The Waiting Game

So you've written your novel, you've revised it, you've received feedback, you've revised it again, you've written a query, you've revised it, you've received feedback, you've revised it again, you've queried, you've paced madly worrying about rejection, you've been asked for a partial manuscript, you've revised the partial in fear of it not being good enough, you've submitted it, you've paced madly worrying about rejection, you've checked your email obsessively, you've paced madly worrying about rejection, you've been asked for a full manuscript, you've revised the full in fear of it not being good enough, and you've submitted it.

What happens now?

You wait. And wait. And wait and wait and wait and wait.

It's a common enough topic among writing blogs. Don't wait for a response on your current work. Move on to the next one. Publishing is a lot of hurry up and wait. You'll revise your entire book over the course of a weekend to make it as perfect as you can and then nothing.

It can be hard to deal with. The closer you get, the harder the rejection is, and the harder it is not to make it back to that level again. If you come close to touching the sky, nothing short of reaching your hand up into heaven will do. It's maddening to not achieve your goal no matter how hard you try.

But wait you must. Good things come to those that wait. ...crappy things too, I can attest, but nothing good comes from something rushed (just ask my previous girlfriends).

The first time I had a full manuscript (BLACK MAGIC AND BARBECUE SAUCE), I was told to expect a twelve-week response time. I was mortified when twelve weeks passed, thirteen, fourteen. Were they JUST about to get to my manuscript? If I asked for an update when they hit delete and tell me to sod off? Was it all a test to see if I would be a low-maintenance client and not pester them a thousand times a day with inane questions?

Finally at fifteen weeks, I emailed to confirm the file had been received and asked if they needed any additional material. That's the polite way of asking, "Hey what the fuck?" They confirmed that they had received the manuscript and apologized for the delay. The assistant was super awesome and I like her a whole lot. She was never anything but professional with me.

In total I received an eventual pass 7 months after I sent the materials off. They offered feedback which was awesome. I never expect feedback on a query. I don't expect it on a partial (though it would be nice). While I don't expect it on a full, after waiting so long and having invested so much, it certainly would be nice for even a paragraph of feedback. But hey, we're not entitled and that's not a statement of how things should be. I got it on my first two manuscripts, though, and it was incredibly helpful.

I thanked the assistant and the agent for the pleasure of working with them and the feedback. I then said I had finished another novel while I was waiting and asked would they like to see it? Sure it was a dig, but only a little one. I really had finished a second novel (and not first draft, the thing was done and in the can). I queried the second one (HELP WANTED: CHOSEN ONE, NOW HIRING) and we went round and round again.

They passed and I think it was for the best. This agent wants a manuscript ready to shop as soon as it's submitted. While I hope to be able to produce such a manuscript eventually, it doesn't seem like I'm producing them yet. I'd like an agent who not only points out what (s)he thought was weak but how that could be improved.

Which brings me to the current manuscript (THE TRIAD SOCIETY). This is with a different agent, one that I think is exactly the person I would want to work with. When they asked for my full, they said to expect a turn around time of two months. This is a third less than the previous agent but nothing says it won't be another seven months. Except for my experience with this agency. I queried (twice) my first two manuscripts (for a total of four queries) and they were prompt and always beat deadline. Two months is up Saturday. Of course, that two months covered Thanksgiving, Christmas, New Years, and the general winter holiday.

This brings us to what I'm calling Injury Time (watch soccer to get that joke). Given the number of holidays that occurred during that stretch of time, I really don't think the two-month mark hits until February 5th, three weeks later. If they replied to me within that time, I would still consider it at or less than two months.

Now like I said, that's just an estimate. Things come up, emergencies with existing clients, illness, family emergencies and the like. If it takes seven months it takes seven months. I have finished the second draft of JEHOVAH'S HITLIST and sent it to beta readers for feedback (could use a few more if you're in the mood for adult, dystopian, alternate-history science fiction). I'm also working on the first draft of THE 7TH SACRIFICE. I've got plenty to do. No resting on my laurels here.

