Category: Uncategorized

I think these recap posts get better stats than all my others! :)

I’m doing this a little early this week because I’m flying to the Malice Domestic conference today and won’t likely have time to compile these while I’m gone.

I’ll also probably not be good this weekend at answering comments on my blog and visiting others’ blogs. I’m looking forward to a return to normalcy next week!

2 years, 3 manuscripts, and 50 rejections–anatomy of an agent search: http://dld.bz/bExN

What should be do with our bookmarks? Some marketing ideas: http://dld.bz/bEUv

The dialect dilemma: http://dld.bz/bEm9

Dorian Gray’s true picture of Oscar Wilde (Guardian): http://dld.bz/bEyb

On building a publishing house: http://dld.bz/bEm2

World building is not just a genre issue: http://dld.bz/bEkM

How NOT to make your characters real: http://dld.bz/bEka

Corporate English: http://dld.bz/b8ND

How to read a publishing contract (part 7): http://dld.bz/b8Np

Examples of why show is better than tell: http://dld.bz/b8MR

The life of a commercial fiction author: http://dld.bz/bBCT

Writing humor: http://dld.bz/bBCJ

Tips for hitting the NY Times Bestseller list (GalleyCat): http://dld.bz/bBC4

Do blurbs matter? http://dld.bz/b8MB

Tips on building suspense: http://dld.bz/bAMd

Harnessing Shadow: A Writer’s Way to Overcome Shortcomings: http://dld.bz/b8Mn

Ingredients of a great crit partner: http://dld.bz/bAHr @RoniGriffin

Publishers should learn fearlessness: http://dld.bz/b8KX

Writing about a life or social issue? Do it justice: http://dld.bz/bAFn

Tips and links to help with plotting: http://dld.bz/bAK5

WordPress permalinks 101: http://dld.bz/b8KN

Style guideline–rules on writing numbers: http://dld.bz/bAEU

Nancy Drew turns 80 (GalleyCat): http://dld.bz/bAEJ

Author pitch tips: http://dld.bz/b8K9

The books powerful women love (Daily Beast): http://dld.bz/b8Ks

Carve out satisfaction instead of pursuing cut-throat success: http://dld.bz/b8Kh

Tips on pacing from the Pike’s Peak writing conference: http://dld.bz/bAfw

He had blond hair and blue eyes you could lose yourself in for days… and other stereotypical crap: http://dld.bz/b8Kh

10 musts of personal branding: http://dld.bz/b8JX

The dark appeal of the short story (LA Times): http://dld.bz/b9uN

The dangers of onomatopoeia: http://dld.bz/b9u2

How writers can get more out of Twitter: http://dld.bz/b8JM

Running and Writing: Focus, Endurance and More– http://dld.bz/b9kX

An agent says that writing is a lifestyle, not just an activity: http://dld.bz/b8JE

An agent on passing manuscripts to other agents in the agency: http://dld.bz/b8Hp

Disclaimers for book endings: http://dld.bz/b3YX

3 ways to find an agent via Twitter: http://dld.bz/b2Uk

Branding for multi-genre writing: http://dld.bz/b2TT

The components of a solid pitch for a memoir or how-to: http://dld.bz/b2TQ

To critique or not to critique: http://dld.bz/b2T4

After Loss, Turning To Poetry For Grief And Healing (NPR): http://dld.bz/b4cn

An agent on starting your career as a writer: http://dld.bz/b2Tz

10 steps to writing…or not writing. http://dld.bz/b5ky

How quitting can help you finish your writing: http://dld.bz/b4bB

Dialogue that matters: http://dld.bz/b2Tg

You don’t need time to write–you need space: http://dld.bz/b4bv

How to support an author: http://dld.bz/b4bh

The great myth about publishing: http://dld.bz/b4aV

How to get your privacy back from Facebook: http://dld.bz/b2SX

Character is destiny: The Edward/Bella dilemma– http://dld.bz/b2SS @msforster

A couple who started a publishing company in Nigeria–feeding the African imagination: http://dld.bz/b2Uy

