Indholdsfortegnelse for October 2019 i Writer's Digest

1 Protecting Your Artistic Integrity “Breaking In” (Page 20) author Kira Jane Buxton tells why it’s important to let go of expectations and write the book that you want to write. 2 Modern Myth Maker Read Alice Hoffman’s first WD interview from 2006, where she talks about writing for teens, her battle with breast cancer, how she overcame writer’s block, and more. 3 Unlocking the Door Get the rest of Margaret Atwood’s April 2004 interview with WD, including how she buckles down to write and the journey to finding her unique voice. To find all of the above online companions to this issue in one handy spot, visit writersdigest.com/oct-19.…

JESSICA KAYE is an entertainment and publishing attorney at Kaye & Mills ( KayeMills.com) and a Grammy Award-winning audiobook producer and director of hundreds of audiobooks. She serves on the boards of the Audio Publishers Association and the Southern California Chapter of Mystery Writers of America. Kaye owns Big Happy Family, LLC, an audio-book distributor ( BigHappyFamilyAudio.com). She created and co-edited the anthology Meeting Across the River (BloomsburyUSA, 2005) and contributed a story to Occupied Earth (Polis Books, 2015) as well as to the anthology Culprits (Polis Books, 2018.) She is the author of The Guide to Publishing Audiobooks (WD Books). KARA GEBHART UHL is a contributing editor of WD and managing editor of Lost Art Press. Her work has appeared in numerous consumer, B2B, and alumni publications, HuffPost, TIME…

POETIC FORM: CATENA RONDO The catena rondo is a fun poetic form created by Robin Skelton, author of The Shapes of Our Singing. He took the name from catena, which means chain, and connected it with rondo, which means circle. And the poem is a bit of a “chain circle” because of its intense repetition within stanzas and the poem as a whole. Here are the basic rules: • The poem is comprised of a variable number of quatrains (four-line stanzas). • Each quatrain has a rhyme pattern of abba. • The first line of each quatrain is also the final line of the quatrain. • The second line of each quatrain is the first line of the next quatrain. • The final quatrain should repeat the first quatrain word…

Kristin van Ogtrop grew up in Delaware, a fact she says often draws this response: “You’re the first person I’ve ever met from Delaware!” She has an undergraduate degree in English from the University of Virginia and a graduate degree (“mostly useless, frankly,” she says) in English from Columbia University. Ogtrop says she was “once a very athletic person” and placed third in the state of Delaware in high jump. She loves to cook, has three boys, a husband, and “a rotating cast of perfect dogs (except for the shedding)” who have been released as puppies from Guiding Eyes for the Blind. Ogtrop has worked in magazines for many years and was editor-in-chief of Real Simple from 2003 to 2016. She’s also written a humor book for working moms called…

In publishing, “The End” is just a lie. Once those words appear on the page there is celebrating to be done, for sure, but also an acknowledgment that new work is just beginning. Writers are, generally, not salespeople (although you may be surprised by how good a salesperson you someday become). Some stereotypes: introvert, quiet, humble, listens more than talks, observes, bad with numbers, cringes at obvious marketing ploys, points out their own mistakes, dreamer, more right brain than left, a bit mystified with the entire pitch process. Maybe you’re all of those things, none of those things, or one of those things. But with “The End,” no matter how much you’d rather just write, comes the beginning of the business side of things. We’re here to make this next…

Publishing a book is a huge accomplishment. Once that’s done, though, thoughts turn to other things, such as film and audio rights. Film deals don’t come along for every book, but if you do have film/TV interest, a contract should include such information as option money and purchase price, royalties, and the time frame for the option. It’s the norm for a deal to include both film and TV rights. The producer will determine which of those is the right venue for the project. They can’t have someone trying to make a TV series out of something they are working on for film at the same time. Think of it like this: Your book wasn’t published by two publishers at the same time. One publisher bought your book and some…

WRITE A SHORT STORY of 650 words or fewer based on the photo prompt below. You can be poignant, funny, witty, etc.; it is, after all, your story. TO ENTER: Send your story via the online submission form at writersdigest.com/ your-story-competition or via email to yourstorycontest@fwmedia.com (entries must be pasted directly into the body of the email; attachments will not be opened). NOTE: WD editors select the top five entries and post them on our website (writersdigest.com/your-story-competition). Join us online in November when readers will vote to rank the winners! The winner will be published in a future issue of Writer’s Digest. DON’T FORGET: Your name and mailing address. One entry per person. DEADLINE: October 7, 2019…

