Erin Hahn On Perseverance

I'm lucky (or cunning) enough to have lured yet another successful writer over to my blog for an SAT - Successful Author Talk. SAT authors have conquered the query, slain the synopsis and attained the pinnacle of published. How'd they do it? Let's ask 'em!

Today's guest for the SAT (Successful Author Talk) is Erin Hahn, author of You'd Be Mine, a love story about Annie Mathers - America’s sweetheart and heir to a country music legacy full of all the things her Gran warned her about.

Are you a Planner or Pantster?

Hm. A reformed pantser, I suppose. I definitely struggle to follow an outline, no matter how meticulous and well-thought-out, but now that my work has to be approved by both an agent and an editor, I try to follow a cohesive format.

The best I can come up with on my own is a soundtrack. I can follow a song per chapter, capturing the feeling of that song and write from there. USUALLY my characters allow that and since my novels tend to rely heavily on music as a subject matter, so far so good.

How long does it typically take you to write a novel, start to finish?

Usually 4 months draft to revisions. I’m a binge writer so the words will pour and then nothing for months while my creative well refills.

Do you work on one project at a time, or are you a multitasker?

Gah. ONE. AT. A. TIME. Those who can multitask their drafts? You are magical glitter unicorns with rainbow hair. I’m so jealous. I might start daydreaming a new project when I’m working on a draft, but there is just no room to switch gears in my brain.

Did you have to overcome any fears that first time you sat down to write?

Not the first time I wrote, no. I’ve always enjoyed telling stories and used to blog quite a bit back in the day. But I definitely almost threw up every time I sat down to query my first few books. I got so many rejections that I grew to expect them, which certainly made things easier. By the time I got my agent, my skin was nice and tough.

How many trunked books (if any) did you have before you were agented?

Four to five. A nearly completed YA SF trilogy, a YA contemporary fantasy and a YA contemporary.

Have you ever quit on an ms, and how did you know it was time?

I quit on my trilogy. It was socially problematic and I was pretty ignorant as I wrote it. I’ve recycled my favorite character into my WIP, so I think that means if I ever tried to revive the trilogy, I’d have to tear it apart and rebuild it without the messiness and I just don’t know that it would stand. Some stories just aren’t yours to tell. That was this series for me.

Who is your agent and how did you get that "Yes!" out of them? 

My agent is the utter badass Kate McKean, VP at Howard Morhaim Literary. She pulled me out of the good old slush pile! No contests, no pitches, nothing. I sent her a query, she asked for my full and then she scheduled a call with me to offer!

How long did you query before landing your agent? 

With You'd Be Mine, I’d been querying for two months. I’d sent ten queries off of pitch contest requests and thirty “cold queries” in that time. When I got my offer, I had 15 fulls out to other agents. Prior to that, I’d queried 3 other books over three years and sent probably 250 total queries for those books.

Any advice to aspiring writers out there on conquering query hell?

I queried like it was my job because it was. Some authors keep spreadsheets. I had one of those that a friend lent me that ranked agents and their YA sales. I also kept track of every agent I queried in a new notebook. I would track the submission requirements, the date sent and the date a request or rejection was received. If the agency had a 6-8 week limit, I would mark that as well so I knew if I should follow up or let it go.

When a rejection or request came through, I would open my notebook and make a note. Every week, I would pull out my notebook and see how many queries were outstanding and decide if I should consider revising or send out more queries. It also allowed me to tally just how many queries I’d sent and I would make a goal for myself. For example, the book before You'd Be Mine,, another contemporary, had gotten a fair number of requests early on. So I told myself to give it 85 queries. It was painful and by the end, I didn’t want to send it, but I also LOVED that book so hitting that number helped me to shelf it, knowing I gave it a real shot.

This method helped me to keep organized of course, but also allowed me to keep my emotions at bay. This was my business. Obviously, there were plenty of nights where I drank wine and pretended I was going to quit writing books, but the next morning I would pull out my notebook and send another 5 queries.

How did it feel the first time you saw your book for sale?

Um, BANANAS. The hilarious part is you have all these marketing people and editors and whoever and they are lovely and amazing but also, this is their job. This is what they do, putting books up for sale. So my editor was like, “don’t panic but your book with its cover is up on Amazon but you can’t buy it yet and we don’t want anyone to know so shhhhh…”

And on the outside, I’m all, “Of course. That’s fine. I’m very professional and cool.”

Inside, Reader, I was like, “HOLY SHIT THERE IS A BOOK WITH MY NAME ON IT ON MOTHER EFFING AMAZON.” My mom left me a voicemail the day my book went up for presale. She’s sobbing and saying, “I… just… searched… your…. name… and… you… were… there!”

It’s nuts.

How much input do you have on cover art?

