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4 Ways Out of a Slush Pile

My stack of books to be read (often referred to as TBR pile) grows and grows. I will be honest. Some of the books in there? I should have read by now. In fact, some have been in my TBR pile for over a year. They’ll rise to the top, and I’ll pick them up, look at the cover, thumb through the pages, then slip it further down in the stack again.

Every time I do it, a little voice in the back of my head whispers: Will this happen to your book, Katie?
Yikes!
Slush piles are everywhere. They don’t just belong to agents and editors. Readers have them too. So how do we stay out of them?

The truth? I’m not sure. I’m guessing there are a whole bunch of factors that play into a book’s time in a slush pile. I’m also guessing some of those factors aren’t in our control. But since that’s not a very helpful response, I came up with four factors that, for me, make a book rise quicker to the top (or bypass the pile altogether):
  • Title
  • Cover
  • Back cover blurb
  • First page
The importance of a standout cover: I got a book in the mail the other day. A free one. I’m sad to say I judged it by the cover and tossed it aside. Wow. That’s harsh, huh? But it’s reality, and most likely, our readers will respond the same way. We peruse a bookstore and look for those killer covers. I think that’s why I’m so eager to see the cover of my book–I know what a big role it will play in getting people to pick it up.
The importance of a standout title: Several weeks ago, Janet Grant with Books and Such Literary wrote a wonderful post about the importance of titles. Agents, editors, and readers see a ton of them each year, so it’s ultra imperative that we create, in Janet’s words, “something so stellar we blink our sleepy eyes, perk up and say, ‘Whoa…what did you just say?'” When a title does that for me, I turn the book over and read the back.

The importance of a standout blurb: This is the agent, editor, or reader’s first taste of the story, so we want to make it shine. We can’t disappoint, especially if the cover and title deliver. We want our blurb to introduce intriguing characters, major conflict, and the promise for something special between the front and back cover.
The importance of a standout first page: The title can be intriguing. The cover breathtaking. And the back cover blurb promising. But if the book doesn’t pass the final test, back to the bottom of my TBR pile it goes. And for me, the final test is the first page. I almost always read the first page of a book before committing to the whole thing, and if it doesn’t grab my attention immediately with a question I need to answer, then I just won’t make the time to read it.
So there you go.
Cover. Title. Back cover. First page.
Those are my four criteria for plucking a book off my stack and keeping it in my hands.
I know most of us don’t design our covers. We don’t write our blurbs. And many times, we don’t choose our titles. But still, as writers looking for readers (or agents, or editors), we should do everything we can to make sure these four stand out. And once we’ve done that, we need to make sure the story underneath them satisfies. Because satisfying our readers is the best way to not only get readers, but to keep them.
Let’s Talk: How big’s your TBR pile? What makes you shuffle some books to the bottom over and over again? How important is the title, cover, back cover blurb, and first page to you as a reader? Is there anything you think is more important than those four?

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Self-Promotion: An Interesting Twist

Have you ever met a person who’s always talking about herself? Someone who monopolizes every conversation? I did. In college. Funny thing. Nobody wanted to hang out with her.

We hear a lot of talk about the importance of marketing and self-promotion. Especially if we want to make it in this business.

But in the same breath, we know too much turns people off.

Which leads to the question I’ve been thinking about now that I’ve signed my first book deal:

How do we market ourselves without coming across as self-centered or narcissistic?

In a post titled Social Networking Rules, YA author, Elana Johnson, shares some simple, yet brilliant guidelines she lives by.

One such guideline?

If she tweets about her life, she scrolls through her twitter feed and @-messages three others who’ve said something about theirs. Elana says, “This creates a new conversation between me and them.” And she doesn’t feel like she’s hogging the twitter feed.

This reminded me of some advice I got before going to my first writing conference two years ago.

Be outward focused.

Marketing 101. Simple, yet profound.

Don’t focus on you. Focus on the people around you.

Talk up such-and-such author’s new book while at the bookstore. Pray with a friend or roommate before they pitch their novel. Take time out from a workshop to brainstorm with a fellow writer. Mentor a newbie.


