Chip MacGregor .com

Andy, Editor at Zondervan, Stops By...

Things to Unlearn.

Italicized thoughts.

I don’t know if I’ve been around long enough to be a curmudgeon. There’s got to be an age cutoff, or something. I would eschew the term Luddite, for obvious reasons, though I have yet to create a Facebook page or post home videos to YouTube or upgrade to Vista or the iPhone. I do have a wireless Media Center Extender so I can watch recorded TV that I have stored on my external firewire drive through Media Center (with dual tuner). I’ve only met one other person who does that. So perhaps I’m just really really progressive, and forward-thinking. Yeah, that’s it.

But I do have enough things on my list to call this post the beginning of a series. A series called “Things to Unlearn.” And in this series, I will be making the case for a change in the status quo when it comes to telling stories in books. Chances are you just learned at a writer’s conference from some published writer to do exactly the thing that I’m telling you never to do again. Sometimes it happens.

And so my first curmudgeon’s rant—I mean, discourse on the bleeding edge of the craft of writing for postmodern times—is this: Please stop using italics for interior monologue.

I’ve heard that the Chicago Manual of Style used to recommend italics for interior monologue. Currently, in the fifteenth edition, the options given are quotes, or no quotes. (I looked at the fourteenth, and it lists all three possibilities. So it is a distinct change to no longer include italics.)

That might be the only evidence I need, but even if CMS gave unction to italicized thoughts, I would disagree. As readers become more and more sensitive to authorial intervention, italics seems another way of saying, “Look here, see what I’m doing?” It distinguishes the narration from the interior monologue, distancing the reader from the character and creating a false dichotomy.

When it comes to the point-of-view character, there is no need for italicized thoughts. That’s the beauty of the limited third-person or the first-person POV: the character’s voice is integral to the narration. A switch from third-person narration to first-person monologue can be done skillfully and easily, without confusing the reader, and without needing to distance the reader through a this-is-narration, this-is-interior-monologue indicator like italics.

In the rare case of the more omniscient third-person narrator, I would even advocate the much-malaised thought attribution in order to work around the italics problem, if absolutely necessary. Though, still better to use paragraph breaks or just ease into the thoughts by going from third person to first person.

There’s only one instance in which italics are appropriate, in my opinion, and that’s when a voice is speaking inside the character’s head. You know, the voice that tells you, Great job, Meisenheimer, could this sound any more arrogant? Because to the point-of-view character, this is a voice, unheard, but with the possibility of being an independent entity, although, of course, in my case, I sure hope not. It represents an actual dialogue within the character’s head, and a distinct voice separate, we assume, from the narrator’s thoughts. Though, I admit, there’s a good possibility this could be done without the use of italics. And if a writer figures out how to do that, then even better, I say.

ANDY MEISENHEIMER is married to Mandy and is a proud father. His best friends: Duncan, part Jack Russell and all bark, and Barnabas, a chubby and aloof shar-peagle. By day, he is an acquisitions editor at Zondervan. By night, he is an avid recorded TV watcher, novel reader, Wii player, and diaper changer. Likes: Phish, About Schmidt, the Enderverse, Berry Punch. Dislikes: Serial killer novels, Celebrity news, Biopics, Soda pop.
http://thesearebooks.blogspot.com

Wisdom from a Fellow Agent

Steve Laube (pronounced "Lobby') is a longtime friend of mine. We first got acquainted years ago, when we were both working as editors and we spoke at some of the same conferences. I always found Steve to be wise and articulate (whereas I'm known more as "wise-guy" and "intemperate"). Once I became an agent, I used to pitch him projects at Bethany House, and our friendship continued. Then Steve succumbed to the dark side and became an agent in his own right, and the two of us started our own little chat group -- a couple of literary agents, dishing the dirt on projects and trying to one-up each other. He's still a friend, we still chat, and I still value what he has to say.

Some people will think I'm crazy, turning my bl0g over to a competitor -- but I always appreciate my conversations with Steve, so I thought the readers of this blog would enjoy hearing what an experienced friend has to say on the topics of the day.

Steve, it's great to have you join us. Let's start by talking about CBA -- what are the trends you're seeing in fiction?

"This is always a challenge. Three years ago I couldn't sell a bestselling historical author anywhere. Today everyone wants historicals. Who knows about tomorrow? Publishers and authors alike tend to 'chase the ball' in an effort to match the perceived interests in the market. Unfortunately everyone sort of gets the same idea at the same time. For example, there was a sudden flood of chick-lit after Kristin Billerbeck's first novel was such a success. But here we are, a few years later, and very few publishers are willing to even consider a new 'lit' project.

"We get the same problem with science-fiction and fantasy (which are two distinct genres, contrary to common verbiage). I championed that category when I was at Bethany House and we launched Karen Hancock, Randy Ingermanson, John Olson, and Kathy Tyers. Unfortunately the market was soft and the category sort of frittered away to where the 2007 Christy Awards didn't even have the category designated for an award. However at the same time we have observed the wild success of  CBA YA fantasy novels from both Donita K. Paul and Bryan Davis. That success has opened a small window of opportunity in this category for adults too. Only a couple publishers are looking, and I can state that they will probably only release one or two authors, and wait for the market to vote. If the numbers are not strong? The cycle will begin all over again.

"So my advice is to stop chasing the market. Don't suddenly decide that you must write an Amish novel just because they are popular today. Don't write a Da Vinci Code knock-off just because it was cool to write a story with a 'lost manuscript.' Writers have no idea how many similar proposals we see that simply echo the current bestseller list. At all costs avoid the cliche'd approach to storytelling, i.e., the need to toss in a tornado to create suspense, or an assault on a woman to engender sympathy, or a myriad of other themes and triggers that are overused. Take your writing to a level that causes agents and editors to gasp at its creativity and brilliance. This can't be done by brainstorming one afternoon. It's why many bestselling books take years to develop and write."

Amen! So my Amish chick-lit about a girl caught in a tornado while searching for some lost Amish recipes won't fly?

"And now you've got me preaching. let me move to another subject before a blow a gasket."

Deal. What are you seeing with writing and publishing in non-fiction?

"There is a similar problem of chasing the market. The difference is that publishers aren't as concerned with 'story' or 'craft' with non-fiction. Instead it is the author's platform or past sales performance that has become the new threshold.