The end of one thing is also the beginning of another. Final scenes are the end of one chapter in a protagonist’s life. A few protagonists will die at the end of a narrative, but in general your final scene is the conclusion of the events of your inciting incident. However, the final scene need not feel completely conclusive. It may feel like a new beginning. This scene should do the following: • Provide a snapshot of where your protagonist is after the conclusion of your plot • Be reflective in tone • Bring matters full circle by recalling the inciting incident • Move at a slower pace • (Optional) Include one last surprise, answer, or insight In the reader’s mind your characters and settings will live on, so you…

1 San Francisco Writing for Change Learn how your writing can create change in the world at this long-running conference in the City by the Bay. WHEN: Sept. 14, 2019. WHERE: First Unitarian Universalist Church & Center, San Francisco. PRICE: $199. WHAT MAKES THE CONFERENCE UNIQUE: It’s the only conference of its kind in the U.S. aimed at activists and authors who want to make a positive change through their writing, Conference Director Laurie McLean says. Sessions will cover business, spirituality, politics, technology, social issues, the environment, culture, and much more. HOW MANY ATTEND: 100. FACULTY: Novelists Gina L. Mulligan (From Across the Room); Mary Rakow (This Is Why I Came); human rights advocate Brooke Axtell; Rev. Harry Louis Williams II (When the Struggle Is Real); poet Michael Warr (Of…

GODS WITH A LITTLE G: 8 QUESTIONS WITH AUTHOR TUPELO HASSMAN WD editor-in-chief Ericka McIntyre asked Tupelo Hassman about the importance of knowing your writing process, doing the work, and her forthcoming novel, gods with a little g. bit.ly/TupeloHassman RE-THINKING WRITER’S BLOCK Offering a different perspective on writer’s block, Areas of Fog author Will Dowd suggests re-thinking it as an illness. Can writers become stronger after overcoming it? bit.ly/RethinkingWritersBlock CREEPING COMMON SENSE: LET’S TALK MISTAKES It’s important for new writers to ask the pros about the mistakes they’ve made; successful, well-published writer and WD contributing editor Jeff Somers reveals why. bit.ly/CreepingCommonSense…

Finding representation is one of the biggest hurdles in the publishing process. Once you’ve signed with an agent, it’s easy to believe that it will be smooth sailing from there. But this isn’t always the case. Besides the challenge of securing a deal with a publishing house, sometimes writers figure out that their agent is not the best fit for them. Here’s advice from two authors who found themselves in that situation. AMY ROOST Amy Roost produced a podcast about a family secret that was subsequently picked up and retold by The New York Times. After the story went viral, Roost received several inquiries from agents interested in representing her. One of the inquiries came from a powerhouse agent prepared to handle both book and film rights—an attractive offer to…

Beth O’Leary captured accolades such as “the romantic comedy read of the summer” from USA Today and “Sleepless in Seattle for the 21st century” from Sunday Express for her debut novel The Flatshare. Published by Quercus in the U.K. and Flatiron Books in the U.S., O’Leary’s debut subverts the tropes of the rom com genre and tells a funny, witty story that also touches on poignant topics like dealing with emotionally abusive partners, the importance of therapy, being kind to others in need, and the consequences of being wrongly convicted of a crime. The two main characters, Tiffy and Leon, come together when Tiffy answers an ad Leon placed for a roommate. Tiffy is an assistant editor for a small publishing house making a subpar salary. She has left her…

Journalists are a lot like agents—they love a good story. But convincing them to cover your book requires a unique hook that must go beyond a traditional press release. Like any good public relations strategy, there are four main steps to crafting the perfect media pitch that answers these questions: • RESEARCH: Who should I pitch to? • PLANNING: Why would they care about my story? • IMPLEMENTATION: How do I pitch to them? • EVALUATION: When will I know if I’m successful? RESEARCH Spend the same amount of time researching a local reporter, feature editor, or book blogger as you would an agent before pitching to them. That includes checking out their most recent stories, people they’ve interviewed, and other books they’ve covered. The goal is to make sure…

We asked five agents who love literary fiction to explain what “literary” means to them, comment on the importance of character, talk about beauty in language, and detail what makes a manuscript magic. Interested in pitching one of these agents? Turn back to the agent roundup for querying details. HOW DOES LITERARY FICTION DIFFER FROM GENRE FICTION? CAPRON: As a general rule, literary fiction tends to be driven by voice or the protagonist’s emotional evolution. That creates the momentum of the story. Genre fiction is, generally, more driven by plot. However, we can see lots of overlap between genres these days. For example, it’s absolutely possible to have a very literary thriller. Even then, though, it still comes down to the question of the narrative being driven by voice and…

