If you can position your work solidly within a constellation of known sellers, you’ll do a better job of convincing a hesitant agent or publisher to give you the green light.
We’ve come a very long way in a very short period of time. We’re proud of the connections we’re making and of the literary endeavors we’re supporting, although (obviously) it hasn’t always been sunshine and roses.
Think carefully about multiple and simultaneous submissions.
Never underestimate the power of base moral conflict to drive tension and keep a plot advancing.
Let me show you how I triage inbound submissions for “The 3288 Review” — with pointers about the most common reasons we decline to accept a query package.
Caffeinated Press is pleased — giddy, even — to attend this year’s Ann Arbor Book Festival. On Saturday, June 18, from noon until 5 p.m., we’ll be participating as a retail vendor during the downtown street fair.
Writing the Great American Novel isn’t much different from studying a martial art or learning to scuba dive or qualifying for the Boston Marathon: You need a wee bit o’ talent, of course, but success follows from mastery, which follows from putting in the time to advance from novice to expert.
While it may be true that certain writing rules apply broadly, or even universally, the application of those rules can vary widely as a function of genre and story length.
One of the worst things an author can do is shop queries on the open market for material that hasn’t been substantially revised in light of feedback from competent beta readers.
I don’t think there’s a “One Weird Trick” approach to building a writer’s toolkit that will work for everyone. The ways I’ve written in the past don’t work for me today, and today’s method may not work for me a year from now. What’s important is that your infrastructure blend into the background; you should use it, without being aware that it’s there. And when it doesn’t work, change it up.