#one editing project one manuscript entire rewrite and one writing project (a sequel to my sci-fi dragons v aliens book)

[brynwrites]

Let’s Talk about Querying!

(And why I stopped querying my novel.)

As some of you know, I was querying Iron From Fire on and off from March through May, and I recently decided to quit, despite it being overall a good story written in what one editor described as ‘on par’ for the genre.

And I think it’s important to talk about the process I went through, because my ill preparation hurt my mental health a lot, and you all deserve to know how to avoid the same fate.

First, this is the general process of querying, in case anyone is unfamiliar:

You finish the manuscript. And I mean finish it. Beta rounds, line edits, formatting, the whole nine yards.

You write the query letter. This includes a blurb meant to draw the agent in, a paragraph with stats and the names of a couple contemporary books that resemble yours, and a short bio about your previous book-related experience.

You send the query letter to a bunch of agents. A positive request rate right now is somewhere around 6 or 7%, which means if you have a stellar manuscript then 7% of the agents you query will want to read more of it to see if they’re willing to represent you.

You receive a mixture of rejections and requests, with a lot of silence in between. Most rejections are form rejections so you have no idea why they didn’t like your manuscript. Some requests turn into delayed form rejections. Everything hurts.

You either get an agent who signs you or you decide to quit. If you have a book you think will sell and are having positive responses from agents, the general rule of thumb is to keep querying until you’ve sent a letter to every agent you’d be interested in working with. This can mean anywhere from 30 to 130 agents.

Putting the rest under the cut.

Keep reading for:

Why I quit.

The things I learned from querying.

What I would have done differently if I’d known better.

[While this has some rather personal mental health things, please feel free to reblog it so other writers can learn from my experience!]

Why I quit querying.

This is going to get personal for a hot second so bare with me.

I was querying the first novel in an adult fantasy trilogy I had worked on for over seven years. All the work from the first five years had been trashed three years before, and the rough draft I built the final manuscript on was rewritten three times after, so the actual story itself was only a couple years old, but I had the emotional attachment of seven years of love and heartache.

This being a trilogy, I had already written the second book and poured a lot of energy into the third book’s brainstorming by the time I fully finished the first manuscript. So not only was there over seven years of emotional attachment, but nearly 300k words of fairly decent story written in the series.

I hit a bunch of road blocks right when I first began querying: 

My story, while it had all the things a query needs like stakes and conflict, was very hard to break down to a 200 word blurb.

The blurb I did end up with, no matter how I wrote it, sounded like a rather traditional fantasy plot, despite the story itself going places I’ve yet to read about in any other book.

I could not find contemporaries (books published recently which have elements similar to mine) to save my life, to the point where I was scrambling to read new books in hopes something would appear.

Most agents ask for the first five or ten pages, and I have fifteen pages of status quo before I got to the real plot, so that meant most agents would never even see the story I had outlined in my blurb.

On top of all that, I had a book which went a little over the word count most agents seek for a debut novel in its genre and it wasn’t even a standalone.

Those things compiled were a mess, and they should have clued me in that this wasn’t a book that would be worth the effort of selling as a debut. But this wasn’t what did me in. These things alone I might have been overcome by sheer determination. So why did I quit, then?

I stopped querying my manuscript because I realized I wasn’t just querying a manuscript, I was querying my baby.

I had put all seven years and many rewrites and an entire sequel I loved more than life on the line for this sale, and it fucked me over like a moon-sized meteor fucks over a planet.

My mental health, which I’d finally gotten under control after almost a decade of chronic depression and anxiety, plummeted back to levels it hadn’t reached in years. I hated everything I wrote. I cried over my writing. I cried over things that had nothing to do with writing. I became very negative and angry with my friends. Everyone else’s success felt like my personal failure. I began tipping into the realm of suicidal idealization.

That was what finally broke me; the knowledge that I’d been happy with my life, exactly as it was before I started querying, and now I suddenly didn’t find it worth living despite the query process being the only thing I’d added.

I adored and despised my manuscript in equal parts. I’d thought the mounds of critique I’d gotten for it in the past would make it easier for me to handle the rejections because I’d handled them all before from beta readers, and that the time between writing it and querying it would provide distance. It didn’t. 

