Factors to Consider When Plotting a Novel

Over the years, I’ve had some fabulous writing instructors here in San Diego. Some of the classes were taught at the UC San Diego or San Diego State University extension programs, others were at local community colleges or writing organization meetings. A few of the wonderful teachers I’ve had include Drusilla Campbell, Carolyn Wheat, Bonnie Zobell, Mary Balogh, and Diane Dunaway – all talented writers, in addition to being great instructors.

I recently came across notes from some of these classes and thought I’d share a few of my favorites. Many of these changed my life as a writer; in fact, I considered the following list so important, I pinned it to the wall above my computer while I was writing my first novel, Coyote Heart.

The following notes came from a course on novel writing, taught by Drusilla Campbell. I send deep thanks to Drusilla for sharing these tips and for her wonderful insight and instructive wit.

Here is a list of factors to consider when plotting your novel:

▪ Characterization is key.
▪ The story will demonstrate your character’s growth, her change from one kind of person to another.
▪ There will be a back-story influencing the current story.
▪ The story is about something that matters (a strongly-held belief).
▪ The story will not be predictable.
▪ The story will be full of conflict, tension, and suspense.
▪ The story will be rich with emotion.
▪ The story will be detailed and sensory.
▪ There will be a major inciting incident that will take the main character out of her comfortable state and put her in trouble.
▪ After the inciting incident, the major character has a goal, which can be put in the form of a question.
▪ The goal is always something tangible, though it may represent a spiritual or moral goal.
▪ There will be mystery in your story.
▪ Your plot will constantly generate questions in the reader’s mind.
▪ There will be a mix of good and bad characters, and no one will be either too good or too bad.
▪ Every character will always be fully motivated.
▪ Opponent(s) will thwart the view point character’s goal.
▪ The story will be about an active hero.
▪ There will be a darkest moment for your heroine.
▪ The hero and his opposition will confront each other at the end.
▪ Your story will follow the patterns of cause and effect, stimulus and response.
▪ Any flashback will move the story forward and deepen characterization. PROMISE.

A Unique Idea for Promoting a Year-old Book

One of the best parts about being a book publicist is that I learn so much from the creative and hard-working authors I meet. In addition to being great with plot, dialogue, and characterization, many writers are also gifted artists and marketers, coming up with some truly original ideas for promoting their books.

An idea I found particularly clever (and enjoyed being a part of recently) is author Paula Brown’s pay-it-forward travelling road show for her one-year-old nonfiction book, Fur Shui. Fur Shui explores the principles of chi, or energy, used in the traditional Chinese practice of feng shui and describes how to use them to create healthy and happy environments for animals. An animal communicator and graphic designer, Paula Brown came up with the idea of celebrating her acclaimed book’s one year anniversary with an exchange program she calls The Tour de Fur.

To kick off the tour, Paula sent out eight copies of Fur Shui to pet owners who wrote in by email offering to participate. After the first eight readers received their books, Paula asked them to pass the books on to other pet owners and animal lovers across the globe. Those who receive Fur Shui must take a photo of themselves and the book; the book and their animal(s); or just the book in their geographical location. Paula asks that they email a copy of the photo to her, sign and date the book, listing what city they’re in, and then pass it forward.After six months, Paula plans to call in the eight copies and see “just how full of love and signatures” the books will be. She provides instructions inside each copy for where to send it when it’s full, and also offers a free animal chakra reading to each pet owner who forwards a copy to another person.

Paula’s set up a new blog at http://furshui.blogspot.com, to track her books’ adventures and show off the photos that she hopes will come in from all over the globe. Check out her blog and her website at www.furshui.com to see what’s happening with this creative author’s first birthday celebration for her imaginative book, Fur Shui.

Selling Books at Fairs and Festivals

It’s that wonderful time of year when local neighborhoods and specialty organizations begin holding their annual street fairs and festivals. Authors should try to take advantage of the festivals in their areas, as they offer great opportunities to meet readers and sell books. Many festivals attract thousands of attendees and provide excellent selling opportunities, especially for unknown and self-published authors who are not as likely to draw big crowds at book store signings. Selling books at fairs and festivals is also a smart idea for more experienced or well-known writers, who are looking to augment their book tour schedules.

