44 NaNoWriMo tips and tricks from 24 expert authors

National Novel Writing Month is that crazy time of year when writers drive themselves mad gunning for 50,000 words, a completed novel, and the glorious pride of writerly achievement, all by the end of November. Of course, it's also that time of year when agents become increasingly wary, concerned they'll receive NaNoWriMo manuscripts immediately on December 1...

After doling out revision tips last year, this year we wanted our JVNLA authors to weigh in with their own NaNoWriMo writing advice—whether it be related to revision, persistence, encouragement, or the craft of writing.

We didn't ask our authors to send advice in just any old, boring way, though. Instead, we took to Twitter!

Last Thursday, Friday, and Saturday, our authors flooded a portion of the Twitter-verse with #JVNLAauthors and #NaNoWriMo hashtags. They were responding to this tweet:

We've compiled the 44 tips and tricks they sent in below, with each tweet on its own line under the author's name.

Our expert authors write a variety of genres for a variety of ages, but their advice is perfect for anyone. Take a look!

From Victoria Strauss, author of Passion Blue (Skyscape, November 2012) @victoriastrauss

You're challenging yourself, not competing against others

Take breaks. Go for a walk. Savor a cup of tea. Take a hot shower. Creativity blooms when you let your mind wander.

From Morag Joss, author of Our Picnics in the Sun (Delacorte Press, November 2013) @moragjoss

Keep going to the end of #NaNoWriMo and be proud. Then re-write. And re-write.

From Selena Coppock, author of The New Rules for Blondes (It Books, April 2013) @SelenaCoppock

My advice 4 writers doing #NaNoWriMo? Straight-up disconnect the internet from your computer. And write to Arcade Fire :)


Courtesy of joylajaxx.tumblr.com via giphy.com

From Anne Mazer, author of Spilling Ink: A Young Writer's Handbook (Square Fish Books, March 2010) @Annemazer

Listen deeply to your characters.

Don't be afraid to make mistakes - you can always fix them later.

From Adrienne Kress, author of Outcast (Diversion Books, May 2013) and The Friday Society (Dial, December 2012) @AdrienneKress

Hmm, I'd advise authors doing #NaNoWriMo to not be too self critical. This is the vomit on the page stage, just get it written!

From Jillian Cantor, author of Margot (Riverhead, September 2013) @JillianCantor

Set small page/word goal per day and stick to it no matter what. I do 5 pgs/day

From Victoria Loustalot, author of This Is How You Say Goodbye (St. Martin's Press, September 2013) @VLoustalot

No outlines! Too much planning suffocates the chance for magic.

From Kristi Helvig, author of Burn Out (Egmont, April 2014) @KristiHelvig

Just get the first draft down no matter what...it's supposed to be a hot mess!

Just remember not to submit that hot mess on Dec. 1. Take your time with edits!

Regarding this, Jeffry Halverson, author of Searching for a King: Muslim Nonviolence and the Future of Islam (Potomac Books, September 2012) (@JeffryHalverson), asked...

Other authors chimed in with answers:

From Susan Schoenberger, author of A Watershed Year (Lake Union, November 2013) @schoenwriter

I second @KristiHelvig Get it all down, and then make December #NaDeEdMo

Except it should probably be NaNoEdMo, now that I think about it.

From Mark Ferguson, author of The Lost Boys Symphony (Little, Brown, forthcoming Summer 2015) @thefergusonian

I say write forward. Don't edit what's already written. Doubt will slow you down.

Obviously you'll edit later, to be clear. That's why we call Dec-Oct #NaNoEdMo

To this, Selena Coppock (see her advice above) responded...

From M.D. Waters, author of Archetype (Dutton, February 2014) @_MDWaters

Fun Fact: #ARCHETYPE was my 2011 #NaNoWriMo novel. Finished in 5 weeks. Queried: May 2012 Agented: Oct 2012 SOLD: Dec 2012 #TakeYourTime

Use December to EDIT rather than QUERY.

Every scene needs a goal, motivation, and conflict... How else are you going to keep them entertained?

Your goal has motivation, but does it have CONFLICT?

Scene isn't working? Move characters to a new setting.

It takes more words to show a scene, fewer to tell it.

