The Saturday Slash

Don't be afraid to ask for help with the most critical first step of your writing journey - the query.

I’ve been blogging since 2011 and have critiqued over 200 queries here on the blog using my Hatchet of Death. This is how I edit myself, it is how I edit others. If you think you want to play with me and my hatchet, shoot me an email.

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If you’re ready to take the next step, I also offer editing services.

My comments appear in blue.

The night Landon learns his father is missing in Afghanistan, a mysterious girl named Azara appears on his doorstep to warn him that he’s in danger, too. He’s not sure what to make of her unbelievable story about the Aether, the world between worlds, but when terrifying creatures from his nightmares pursue them, he flees with her to a magical ship—the Aether Wasp. Not bad, it will need to be clear what connection there is to his father and the Aethar in the next para.

Once aboard, Landon discovers an interdimensional evil known as the White One holds his father captive in the hopes of gaining control of (missing "an?") ancient relic, but the White One isn’t Landon’s only concern. Why is his father imperative to this particular relic? Before he can save his father, he’ll first have to survive life aboard the Wasp. The ship’s captain rules with an iron fist, sea beasts threaten, and treacherous pirates fill the Aether. He’ll need all the help he can get, especially from Azara, even as their relationship gets… complicated

But when he and Azara finally they convince the Aether Wasp’s captain (I would name the Captain in the above para, to avoid convolution here) to invade the White One’s fortress, the problems mount long before they even start the voyage. To Landon’s dismay, Landon learns that only one man knows how to find it the fortress—Azara’s charming ex-flame. What’s more, a scheming necromancer has his own designs, a powerful magic gemstone that might be the key to defeating the White One isn’t all it seems to be, and he and Azara’s blossoming romance winds up on the rocks. This sentence is alluding to subplots, which is a good thing to include in summation like this, however, since there are two subplots here (necromancer / gemstone) and both references are very vague, it instead comes off sounding a bit... soupy. The romance ending up on the rocks is a given - of course it does - so I would pick one subplot to elaborate on, and my personal choice would be the gemstone, as the necromancer would require adding another name to the query.

Ultimately, Landon will discover that defeating the White One won’t be just a contest of guns and swords—and that the battle inside isn’t over just because the sounds of combat fade. Not bad, but the phrasing here is a little convoluted. Unpack this a little bit. Also, you make it sound like there's going to be plenty of internal issues for Landon as well, but I don't know what those might be, other than feelings for Azara. Is there something going on with the father subplot? If so, elaborate on that instead of the necromancer or gemstone.

THE AETHER WASP is a young adult fantasy novel, part adventure and part coming-of-age story, complete at 100,000 words with trilogy potential. Readers have described THE AETHER WASP as A DARKER SHADE OF MAGIC meets TREASURE ISLAND.

I am a member of the Military Writers Guild, and my short fiction has been published in The Petigru Review, placed second in the Hub City Emrys Prize, and won Line of Advance’s 2016 Darron L. Wright Award.

Great bio! I would definitely suggest shaving your word count down. A six figure word count is going to be a turn off for a debut title, even if you do get some leeway for the fantasy genre. Definitely get it under 90k, but aim for 85k as the sweet spot.

Rachel Lynn Solomon On Loving Your Work

Welcome to the SNOB (Second Novel Ominipresent Blues). Whether you’re under contract or trying to snag another deal, you’re a professional now, with the pressures of a published novelist compounded with the still-present nagging self-doubt of the noobie. How to deal?

My guest for today's SNOB is Rachel Lynn Solomon, who writes, tap dances, and collects red lipstick in Seattle, Washington. She is the author of two young adult novels, You'll Miss Me When I'm Gone (out now from Simon Pulse) and Our Year of Maybe (out January 15, 2019). Once she helped set a Guinness World Record for the most natural redheads in one place. You can find her online and on Twitter.

Is it hard to leave behind the first novel and focus on the second?