BUT, like I said earlier, this folks have always come in before their deadline. The arrival of injury time means that it's likely I'll hear back from them soon.

OH MY GOD! *PACES MADLY WORRYING ABOUT REJECTION*

You can tell yourself not to obsess, not to worry, but really, I consider all this anxiety part and parcel to my ambition. I want this and have wanted it for decades. This is my life's goal and I've taken as many steps as I can take without an agent. That's the next step. That's the next step in my publishing plan. I could query publishers directly or self-publish, but there are other blogs for that kind of thing. Here in the Inkwell, we follow the traditional mode of publishing and we plan on ruling that bitch with an iron fist!



I won't even begin to tell you how many times I've checked my email just writing this post. Granted I have a smart phone so all I have to do is glance at it and see if it's blinking at me. That only enables the obsession.

I started actively tweeting and blogging about my writing before I was published not only to build platform but to document how hard it is to try and achieve your dreams when you can send off a completed manuscript and not hear anything for months and months and months. When I'm the flipping Clint Eastwood of fantasy, aspiring writers will read these early posts and see all this desire and anxiety and worry and think to themselves, Clint Eastwood? Really? I would have gone with John C. Reilly.


OH MY GOD! *PACES MADLY WORRYING ABOUT REJECTION*

Timing is Everything

Like the classic joke goes, "In comedy, timing is...

...

...everything."

I'm reading the last in the Shadowmarch tetralogy by Tad Williams, SHADOWHEART. It's a less than stellar name and most people don't know that a four-book series is a tetralogy¹, but Tad Williams is the reason I write fantasy--the reason². So we're going to give him a pass on that.

I have to admit, though, between Williams and Martin, I'm starting to get worn out on epic fantasy. Their stories are the epitome of epic, but frankly, there are characters whose chapters are fundamental to the resolution of the entire thing and I could care less. There are just too many people. As I wade through this lofty tome, after having consumed the three before it, I find myself impatient for the end. I want that long-awaited climax and resolution of the various characters I've come to care about. And having to read through yet another chapter of a character I don't care about where content that I know well is repeated (and repeated) in internal dialogue is getting frustrating.

That is not so much the focus on today's writing, just an observance. Perhaps that's why my word counts have been shrinking. Not so much an intent to cowtow to the industry and its word limits, but the desire to tell a more compact and immediate tale. I will ponder this in the future and see if that's the case.

No, the focus of today's telling is timing. This is crucial in any work, and the more characters you introduce, the more difficult it can be to align character actions to further the plot but to remain consistent with the story's own chronology.

Specifically, there are two characters who will influence other characters who will influence other characters. They finally make their trip to Southmarch and I am enthused becomes here comes the domino that will set the whole chain a falling! Woo hoo! Here it comes.

...but it doesn't come. Now granted, this is an epic fantasy, so while characters A and B swim across the bay to the nearby island, the author can focus on characters C, D, E, F, G, H, I, and J without losing any time in the total advancement of the story. It can maintain the preferred pacing of this rumbling epic without losing track of the domino that is about to set the chain falling.

But then Character E gets another chapter. And then Character H gets two more chapters. Too many things are happening. Why haven't we gone back to characters A and B?

Well, the obvious thing is that when next we see them they won't still be swimming across the bay. They will have done other, irrelevant things necessary for their trip but unnecessary for the enjoyment of the reader.

That doesn't happen. In fact, when we finally return to characters A and B, they are finishing their swim across the bay. This is offensive to anyone paying attention. Some stories may play loosely with the passage of time, but most don't. So unless you're slip-streaming back and forth, be mindful of your timeline. When characters begin moving at different speeds, the reader can see the hand of the author in the story. You're this giant distracting thing like a boom mic that falls into frame. You're holding onto the characters while their legs turn so you can have the plot play out how you want.

And that's a funny thing. While you're the author, when a reader invests, the story becomes theirs. They don't want to see your hands in their stories mucking everything up. You need to be invisible. You are the mirror in which your readers see your story. There may be glass and silver there, but all they see is themselves.

Timing...

...is everything.


¹ Instead of a tetralogy, people try to call it a quadrology.

