By Sascha Illyvich
Last week we discussed the first few things aspiring writers needed to know about this business. Let’s recap:
2. Decide if this is a career or a hobby.
3. Decide your genre
4. Decide the medium you want to be published in. Traditional Publishers are falling flat, e-pubs aren’t. Ultimately, you will probably end up in both if you sell well.
The next step I’d take as a new writer would be to learn my craft. Through our first step, we tell stories. Next up, we need to find critique groups. Again, this being geared towards romance writers, I’d suggest Charlotte Dillon’s Resource Page for starters. It’s a good primer for research, getting down formulas for query/synopsis letters and again, that all important aspect: the actual writing.
I’d also suggest you visit the Erotica Readers and Writers Association. They have very active mailing lists. You’ll learn craft, network, and find out about upcoming calls for submissions.
At this point we have our target market, we’ve received some feedback, we’re ready we think to submit to publishers. If we went the e-route, an agent like Saritza Hernandez may be a good idea but isn’t required. More on why I chose her later. Most of the old standby e-publishers do not require agents to query the way many traditional print publishers do but turnaround time is lengthy in some cases. After you submit your manuscript to an e-publisher they’ll evaluate it in the SAME MANNER as a traditional publisher will. Upon acceptance, a contract is issued, signed by both parties and then the process of taking your story from your fingers to your readers for a profit begins.
While you’re waiting for acceptance (or that dreaded rejection) on one story you ARE still working on another one, right?
Of course you are. You’re improving; you’re learning your craft. Each book gives us a new skill, lesson or piece of the puzzle that helps us become better writers. At the same time you’re crafting your environment and figuring out just how you write best. You’re doing more research on your characters, growing your story lines; do you see a pattern here? And then you’re submitting your finished stories to other publishers.
If you went the traditional route, the only step not included would be the solicitation of an agent who would represent your story or perhaps your entire line of work. Robert Raymond Brown of Wylie Merrick picked up my publicist’s entire stock of work because he saw how marketable she is, even among the changes happening. She’s still money. Some agents will only pick up the one book from you and gauge future representation based on your track record and how well you work together.
In the end, this is a team effort. Your agent, publicist, publisher(s) all have one goal.
Side note: For SEO purposes I will probably go over the query process in another article. But this is the basic “how to get published guide.”
Now that we’ve narrowed that down and fixed the potential to head hop all over the place, thus eliminating characters that are central but not integral for POV purposes, we’re left with the one question:
Who gets to talk?
Readers get attached to characters they care about and have built relationships with, just as in reality. Kill off a favorite character from your reader base and you’d better believe you’re going to hear about it! Alter that character’s world somehow and again, you’ll get feedback. But what if the hero and heroine both have something to lose? Then what do you do?
Refer back to length of the story. Who has the greatest loss, and the greatest gain? Write from THAT one character’s POV and ONLY change scenes if word length allows for it and only if that character’s journey makes us feel something universal.
I recently read a story where head hopping occurred so much because the writer thought to write scenes like we see in TV. Take Burn Notice for example: We have Michael Westin, (The hero) Fiona (Heroine) and all the side characters, most notably Sam, the drunk former CIA op who we get to see frequently. POV switches don’t really occur much because the story is narrated by Michael Westin, but when we do get those changes, Westin is still narrating. That works because people need to see a lot of visuals and TV/movies allow for those shifts to occur. The average attention span is not that long.
But FICTION writing doesn’t. You’ll end up with unsmooth transitions, annoying head hopping issues that make the reader THROW YOUR BOOK THE FUCK AWAY!
In FICTION, you do two things. You show the reader what YOU want them to see; otherwise they’ll see something else. And you make the story smooth. By sticking to word limit/reason for changes, you’ll eliminate guesswork in your plotting.
Some writers can get away with multiple POV changes. Sherrylin Kenyon for example can, she has a built in audience that somehow doesn’t care about the change from the H/H to Ash or Stryker. So does Laurel K. Hamilton, but because she writes in First Person POV, she doesn’t have that ability. But if she wrote in third person, she could afford to change because she’s ESTABLISHED. Chances are that you’re not them. (And if you are, thanks for reading my article!)
Christine Feehan does an excellent job of keeping the POV between her hero and heroine. So does Richelle Mead. And Rebecca York. Those authors are authors who don’t write what I do, but I learn from them because they’re where I hope to be someday.
To reinforce the key points, I’ll leave with my two rules for simplification.
1. Tell the story from the character’s POV that has the MOST to lose
2. Use word length 20k = 1 character. 40k, 2 characters. 60k-100k+=3 and ONLY three.
That should simplify things in your stories. Happy writing!