It turned this manuscript into the single part of my life I’d poured the most love and attention and frustration into, more then college degrees and individual relationships and work; even more than the book I’d already indie published. And setting that out for agents to reject at their whims was not healthy for me.

Once I looked that in the face, I realized something else as well: I didn’t want this book to be my debut.

The story was publishable, yes, but it had a funky structure I had reworked countless times just to make bearable, and the second book was the real gem of the series.

The writing was adequate, but it was also kind of bland compared to the style it’d developed since I’d written it. I preferred the style I was currently writing in and I wanted to sell that instead.

I really, really didn’t want to edit this book again for an agent or an editor. I’d poured so much energy into it already and I was sick: sick with love, sick with hate. Every edit I had made through the querying process had been wrapped in a mixture of forced disinterest and panicky dependence, and that was not the way I wanted to feel when I edited my debut for traditional publishing.

And this is not to say that Iron From Fire and its trilogy will never sell, or that no one would want to read it if it did. I’m shelving it, not throwing it out. But sometimes we have to admit to ourselves that it’s not the right time, and let a project go for a while, especially when its the one project we don’t want to let go.

Things I’ve Learned.

I’m prefacing this with the note that there are exceptions to every rule. None of these things will stop you from getting an agent or selling a manuscript, it’ll just make it harder to do so. And querying is hard enough without stacking the cards against yourself.

These are a mixture of experience and things I’ve seen agents talk about at length.

1. Word count is important. 

It’s common knowledge that there are word count guidelines, but when most of the books on your shelf vary (sometimes drastically) from those guidelines, do they really matter? The fucking do. Agents will see too high word count and assume straight off that you don’t know how to create a streamline story and have wandering plot threads or useless scenes, and they’ll see a too low word count and assume you didn’t explore your world building and character development properly.

It you want to increase your chances of selling a manuscript, write it within the suggested word count guidelines.

2. Make your manuscript a solid, wonderful standalone.

You’ll hear ‘standalone with series potential’ thrown around a lot. This means you should have a first book which ends in a place that readers can feel satisfied permanently walking away from, but which doesn’t tie up so many threads that another story can’t come after it.

Less brought up but equally important is this: if you do have series potential, the rest of your series can’t be the better part of it. You aren’t selling a series, you’re selling a first book, so that first book must be able to stand for itself and say that it’s fantastic and more than worth reading on its own. It’s can’t be a gateway to a better book. It must already be the best book you can write.

3. If you have potential sequels, don’t write them yet.

From a writer’s perspective this is bad because it puts more of your soul into the series, and when it comes time to offer that part of your soul up to agents and editors, you want it to be as small as possible. Having six months of work rejected hurts. Having six years of work rejected kills. Be kind to yourself.

This is also bad from an agent’s perspective! Agents are looking for career oriented writers (even if that career is part time), who will write other books, with other plots and other characters, so if they sell your first book and its sales are mediocre they know they’ll have another chance with you on a different project. If you seem to be stuck in one world or series, that hinders their ability to market you as a writer.

3. Your first five pages are everything.

Five to ten pages is all most agents will ever see of your book. This is a lot less than many readers will read before putting a book down. Even if you’ve structured your opening to attract readers, it may not be fit enough to attract agents.

The first 2500 words of your manuscript should:

Display a clear narrative voice.

Introduce the world building and setting you described in your query with little to no exposition.

Introduce the main character’s personality and goals as described in your query with no exposition.

Show the main character doing the things you said they do in your query.

Show the inciting event you described in your query.

Show or at least hint at how the conflicts you described in your query will come to pass.

This is not always something you can edit into your manuscript at the last minute, so structuring your project this way up front is very helpful. If you can’t hit all these points with your story no matter how you rework it, you might want to consider querying a different project instead.

4. Young Adult is a harder sell.

The market is drenched in YA manuscripts. This doesn’t mean no one should write them, but if you don’t have a good reason why the story works best a YA (ie, it has themes targeted toward teenagers) then it might be worthwhile to adjust it to be MG and or adult (but not New Adult! NA is also a hard sell, because there are few editors actually buying it.)

5. The market matters.

On that note, it’s incredibly important to know what’s going on in the publishing market before you query. 

