First Impressions: Crafting the Crucial First Page

We all know you don't get a second chance to make a first impression. That's why your novel's first line and first page are so extremely critical--they may be the only thing your potential reader ever reads. Don't take it lightly. I rewrote the opening scene of my first novel more than ten times.

It's that important.

St. Vitus Cathedral, Prague, Czech Republic, 2014, Photo by Erik Lundmark

There are several things to remember as you decide where and how to start your story.

1. Start in the right place

I've seen it time and again in agent writing tips: Make sure your story starts in the right place. Most people tend to start too soon. You want to begin your story just before that turning point where your protagonist will never be the same again--that moment where one crucial event or decision changes the course of the main character's life and begins the adventure. This is often called the "inciting incident."

It's tempting for many novice authors to start too far ahead of that moment in order to establish the character's daily routine first. Don't be tempted to do that. There's a fine line between establishing a character and giving us the character's life story.

On the other hand, it's possible to start too late, too. We've all heard it's good to start right into the action. But an action scene where the reader has no idea who the characters are is self-defeating. In order to care about the players in an action scene, the reader must already know and have sympathy for said characters. Make sure your reader has connected with your character before you put them in danger.

St. Vitus Cathedral, Prague, Czech Republic, 2014, Photo by Erik Lundmark

Finally, a note on prologues: From what I've seen from agents, I think the common consensus is that about 90% of the time, a prologue is unnecessary. If you currently have a prologue to your story, give some serious thought to it. Unless you really can't tell your story without it, it only serves as a red flag for agents.

Prague, Czech Republic, 2014, Photo by Erik Lundmark

2. Don't info-dump

When you are creating your characters, they will have a back-story. Unless they are a newborn, they will have an entire life worth of experiences, situations, and circumstances that make up who the are. It's important for you, as the writer, to know this whole backstory. You can write it out if you want. You need to know that information in order to determine how a character will react in any given circumstance. But the reader does not need to know all of it. And they certainly don't need to know it on page one.

Think about meeting a new person in real life. If you start up a conversation with someone in line at the coffee shop, would you expect them to spill their entire life story to you the first time you met? No. In fact, if they did, you'd probably think they were really weird and get out of there ASAP. Hello, awkward.

Wang Church, Karpacz, Poland 2014, Photo by Erik Lundmark

It's the same in fiction. All you need to know about someone in order to be intrigued is one small element that sparks interest. Perhaps the woman in line at the coffee shop has a tattoo that's exactly the same as one your ex-boyfriend had. Or perhaps you just overheard her on her phone telling someone she can't talk now because she's driving. What? In both instances, you'd want to know more about this person--or at least be curious enough to watch her for a while as you stand in line.

The whole mystery of your character's lives should be sprinkled in throughout the story--providing "aha" moments for your reader the more they get to know your characters. It actually works in your favor to dole out these nuggets of backstory as you go.

St. Vitus Cathedral, Prague, Czech Republic, 2014, Photo by Erik Lundmark

3.  Avoid trope beginnings

Nothing screams novice writer more than a trope beginning. Even if you think you've got a new take on it, unless you are JK Rowling . . . and you are not . . . just don't do it. If your story currently begins with one of the following, run--do not walk--do not pass go--do not collect $200--and change your beginning.

*waking up
*describing the sun or moon
*describing the scenery or weather
*character looking at themselves in the mirror
*first day of school
*a dream
*dialogue

Wang Church, Karpacz, Poland, 2014, Photo by Erik Lundmark

4. Make every word count

There are many contests out there that are based on the first 250 words of your story. That's all you get. That's not a lot. That's essentially one page. There's a reason for this. If all you had was 250 words to get a reader interested in your story, you'd want each one of those words to pack a punch. Here's where you need to use your amazing writerly skills to make each word do double the work. Make sure these sentences are crafted to the utmost perfection. Make sure you are "showing" your reader, not "telling." This is a hard thing to do, but think of it this way:

They say a picture is worth 1,000 words. So you need to use your words to paint a picture. If you paint a picture with your words, the value of each word suddenly increases. You need less words to get your meaning across because the reader is able to visualize what you've written--you've created a picture in their minds--and they will fill in the words for themselves. For example:

Telling: "It was really cold outside."

