When the second is first

In my last post, I discussed a potential change of strategy in getting my first novel published. The change involved not so much a change in the way I'd packaged, wrote, or marketed Lying in Judgment but rather a more wholesale shift. The new strategy: shift books.

Since completing the first draft of LiJ four years ago, I've spent many hours over many months writing query letters to agents, sending drafts or partials to friends and agents and anyone else who would share their comments, and then editing and rewriting the story in consideration of the feedback received. Agents, editors, critique groups, friends, family, knowledgeable experts about forensics and criminal procedure - you name it, I tried them.

The results were a tighter, more readable story; a more likeable protagonist; many favorable comments on the premise, plot, and writing; no agent; and no book contract.

There was another, unexpected result, also. An agent took note of the writing – the actual prose laid over the plot and main character that she found troubling – and said, basically, pitch me something else. When I told her the premise of my next book, she said, yeah, send it – when it's ready.

That next book is The Mountain Man's Dog, a romantic thriller of sorts about Lehigh Carter, a forester who is afraid of dogs and women - but suddenly finds both enmeshed in his life. In so doing he gets ensnarled in the nasty underbelly of Oregon gubernatorial politics, and must run for his life from people who'd just as soon kill him as say hello.

This story is written in the voice of Lehigh, a man of simple words (his nemeses consider him a bumpkin) but sharp intellect, a man with an innocent outlook but a savvy observer who keeps his wits about him… except where Stacy, his once-again lover, is concerned. Like most men, he does his worst thinking when his pants are off, or itching to get there.

There's much more to the story, and you're welcome to preview an excerpt of it on the CreateSpace site (https://www.createspace.com/Preview/1065184) and leave comments. (Welcome, hell. You're invited. Encouraged. Urged. Hell, I'd beg, but then I'd look just like every other writer out there.

I've entered it into the Amazon Breakout Novel Award competition, too. I can't say I have high expectations of winning with this draft (only my second), but that's not my ambition. My goal is to reach the second round of the competition where the manuscript will receive critical feedback from the panel of judges.

A secondary goal is to get it out there in the view of helpful, critical readers who will provide encouraging, constructive criticism. For while MMD has none of the drawbacks of LiJ, it lacks one thing that the earlier work has in spades: many, many hours of edits based on the feedback of many interested third parties. Um, that'd be you, by the way.

The excerpt contains only a synopsis and the first chapter. Anyone interested in seeing more can do so simply by telling me, either on that site or here or by email. There's a catch, though: I only send early drafts to people who promise to send critical feedback. No commentary, no doggie-woggie story. Sorry.

Well, what are you waiting for? Clicky-clicky, kids!

Lessons learned in seeking a (secret) agent

Playwriting has taken up a lot of my creative energy and time lately, and it's been an incredible rush to have had two plays stage-read in front of large, appreciative audiences since November. It's no secret that I love the stage, both acting on it and writing for it.

But my first love is the novel, and it's time to devote more energy on that front. And there's news to report.

Recently a colleague sent me an email, suggesting an agent I could try, assuming I hadn't already gotten one – which she'd heard, God knows where, that I had. I haven't – yet. But I'm still working on it.

In fact, in spite of the horrid state of the publishing world, things finally seem to be looking up a bit in that area. In the process I've learned a few things about this industry worth sharing.

Last spring an agent sent a rejection that was, uncharacteristically for most in this business, actually helpful. Her comments about my manuscript were constructive and specific, albeit brief. She told me exactly what was wrong with it, from her point of view. In an ensuing exchange of emails, she indicated that she'd be willing to take a look at the manuscript again if it were edited to address those issues.

The issues were, in case you were wondering:

-          No hero. Since Peter, the book's main protagonist, schemed for the innocent defendant's conviction, that left the story with no one to root for.

-          Length. The trial stretched on too long and got boring.

 

In the new version, Peter uses his knowledge of the actual crime to help acquit the defendant. This assuages his guilt and he feels that he can set some part of this right by letting the innocent man go free. In addition, I removed some segments of the trial that created doubt and slowed the story's pace. The case against the defendant is stronger, making Peter's task of convincing his fellow jurors to acquit that much harder.

Those changes turned out not to be enough. However, the agent wrote: "Now, when you do action, it's really terrific.  You're really very good, and I'd love to do something with you. … I'm hoping to hear from you again."

Since then we've begun a dialog about my next work in progress, and she's indicated an interest in seeing that manuscript – "when it's ready."

The great news about this development is, first of all, I now know what she's looking for, not only in general but specifically in relation to my writing – to which she is already somewhat favorably inclined. Second, I've entered this work into the Amazon Breakout Novel Award competition and put up the first chapter on their "preview" page so that other readers and writers can give me feedback. I did this last year and the feedback I got on Lying in Judgment was invaluable (if insufficient, the fault for which is completely mine). So far, the feedback on the new work, The Mountain Man's Dog, has also been very insightful.

The lessons learned are:

• In the search for an agent, the manuscript being pitched is an important thing, but it's not the main thing. Two other things trump it: one is the writing, and the other is developing the relationship. The manuscript is one of many examples of one's writing that the agent sees, including the pitch letter, the synopsis, and any other written dialog that ensues. The good agent is interested in all of a writer's work, not just the one great idea the writer may have at the time he or she makes first contact.
  
• Thus, have a body of work ready. The time to pitch may not be when the book itself is ready – it's when the writer is ready. The writer is the commodity, not the manuscript.
  
• Get to know your prospective agent a little bit – and let him or her get to know you. That's key to the first lesson above – developing the relationship.
  

 

It might be fair to point out that perhaps I should have known this sooner. Yeah, yeah. Thanks. Isn't it more fun to learn the hard way?

Stay tuned for the next post, which will bring news and information about The Mountain Man's Dog.