Just blogged this today at Women and Words about the meltdown at Romance Writers of America and some of my thoughts.
Just blogged this today at Women and Words about the meltdown at Romance Writers of America and some of my thoughts.
I know. I’ve been neglecting all of you. But I have been writing a ton of Fangirl Friday blogs over at my other site, Women and Words, so if you wonder where the hell I am, check there. And the Twitterz, where I go by the cryptic handle @andimarquette.
Anyway, I’ve got a lot of things in the works right now. I recently published a short novel at Ylva — it’s a thriller with a little romantic undercurrent. Here’s the link, if you want to see more.
I’m working on some rewrites of my other stuff to get it back on the market…yeah. That’s been kind of a clusterfuck, and I apologize a jillion times over for that. Hopefully that will be remedied soon, but seriously. Clusterfuck. I can’t even with that. Sigh.
Plus, I have to admit, this election season has given me super angst. This whole fucking year has given me angst because of all the shitty-shit that’s gone down in a variety of quarters, which means I’ve sought escape in order to maintain my emotional and spiritual (and physical) health.
Along those lines, I’ve basically reclaimed my 37th childhood and decided to go fangirl for various things (see my posts at Women and Words) and seek solace with like-minded people. At least we can all fangirl together.
Greetings, peeperas y peeperos!
I hope this past weekend was awesome for you.
Me, I’ve been having deep thoughts all over the place, like these over at Women and Words.
And the ones I’ll be revealing here. Don’t freak out when you start reading. Read the whole thing. There’s an HEA.
Geez, WTF, Andi? It’s been, like, forever and a day and all kinds of THE THINGS happened and where the hell were you and just what are you doing?
I know. Straight up, I’ve been FB’ing incessantly about the Women’s World Cup (OMG YAY TEAM USA) and writing for deadlines and then there was the amazing historical BOOM when marriage equality was ruled the law of this great land and then there was a horrific tragedy and then all kinds of crazy over certain flags. I decided much wiser heads than I can address those two latter issues, and I still haven’t quite been able to wrap my head around the whole marriage equality thing.
At some point, I will blog that, because I’m coming from a perspective of believing that I probably wouldn’t see it in my lifetime or if I did, I’d be in my 60s or 70s. This perspective, I think, causes a fatalistic outlook on relationships. Marriage was something I thought I could never have, so I never planned for it. I educated myself about the issues, worked to advance them as I could, but I never thought it would be something that I myself could enjoy.
And that leaves its own kinds of scars. Which I will discuss later, as I ponder more.
In the meantime, I wanted to discuss something else. Specifically, what repercussions marriage equality may have on genre fiction.
I wonder this because yesterday at Women and Words, we posted a blog by New York Times bestselling romance author Melissa Foster, who just released a new book in her Harborside Nights series that features a lesbian main character and this character’s love for another woman.
Foster predominantly writes heterosexual romance, and this is her first F/F. As she notes in the blog she did at WaW, she got a little bit of blowback from her writer colleagues.
Hi, all! Hope the weekend treats you well.
I decided — after some comments (some cranky; others not so much) I got regarding my decision to reboot my first mystery, Land of Entrapment — that it might be a good idea to explain what a new edition is and why some authors decide to do it.
There are many reasons authors come to these decisions. We don’t wake up one day and decide, “Oh! I’m going to re-do one of my earlier works and re-issue it! Won’t that be fun?” Because not. It’s not fun. I mean, some of it is. But for the most part, it’s stressful and time-consuming and the longer the book stays off the market, the less opportunity there is for readers to read it. And authors never make this decision to piss people off. Trust me on this.
So let’s chat about some of the reasons authors decide to create a new edition of an earlier work.
Hope the weekend treated you well. Writer and editor Nann Dunne posted this link on a Yahoo discussion list a couple days ago and I’m sharing it here because Larry Brooks knows whereof he speaks.
In this particular blog, Larry points out 7 things that will make you a better novelist (and, by extension, writer).
