Getting Your Social Network Started, Part 1
At writer’s conferences and in critique groups people throw phrases like “social networks” and “platform building” around like cheap confetti. Judging from the glazed look on the eyes of many writers, there seems to be a disconnect between knowing one should work on their online presence, and how to do just that. It’s not enough to tell folks to build a network, because that’s too abstract a concept in a universe of hundreds of social networking Web sites and applications. Worse, all of the jargon is so intimidating many writers begin to justify their absence from the market. “Well, I need to have time to write, not promote myself,” one romance writer told me at this year’s PNWA. Others that I’ve spoken with don’t see the benefit to all of these online sites—it looks to them like a lot of time spent tooling around the interwebs for next to no return on their investment. And that’s a shame.
When I was working in the usability field—trying to match people’s needs with the design of the Web systems they were using—one of the recurring issues I ran into was language. Someone looking for “Data” as a topic in a list of items is likely to miss their target if it comes after the word “Healthcare,” as in “Healthcare Data.” Tiny differences in inches or color contrast or expectations around word choice throw people off more easily than we as confident humans would like to admit, and attitude makes a big, big difference. So if I may pull a little from my past professional experience, let me boil down a few simple steps to establishing an online presence. Read More…
Emerging writers are tired people. We’re working on building our networks, improving our storytelling and writing, marketing ourselves as writers, and fretting over query letters to entice agents to represent us. The idea that novelists sit around eating bon bons and dictating prose into a recorder is a non-author’s fantasy. Real writers wear out their keyboards and keep going.
Earlier this month at the Pacific Northwest Writer’s Association conference in metro Seattle, I went to a workshop on first page critique. The plan as proposed by the panelists, was to have writers bring just their first page of text from their works-in-progress, pass them to the moderator, and listen as the two agents and one editor gave feedback. It sounded to some of us writers like a free craft workshop, which to some degree, it was. But the real gem of helpfulness from this exercise was, in my opinion, the glimpse into how brutal a process of reading unsolicited work can be, and how quickly a publishing professional makes a decision (mostly to reject) a candidate piece of prose.
Cherry Weiner will suck your bad book idea through a straw into a blender and come up with something entirely different, but it will be sellable, damn it. Don’t interrupt Cherry’s smoking time with your shitty book concept.
They take starting pitchers off the mound and send them to nurse their elbows in something like the sixth inning of Major League Baseball games. There is no such relief for the intrepid, emerging writer. It’s pitch until you drop at events like the Pacific Northwest Writer’s Association conference. And here I am, ostensibly dropped, face down on my hotel bed, typing without looking at my hands and thanking Miss Radice of McCorristin Catholic High School that she taught me to memorize a keyboard so well in 1986. 
Maybe it seems like just a couple of weeks ago we all celebrated Memorial Day, and then there was the end of Glenn Beck’s gig on Fox, and suddenly the entire United States was embroiled in an epic saga of betrayal and urgency, all the media trained on one subject that terrified even the most stoic among us—the Casey Anthony trial. No wait, the debt ceiling.
I’m in over my head on revisions to my young adult, time-traveling novel, and truth be told, that’s exactly where I want to be. Of course, I always want to be done already, because there are at least two more projects that I’d love to get started on and they’re beginning to act impatient, stuck as they are at the back of my mind and in the pages of my notebook. But I’m revising right now, and if I’m going to be revising, then I need to be immersed—all of the plot details, characters’ foibles, themes, and accidental lessons up close and personal for me so that I don’t lose sight of them. And I’m sure they appreciate such deft attention.
In many of the books I read as a child, character description came off a bit too formulaic—what she was wearing, the color of her hair and eyes, how pretty or athletic she was, and so on. Next character exposition, same treatment. Sure, I got clear pictures on what the actors in the story looked like, but there was a problem: by using the same process for description each time, nobody in the books stood out.
Let it be known that there are known unknowns and unknown unknowns in war, and also in publishing. I know I’m borrowing from a hawkish, 8-year-old concept, and I’m no friend of Rummy, but in all of his convolutions, he did make a wee bit of sense regarding the limitations of planning.
Trans/plant/portation 