Sounds counter intuitive, doesn’t it? But it works. Especially if you do it from a sincere heart.


Here’s the thing. Nobody wants to hang out with people who talk about themselves all the time. We’re drawn to those who genuinely listen and turn the focus outward.

I took this advice when I went to my first conference in 2009, and again in 2010, and had two amazing experiences. The weekend stopped being about me, and became about us. It helped me understand that we can all work together to promote each other.

After reading Elana’s blog post, something clicked. I can embrace that same bit of advice as I travel down this new, exciting, and slightly intimidating path with Waterbrook Multnomah.

I can be outward focused.

I can remember that it’s not about me. It’s about the writing friends I get to encourage and promote along the way. The readers I get to entertain and connect with along the way. The professionals I get to learn from along the way.

The minute I forget that, is the minute someone needs to kindly kick me in the head.

Let’s Talk: Are you talking too much about yourself? How do you keep your focus outward? Any self-promotion tips for a gal who’s not quite sure how to handle it?

On a fun note: I’m meeting my critique partner and friend, Erica Vetsch, this weekend for our own personal writing retreat. We’re locking ourselves away so we can write, write, write! Ah. Sweet bliss.

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Disaster Planning for Writers

At school we practice certain drills twice a year. Each one has its own set of procedures. That way, if disaster strikes, we won’t panic. We’ll know what to do. Because we have a game plan.

Disaster plans are good. They give us a sense of purpose and control when things turn nasty.
As writers, we should have a disaster plan.
Because when things go wrong, we don’t want to panic.
Which is precisely what I did this past month. My story stopped cooperating. I hit a wall. And spent a week pulling out my hair, intermittently staring at my document and the trash can on my desk top.
The only thing that kept me from clicking and dragging? A deep-down, in-my-gut feeling. That if I could just fix the broken parts, this story could be great.
So I tied a gag around my anxiety. I assured myself that the first five novels weren’t a drawn out case of beginner’s luck. And I drew up my own personalized disaster plan.
First, I assessed the situation. How did I get into this mess? I’m not a pantser at all. I’m an OCD plotter. But for whatever reason, this time around, I thought my rough outline would be enough. I had the basic plot elements down. I could just start writing, right? Wrong. I got halfway through and the tires started spinning.

Second, I stepped away from my computer and broke out the note cards. I wrote random scenes as fast as I could on each one. Whatever popped into my head. The crazier the better. Then I looked for ways to connect them. My creative juices started flowing. Scenes came together. Unexpected twists and turns jumped out at me. Until I had a beginning, middle, and end.
Then, on the back of each card, I wrote: (1) if it was a scene or sequel and (2) the GMC (goal, motivation, conflict) for the scenes or the RDD (reaction, dilemma, decision) for the sequels. If you’re not familiar with these terms, you should be. Consider reading this post for a basic overview: Story Structure: Scene and Sequel.
It took a long time. I lost some hair and some sleep. But the disaster plan worked.
My novel is no longer a mess. I don’t care that I have to cut a big chunk of the 50K words I have written. I don’t even care that whatever remains needs rewriting. I have another novel. It’s all there. On 74 note cards. 39 pink. 35 blue. The hard part is finished. Now I just have to write it.
And if I run into another crisis in the future, I won’t waste a week of my life freaking out. I can whip out my disaster plan and get to work.
So what about you? Do you have a disaster plan? If not, here are some tips to help you create one:
  • Stay true to the way God made you. Don’t try to be a plotter if you’re a panster and don’t try to be a panster if you’re a plotter. Trust me. It doesn’t end well.
  • Know what sparks your creativity and problem-solving skills. Do you need to get away from your computer and find an old-fashioned pencil? Do you need note cards? A writing buddy to brainstorm with? Do you simply need to write through the disaster?
  • Include specific action points. This will give you a sense of control in the midst of the chaos.
Let’s Talk: What do you do when your story stops working? What does your disaster plan look like? Have you ever had to use it?

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