Official Website of Holly West | Crime Fiction Writer

Turned Tables

Well, sorta.

I'm officially querying again and so far, so good. My only real complaint is that it takes awhile to get responses, and since I'm not generally known for my patience, I've resorted to even more obsessive-compulsive gmail refreshing than usual. Stay tuned though, I'm sure I'll have plenty of complaints later.

Yesterday I spent some time on QueryTracker.net looking for agents to query. This is a good task for me, as it feels sort of like time-wasting and yet is a necessary part of the book-writing process. It's certainly easier than actually writing a novel, and anything that feels like progress in my quest to get published that doesn't actually require the gut-wrenching task of writing is okay by me.

Should I not refer to writing as gut-wrenching? Perhaps not. Except for me it often is.

Anyway, back to QueryTracker. My search yesterday was broader than I'd done in the past and thus included many agents I hadn't heard of before. As part of my research, I went to their websites, read the QueryTracker comments, and generally did my homework to decide whether I wanted to add them to my list.

Since I started writing Diary of Bedlam nearly four years ago, I've learned quite a lot about what agents are looking for when they sort through queries. So much of it is subjective, but there are a few things, like following of submission guidelines and professionalism, that are expected across the board. But yesterday, I realized that as a writer, there are a few basic (and possibly superficial) things that I'm looking for as well.

First impressions definitely count.

1) If an agent uses a hotmail address, he/she is probably not the agent for me. Heck, at this point, I'd have second thoughts about doing business with anyone who still uses hotmail for business purposes.

2) If an agent still has the equivalent of an AOL circa 1997 website, I'll probably skip sending them a query. I certainly have nothing against AOL--heck, I met my husband via that service in 1996, but a professional web presence counts a lot. I'm not saying an agency has to spend loads of money on a fancy website, but I draw the line at websites using Comic Sans as a primary font.

3) I hesitate to mention this last one and I'm certain there will be people who disagree with me, but at this point, I'm skipping agents who do not accept queries by email. I understand they have their reasons for it and there are a few top-notch agencies who only accept queries by post that I'll probably end up querying, but for now email makes more sense to me.

I have other criteria, of course, but these are the things that stop me in my tracks almost immediately. As writers, we are all looking for the best agent to represent our work, and to me, the first two items mentioned speak to an agency's ability to represent me in the way I expect to be represented.

What do you think? Am I being too picky?

Write the Best Novel You Can

What does it mean to write the best novel you can? I think I might finally have the answer.

Over the weekend I attended Left Coast Crime in Sacramento. It was a great conference this year, filled to the brim with entertaining and informative panels, including a sort of "writing track" that featured panels about getting an agent, self-publishing, and the business of writing.

One session included a panel of two agents, a freelance editor, and Keith Kahla, Executive Editor at St. Martin's Press. I mention Mr. Kahla by name because he answered what I believe is an important question--one that I've been wondering about since I started writing DIARY OF BEDLAM.

As writers, we're always told to write the best novel we can. Make sure it's polished. Then, and only then, do we take the next step in the publishing process. For me, the next step is finding an agent.

But what does it mean to write the "best novel you can?" How good is good enough? Admittedly, the answer changes depending upon who you ask; no question the manuscript has to be polished, but it also has to be saleable. The structure and plot and characterizations need to be well-crafted, but it also has to be saleable.

Let's for the moment forget about the questions of grammar and spelling. We'll assume that your novel is perfect in this respect. Let's also assume that your novel's concept is saleable, that is, there's a market for it. It's a big assumption, sure, but there's no point in continuing this conversation if your novel isn't saleable (this goes for self-publishing too). 

So assuming the above, let's ask the question again: "What does it mean to write the best novel you can?"

It means, according to Mr. Kahla (and forgive me, I'm paraphrasing his actual statement), that when it first comes to him, the novel must be to a standard that if no changes whatsoever are made, he'd still be comfortable publishing it.

If you think about it, this makes a lot of sense. There are some aspects of the publishing process that the writer still has some control over, and revisions are one of them. Revisions to the story are essentially suggestions, and if the author feels strongly against a particular change, he/she can argue against it. If an agent or editor doesn't feel comfortable publishing it from the very beginning, there's no guarantee it will eventually become something they will feel comfortable publishing.

Now that I have the answer to the question, at least according to one editor, I have to admit it's a tall and daunting order. I'm finishing the last hundred pages of copy editing DOB today and in my non-expert opinion, the novel is ready for the printing press. But I thought that a year ago when I first started querying, only to begin a huge revision on it three months later when a few agents suggested it. There's no doubt they were right--the novel is 100 percent better now.

There's only one thing I'm absolutely sure about when it comes to writing and publishing a novel--there will always be something else to learn, something else that can be done to improve the manuscript. Beyond that, there's no certainty. But for now, I'm glad to have an answer to one more question.