Showing: "Icicles formed beneath the eaves."

Both sentences are only five words, but which one paints a picture?

Wang Church, Karpacz, Poland, 2014, Photo by Erik Lundmark

5. Establish a connection

The most important thing you must do in that first page is establish a connection with the reader. That's usually done (and especially in YA) through forging a connection between the reader and the main character. If your reader is going to spend several hours of their life with a character, it better be someone they are interested in. What makes your protagonist unique? Spark the reader's interest with something that makes your character stand out or makes your character relatable.

St. Vitus Cathedral, Prague, Czech Republic, 2014, Photo by Erik Lundmark

If your first 250 words can stand on their own to intrigue a reader, you've done your job.

*This post is one in a series: "So You Wrote a Book! Now What?" Click here to view more topics.*

Going Up? Then Boil it Down: The Elevator Pitch

There's nothing I hate more than when I tell someone I'm writing a book and they say, "Oh! What's it about?"

Siena, Italy, 2013, Photo by Erik Lundmark

Boiling your whole 90,000 word novel into one sentence can be overwhelming. I always get tongue-tied and say something that sounds completely ridiculous--as if anyone would ever buy a book about whatever stuttering spewage just came out of my mouth.

Siena, Italy, 2013, Photo by Erik Lundmark

Now imagine the person is not a passing stranger, but an agent you've just met at a conference or in an online Q&A forum. They ask for a pitch. What do you say?

Freak out time!

Siena, Italy, 2013, Photo by Erik Lundmark

So before you get into that situation, you should craft an elevator pitch. Think 35 words or less.

How the heck do you do that?

Siena, Italy, 2013, Photo by Erik Lundmark

This is where some great Twitter contests come into play. Two awesome contests that can help you hone your elevator pitch are PitchMas (held in December and hosted by Jessa Russo and Tamara Mataya) and Pitch Madness (held in March and hosted by Brenda Drake.) *Hint: Pitch Madness submission window this year is February 24.*

Siena, Italy, 2013, Photo by Erik Lundmark

Now--remember--you don't want to actually enter one of these contests unless your manuscript is polished, you have a smoking hot query letter, and you're all ready to put that manuscript out in the world. If your pitch is good enough that you are selected, agents will ask for your manuscript. And while this is normally a good thing, if your manuscript is not ready yet, you risk sending it out prematurely, looking like an amateur, and forfeiting another chance with said agent on this manuscript. So heed this warning!

However, the reason I bring this up is that a number of contests have "practice rounds" where you can get peer--and sometimes professional--feedback on your pitches. Follow their hashtags a week or so before a contest and you'll likely find other writers who are working on their pitches. There are many people out there who are happy to trade pitches. Last year there was a super helpful mini-workshop on the hashtag #prapit run by Michael Mammay. He gives tips on crafting your pitch on his blog.

Siena, Italy, 2013, Photo by Erik Lundmark

So, where to start? You've got to do some real soul-searching and boil your story down to the bare essentials. What are the bricks that make up your story? And what makes your story unique?

Think specifics. 

Questions to think about:

Who is your protagonist?
What does this person want?
What happens to change the course of this person's life?
What does the person have to overcome?
What is at stake if the person doesn't overcome?
What makes your story stand out from the rest?

Siena, Italy, 2013, Photo by Erik Lundmark

If you are magical (and I know that you are) you can answer all these questions in 35 words or less. Get creative. Make every word count. Use strong verbs and loaded adjectives.

Boom--you've got an elevator pitch!

And if you can do it in 140 characters or less, you've got a Twitter pitch!

Now that you know what to include in your pitch--here's a great list of all those cliché, amorphous, completely vague phrases that you should leave out of your pitch. Michele Keller has a great article here. Go on. Check. If you have any of these phrases, cross them off and try again.

Siena, Italy, 2013, Photo by Erik Lundmark

Write a couple of different pitches--looking at your work from different angles--and see which one people respond to. Before you know it, you'll be ready to tell anyone what your book is about without hesitation. And they'll get the big picture.