Pinterest is NOT your WIP. Neither is this, so stop reading
(But, really, keep reading this post and THEN get back to work :) )

Lose your muse? Steal someone else's. It's fair game.

Your antag has a story. I bet they even have good intentions.

That emotion you want to share? Amplify by 10 and write THAT.

Dishes? What dishes? That's what minions are for. WRITE

THIS. http://www.pinterest.com/pin/153966880984883798/

From Robert Repino, author of Mort(e) (Soho Press, forthcoming Fall 2014) @Repino1

This year trade football and Friday morning shopping for writing.

From Ellen Potter, author of Otis Dooda: Strange but True (Feiwel and Friends, June 2013) and Spilling Ink: A Young Writer's Handbook (Square Fish Books, March 2010) @Ellenpotter

When you get stuck, take your dog for a walk. Seriously, it works wonders.

Pledge that if u don't finish the novel you'll give $ to least fave organization

From Ellis Avery, author of The Last Nude (Riverhead, December 2012) and Broken Rooms: Haiku and Sculpture (The Crumpled Press, February 2014) @EllisAveryNYC

Let your characters want something. What do I mean? http://online.wsj.com/news/articles...

Here's an excerpt from that Wall Street Journal article, written by Avery:

Many of us have read subtle, well-wrought stories in which a character's most secret soul is illuminated—and yet (yawn) nothing really happens. The writer tried too hard to Make the Reader Care. There are also pyrotechnically masterful stories in which cars explode and the world ends—and yet (ho-hum) nobody cares. The writer tried too hard to Make Something Happen. To avoid both problems, I've found it helpful to ask three questions: What does my character want? What keeps my character from getting what he or she wants? Does my character get what he or she wants in the end or not?

From Wendy Webb, author of The Vanishing (Hyperion, January 2014) and The Fate of Mercy Alban (Hyperion, February 2013) @wendykwebb

Write each day, very early or late, as your household sleeps. No distractions.

Also: Set a goal for number of words, and stick to it.

Also: No social media or email until you reach your word count goal.

From Timothy Schaffert, author of The Swan Gondola (Riverhead, February 2014) and The Coffins of Little Hope (Unbridled Books, April 2011) @timschaffert

If a scene's not working, move characters onto a different set; one that's unexpected: rooftop, bottom of an empty pool.

Or the bottom of a...full pool.


Courtesy of cheezburger.com via giphy.com

From Susan Kelly, author of By Accident (Pegasus Books, May 2010) @susankellynovel

Go ahead and get up in the middle of the night to change "turn" to "pivot" and remove the exclamation marks.

From Alex C. Renwick (aka Camille Alexa), author of Push of the Sky (Untreed Reads, October 2012) @AlexCRenwick

Don't overthink it...At least, not until AFTER you have a draft.

From Dorothy Hearst, author of Secrets of the Wolves (Simon and Schuster, July 2012) @DorothyHearst

Make character influence action, and action change your characters

From J-Wunder, author of Wait...What?!: Life Advice from a Ghetto Genius (Diversion Books, July 2013) @MrJWunderful

drink until you feel the creative juices flow!

From Nancy Springer, author of Drawn into Darkness (NAL, November 2013) @NancySpringer

Talking about your novel-to-be depletes the energy you need to write it. Don't blow it away w your mouth. Write it.

"Show, don't tell" = the reader visualizes everything you say. So be careful. Eyes fall (onto the floor?), roll...

Most likely yr critique group will focus on the surface of yr novel. Dig deeper. Think structure, story logic.

Find out the goofy way I got started writing in my new Goodreads post: https://www.goodreads.com/author_blog_po…

From Patry Francis, author of The Orphans of Race Point (Harper Perennial, May 2014) and The Liar's Diary (Dutton, 2007) @patryf

"Don't confine truth to facts." 5 Writing Tips: Paul Harding publishersweekly.com/pw/by-topic/in… via @PublishersWkly

From Helen Maryles Shankman, author of The Color of Light (Stony Creek Press, October 2013) @hmshankman

What you write when you're inspired--and what you write when you're not inspired--by the time you're done editing...

...you won't know which was which. Just keep writing!


