Saturday, October 15, 2022

elements of a story, main character, conflict, literary agents
                                                                                                                                                                            Photo: Nong V
                            
GIVE AGENTS WHAT THEY WANT

This week, a client sent me two picture book manuscripts that were beautifully written but lacked the basic elements of a story:  character and conflict.  It's very likely that these manuscripts will be rejected by agents.  Most agents crave stories with character and conflict.    

Let's take a look at these two pieces.  In one of them, the story is about fencing, an activity the writer had loved as a child and still enjoys as an adult.  The writer describes the uniform, the épée (sword), the stance, the attack and the three main moves.  This goes on for about 500 words.  And that's it.  Descriptions.  There isn't a main character who confronts a problem.  

In the other story, we have two characters, best friends, who go on an adventure.  Picture books can have more than one character, but one of them should be the central character and this central character should have a problem.  But in this piece, the conflict was unclear.  I couldn't tell what the main character wanted, what got in her way, and how she would resolve the problem.  To me, the story was an imaginative playful journey with no major conflict.  

Most books, whether they are picture books, middle grade, young adult, memoirs, or novels, have character and conflict.  They go hand in hand.  Conflict is born out of a character wanting something—and having trouble getting it.  

I had the fortune to listen to five agents on a SCBWI webinar panel weigh in on the subject.  They agreed a story should have a good sense of the main character (MC), plot, what the MC wants, and what stands in the way (conflict).  

An agent from the Andrea Brown Literary Agency states writers must find a way to connect with young readers not by story, but with the MC. She explains writers must create a relatable character that elicits emotion and develop a story arc which shows character growth or change.  

Children's author Margot Finke writes that conflict is on the checklist for picture books.  She states that "the main character needs to be in conflict with something or someone for the story to grip small readers. Have some problem that bothers, or gnaws, or leads to trouble. The hero/heroine gets to solve the problem over the course of the story. The solving is the meat in your story."

So, returning to the two manuscripts, what can the writer do to improve the books?  For the fencing story, the writer can keep the fencing descriptions, but she must develop a character who cares deeply about the sport.  She must describe how the character feels about fencing.  It's all about emotion.  Once that is established, then the writer can devise a problem the fencer faces and has to solve.  

In the adventure story, the writer can take the main character that has already been developed and invent a specific problem that gets in the way of what this character wants.  That conflict should be obvious and challenging to solve.   

These solutions may seem obvious to more seasoned writers.  But some newbies may struggle with character and conflict.  When that happens, I have a few exercises that might help.  

For character:  Set the plot aside and focus on the protagonist.  Let the imagination run wild and think of the first character that pops in your head.  Then cast that character as the star in the story.  This initial character will probably not be the best choice, but it gets the creative juices flowing and it will lead to finding the perfect character as the piece is revised.      

For conflict:  Think about putting yourself into the story and running into a problem you'd never want to face.  Or even better, have a conversation with the MC and have her tell you about the problem she's encountered and how she plans to solve it.

As a writer, you are free to write whatever you're craving to write.  Even if it's a description of an activity you love doing.  Or a wacky or wondrous adventure.  But like many agents, I believe that manuscripts must have the basic elements of a story.  So, if you want to publish a picture book, take an honest look at your work.  Does it have character and conflict?  

✌ and 



Thursday, September 15, 2022

rejection, challenges of writing for kids, powerful writing hooks
                                                                                                                                                      Photo: Dmitry Schemelev 

FINDING THE COURAGE TO WRITE 

From time to time, I question whether I should stick with writing.  This doubt arises when my work is rejected or worse ignored, which makes me wonder if my submissions were ever received.  

It's hard to remain positive, even though many authors say never give up.  

Disappointment lingered (so real I could almost touch it), but I shoved it aside to work on a fictional story and a nonfiction picture book.  I toggled back in forth between the manuscripts, editing the pieces but felt they would never be completed, never reach perfection (in my mind), never become what they should become.  I moved sentences around, deleted words, added dialogue, and I am so f*cking brain-tired and full of doubt.   

The week before had been easier.  I submitted two picture manuscripts to agents, one playful and the other more serious.  These stories have unique characters, memorable opening lines, good flow, strong tension, and story arc.  I believe they are different than what agents expect to find in their inboxes.  But will an agent be open to something different?  Will they get my writing and share my vision?  Will an agent fall in love with my work?  

Ozzie relaxes behind my computer and I give him a chin rub.  Lizzie climbs in my lap for attention.  They are a nice distraction.  I need it.  My cats help keep the depression at bay

I take a break.  I work a Wordle.  I move on to Quordle.  I solve them both quickly. 

At times, I wonder why I continue to write when publication has changed so much over the years.  At first, writers only had to compete with the celebrities and published authors.  Now days, writers have to compete with author-illustrators and with writers who have a referral.  Lately, we compete with the LBGTQ and marginalized authors and I applaud them because it's time their voices are heard.  But submitting has never been tougher.  

On top of the competition, writers must match their manuscripts to an agent's wish list.  But it's like trying to read an agent's mind.  I do my best to send an appropriate piece and end up with replies that say, "it's not a good fit," or, "it's not what I'm looking for."  I feel defeated.  And I don't want to feel this way.  

By chance, I noticed an online class on querying. Though I've been submitting for years, I signed up.  One can always learn something new and useful.  

Instructor Kathy van Eecke revealed 20 common query mistakes (yep, I had made one) and ways to correct them.  She advised us to take a look at Query Shark, a website that critiques queries.  Most of all, she encouraged us to rethink our queries.  She said it probably wasn't our books that needed help, it was our hooks. 

The timing of this workshop could not have been better.  It was the boost I needed.  After watching the webinar and studying a lot of query examples, I scrutinized the hooks of the five books I had written.  They were good, but they needed to be exceptional.  They had to grab agents and make them want to keep reading.  

So, I inserted a teaser (a captivating line or quote) before the book description.  I also reworked the book descriptions so that the first line of each one indicated three things: the main character, the inciting action, and the dilemma.  I found this would require concise writing.  But within a few days, I had jazzed up the five queries. 

I don't know how agents will feel about my submissions.  They are a picky crew and have very specific tastes in what they want to acquire.  But at least I know my queries are more intriguing and even a bit mysterious.  Having taken my queries to the next level, I have more belief in my hooks and in my books.  I am hopeful.  More positive.  Encouragement flows in, so real that I can almost touch it.         

✌ and