For those who are visual learners like myself, here’s a snapshot of what the outline proposal includes, as explained in the details of this article: 1. Your elevator pitch. 2. The book’s description, which should include word counts, comparable titles, timelines, why this book is necessary now, and other key aspects of the collection. 3. A topical outline. 4. Potential contributors to the anthology. 5. The pitch letter to contributors. 6. An introduction and/or piece you see including in the book.…

Dear FYSA, I’m trying to be more disciplined about my writing. I want to really push myself to hit that daily word count, but I don’t know what is reasonable. How do you settle on a work volume that feels both meaningful and manageable? Signed, Sliding Scale Dear Sliding, I recently sustained a running injury that forced me to hang up my Nikes for a while. When I finally began physical therapy, I would work with the therapist in the office, get my assigned exercises to take home and then … double them. Because I mean, obviously that will mean I will heal twice as fast, right? Let me just gather an armful of “Nopes” here and shower them all over your desk like so many wilted rose petals. Because…

You know that you’ve got the right story idea when that idea energizes you. That energy is your key to completing the marathon that is writing any full-length work. Use that energy well, and it will sustain you throughout the process. Squander it, and your story will falter and maybe stall out altogether. You start, as we all must, at the beginning. The best story openings are those that capitalize on the energy of the right story idea. Take a look at your current opening. Where’s the energy? Where’s the juice? Where’s the momentum? THE SCENE ONE FAIL-SAFE STARTER KIT There are a number of tricks to making sure that you get your story off to a hot, hotter, hottest start, no matter what your genre. I know, literary fiction…

The best beginnings toss readers into the whirlwind that is going to be your story right as the action begins, giving them no choice but to read further. The best endings stick with readers for years after they’ve closed the book. WD editors got together to talk about their favorite beginnings and endings. “Where’s Papa going with that ax?” E.B. White’s classic story of friendship, Charlotte’s Web, opens ominously; Fern discovers a grave injustice occurring on the farm—a runt pig has been born, and her father aims to do it in. —Ericka McIntyre, editor-in-chief The opening of Charles Webb’s The Graduate finds Benjamin Braddock freshly graduated from college and hiding in his bedroom from a house of well-wishers. I love that this “successful protagonist” starts off by hiding from the…

Writing conferences often solicit volunteers to help out over the course of the event. Here are a few pros and cons to consider before offering your time and expertise. PROS: • Many conferences offer volunteers free or reduced registration in exchange for their hard work. This can be especially beneficial to writers in financial need. • Volunteers often get extra face time with session presenters, which provides a wonderful opportunity to ask a writing-related question or two. Just make sure you don’t take up too much of the individual’s time. • Volunteers enjoy the satisfaction of supporting an event they believe in and want to succeed, as well as helping to ensure that the conference is beneficial to all who attend. CONS: • Volunteering may require you to work during…

OCTOBER 2019 • Keep in mind that there may be more than one workshop in each of the listings. • These workshops are listed alphabetically by state, country, or continent. • Unless otherwise indicated, rates include tuition (T) only. Sometimes the rates also include airfare (AF), some or all meals (M), accommodations (AC), ground transportation (GT), materials (MT), or fees (F). • When you find workshops that interest you, be sure to call, email, or check the website of the instructor or organization for additional information. • All listings are paid advertisements. CALIFORNIA ANNUAL DIGITAL AUTHOR™ & INDIE/ SELF-PUBLISHING CONFERENCE produced by West Coast Writers Conferences. November 9–10 in Los Angeles, CA. DAISP is ideal for authors who want to take advantage of the “Golden Age of Publishing.” Learn how…

“If my story isn’t told, it will get lost.” This was part of a conversation the author Alice Hoffman, this month’s WD interview subject, had with a woman she met at a reading (Page 42). That woman had survived the Holocaust and was afraid she wouldn’t be remembered. It set Hoffman down the path to writing her latest novel, The World That We Knew. I had the honor of talking with her about the book, her writing advice, and how critical it is that we tell our stories even when it hurts. Hello once again, dear readers. Welcome to our October issue. This is our annual agents issue, in which we give you a carefully curated list of agents who are seeking new voices and stories (Page 22). Meet the…