It involves WORK.
So let’s have a think about this.
So a couple of folks expressed interest in how to write an effective opener for a novel.
To which I say, “good luck.”
And then I supply links LIKE THIS, which have the alleged “100 best first lines from novels”, posted by the American Book Review site. I must say, Iain M. Banks’ line from The Crow Road is a grabber: “It was the day my grandmother exploded.”
Hit that link at Amazon and you’ll be able to read the first few pages to determine what that’s about.
At any rate, what makes a great opening line? Well, I’d say that’s a topic up for debate, depending on a reader’s taste. But overall, let’s try to dissect what makes a great first line in terms of writing craft. Here are five things to think about.
Hi, peeps! Well, I’m currently working my way through a major case of writing burnout.
Obviously, that hasn’t extended to my blog. Let us all rejoice for small miracles.
Burnout, friends, is sadly normal in our fast-paced high-stress lives. What exactly is it? Think of the flame on a match. It burns bright and sizzly and all happy and then it slowly diminishes until it’s no more. Matches are designed to do that. People, not so much.
Burnout means you run out of gas. You become physically and emotionally tired after doing a difficult job for a long time and it affects your job performance. It can be debilitating because it can lead to some depression, though depression can also help cause burnout, so if you’re prone to depression anyway (like I am), you need to pay attention to yourself so you can do some self-care things. with me, burnout is linked to depression and they feed each other, so I have to figure out whether my issue is true burnout or whether I’m burning out because of the depression. If it’s true burnout, then depression could follow, even if depression isn’t something you have to deal with on a daily basis.
So let’s meander further.
Well, kids, it’s that time of year again. When we start thinking about getting our taxes together for THE MAN. Or WOMAN. Whichever IRS agent has a look at your stuff.
I know. Wow, what an exciting topic. Unfortunately, it’s a reality and it’s one that self-employed folks (and most writers are indeed self-employed) have to deal with all the time. And by now, you’ve probably noticed all the tax commercials showing up on your networks. You know the ones. TurboTax and H&R Block are already at it, as those icky reminders to get your tax on. Or off, which is what deductions are all about.
For those of you living overseas in countries whose governments take care of all of this for you (and they just send you a statement saying how much you paid in taxes), I can only dream of such ease. Here in the States, every citizen is required to put together his or her own tax/income portfolio between January 1 and April 15 of each year. That means you report your income and all kinds of other things to the federal government as well as to the state’s government where you live. Some states do not have what’s called a “state income tax” while others do.
Included in this process are things we here in the States “write off” each year. That is, expenses we incurred with regard to specific situations that relate to businesses or other things (like tax deductible donations, e.g.). In my case, I have to keep track of all my expenses as a writer, since that’s a “self-employed” position and my income is what I earn in royalties. So I keep files of receipts and royalty statements. Lots of receipts, since anything I buy and use in the furtherance/maintenance/development of my work as a writer is something I report to the IRS.
And yes, royalties are taxable. So if you write, you need to keep track of those. If you’re working with a traditional house, those houses will send you a form with your total earnings for the year so you can report that. If you’re self-published, you need to make sure you keep track of your earnings because that’s reportable and taxable.
Some of the things I report as deductions are:
So I keep track of all of this during the year. Yes, it’s a pain in the ass. But if you keep things organized during the year, it’s not that big a deal to get it all put together to send off to either the IRS (with the proper forms) or your accountant. I have one of those, so I put my stuff together for the accountant which for me is a lot less stressful than having to do my taxes myself. Yes, it costs. But it’s worth it for my peace of mind.
So readers, in case you wondered, everything a writer makes in terms of sales is taxable, which means the government can take a chunk of it. So no, writing does not give anybody “free money.” It’s income. And therefore taxable. For writers who are just starting out, keep this in mind and start getting organized with regard to your expenses and earnings. Regardless of whether you’re publishing through a traditional house or doing it indie (or both), your royalties are taxable, depending on how much you make from them.