It varies per book and imprint, but I was able to chat with my editor about what I thought fit the tone of the story and she brought my thoughts to the art team. After I saw the cover, I was able to give them feedback, but I was very fortunate in that I was obsessed with the art. I did ask them to tweak some things, like make my name smaller and play with the color… but in the end, I’m pretty sure I reverted back to the original scheme. I’m very pleased with my first cover!

What's something you learned from the process that surprised you?

Hm. How much non-book-writing is required! Obviously, writing the book is my top priority, but there is so much self-marketing and networking involved. It’s all a lot of fun and definitely the stuff of dreams, but I never realized.

How much of your own marketing do you? 

I feel like I do quite a bit. I have a website, Instagram and Twitter. I’m also in the #novel19s debut class and partake in monthly live twitter chats… and then, of course, all the guest blog posts. My publisher is really excellent and has done a few Goodreads giveaways of early copies, so I’m very fortunate, but I feel like I need to put the work in, too!

When do you build your platform? After an agent? Or should you be working before?

I’ve been on twitter since I started querying and spent those first years building up a firm foundation in the writing community. I’ve made lots of friends and CPs and have been able to really clue-in to what is important and also, problematic. I waited until after signing with my agent to build my website or take author photos or do guest blogs… I would say I was waiting for a bit more credibility. I also waited until after selling my first book to sign up to mentor in Author Mentor Match, which is a marvelous community for new authors!

I think it’s important to always be working on your public persona, because that could come back to bite you if you’re a dick. The internet seems eternal and burning bridges there could haunt your future career. Make friends, be supportive, give back and be kind.

Do you think social media helps build your readership?

It can! Holy smokes, the number of people who have preordered my book because of something I’ve written in a blog or something I’ve tweeted constantly amazes me. People who will tag you in kind reviews and share their love for your words is everything to a new author.

Structure & Research For Your Novel, With Sarah Carlson

I'm lucky (or cunning) enough to have lured yet another successful writer over to my blog for an SAT - Successful Author Talk. SAT authors have conquered the query, slain the synopsis and attained the pinnacle of published. How'd they do it? Let's ask 'em!

Today's guest for the SAT (Successful Author Talk) is Sarah Carlson, debut author of All The Walls of Belfast, which will be releasing in March - don't miss the chance to enter to win an ARC below! Sarah writes Contemporary YA that incorporates social issues, and is a member of SCBWI. Sarah is represented by literary agent Claire Anderson-Wheeler at Regal Hoffman & Associates.

Are you a Planner or Pantster?

I’m kind of a Pantsner, or a Planster. My natural inclination is to be a Pantser. The novels I write are all about characters, and the plots therefore are driven by the characters. I discover my characters as I write, unique aspects of their personalities and quirks, but also much deeper things like their core beliefs about themselves, the world, and the people around them. I discover their insecurities, which the antagonist exploits or are the antagonists themselves, and what makes them strong, which helps them (maybe) defeat the antagonist in the end. And I discover what they need and why they need it—internal and external stakes that truly matter.

All of these character aspects determine how they will act and react to other characters and the obstacles thrown in their way, which is the plot.

But at the same time, I can’t just totally throw characters together and just see what happens. I need at least a bare bones direction. So, what I generally try to do is start with a general idea of what the central conflict and antagonist are, then I try to flesh out a bit the major points in the novel, based loosely on The Writer’s Journey: Mythic Structures by Christopher Vogel.

Then what typically happens is the plot completely evolves and changes as I’m writing and discovering my characters, and it often changes significantly between my many, many drafts as I understand my characters and their motivations even better. It may not be the most efficient way to write a book, but for me, it leads to a story with rich, deep characters who make high stakes decisions based on who they are, rather than to fit my plot.

How long does it typically take you to write a novel, start to finish?

It really depends on what the novel is about, and how much research it takes. All the Walls of Belfast took about five years, in part because I was writing outside my lane about a topic that stems from a very complex social-political history. I needed to understand that to understand the complex current events and perspectives of my characters, and to grasp the roots of the intergenerational trauma impacting many of the teen characters.

Because it’s based in Belfast, I also needed to do mega research into dialect (first bridging the gap between British English and American English, and then specifically Belfast dialect), culture, and setting. I also took three trips there and managed to get five readers from Belfast. Beyond that, it is also dual point-of-view with very different characters. Figuring out Fiona’s story (ironically the one who’s culturally American) was much more challenging than Danny (the boy from Belfast). Her inciting incident, and therefore pretty much her entire story, was completely changed and re-written more than once because it took me a while to truly find the heart of her story.

The novel I’m currently working on, set in my hometown in rural Wisconsin, was much quicker, perhaps two or three months to complete the first draft (while working full-time and raising my toddler). This novel took some research around heroin addiction and its impact on children and families but didn’t require much beyond that because I spent my teenage years growing up there.

So, obviously, big difference!

