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Category : Books
I’m starting a new series today, one that will last until I run out of things to say on the topic or until I get bored, whichever comes first. I’ve received several ending-related questions over the past few weeks as well as been disappointed by the endings of several otherwise-good submissions I’ve read lately, so I thought we’d spend a few weeks talking about how to end a novel as effectively as you began it.
There are a whole lot of resources out there to help you craft a dynamite beginning of a novel– plenty of “first five chapters” workshops, lots of conversation on the importance of a great opening sentence, a bunch of opinions on how soon in a book the action needs to kick off– but not as much attention paid to how to END a novel well. It makes sense; the beginning is what makes someone decide whether or not to keep reading, and therefore gets most of the responsibility for selling a book to an agent, editor, or reader, but too often, all this emphasis on the beginning of a novel leads to some neglected or rough endings by comparison, and endings are what make someone decide whether or not to look for another book from that author. If you’ve managed to entice a reader into picking up your book and making it all the way through, you want them to stick around longer than just that one book. This week, we’ll talk about how the end of a story and the end of a book are (or should be) connected, as well as preview some of the topics we’ll address over the next few weeks.
“When is a book done?” “When is a story over?” These questions came in separately, and while they’re asking about two different things, the answers are related. A complete story has been told when the major conflict has
I’m a newbie to the publishing world. In early 2014, I received my first publishing offer from Harlequin Love Inspired. I accepted it with excitement, ready for the words hidden on my computer to be seen by all the world.
Then I received my first edits.
After hyperventilating, I read them again. I could tell my editor was right… she was brilliant, seeing things I hadn’t seen. But the changes… I didn’t have a clue where to begin. The task felt insurmountable. I wrote and wrote, and my family didn’t see me for a period of time.
When we reached the end of edits, then came an entirely new problem. They wanted me to hand the book over to them. What? When did we agree to this? Oh, yeah. When I signed the contract. But still, they actually wanted me to fork over my words. They were going to let people read them. But… but… but I’m not done yet!
I quickly realized I would never feel ready.
Part of being creative is that there’s always something more that can be changed or tweaked or deleted. That’s what deadlines are for. Someone has to pry the book from your hands. I naively thought I would have a book done before the deadline. I’m not a procrastinator and I don’t do things last minute. But I never realized that I wouldn’t feel ready to give it up. I did send it in on time, and then I wandered around my house for a week wondering what to do with myself. Laundry would have been a good option.
Next came the request for titles. I went round and round on those, bugging my friends, my poor agent Amanda, and my husband until people were texting me random title ideas at all hours of the day.
Once a title was picked, we moved on to line edits.
Oh, wait. You thought the edits
Amanda Luedeke is a literary agent with MacGregor Literary. Every Thursday, she posts about growing your author platform. You can follow her on Twitter @amandaluedeke or join her Facebook group to stay current with her wheelings and dealings as an agent. You can also check out her marketing skills on Fiverr. Her author marketing book, The Extroverted Writer, is available from Amazon and Barnes & Noble.
PLEASE READ THROUGH TO THE END… EVEN IF YOU DIDN’T WIN I HAVE SOMETHING SPECIAL FOR YOU…
Last week I invited you to share with me the various projects you’ll be working in 2015. I believe there is something inspiring about writers sharing ideas with others. There is something about making a public commitment to PURSUE a project that makes it so much more real (and we all know how working on a book alone, on your own, can many times feel like you’re pretending at this whole writer thing). So I’m very glad that we got a good response to my post. I’m glad for the thirty-some of you who took me up on my challenge and made your 2015 goal project public.
And as promised, I’ve chosen a favorite! Here are some things that I considered when reading through the submissions:
- Does the project have a strong external plot? It’s easy to focus on the internal arc (what are their fears and how do the characters change on the inside?), but a pitch is all about the external. What happens TO these characters? That’s what I’m more concerned about at this stage in the game.
- Does the project sound different? I see a lot of pitches, a lot of story ideas, and so I’m alway on the lookout for a book that is unique. Something that either I haven’t heard before or something that is different enough from the status quo.
- Do I want to
Amanda Luedeke is a literary agent with MacGregor Literary. Every Thursday, she posts about growing your author platform. You can follow her on Twitter @amandaluedeke or join her Facebook group to stay current with her wheelings and dealings as an agent. Her author marketing book, The Extroverted Writer, is available from Amazon and Barnes & Noble.
Instead of doing a list of resolutions or predictions or blah blah blah, we’re going to do something fun…
Let’s face it, if we’re serious about writing, we should be able to finish a book this year, right? So, let’s focus on THAT.