What types of books are selling? 

Is your manuscript a good twist on ideas, themes, or tones present in popular books from the last few years?

Does your manuscript align with what agents are asking for in their manuscript wishlists?

Is your writing style on par with the books what made decent sales in the last few years in your genre and target audience?

When you condense your story down to a few sentences, do you have a pitch that’s both unique and references popular contemporary stories?

In order to sell a book through traditional publishing, you have to first find an agent who falls in love with the book and has an immediate idea of how to sell it, and then have them find an editor who also falls in love with it and knows they and their marketing team can market it well.

Good writing makes a good book, but it’s the marketing which sells the book. If you don’t have a way to market your book in the current market, it’s not likely anyone else will.

What I would have done differently.

The top three things I would have changed if I had known what I know now.

1. Wrote the query letter earlier.

Writing the query letter as I wrote the manuscript would’ve helped me reformat the structure of the story up front. It would also have eliminated the desperate rewrites I did to both the query and the manuscript in an attempt to produce something concise enough to actually sell.

2. Followed agents well in advance.

There are tons of agents on twitter who routinely post tips, talk about what they want to see in future books, and boost resent publishing deals. Keeping tabs on them is incredibly helpful when it comes to figuring out where your manuscript fits in the current market and whether/how you should be querying it. 

3. Let my baby go in favor of a new, shorter standalone.

A standalone within the word count guidelines might have persuaded undecided agents to take a chance on reading more, but the important thing here is that I should not have tried to query the work I’d put my soul into. 

My mental health is more important than making my baby a best seller, firstly because there’s more to my life than just writing, and secondly because there are other great books left in my soul, and without stable mental health, I won’t be able to write and query them.

So, what am I doing now?

I’m writing a book with a strong contemporary I know agents are interested in, but with enough of a spin that it’ll feel fresh.

I’ve structured the story so that the opening engulfs the reader with the conflicts and world building that’ll be important throughout the whole story and the inciting event happens immediately. 

I wrote the blurb after only having written 20k words on the rough draft, and the blurb both contains all the necessary plot threads I need to describe the compelling heart of the story and reads as a unique and engaging manuscript.

I’m writing a standalone novel with series potential that fits perfectly within the genre’s word count guidelines.

I’m writing something that’s fresh for me and I’m madly in love with, but not dependent on. It’s a puppy I want to lather with attention, not a disappointing spouse I’ve been married to for eight years and now half loath but also can’t live without.

Annnd that is all the things I have to say! If you learned something here maybe support me by buying my fun, cheap indie book? It has sirens and a soft freckly pirate and lots of diversity, and comes in both ebook and paperback. Click here for links and things.

#writeblr #querying #mental health #writing help #writing advice #writing resources #writers on writing #creative writing #writers on tumblr #authors on tumblr #writing tag: publishing

[christinaengela]

I’ve been writing stories basically since I could hold a wax crayon, and as any writer might tell you, any book they’ve created holds a special place of its own in their heart! It’s no less true for me in the case of “Blachart” in that respect because of how that book is a milestone for me! Why? Well, because it was my first completed and published novel, and also because it’s the first of my books to be released as an audiobook!

You may wonder how I wrote “Blachart”, how it got to be what it is now, what the journey was like – and how long it took! To do that, I’ll have to take you back to the beginning!

It all started in 1986 – 34 years ago! I was 12 years old and in my first year of high school – a budding writer who occasionally caught the spotlight in English class for essay and composition writing! That was when I started working on the foundations of what would become “Blachart”.

Back then, however, the story was called “The Red Star” and it featured the some of the same characters (under different names) and the story plot was somewhat different – and if you’ve read “Blachart” and were handed a copy of “The Red Star” circa 1986, you would find it… well, unrecognizable!

In 1987 I’d rewritten the same story into another notebook under the title “Galaxy 1”, sowing the seeds of what was to later become the first title in the Galaxii Series. By 1988, the basic plot had evolved into the more familiar story of a starship Captain (then Mykl Nikolls, not the more familiar Mykl d’Angelo) being rescued from his broken down ship – and the introduction of the formidable Corsairs… and a character then called Black Heart. By 1989 I already had a good idea of the broader story the series would take – beginning with a back-story called “Galaxy” which would set the scene for the later books. “Galaxy” became “Galaxii” in 1990, and “Blachart would follow on to “Galaxii” in the series… except that the newer prequel presented me with considerable difficulties at the time.