² I can tell you plenty of influences, but I know when the light bulb turned on. I was thirteen or so reading the Memory, Sorrow, and Thorn trilogy and knew this is what I wanted to do. No hemming or hawing. Tad Williams showed me the path.

The Easiest Way to Give

So you lost your job and you haven't had an interview in months but you still splurged on presents for the kids because you can't stand to think of them crying in front of the tree. You think to yourself, I don't have any money to give to a charity.

Well, Nathan Bransford is holding the easiest flipping charity known to man. Post on his blog and he'll donate a dollar for each post up to $1000.

Go say thank you, earn a dollar for Heifer International, a rocking charity that me and my wife also give to, and keep other kids from crying on Christmas too.

Go. Now.

The Known Unknowns

Between my own experiences in the industry and the years I've spent participating in various industry blogs (pubrants, the Bransford, etc.), I am not too worried about what will come after I get an agent and sell a book. Or at least, I feel like I have a pretty solid understanding of most aspects.

Except one. The next book. Sure agents talk about the challenges of a sophomore offering and the effort people put into it and the mistakes people make because of the pressure and blah blah blah. All fine and good. I can't speak to pressure until I'm feeling it and I can't feel the pressure of a sophomore book until I've published the freshman one.

What I don't know about the next book is the next book to the agent. I've heard so many conflict things and agents seem to rarely speak on that part of the process. I've heard proposal used as the nonfiction alternative to a query, but then I've also heard it as what a represented author sends his/her agent for new story ideas. And pardon me, but a proposal sounds like a query and by god, I never want to query again once I get an agent.

I've also seen some authors that send the agent an outline. An outline? I don't outline. I never outline. I took half a page of notes yesterday and that's HUGE. I'm a pantser. I write by the seat of my pants. I write by the seat of my pants so much that there are holes in the seat of my pants from all the writing I do there. I can tell you the beginning (though it might change) and the ending (though it might change) and maybe a few ideas of the middle (though they might change). How the hell do you expect me to write an outline? That will destroy my process?!?!?!

So yeah, this is a known unknown. I get representation for, let's say, THE TRIAD SOCIETY. I already have two other novels that did not attract an agent. Given some blog posts, I think he or she might read them just as a matter of form and tell me if they can be revised to publishable quality or just need to be permanently shelved. But I'm also finishing a new wip right now and will have another one in a few months. What do I do with those?

And I even read once that an author would pitch a book to the agent before it's written and if the agent said no, the author might not even write the thing. I don't think I've ever written a book that was so much like my original proposal as it was when it was finished. Not writing it at all seems like a horrible presumption. And even if that's a good method, I write two novels a year. Can't I just write one of whatever I want and one that gets a thumbs up? I mean, some people take five years to write a book, so I can see why it might be important to figure out its saleability beforehand. I wrote THE TRIAD SOCIETY in three months (to the day¹). I'll write ten novels in the time that other guy writes one, so can't I write the quirky thing that I love even if no one else will?

Some of this is probably exaggeration, but this really is the one topic I've never seen covered on any of the blogs I follow.


¹ Actual writing time was less, as I started on May 25th and I took off most of June because I was working my ass off at my really real job. I finished the first draft on August 25th, though, and I think that's pretty awesome.

Living the Dark Crystal

First, yesterday was awesome. My niece began her freshman year at Boston University, and the person with whom she was going to have Thanksgiving dinner bailed. Which meant she ended up at my place. I've never had the opportunity to hang with her without one of her parents around and this is the first time she met her Aunt Jen. It's amazing how squared away this young woman is. If she's the future, things are going to be awesome.

A post I wanted to make the other day, but I wanted to make it with a video example that I cannot locate. You've seen the Dark Crystal. (This is not a question. You have seen it. If you have not seen it, stop reading right now and go watch it. Don't come back until you're finished.) The skeksi that is banished, Chamberlain (the one who has the always-identifiable whine), is trying to lure Jen into his clutches one last time. He starts begging:

Please? Please come down. Please? Please?! PLEASE?!

