The Saturday Slash

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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.

If the Saturday Slash has been helpful to you in the past, or if you’d like for me to take a look at your query please consider making a donation, if you are able.

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

Carson’s plans to spend the summer inside and alone are dashed against the rocks by a single word—divorce. This is a good hook in that we immediately understand a few different things - Carson's personality (a summer inside and alone?) and what the obstacle is. My only caveat is that we'll need to see what change is occuring within him as a result.

While his parents sort everything out, thirteen-year-old Carson and his little sister are sent to live with their eccentric grandmother in the Florida Keys. Next thing he knows, he’s reluctantly snorkeling with sharks and saving his harebrained sister from being swept out to sea. So here is a good example - how is this different from his normal life of being inside and alone? It clearly IS, but what kind of change is taking place and how does he feel about it?

The mangrove swamp around his grandmother’s house serves as a refuge for juvenile wildlife much like his grandmother’s home is a refuge from Carson’s battling parents. good comparison here, but the sentence itself is a little awkward. You can use "her home" without repeating "grandmother" but find other ways to tigthen this up a bit. Outside the safety of the swamp, an invasive species of starfish is devouring the reef and steadily creeping closer to the one place that was supposed to keep Carson and his sister safe. but the threat isn't to them, is it? It's to the wildlife... maybe link the thoughts by illustrating his growing connection to nature, which can also serve as an opportunity to note his further growth and change.

Like the stars are eating away at the reef, Carson’s doubts what kind of doubts? Is it more like just anxiety or sadness? about his family eat away at him. So he decides to put all of his energy into saving the reef. Which is a good thing, because, in the end, Carson, his sister, and their newfound friends are the only ones capable of saving the mangroves from destruction. Why? It's good to see them at center stage, but what about them is so special that they're the only ones that can do this?

Summer of the Sea and Stars is a contemporary middle-grade novel complete at 42,000 words. It will appeal to fans of Ali Benjamin’s The Thing About Jellyfish and Celia C. Pérez’s Strange Birds. The book utilizes a unique setting and a cast of LGBT, neurodiverse, and BIPOC characters to showcase a myriad of family structures and the urgent effects of climate change. This is great, but I think the friends might need more than just a one line shout out if you want to illustrate the diversity fo the cast. Even one line about meeting new people would be good.

My writing won national awards for young writers from YoungArts and Bluefire in 2019. I have written for both literary and environmental magazines and won the national Kay Snow Prize for Nonfiction. Additionally, my passion for the outdoors and time working for the National Parks and Forest Service makes me uniquely suited to write about an invasive species and how to combat it. Absolutely fantastic bio. You need a few tweaks here and there, but this is looking good!

Rachel Mans McKenny On The Helplessness Of Submission

If there's one thing that many aspiring writers have few clues about, it's the submission process. There are good reasons for that; authors aren't exactly encouraged to talk in detail about our own submission experiences, and - just like agent hunting - everyone's story is different. I managed to cobble together a few non-specific questions that some debut authors have agreed to answer (bless them). And so I bring you the submission interview series - Submission Hell - It's True. Yes, it's the SHIT. 

Today’s guest for the SHIT is Rachel Mans McKenny. A Midwesterner born and raised, Rachel is a writer and humorist. Her work has been published in The New York Times, McSweeney’s Internet Tendency, Electric Literature, The Rumpus, and other outlets (clips here). Her debut novel, The Butterfly Effect, is forthcoming from Alcove Press in December 2020. She is represented by Veronica Park at Fuse Literary.

How much did you know about the submission process before you were out on subs yourself?

So little! I thought I understood what it was going to be like after querying, but it really surprised me. I read all the SHIT interviews I could get my hands on from this series and saw the variety of experiences, and that helped me feel better.

I’ve been on sub twice, but didn’t sell with the first manuscript, so this time around I felt a little older and wiser-- and more pessimistic? I think, strangely, that pessimism helped me from getting as anxious. I don’t know if I recommend more negative thoughts in the year 2020 [woah boy, it’s been awful], but it does help to remember that you wrote a whole dang book and that, in itself, is incredible. 

Did anything about the process surprise you?

I didn’t realize how helpless I would feel! If you’re a bit type A [cough like me cough], it can be hard to let go of the reins. At least with querying, you’re in charge of the process and you can always just query a few more agents if you’re seeing good fits, but you have to trust your agent’s expertise, understanding of the market, and knowledge of editor taste when you’re on submission… which is why you take them on as an agent to begin with! My agent, Veronica Park, knew exactly how to hold my hand through submission of THE BUTTERFLY EFFECT.  

Did you research the editors you knew had your ms? Do you recommend doing that?

I’ve been on sub twice, and my agents have never informed me of the editors’ names ahead of time, only the imprints or houses. I seriously recommend this, or it can be tempting to spend time looking for subtweets or reading too deeply into their current authors. When things got serious, my agent let me know more background on each.

What was the average amount of time it took to hear back from editors?

It varied, but a few weeks was pretty average. The first round of subs went out over the summer, which supposedly was a slower time, but we didn’t have issues hearing back in a timely manner.

What do you think is the best way for an author out on submission to deal with the anxiety?

Everyone says work on the next thing, and really, do that if you can. The project I wrote while on sub the first time because the book I’m debuting with this December. I know some people don’t have the headspace for that, which is completely understandable!  

A few other suggestions: find a group of people at the same spot as you, if you can. I found a group of friends through an online forum who were all on sub at the same time, and it really helped to have a safe space to share our concerns and celebrations.

Finally, install a browser locker like Freedom or Forest to help block out your email and social media when you need to work. It’s easy to watch your inbox like it’s a toddler playing with scissors, but it doesn’t help.

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If you had any rejections, how did you deal with that emotionally? How did this kind of rejection compare to query rejections?

Rejections were so, so kind both times I was on sub. Unlike query rejections, usually they had a comment about the work directly, rather than saying simply, “Thanks but no thanks!” You can ask your agent to send rejections to you or just summarize what they say, and I’ve had it both ways. Honestly, if you and your agent know that you’ve sent out your best, rejections are usually just about fit for the list, which feels less personal. Being able to commiserate with an agent also really helps if any sting a bit more.

When you got your YES! how did that feel? How did you find out – email, telephone, smoke signal?

A few months into sub, I got a text from my agent that an editor had a few questions for me and did I have time to chat on the phone the next day? Of course, I said yes! I was teaching a class during the scheduled time, so a friend stepped in to sub for me for the first half of the period. I sat in my car with my laptop open on my lap, my hands shaking as I answered the call. It took maybe thirty seconds for me to completely relax while chatting with the editor. She was warm and complementary, answered some questions and offered a direction she could see the book going in. It wasn’t until about twenty minutes into the conversation that my agent asked, “Just to be clear, you are offering on the book?” We all laughed, but honestly, if she hadn’t said it, I am too Midwest-polite to actually come right out and make sure. She was offering. I got to go back to my class and try to focus after that! After reviewing the other options on the table, we accepted the offer two weeks later.

Did you have to wait a period of time before sharing your big news, because of details being ironed out? Was that difficult?

I had to wait a few months! It was really hard, but I shared the information with a few close friends and family ahead of time. I think it was harder for my parents not to be able to tell everyone than it was for me!  

Charise Harper On Her Graphic Novel To Help Middle Graders With Embarrassment

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Today's guest on the podcast is Charise Harper whose new release, So Embarrassing: Awkward Moments and How to Get Through Them, a graphic novel for middle graders) releases in November. Charise joined me to talk about how to handle embarrassing situations (even as an adult) and how to help others cope in the moment.

Listen to the Episode Now