“Galaxii” – the story that would set the foundation for the rest of the series, and be the book from which the series took its name – was a problem child. It went through numerous redrafts and complete rewrites before eventually being published – only in 2020! When published, it was under the title “Best Served Cold” – and as a standalone novel, not part of the actual series!

“Blachart” meanwhile, in 1990 was far closer to completion in draft form, and continued to receive the bulk of my writing attention. By the time I finished high school in 1991, I had a rough idea where I wanted the story to lead. But life was hectic, and tended to get in the way – in January 1992 I was conscripted into the SA Army and had a hell of a lot on my plate with gender dysphoria. My life generally took me into places I did not wish to go. My writing at the time was rather spotty, confined mostly to completing short stories and working up to mastering longer writing pieces. During this time, I delivered short stories like “The Devils In The Sky” (1993) and “A Really Bad Day In The Life Of Lance Corporal Thomas O’Blivion” (1995).

Eventually, in February 1998 I finished the last handwritten draft of “Blachart”! …And then it lay fallow for some time longer, while a lot of other things unfolded in my personal life, in terms of gender identity, self-discovery, and career. In 1999 I embarked on my transition – and entered a world both terrifying and amazing all at once!

Then when things had settled down somewhat, in 2003, I finally typed and edited that draft on a PC, and launched into the modern way of writing novels! I found it far easier and faster to type and edit on a PC than doing rewrites of my books by hand as I’d always done previously! This change set me off on revising all my other pieces as I copy-typed them into Word on PC’s at work! Later I finally obtained a useable PC at home, and that accounts for my rapid progress and increase in production of reading material – which I’ve been told is somewhat prolific!

Anyway, back in 2005, after years of struggling to find a publisher to take on any of my writing, I chanced upon that wonder (and bane) of our time – the internet – and tripped over the concept of self-publishing! In the same year, I self-published the eBook in its original most basic form on Lulu.com. Over the next few years, I ran several updates in content improvements and covers. In the meantime, I’d also published several of its sequels (“Demonspawn”, “Black Sunrise”, “The Time Saving Agency” and “Space Sux!” which were then all part of the Galaxii series).

Very probably the first cover, 2005.

Another cover for Blachart, 2005.

New series cover, 2007.

In July 2014 I was picked up by a ‘traditional publisher’, a small press. “Blachart” was the first of my books they re-released with a new cover created by one of their staff. The content went through a two-stage editing process, and by the time it was released in late 2014, “Blachart” was around 49,600 words long!

In 2015, “Demonspawn” (book 2 in the series) was re-released by the publisher. With another 5 or 6 books still waiting to be re-released, the publisher dragged their feet to the point where it appeared they were going to release just one book a year! In the meantime I’d had to take the self-published versions all down from all the places they’d been available on the internet, and I wasn’t making any money off them at all!

Fortunately that state of affairs didn’t last very long – due to an identity crisis at the publisher which came to a head in mid 2016 when they booted out all writers of what they called “not pure horror” – I found myself without a publisher again! Instead of feeling distraught, I was overjoyed, and leapt back into indie publishing again – with gusto!

For the remainder of 2016, I worked on putting all my completed books back up on indie platforms again, and then also on completing some unfinished projects. It took a while for me to find my indie feet again, and “Blachart” and its siblings went through several cover redesigns in the process, including a change from print size of pocket book to 6×9.

Both my parents were also writers – unpublished for the most part – and during 2018 I finished editing and publishing of most of my parent’s works. Then I took a look at the channels through which my books have been distributed – and decided that I should also place my titles at Smashwords to gain access to their distribution network also. I later also added EBooks2go to that distribution chain. Every bit of knowledge and trick of the trade I learned, I also applied retroactively to all my books – including “Blachart”.

During 2018 – while I was at it (the most dangerous words known to humanity) as the old saying goes, I spotted a couple of editing errors left over from my “traditional” publishing days, and set off to check the whole manuscript for more!