Hold it Right There, Buster

AKA: FInish Your Manuscript Before Querying Agents

I'm at the tail end of this latest revision on Diary of Bedlam. So close I can taste it, in fact. And frankly, it's tasting pretty darned delicious.

This was a huge revision. I cut about 30,000 words, re-arranged many scenes, wrote new scenes, etc. The result is a much stronger book, there's no question about it. It's taken about six months to complete, but after reading this version I can confidently say it was worth the extra time.

That's not the reason for this post, however. I'm close enough to finishing that I have a case of "premature query-itis." What does that mean? It means I'm itching to start querying agents again. After all, it takes awhile to get a response, right?

Actually, that wasn't my experience in my first round of querying. Agents who were interested in seeing fulls or partials pretty much replied within days (sometimes hours). I was thankful I had the manuscript ready to send as soon as I got their requests.

Even agents who rejected me replied fairly quickly.

I'm not saying that every single agent had their finger on the send button as soon as they received my query, but enough did that I know how important it is to have a finished manuscript when you begin querying. You don't want to get a request for more material and not be able to send it right away. Well, at least I don't.

I've never seen an agent's submission guidelines that didn't say something to the effect of "Only query a finished manuscript." So yeah, all of this is rather obvious. But I can't be the only novice who thinks "I'm so close to being done, let me just send a query to see what response I get."

It happened before my first round of queries (but I somehow found the strength to resist it) and it's happening again now.

So really, this post is just about me telling myself "Whoa there, take your finger off the send button. FINISH YOUR MANUSCRIPT!"*

*And by finished, I mean properly formatted, copyedited, ready-to-go, no exceptions.

 

Two Bits of Advice

1. Read your work aloud

2. Write flash fiction (generally stories 1000 words or less).

Diary of Bedlam

Update 3/27/12

I am seeking representation for my 80,000-word historical mystery, Diary of Bedlam, a standalone novel set in 1678 London with series potential:

Lady Isabel Wilde, a former English spy and occasional favorite in King Charles II's bedchamber, has a secret: she makes her living disguised as Mistress Ruby, a fortuneteller who caters to London's elite. Charlatans, rogues, villains, and swindlers lurk in every corner of the city, and Isabel concedes she is one of them. But hard experience has taught her that women have few enough advantages in this world, and her conscience does not often bother her.

Playing with the Big Boys

This past Sunday night, I was invited to read a passage from Diary of Bedlam at the first Noir at the Bar L.A.

Eric Beetner, Stephen Blackmore, Josh Stallings, and Duane Swierczynski also read. I suppose it's appropriate to ask the question: Including my own, which of these names are not like the others? You guessed it: Holly West.

I'll be honest. I was terrified to read my work in front of this crowd. Not only was this to be Diary of Bedlam's first public outing, my work is considerably fluffier than the pull-no-punches, skulls-blown-to-bits stories these guys put out. I love reading the hard stuff, but I don't write it because when I do, it's trite, derivative, and fake. I'm a big believer in knowing your strengths, and playing them up to the hilt.

Not that I don't also believe in doing something new and challenging once in awhile.

So with that said, I did the only thing I could: I donned a push-up bra, black leather boots, and pretended like I knew what the hell I was doing.

For the most part, it went well. I certainly have no regrets, though I still wonder if perhaps I could've picked a better passage. That was the hardest part, you see--figuring out what to read. What best represented the tone, characters, and story of Diary of Bedlam? I'm not sure I nailed it, but the passage I picked at least did the job.

One thing I learned from this experience that I will certainly be putting into future practice: Reading your work aloud is an excellent editing tool. I'd heard this before and had even done it a little whilst editing Diary. But now I kind of think that every scene in every novel, every story, should be read aloud because it's easier to identify superfluous words and passages that don't work when you hear them, not just read them.

Many, many thanks to Eric Beetner, Stephen Blackmore, Aldo Cacagno, Josh Stallings, and Duane Swierczynski for letting me play author for a night. Makes me think someday I might be doing it for reals.

Patience, Young Grasshopper

I attended the California Crime Writers Conference in Pasadena this weekend. What a great time. I met a lot of new people and got to know several people better. We all talked incessantly about writing, books and careers, and everything in between. In the process, I took away loads of great advice.

Patience
The first bit of wisdom I took with me was something I already knew, though it seems that I require daily reminders of its importance. Writers must have patience. Patience is something I've always had in short supply, but I'm going to have to cultivate it if I want to be happy in this career I've chosen (sometimes I feel like it chose me). 

Until I started my search for an agent, I had no idea how much patience would be required of me. The process goes something like this: I send my query, the agent responds, usually within a couple of days, asking for more material. I send it on thinking they've been waiting with nothing to do for my brilliant manuscript to make its way to their computer. Of course as soon as they get it they're going to read it, love it, and offer me representation, right?

Turns out agents have other stuff to do besides reading my manuscript. In fact, they might not ever get around to reading it. At the very least, it is typical to wait weeks or months for a response, even when they've requested a full manuscript. 