Definitely, and for me the hardest part was accepting that my first book was “done”—no more middle-of-the-night epiphanies, no more last-minute tweaks. I had all these other versions of You’ll Miss Me When I’m Gone in my head, but readers would only know one of them.

My first book was also a bit of a journey. I started working on it in 2013 while on submission with another YA (and then another) that didn’t end up selling. My former agent put it on submission for a short time, and after we amicably parted ways, I queried it for six months before signing with a new agent. Then we went on submission with it again. By the time the book was published in early 2018, it had been in my life for nearly five years.

In comparison, I started working on my book 2 in early 2016, though after You’ll Miss Me When I’m Gone sold in a two-book deal in mid-2016, I set aside that book 2 for about a year while working on YMMWIG edits. I estimate that I worked consistently on book 2, Our Year of Maybe, for about a year, maybe less. So the amount of time I spent on each book was was wildly different.

I also felt torn between wanting to write the same book and trying to distinguish it from my debut as much as possible. Every time I read a positive review of YMMWIG that praised something I didn’t do in OYOM, I wondered if I should add it in, even if it didn’t fit the story. Ultimately, though, I found a balance, and I think OYOM has a lot in common with YMMWIG while exploring some themes (codependent friendship, obsession, self-discovery) my debut didn’t.

At what point do you start diverting your energies from promoting your debut and writing / polishing / editing your second?

In my case, these things overlapped quite a bit! YMMWIG came out early January 2018, and OYOM was sent to copy edits in late February. So the end of 2017 was spent promoting YMMWIG and revising OYOM, on top of working full-time.

I tried to focus on the aspects of promo that 1) I enjoyed and 2) increased visibility for the book. I wrote a blog post breaking down everything I did and how much money I spent.

Your first book landed an agent and an editor, and hopefully some fans. Who are you writing the second one for? Them, or yourself?

Most of the time, I find that I’m writing for my teen self: the books I would have loved, but more importantly, the books I needed. Of course, plenty has changed since I was a teen—I remember thinking texting would never catch on and resisted it until I was a senior in high school—so I keep the modern teen audience in mind, too.

I’m also often writing to counteract negative portrayals of girls in YA (particularly the ones I read as a teen), mainly when it comes to sexuality, desire, and ambition. I don’t think it’s selfish to write for ourselves first. We should enjoy and take pride in the work we’re creating—how can I expect someone else to love something I’ve written if I don’t love it first?

Is there a new balance of time management to address once you’re a professional author?

After a lot of planning, I took a leap into FT writing in the fall of 2018. I’d been working FT from home prior to that, which unfortunately meant it felt like I was always working. When I had time to write, I’d stress myself out so much because I didn’t know when I’d have that writing time again. I sold two more books to Simon Pulse in mid-2018, and I was hungry for time not just to write them—but to truly enjoy writing them.

One thing I didn’t realize, though, was that a decent chunk of time spent author-ing isn’t actually spent writing. You’re also responding to emails, promoting your books, interacting with other authors, reading their work, standing in line at the post office, etc.

I try to plan out my weeks so I’m writing every morning for about four hours. Afternoons are for promo, freelance editing, errands, or whatever else needs to get done. It’s still a work in progress, but I think I’m getting better at the time management element.

What did you do differently the second time around, with the perspective of a published author?

I’m a lot calmer now than I was the first time around. All of this still feels new and exciting, but the first half of my debut year, I had a hard time not constantly comparing myself to others. You see something great happen for someone, and you’re thrilled for them, but you still wonder: “Why not me? Why not my book?” It’s impossible to avoid—even if you’re getting a couple of those great somethings. And I truly am happy with my debut experience.