Siena, Italy, 2013, Photo by Erik Lundmark

*This post is one in a series: "So You Wrote a Book! Now What?" Click here to view more topics.*

How to Meet your Match: Knowing which Agents to Query

As you prepare your manuscript for querying you may have heard that unless an agent *loves* your manuscript, they will not offer representation. They have to be just as passionate about your work as you are. So how do you know which agents are most likely to *love* your work?

Since February is the month of love, I thought this would be a great topc. And what better place to talk about love than with pictures of Paris--the love capitol of the planet. Ooh, la la!

Paris, France, 2013, Photo by Maya Lundmark

Because the publishing industry is such a subjective field, approaching the right people is key. You could just send your query to every agent out there (which would be an utter waste of time) or you could do your homework and find out who is most likely to be interested in your work (and thus save yourself a measure of rejection.)

Louvre Museum, Paris, France, 2013, Photo by Erik Lundmark

Think about it. Say you join an online dating website. Imagine you spend some time putting together your dating profile and indicate that you enjoy going to the theatre, reading books, and are an avid figure skater. You also say you are looking for a male who also enjoys these things. How would you feel when you get a date request from a guy who likes to play online games, watch football, and eat pizza? Or a date request from a woman who also likes theater and books. Neither of those options are going to work for you, and you will probably delete their requests without reading further.

Rodin Museum, Paris, France, 2013 Photo by Erik Lundmark

So why would you send your adult sci-fi thriller to an agent who states she only reps children's literature? Or an agent who specifically says sci-fi is not her cup of tea? You're just asking for rejection. And you will get it.

Rooftop, Notre Dame Cathedral, Paris, France, 2013, Photo by Erik Lundmark

Take your time researching agents and getting to know them. At the very least spend as much time as you would expect them to spend reading your query and sample pages. But, really, more is better. And it's a process. It shouldn't necessarily be done in a day. When your book is completely done and ready to start querying is the wrong time to start looking at agents. Start now, while you're in revisions.

How do you research agents? It's easier than you may think.

Tuileries Gardens, Paris, France, 2013, Photo by Erik Lundmark

One huge recommendation I would make is to sign up for a free account on Query Tracker. If you have no other place to start, at least you'll have a list of agents with links to their agency websites. Agency websites are so important. They generally have a brief description of what each agent is looking to represent. It will tell you what books they currently represent and submission guidelines for when you're ready to take the plunge.

Louvre Museum, Paris, France, 2013, Photo by Erik Lundmark

Remember that most agencies only allow you to query one agent at a time. Keeping this in mind, you can read about all the agents at a particular agency and choose which of them is most likely to be interested in your book. If they turn you down, you can submit to the next best agent. But remember, in some agencies a 'no' from one is a 'no' from all, so be sure to check agency guidelines and choose wisely.

Sainte Chapelle, Paris, France, 2013, Photo by Erik Lundmark

Agency websites are not the only place you can find out about agents. Most agents have a Twitter account you can follow. It's a great way to get an idea of an agent's personality, likes, dislikes, pet peeves, etc. You can tell a lot about an agent by what they post on Twitter. And, at appropriate times, you can even interact with them. Like their posts, read their blogs, send them a GIF if they're having a bad day. (Just DON'T ever use Twitter to pitch to an agent unless it's part of an organized contest.) 

Louvre Museum, Paris, France, 2013 Photo by Erik Lundmark

Agents often have personal blogs. Follow them. Read them. You can also search for interviews with agents. Amy Trueblood has a great resource on her website, Chasing the Crazies, called First Five Frenzy. She has posted interviews with agents on what they look for in a query. Writer's Digest posts information about new agents on their website under Guide to Literary Agents.  

Eiffel Tower, Paris, France, 2013, Photo by Erik Lundmark

You can always do a search for "interview with xxx agent" and see what turns up. The more you know about an agent, the easier it will be to know if they may be a good fit. And it will also give you some details you can bring up in your query to let the agent know you've done your homework and you are specifically choosing them.

Of course you can always meet them at a conference or get to know them in a Q&A session of an online conference. This may not be feasible for everyone, though.