"In the past an author could create a great idea, get published, and consequently be able to build a platform. This still happens (see Donald Miller and Blue Like Jazz), but it is not the norm. Instead the author must work hard, sometimes for years, to create visibility and a media-ready personae, and then create the great book. I have a client, Jill Rigby, who did this the right way. She spent years developing a ministry in her state for teaching manners to kids. She developed a public school curriculum and became an expert in her field. After ten years she thought it time to try and write a book for parents that would run parallel to her ministry. We worked together, found a publisher (Howard), and her book, Raising Respectful Children in a Disrespectful World came out last year and has enjoyed considerable success -- so much so that her publisher signed her to do two more books.

"Unfortunately the majority of people have neither the inclination nor the skill set to develop this type of market visibility. They have an experience to share or a topic they have taught or a modest-sized ministry, and think that publishers are going to want to publish because the book is too important to ignore.

"I know Chip has told the hard news in earlier postings, but let me reiterate some of that so he isn't the only voice you hear on this topic. I know of more than one publisher who won't even consider looking at a proposal unless the author's previous books have sold 50,000 copies or more -- or if this is a first-time author, the projections are at a minimum of 30,000 in its first year. Those are some huge numbers. I was rejected by one publisher who said, after reviewing a project whose author has a national TV show in over 100 major cities and a dozen foreign countries and over 3 million books in print over the last 20 years, "His last book only sold 25,000 copies -- he isn't big enough for us."

Ouch.

"How's that for a slap of cold water on a chilly morning?"

So what's a writer to do?

"Again, write the absolute best book you can, and then write it better. If you are starting out, ply your talent in the magazine world. Get used to creating snappy ideas that editors love. I have a client who spent 10 years developing a reputation as a top-drawer article writer. The author was eventually asked to write scripts for a radio program. Then she was asked to record scripts of her own for that program. Next thing you know we were able to leverage those scripts into a book contract. She didn't start out with the book; she started out by becoming a great writer and making contacts in the industry. Now her dream has come true for publishing a book.

"At the same time, work on becoming an expert in your field. Speaking, writing articles, blogging, etc. Give us a reason to pay attention to what you have to say. The market beast is cold-hearted, vicious, and unyielding in its demand for big ideas."

I know you've worked as a bookseller, editor, and agent. You've seen the industry grow and change. What do you think the future holds for Christian publishing?

"I've been in this industry for 26 years. I've watched it grow, and personally felt its growing pains. But I believe the industry is healthy, and becoming smarter. One can walk around the convention floor at the annual International Christian Retailing Show (ICRS) in July and either feel despair or feel inspired. I must admit that after 26 consecutive annual conventions, I still get a thrill when walking the sales floor. It is a picture of 'God on the Move.' Nowhere else can one see so much incredible talent in one place, and all with the same goal: to help change the world. I remember one New York general market editor who recently came to the show for the first time. She said, 'I had no idea that I would see such a high level of quality in design and production, and such great content.'

"There are some who see the glass as half empty. They say that Christian bookstores are in trouble and this means the demise of the industry. All I can say is that CBA is a reflection of the market at large. The ABA independent booksellers are struggling just as much as CBA independent booksellers. The chains in both markets are cutting a wider swath. Is this good or bad? Hard to say, but there are more books being sold than ever before, so with that measure it is a good thing.

"It is a privilege to be part of this marvelous industry, and to contribute to the writing and publishing of books that have such an extraordinary impact. I've been asked, 'What do you do for a living?' I answer, 'I read.' When they ask, 'What do you do for fun?' I answer, 'I read.' It can't get much better than that!"

You still go to conferences and get hounded by authors who want to show you their latest book ideas. What other advice would you have for authors wanting to move forward in their careers?

"The best advice I've heard is to view the conference as a learning experience, not a 'selling' experience. So often writers are crushed or disappointed because the conference did not meet expectations. The publishing world is one that will break your heart. Therefore the best thing to do is to learn as much as possible about it. Then you can navigate the labyrinth with a little more confidence. I have clients who first heard me at a conference as many as ten years ago. They spent intervening years studying and learning and writing. Now their material is ready for prime time.

"Use a conference as a way to meet with other writers and make them part of your extended network and support. Editors and agents are always on the hunt for the 'next best,' and someday yours may be the exact project we are looking for."

Great advice, Steve. Thanks for joining me on the blog and sharing your wisdom.

"My pleasure."

-chip

Authors, Markets, and What to Read Next

We've had a bunch of questions submitted lately about authors and the market. So, even though I'm sick with the flu and feeling lousy, I'll soldier on. ("What a trooper the man is! What dedication! What sacrifice!")

Jim wrote to ask, "What novelists would you suggest I read to get more acquainted with fiction in the Christian market?" He then asked me to stay away from the top names (Kingsbury, Dekker, Peretti, Jenkins), since he feels bestseller status allows those authors to pretty much do anything they want.

Some suggestions: Read Quaker Summer and Tiger Lillie by Lisa Samson. The former is a great look at modern Christianity, wrapped in the warm confines of a "Christian women's novel." The latter was a seminal book for Christian fiction. You can also try Serenity Bay or A Season of Grace from Bette Nordberg. For more along these lines, try a novel from Siri Mitchell or Mary DeMuth or Susan Meissner's Seahorse in the Thames. Or, to get in touch with women's novels, I'd encourage you to check out something from Bev Lewis, Cindy Woodsmall, or Francine Rivers. Ginger Garrett's Chosen is a wonderful read. And if you really want to see where that market is going, check out Kimberly Stuart's Bottom Line or Rene Gutteridge. (I represent some of these people, so I"m biased.)

For men's books, definitely pick up one of Brandt Dodson's Colton Parker books. James Scott Bell is another good choice, as is Randy Singer and Tim Downs. Charles Martin is one of the best novelists in the country, in my view. So is Penelope Wilcock, and you should try her Hawk and the Dove trilogy. Someone who hasn't been discovered yet is Elizabeth Musser, but her Swan House is a fine read. Another good writer who flies under the radar is Chris Well -- try Deliver Us From Evelyn. Wow. Too many names right off the top of my head -- I've probably left some out, but this should get you started. Feel free to post suggestions in the "comments" section of this blog.

Ashley wrote and said, "I've noticed that Charles Martin and Lisa Samson are considered 'literary novelists.' In your view, what qualifies someone as a 'literary' novelist?"

The term "literary fiction" came into vogue about 25 or 30 years ago, as a way to distinguish what academics and editors considered "serious" books from the more popular "commercial" books. The advent of paperback novels turned everyone into readers, and people wanted the sort of things they could see on television: action, big story, easy-to-understand characters, and the whole thing wrapping up nicely in a few hours. That's commercial. So while there's no agreed-upon definition of literary fiction, it usually includes an emphasis on great style, deeper character, and some sort of exploration of the choices people make when faced with the big questions of life (without there being a lot of teaching or pedantry). So think serious-minded stories offered by writers with some sense of moral conviction.

