationships with many editors over time. They know what certain editors like and don’t like when it comes to literary properties and they know what those editors have recently purchased, so they can help target your proposal to the individuals most likely to receive it in a positive manner.

Reason #3 – An agent understands contracts

The typical publishing contract is fifteen to twenty legal size pages of the most convoluted legalese I’ve ever seen and it is ripe with clauses that benefit the publisher rather than the writer. It is an agent’s job to understand what these clauses mean and to fight to remove or alter those that do not help your career. While you could educate yourself on the basics, an agent sees several of these a day and you would be hard pressed to meet their level of knowledge on your own without considerable time and effort.

Reason #4 – An agent is an experience negotiator

In the end it the agent’s job to get you’re the best offer and contract terms possible. This is what they do, day after day for client after client. They know just how much they can push a particular editor or publishing house, they know what is an acceptable counter offer and what is not, and they can advise you on what tact to take when the publisher offers terms that just aren’t acceptable.

Reason #5 – An agent protects your relationship with the editor

For one reason or another there often comes a time when the publisher had done something that you are unhappy with and that you would like to work to change. At the same time, you don’t want to alienate your editor or allow your anger/frustration over the issue to strain your working relationship. In times like these you agent can step in and play the “bad cop” for you, allowing you to work toward the result you want without damage to your editorial partnership.

Next time around we’ll cover the final five reasons to use a literary agent and I’ll answer any questions that might have come up out of part one.

A few months ago, I ran into some difficulty while neck deep in a particular writing project. My deadline was looming and I was going nowhere fast. Day after day I would sit down at the computer and beat my head against the wall, trying but repeatedly failing to drag forth the requisite pages that needed to be written that day.

It wasn’t due to a lack of organization. I had a detailed outline in front of me. The action and emotional impact in each chapter was scripted out and I even knew from which character’s viewpoint the scene would be written. I was excited about what was to come; the scenes were well constructed and drove the story forward at a decent pace, the characters were interesting and unusual. I was perhaps better prepared to write that book than any other I had written previously.

And I had long since passed the point where I could write only when “inspired” to do so. My muse had long ago been hunted down, captured, and chained to the demands of a professional writer’s schedule – you write when you need to write, not when you “feel” like writing. Writing when inspired was for sissies. I was a professional, damn it!

But it was not to be. Day after day I struggled, producing, on a GOOD day, about one fifth of my usual output and that only after hours of painful effort. The bad days weren’t even worth talking about.

As the time passed and the lines through the days on the calendar made it increasingly obvious to me that I either needed to do something drastic or shoot myself, I made a decision.

It was time for a change.

For years I have written in the quiet confines of my office, my trusty desktop with its 20 inch monitor my only companion. Music was a big no-no; too often I would find myself typing the lyrics to the songs I was listening to rather than the words of my tale and even purely instrumental numbers were a problem as I could get lost in the notes as easily as the lyrics.

To shake things up, I purposely changed everything I could think to change. Rather than work at my desktop, I would use the laptop. Rather than sit in my comfortable leather chair, I would use one made of hardwood without a seat cushion. Rather than work in the privacy of my office, I would go to the library or the deli or the local Starbucks. immerse myself in noise and people. Rather than create in silence, I would graft headphones to my ears and submerge myself in pulse-pounding and bass-cranking music if necessary.

Imagine my surprise when it worked.

The words that I had struggled so hard to find poured effortlessly from my fingertips in the midst of that Starbucks, an iced vente mocha frappuccino at my side. The action sequences that had seemed so scripted and flat previously now jumped to life while the words and music of Nickelback pounded in my ears. My output shot up to my usual levels and then kept going, until I discovered that I could write faster and with better results than I ever had before – all because I took a chance and changed the usual way I did things.

Is something in your life stuck? Are you getting frustrated by your inability to make a change?

Then step outside the problem. Come at it from a totally different direction. Take your usual process and turn it 180 degrees in the other direction.

Change your perspective – you might be surprised at the results.

I know I was.