This sparked off another complete edit – and then I added a little bit here, and a little bit there… and before I realized it, a drastic complete rewrite was underway! (Insert pained groan here).

I evaluated each sentence. I added a stack of more material… back-stories and extras that would enrich and enhance the overall experience of what I had envisioned as the Galaxii Series! Two weeks later, at over 84000 words, the Fifth Edition of “Blachart” was born!

To complete the metamorphosis, I designed a fantastic new cover which would also form the basis of a template for the entire Galaxii Series, and which I also modified for my other series, Quantum and Panic!

It was somewhere around July 2019, that I became friends with Brandon Mullins of Moon Books Publishing – I’d just submitted a short story I wrote regarding the topical “Storm Area 51” event in Nevada for September, which MBP was going to release in good time for the event. A little later, it became evident that we were going to be collaborating more in future! In light of this, I was the Editor for a sci-fi short story anthology “Christina Engela’s Strangely Compelling SciFi” (Dec 2019) and still have a few upcoming jobs to do for MBP.

Brandon wanted to help me distribute my books further, and so around October 2019 I took down all the print versions of my books on Lulu and handed them to MBP for distribution through Amazon. I subsequently decided to leave Lulu and to do the same for the eBook versions as well, although I’ll still be handling eBooks on other platforms.

One of the many ways Brandon has been of immense help to me is in making my books available as audiobooks! Although a number of my short stories had been included in anthologies I’d contributed to when they were turned into audiobooks, this was the very first time a whole novel of mine had been released as an audiobook – and it was amazing to hear it!

In this respect, “Blachart” is the first – and the journey really got interesting at that point! It started with finding a narrator – and Brandon had to put up with my perfectionism and pickiness! Poor guy! *wink* At any rate, after reviewing a few audition clips in February 2020, Brandon sent me one that grabbed my attention – by the throat!

The audition in question came from one Nigel Peever – a BBC and London stage actor who also has a formidable reputation in narrating eBooks! To be blunt, I was definitely blown away – Nigel gave us not just one, but two options – with or without sound effects and dramatization!

Mr. Peever is an extraordinary narrator – not only reading the text with emotional expression, but he also included sound effects in the final mix – so the story sounds rather a lot like an old-style radio play, but all read by one person doing different voices and accents! I think it sounds absolutely amazing! Nigel was also kind enough to design the cover for the audiobook as you see it below – and so he’s also a graphic designer as well!

After much consultation and backing-and-forthing and wondering how we could afford this, Brandon came through for me and did me a real solid! Nigel would record “Blachart” with full dramatization and sound effects!

Due to Nigel having previous commitments to complete, recording of “Blachart” was due to start in April 2020, and the finished production was sent to ACX/Audible at the start of June.

On July 09, 2020 – due to delays resulting from the COVID-19 pandemic, “Blachart” was finally released as an audiobook! When I first heard it, the result was fantastic! As a writer, I’d often imagined the sort of voice I’d like to have my stories heard in – that is, inside the reader’s heads… and what a voice! What talent – what characterization! What interpretation! That said, I can’t quite put into words just how marvelous it is to hear my work, words that I wrote, being not just read aloud in front of a microphone – but interpreted… lived… with depth of emotion and wonderfully appropriate feeling and thought!

People do a lot of things for payment, it’s true – and between us, we all stand to profit from our involvement with “Blachart” – but as the creator of the story I feel a swell of gratitude and appreciation towards both Brandon and Nigel for making the audiobook what it is – and for giving my words a voice.

Nigel meanwhile, is busy recording book 2 in the series – “Demonspawn“, and I can’t wait to hear it!

The final release of “Blachart” is 10 hours 26 minutes long, and I’m sure you will enjoy it as much as I have!

Until next time, keep reading!

Cheers! 🙂

If you would like to know more about Christina Engela and her writing, please feel free to browse her website.

If you’d like to send Christina Engela a question about her life as a writer or transactivist, please send an email to [email protected] or use the Contact form.

Show your appreciation for Christina’s work!

All material copyright © Christina Engela, 2020.

“Blachart” – A Writing Journey I've been writing stories basically since I could hold a wax crayon, and as any writer might tell you, any book they've created holds a special place of its own in their heart!