And if you're interested, humorist David Lubar has suggested that literary fiction is best summed up by "crumbs-in-the-butter" stories -- i.e., two people are having tea somewhere, when one notices there are crumbs in the butter, leading her to realize this is a metaphor for life. (He also suggests that having a butterfly die halfway around the world in the next chapter helps, so long as we're all left clueless about the ending.)

Tiffany wrote to ask, "Do you think we're going to see less Christian content in novels, and more redemptive books that don't have clear Christian content? The reason I'm asking is because I'm a charismatic, evangelical, Bible-thumping believer, but I tend to focus on books that are redemptive but not preachy."

I'm not a charismatic. I'm not a Bible thumper. I doubt I qualify as an evangelical. But I suppose I'm as good as any person to answer this question, since I work in the industry and help produce books that reach both believers and non-believers... I think we're seeing more "generally redemptive" novels, though with the growth of religious fiction in the past couple of years, you'd be hard-pressed to say we're not still seeing a lot of clearly Christian books. Maintream bookstores have discovered that Christians like (and buy) fiction. Has that led some authors to tone down the religious rhetoric in their novels? Sure it has. But I don't think we're seeing people water down their faith. In fact, I'd argue that my experience at Time-Warner proved to me that publishers and readers are willing to accept clear faith content, so long as it's well done. Like with most things in life, people want clarity.

And Ben writes, "If a manuscript doesn't fall exactly in a standard CBA novel category, but comes close and may provide a bridge between genres, does the book stand a chance? I ask because I'm writing a novel set in 16th Century Japan, but it's more of a male action-adventure, and the market for swordplay and history in CBA seems mostly channelled through romance novels."

I'd say you've got an uphill climb trying to sell a historical novel aimed at a male readership to a CBA house. There's certainly an audience for it in the general market (think of the Patrick O'Brian or Bernard Cornwell series), but CBA's male readership seems mostly focused on contemporary stories.

More Wisdom from a Fiction Publisher

So long as I'm talking with fiction types, I figured I should contact the guy who bought my first book (lo, these many years ago). Dave Horton is one of the good guys in the industry, and a longtime voice for quality Christian fiction. He has successfully discovered and published numerous authors, and now he's going to be stepping into a new role at Bethany House Publishers. We exchanged emails recently to talk about the industry and the changes going on...

Dave, what do you see that is working (and not working) in fiction for Bethany House?

"I'm often asked why historical fiction works so well at BHP. Part of the reason for its ongoing demand is that so many reader got into the habit when Christian fiction offered little else. And habits, once formed, aren't easily broken. In addition, while other publishers have been in and out of historial fiction, we've never waved inour commitment to it. Retailers and readers know who to call (and what to expect) when they want historicals.

"Even though historical fiction has succeeded marvelously at Bethany House for nearly three decades, we're experiencing sales success with contemporary titles, too. In fact, the latter group figures among our bestsellers every year. There are growing numbers of readers who didn't come of age in the glory years of Janette Oke and Bode Thoene, or who simply have other preferences, and we're working hard to offer them options. Do those options work as well as historical fiction for us? Not all, but some certainly do. Actually, it's probably an unfair comparison, even in the general market. Historical fiction is a broad category, and we often try to compare it to categories that are quite narrow by definition. In any case, we're making some encouraging headway in suspense, women's fiction, books geared for men, and others, and we are committed to maintaining breadth in our fiction line."

You've been in the industry since, um, the Harding Administration, I think. What changes do you see going on in Christian fiction these days? And is there anything about the future you can tell us about?

"Yeah,  me and Warren G go way back. One change I've noticed is that the Christian fiction 'box' has expanded a great deal, especially in the past ten years. Make no mistake about it, we're not generally 'outside the box' yet, but in terms of genres (or sub-genres), time periods, settings, character types, subject matter in general, and writing quality, things have changed considerably. Christian fiction is harder to define (or completely dismiss), its realitic intended audience is broader, and the number of writers being published successfully has increased dramatically. Recent encouraging signs: Fantasy fiction has a small but growing audience, historical fiction no longer has to be deadly serious, and wildly imaginative work is making inroads where once it was completely marginalized.

"Another change I've seen over the last few years is an increasingly cinematic orientation in the author community. Movies are more talked about than books, or so it seems. There is a big push to write 'cinematically,' and the cultural validation that presumably comes with having a novel adapted for the big screen or DVD  seems more and more to be the brass ring. But we may be losing sight of the fact that the novel is its own art form. It's not a movie. It need not -- in fact, cannot -- replicate a movie. Of course, novels can be adapted into movies, but a screenplay is never the same as a novel. Among the so-called 'faith- based' movies, the screen adaptations seem significantly inferior to the novels, in terms of the faith element, as well as in terms of the story itself. Hopefully the situation will improve, but writing a novel with a movie in mind, or writing a novel based on a movie concept, doesn't seem to me to be the best way to serve readers.

"We seem to go through phases of expansion and consolidation in publishing. Success in ficton (or with a particular genre) incites others to jump on the bandwagon. There is an ensuing flurry of publishing activity, followed by a few successes and more failures. Changes are made. Companies are sold. Editors are laid off or reassigned. Authors are displaced. Novels are orphaned and fade into oblivion.

"Nobody is perfectly able to forecase the future, and who can blame someone for wanting to pursue a publishing model that seems successful? But the ramifications for authors of this 'now-we're-in/now-we're-out' industry see-saw are particularly difficult. I worry that writing careers may get off on the wrong track, or get sidetracked altogether, because some publishing executives mistakenly think fiction publishing is easy money. "

Though it has had a track record of big success, your own company, Bethany House, was sold a couple years ago to the Baker Group. Can you tell us what is happening with your role during all these changes?

"You've probably heard that Gary and Carol Johnson will be transitioning to part-time roles here at Bethany House in March '08. I've been asked to step into Carol's current role (Vice President, Fiction Editiorial) at that time. Following in her footsteps would seem daunting to anyone, I'm sure, but it helps a great deal that I've worked with our gifted, experienced editorial staff for nearly a decade already. Given the strong foundation Carol and Gary have established here, I thnk we have a lot to which we can look forward. "

My thanks to Dave for stopping in to join us. Interesting stuff on the "cinematization" if fiction, as well as his thoughts on career-building for authors. Let me know what you think.

Chip

And Some Other Novel Journey-ites

The response to the interview with Gina Holmes of the popular Novel Journey website has been fabulous -- it's nice to bring on somebody smart once in a while, just to balance out the usual stuff. So with that in mind, I went to some of Gina's sidekicks at their site (www.noveljourney.blogspot.com) to ask some follow-up questions...