Loves Lock on Pont de l'Archevêché, Paris, France, 2013, Photo by Erik Lundmark

One last, favorite, way I have learned to find agents is to look at the author thank you page in books I have enjoyed reading. More than likely, their agent will be named. It's really helpful if you can mention in your query that you enjoyed a book they represent--especially if your book has the same target audience. It shows the agent you know your book's market.

Even if you are not ready to query, go ahead and start building a list of agents you think might make a match. You'll be surprised how many you can find who may be a match. And one day, you'll find just the right agent who is looking for the very thing you've got--and you can lock yourselves in agent-client bliss, and throw away the key . . . (well, maybe).

Seine River, Paris, France, 2013, Photo by Erik Lundmark

*This post is one in a series: "So You Wrote a Book! Now What?" Click here to view more topics.*

So you think you can Tweet? Twitter 101 for writers

Getting involved on Twitter can be scary. When a critique partner suggested I participate in a Twitter pitch contest, I didn't even really understand what Twitter was. It took me a while to figure out what I was doing, but once I did, I was hooked. It has been a fantastic tool for me as a writer. The writers' community on Twitter is huge, helpful, and active. If you use it right, you will make more industry connections than you could in person at a conference.

Museum für Moderne Kunst, Frankfurt, Germany 2013, Photo by Erik Lundmark 

The first thing you need to do is create a Twitter account and profile.
A really good idea for your handle is: YOUR NAME.

Museum für Moderne Kunst, Frankfurt, Germany 2013, Photo by Erik Lundmark

You'll want to add a catchy profile picture (a nice head-shot) and an interesting background. No one wants to follow the ugly egg default. Using your actual photo makes you seem like a real person. Because you are a real person, right?

Museum für Moderne Kunst, Frankfurt, Germany 2013, Photo by Erik Lundmark 

I recommend keeping it professional. Agents will look you up on Twitter if they are interested in your query. Make sure the face you put forward is the one you want to reflect. Link your website or blog if you have one.

Museum für Moderne Kunst, Frankfurt, Germany 2013, Photo by Erik Lundmark 

As for your bio, it will help you network if you put "writer" somewhere in there. If you have special interests or experience you can add that. Add something professional, something personal, something that others can relate to, and something that makes you stand out or sets you apart.

Museum für Moderne Kunst, Frankfurt, Germany 2013, Photo by Erik Lundmark 

Once you've got your profile all set up, you'll want to start following a few people. It's a good idea to follow agents you are interested in subbing to. You can get a feel for their style and personality by the things they tweet. They also tweet important things like #MSWL (manuscript wish list--things they would like to see come across their inboxes), new clients, book deals, and query inbox updates. They may also post a #querytip (things to do or not to do when querying) or even just fun facts about themselves.

Museum für Moderne Kunst, Frankfurt, Germany 2013, Photo by Erik Lundmark 

And then, of course, you'll need to start getting some followers. But HOW do you get them?

Museum für Moderne Kunst, Frankfurt, Germany 2013, Photo by Erik Lundmark 

You can scroll through some writer feeds. Some of the most common are #amwriting, #amediting, #amquerying (not sure why the am, but it's there.) #writerslife, and #bookconnect. Try connecting with people there. Follow a few and see if they follow you back.

But the best way to meet other writers, I have found, is by playing a hashtag game. Yep. Games.  There are all sorts of writers' games on Twitter. Several any day of the week. Mica Scotti Kole has put together a great list of them here. But I think by far the most popular is #1linewed.

Museum für Moderne Kunst, Frankfurt, Germany 2013, Photo by Erik Lundmark 

Here's how it works:

Open up your shiny new Twitter account. Look for the user @RWAKissofDeath to find the week's theme. (You'll see it--it should be pinned at the top of the feed.) Go ahead and follow. It's a nice thing to do.

If it is Wednesday, mosey on over to the #1linewed feed and have a look. You'll see many people have posted lines from their WIP (work in progress). Once you see what they look like, make your own post. Search your document for the theme word and when you find a particularly good line that goes with the theme, post it. Just make sure you leave enough space for the hashtag. You must include #1linewed in your post or it won't show up on the feed for others to see.