Then, halfway through the year, I felt a shift and gained some much-needed perspective. Part of it was sparked by this excellent blog post from Susan Dennard. It hit me that the only way I’d have a chance at achieving any of my author bucket list goals was by writing the next book. And then writing the one after that, and so forth. That’s really the only thing we can control in this industry. So I’ve made a concerted effort to channel that into my writing, and to put out both positivity and honesty on my social media whenever I can. Because at the end of the day, I feel so incredibly lucky that I get to do this again.

10 Writer's Resolutions for 2019 & 10 Things NOT To Do

Regular readers know that it took me ten years to find an agent, and another six months after signing with her to land a book deal. During that time, every New Year's Eve I'd stare down into my drink and resolve that this year I was going to get published.

That is not a good resolution. I'll tell you why.

A writer has very little control over whether or not they become published. Nuances of the market, trends, financial belt tightening in the industry, a book too similar to your own that breaks out... all of these things are beyond a writer's control. You might as well make your New Year's resolution that this year you're going to win the Westminster Dog Show - as the dog, not the handler.

(Side note - it's not impossible. In 1903 unaware Victorians named a lemur best in show for the Foreign Breed Class at the Crystal Palace Cat Show in London)

On New Year's Eve of 2009 I looked down into my drink (they were getting bigger) and told myself to come up with a better resolution, because the old standby of "get published" wasn't coming through for me. I decided instead that I would join an online writer's group.

And that changed everything.

My forum of choice was AgentQueryConnect. First I lurked, occasionally sending direct messages to posters whose commentary I enjoyed. Then I began posting, throwing myself into the world and meeting people that I continue to interact with to this day. Next I found a few posters that I thought would be a good fit for critique partners, and made that personal connection leap.

And as Frost says, that has made all the difference.

I continue to use the critique partners that I met on AQC, all of whom have gone on to become published writers as well. Through AQC I learned how to write a query that works, format a manuscript the right way, write a synopsis, and navigate the industry in general. I learned how to take control of the little things that could add up to "get published."

So here are some writerly resolutions that I suggest for 2017, ones that are entirely within your power to execute.

1. Join a writer's group or forum. AQC is my touchstone, but there are some other great ones out there such as AbsoluteWrite and the forum at Writer's Digest.

2. Get serious about tracking those queries. Sure, you've had rejections, but do you remember from who? Or even why? QueryTracker.net is indispensable, and I highly recommend going for the paid version. It's worth it.

3. Find a critique partner that isn't your mom or a friend. If you want a real critique it needs to come from another writer - not just a reader. Finding someone online to give you feedback takes out the awkward quality of a friend who might not want to tell you something isn't working, and also allows you the freedom to go ahead and cry in front of your computer without them ever knowing you did. A good CP should be at about the same level you are in terms of craft and career. Get online, find someone in your genre, and trade manuscripts.

4. Pay for membership in a writer's group that fits your needs. Whether you write mysteries, sci-fi, picture books or adult literary, there is a professional group that fits your style. Most groups offer different levels of membership depending on whether you are published or pre-published. Examples are SCBWI (Society of Children's Book Writers & Illustrators), MWA (Mystery Writers of America), SFWA (Science Fiction & Fantasy Writers of America), ITW (International Thriller Writers) and RWA (Romance Writers of America). You can learn a lot from these communities and their publications.

5. Scout out local opportunities. I've met with various writer's groups that home-base out of a local library or private home. Ask your local librarian if s/he knows about any such groups.

6. Subscribe to a professional magazine that seems like your style. I highly recommend both Writer's Digest and Poets & Writers (even though I totally hear Adam Sandler's "Hoagies & Grinders" in my head every time I get a Poets & Writers in the mail).

7. Learn about what's going on in the industry itself. Yes, I know. You're a writer, not a business person. In this day and age you must be both. You can glean a lot of information about the industry from both online forums, writers groups, and professional subscription listed above. However, if you can afford a subscription and want to mainline industry info, Publisher's Weekly is the way to go.