First, I asked Ane Mulligan,"As you look at the authors and books that have come in to Novel Journey over the past couple of years, what have been the biggest changes you've seen?"

Ane: "In the CBA, more and more authors are writing about real life and not avoiding the taboo subjects. No question in my mind -- that's the biggest change. Real Christians, including people in ministry and in pastors' families, tell lies, get pregnant outside of marriage, struggle with addictions -- in other words, they SIN. One of the reasons we as Christians write is to touch lives. And I believe that readers let down their guard when they think they are being entertained. So by offering a good story, by using the senses, by relying on strong craft, a good writer draws the reader into the book. Then, when they least expect it, the reader is confronted by truth. A good story touches, teaches, and transforms people."

I then tracked down Jessica Dotta, who formerly worked as a marketing account manager before becoming a fiction publicist, and is another one of the people who help create the site. My question to her: "What marketing and promotional trends are you seeing with fiction?"

Jessica: "The internet continues to be an amazing portal for authors to gain exposure. And not just with readers who happen to pass by a particular site, but with industry professionals. Unlike other forms of media, there's a pretty good chance authors can have direct contact with the editor or the producer, as well as the target audience. That's a huge advantage to a writer."

I then asked if she had anything specific that she could point to regarding internet marketing:

"I keep my eye on book trailers because they reveal a lot of information. Studies have shown that most people only retain about 20% of what they see, 30% of what they hear, but 70% of what they hear and see. So I think one of the directions we're going is to see more faces and more voices pushing books on the internet. But they've got to be promoting the book specifically -- If you're doing an online book trailer, beware of words just flashing across the screen with a music score behind it. In my opinion, that lessens the impact because it's too similar to the way we perceive background noise -- we filter out the message. Bland instrumental music doesn't add the 'hearing' aspect you're looking for. It's got to be more interactive."

There's an interesting idea. I've long wondered why Christian publishers don't mimic ABA houses by creating short radio spots that feature a quick set-up or a five-second scene from the novel, then push the title and author. General market publishers have been doing that for years -- a deep voice will begin by saying, "He lurked in the shadows for years, thinking about killing...and now, he's about to take action. KILLER, the new novel of suspense by Melvin P. Hickenlooper, at bookstores now." It costs almost nothing to produce -- one voice in a studio for ten minutes and another twenty minutes to add the right music. You can use the same ad over and over again. And radio ads are cheap -- pennies compared to television or print ads. A publisher could even do this locally, to try and build up some hometown or regional success for an author. But I can't remember ever hearing of a CBA house doing this.

It's just one idea, of course. I'm trying to get authors to thnk out of the box a bit, so that they don't assume the only fiction marketing that works is a full-page ad in USA Today. I still think a novelist needs to consider doing more writing -- creating articles or doing interviews that reflect the "news" factor in their novels. And too many novelists have given up on speaking because they think it's the domain of nonfiction types. The fact is, everybody running a radio or television talk show is attempting to feed a monster -- there are houses of programming that have to be filled up, and they have to be filled every day. If you have something to say, can say it well, and have a unique approach, you should explore how speaking can help market your novels. Randy Ingermanson over at Mad Genius Writer has blogged on these same ideas -- using writing and speaking to promote your fiction. Check out his thoughts at advancedfictionwriting.com.

I've got a backlog of questions about books and publishing -- I'll get to them right away. Promise! My thanks to the NJ ladies for helping me this week.

chip

The Experts at Novel Journey

Since I've been talking to people in the industry about the state of fiction, I thought I should ask a few questions of Gina Holmes and her crew at the popular ficiton website "Novel Journey." NJ is a great spot to find author interviews, book reviews, writing wisdom, and everything else helpful to fiction writers. This past week they've had an interview with bestselling author Francine Rivers, a report on the Southern Book Festival, a conversation with African-American novelist Stephanie Perry Moore, an interesting reflection from unpublished writer Janet Rubin, and a podcast with Nicholas Sparks. THAT'S moving around. You can find them at www.noveljourney.blogspot.com, and I highly recommend their site.

The founder/creator/mom of the site is Gina Holmes, who agreed to escape her own blogging empire in order to come talk with me...

Gina, what writing trends are you seeing in fiction at Novel Journey?

"We're seeing more fantasy, less science fiction, chick-lit is moving into sub-genres like Camy Tang's Asian chick-lit,  and we have mom lit, hen lit, and historicals are coming back into favor. Above all, more and more readers are being turned on by what we'd consider 'literary' writing -- A Thousand Splendid Suns, The Memory Keeper's Daughter, etc.

"In CBA, more literary writers (like Charles Martin and Lisa Samson) are the names we hear most discussed as writers 'you just have to read.' And for good reason -- you JUST HAVE TO read them. Novelists are taking chances, and the payoff has been big. It's nice to see publishers get ahead of the curve instead of chasing what hit the NYT bestseller list last month. Robert Liparulo's Comes a Horseman and TL Hines' Waking Lazarus were different from what CBA houses traditionally have published, and they were very well received. So are M.L. Tyndall's pirate romances, Tosca Lee's Demon: A Memoir, and everything that Claudia Mair Burney writes.

"In the ABA, unusual stories like The Lovely Bones, Dean Koontz's Odd Thomas novels, The Curious Incident of the Dog in the Nighttime, The Time Traveler's Wife -- these are what have been getting the most buzz. All of these novels have been out for a while, but we're pleased to see the trend continue. Another thing we're thrilled about is the improved quality of CBA deput novels. Liparulo's novel was amazing. So was Claudia Mair Burney's first novel, Murder, Mayhem, and a Fine Man."

What marketing or promotional trends are you seeing in fiction?

"Blogging is still the hottest thing around. The power of the internet is huge and everyone's scrambling to figure out how to best capitalize on it. Most writers now keep blogs, and blog tours have become a staple in marketing plans. Newsletters are big right now, with writers trying to capture as many names and emails of potential readers as possible by offering contests to get people to sign up. Some are offering everything from IPods to autographed books.

"For a while we were seeing big names with big platforms writing not-to-great books, but now we're seeing people with strong platforms actually writing good books -- Jars of Clay's Matt Bronleewe's Illuminated is one example. But things have definitely changed. Cross country book-signing tours are less popular as the web has proven more effective at reaching people without the fast food and traffic. And costly magazine ads and expensive book launch parties are less popular as publishers look for ways to get more bang for their buck."

Your site has become an influencer in fiction. What would you like writers to know regarding how they can best influence the influencers?