Well, as you can see, Storytellersunplugged has a new look and feel. This is our fourth calendar year in existence (hard to imagine we started back in June of 2005, isn’t it?) and we’re still going strong with a marvelous cast of contributors and terrific content. We’ve grown exponentially each year and I hope we continue to do the same in 2009.

You may have noticed we have some advertising space available now. If you have a website or product that you think our readership would be interested in, check out the new Advertising page to see what we’ve made available. Our readers comes from more than 80 countries across the globe and are a widely-read and highly intelligent crowd.

Which brings me to the purpose of this post, actually.

We want to hear from you, our readers.

We want to know what you’d like us to talk about in 2009. What topics would you like to see covered? What questions do you have to ask? What other types of posts would you like to see? Maybe book reviews? Author interviews? Product write-ups? Publishing house reviews? Guest bloggers? Come on, don’t be shy! Use the comment section and let us know what you’d like to read about this year and we’ll do our level best to bring it to you.

Finally, we want to say thank you. Thank you to each and every one of you who come back here day after day, week after week. You’ve helped make this place what it is and I know every single one of our contributors appreciates your patronage.

Here’s to another great year at SU!

– Joe Nassise and Dave Wilson

Last month I began a short series on Beginnings. We identified the six key things a good novel beginning should accomplish and covered the first, hooking the reader, in a bit more depth. This month I want to tackle two more of the six – establishing a bond between the lead and the reader and presenting the story world.

Establishing a bond between the Lead and the Reader

The second thing a beginning should do is establish a bond between the Lead character and the reader. This can be done in a variety of ways, the most common being identification, sympathy, likeability, and inner conflict.

Identification, or empathy, is when we can relate to the character because of who they are or the experience they find themselves in. The more the reader can identify with the lead, the more real the experience feels and the greater the intensity of the story. A story about a man who has lost his job would generate identification and empathy in anyone who has ever been in the same position.

Sympathy goes beyond empathy and focuses on the emotional bond the reader has with the character. Awful things have happened and the reader genuinely feels sorry for the character. You can establish sympathy by putting the character in jeopardy, by having them face some grand hardship, by making them the underdog, or by giving them some sense of vulnerability. Take Rocky, for instance. We cheer for him and want him to win the big fight against Apollo Creed because we see him as the underdog, the guy who can’t possibly win. I use the issue of facing some grand hardship to introduce my character Knight Commander Cade Williams in HERETIC, book one of the Templar Chronicles. Cade has lost his wife to a supernatural event and has to deal with his loss and his burning need for revenge daily.

Likeable characters are those that we might like to be around, whose company we might enjoy. A witty character. An amusing character. A character who cares for others. Frodo in the Lord of the Rings. John Maclean from the Die Hard films. Even the serial killer Dexter, from Jeff Lindsay’s excellent series, might fall into this category.

Characters who are absolutely sure about themselves, who plunge ahead without any doubts or fears are boring. No one goes through life that way. Give a character a sense of inner conflict, of doubts and emotions, and you’re almost sure to engage the reader.

Presenting the Story World

This aspect of a good beginning goes beyond just establishing the time and place of the novel. Yes, it should tell the reader those things, but it should also focus on showing the reader what life is like for the lead character.

Showing the reality of the character’s situation not only helps present the story world, but also provides support for the establishing that bond we just talked about, as well as presenting certain elements that might assist in hooking the reader.

John Ridley’s excellent pair of novels, THOSE WHO WALK IN DARKNESS and WHAT FIRE CANNOT BURN feature a future LA where super powered humans are listed as illegals and hunted by special tactical squads from the LAPD. In the very first chapter, Ridley has the hero, Soledad “Bullet” O’Roark, face off with her team against a pyrokinetic who can toss fire around like a beach ball. The action immediately sets the stage and lets the reader know just what kind of world O’Roark is forced to deal with day by day. We see that reality for the lead character is harsh, unforgiving, and very deadly.

I do something similar with the opening of HERETIC, letting the reader know very quickly that the Templar Order still exists operating in secret as a combat arm of the Vatican, charged with defending mankind from supernatural threats and enemies. Without establishing that right up front, the reader would be lost by the events that quickly follow.