8. You need to know what's selling if you want to position yourself and your work in the market. A subscription to Publisher's Marketplace will tell you who's buying what, and what agents are selling right now in your genre. This is not a necessity, but it can be a good tool.

9. Go to a writing conference in your area. I only attended one as a pre-pub - and it was romance centered - but it was close, convenient, and affordable. It gave me the opportunity to sit down at a table with agents and published authors, and most importantly, I learned how not to approach time by watching other people make snafus.

10. Lastly, write your book. Yes, that's what I put last. Everything above is instrumental in getting your work published, and most of them are actionable before you have something to show and share. If you have a finished manuscript, most of the above goals will help change and craft that ms during the road to publication. If you haven't started yet, you can still dive in and learn as you go.

Now, 10 things you shouldn't do in 2019... or really, ever.

1 Like I said before, don't set goals that aren't in your power to meet. Broad goals like get published aren't going to do you any favors. Find the baby steps towards that big goal and make those your aim.

2 Don't be frustrated by the success of others. Comparison truly is the thief of joy. If you're reading a book that has sold a million copies and you think yours is better, that's actually a good thing. Maybe yours will sell a million and one copies. Take heart. Getting angry only wastes your energy.

3 Similarly, don't trash other authors in public. If you think someone's writing sucks, that's fine. Is it really important for you to tell them that? In a few years you might find yourself looking for blurbs for your book, or your publicist might be trying to place you on panel - and that author you badmouthed will remember.

4 Don't be fooled by the positivity machine. This is something that has come up again and again on the podcast, but it doesn't hurt to reiterate here at the beginning of the year. People use social media to make themselves look good and authors are no different. In 2019 we're be posting our new covers, great blurbs, and book tour dates. Don't think for one second that we didn't go through a dark night of the soul to get there, or that that night only happens once. Writing is not easy for any of us. Don't let anyone tell you otherwise.

5 Don't let anyone tell you there's one right way to go about writing. We all have our methods and many writers will tell you that each book requires a different approach. There's no quick and easy method. There's no magic bullet. What works for one will fail for someone else. Find your way.

6 Don't let anyone tell you there's one right way to get published. From self-publishing to small presses to the Big Five, you've got to find what fits you. That means learning your strengths. Are you good at marketing and promotion? Would you rather write than spend your time hand selling? Know the answers to those questions - and many more - before you decide which path to take.

7 Don't grind yourself into the ground. Seriously. One of the worst pieces of advice that I hear is never give up. It's fine to give up. In fact, it's healthy. I've said it on the show before but it bears repeating. It took me 10 years to get published but I wasn't sending out queries everyday. A person can only handle so much rejection and stay mentally and emotionally healthy. Take a break sometimes. For months, even. I did. Give up for a little bit. Then jump back in.

8 Don't convince yourself you're an undiscovered literary genius. Sure, there's a chance you might be, but it's much more likely that you're a good writer with a decent idea who needs to hone their skills a little bit more to break through. The tortured starving artist thing doesn't look good on anybody.

9 Don't blame the system. Yes, writing queries sucks. Yes, it can feel like you're on the outside looking in. Yes, the gatekeepers can feel like your enemies. They aren't. The system exists for a reason and that reason is because it works. The vast majority of the writers I know found their agent through cold querying, and it took an average of 7 years for them to find that agent. There could be many reasons you're not published yet: your writing just isn't ready, the market isn't right at the moment for your story, or maybe you're great at novel writing but aren't very good at queries. The answer to why you haven't broken in yet isn't the query process, and telling yourself so is only an excuse to not see the real reason.

10 Don't beat a dead horse. I meant that literally - why would do that? But also, don't keep querying a book that isn't getting anywhere. I received over 130 rejections for a particular novel, as well as partial and full rejections. I kept querying it. I was determined. This was my ticket. I started writing the sequel to the book that no one wanted to read. Then I got smart, realized I was wasting my time, and moved on to a new idea that was titled Not A Drop to Drink.