Listed below are some tips if you plan to sell your book at a street festival or book fair this year:

1. Promote ahead of time.

If you plan to sell books at a festival, be sure to do all the footwork that you would normally do for any book signing. Send out a press release, list the event in print and online calendars, and use your email lists to notify readers that you’ll be selling books at an upcoming festival or fair. Be sure to include the date, time, and street address for the festival, as well as the location of your particular booth, in your promotional material.

2. Share expenses.

Some festivals charge quite a bit for booth space. If you find the price too prohibitive, consider splitting costs by sharing space with one or more other authors. If you are going to rent a booth at a specialty fair, invite other authors who have books in the same genre, or share with someone who sells something related to your book. Be creative – if you have a book with a Native American theme, share space with a historical author at some of the Indian pow-wows in your area. If you are a nonfiction writer with a how-to book, you may want to attend some of the local craft fairs and festivals that occur in the spring and summer months. Shop owners and local artists are often looking for opportunities to sell their wares and may be interested in sharing space at festivals. Also, watch for specialty events – children’s book festivals, African American festivals, Italian or Greek festivals, and library events, etc., where your book might fit in.

3. Come prepared.

Make sure you have the following items with you before you head out to man your booth:
Books – consider how many people will be attending the event, and plan accordingly. If you drive to an event, you can always keep extra books in your car, in case you sell those you bring with you to the booth. Be sure to bring “Autographed Copy” stickers if you plan to sign books at your booth, and determine what price and the appropriate tax amount, if applicable, you’ll be asking before the booth opens that day.
Giveaways – like any trade show, you should plan on giving out freebies to attract individuals to your booth. Bookmarks, candy, pens, etc., all work well as giveaways that will attract readers to stop by your booth. One author I know creates small booklets, with the first five chapters of her young adult fantasy novel, as a giveaway to use at book fairs. She hands them out to kids as they pass by, and urges them to ask their parents to purchase the book online or at a bookstore if they want to read more.
Set up items – make sure you have a table, table covering, chairs, canopy, cooler with food and drinks, sunglasses, sunscreen, a jacket for cooler weather, book stands, and signage or posters. Bring scissors, tape, and any other items you might need for setting up displays. Stash set-up items in a piece of carry-on luggage to easily roll them out to your booth. If you’re going to be outdoors, bring paperweights or heavy items to hold down any flyers or papers that might blow away on windy days.
Tax permits and change – some festival and fair organizations require that you have a business license or tax permit before you can sell at a booth and will ask that you bring those with you while you’re exhibiting. Also, be sure to bring change with you in correct increments: nickels, quarters, dollar bills, etc., so you can make a sale if someone hands you a $20 bill or higher. If you are set up to accept credit cards and checks, be sure to have the processing equipment with you (if you accept PayPal and have access to electricity, bring your laptop or PDA).
Pitch – plan a quick, one-minute pitch to use with individuals who stop by your booth. Outline your spiel in advance, and practice it so it seems natural and friendly when potential buyers approach you.

4. Practice proper booth etiquette.

If you’re sharing a booth, it’s important that you be considerate and polite to the authors you’re sharing space with, as well as the neighboring sellers on either side of your booth. When sharing booth space, arrange how you’ll handle customers ahead of time, so that you’re not jockeying for attention when individuals approach, and be sensitive to customers who are listening to your booth buddies’ pitches. Try to engage your customers before they buy; take the time to ask them what they like to read, if they read books similar to yours, etc., and really listen to their answers – although people will be interested in your comments about your book, they also like to be heard, so use your listening skills to help make the sale.

5. Have ordering info ready if you run out of books.

Be sure to bring extra info, such as business cards or flyers, to can hand out if you run out of books and giveaways. If sales are slow, you can lower prices, but doing so often means that you might sell out. Be prepared to make use of your remaining booth space time by having ordering information or contact information readily available for those who may want to buy after the event is over.

6. Follow up afterward.

Like any networking event, fairs and festivals provide ample opportunity to network with other authors, potential clients, and readers. Be sure to follow up after the festival: send promised books to customers, get in touch with networking contacts, and send thank yous to festival organizers, so they’ll invite you back next year.

7. Book early for next year’s event.

Some festivals are really popular and only allow a limited number of vendors. To ensure that you aren’t shut out of key festivals and fairs, research the ones available in your area and be sure to book them ahead of time whenever possible.

A great list of links for book festivals throughout the United States can be found at: http://www.thegritsbookclub.com/Content/Events.html

Happy selling!

