She had an excellent handout, and this is supplemental to it.
Opening line needed to "hook" attention of agent, editor, reader. Less than one minute to catch the attention of agents/editors. Without an awesome opening line, the agent/editor won't get past the first line.
Everything revolves around action.
Plot equals character; character equals plot.
If you can take the character out and have the same story, you have wrong character. If you can change the plot and use the same character, you have the wrong plot.
Plot and character drive each other.
Must first have a focal character. This person's decisions propels the plot. Knowing focal character requires knowing point of view. POV allows readers to get in character's head. Most people read because they want to know what happens to a particular person.
Who is person causing things to happen? What do they want? Why do they want it? How can they get it? This is start of defining personality.
Can have secondary POV and secondary characters, but try to not have more than five POV characters.
Worksheet for Character Points: Start with a stereotype, because stereotypes communicate certain information quickly. But then must fine-tune so that character becomes unique. Know the primary defining trait of character.
Primary defining trait leads to primary value. eg: Primary trait might be ambition, which leads to primary value of success.
Names are very important. A name implies certain characteristics.
Internal conflict is essential. Internal conflict comes from wanting two things which are mutually imposing, and wanting them with equal intensity.
For a supporting trait, go against the stereotype.
Fatal flaw is what brings down the character. It's their Achilles Heel. eg: Bill Clinton has fatal flaw of being a womanizer. Something external triggers the fatal flaw—this is what starts the plot.
You must make characters as miserable as possible.
The Shadow contains the seeds of redemption. Shadow isn't necessarily all the dark shameful things as is popularly thought. Shadow is characteristics pushed down by family, environment, society, etc. Shadow is just things that are unacceptable by the prevailing standards.
No one reaches adulthood without feeling that something is missing. The author pushes the character in this place.
Recommended studying Christopher Vogel's book on the Hero's Journey.
Conflict points between protagonist and antagonist (or hero/heroine in romance) comes from traits. Make traits in each the opposite of the other (one is fiercely independent, the other is extremely controlling, etc.) Shadow trait is probably what they each need from the other.
For every strength the protagonist has, the antagonist must have an equal and opposite strength.
If you truly understand the character, you will have their voice in your head, and you will write from that, whether spoken dialogue or thought. Every character has jargon, metaphors, etc, in their heads relating to their life.
You can do personality quizzes, psychological profiles, etc. to help you get their voices in your head.
All of this will generate your plot.
Standard procedure is to write book, then write queries, synopsis, etc, and start sending out packages to agents. Then wait for rejections.
You can bypass some of this. First, get the book written, then pay a professional editor to go over it for you. Use only a professional who can give references. Start with sending up to 50 or pages, or first three chapters. If you like results, send rest of book. If not someone you feel you can work with, move on.
Do not have someone who likes you edit your book!
When you write "The End" to your book, it becomes a product. Agents and editors look at it as a product, and so must you.
After editing process is complete, start searching for publishers. Some disadvantages to small publishers, but many advantages. It can be more difficult to get acceptance from a small publisher, because they can't afford risk of a book that might not be successful. It averages around $23,000 to print 5,000 copies of a book. That's just printing a complete product, doesn't include warehouse space, shipping, etc. etc.
You must do the research to find the right publishers. Use Internet, read publications, etc. Include sources like Variety and C-Span.
You must have a good fit with your publisher. No matter how desperate you are to be published, if acceptance doesn't fit, say no. Same with agents. Must be the right publisher and the right agent for you.
Never sign a contract on your own. If you're not using an agent, spend the money necessary to have a literary lawyer look at it.
You must always be diplomatic and professional, but this doesn't mean you have to be a pushover and simply take what comes along or is offered. You have to learn the business of writing. Then negotiate to get what you want.
He suggests choosing a small publisher that is about to be acquired by a large house. (You learn who these are by doing your homework/research.) Choose a small publisher with a track record of about 1 1/2 to 2 years. Less than that is too risky. More than that, they are becoming more traditional and harder to break into.
Write your book, do your research, etc, but don't sit around waiting for your book to come out. Average waiting time from acceptance to release by a big publisher for a first-time author is about 3 1/2 years. Average time with a small publisher is about 1 year.
An agent can open doors, knows who to contact, etc.
Putting the copyright symbol in your mss is extremely amateur, and usually earns you an immediate rejection. If you're afraid someone will steal your material, don't send it out.
Try to establish relationships with agents/editors. They are people also.
If you can't be persistent and aggressive, then don't write. Save yourself the grief.
What with the Internet, it's no longer necessary to have an agent in New York or Los Angeles.
You are the one responsible for your writing, not the agent or the publisher.
Plan on doing your own publicity. If you get any from the publisher, that is a bonus.
Keep a "publicity file" where you accumulate potential"pitch targets," contacts, venues, etc. Include info like web sites, bookstores, organizations, newsletters, conventions, lectures, etc.
"Platform" is key now. Platform is what groups will be interested in your books. The "wider" the platform, the better. It's been especially important for non-fiction, but now becoming important in fiction.
Start mapping out marketing plan a year ahead of publication, and start making contacts six to three months before publication.
Media kit is very important to any marketing campaign. Must be interesting, as you only have 30 to 60 seconds to get contact's interest.
The cover of the media kit must entice to contact person into opening it.
There are lots of internet resources on how to create press releases. It must be professional. Promotions will be done based on media kit—interviewers, contact people, etc, don't usually read the book—they rely on info in media kit. Include information in it also for reviewers, etc. to quote.
You will usually have to follow up with contact person 6–10 times before you get a response.
When pitching, you have to find out who to contact. Then be very prepared—write out a script and practice it. You will only get 30–45 seconds to make your pitch.
With every pitch, "sell the sizzle." Also, over time, try to build good relationships with the contact people.
NEVER go into a detailed description of your book to anyone. NEVER. You must be able to describe very briefly, in one minute or less.
© July 2004 Sandra I. Smith