Next month we’ll continue our look at beginnings by examining how to introduce the opposition and some common mistakes writers make with their beginnings.

Face it. The first five pages (sometimes the first five sentences) are going to make or break your book. They will be the first pages that a prospective agent or editor will read. Later, once the book gets picked up, they will be the first pages that a prospective book buyer will read.

So how do you make those five pages, and the rest of the beginning of the book, so good that the editor, agent, or prospective reader wants to keep reading?

A good beginning must do six things:

1) Hook the reader

2) Establish a bond with the Lead and the reader

3) Present the story world

4) Establish the general tone of the novel

5) Introduce the opposition

6) Get the reader to keep reading

Let’s take them one at a time.

Read more…

I wanted to talk this month about Middles and offer some advice on how to keep yours from sagging.

No, I’m not talking about belly fat. That’s a different blog. I’m talking about the middle of your book, the place where you have the greatest chance of screwing up and losing your reader.

Nine times out of ten, if you are going to lose a reader, it will be in the middle of the book, in that long, seemingly endless stretch that ties your terrific beginning to your fabulous ending. Think about it – how often do you put down a book in the first ten pages? How about with only ten pages to go? Not often, I’d wager. But think about all those books that you got a third, or even halfway, through, only to lose interest. You put it down and move on to something else. Why is that? And how do you keep it from happening with one of your own works?

The middle of the book is essentially a series of scenes that ties the set-up you created in the beginning with the result you’ve devised for the ending. It must be designed specifically to keep the reader moving forward inexorably toward that ending. If it bogs down, loses cohesiveness, or otherwise fails to achieve its objective, you run the risk of losing the reader. And that’s a cardinal sin.

What keeps a reader reading, what keeps them invested in your story, is their desire to see the Lead outwit/outfight/outthink the opposition and reach their goal What gives them the emotional experience they crave is the conflict between the opposition and the lead in pursuit of that goal.

The Opposition

The opposition does not have to be a person. It can be an organization, a group, a force of nature, whatever. Nor does it have to be evil. It simply needs a compelling reason to stop the Lead. The more compelling the reason, the harder the opposition will work. The harder the opposition works, the more difficult it gets for the Lead to succeed, which in turn produces more drama.

The Glue

Along with the opposition, the other crucial ingredient is the reason the Lead sticks around, the glue so to speak. If the Lead can simply walk away from the conflict, the reader will wonder why he doesn’t do so. And at that point you’ve already lost the battle. You have to figure out why the Lead (and the opposition for that matter) can’t simply withdraw from the conflict. And you have to make that reason believable.

Writing the middle of your novel will then simply be an exercise in writing various scenes of confrontation, most of which will end up with some kind of setback for the Lead, forcing them to analyze the situation anew and try something else.

But Joe, I hear you ask, how do I keep that from getting boring?

That’s easy. You can stretch the tension, raise the stakes, or do both at the same time.

Stretching the Tension

Simply put, this means to never let a thrilling moment escape with just a whisper. Play it for all its worth. This is one skill Alfred Hitchcock had in spades and is what makes him a master of suspense even now, so many years after this death.

When it comes to stretching the tension, I first ask myself one question – What problem has the potential to lay some serious hurt on my Lead? That forms the raw material of the scene as it gives us something to be tense about. Once I’ve determined that, I can go about stretching it.

James Bell suggests two ways to stretch the tension in his book Plot & Structure – stretch the physical or stretch the emotional.

Physical peril or uncertainty is always a sure fire way to hold a reader’s interest and you can make that bond even stronger by slowing down. Go through the scene beat by beat in your head, as if you are watching a movie. Then write it down, alternating between action, thoughts, dialogue, and description. Milk it for all its worth.

Bell suggests three key questions to ask yourself as you do this:

1. What is the worst thing from the outside that can happen to my character?
2. What is the worst trouble my character can get into in this scene?
3. Have I sufficiently set up the danger for the reader before the scene?