Knowing an agent I would love (LOVE) to work with is currently reading my full manuscript and may (or may not) offer representation? Yeah, I have those moments. I just want to shout in as shrill a Chamberlain voice as I can manage PLEASE?!?!?!

Then I get a grip and go back to my writing, but for those few seconds, ugh. I hope for the best which makes me fear the worst.

The Tlot Thickens

As I mentioned on Friday, my productivity fell to shit when I joked about being the anonymous subject of an agent's impending rejection. I checked my email over and over and over again until the day came to a close, and it was time to go home.

Of course, there was no rush to go home since my wife was in New Brunswick. I decided instead to walk across Boston Common and take in a movie at the AMC^{1, 2}. When the movie was over, I bust out my Palm Pre (smart phone of champions) and check my email to see if my wife had the results of her competition³. She had not, but the agent had.

OH NO! The rejection, it came! Calm down Mr. Pessimist. Maybe they're asking for a full. Ha! Yeah right! This is the agency that holds my personal record for fastest rejection to a query ever⁴. Of course it's a rejection.

Walking out of the theater, I open my email...

A REQUEST FOR A FULL!!!!!!

Now, I could in all haste send them the finished manuscript. I'm a professional. I wasn't so foolish as to start all this without finishing my work. BUT, this is a big flipping deal. When once this blog held a list of agents I wanted to work with, these people ranked number one. You don't just send a manuscript all willy nilly because they want to see it. You go back over that shit and make it shine like a diamond, like your combat boots with the drill sergeant waiting to look at them. You'll be able to see your reflection in this manuscript when I'm done with it.

So I go back over it. Again. All weekend, this is what I did. I sat in front of my computer, and I pored over this thing to find every typo and unnecessary past progressive verb. Moreover, the super fabulous awesome Elizabeth Poole, beta reader extrodinaire, went back over it in a single day to offer me new comments. (My favorite of her comments was "The tlot thickens!" Of course, this was followed by my own typo, "What he wouldn't give for a clean shit." Awe yeah. I'm a professional.)

A half hour ago, I sent in the revised revised revised manuscript along with a stylesheet (not asked for, but I think they're helpful). I now begin the nerve wracking two-month wait to hear whether they want to rep me. Liz tells me the thing is good, but is it good enough?

We'll find out. In the interim, I will return to JEHOVAH'S HITLIST. That thing is only 40k away from an ending. It would be fun to say "I finished another book while I was waiting for your response. Would you like to take a look at it? (I'm a show off like that.)

Wish me luck.


¹ $11.50 for a movie? Are you crazy? I'll stick the the weekend morning shows for $4. Get off my lawn!

² I saw "Unstoppable" with Rosario Dawson. Helllooooo nurse!

³ Her quartet moved up two spots to 6th place out of 30 something quartets. Phenomenal for their second year together.

⁴ 3 minutes⁵ in case you're wondering, and you know you were.

⁵ Yes, you read that right. Minutes. Not days or months. Minutes.

How to Kill Productivity

How to Kill Productivity in Five Easy Steps

Review your Twitter as you do often during the day.

Reply to an agent who you follow when she asks for feedback on whether saying "it was a close call but no thank you" was cruel or encouraging.

Suggest that it would be crushing at first, but over time would become exciting and encouraging.

Follow said response with a joke of "unless it's me, in which case you should say 'Yes, more please.'"

Check your email obsessively to see whether or not it really was you.

Sticking It to the Predators

I want to query known predator agents so they'll request my work. They'll tell me they charge a reading fee because they're so busy.

I'll respond that I charge a writing fee because I'm so busy. I will gladly pay their reading fee if they pay my writing fee.

Bitches.

Reject'd

I was kind of down on the way home today. Thinking about my (very few) experiences with my father. Specifically, when they took me to the hospital to see him right before he died. I was three years old and he was in the ICU. Children aren't allowed there because they're petri dishes of germs. They told me I needed to stay behind my sisters so as few people saw me as possible. Why, I wanted to know. Well, because you're not supposed to be here. You have germs adults don't and there a lot of sick people here. You could get them sick and they could die.