"One of the most valuable things we've learned by running Novel Journey is how best to approach media. And I think the first lesson is simple: Write a great book. We LOVE to push talented writers. If Charles Martin has a new book coming out, I want to personally review it because I know it's going to be good. Even if we're booked solid for months, if Lisa Samson comes to us and says, 'I've got a novel coming out, can you fit in some space for me?' our answer will be, 'Heck yeah!' Our goal is to promote great writing, great writers, and great books. So we'll bend over backwards to fit her in.

"The second lesson is probably don't approach us like you're doing us a favor. Listen, we know it goes both ways. We know an author is essentially doing us a favor by answering our questions. We know by having Nicholas Sparks and Dean Koontz do interviews on our website, they're helping our platform more than their own. They don't needs us -- they've already arrived. Both authors recently gave us interviews (Koontz's interview hasn't been published yet as of this writing), and by participating they were doing us a favor. But did they approach it that way? Nope. They thanked us. That's how you do it.

"Third, make me look good. You want to be featured on Novel Journey or some other popular website? Great. We want to have you. But it's much less likely to happen if you send me an interview that showed up on blogs everywhere two months ago, or you send me an article that's nothing more than an infomercial for your book. Don't make it about you. Make it about my readership. How can you serve them? Trust me, this will serve you. I've noticed that the best writers tend to give the best interviews. They tend to do everything above and beyond. Dean Koontz's interview is amazing -- he didn't give sound-bite answers. He gave thoughtful, helpful, entertaining answers. Our best interviewees are always among the best writers. So make me look good, and it will make you look even better.

"Fourth, make my job easier. This goes for all media, not just websites. You want to be featured in a local magazine? (Don't we all?) If we're both novelists hoping to get into The Roanoker, and I send them my press release hoping they'll write a story about me, but you actually write the article, make it relevant to their audience, and include photos, who do you think will get featured? Editors and media types are busy people. Make our jobs easier and we'll use you again and again. You'll become our go-to guy.

"Fifth, don't be a diva. Don't send me an interview and ask me to edit it twelve times before it goes up, or chew me out because it went up a few days later than I said it would. Sometimes we have to make decisions you know nothing about. Just follow up, thank me for my time and all I'm doing to help you, politely ask when I think your interview will get posted. The media don't owe you a spot -- it's a privilege to have people feature you, not an entitlement. Afterward, a thank-you card, an email, or an autographed copy of your book goes a long way.

"Sixth, don't be penny wise and pound foolish. I once had a first-time author tell me that she hoped I would buy her book and write a review of it. Excuse me? BUY her book? I already run a website that generates no revenue, take my time to feature authors so that readers will buy their books, and that earns the author income...and she wants me to spend my own money and buy a copy at retail price so that I can help her do that? Does that seem like a good deal for me? Nope, it's not. I get more free books than I could ever read. Sometimes I review one. That's the way it works.

"Finally, be gracious. I wrote a review of a novel I was lukewarm about -- I thought the author had grand potential, but didn't quite pull it off in that book. I said so. She came back with a glowingly warm thank you note. She called me insightful and correct, and thanked me for helping her grow. Wow. You think I'm not a big fan now? You think I won't want to do everything I can to promote her in the future? Follow her example. Don't argue with the reviewers -- thank them. They're probably right, and like a good critique you might learn something from them. But even if they're dead wrong, showing kindness to them might just help them be kinder to you in the future."

Hey, thanks for all the wisdom, Gina!

My pleasure, Chip. We'll see you at Novel Journey.

And Suddenly I'm a Genius

I had no idea the buzz my "MacGregor's Equation" would create. Suddenly I have become a genius in the minds of some. (Please don't bother correcting them.) I've been fielding all sorts of emails and questions about it. For those not in the know, in my last post, I offered a mathematical formula for determining when an author should consider moving from part-time to full-time. It looks like this:
24m(n) + 4b(r) = RJ

The short version is that you need to have four books earning you royalties and 24 months of book contracts paying you a livable wage. (Feel free to scroll down to my previous post for more detail.) Just for clarity's sake, there's one thing I want to be sure you understand: The starting place is to figure out what you think a real job is. Or, to put it another way, how much money do you think you need to make in a year in order to justify this writing gig? You have to make that decision for yourself -- nobody can make it for you. Start with that personal decision, then move forward.

On to questions. Sally wrote and asked me if I'd be willing to share some of my favorite first lines from books. Happy to!

"As clowns yearn to play Hamlet, so I have wanted to write a treatise on God." -J.I. Packer, Knowing God. A brilliant opening line. Strikes a balance between digging into something deep, while at the same time recognizing the author's own limitations. Love this one.

"I daydream all sorts of unwieldy Arkansas fantasies. My fantasies are mostly about watching him sleep and finding a church with both incense and pariahs, about carving out a life in Arkansas amid all the chicken plants and political scandals, about converting that side room he never really uses into a place where I could have a desk and a bookshelf and yellow curtains on the windows." From Lauren Winner's Girl Meets God, it gives you a taste of her talent. The unexpected word choice, the various images, and the fun that is inherent in all her writing that makes me such a fan.

Thomas Pynchon starts his amazing novel, Gravity's Rainbow, with the words, "A screaming comes across the sky." It's about living in England during the blitz. But it's his second paragraph, describing what it was like to sit in a bomb shelter during that time, that really grabs me: "Inside the carriage, which is built on several levels, he sits in veleveteen darkness, with nothing to smoke, feeling metal nearer and farther rub and connect, steam escaping in puffs, a vibration in the carriage's frame, a poising, an uneasiness, all the others pressed in around, feeble ones, second sheep, all out of luck and time; drunks, old veterans, still in shock from ordinance twenty years obsolete, husbands in city clothes, derelicts, exhausted women with more children than it seems could belong to anyone, stacked about with the rest of things to be carried out to salvation." It's the imagery, the fine description, the recognition of others that grabs me. There is foreshadowing, a sense of awkwardness, and things not yet understood in that sentence. Pynchon is a genius.

And one more: "One of the Falcon's crew must have wedged himself against a bunk in the fo'c'sle and written furiously beneath the heaving light of a storm lantern. This was the end, and everyone on the boat would have known it. How do men act on a sinking ship? Do they hold each other? Do they pass around the whiskey? Do they cry? This man wrote; he put down on a scrap of paper the last moments of twenty men in this world. Then he corked the bottle and threw it overboard. There's not a chance in hell, he must have thought. And then he went below again. He breathed in deep. He tried to calm himself. He readied himself for the first shock of the sea." This is from Sebastian Junger's The Perfect Storm. A strong piece of writing -- it has longing and sorrow and the obvious sense of foreboding. There is a univesality to the experience he describes, since he is asking questions all of us who grew up by water wonder about. He had the good sense to start with the end, since we already had heard this was going to be "a book about a fishing vessel that sank in a storm." The fact that Junger can add mystery to it is remarkable.