10 ways to keep your prose strong and simple: http://dld.bz/b3F6

Do you have a security manuscript? http://dld.bz/b3Fr

The shrunken manuscript method of revision: http://dld.bz/byzJ

Some insights on querying: http://dld.bz/byRE

An agent on rejection: http://dld.bz/bywQ

What made Twain famous (Daily Beast) : http://dld.bz/b2SE

Thoughts and tips on plotting and outlining: http://dld.bz/byuW

An editor advises going to the heart of the revision instead of following advice to the letter: http://dld.bz/byuA

When business is personal–using Facebook’s privacy settings: http://dld.bz/byRY

Auditioning characters: http://dld.bz/bwXe

Why start a website or blog if you have nothing to promote? (Writer’s Digest) http://dld.bz/bwWN

How Amazon’s Pricing Affects Author and Publisher Profits http://dld.bz/bwWG

How does theory of mind relate to creating believable characters? http://bit.ly/dhYeet @p2p_editor

World building in urban fantasy: http://dld.bz/bvGn

The No. 1 grammar trap and how to avoid falling in: http://dld.bz/bvJs

Telltale signs of a bookaholic: http://dld.bz/buSf

Michael Ignatieff and the imperfect world of book blurbs (Globe and Mail) http://dld.bz/buRE

How writing a novel is similar to taking care of a newborn: http://dld.bz/buRc

Great series on plotting: http://dld.bz/buPR

Memoirs Require More Than Just Facts (Huff Post): http://dld.bz/buPK

An editor on coincidences in our book (avoiding them): http://dld.bz/buPB

Book bloggers behaving badly–the unforgivable book blogging sin: http://dld.bz/bwWq

Free software apps for writers: http://dld.bz/bvGt

Do readers want to learn trivia or useful info in novels? Should novelists consider including such info? http://dld.bz/bwrh

Do unpublished books need trailers? http://dld.bz/buPm

The Holy Grail of focus for writers: http://dld.bz/buPg

Setting up the tension in your book: http://dld.bz/bvFK

A guide to creative visualization: http://dld.bz/buNQ

Establishing mood: http://dld.bz/bvth @MermaidHel

Garden therapy for writers: http://dld.bz/buNz

What an agent does: http://dld.bz/buMG

Does your agent have to love your book? http://dld.bz/buSm

Why Digitization and E-books are Good for Literacy : http://dld.bz/buMB

Understanding screenwriting (with examples from film): http://dld.bz/buQD

Writer’s Envy–what to do when you’re feeling green about a friend’s success: http://dld.bz/buM9

Writing the cozy mystery–keeping it delightful: http://dld.bz/bsXe

Top Ten Things Authors Should NEVER Do To Promote Their Book: http://dld.bz/bta6

An agent says to be (slightly) afraid of posting your work online: http://dld.bz/bsYx

How to write powerful paragraphs: http://dld.bz/bsXh

The Procrastinator’s Guide to Writing That Thing You Need to Write– http://dld.bz/bsXc

How to write about life, the universe and everything (What’s your book *about*?) http://bit.ly/byIRSS

Write a how-to book–cookie cutter writing: http://dld.bz/brpC

Blockbuster movies and bestsellers–what do they have in common? http://dld.bz/brpp

Mystery writers–a guide to crime scene investigations: http://dld.bz/bq2T via @micheleemrath

The ethicist’s blessing of e-piracy revisited…with the same result: http://dld.bz/bq2h

Back up your data: http://dld.bz/bqzj

If we make life simple, can we write more? 95 posts on simple living: http://dld.bz/bq22

The difference between a ‘bad’ book and one someone just didn’t like: http://dld.bz/bqyB

How to find online writing markets and write for the web: http://dld.bz/bqy3

Putting emotion into your characters: http://dld.bz/bqyx

10 ways to write skinny sentences: http://dld.bz/bq3g @KMWeiland

A quick guide to ISBNs for the self-published: http://dld.bz/brqe

Why translators deserve some credit: http://dld.bz/bqxZ

Parents must let kids choose what they read (Guardian): http://dld.bz/bqxB

The truth about some crime fiction myths: http://dld.bz/bqF2

What are your rules for reading? (Chicago Tribune): http://dld.bz/bqwF

Suspension of disbelief–getting readers to believe the magic in your fantasy or SF: http://dld.bz/bq9B

