Editor’s Note: The following is adapted from the Conference Chairperson’s Message in the program for “Stars of Florida Writers,” 13th faculty and the explanation of the today’s publishing options. Thank you, Jennie!
—By Jennie Jarvis/2014-15 Faculty Chairperson
Stepping into a new leadership position in any organization can be challenging, but even more so when you are taking over from Veronica Hart. She’s done such a great job programming our annual conference in the past that I knew I had big shoes to fill. But I’ve always been up for a challenge!
More than anything else, I wanted to program a conference that catered to all kinds of writers— whether they are at the shaky beginning of their career or are stable veterans with multiple published titles. To do that, I created our “Education Tracks.” These tracks allowed me to create content that could meet the needs of every writer.
Also, since this year’s conference theme is “Stars of the Florida,” I reached out to some of the brightest stars of our industry working today! We have New York Times and USA Today Bestselling Authors. We have powerhouse agents and editors. We even have filmmakers ready to turn your stories into tomorrow’s feature films.
While those are our brightest stars, don’t overlook the rest of the stellar faculty. They might not have credits as impressive, but they have a lot of wisdom and experience that they are graciously sharing with the rest of us. I’m very proud of every member of my faculty, and I can’t wait for each of you to realize how amazing they all are!
Once you discover the genius of each faculty member, don’t forget to sign up to meet for a private interview with your favorites. You can get advice from our Bestsellers like Mary Burton or Lyla Payne.
If you are ready to pitch your work, you can sign up to meet with an agent, acquisition editor, or filmmaker. You even have the chance to book a critique session with three incredible faculty members dedicated to helping you make your writing even better. Read the Faculty Landscape below to help you decide the best faculty member for you to meet based on your publishing goals!
I know I’m the “new kid on the block” at the FWA Annual Conference, but I hope I’ve taken a good step towards fulfilling those large shoes Veronica left behind. My hope is that I’ve lined up such an amazing faculty, you’ll be upset that you can’t go to everything! Read more…
Good morning, guys. :) With October here and November fast approaching, I thought this would be a good post to share today. I’ve always enjoyed NaNoWriMo and this, to me, is a great explanation of why. I love the challenge and the impending deadline breathing down my neck as I try to figure out what on earth is going to happen in my words that day.
My NaNo books are never perfect, but that’s not the point. The point is, I committed to my book and my writing each day. I am looking forward to once again jumping in and connecting with other local writers at the write-ins, which is a whole other thing that makes this challenge fun.
What about you? Are you a NaNo participant? Thinking about it? Don’t get it? Comment and let’s chat about it! I’ll see you all again next time!
Originally posted on Kristen Lamb's Blog:
NaNoWriMo. There are a lot of opinions floating around about NaNo and I can’t tell you guys what to do. Wait, I do that all the time. Hmmm. Okay, I can’t MAKE you try NaNo, but I am the friend who will gently and lovingly shove you off a cliff because it’s good for you.
WHAT!!??? You SAID you wanted to
go BASE jumping be a professional author.
In my 20s, I lived life like a Mountain Dew commercial. You name X Dumb Thing? Sign me up! One of my favorite suicidal activities was skydiving. If I was having a really bad time, nothing to perk me up like free falling from 15,000 feet. But I’m a natural
My little brother? Was probably the more cautious/sane one, but I could tell from this spark in his eyes that he’d one day like to just go for it and…
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For about half the population, that’s a scary number. For the other half, it’s a fond remembrance of when they were young. Either way, it’s an emotionally loaded number–a figure that has meaning beyond just marking the end of your fourth decade. Forty may be the beginning of the end. Maybe it’s the beginning of a second, better half of life.
Maybe it’s a number that once seemed impossible to reach, if the person was in a violent situation or had major health problems.
Whatever the case, today’s exercise is to write about a character’s reaction to the number forty (or feel free to substitute a number of your own choosing).
Time limit: 30 minutes.
Recently a comment in an online forum for editors I participate in provoked much discussion, and it occurred to me that it might be interesting for you writers to be privy to something editors talk about when you’re not around.
An editor new to the business wondered what other editors do when their editorial comments and revision suggestions are rejected by the author.
Whether or not the writer incorporates suggested revisions seemed to be a big concern for the in-house editors in the forum (and freelance editors hired by publishing houses to work with their authors). The job of those editors is to communicate house style and insure the work meets house standards.
When an author is uncooperative, the in-house editor may have no recourse other than to give up and turn the manuscript back to the acquisition editor with a list of recommendations. You usually can’t fight house style and direction, and as a writer, you should know that when you turn the revision process into a fight with an in-house editor, the magazine or publishing company you thought would be publishing your work may not publish it after all.
The relationship between an independent freelance editor and a self-publishing author is different. Editors in the forum told about writers (no names were used!) who rejected their suggestions and produced books riddled with errors or who rushed to self-publish books that were clearly not ready. Every editor, it seems, has stories like that. It became clear that the original poster and some others worried about how their client’s work would affect their reputations as editors.
As the forum discussion progressed, there seemed to be some consensus that the reading public understands the author is responsible for the book’s contents, not the editor. Experienced editors know that once they’ve given the writer thoughtful advice—and backed it up with standard guides like the Chicago Manual of Style along with conversations with the writer about how their choices affect the reader—that what to do with editorial remarks is the author’s decision.