Well...there are a few examples. Feel free to send in your own favorite first lines.

Along a similar vein, Deanna wrote to ask for who some of my favorite writers are. It's a long list, but it would certainly include Mark Twain (his writing still feels contemporary), Tom Pynchon, Ross Thomas, William Shakespeare (really!), Saul Bellow, Sebastian Junger, Brennan Manning. I still think Nostromo is the best novel I ever read. Sorry...I'm a bit of a classicist when it comes to favorites, I guess.

And Ashley wrote to ask, "As an agent, do you suggest a writer follow principles and formulas, or write purely from the heart? I find that when I follow formulas for 'good' fiction writing, I wind up with a dead end."

I have two answers for you to consider... First, keep in mind "the myth of spontaneity." The myth claims that true genius happens spontaneously -- a musician simply sits down at a keyboard and creates something beautiful. It doesn't happen that way. A pianist has practiced her scales and arpeggios repeatedly, and understands how music works, how notes flow together, how to create beauty. Any spontaneous craftsmanship she displays is built on the discipline of practicing the basics over and over again. In fact, it is her ability to master the basics that allows her to spontaneously create great music. So it is with the writer. Sitting down and creating great words requires understanding the basics of writing -- how to craft a strong sentence, what makes a good paragraph, what is the difference between the right word and the almost-right word, how to build a story arc. So in this sense, great writing comes from following the basic principles of writing.

However, I find many novelists relying on formulas and creating dull, predictive fiction. So there is a second principle to hold in balance: that little great fiction has grown out of formula. I don't believe Dickens or Twain or Austen ever created an outline before they began writing. In fact, I could argue that we have a tendency to over-edit writers these days, in order to create a "sameness" to many novels. While I love writers' conferences, I fear one of the weaknesses they foster is the notion that there is ONE way to craft a novel, and it always begins with a master outline. That may work well, but I still go back to history and find that most truly great fiction sprung not from some overall masterplanning document.

So it's both. I love the training that goes on at conferences, but I don't want to see author creativity stifled by the belief there is a right way and a wrong way to do fiction. My friend Randy Ingermanson has created the "Snowflake" method for writing a novel, which is a very good system to help novelists create an overall plan for their books. I'm a big fan of his thinking...but I don't want writers coming away with the belief that ALL fiction is to be crafted that way. It's not. Does that make sense?

If you've got a question about publishing, send it my way.

chip

A Heaping Hunk o' Questions

Lots of reader questions today. Cheryl wrote to ask, "Who writes dialogue worth studying?"

My response: Elmore Leonard. Ross Thomas. Ann Tyler. Larry McMurtry.  Stephen King. Pat Conroy.

Denise wrote to ask, "On average, how long does an agent allow a writer to stay on board if they're not selling any books?"

It depends on several factors: the relationship between agent and author, how ready the author was when they began working together, what sort of talent the author has, etc. I would say in our industry that people are losing patience. Everybody wants something right now. But books aren't always created right now. If I agree to work with a writer, and believe in his talent, and come up with some sort of plan to help him get his book done, I can be awfully patient. I figure we're working together for the long term, not just for this one book. Sometimes the writing will come more slowly than we'd hoped. Other times life events will intrude, further slowing things down. But as long as it feels like everyone is trying, and we're really moving forward on things together, I'm generally okay with waiting -- I'd rather take longer and do a great book than rush through things and do a bad book. But I know that sounds like I'm begging your question, Denise. So I'd say if an agent is representing an author, they've been together more than a year, the agent has tried a couple times with different writing projects, and nothing has sold...well, it's possible the agent will simply come to the conclusion, "I'm not the right person." Or maybe, "I made a mistake in my evaluation." Or even, "I've put enough time and energy into this and received nothing in return -- time to cut my losses." I find it's tough to fire friends. And, as any management book will tell you, the best time to fire a person is when you don't hire them. Because nobody likes to make that "it's not working" phone call and cut someone loose. Of course, keep in mind the reverse can also be true: An author can feel as though her agent has tried several times to sell her work, and decide it's time to seek new representation -- someone who understands her better, or brings a different perspective, or has a different set of relationships in publishing.

Jim wrote to ask, "Whenever I read that authors are responsible for marketing their own book (rather than the publisher, the sales team, the publicist, or the marketing director), I scratch my head and wonder what it is these people do. Why not just go ahead and self publish?"

Okay...that's an attitude that is sure to keep you from ever selling many books, Jim. I firmly believe YOU, as the author, are responsible for marketing your own book. You know your message best. You are the most committed to it. You have the most at stake. You understand the power of your words better than anyone else. If you want to simply take your message and hand it over for someone else to take care of, you're going to be disappointed. A publishing house has hundreds of titles it is managing, with perhaps 30 to 70 titles it is trying to market right now. Unless your book zooms to the top of the bestseller list based on your name recognition, past sales history, current events, or an act of God, the publisher is going to do what they can -- then they're going to chase media for their bestselling authors, because publishing is an 80/20 business. (That is to say, 80% of the revenues come from 20% of the titles. Maybe it's more like a 90/10 business.) The days of saying, "I just write the manuscript and hand it over to the publisher to take care of" are gone (if in fact they ever existed). What publishers and their marketing staffs do are print and sell books. Any marketing they do for you is to be considered an added bonus. And, of course, you're welcome to self-publish -- but without the opportunities to sell into stores, you're bound to sell even fewer copies than if you publish with a regular publisher. More on self-pubbing in a moment...

Stevie Ray wrote to ask, "What do you think of self-publishing, and are there any companies that clearly stand above the rest in the services they offer?"

I think self-publishing is a great way to feel like a big shot while losing a lot of money very fast. The problem with going to a vanity press has little to do with your message and everything to do with your methods, so let me start with the most important lesson of self pubbiing: if you don't have a method for selling your book, you're going to lose money. There are other lessons -- like "surround yourself with professionals" and "do some comparison shopping," but the whole money scenario is the key point. Let's say you pay five bucks a book, and you order 5000 copies -- that's $25,000 you've sunk into this venture. You'd better have a plan to make it work. Most don't. They think their wisdom and writing excellence is going to be readily apparent to readers, so all they have to do is pull them from the trunk of their car and -- voila! The books magically turn into money!