Stop by and See Me in Booth 212 at the L.A. Times Festival of the Book!

I’ll be exhibiting with Coyote Heart at the Los Angeles Times Festival of the Book on Saturday and Sunday, April 25-26 in Booth # 212 in Section B. If you’re planning on attending the festival, please stop by and say hello!

Details:

Los Angeles Times Festival of the Book
Saturday – Sunday, April 25-26, 2009
10:00 a.m. – 6:00 p.m.
UCLA Campus
405 Hilgard Avenue
Los Angeles, CA 90024

Why I've Been Seeing Coyotes in My Sleep

As many of you already know, my first novel, Coyote Heart, was picked up at the end of last year by Kirk House Publishers, a small press in Minneapolis, and is coming out this month (publication date is April 17). The book is now available for pre-order via Amazon.com and Barnes & Noble.com. Here's the Amazon link: http://www.amazon.com/Coyote-Heart-Paula-Margulies/dp/193379416X/ref=sr_1_13?ie=UTF8&s=books&qid=1238788055&sr=8-13

For those of you who know me well, this has been a long time coming -- I started writing the book in 2003, signed with an agent in 2005, and after it stayed for consideration with some houses for a very long time (some for over a year!), Coyote Heart finally found a home at Kirk House. I'm honored that this press is willing to take a chance on an unknown writer like me, and hope you'll order a copy to show your support for my kind editor and publisher.

Following is a brief description of the story and some endorsement reviews. I'm grateful to all my writing friends, reviewers, and, especially, my patient family, for their ongoing encouragement and support.

If you're able to buy the book, pass along this information to readers who might enjoy a San Diego love story, or even write a review on Amazon, I'll be eternally grateful!

All best and happy reading, Paula

Coyote Heart tells the story of Carolyn Weedman, a forty-year-old librarian trapped in a troubled marriage with a disabled husband. After a chance encounter with a widowed Pala Indian professor, Carolyn finds herself drawn into an unexpected love affair. Torn by conflicting feelings, she discovers a secret about her husband’s past that forces her to confront her divided emotions and choose between the two men that she loves.

Set against the simmering backdrop of local politics on the Pala Indian Reservation, Coyote Heart explores the intricacies of illicit love and marriage, the strength that comes from sacrifice, and the courage to forgive the injuries of the past. The novel calls on several San Diego landscapes, including the Rancho Penasquitos preserve and the Pala Indian Reservation, to give the story a unique local flavor. Written with haunting natural imagery and lyrical prose, Coyote Heart tells a compelling tale of love and modern Native American culture.

"A graceful story of love and redemption, Coyote Heart is a gift for all of us who grapple to understand the complexities of relationships.”
-Patricia Santana, author of Motorcycle Ride on the Sea of Tranquility and Ghosts of El Grullo

“With Coyote Heart, Paula Margulies uses lyrical, yet restrained prose to take us into a world where the usual definitions will not fit—where the personal and the political, even the human and the animal, become increasingly difficult to differentiate. This novel bravely explores the difference between a relationship that bends and one that breaks; it even suggests that a healed fracture is stronger than what was originally whole.”
-Peter Rock, author of My Abandonment, The Bewildered, and The Unsettling

"Redemption is a destination we all hope to reach. Coyote Heart takes us on a wonderful journey, crossing cultural boundaries, toward that great human place."
- Mark Trahant, Pulitzer Prize finalist and author of Pictures of Our Nobler Selves, a history of Native Americans in media

Coyote Heart
$15.95
ISBN 10: 1-933794-16-X
ISBN 13: 978-1-933794-16-7
Kirk House Publishers

The 10 Best Books on Writing

Whenever I find myself in one of those middle-of-the-novel writing funks, I turn to the experts, whose books on how to maneuver through the alternately frustrating and fulfilling maze of fiction-writing line the shelves in my office. Although I’ve read dozens of them over the years, a select few have made their way to a place of honor on the shelf reserved for books I refuse to give away. I know that many writers will have other worthy contenders on their lists; these are mine, in reverse order:

10) Writing Down the Bones by Natalie Goldberg
I had trouble picking a tenth book, because there are so many others that deserve to be on this list and aren’t (I considered Burroway’s Writing Fiction, Forster’s Aspects of the Novel, Olen-Butler’s From Where You Dream, DeMarco-Barrett’s Pen on Fire, etc.). But this one made the list because it has remained on my shelf for over a decade and its short and simple chapters, aimed mostly at beginning writers, speak truth. From “Beginner’s Mind” to “Rereading and Rewriting,” each pithy and instructive section reminds us what we already know. We read Natalie Goldberg and, no matter where we are on our respective writing journeys, we learn.