The Roots of Steampunk–. http://bit.ly/bmlwDX

Death to prologues? http://dld.bz/bqw8

A writer’s life–permission to take a break: http://dld.bz/bk5j

Working at home isn’t home anymore: http://dld.bz/bk4X

Why men don’t read–how publishing is alienating half the population (Huff Post) : http://dld.bz/bk5q

101 uses for a failed author: http://dld.bz/bk4E

YA novelists send tweets back to their high school selves (Publishers Weekly): http://dld.bz/bk4C

When poets became monsters (Telegraph) : http://dld.bz/bk4e

How not to hook an agent: http://bit.ly/daxjxo

7 paranoid provocations on Ebooks: http://oreil.ly/duI11Z

Revisions–Cutting Words: http://bit.ly/aO6nHs

A historian confesses to writing the Amazon poison pen reviews (Guardian) : http://bit.ly/9YVqMX

Trying to figure out how to write the ‘first act’ of your novel? This analysis of “The Matrix” might help: http://bit.ly/cRzJO0

To blog or not to blog? http://bit.ly/9S1Bfc

How to find an agent (when you’re self-published): http://bit.ly/d0ufcO

Plot points for mystery writers: http://bit.ly/91b7SK

The 4 paragraph approach to writing cover letters: http://bit.ly/bhZYGI

Necessary arts that writers must master: http://bit.ly/bbZVZA

Stop lying about the way your characters lie (tips on lying) : http://bit.ly/9IecSt

Negotiating with the idea fairy: http://bit.ly/cqeB7n

A week ago I was on a social media panel, talking about the benefits of networking and giving some tips.

Afterward, one of the attending agents asked a fellow panelist and me if we think people choose agents based on whether or not they’re active on social media. He was also curious whether we thought social media was important for agents to engage in.

I thought these were interesting questions. And my gut reaction, of course, was to say that everyone needs social media and to hop on it right way.

Of course, there are many agents blogging daily, tweeting, and Facebooking. The benefits to writers are tremendous.

But no, I really don’t think anybody chooses agents based on how active they are with social media.

Here are my thoughts about pros and cons of social media for agents.

Pros for agents:

Networking with editors and other industry professionals.

Participating in online dialogue with clients.

Possibly attracting more clients.

Educating writers on querying and writing in general—and maybe getting better-quality queries?

Cons for agents:

The time-sucking factor. And this is a huge consideration because there are only so many hours of the day when you’re not reading queries/synopses, sample chapters; submitting manuscripts to editors; following up with editors; etc.

Do agents need more clients unless they’re just starting out? Or are they already completely swamped?

I’ve got more pros than cons listed here, but then I’m a social media fan. What do you think—how active should agents be online? And how important is it to you as a writer that they are? Can you think of any other pros or cons?

I forgot to mention before that I’m hosting Alan Orloff on the Mystery Lovers’ Kitchen today. He’s got a fantastic recipe for chocolate babka–please join us!

During the recession of the early 90s (which looks like nothing compared to the one we’re in now) I was fresh out of college and working for very little money at a magazine. Begrudgingly, I took on a bank job as well as writing for the periodical.

I ended up (oddly, considering my lack of leadership skills) in a supervisory role. Basically, if someone sent the bank written correspondence (no one really had email then), I would get it and reply.

So I was the complaint letter girl. And, wow, did people complain.

These letters, for the most part, were poorly-written, rambling rants.

And what got me was that no one asked what they wanted. The bank had screwed up. What did these customers want in return? What kind of reparation were they looking for? It seemed like the sole purpose of their letters was just to let off steam.

If they didn’t ask for anything, I didn’t offer them anything. I just apologized on behalf of the bank.

The whole experience (besides giving me insight into writing effective complaint letters) made me realize how important it is to express…or even to know….what we want.