And that's completely stupid. Most self-pubbed books are a complete joke. Some vanity presses will take whatever crap you give them and print it -- you'll get a bad idea that's poorly written, printed on cheap paper, offering a lousy binding and a godawful cover. AND you get 5000 of them, delivered to your garage. On the upside...you feel like a big shot! You're now an author! You can walk up to somebody at church, hold out your book, and reveal what a brilliant human being you are. You can leave copies out on your kitchen counter, so that when friends drop by, you can effect your "aw shucks" attitude and admit that, yes, your book has come out. You can send a copy to each of your siblings -- THAT will teach 'em for calling you "Zit Face" in high school. And then, after you've sold a copy to each of your aunts, you begin to wonder what to do with the remaining 4946 copies. This brings to mind an old publishing adage: You can't eat books. So they just stay there, taking up space and gathering dust. You don't want to throw out your life's work. There's a definite hit to your ego to watch your own words get turned into landfill...so you leave them, in hopes that a miracle will happen, you'll get discovered, and all those books will sell.

Okay, so a couple thoughts. First, if you've taken your writing around to several agents and editors, and they've all said "this sucks," those publishing professionals may have a point. Second, if you are hoping for a miracle...well, God bless you, but you've got no more brains than a gerbil. I certainly believe in miracles (An example: Patti is still married to me after 25 years), but I don't build my business by hoping for one. Third, if you plan to self-publish, surround yourself with a professional editor, a real-world book cover designer, and a publicist. Fourth, work with somebody who will put a bar code on your book, get you an ISBN number, and do a quality job of printing. But most important, put together a plan for how you're going to sell your self-pubbed book.

I've self-published some books, but they were aimed at a specific audience (card magicians) that I know well (I'm a longtime member of magic organizations and a former associate editor of a national magic magazine), and I knew how to sell to them (buying ads in the four big magic magazines, contacting magic store owners, and connecting with members of the two magician's organizations). I put a plan together, complete with a budget, for how I'd market and sell the books. It worked -- sold them all, and made a nice profit. But without this sort of clear plan, you'd be better off simply shortening your message to a few words and writing it onto dollar bills you give away. It would attract more interest, and, in fact, would probably be cheaper.

There are some companies who can do a good job for you -- the best one I know of is Wine Press, headquartered up in Seattle. They use professional editors, they can link you with publicity people, and they even have ties to a sales group that can present your book to stores. Miles ahead of the companies that just take your manuscript electronically, then barf it out onto paper. (I don't work for Wine Press, nor do I get anything for promoting them. I've just found they do good work.)

Last item: You may not believe this. In fact, I can't use the individual's real name, so let's say that "Melvin" wrote to ask, "Will you look at my work? I have great novels and if you want to make harry potter type money you will. But you have to have an open mind my novels are not for children they are  adult novels that aren't written for today they say something and create worlds that you have to figure out which one is real. Are you a real agent? A real agent can sell anything. They make money when they sell the novel. I HAVE A COLLEGE DEGREE AND AN IQ OF 180. SO HELP ME OR BE RESPONSIBLE FOR MY DEATH."

Um...Melvin, I'm normally interested in adult novels that aren't written for today. And I'm certainly interested in making "harry potter type money." But...I'm really busy right now wrapping aluminum foil around my head, so that the aliens won't be able to eat my brains. I'll just have to live with your blood on my hands. Sorry. But have a nice day.

Oh, and you may want to talk to the doctor again about upping your meds.

Your Attention Please

You wouldn't believe the stupid ideas that get sent me. I've tried really hard not to present too many of them here on this blog, since I don't want to hurt the feelings of those sincere-yet-misguided souls who feel God led them to send me their crummy book idea. I'm always afraid that some nice Baptist boy is going to send me a proposal for a book his mother told him was excellent, but then he's going to see me making fun of it on my blog, become agitated and -- I don't know...Attend a dance or something. Maybe order a beer with his burger. Even (gasp!) check out the latest Harry Potter book in order to start casting spells on me. Still, sometimes the bad ideas come in and grab my attention, so that I just can't help from being snarky.

Like, um, the guy who recently sent me Harry Potter Visits Vedaland, an interesting romp about the boy wizard apparently becoming a Hindu and having merry mixups in India, including jumping in the Ganges with his clothes on. I pondered explaining the minor legal problems the author might run into, stealing one of the best-selling characters in publishing history in order to promote Eastern mysticism. But I didn't. Instead, I sent the proposal to my friend and fellow agent Steve Laube, with a comment that I was too busy, but a man of his fine tastes would appreciate the deep wisdom contained, etc.

Other recent proposals incude a lesbian's guide to God, someone wanting to know if God speaks through farm animals, and a project entitled "Naked Poker" that I didn't feel old enough to actually examine. All of these made me think of the late, lamented Miss Snark -- a literary agent who had a great blog on blogspot for a couple years. She retired from blogging earlier this year, sad to say, leaving devoted fans like myself to have to wade through old posts in order to get a laugh. If you're in the mood, feel free to check out the old ones by googling "Miss Snark." (And, so long as I'm tossing out compliments, make sure to drop by Mike Hyatt's blog, since he admitted to actually reading my last one, and he's now my closest and dearest friend in the business. Gina Holmes' Novel Journey site is good too, and she is no doubt also my closest and dearest friend in the business. So is anybody else who publicly admits to reading my miscellaneous meanderings.)

Anyway, bad proposals lead me to think of bad writing. And Dave wrote to ask me, "What's the worst thing you've ever seen in a proposal?" The worst thing may have been the time an author included a nude photo of himself. It was tipped into a proposal on gambling, and didn't have anything to do with the book idea, so I figured either the author (a) had made a bad  author / agent protocol error, or (b) mistakenly thought I was "the gambling gay agent," or (c) was simply proud of his gambling equipment, if you get my meaning. But here's an interesting item: I was once handed a novel proposal that opened with the words, "Ring! Ring! said the telephone."

Barf! Barf! said the agent.

Continuing on that writing track, Cindy #1 wrote to ask, "How do I begin to find my voice as a writer?" Cindy, do you remember the scene in the movie "Finding Forrester" where Sean Connery gives his young protege a first paragraph from an old article, then tells him to finish writing it? That's a good way to begin thinking about voice. Think about what you sound like, what others around you sound like, and what you want to sound like. Sometimes inspiration and voice are found by exploring others' work. When I read Garrison Keillor's Leaving Home, it helped me find my voice for writing stories about growing up in Witch Hazel, Oregon. (Okay...it's a snotty sort of nasal voice, but still, it's a voice.) Same was true when I read Flannery O'Connor's Everything That Rises Must Converge. It happened again when I read Ricky Bragg's All Over But the Shoutin. There was imitation in my writing, at least for a while. But what's wrong with imitation? It allows us to try on a different voice, until we figure out what our own voice sounds like.