9) 20 Master Plots and How to Build Them by Ronald B. Tobias
I have returned to this book countless times to remind myself a) that writers have been telling stories for centuries and b) that the best stories have form. The form of a novel can be as simple as a beginning, middle, and end, or it can follow the patterns of quest, revenge, pursuit, maturation, sacrifice, and discovery. Tobias reminds us that though there are hundreds of plot variations out there, a few of those structures have become classics, loved by readers everywhere. It is to those that we aspire.

8) The 38 Most Common Fiction Writing Mistakes (and How to Avoid Them) by Jack M. Bickham
I loved this book from the moment I opened its cover. There’s nothing fancy in Bickham’s style – he grabs us by the neck and instructs us in each direct and wonderful chapter on what we should and shouldn’t do when writing. The chapter “Don’t Warm Up Your Engines” provides one of the best explanations I’ve read on where a story should start. When Bickham speaks, it behooves us to listen.

7) Zen and the Art of Writing by Ray Bradbury
I heard Ray Bradbury speak one year at the Santa Barbara Writer’s Conference, and I’ll never forget the amazing zeal and spunkiness of this fiction-writing legend. Bradbury brings the same energy and outspokenness to Zen and the Art of Writing as he does to his own classic tales. He describes his early years trying to eke out a living as a young writer with a family and then urges writers to stick to it and to do it with love. “Let the world burn through you,” he says. In the Zen world of fiction-writing, Bradbury is a warrior-king.

6) Writing Begins with the Breath: Embodying Your Authentic Voice by Laraine Herring
This is one of my most recent acquisitions, but it quickly found a home on my shelf of favorites. I took it with me on a writing residency and only allowed myself to read one chapter a day, doling them out one-by-one so I could immerse myself in each section’s quiet relevance. The book is divided into three parts: “Focusing the Mind,” “The Deep Writing Process,” and “Embracing What and Where You Are.” Writing Begins with the Breath both illuminates and gently instructs, and the imaginative exercises called “Touchstones” at the end of each chapter make us pause, reflect, and return to this book again and again.

5) Bird by Bird: Some Instructions on the Writing Life by Anne Lamott
What hasn’t been said about this book? It’s a classic, and Anne Lamott has become a well-deserved fixture on the writing circuit and in composition classrooms all over the world because of this gifted text. As she says in the opening, good writing is about telling the truth and she has done that, taking us from “shitty first drafts” to publication and deftly addressing everything in-between. Honest, inspirational, and very real, Anne Lamott illuminates the writing process in a way that is both accessible and revealing, telling the truth about writing so vividly that reading her words is like coming home.

4) On Writing: A Memoir of the Craft by Stephen King
Who would have thought that a memoir by one of the world’s bestselling authors could so expertly define the practical facets of the writing process? In On Writing, Stephen King not only openly describes his own experiences as a professional writer struggling with personal demons, but he also shares his passion and knowledge about what makes writing good. My favorite section has to do with revision; in it, King tells the story about a piece of fiction he wrote in high school and submitted to a magazine editor. The editor wrote back: “Not bad, but PUFFY. You need to revise for length. Formula: 2nd Draft = 1st Draft – 10%. Good luck.” King says that this piece of advice changed the way he rewrote his fiction “once and forever.” Thanks to Stephen King, it has changed ours, too.

3) How to Write a Damn Good Novel by James N. Frey
I lent this book to a member of my writing group, and one of his dogs got to it and chewed through half of the front cover. I have to laugh every time I lift it off the shelf (it gives a whole new meaning to the term “dog-eared”!). But I love this book for its intensity and no-nonsense focus on what makes a novel good. Frey gives the best advice I know on how to create unforgettable characters, infuse a plot with conflict, and write dialogue that sings. I come back to this book often for the solid, no-nonsense advice that fills its pages.