In the mind of a three-year-old, these various bits of information added up to me trying to kill my father because I was different. I didn't buy that I had germs any different than anyone else. I didn't get sick more or less than they did. They thought I was some sociopathic kid bent on fulfilling an Oedipal impulse (okay, I didn't know sociopath or Oedipus, but on an emotional level, that's where I went). I was intensely pissed off until I went into that room and saw my father totally zonked out on morphine. Then I was just scared shitless and had no problem hiding behind anyone.

This spiraled into a lot of other morbid thoughts during the drive home and I was pretty down by the time I pulled up to my home. I grabbed the mail and sifted through, looking for a letter I had been looking for for awhile, one with my own handwriting on it. BAM! There it was. I had queried JABberwocky Literary on THE TRIAD SOCIETY and here was the reply I had been waiting for.

They rejected the query.

And I felt a lot better. You'd think I'd be bummed. One more to add to the pile, but I felt quite good. It grabbed me by both my ears and pulled me back to the present. What's done is done and there's not much point in worrying over the frustration of a three-year-old. Plenty to worry over here in the present, like getting published. :)

Rejection, a much needed slap upside the head. :)

Does Boston Make Me a Bad Writer?

Once upon a time, I had thought to craft a blog post entitled "The New Yorker's Guide to the Rest of the Country." Many of the agents whose blogs/tweets I follow not only work in New York but grew up there as well. They will then jet off to various parts of the country for conferences and conventions and blog/tweet about their experiences there. It is amusing to me that any of these agents should comment on my conduct given their own documentation of their own poor conduct outside of New York, moreover in that they did not understand their conduct was poor. Telling people they are "quaint" is condescending. Ogling a restaurant because you're the only person there is condescending.* Describing to locals how they do not live in New York is condescending. They know they don't live in New York. They aren't confused about their locale.

I grew up in the middle of Missouri, a small city of 75,000 people (plus another 25 grand for the students at the University of Missouri). I went to high school in a town of 35,000 people. I went to college in a town of 12,000 people. From there I have stuck to urban centers: Denver (Lakewood), St. Louis (St. Louis city**), and then the exurbs of Boston (Nashua, NH). To liken to regional stereotypes, I grew up in the Midwest thus I grew up with manners. It doesn't necessarily hold true, as I've met plenty of people from the Midwest who don't and plenty of people on the East Coast that do. But like so many stereotypes, you can find a kernel of truth if you look for it.

In the Midwest, I was often considered abrasive. On the East Coast, I am downright genteel. The fact that I have mastered the use of the words please, thank you, sir, and ma'am, puts me in the upper 1% (the proper Bostonian parlance being the more familiar "Hey guy!"). I opted not to write my thinly veiled chastisement (though I seem to have accomplished that above regardless) and let the New Yorkers act like New Yorkers. I have begun to question my own dissolution of manners vis a vis my experiences on the MBTA subway (Massachusetts Bay Transit Authority, because you know you were trying to figure it out on your own).

The T, as the subway is known, embodies your classic East Coast experience. The general sense a passenger holds in respect his fellow passengers is "Fuck you." Or more appropriately, "Fuck you, guy." It is not uncommon (and by not uncommon I mean it happens every day) for a person to step onto the subway trolley and stop immediately inside the door, blocking access for the twelve people behind him/her. Nine times out of ten, when people are left on the platform, it is not a result of the trolley being full, but that people did not want to back up to the mid-section where there is no available exit. Or even worse, there are open seats but people are standing in front of them, preventing others from sitting down.

I gave up riding the Orange line during rush hour all together following an incident where a rather large woman (and by large I mean she took up the entire door made for two people to enter/exit at a time), stepped onto the trolley and stopped, blocking the twelve people behind her (I counted). Rather than shouldering past her (as is the norm), there was no place for these people to squeeze past and all twelve of them were left on the platform despite there being room for at least twenty people to board. This was her spot and those people be damned. I was struck with the overwhelming urge to kick her in the stomach, leave her sitting on her ass on the platform while those other twelve people boarded and we celebrated righteous vengeance. This is when I knew I needed to stop riding the Orange line.