Of course trouble doesn’t always have to be physical. It can be emotional as well. When your character is in the throws of some emotional turmoil, don’t let them down easy! Ratchet things up as much as possible.

To stretch inner tension, ask yourself these questions:

1. What is the worst thing from the inside that can happen to my character?

2. What is the worst information my character can receive?

3. Have I sufficiently set up the depth of emotion for the reader before the scene?

Raising the Stakes

One question any good novelist should constantly be asking themselves is Who cares? In other words – Is this scene I’m writing going to make the reader care about what happens? Is there enough going on to capture the reader’s interest? What does the lead stand to lose if they don’t solve the central problem of the novel? Is that enough? If not, what can I do to change it?

There are three common ways to raise the stakes in your novel. You can raise the physical stakes, raise the inner stakes, or raise the societal stakes.

Raising the physical stakes is probably the easiest. What physical harm can come to my lead? What new threat can be raised against him? What other character can I introduce to make things more difficult? How will this person operate? What will they do to make things difficult for my lead?

Raising the character stakes involves looking at the inner conflict of the lead. This has the added effect of adding more dimension to your novel as well, deepening the story while at the same time raising the intensity. Ask yourself how things can get more emotionally wrenching for my lead? Is there someone the lead cares about that can be brought in and tied into the trouble? What dark secrets from the lead’s past can be revealed here?

The third way of raising the stakes is to examine the social aspects at play. Is there some major issue my lead is involved in? How can I bring that to the forefront? What complications does that issue add to the mix?

Easy Fixes

If you find that your middle is lagging, here are some suggested ways to help you re-energize it:

1. Analyze the stakes – what can I do to ratchet up the tension?

2. Strengthen the glue – what can make the conflict more compelling?

3. Add another layer of complication – how do I make things more difficult?

4. Add another character – who else might have a role to play here?

5. Add another subplot – what other plot thread might shore things up?

6. Push through it – is it the writing or just me?

While suggestions 1-5 are self-explanatory, I did want to say something about #6. There is often a point in writing the novel when you think everything you’ve done to date is just utter crap. For me, that usually happens around page 200 (or 2/3 of the way through the work.) Suddenly the characters suck, the writing sucks, everything sucks. At that point it is time to step away from things and get some perspective – before changing anything!

I’ll usually take 24 to 48 hours off from writing. I won’t work on the book. I won’t look at the book. I’ll even try not to think about the book. I’ll go do something I really enjoy, doing all I can to relax and take it easy. Then, and only then, will I come back and give it another look. Usually by then I’ve gained some perspective. If I still think it sucks, I’ll try to find ways to fix it and at that point my subconscious usually has had enough time to figure out just what needs to be done.

So there you have it, some tips and techniques for helping you deal with a sagging middle.

Good luck and keep writing!

I was involved in a message board discussion the other day about how I set up a series bible. For those who aren’t familiar with the term, a series bible is a summary of all the information you need to write multiple books (or television shows or films or what-have-you) in the same setting/story world. Since I do the same thing for my stand alone novels as I do for series work, I thought I’d share that process with you all.

The first thing I do is assemble all of my organizational materials into a three ring binder. I use tabbed dividers so that I can find things easily once the project has begun. I usually use the same set of tags on every project – Characters, Setting, Plot, Timeline, Research, Unanswered Questions, and Reminders.

– The Characters section contains all of my character summaries, my back-story notes, and a physical description sheet that allows me to easily reference things like eye color, height, weight, etc. I also make a habit of cutting pictures out of magazines or off the web to remind me of what certain characters might look like and I keep these with my notes for visual cues when it comes time to develop descriptive passages.

– The Setting section contains all of my setting sketches (one page summaries of everything I know about a particular place or setting) as well as any miscellaneous notes I might have lying around discussing how those setting relate to each other. As with my characters, if I have any images that I’ve saved, I put these in the binder as well.

– The Plot section contains my one paragraph, my four paragraph, and my four page plot summaries, as well as my individual scene breakdowns. I think I’ll talk more about these in my next essay.