I once read that Joan Didion learned to write by retyping Hemingway. It gave her a feel for flow, dialogue, and the rhythm of words. In a biography of the Beatles, I once read George Harrison claim that their early music was little more than a way of copying Chuck Berry, and he noted that all of their music was "derivative," having been built on the musicians who influenced them. Writing works that same way. If you took writing classes at a college in the US, you were probably influenced by the style of Sherwood Anderson, even if you don't know who he is. You asked how to begin -- that's a great way to begin. Look at writing that moves you, that helps you grow, that sounds like you. Find a writer who writes the way you want to write. Or take the opening of someone else's piece and complete it. That's a good place to start. In time, you'll begin to find your own voice.

Cindy #2 wrote to ask, "Who are the authors who have influenced you the most?" In terms of just enjoying their writing, it would be Tom Pynchon, Mark Twain, Haven Kimmel, Ross Thomas...there may be too many to count. Among contemporary writers, I like the storytelling ability of Rick Bragg. If we were to talk about old timers, I'm still a huge fan of Mark Twain and John Steinbeck. In the more little-known world of Christian writing, I love the work of Lauren Winner and Brennan Manning. And, if I can say this without it sounding like a commercial, I'm a fan of all the writers I represent. I keep it a fairly small list, since I want to work with people who can actually write, but take a look at the novels of Lisa Samson and Penelope Wilcock and Susan Meissner and Bette Nordberg. Good writers all.

Ten Laws for Critique Groups

I happen to be a huge fan of critique groups, and have participated in several until I moved or they wised up and threw me out. The experience has taught me a few principles for getting the most out of the group. My ten laws for critique groups:

1. Ask yourself why you want a group. What do you hope to get out of it? You ought to have clear expectations going in, so that you've got some way to evaluate the benefits to your writing later. Some people basically want to hang out with writers -- more or less the same reason they attend writing conferences. There's nothing wrong with that, and if that's your reason for joining, you should easily find a group that meets your needs. Others really want a dedicated group of professional writers to take a careful look at their material. If that's what you're after (and, being a reader of this blog, which is aimed more or less at writers, I figure that's the majority of people reading this little missive), you're going to need to put a lot more thought into your group.

2. The value of a critique group is based almost entirely on the membership. So look for people who are at your level or maybe just a bit better than you (if your ego can take it), and talk to them about the group. People need to know what the commitment will be (a weekly or maybe twice-a-month meeting that lasts a couple hours), what the expectations are (that members will actually read the other member's writings before coming to a meeting), and what the benefit is to them ("You will hear advice for improving your writing").

3. Invite people to participate. Don't put an announcement in the local newspaper or an invitation in the church bulletin. You'll get the hangers-on, the wannabes, and, very possibly, members of my family. One of the maxims of organization is that people perform at the level to which they are recruited. If you tell people, "This is an open time for anyone to attend," you're going to get bad poets, unteachable storytellers, and the "I'm-in-pain-so-let-me-share-my-angst" types. If you go directly to people you know have some talent for writing and invite them to particpate, you'll attract a much better quality of participant.

4. At one of your first meetings, set some guidelines. These can be fairly simple: We expect you to come if you're in town. You need to submit your writing to others at least every other month. You commit to read the words of the others in the group before the meeting. You will offer constructive advice, not just negative criticism. You have to be willing to listen to everyone, even if you disagree with their opinion. (And this is the perfect time to quote Jim Bishop: "A good writer is not, per se, a good book critic. No more than a good drunk is automatically a good bartender.")

5. Make sure the group has a leader. Without a ramrod, a critique group can turn into nothing more than a sharing time, since nobody wants to jump into the job of telling the poet how awful his work is. Or it can turn into a theraphy session for the most needy in the bunch. Get a leader, and let him or her push the agenda.

6. Creative, artsy writers need a regular meeting time and place. A schedule offers discipline to the group. (And yes, you all disagree with me, since you're all creative, artsy types. So sue me. You probably also like William Faulkner, even though he is boring and pretentious, but your college writing professor insisted he was deep, and since you want to appear deep too, you tell people at parties that you "loved Soldier Pay but thought As I Lay Dying lacked focus," or some such tripe. Your group will meet at Starbucks once, at your house a few weeks later, then you'll skip six months, gather for dinner somewhere, and forget all about it.) Just set a time and place and skip the nonsense.

7. Insist participants listen to criticism. Scottish people have a saying: Learn to unpack a rebuke. There's no point in joining a critique group if you spend all your time defending your writing. So have a rule that you must listen to people's ideas and criticisms of your work, even if you're going to ignore all their insipid, Neanderthal advice. (Jarrell once wrote, "It's always hard for poets to believe that one says their poems are bad not because one is a friend, but because their poems are bad.") In looking back at these rules, you may just want to simply them to something more practical, like "All poets will be shot."

8. Everybody gets a turn. Membership in a critique group dictates that you'll listen to other's perspectives on your writing. It's good for you -- even if you often don't agree. Writing is an art, and art is open to interpretation. Hearing another's opinions can cause growth in your own life. Of course, there's nothing worse than being in a group with one guy you really don't like, or don't respect his lousy writing, and listen to him drone on for a half hour about "what's wrong with writing these days." But sometimes listening to people who have very different politics, theology, or life experiences can be extremely enlightening. If you find people who are at your level, both in terms of quality and experience in writing, you'll find yourself much more interested in the comments and criticisms.

9. Find a person in the group who you trust. Identify one person, maybe two, who you will listen to. That way, you've always got a trusted advisor. So when she says to you, "I know you love medical mysteries, but I question your use of including each character's dental records in your story," you'll know she isn't criticizing your work just to build herself up. This is your friend. She loves you. She's only saying it because she wants you to improve your story. That one person will make you better, and you'll find yourself becoming a much better critiquer of others and member of the group. Really.

10. Insist people write. I was once in a critque group where people argued about the merits of Left Behind and debated which trends were hot in independent bookstores, but never really got around to writing anything. So write something. Each time you meet. Insist others do the same. Submit that work ahead of the meeting so that everyone can read it and tell you how awful it is. (Or tell you how wonderful it is, depending on how they're feeling that day.)

"They're fancy talkers about themselves, writers. If I had to give young writers advice, I would say don't listen to writers talk about writing. Or themselves."   -- Lilian Hellman

I'm off to ICRS in Atlanta. Try to stay cool...

chip