Just yesterday a very attractive (to me) woman boarded the Green line and blocked half the entrance. When people pushed past her, she gave them the most disdainful, "how dare you" look. I went from being annoyed to truly loathing her just with that one look. That's when I began to worry. Is riding the T diminishing my ability to write humanistic characters? Will they all be selfish assholes with a pervading sense of entitlement and regional superiority? Can I identify good people? Or is my concept of what makes a person good being so harshly skewed that I'll write books full of nothing but dicks?

I used to spar with a coworker when I lived in St. Louis. From Tennessee, her mother had raised her with outmoded Southern sensibilities. She thought I was a sexist because I did not agree that a man was obligated to pay for a date or that he was obligated to open a door for a woman. I told her she was sexist because she was assigning gender roles and that I, being the gentleman that I am (was?), opened the door for anyone regardless of gender.*** Now I don't let anyone go first. Fuck that guy, it's dog eat dog. Saying please seems to net me all the karma I need out here, so why should I give up my seat to that old lady or let that young man who clearly has never ridden the subway before go in front of me?

Ick. I love New England, and I love with bold letters, New Hampshire. But there are some things about living here I do not enjoy. I certainly hope it does not diminish my own character or my own skills the longer I am here.


*Simple rule: The rest of the country is not a zoo. Do not treat it as such.

**Locals know to differentiate between St. Louis city and St. Louis County. The city is not part of the county--or any county for that matter. And the demographics of the city are much more representative of a poor urban center than of any of the incorporated towns that surround it. A bit of trivia, St. Louis city is one of 11 metro cities in the US that are not part of a county.

***Amusing side-note, a group of us went to lunch. On our way back to the office, I held the door for this woman and the rest of the group (an assortment of men and women). We went up the stairs and another male coworker held the second door that lead to our part of the office. She turned to me and said, "See? He held the door for a woman like a gentleman." In 24 steps, she had forgotten who held the first door for her because she was so sure I was a sexist pig.

Trading at $1,365.00 an ounce

A good beta reader is worth his or her weight in gold. As of closing October 13, 2010, gold traded at $1,365 an ounce. An ounce is equal to 1/16 of a pound. (2.2 pounds equals 1 kilogram for you metric folks.) Assuming Elizabeth Poole weighs about 110 pounds (when she's soaking wet maybe), that means she's worth $2,204, 400.

Yesterday's exciting news is that an agent that appeared on the infamous List asked for sample pages from THE TRIAD SOCIETY. I wore myself out yesterday doing the Dance of Joy. But when I came to my senses, I realized I was unprepared! The thing is still in revision. It hasn't even gone to beta readers! I should email her and say sample pages will have to wait (this request came outside of the normal querying process as a result of the sample pitch paragraph submitted as part of the webinar I mentioned previously).

NO WAY!

I'm not waiting. This thing says I have seven days to submit the first 30-35 pages. They'll then take two months to review those pages. I can revise the first 30-35 pages in seven days (already finished first pass) and the remainder in two months. No problem. There's no reason to delay here. The thing will be done and polished before they (undoubtedly) ask for the full manuscript. I've revised 29/33 chapters already. Pretty much all I need is the beta read/revision. So if my beta readers can review the first 30 pages right now, this balls a rolling!

Sara Megibow has expressed her frustration at fantasy authors glutting the early chapters with world building. The reason I'm doing a second pass before beta? I'm worried I did the same thing. There are a few paragraphs in chapter one and a section in chapter two in particular that I think need to be moved or cut all together. Without saying any of this, I send the ms to Liz and she pings the EXACT chapters I was worried about AND the EXACT section I was worried about.

That's not just skill. That's peace of mind. Now I can skip worrying whether I was being overly strict with myself or risking this great opportunity by submitting something I was on the fence about (I liked the world building, but it mucked up the pacing a bit). Now I know. It wasn't me being hard on myself. It was me seeing a problem (not a glaring one, those are easy to pick out. The subtle ones are harder). I need to tool this stuff for the betterment of the story. I have confirmation. I have peace of mind. And that is invaluable.