Courtesy of leahkonen.com via giphy.com

Adorable and charming: Trapani creates an exciting rendition of a classic

Last month, author-illustrator Iza Trapani's newest children's picture book, Little Miss Muffet, was released!

Many of you know the classic nursery rhyme, which goes,

Little Miss Muffet

Sat on a tuffet,

Eating her curds and whey.

Along came a spider

Who sat down beside her

And frightened Miss Muffet away.

Trapani's book takes this nursery rhyme, adds illustrations, and expands it to include many more antics with animals to create a new classic!  The animals get larger and larger along the way.

Her book trailer gives you a glimpse of her story additions, as well as a sense of her gorgeous illustrations:



Trapani was recently interviewed at Robyn Campbell's Blog about how she crafts her picture books. In response to how long it takes her to write them, she responded,

The writing varies. Sometimes I can conceive a story in a few hours.  I wrote a rough draft of The Itsy Bitsy Spider on an hour-and-a-half bus ride. Other  times it may take months or even years for an idea to germinate. But generally, once I have  a plot, I can write a story in a few days.

Trapani writes all her books in rhyme, and she noted this about the revision process:

Writing for children is much harder than most people think. Exult in your writing, but keep a critical eye. Do not get too attached to your words. This is especially true of rhyming verse, where rhythm and meter are critical. A clever or beautiful line is worthless if the meter is off.

Read about Trapani's illustrating process, too, as well as many other insights in the full interview here.

Below are some of the fantastic reviews that have come in so far for Little Miss Muffet:

“Readers will barely be able to contain themselves when they spy the spider climbing up the tuffet leg. Indeed, Trapani slyly inserts clues as to what might next befall the hapless Miss Muffet in her brightly colored illustrations, which humorously capture both Miss Muffet's primness and her fright...A fun romp...Those with similar fears may feel empathy for Miss Muffet's plight; others will just giggle at the improbability of it all.” --Kirkus

“Rediscover this adored, classic nursery rhyme with delightfully charming illustrations by acclaimed author and illustrator Iza Trapani. Incorporating all the directional words kids need to learn early on in this silly story, Trapani creates a wonderful rendition of a perennial favorite that's sure to have kids hoping for the little miss to find a safe space from all those fearful creatures.” --New Age Mama Blog

“Adorable...Beautifully and richly rendered. And funny, too. Poor Miss Muffet’s face is animated and hilarious...Lively, descriptive words.” --Sing Books with Emily Blog

“A joy to read (and sing) aloud. [Trapani's] accompanying art is warm and inviting, a safe-haven for young children, full of comfort, perfect for bedtime or anytime...A must-have!” --Susanna Hill Blog

Sky Pony Press, September 2013

Regel's do's and dont's for attending a writers' conference

I'll be attending a number of fantastic writers' conferences in the upcoming months (Backspace, Willamette, and NJ SCBWI). The potential to discover new talent is what gets me excited for writers' conferences, but, that said, I also slightly dread the uncomfortable exchanges that are bound to happen. With that in mind, I thought it would be fun to give you some guidelines for how to successfully attend a writers' conference. Here goes!

DON'T read me your pitch. When I've said this before on panels, I can actually see the distress wash across the attendees' faces. I understand that reading is more comfortable to you, but look at it this way, if you're going to read me your pitch, then why do we even need to meet face-to-face? I know how to read (it's kind of a prerequisite for the job), so you might as well just email me your query. The whole point of going to a writers' conference is to have a conversation with an agent. I can tell you in about 30 seconds whether I'm interested in reading your material. (Is it a genre I represent? Check! Am I interested in the plot? Check!) When I sit down across from an author I want to see that they can intelligently engage me in a discussion about their work. Because if I do read and love their work, I need to know that they will be able to talk about their book to potential editors, booksellers, and readers. 

DO come with questions. Once you've pitched the project there are only two things for me to do: 1) Ask for materials, and 2) Tell you it's not right for me. Once that's out of the way, what can we talk about? I've flown all these miles to meet you, so you might as well walk away with some knowledge! Use this time to your advantage.

DON'T expect me to take materials from you. First of all, no one wants to lug around heavy pages. Second of all, these days, almost everyone (including me) reads on a reading device.