Once you've thrown a line out there, go sift through the feed. If you like someone else's line, go ahead and hit that heart button. If you really like it, retweet the line. Then follow the writer. Keep reading. There are enough lines, you could scroll all day and find amazing lines. Keep scrolling and liking and retweeting and following. More often than not, writers will follow you back. And they will like your lines. And they may even retweet them.

And it will make you happy.

Don't be shy about liking or retweeting! And don't feel guilty for playing games. I have found that playing the weekly theme helps me find all my overused words, really dumb sentences, and typos. Also, it helps me hone my good lines, (sometimes you have to edit them to fit.)

Museum für Moderne Kunst, Frankfurt, Germany 2013, Photo by Erik Lundmark

A few tips for playing these hashtag games:

• The more you interact with others, the more they will interact with you. 
• Don't tweet every single line in your manuscript that has the theme word in it. There's value in quality, not quantity.
• Choose a handful of really good lines and stagger tweeting them. Tweet one, read the feed for a while, then tweet another.
• It's also good to tweet when the feed is busiest, which is usually around 8:00-9:00 AM Eastern, at lunch time, and around "quitting time."
• If your line is too long, see if you can edit. I don't recommend doing a screen shot or a fancy picture. A good line will stay within the character limit and stand on its own.

Now get out there and start tweeting. (I'll talk about Twitter contests in another post.)

Museum für Moderne Kunst, Frankfurt, Germany 2013, Photo by Erik Lundmark

*This post is one in a series: "So You Wrote a Book! Now What?" Click here to view more topics.*

Finding Feedback

So what happens when you're finally brave enough to open up that manuscript to eyes other than your own? Who should you get to read your manuscript?

Who would have time to read your *gasp* whole book and give you actual feedback on it?

It may be tempting to have your mom, your spouse, your best friend, your roommate, your grandma, or your sister read it. 

Trust me on this one . . .

DON'T DO IT.

Amalfi Coast, Italy, 2014, Photo by Erik Lundmark

They all love you too much to give you the kind of feedback you need. And unless any of them are seasoned writers, you may not want to take critical advice from them even if they give it.

What you need are objective critique partners--people who are also building their writing careers and who have some (even if limited) understanding of the industry. As a bonus, it's always great to find people you don't know in real life. They will give you the down and dirty criticism your book really needs to be the best it can be.

Good critique partners are a pillar of successful writing. 

Athens, Greece, 2014, Photo by Erik Lundmark

So how do you find these people? Where are they hiding? And will they actually read your manuscript?

Until I got into this whole crazy writers' world, I didn't know it but they are literally . . . 

EVERYWHERE.

Ephesus, Turkey, 2014, Photo by Erik Lundmark  

There are so many places to find critique partners. So instead of giving you a list, I'll give you a link. 

Kathy Yardley already compiled a great list of places to look for critique partners on The Write Life.   

I can tell you that I have found solid critique partners through several venues. 

Sometimes you can find real life friends who just happen to be writers as well. I have one such friend. We used to meet every two weeks at a lovely cafe in Germany and share comments on swapped segments of our current projects while snacking on heavenly Bavarian pretzels and hot cocoa. 

What I appreciate most about Britta is that she always gave it to me straight. She told me what she loved about my work and didn't hesitate to cross off whole chapters of my story when they needed to be pruned. But she always built up my confidence and believed in me. (And even though I moved back to Texas, we still swap via email. She's my first line of defense on a new story.)

Ephesus, Turkey, 2014, Photo by Erik Lundmark

I have also found two great partners via the Ladies who Critique website. The site is free and easy to navigate. I found CPs within 24 hours of posting. Linda and Giff have been invaluable to me in helping me hone my skills as a writer. They've both contributed to my work in tremendous ways. They had amazing patience with me when I was first starting out, and I've learned so much from both of them.

Athens, Greece, 2014, Photo by Erik Lundmark

I was lucky enough to find Andy during Megan Lally's #CPMatch last year. I can't wait to pass the next draft of my current project to Andy, who gives me such a great perspective on my own work. He really stretches me to take my writing beyond what I expected it to be. (Not to mention, his work is really fun to read!) 