2) The Joy of Writing Sex: A Guide for Fiction Writers by Elizabeth Benedict
I don’t know how this became my #2 all-time favorite, but perhaps it’s because I (ahem) have trouble writing about sex. I use my Catholic upbringing as my excuse; for some reason, I imagine the nuns at my elementary and high schools peering over my shoulder every time I write a love scene. But whether it’s my own modesty, or the fear that the intimacy my characters display on the page will reveal more about me than it does them, writing sex scenes – good sex scenes – is really difficult. All of that changed, however, after I found Benedict’s book, which provides insight and advice on how to not only make sex scenes convincing, but also how to use them to reveal character and create and/or resolve conflict. Benedict uses wonderful examples from some of the most respected writers to illustrate the dramatic impact of a well-written sex scene. And she addresses it all – married sex, adulterous sex, illicit sex – in a way that is fresh, revealing, and inspiring. So, whenever those nuns appear, I reach for this book and let this classic guide remind me that it’s okay for sex to be part of the story.

And, drum roll please…..

1) Writing the Breakout Novel by Donald Maas
My husband bought me this book for Christmas the first year I started writing fiction and it has become my all-time favorite writing guide. I’ve turned to it so often that the pages are covered with sticky notes, highlighted passages, fingerprints, and coffee stains. The book is designed for mid-list authors looking for a way to move ahead in the industry, but the advice packed within its pages is useful for beginners, as well. For a book to be a breakout success, Maas says, it must have the following: an original premise, high stakes, a strong sense of time and place, and larger-than-life characters. And Maas, a literary agent and author of seventeen novels, knows whereof he speaks. I was fortunate enough to attend one of his seminars, where we used some of the draft exercises that became part of his Writing the Breakout Novel Workbook. Both the original book and the workbook are essential instruments in any writer’s toolkit, but if I was going to be sent to a desert island and could only take one book on writing with me, Writing the Breakout Novel is the one I would pack in my suitcase.

First Impressions

As a book publicist and an avid reader, my first word of advice to anyone who contacts me regarding my services is to write the best book s/he possibly can. I am sent books by hundreds of people looking for promotional help, but since I only handle two or three clients at a time, I tend to be choosy about who I agree to represent.

Judging writing is a subjective art, and I try to be fair with every book I receive. Instead of asking whether or not I love the book (something I’ve heard a few agents say they must feel before they take on a client), I ask myself, Can I sell it? This is a bit of a different question – my concern is not whether the book is great fiction or non-fiction, but more whether booksellers, reporters, and media producers will be interested in it when I call to give them a pitch.

Even so, if a book is poorly written or riddled with typos and grammatical errors, it isn’t likely that I’ll be able to place it anywhere, even if it has a great topic. Likewise if the title is off-putting or the cover art is somehow wrong for the book or its audience. A young adult novel, for example, with a Goth title and violent cover art may fly with the kids it’s designed to reach, but it won’t get past librarians or teachers who are the gatekeepers that decide whether or not a YA author can appear at a library or school.

Every writer should have multiple pairs of eyes on a book before it goes to an agent, editor, or publicist. Best case, authors should revise and rewrite with a high-caliber writing group. After rounds of testing with other authors, the book should then go through a good edit, hopefully with a professional editor, but if that’s not possible, then with a trusted friend or another experienced writer or teacher who can help spot typos, grammatical issues, and flaws in the storyline.

I’m seeing more self-published work lately and many of those books, though interesting and decently written, have not had an agent or editor to help with the conceptual issues and editorial corrections that most books need. Although it’s tough to get an agent these days, and even tougher to be published by a larger press, the value those entities bring to an author’s work is immeasurable. I know this from experience – my first agent worked with me for four months on my debut novel before shopping it to publishing houses, offering input on what was missing and urging me to write seven new scenes for the book. Some agents give thorough critiques and mark-ups of manuscripts; others will work with authors for months, or even years, making certain that a book is the best it can be before it reaches an editor at a publishing house.

And editors, despite being over-worked and beleaguered by cut-backs and mergers, will put their own spin on a text. Some do more than others but, in most cases, a book will have gone through many rounds of revision and polishing before it hits the market if published by a larger house or even a diligent small press.

Can an author with a self-published book get the same quality end product without an agent and editor? Certainly, although the onus will be on the author to provide editorial and packaging resources for himself, which can be expensive and/or time-consuming. Many authors, in their hurry to get their books out, forego these steps and, sadly, their books don’t sell.

The bottom line is that self-published or not, if you want your book to be well-received by booksellers and the media, you must take the time to carefully edit, polish, and package it well.