It's June. Already.

June is my birthday month. When I was a kid, I hated having a birthday in June because school was already out for the summer and it meant I couldn't be celebrated at school the way other kids were when it was their birthdays. I'm sure my mother was pleased, however, because she never had to schlep 30 cupcakes into my classroom.

Speaking of my mother and cupcakes, here's a somewhat funny story, and I don't think she'll mind me telling it. For various reasons, my parents locked onto the health food craze early on. Certainly before any of my friend's parents (if they ever did). Progressive, right? Uh, no. It was the bane of my 13-year-old existence (along with the 1968 Oldsmobile they picked me up from school in). Back in those days, one didn't have stores like Whole Foods or even Trader Joe's, stocked full of healthy options that actually taste good. My mom's version of health food was carob, no salt, no fat, and wheat germ sprinkled on everything. 

But I digress. 

At some point during this time, my mother was called upon to bring a baked good to a school or church function and she chose to whip up a carob concoction--I do believe they were cupcakes of some sort. She set them down on the table and awhile later a lady picked one up, took a bite and said "Ew, what is this?" She might've even let an expletive fly. I know I would have. But my mother was standing close by and she heard everything, causing her much hurt and embarrassment. Her response to the incident now is "What was I thinking?" Indeed, mother, indeed.

Of course, this post was meant to be an update of what's happening in Diary of Bedlam land, so I suppose I should get on with it. I am, at the moment, looking for an agent, which means sending out query letters to various agents and agencies, hoping they'll at least want to take a look at my manuscript. On the whole, the response to these queries has been great--I'm at about a 35-40% success rate and the manuscript is currently being read by four agents with a fifth one who asked for more material. Definitely not something I'm complaining about.

That said, there haven't been any offers of representation and not only is it possible none of these agents currently considering the manuscript will make an offer, it is extremely likely they will not. Such is the nature of the process, I'm learning. Still, I'm optimistic, I really am.

I'm also writing the sequel to Diary of Bedlam, the working title of which is Diary of Deception. It took me three years to write Bedlam, so I'm hoping to finish this one more quickly. I need to learn how to write a polished novel in 6 months or less, I think.

In a few weeks I'll be 43, can you believe it? Well, I'm sure you can, but I certainly cannot. 

You Always Remember Your First

At least that's what author Darrell James said to me on Facebook today. I believe him.

The first of which I speak is sending out my first agent query for DIARY OF BEDLAM. I did that yesterday, and I've sent two more today. I guess I'm gonna keep doing that until one of them falls at my feet and begs to represent me.

Wait, wha...? I'm sorry, I dozed off there for a second. I must've been dreaming. Hope I didn't say anything foolish while I was out.

It feels wonderful to finally send DIARY OF BEDLAM (well, at this point, just a synopsis of it) out into the real world. For so many months, or years, actually, I struggled for it all to come together. Then one weekend *poof*--the novel was finished. Now it's not just finished, it's polished.

And you know what? I AM SO PROUD OF IT.

I know it's rude to use all caps--it's considered shouting. But if I had a taller ladder I'd climb up to my roof top and shout this to the world:

FASTEN YOUR SEAT BELTS, READERS, BECAUSE BEDLAM IS ABOUT TO BE UNLEASHED.

Or something like that.

Since I don't have a taller ladder, I'll probably just sit here hitting the refresh button on my email and checking my spam folder until I get a response from an agent.

 

Plotting (My) World Domination

So yeah. You may have heard I finished DIARY OF BEDLAM. After giving it a good read-through, I can confirm that I love it. It is everything I wanted it to be.

Sure, it still needs some polishing. I have my own notes, and now I'm waiting on feedback from my beta readers to see what they think. But the key word here is "waiting." I don't want to touch the manuscript again until I get their comments. When I do, I will re-emerse myself in it so I can start shopping that puppy ASAP.

But waiting means I have a little time on my hands to plot my next novel. Initially I thought I'd jump right into the sequel to DIARY OF BEDLAM. But I also want to write a stand alone and a short story. Sure, a more disciplined person could do both, but in case you haven't been reading this blog over the years, I AM NOT THAT PERSON. I'm a one-project-at-a-time girl.

There's a novel I've wanted to write for at least ten years which takes place in contemporary Santa Monica. After spending so much time in 17th century London, I kind of think it might be time to put that old adage "write what you know" into practice. Then again, it has a male protagonist. What do I know about being a dude? Still, it explores a theme I'm interested in: what happens when you accidentally kill another human being? What does that feel like? How do you live with yourself?

But truth be told, I'm reluctant to leave Isabel Wilde (DOB's protagonist) and her world for any length of time. I'd really like to get a jump on the sequel by the time I'm looking for an agent.

Not that I'm complaining. Life is damned good right now, and it's nice to have choices.

(Okay, so after thinking about it, I'm 99% sure I'm going to start on the sequel to DOB. Stay tuned).