I’ve read plenty of books where the conflict is apparent and well-written. The character reacts to what’s thrown in his path. But what does he want during the novel? Just a return to normalcy? Or can we make his wants (and, by extension, himself) more complex ?

How do they show what they want? Dialogue with a friend? Internal monologue? Through their actions?

Knowing what our protagonist wants can also propel the plot—because then we can effectively withhold it.

Do you know what your character wants?

So we’re replacing the downstairs carpeting.

And we have a few really massive pieces of furniture.

The carpet company said it would move one of the biggest ones, but the rest were up to us.

My husband and I moved a few piddly things out of the room and closets, then we approached the (very large) sofa. My husband said, “Can you take one end?”

I did. And I couldn’t budge it. Not with my arms, hip, legs—the thing just refused to move.

My husband called out for our 13 year old son. “Honey,” I whispered to him as our son was thumping down the stairs, “there’s no way he can…”

And I watched as he and my husband moved the sofa right into another room. Followed by two other pieces I couldn’t budge.

It was the end of an era. My son is definitely stronger than I am. Much stronger. Yes, I’d noticed he’d gotten taller, yes, he’s beefed up a bit. Yes, his clothing budget is through the roof because he’s growing out of everything. But somehow, in my head, mamas are stronger than their children.

It was a very odd feeling. I felt proud of him. But I felt old and wimpy, too.

One of my protagonists, Myrtle Clover, gets a similar feeling quite a bit. Her son is trying to farm her out to a retirement home and she’s pushing back with plenty of resentment. This adds a little extra conflict to my stories as well as propels the plot—Myrtle’s son is a police chief and she gets involved in his cases to needle him.

What if you’ve got a character who suddenly retires when they’re used to being in charge in an office? Does this mean she’s suddenly redirecting her efforts to another area of her life (one where people maybe aren’t appreciative of it?)

These changing roles don’t have to be age-related.

Stress also comes when a character is suddenly thrust into a leadership role when they’re not used to taking one on.

Or a character who is very active could be forced to take more of a backseat role—like Jimmy Stewart’s character (laid up with a broken leg) in the Hitchcock movie Rear Window. His frustration and boredom drove the plot early in the film.

Maybe you’ve got a really outgoing character who is used to speaking his mind. He decides to run for office…and wins. Now he’s got to watch what he says.

I think these type of scenarios—where our characters change roles in life—can serve a couple of different purposes. For one they serve as additional conflict for the character to deal with. For another, they can help to propel the plot—particularly if the character is frustrated in some way.

Are any of your characters playing new and unfamiliar roles in your book?

I like having a writing plan.

This doesn’t mean that life goes according to plan.

Kids get sick. New carpet gets installed. Cars need to go to the mechanic. Life happens.

I grab my writing time when I can find it—if my plan has been completely scrapped.

But having that basic plan in place—which includes writing—helps me out from the very start of the day.

5 ways to pave the way for writing (the night before):

Check your calendar. Make sure there aren’t any nasty surprises to hijack your day. If there are things on the calendar to do, then plan your writing around those things, in advance.

Make a tentative writing schedule for the next day. Is your morning looking hairy? Can you write and eat lunch during your lunch hour tomorrow? Can you write during an evening commute home (public transportation riders only, please!) Or does it look more like a 9 p.m-10 p.m. type writing day? At least you’ll have a plan to start out with.

Plan now when to catch up with social media the next day. Decide whether it’s better to check emails/tweets/FB statuses/blog comments before you write (and risk being distracted….unless you use a timer and have a stern attitude with yourself) or after you write (in which case you might be like me and have heebie-jeebies wondering what’s lurking in the inboxes.)

Plan to disconnect from the internet if you don’t trust yourself to ignore the online distractions. Tell yourself now the repercussions you’ll face tomorrow if you keep checking in on social media.

Prep for the next day’s writing by making a (very) short sketch of what you’re going to write. It can keep you from five minutes of wondering where you left off the day before. This can be as vague as: Pick up with Susan asking Anne where she was the night of the murder.

It can be really tough to squeeze writing in. But starting out with a plan—and giving ourselves permission to veer off it—helps ensure we make the time.