Pay Attention, Stupid

Google Home Page has been increasingly deficient in updating modules with new blog posts. I follow a collection of industry people who post daily and lately, some of their posts haven't been showing up until days later. That was another impetus for me to switch from LJ to Blogger. The Blogger Dashboard is much more effective at telling me when content is available. (I'm told it's the same thing as Reader, but I started with Google Homepage when I had a lot of non-blog modules included as well, but they have fallen away over the years.)

One such industry person is Jessica Faust from BookEnds, LLC, a literary agency I queried for BLACK MAGIC AND BARBECUE SAUCE. She posted her form rejection letter on her blog today, and I wanted to compare it to the one I received (identical, in case you were wondering). It struck me that it was only to BM&BBQ and not WCO. Why hadn't I queried her again?

So I went to her agent page and saw the reason. She only reps contemporary fantasy, which Black Magic was. Wanted is pure classic fantasy.

...

Now, if you've done your homework properly, you know I'm wrong. She reps contemporary, fantasy. That reads "contemporary [COMMA] fantasy"

You see, that comma was at the end of the line and I skipped right over it. Right over. Woosh! Here's an agent whose blog I follow daily (where I participate almost as frequently) who I could have queried MONTHS ago, but because I missed one stupid comma, I did not send her anything.

So the rule that says do your homework before querying an agent? Here's a sub-clause: Pay attention, stupid.


Oh yeah! While the above remains a smart lesson, in this case, the decision not to query was intentional. I read an interview with Jessica where she voiced a firm opinion of word counts, which WCO surpasses by 30,000+ words.

The Hard Part

I got a pass on WANTED: CHOSEN ONE, NOW HIRING today. This particular agent has looked at BLACK MAGIC AND BARBECUE SAUCE as well and is very good about giving feedback with rejections. What struck me today is that his comment was very similar to a comment Elizabeth Poole gave me when she beta-read the story.

Bastin is a more likable character than Nashau or Podome. This isn't disputed, trust me. Bastin is your classic high charisma, high energy flimflam man you find in many fantasy novels. That was one of the reasons he wasn't the main character. I've seen him before. Or at least, I've seen other characters with that attitude (Bastin keeps himself out of the cliche gutter, I think). And regardless, it wasn't his story I wanted to tell. It was Nashau's. It is a story about unemployment in a fantasy setting. I saw the story I wanted to tell and I told it.

But here is the feedback, this story would be better with Bastin as the main character. A story may be better with Bastin as the main character, but that story wouldn't be this story. And there's the hard part.

Completing a novel is difficult. Revising that novel is challenging. But rewriting the novel? That's flipping hard.

Revising makes a story better. It fixes flaws, improves weak structure to make it stronger. It's an essential element of professional writing. Rewriting is taking the fundamental aspects of a story: it's plot or theme or characters or setting, and telling a whole different tale.

Now, the agent did not say "If you rewrite this with Bastin as the main character, I will represent you" which saved me a lot of hand-wringing. But the implicit statement of "I'll look at this again" was (I think) there.

Since I received that email, I have pondered and pondered and pondered whether or not I could tell WANTED: CHOSEN ONE, NOW HIRING with Bastin as the sole main character rather than 1 of 4 (with Nashau being the primary main character of the group with Jara being second). The first half is easy. There's a lot of stuff early on with Nashau and Podome that could be cut. If they're not main characters, those chapters are unnecessary. But that leaves me with stuff later...well, those chapters balance because of the foundation I built with those early chapters. I don't think I can revise my way to a Bastin-centric story. I'm too attached to the story I told and still believe it is better the way it is.

What happens when this happens later? What happens when it's an editor and I'm contractually obligated to deliver and they say something like this? I'm terrified. I've always known it's a possibility, but was able to ignore it because I'm still looking for an agent. It's hard to stifle that gut reaction of, "No, it's better this way" just because that's the way you told it. Really, rewriting is asking for a different story than the one you've told but with the same stuff included. Ugh! That's so hard!