– The Timeline section contains my spreadsheet mapping out exactly when things happen in the storyline. If I need to keep track of more detailed events (such as the exact timing of some of the events during the murders in my forthcoming novel THE WITCHES’ HAMMER,) I’ll also draw up one page sheets that outline these as well.

– The Research section contains not only my original list of research topics, but also the research itself. When writing my Templar Chronicles trilogy, I wanted my modern extrapolation of the Templar order to be as close to the original as possible, so this section actually grew so large as to necessitate its own binder. Do whatever feels right to you but remember, you shouldn’t be spending so much time researching that you never get around to actually writing!

– The Unanswered Questions is, appropriately enough, full of unanswered questions. These can be specific research issues (also filed in the Research section) or they can be character and/or plot issues that I haven’t yet worked out. Putting them in their own section and making a point to review it every few days keeps me from forgetting to answer them in the manuscript.

– The Reminders section is particularly important. The last thing I want to do is stifle my creativity and forward momentum by constantly going back and fixing things in my first draft. Instead, I keep notes of anything I need to fix, add, delete or otherwise adjust on a legal pad while I write each day and then transfer those pages into my binder when I’m finished each session. That way I know I won’t forget to come back and do them, which in turn allows my creative side to just get on with finishing the rough draft.

Once I’ve got my binder in order, I’m ready to get to work.

Since I write my chapters entirely out of order, this level of detail ahead of time is necessary for me to achieve my goals. I map out each and every book this way, taking one or two months to get it all squared away. The benefit, however, is that the actual writing time is greatly reduced as I’m not trying to figure out where I’m going while in the process of getting there.

So, how do you organize your books?

Welcome to the new look and feel for Storytellersunplugged!

After 2 and 1/4 years of that old plain vanilla, we decided it was time to bring a new face to your favorite writing blog. Some of the changes we’ve made include:

• New style and layout
• Improved search functions
• Better tagging and indexing
• Bookshelves with the latest works by our contributors, linked to Amazon.com and other virtual bookstores, all accessed through their Contributor pages (please note these are rolling out all week – only a few are presently active, so keep checking back)
• Alphabetized contributor pages
• A new blogroll (which we be greatly expanded over the next day or two

Still to come are an improved RSS process, which will not only allow you to create feeds for the site overall (both posts and comments) but also allow the creation of feeds for individual authors or post subjects. (This should be live by the end of the week – the framework is in place, as you can see from the icons, but the mechanics still need some work)

Please let us know of any difficulties you might be having and what you think of our new look!

Best,

The Admins – Joe Nassise and Dave Wilson

In 2004, there were roughly 1.2 million books in print.

80% of those books sold fewer than 100 copies.

98% sold fewer than 5000 copies.

Only a few hundred books sold more than 100,000 copies.

About 10 books sold over a million copies.

Still with me?

Haven’t had a heart attack or gone off to commit suicide at the sudden realization that the chances of hitting the big time after selling your book are just slightly above the chances you’ll find a living, breathing Tyrannosaurus Rex living in the bushes of Central Park?

Let’s unpack those numbers a little bit more.

First, I’m using 2004 because, quite frankly, that’s the latest date that I have reliable, reasonably complete numbers to work from. The publishing industry is highly computerized, but getting actual, hardcore numbers from publishers is slightly harder than the seven tasks of Hercules. I do have some data from 2005 and 2006, such as the fact that US book publishing rose roughly 3% between 2005 and 2006 or that the number of juvenile titles dropped more than 10%, but I’m looking at overall English language publishing data and 2004 is the best I’ve got.

Second, a lot of those titles were self-published titles by authors who couldn’t find a traditional advance and royalties paying publisher, so they paid some outfit to print up a bunch of copies for them and had an ISBN slapped on the back. I think it is safe to say that self-published books account for a good chunk of those books that sell less than 100 copies.

Third, it is also important to remember that not all books in print were published in 2004 obviously. In the last few years, the number of books actually published per year is in the neighborhood of 175,000. A book stays in print for a number of years and the sales numbers for a title decline over time. The rest of those titles selling less than 100 copies a year probably fall into this category.