Sorrento, Italy, 2014, Photo by Erik Lundmark

The next round of #CPMatch is on January 22, 2017, so don't miss out! 

I have plans to swap with other CPs and beta readers I've met through Twitter contests, Facebook writer's groups, and workshops. It's good to mix it up with trusted tried-and-true partners and fresh, new eyes. 

It's not always easy to know when you're going to find a good match. And it's okay to go your separate ways if you try a sample chapter and know you're not going to mesh well. 

Having a bad critique partner can be just as detrimental to your work as a good one can be helpful. 

Don't let a bad critique partner be the death of you.

Pompeii, Italy, 2014, Photo by Erik Lundmark

Susan Crandall has a fun 3-part article called Finding a Critique Partner, It's Like Dating, Only Harder.

Being a good critique partner in return is just as crucial to the success of any critique partner relationship.

The Wise Ink Blog has a great article on how to be a good critique partner.

Amalfi Coast, Italy, 2014, Photo by Erik Lundmark

Find solid critique partners, and before you know it, you'll have amazing feedback you can use to bring your story to the next level and get yourself that much closer to your goals.

Ephesus, Turkey, 2014, Photo by Erik Lundmark

*This post is one in a series: "So You Wrote a Book! Now What?" Click here to view more topics.*

A Time to Rest

One of the most important things you can do after you've written a manuscript is give it a rest.

Andalsnes, Norway, 2014, Photo by Erik Lundmark

Chances are, you just spent an intensive month or so working, climbing, writing and falling head-over-heels into your newly created world. Writing sprints such as NaNoWriMo are great to get the creative juices flowing, and the complete immersion in your story helps get it all down on paper.

When you finish that climb, put your story away.

Give it some space. It wants to be alone for a while. 

Bergen, Norway 2014, Photo by Erik Lundmark

Just like all good things, your manuscript needs time to percolate.

For good bread, you must let the dough rise.

For good tea, you must let the leaves steep.

For good stew, you must let the flavors simmer together.

And for a good book, you must leave it alone.

When you're too close to your story, things start to get murky and you don't even realize it.

Bergen, Norway 2014, Photo by Erik Lundmark

The good news is that there are many things you can do while you give your manuscript a “rest.”

The two most important things you can do are READ and WRITE. 

Trinity University Library, Dublin, Republic of Ireland, 2014, Photo by Erik Lundmark

READ

Reading recently-published books in your genre will give you a taste of what agents and publishers are championing. It's like an odd form of osmosis. It will simmer in your brain. 

A good way to find out what is selling in your genre is to watch for new book releases on Tuesdays. (If you follow agents, they will usually tweet about their clients' book releases, too.)

You can also keep an eye out for which books make the NYT bestseller's list.

Up-and coming writers sometimes offer ARCs (Advance Reading Copies) of their books as giveaways on Twitter or their blog. These copies are available before the book is actually printed, and you might score one for free. This is a "fresh" as it gets.

The more you read, the more you will learn about how to write a good book. As you read, pay close attention. Read as a writer. Look at last lines of chapters. Look at first lines of chapters. Read the opening page of as many books as you can. Pay attention to how characters drive the plot. Note their character flaws. Watch how they change and progress through the novel.

Nothing improves your basis for sound writing and storytelling than reading.

Highland Folk Museum, Newtonmore, Scotland, 2015, Photo by Erik Lundmark

WRITE

Another thing you should do is start a new project. Make an outline for your next story and start writing. Never stop writing! The more you write, the more you'll develop your voice. It will help you when it comes time to edit your manuscript.

Your writing project doesn't have to be a novel, either. Short stories, poetry, magazine articles . . . It's all writing. It's a creative process. It's how you hone your craft. Don't stop, even if you are "resting" a story.

I recommend taking at least a month away from your project--perhaps more. When you return with fresh eyes, you'll have a much clearer picture, and you'll be ready to edit.

Andalsnes, Norway, 2014, Photo by Erik Lundmark

*This post is one in a series: "So You Wrote a Book! Now What?" Click here to view more topics.*