DON'T pitch me at inappropriate times. What's an inappropriate time, you ask? ANY TIME THAT IS NOT DESIGNATED FOR PITCHING. Every conference offers their attendees the opportunity to sit down and pitch an agent for a specific amount of time. That is really the only time you should be pitching an agent, EXCEPT...

DO be prepared to pitch at any time. We could be meeting casually over lunch and when I ask YOU, "So, what's your book about?" you should be prepared to talk about it. Otherwise you're missing an opportunity.

DO remember that we WANT to say yes. We want to discover the next big thing. And we hope that it's you! That's the whole reason why we attend writers' conferences. So try to keep a positive attitude and don't take it personally if we turn you down.  Remember that we're all here because we love writers and books, but this is still a business.

I hope to see you at a writers' conference soon!

http://www.backspacewritersconference.com/

 

http://www.willamettewriters.com/wwc/3/inf-00.php

http://www.newjerseyscbwi.com/events/110604%20conference.shtml

Take a walk on the blonde side

Last month, It Books released THE NEW RULES FOR BLONDES: Highlights from a Fair-Haired Life by stand-up comedian, storyteller, and writer Selena Coppock.

A natural blonde, Coppock was awarded the “Best Hair” superlative in high school and has since embarked on numerous adventures and misadventures in her navigations through a world in which blondes are often considered ditzy, dumb, and vain. Now she has compiled her hilarious hair-care anecdotes and pearls of wisdom into a laugh-out-loud--and witty--essay collection. As Examiner.com noted, “[Coppock] admits she has benefited from some stereotypes, especially the ones about being fun-loving and young. However, she proves repeatedly [throughout THE NEW RULES FOR BLONDES that] she is not dumb nor does she want to play dumb.”

Coppock's particular brand of humor can perhaps best be sampled in her book trailer below:



Since its publication, THE NEW RULES FOR BLONDES has hit media outlets by storm. It was featured in Time Out New York and Glamour, and it is currently part of a give-a-way with She Knows, lasting until May 23 (so enter now!).

In an interview with Yuletide Snapper, Coppock describes why it was important to her to put together these “new rules” in the first place: “Today...things have changed and blondes have evolved. Just look at bold blondes such as Lady Gaga (naturally a brunette but most often seen with blonde hair now) and Hillary Clinton--blondes are killing it in politics, entertainment, and elsewhere, so I wanted to map out a new pathway for all of us.” Read the full interview here.

Meanwhile, over at Motherhood Moment, Coppock describes her favorite “blonde moment” and blonde hero, and she explains how hair color is like a chicken-or-the-egg scenario. Find out more here.

Coppock lists her do's, don'ts, must haves, bests, lasts, and more regarding all things writing related at Chick Lit Is Not Dead. Learn here the importance of setting boundaries in writing, how Coppock overcomes writer's block, and how she celebrated her book deal.

In a guest post at Fresh Fiction, Coppock describes exactly how she became the author of this book, which originated as the brainchild of her blonde agent and blonde editor. Check it out here.

Lastly, in an interview with Brooklyn Daily Eagle, Coppock gets to the heart of one of the deeper themes in her book: self-esteem. Here's an excerpt below, but be sure to read the full piece here.

...the book is fun and informational, but at its core it’s a book trying to encourage self-love.  Girls and women are socialized to be really hard on themselves and each other--we get a lot of grief for how we look or what shape we are and many of us internalize those toxic messages without even knowing that we are.  With THE NEW RULES FOR BLONDES obviously I’m talking about blondeness, but I’m also encouraging the reader to embrace the fact that she is smart and spunky and unique, and who cares what other people think. 

Below we've compiled some of the exciting reviews the book has received so far:

“Perfect for the summer…The key to recounting stories like these is making them pop off the page...Thanks to Coppock’s writing style, which I would liken to hanging out with a funny best friend..., she manages to do just that and ends up making reading New Rules a breeze.” --Glamour.com

“Her writing is FUN with a capital F!...Whether you are blonde or not, you will love this book!” --Chick Lit Is Not Dead Blog

“A humorous guide to undermining stereotypes and becoming both self-aware and self-assured...Coppock’s book is both fun and informative, whether or not you’re of the golden-haired persuasion.” --Brooklyn Daily Eagle

“Selena Coppock is hilarious!....THE NEW RULES FOR BLONDES is entertaining for anyone of any hair color who wants to laugh.” --Sweeps4bloggers.com

“A must-read for all blondes, those who hate blondes, or anyone with a sense of humor. Otherwise, this is NOT a book for you!” --Kristen Johnston, actress and New York Times bestselling author

“Selena Coppock is a hilarious, sexy bundle of blonde madness. Her willingness to own her magnificent dorkitude is an inspiration to us all. Read this book and fall in weird, awkward love with her.” --Sara Benicasa, author of AGORAFABULOUS!