Still, even with those considerations, it is clear that only about 10% of books published in any given year will sell over 5000 copies.

For someone wanting to make their living at writing, that’s a scary number.

It’s also the reason that the vast numbers of writers out there do NOT make a living from their craft. The actual number of writers who support themselves and their families from writing in the US falls at roughly 1 to 2%.

Remember, that’s 1 to 2% of those writers who are being published by traditional advance and royalty paying publishers, not of writers in general. That means it’s a very small number indeed.

But if you’re like me, writing is in the blood and you’d do it even if they didn’t pay you to do so.

So what do those numbers mean to me?

They mean I have to treat writing like a business. Not just in the sense of income and expense, which I don’t always have a lot of control over, but in the things that I can significantly impact day after day.

In the way I plan my time.

In the work habits that I cultivate.

In the projects that I select.

In the people I chose to work with.

In the way I control my rights.

In the hundred other little things I can do to ensure that my career is as successful as I hope to make it.

Five years ago I’d never published a thing. Now I’m in that group of writers who routinely sell more than 5000 copies but less than 100,000 copies of each individual work.

But that’s not good enough for me.

I want to reach that next step. I want to break that 100,000 copy barrier. And the only way to do that is to be as diligent as possible in the way I treat my career.

100,000 copies.

That’s my goal.

I’ll worry about that million copy mark next year.

Earlier this month I received my editorial letter on the third book in the Templar Chronicles series, DIE SCHATTEN (The Shadows).

For those of you unfamiliar with the term, an editorial letter is just that – a letter from your editor. In it, the editor will point out and explain any changes and revisions they would like to see made to a manuscript before it goes into final production. The intent is clear – to use the editor’s input and the author’s skill to make the best volume possible.

How the editorial letter is used varies from editor to editor. Some editors will make vague suggestions about what they want done. Others will provide detailed commentary. From talking to some of my writing friends, it has also become apparent that a fair percentage of editors don’t seem to have the time to bother with an editorial letter at all.

I’ve been extremely fortunate in my career when it comes to this phase of the writing process. My first editor, Amy Pierpont, not only would send back detailed editorial letters pointing out conflicting character issues, unresolved plot threads, and areas that just weren’t as clear as she might want them to be, but she would also redline the entire manuscript. Sentence by sentence. Page by page. Her detailed input helped shape my early writing and helped me improve at a faster rate than I could have done on my own. I’m indebted to her for that, particularly when I think about how rare that type of input is getting to be in today’s publishing environment.

My current editor, Tim Sonderhusken, was apparently cut from the same editorial mold as Amy. His editorial letter for DIE SCHATTEN contained fifty specific points/comments that he wanted me to address in the final version of the manuscript. These varied from a simple comment that the first chapter was “the perfect way to start the novel” to a detailed analysis of one of the secondary characters motivations and how this needed to be adjusted slightly so that it would not overshadow one of the primary characters goals. And he’s done this for each of the three novels I’ve turned in to him to date. While Tim doesn’t redline the manuscript itself, it is quite evident from his editorial letters that he has gone through it line by line and taken the time to do a very careful analysis of the work. He usually gives me a few days to work through his commentary and then we get together to discuss things in more detail. What makes this more amazing to me is the fact that English isn’t his mother tongue. I’m writing original novels for the German market, so Tim is taking my novel, written in English, reading it, converting it to German in his head, and making suggestions to improve what will be the final German language version of the book. That’s impressive. And there is no doubt that the process works. Each and every time our partnership has produced a stronger, more marketable book and that is good for both sides of the equation.

I have thirty days to turn this manuscript around and I’m about halfway through. (Which is good, because I’m halfway out of time, too!) I’m enjoying the work because, while it can occasionally be frustrating to rewrite something several times, I know that in the end both myself and my fans will be happier with the finished product.

I’m curious to hear from other writers about their editorial input. What editors do you particularly like working with? Why? Is there something your editor does at this stage of the process that you’ve found to be especially helpful? Is there something you’d like to see more of?

Let’s talk.