What book will you finish in 2015? It can be a novel. A nonfiction book. One you’ve been working on for years or one you’re starting today. Whatever it is, tell us about it! Give us a one-paragraph blurb. Really sell the thing. Make it shine. I’ll be reading the comments and will pick my personal favorite NEXT THURSDAY. Spread the word!
So it’s the end of the year, and I always try to ask readers to participate in a couple of conversations with me. My question for you: What was the best book you read in 2014?
It doesn’t have to be new, but I’m interested in what you read this past year. My list was pretty long — longer than normal, I think. I read through Abraham Erghese’s Cutting for Stone, Robert Kolker’s haunting Lost Girls, Ben Mezrich’s interesting Bringing Down the House, Douglas Preston’s fascinating The Monster of Florence, Robert Wittman’s Priceless (a fascinating book about the FBI’s art theft team), John Schiffman’s Operation Shakespeare (about the US government going after illegal arms traders), Les Edgerton’s The Genuine Imitation Plastic Kidnapping (perhaps my favorite comic read this year), Alexandra Fuller’s Don’t Let’s Go to the Dogs Tonight, Karen Prior’s Fierce Convictions, four books from Malcolm Gladwell, two from Bill Bryson, and two from thriller writer Joshua Graham. All of these would make my “suggested reading list.” I also re-read two from Charles Dickens, two by Mark Twain, two from Henry Nouwen, two from personal favorite Lauren Winner, and Barbara Tuchman’s The Guns of August (a favorite of mine).
Authors I represent also had several good titles release — and while it’s not fair to name all of them, a handful of favorites were Susan Meissner’s A Fall of Marigolds, Lisa Samson’s Runaway Saint, Maegan Beaumont’s Sacrificial Muse, Bonnie Gray’s Finding Whitespace, Emily Wierenga’s Atlas Girl, and Vince Zandri’s The Shroud Key. Les Edgerton’s Finding Your Voice came out in a special edition on Snippet, and it’s one of the best writing books I’ve ever read (plus you get to listen to Les telling stories in video clips). And Rob Brunet’s Stinking Rich is a hoot, if you like crime capers.
There were others I really liked. Anything from Jessica Dotta is going to be good, and her most recent,
Landscape, language, arts, culture, current events—these are some things a novelist must research before writing her novel. When I was researching my Ellis Island series, one thing I looked at was what people were reading at the turn of the twentieth century. You can discern a lot about a person by observing his/her reading choices, so why not do this for the characters in a novel?
It doesn’t matter if you are writing historical or contemporary, but books were far more valuable and treasured in years past, so I think historical novels ought to include them. It’s not only fun for the writer but also for the reader who most likely enjoys books as much as you do.
In my series I wanted to have my characters read L. Frank Baum’s The Wonderful Wizard of Oz because it was taking the country by storm. Everyone was reading it. It’s no wonder because so many people related to Dorothy Gale—displaced in the strange new world that America was becoming. My Irish characters had be emerged in the storytelling tradition that the Irish are known for. My American characters had to be enthralled with the futuristic tales of H.G. Wells and Jules Verne. Public libraries were not as accessible back then so I imagined people traded books, talked about them, and looked forward to new ones coming out, perhaps even more than people do today.
My advice for novelists is to research what people were reading at the time of your setting, and also look at what the newspapers were saying about the books being released. I’ve been hearing how much my readers are enjoying learning about my characters’reading tastes.
Cindy Thomson’s newest novel is Annie’s Stories (Tyndale House Publishers, July 2014,) the second in her Ellis Island series. She is also the author of Brigid of Ireland, Celtic Wisdom: Treasures From Ireland, and
I’m a big supporter of authors trying to self-publish their out-of-print works (and sometimes their new works, depending on the author and situation), and I’ve had a number of authors write to ask questions about publishing terms and traditions. I thought you might find it helpful to know some of the official nomenclature we use in the industry:
The FRONT MATTER is all of the information that goes in the front of the book, between the cover and the actual text. It usually contains a bunch of legal and technical information about the book, and the pages are all numbered, but they often don’t have actual page numbers showing up (at least not on what are called the “display” pages — the title page, the half title page, the copyright page, the dedication page, any blank pages, etc).
There are a number of elements to the Front Matter that require special terms: the title page (which has the complete title, subtitle, author name, and publisher) the half-titlte page (which just has the book’s title), the copyright page, the legal or copyright acknowledgements (if you needed permission for anything in your text), the dedication, acknowledgements, and table of contents. There will also be a colophon, a more recent development in publishing a book that details the font, the printer, and any special production notes about the book.