“Blondes have more fun reading this book, at least this fair-haired broad did. A fresh, fun "lady-guide" that all girls can enjoy...even dumb brunettes. You heard me!” --Jillian Bell, comedian (Saturday Night Live, Workaholics)

It Books/HarperCollins, April 2013

5 industry insights for nonfiction writers: From flying money-makers to mountains of book success

Ever wonder what exactly happens to your proposal once your agent sends it on submission?  The answer is it gets shared around, A LOT.  If your proposal manages to intrigue an editor, he or she will likely show it to their colleagues for their opinions, and if those opinions are positive your project will get brought up at an editorial board meeting, and from there the proposal might be shared with Sales and Marketing—the list goes on.

With so many eyes scrutinizing one document, it's helpful to understand who is looking for what information within your proposal.  Make sure you're creating a proposal that will satisfy everyone by keeping these five industry insights in mind.

#1: A proposal is a sales document. We book lovers can be a sentimental lot. It’s not our fault—we’ve experienced firsthand the extraordinary magic a great book contains. Our favorite reads hold value far beyond the $25 or $14 we shell out at a bookstore. However, when it comes to crafting your own proposal, it’s important to remember that you’re now entering the business of publishing (shudder!). Your brilliant ideas and dazzling prose won’t get you a book deal unless your proposal convinces a publisher that your book will make them money. To do this, treat your proposal as though it is an argument for why a publisher can’t afford NOT to take you on.

Image courtesy of digitalart at FreeDigitalPhotos.net

"You simply can't NOT take me on, 
because clearly I will make you tons of money!"

#2: Platform is king. New writers occasionally misunderstand the importance of “platform” by treating it with a chicken or the egg mentality. Rather than seeing a strong platform as a necessary element to securing a book deal, they believe that securing a book deal is a necessary element to building their platform. Sadly, it’s rare for a publisher to take a chance on an unknown writer these days. With the exception of some memoirs, nonfiction publishers aren’t interested in breaking out new voices. Instead, they want to acquire books from authors who have a built in audience already eager to buy their work. Try to connect with your target audience and build a strong following before you approach a publisher. Being recognized as an expert in your field is half the battle.

Image courtesy of Dumbledorefan on Harry Potter Wiki

"Oh, don't worry, I have the ultimate platform."

#3: Even in a digital world, shelving matters. Know thy genre! If a publisher doesn’t understand where to shelve your book, or can’t identify similar books that have performed well, they likely won’t be making you an offer. Ask yourself, is my book narrative nonfiction or prescriptive nonfiction? What kind of information is my target audience seeking? This is part of what makes the comps section of your proposal so important. Choose successful books with strong sales records against which to compare your own. Create the impression that while your book is unique, and likely to outperform the others, there is a demonstrated track record of success for publishing this type of book.

Image courtesy of Noel Joyeux on Flickr.com

"I think I'd like to be shelved right here."

#4: For proposal perfection, find an irresistible title. Occasionally a proposal has a title that is so good, so catchy, it almost sells itself. Or, if it doesn’t sell itself, it definitely gives the project some heat. Perhaps it speaks directly to its audience and strikes a chord, such as YOU: On a Diet. Or it intrigues, such as The Secret. It might convey humor or edginess or simply trigger a smile. Whatever the reason, publishers know that a good title will capture public attention and distinguish your book from its competition. A strong title creates buzz. Before you submit your proposal, brainstorm several different titles to see if you strike phrasing gold. Consider some of the well‐known titles below:

Alone in the Kitchen with an Eggplant

The Shock Doctrine

Sh*t My Dad Says

My Horizontal Life

Skinny Bitch

Freakonomics

Who Moved My Cheese?

