Tag: agent

Writing a Series vs. a Standalone

I’ve heard authors ask, “Should I write a series or a standalone?”

My first answer would be to write the story in your heart. DO NOT WRITE TO TRENDS – say it with me. Do not. By the time that story’s written, revised countless times, edited, and polished, that royal Tasmanian zombie-shifter prison quartet trend will have flashed and died.

But if you can see your story going either way, here are a few truths regarding series and standalones.

  • Historically, authors are told to write series. Series sell better. If you’re shooting for traditional publishing, it shows agents/publishers you have more than one book in you. Readers like following characters they’ve read about before. (This last point is a double-edged sword. More on this later.) But if there isn’t an arc there, and you aren’t interested in adding or fleshing out secondary characters, don’t force it. Some stories might only be one book long. That’s not a crime. In fact, lately, I’ve hesitated to buy or read a book in a series. Every story seems to be part of a series (says the author who wrote a trilogy. Ahem.) Sometimes I just want to read a well-told, juicy standalone. Sometimes I just want to write a well-told, juicy standalone. But…
  • There’s a benefit to sticking with characters you’ve created, tortured, and triumphed with after just one storyline. I found this especially true with the Firebrand Chronicles. I grew to really know and love Brenna, Baldwin, and Arvandus. Spending all that time with them made me imagine what else could happen to them. After finishing a story, I usually imagine different connecting points between characters and plot. Even my short story “Everwild” (which is in the anthology Mythical Doorways and is FREE, BTW…) is already a four-book series in my head. I have plenty of adventure and mayhem planned for half-fae Flint and full-fae Lila. I just can’t get all my projects written as quickly as I’d like.
  • At the outset, writing a series requires more planning. Detailed notes are imperative—a “bible” for your world, with the characters, their backstories, descriptions, towns, magic system, tech level, money system, languages, belief systems, etc. You won’t remember it all—trust me. Take copious notes and keep them with you while you write. A map is good too, even if it’s one scrawled on notebook paper (which is what I have for my current WIP. I’m not crazy about it, but it’s working—for now.)
  • Over the long haul, world-building is generally less work. Although there are detailed notes being listed in your notebook bible, you create one world. That world lasts for the duration of the series. For each standalone, the author must create a new world. Every. Single. Time.
  • I mentioned how much readers like following characters they’re familiar with. I’ve found some readers don’t want to buy a book and then wait a year for the next installment. So they’ll wait. (*Raises hand.*) Many will wait until all the books are out. You won’t see sales. Don’t let that discourage you. Keep writing the next story. If you’re self-publishing, you could avoid this problem by doing a rapid release (which is writing all the stories, editing and polishing them, and then releasing them in quick succession, usually no more than six months apart.)

Don’t feel you have to create a series if it’s not in you. There’s a place for everyone at the table, both series writers and standalone authors.

Creating a One Sheet

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What is a One Sheet?

One sheets are strange animals. Part graphic design, part advertising copy, part business card, they’re not often needed in proposals. Sometimes they’re asked for at in-person pitches, but this is largely dependent on the person you’re meeting.

They’re one page (surprise, surprise) and include all the important information—title, word count, tagline (if you have one), blurb, an eye-catching graphic, contact information, bio, and headshot. If you’ve completed all the other items mentioned in my previous blog posts (here, here, and here), your most pressing issue will probably be finding the right graphic. There are plenty of good free graphics on Unsplash, Pixabay, Pexels, and Bing. Go more for a professional look, less cutesy. That adorable paw print pattern you were going to use for your werewolf shifter novel? Yeah, don’t. Readability is key. Use a clean font—save that cool Gothic Script for another project.

I have a love/hate relationship with the one sheet. While they can be fun, they take valuable time from agonizing over, er, I mean revising my synopsis or blurb. After you’ve finished your one sheet, do a test run. A graphic may look perfect on the computer, but be an absolute nightmare once it’s competing with all the information on the page. For example, I’d originally planned a full-page, fiery graphic for my one sheet about Spark, Book One of the Firebrand Chronicles. But on the page, there were sparks and flames consuming my valuable contact information. It was too much. I found a smaller graphic that just spanned the top half of the page.

While I’d love to tell you to skip a one sheet, because many of us are writers, not graphic designers, I used one when pitching to an agent. I’d thrown a few in a folder on my way out the door to a one-day writing workshop. When a last-minute opening became available, I signed up to pitch to an agent. I slid the one sheet across the table and waited, shaking, while he spent a few seconds scanning it. He nodded, asked a few questions, and it gave me some time to ease into the situation. To be honest, I think what was written on it was more important than the cool flame graphic scrolling across the top. So, it’s really up to you.

If you’ve done your best with all the other items in your proposal, the most important thing you can do is relax. Remember to breathe. Say a prayer. Then,  take all your nervousness and turn it into excitement. Be animated (not wooden) and share with the other person all the cool things about your story!

Happy pitching!

What Is a Synopsis?

Few words strike dread in the heart of a writer like the word synopsis. It’s the Dreaded Nightmare of most writers. (There’s probably a few out there who don’t mind writing them, but I’ve never met them).

So what exactly is a synopsis?

It’s a one-to-two page document, usually either two pages, double-spaced or one page, single-spaced. (Check the editor/publisher/agent guidelines. If it doesn’t specify, don’t sweat it. Just pick one.) The publisher or agent uses the synopsis to see if there are plotting issues or weird tropes (i.e., it was all a dream!). They aren’t expecting advertising copy; save your gorgeous, flowery prose for the manuscript. Otherwise, write it in the same tone and style the book is written in. One caveat: if your book is written in first person, don’t write your synopsis that way. Typically, write it in active voice, third person, present tense.

Briefly introduce your main character(s) and put their names IN CAPS the first time they’re introduced for ease of identification. This document is where you spill the beans regarding your story — the interesting setup, the plot twists, emotions and reactions of characters, setbacks, climax, and resolution. Keep the details pertinent, and don’t give tons of backstory. I’ve found this to be extremely difficult. After all, every single scene feels important to me. I want to include them all.

A few important points:

  1. Yes—you have to tell how the story ends. Aside from the length, this is one of the main differences between the synopsis and the blurb. Don’t try to pass the blurb off as a synopsis.
  2. Show, don’t tell doesn’t work for the synopsis. Because this is an entirely different kind of writing compared to a book, you’ll have to do a lot of telling, not showing.
  3. If you’re a pantser and you haven’t finished the manuscript (and therefore can’t finish the synopsis), go finish your book. Agents and publishers won’t consider books that are “mostly” finished.
  4. For more information, check out Reedsy’s article on writing a synopsis.

I’ve found the easiest way to create a synopsis (or as easy as synopsis creation can be) is to take my manuscript and go through it chapter by chapter. What are the key plot points that occur? List them in order. Be brief. When I’m done,  I’m halfway to a working synopsis.  Then edit, edit, edit.