To help you get a handle on what you can deduct as a writer, try these links:
Internal Revenue Service deductions info
Riley & Associates (accountants) have some cool fill-out sheets and info
Kiplinger.com on overlooked deductions (some of these may not be applicable to you and your writing career, but it’s good to know regardless)
I know. Doing your taxes is a level of suckitude with which we can all sympathize. But if you stay organized and get cracking early in the year, you’ll be done a lot quicker each year.
Happy Monday, happy tax season. Or something.
I do hope that 2015 has started off awesomely for you. And before you ask, no. I don’t make “resolutions” in the classic sense. Rather, I have “schedules.” That is, things I will be working on, and those usually involve making adjustments to my daily regimens and organizing writing and editing projects.
At any rate, this year I’m going to be doing some writing in genres that I’m not known for (including paranormal). I think it’s important to stretch as a writer, and try new things in order to get a sense of how your style and voice work across genres and what kinds of adjustments to make to write effectively no matter what you’re working on.
I’ve also got a lot of other writing things I’m up to, including romance and sci fi and I’m working on New Mexico things. So don’t worry. You’ll see things from me this year, too. 🙂
And speaking of working, I’ve been reading some “how to” and “how not to” books because I like to check in on my own techniques and continue working on my craft. I recently read this gem of irreverence, called How Not to Write a Novel, by Sandra Newman and Howard Mittelmark, both writers.
The book is indeed filled with 200 examples of bad writing in an attempt to get other authors thinking about what constitutes bad writing and how to recognize it. The examples are often raunchy, hilarious, and in some cases NOT SAFE FOR WORK. So you probably don’t want to share this with teens or ‘tweens.
From the book’s website (linked above):
Many writing books offer sound advice on how to write well. This is not one of those books. On the contrary, this is a collection of terrible, awkward, and laughably unreadable excerpts that will teach you what to avoid at all costs if you ever want your novel published.
The book walks you through things not to do when you’re setting up your plots, writing characters, dealing with perspective and voice, learning about mechanics, and world-building. The examples can be over-the-top, yes, but the authors will tell you after the bad writing what’s wrong and why it doesn’t work (readers might also find the book interesting because it’ll get you thinking about the parts of a book and why some things work and why they don’t).
From the book’s intro (which will give you a sense of the approach):
We do not presume to tell you how or what to write. We are merely telling you the things that editors are too busy rejecting your novel to tell you themselves, pointing out the mistakes they recognize instantly because they see them again and again in novels they do not buy.
We do not propose any rules; we offer observations. ‘No right on red’ is a rule. ‘Driving at high speed toward a brick wall usually ends badly’ is an observation.
Hundreds of unpublished and unpublishable novels have passed across our desks, so we have been standing here by the side of the road for a very long time. Had you been standing here with us, you would have seen the same preventable tragedies occurring over and over, and you would have made the same observations.
Do not think of us as traffic cops, or even driving instructors. Think of us instead as your onboard navigation system, available day or night a friendly voice to turn to whenever you look up, lost and afraid, and think ‘How the fuck did I end up here?’
Sometimes, dear writers, you need to see what absolutely does not work to get a sense of what to look for in your own writing. Most (if not all) of the examples in this book I have done, the vast majority when I was just starting out as a fiction writer.
Part of developing as a writer is finding your own voice and style within the rubric of solid writing craft. And that involves comparing all kinds of writing as you’re working to figure out who you are as a writer. Which is why I think having really bad examples can be helpful, along with the reasons that the writing is “bad.” You’ll also find tips in this guide that hopefully help you fix the bad so you can apply them in your own manuscripts.
So writers, if you’re looking for a funny and useful guide to hone your writing skills, give this a look (here’s the Amazon link; more purchasing links at the site). If you’re a beginning writer pounding away on your first novel, definitely give this book a spin. And if you’re a reader curious about what bad writing might look like and how writers might address it, you might enjoy this, too.
So let’s get crackin’ this new year and hit the manuscripts!