There are also a number of additional Front Matter pieces that are used less often: a foreword (written by someone other than the author, to introduce the topic), a preface (written by the author to explain HOW the book was written), an introduction (written by the author to explain WHY the book was written), a prologue (written by the narrator or a character in the novel to set the scene or give important background information), an epigraph (usually a poem or quote pertinent to the story), and the author’s acknowledgements (so you can tell
In this week’s issue of Publisher’s Weekly, they have their annual report on the bestsellers of the previous year. I always enjoy reading about it and discussing it with authors, because nothing gives perspective more than a number. You see, authors like to talk about having books “sell a million copies,” and I’ve frequently seen proposals in which writers make wild promises about selling millions, since the audience for a particular topic is considered huge. (“There are 246 million people with dandruff in this country! There’s a ginormous market for my book on hair care!”)
But then every spring PW releases its report, and everyone gets a dose of reality. How many hardcover novels sold a million copies in 2013? One — Dan Brown’s Inferno. How many hardcover nonfiction books sold a million copies? Three — Bill O’Reilly’s Killing Jesus and two of the “Duck Commander” books, Happy, Happy, Happy and Si-Cology. How many trade paper books sold a million copies? One — and it was released decades ago… F. Scott Fitzgerald’s The Great Gatsby. There was only one mass market book that sold a million copies, proving that this formerly big-number format is quickly dying off, replaced by digital books — George R.R. Martin’s A Game of Thrones.
On the children’s side, there were a handful of books that passed the million mark. Jeff Kinney’s Hard Luck: Diary of a Wimpy Kid #8 sold more than three million copies, and was the biggest seller in one format of any book sold last year. But Veronica Roth’s Allegiant and Insurgent, Rick Riordan’s The House of Hades, and John Green’s The Fault in Our Stars also hit the mark. (Two other titles probably did: Marcus Zusak’s The Book Thief and Dr. Suess’ Green Eggs and Ham, but the numbers are unclear because of several factors.) Still, when it comes to print copies, that means there were
by Ghostwriter [While this says it’s written by Chip MacGregor, it is not. It’s written by a professional collaborative writer who is a friend — Chip just posted it.]
Hi. I’m Ghostwriter and I’m the collaborative author of an engineered bestseller.
The news that Mars Hill Church paid ResultSource about $200,000 to get Mark Driscoll’s book Real Marriage on the New York Times bestseller list shocked a lot of people. For me, that news solved a mystery.
As I already mentioned, I am a collaborative author and occasionally a ghostwriter. Although I am a published author in my own right, I learned long ago that I could earn a much better living helping other people write their books. It’s a good life, and I enjoy my work. Nevertheless, I still hope that someday I’ll see one of my books on a bestseller list—any bestseller list.
This explains my obsession with Amazon rankings and sales figures.
I know, I know…
You have to take Amazon numbers with several hundred grains of salt. I get that. But I still enjoy checking my author page and seeing how many copies of my books have sold in the previous week. Generally, the numbers are unremarkable. Sometimes they are depressing. But a while back those numbers astonished and mystified me.
I’d collaborated on a book with a megachurch pastor and, although it was a contract job for which I received a flat fee and no royalties, I asked for and received cover credit. Because my name was on the cover, I was able to list the book on my Amazon author page and track its sales statistics. Even though I wasn’t going to receive royalties for the book, I was still curious to see how well it was selling.
So I set the book up and waited for the launch date. The first week’s sales stats took my breath away. The book went from zero
I was once let go from a job in publishing for “creative differences,” the same week another guy was let go, at another company, for some very different reasons. We worked in the same industry, are the same race and age, and he lived in a city where I had once lived. Several people got our stories mixed up. I had a writing conference cancel my participation at their event, saying they had heard rumors that cast me in a bad light, and that they didn’t want me coming. You can imagine my surprise when I was told they were un-inviting me, since none of what they’d heard was actually true. I invited them to call my former boss, to talk with the people around me, and to check my references. But I also got angry — I mean, they made their decisions based on a RUMOR? They’d never even called me to ask about it? They never checked facts with anyone at my former employer? Nope. They just heard a story and took it as gospel … and, to make matters worse, the other guy (the one who had actually been fired from that other house) was scheduled to speak at their conference. (I didn’t mention that to the conference director. I figured she could figure out the truth on her own damn time.)
I’ve never gone back to that conference, and I’ve never forgotten how much that error hurt. It’s why I want to make sure I get my facts straight on the stories I write, so that I don’t share something hurtful about somebody unfairly. I don’t mind offering bad news, and I realize some people will read my blog to get some information that publishers are too frequently reluctant to share, but I want to make sure I get my facts correct.
Here’s why I mention all of this: I got a couple of phone calls