One experienced editor on the forum wrote that “editing is a diplomatic awareness-raising exercise, not a battle of wills,” and I agree with that. I actually enjoy working with a writer who will push back on my suggestions. It keeps me on my toes when I have to explain myself, and my experience has shown me that conversation between editor and author can help the writer clarify her vision.
I think my job as an editor is to offer suggestions and other information that enables the writer to make good choices more confidently. My goal, the goal of any editor, should be to help the writer achieve her vision for the work. I don’t think my job is to give orders or impose my style or vision on the work. I believe editing is two-way conversation, not a sermon from the mount. Maybe you’ll work with an incompetent editor or one with a God complex, but they are not as common as the movies and New Yorker cartoons would have you believe. Editors want to help, not hinder, the writer.
So back to the original question the forum member posed. What do editors do when their editorial comments and revision suggestions are rejected by the author? The fact is, we cannot do anything but cringe when our names appear in the book’s acknowledgements and the reviews comment negatively on the editing or problems we know could have been avoided had the author adopted our suggestions and taken more time with her work. But it’s the author’s name on the front of the book, not the editor’s.
Editors have no control over the self-published author’s output, nor should we. Some of the saddest words in the world are, “My editor made me do it.” The author is the decider and should remain in control of the work.
We editors can offer the best of our experience and knowledge to our clients. We can explain the reasoning behind our revisions and suggestions. But after that, we can only hope writers will truly listen and carefully consider our advice before they decide to act on it or reject it. We hope our suggestions will not be dismissed out of hand, and we hope that writers will give their work all the time and effort it deserves. But we cannot do anything to make sure that happens. So what do editors do when their editorial comments and revision suggestions are rejected by the author? Ultimately, we let it go.
Mary Ann de Stefano is the editor of The Florida Writer (the official magazine of the Florida Writers Association) and MAD’s Monday Muse. She is also a writer, editor, and organizer of writing workshops with 30+ years experience in publishing and writing consulting. Besides working one-on-one with writers who are developing books, she designs author websites. Mary Ann does business at MAD about Words, named as a play on her initials and love for writing.
Forty-five faculty, twice the number of workshops over last year, five panels, and plenty of new things, all outlined in the program for the 13th Annual Florida Writers Conference, now online. Even a quick glance at this 100+ page document will tell you that this is one event you won’t want to miss.
It’s a Hollywood theme, so plan on joining your fellow writers as we all walk the metaphorical red carpet at the Royal Palm Literary Award Banquet on Saturday night.
“Stars of Florida Writers”
$375 for the entire weekend, which is from Friday to Sunday with all meals included. ($35 additional for Thursday evening workshops)
We look forward to seeing you at the conference!
By Bobbie Christmas
A fellow writer recently asked me if it was okay to start a sentence with the word and or but. She said that members of her critique circle said it was okay and that publishers didn’t care if their writers started a sentence with and or but.
I thought her question and comment gave me a perfect subject for a blog that reached more writers than just the one who asked the question, so here goes.
The following words are conjunctions: and, but, so, therefore. Conjunctions should tie compound sentences or lists together. For example, My dog likes to run, and he runs away, every chance he gets.
While strict usage says that conjunctions should not appear at the beginning of a sentence, few periodicals demand strict adherence to every grammar rule. Conjunctions can in fact sometimes appear at the beginning of a sentence, especially for effect. Doing so can add impact, and if so, readers and publishers don’t seriously object. Here is an example of using a conjunction at the beginning of a sentence for impact: John said he wanted to rescue me from my drab life. But in the end, he turned out to be more villain than rescuer.
As with any technique, however, overuse grows repetitive and therefore becomes objectionable. One or two sentences that begin with a conjunction are okay, but more than one on a page, more than four in a chapter, and you have weak writing. Perhaps publishers and readers don’t object to weak writing if a story is strong, but does the author want to be labeled a weak writer? That answer is left up to the writer.
Usually the conjunction can be moved or deleted and the sentence becomes stronger. Weak: We went to a movie. And then we went to dinner. Stronger: We went to a movie and then to dinner.
Weak: Mary laced up her shoes. But she laced them haphazardly. Stronger: Mary laced up her shoes, but she laced them haphazardly. Weak: I wanted new shoes for the event. So I jumped into the car to drive to the mall. Stronger: I wanted new shoes for the event, so I jumped into the car to drive to the mall.
Avoid repetition! If too many sentences begin with the same word, such as and or but, the writing grows pedantic. Be a strong writer, and here’s how: After you have written your first draft and while you are in the revision phase, seek out all the sentences in your manuscript that begin with a conjunction and consider other ways to make the sentence strong. Recast sentences to avoid conjunctions at the beginning or link sentences to make them compound, and your writing grows stronger.
Yes, publishers may accept conjunctions at the beginning of many sentences, but persistent creative writers always look for ways to improve their writing.
Yours in writing,
Owner, Zebra Communications
Excellent Editing for Maximum Marketability
Coordinator, FWA Editors Helping Writers
Contact Bobbie at Bobbie@zebraeditor.com
Back before Anheuser-Busch bought out the Latrobe Brewing Company, and Rolling Rock was a cool regional beer, there was a lot of mystery about what the number 33 on the label meant. While there are many theories about what the 33 really means, no one is really sure at this point.
Today’s exercise asks you to find a solution to what 33 means–or what another unexplained number or numbers mean.
Take a number where it wouldn’t normally be, and let your imagination be your only limit in figuring out what the number means and why it’s there. Or, you could take a page from JJ Abrams and the Latrobe Brewing Company and make the numbers a perpetual mystery.
Time limit: 30 minutes