#audiobooks #blachart #ebook #print #The Galaxii Series

[mercurialsmile]

Limbo is a Legend/Once Upon a Time Trilogy Update

I’ve been meaning to write one of these oops.

I am gonna be 100% honest: haven’t been working on LiaL since like... September. Early September. Mainly due to mental illness, writer’s block, real life in general, aaaand working on other projects (AKA my original novels, prepping for NaNo, and now officially NaNo).

I am still kinda stuck on chapter 3. Good news: I got some great feedback for it by a friend so I have a starting point to go back to and fix it. Bad News: NaNo is here and I also hate rewriting things and still need to figure some shit out!!

More bad news: Rewriting is. Harder than I thought. It’s hard to follow what I put in the original draft of the story when it comes to emotions due to the fact that a lot of things have changed. In general, it’s hard to write emotions for me, especially due to mental fuckery a lot of the times, and I am scared that I am not writing good enough chapters with enough content and am worried about the pace of said emotions and. I scream. It’s basically all screaming into the void.

Another issue: When I originally wrote LiaFT I had. Different views on certain things and in general was a lot healthier mentally than I am now. My views on certain things (AKA Dipper and Bill’s age difference/experience difference) have changed in the past two years, making writing the OUaTT difficult. I can’t really go back and fix LiaFT at this point as. Yeah. Can’t. Impossible. Not really feasible. The entire plot of LiaFT is revolved around Dipper’s flaw of nativity. Making him an adult would make the plot make no sense.

Second issue: I don’t really... ship BillDip anymore? I mean I kinda ship Tad/Bill/Dipper but that’s about. It. Really. It’s all gone lukewarm. And the thing is, the series in itself is based around BillDip. People read LiaFT because it was BillDip. Taking away that ship is unfair to every reader out there who enjoys that ship and would also kinda destroy the target audience of this fic (AKA BillDip shippers). Because people who don’t really like/ship BillDip won’t wade through LiaFT to get to non-BillDip sequels and the people who read LiaFT won’t read sequels that don’t have BillDip. As such, I can’t really change the pairing or take it out or anything at this point.

So. As you can see. I am stuck. In everything. Hrm.

Plus, it’s a huge. Mental toll rewriting 150,000 words believe it or not. Especially when said words are already out to the public. People expect... something better than before obviously and have the old fic to compare to the new fic once said new fic is actually out. It’s a point of stress for me.

And then my opinions on my own writing change by the day. One day, I’m okay I suppose, the next day I am utter shit, and then nah I’m actually pretty great after that. It’s dizzying.

So what does this mean?

Well. For one: this fic series won’t be finished until literally no one is into BillDip anymore at the rate I am going and when all interest is dead.

Two: It’s taking me SO much longer due to.... lots of what I think are reasonable excuses.

Now, some positive to end this post: I do think, for the most part as of right now, I am stuck on a hump, per say. Usually, once I get past humps like this, things are a bit easier. Furthermore, a good chunk of the later chapters don’t need to be rewritten totally, but merely edited, which is a LOT easier as you can imagine. Really, the only chapters that needed to be fully rewritten are roughly chapters 2-16/17/18 or so, give or take. Which is still a lot, mind you (15/16/17 chapters) but that’s just roughly half if not a little more than the entire actual fic length (which is 30 chapters now).

So basically what I am saying: After I get past writing these hellish first chapters, things will go faster. Thing is, NaNo is here and stealing all my focus, I got a first draft novel manuscript to (heavily) edit in December (that’s not related to NaNo), and I am also still workin’ on Icarus and on and off on the BAP AU plus other minor shits.

I’ll try ‘n cut out the BAP AU a little to work on LiaL. I’m rushin’ to finish Icarus to get it out of the way and it’s over halfway done. I can work on multiple novels (writing-wise) at the same time (tho not during NaNo!)

I plan on returning to LiaL in December. Hopefully, real life won’t get in my way, and I’ll be able to sit down and get over this hump and finish writing the rest of it out. 

And that’s my stupid fuckin’ long awaited update! Hell yeah! I’m a disappointment! I’ll get there eventually maybe I’m just fuckin’ slow as shit!

#important #BillDip #OuaTT #LiaL #once upon a time trilogy #limbo is a legend #update #treeangle