Assassination Vacation

Julie and Julia

He’s Just Not That Into You

What’s the Matter with Kansas?

Eat, Pray, Love

Image courtesy of Micahmedia at en.wikipedia

"Can't I just use a symbol, à la Prince?" Answer: No.

#5: Editors also face rejection. So you’ve perfected your proposal, wooed a smart and savvy agent, and your work is now in the hands of a brilliant editor. All you need to do is have that editor fall in love with your work and you’re in, right? Not just yet! Most editors won’t be able to acquire a book without convincing the rest of their team to get onboard. First, they will “get reads,” or second opinions, from other editors at their imprint. If they are successful in drumming up enthusiasm in‐house, the project must then be approved by Sales and Marketing. This is often when heartbreak strikes. If Sales and Marketing crunches the numbers and doesn’t feel your book will be profitable, your deal may be dead in the water. Help an editor out by including strong comp titles and a savvy promotion plan.

Image courtesy of watcharakun at FreeDigitalPhotos.net

Turn upset editors unable to take on your project 

("Say it isn't so!") into....

Image courtesy of pakorn at FreeDigitalPhotos.net

mountains of book success!

As NaNoWriMo ends, we've got advice: Avoid the 7 deadly sins of bad fiction!

For all of you out there participating in National Novel Writing Month, go go go! You're almost done!  As agents, we are so glad you're writing.  But before you immediately submit your new novel to agents on December 1, we have some suggestions :)  First, once you've made it to the finish line, jump for joy, eat celebratory chocolate, or whatever else floats your boat.  Second, take a good look at that manuscript you've been working on and delve right back into it with revision!

Below are some revision tips put together by our fabulous agent Elizabeth Evans:

Writers often ask me what agents look for in a submission.  How can they get their work through the gates and onto an agent's list?  The short and oft-quoted answer to that question is that agents want to "fall in love."  But what does that mean, really?  Is the writing riveting or suspenseful in a way that makes our pulse race?  Maybe.  Does a character reach out and grab us with a voice that commands attention?  Perhaps.  Or is the prose so achingly beautiful we just can't help but admire it?  Couldn't hurt.

Maybe it's one of these, maybe it's none of them.  The point is, it's hard to define, and it usually leads to other exasperating, oft-quoted agent phrases such as, "I don't know what I'm looking for until I see it."  Well, here's a little secret—we agents hear this from editors as well, and it drives us a little crazy, too. Fact is, it's true.

So it's not a science, and there's no proper equation to get your work through the door.  But to increase the chances of finding representation, what writers can do is avoid common mistakes and agent pet peeves that make it easy for us to turn down submissions.

When I was working as a tutor in my college writing center, the director created a handy sheet for students outlining "The Seven Deadly Sins of Bad Grammar."  The sheet identified such no-no's as Passive Voice and Misplaced Modifiers, and it provided a helpful list students could check their work against before turning in papers to professors.  When I started agenting, I thought there ought to be a list like this for aspiring authors.  Hence, "The Seven Deadly Sins of Bad Fiction."

Avoiding these common pitfalls will eliminate pesky mistakes that can distract agents from the story at hand.  By taking heed of them, your writing might shine just a bit more brightly and bring you one step closer to publication.

“The Seven Deadly Sins of Bad Fiction” is available as a convenient, downloadable pdf file.  Click here to access it.  And to whet your appetite, below is a quick list of what the seven deadly sins are.  Download the pdf for explanations!

1. General Sloppiness

2. Ignoring the Setting

3. Wordiness

4. Bloated Diction

 5. Passive Voice/Overuse of "To Be"

6. Too Much Telling. Too Much Showing.

7. Pedestrian Narrative Eye

In his memoir Speak, Memory, Vladimir Nabokov said, “I have rewritten—often several times—every word I have ever written.  My pencils outlast their erasers.” Now, don't get stressed out by this statement, like the guy below.

Image courtesy of imagerymajestic at FreeDigitalPhotos.net

Do, however, take the time to rewrite and revise, because doing so will not only make your novel more polished and attractive to all the publishing people out there, it will also, most importantly, make your novel more rewarding for your readers and yourself.