In preparation for WD’s 100th anniversary issue, WD staff has been digging through nearly a century of articles to pick out the very best writing advice WD has gleaned over the years. As a sneak peek of what awaits in the trove, here is an excerpt from former editor-in-chief Kristin D. Godsey’s interview with Margaret Atwood in the April 2004 issue. The Testaments, Atwood’s sequel to The Handmaid’s Tale, releases from Penguin Random House in September. You’ve been a poet, novelist, short story writer, and essayist, and always have been since you announced back in high school that you were going to be a writer. Do you have a soft spot for one genre over the others? I do when I’m writing it. When I’m in a poetry phase, I…

Kira Jane Buxton Hollow Kingdom (Humorous dystopian fiction, Aug., Grand Central) “Hollow Kingdom is a humorous, big-hearted, and beautiful romp through the apocalypse and the world after, where even a cowardly crow can become a hero.” WRITES FROM: Seattle. PRE-KINGDOM: I had been writing a series of humorous mystery novels that I overedited. I’d lost the grit of them by fussing with them too much. I then started freelance writing to build my bylines. TIME FRAME: It took four months to write the first draft. ENTER THE AGENT: My agent is Bill Clegg. When I felt my manuscript was ready, I cold queried my dream agents. I was lucky to have several express interest in representing me. I flew to New York and when I met Bill we chatted for…

ANNIE HWANG is an agent at Folio Literary Management, where she represents literary fiction and select nonfiction. As a former journalist, she possesses a keen editorial eye, which she brings to her agenting approach, taking an active role in the careers of her clients. Since joining Folio, she has had the pleasure of working with both debut and seasoned authors. ELISE CAPRON has been an agent at the Sandra Dijkstra Literary Agency for more than 15 years. She is most interested in character-driven literary fiction, as well as narrative-driven histories, culture studies, and science. KATE JOHNSON is an agent at MacKenzie Wolf. She was previously an agent and vice president at Georges Borchardt Inc. and has edited and reported at StoryQuarterly, Bookslut, New York magazine, and elsewhere. Her authors have…

Alice Hoffman specializes in magical writing that tells the realest of stories. She published her first novel in 1977 while still at Stanford University and has written more than 30 works of fiction since, including the novels The Marriage of Opposites, Faithful, The Red Garden, The Museum of Extraordinary Things, The Dovekeepers, and the Oprah’s Book Club book Here on Earth. She’s also written many books for young adults, including Aquamarine, Green Angel, Green Witch, and Incantation. Her books have been adapted for film and television and have been translated into more than 20 languages. Her fans love her style, which blends magical realism and historical fiction. She may be most known for her bestsellers Practical Magic and The Rules of Magic. These novels follow the Owens family, strong women…

I will wait for them at the edge of the glade that would have been promised to them had they come of age. My russet-and-white fur does not do well to hide against the branches of the old oaks, now laden with lacelike moss and bare of any floral trappings. Abby’s eyes are the first to reach my gaze, large and green as the unrestrained fronds around us, ancient and sorrowful as a person who knows when their time has come. She is braver than any child her age should have to be and holds her brother Jem’s hand tightly, drawing him closely to her. I remember playing with them in days long gone, the autumn leaves showering us in gold and red, and know that this is the last…

You need to go through and trim the parts of your opening that are obscuring the action so you can get to your big story idea sooner. You need to prune back your writing so that the inherent drama of your story idea is highlighted. If you’re finding it difficult to edit your work, then try this trick. Print out your opening pages and go through them, marking up the text in different colors to distinguish between backstory, description, and inner monologue. If you prefer to do this on the computer, you can use the text highlight color function in Microsoft Word to mark up your story. • BACKSTORY is wherever you talk about what happened before the present action of your opening scene began—childhood memories, past relationships, etc. Mark these…

REJECT A HIT For our annual agent issue, we decided to bring back the ever-popular “Reject a Hit” column that used to occupy this back page. WD editor Cassandra Lipp wrote this spoof rejection of one of her favorite stories, Fight Club by Chuck Palahniuk. Caution: This letter contains spoilers. August 11, 1995 Dear Mr. Paulanunchuk, (Have you thought of a pen name that might be easier to spell?) Frankly, we do not find your attempts to disturb us amusing. We are … disturbed, to say the least, by your latest manuscript. The idea of grown men being so frustrated that they must beat each other up for no apparent reason is so atrocious that it makes me want to punch someone in the face. Furthermore, if men are driven…