What slows the process down is often waiting to get feedback from readers about what’s working and not working, then deciding what fits with your story, but having that space away from your story helps you return with fresh eyes. Sometimes for me, too, I just get stuck and need some space to find the way forward, and that often stems from the fact that I’m in the process of discovering the heart of my story.

Do you work on one project at a time, or are you a multi tasker?

If I’m not on a deadline, I follow my heart and work on whatever’s calling me. It may vary week-to-week. Generally, though, I work on something until I hit a wall or run out of steam, then something else calls to me and I work on that.

Did you have to overcome any fears that first time you sat down to write?

I’ve always loved writing, ever since 4th grade when I was selected from my grade as a winner for some writing competition. In middle school, I wrote basically Stephen King fan fiction on loose-leaf paper, then in high school delved into tons of research and then writing an epic sci-fi book. As I got serious about writing, the biggest fear I had to overcome was showing other people my work, first family and then strangers in critique groups, then agents.

How many trunked books (if any) did you have before you were agented?

Four or five.

Have you ever quit on an ms, and how did you know it was time?

I wouldn’t say I quit as in I deleted it, but I locked it away and told myself it’ll never be seen again, lol. That’s not to say bits of it might not inspire other work later, but . . . Knowing it was time and my reasoning, that varied. Sometimes it was realizing it wasn’t my story to tell. Other times it was realizing that I was trying to write a genre that doesn’t fit with my current skill set (like that sci-fi novel I started when I was fifteen). Who knows, I may go back to them someday. But, most importantly, I learned priceless volumes with every manuscript, so it really wasn’t a waste of time.

Who is your agent and how did you get that "Yes!" out of them?

My agent is Claire Anderson-Wheeler at Regal Hoffman & Associates. I queried two manuscripts before All The Walls of Belfast with absolutely no requests at all. To be fair, when I started querying eight or nine years ago, I had NO IDEA what I was doing. At all. Like my YA sci-fi was 240,000 words. EEK!!!! There were years where I just gave up querying altogether, but I didn’t give up writing because I can’t. I love creating stories and have since I started walking basically. I kept pushing myself to improve. I attended writing conferences, researched effective query letters, learned more about HOW to write a book, wrote new books. Worked with a few writing coaches. Found critique partners. Joined writing groups. Kept pushing myself. Kept writing.

With All The Walls of Belfast, I was very reluctant to even start querying, but I worked hard on compiling a list of agents (which included Claire). Then in 2014 I discovered the joy of the YA writing Twitter community. The first contest I participated in (and it was with All The Walls of Belfast) was Pitch Wars. I was one of those hopeful mentees who read all the signs and was SURE I was going to be picked. I wasn’t. But my query materials were in much better shape and I’d amassed many new, skilled writing friends I still talk to. Then I participated in a few more Twitter-based writing contests and didn’t get picked.

Just as I was preparing to (finally) traditionally query, one of my writer friends told me about a Twitter pitching contest called #Pitchmas, right before Christmas. I was almost like, what’s the point, but she helped me prepare a few 140 word tweets, so I went for it. And . . . Claire liked one of my tweets! I sent her my materials. Ironically, if I remember correctly, she didn’t even ask for my query, just my synopsis. All that work on my query and it wasn’t even needed ;-P I made a point of telling her I’d planned on querying her anyway. I sent the full, and I think THE CALL came in late January 2015. I reached out to other agents who had my query, got a few more full requests, then gave them a week to read them. In the end, I decided Claire’s vision for my novel, and her enthusiasm, was the perfect fit!

How long did you query before landing your agent?  

I queried three novels over about six years.

Any advice to aspiring writers out there on conquering query hell?

Just keep telling yourself it’s a business, and a very subjective one at that. For example, with All The Walls of Belfast, it often came down to agents not being interested in the setting or not connecting with one of the two POV characters, but my agent and publisher both LOVED the setting and both characters and felt all that was a major selling point of the book. So, it all came down to subjectivity.

If you’re not getting requests, get some fresh eyes on your query and first pages. That’s why I always sent them out in small batches, to see if they were working. Keep writing. If you don’t get any bites on your initial novel, try the next one. The writers who make it are the ones who persevere and keep pushing themselves to improve their craft. And, most importantly, they never give up.

How much input do you have on cover art?

Turner Publishing asked me for my vision for All The Walls of Belfast, then they gave me three cover comps based on it. I picked one and then offered several rounds of specific things to tweak to make sure the characters matched my vision of them. I also had say over font colors. And I totally love the end result!

What's something you learned from the process that surprised you?

I was just really surprised by how hard Turner Publishing was working on everything in the background without me knowing!

How much of your own marketing do you?  

I’m working very closely with Turner’s marketing director on strategy and we’re definitely a team! My goal is to enhance all the stuff they’re already doing. I actually enjoy it, and I’m the kind of person who likes to be in control of my own destiny, so I’m trying hard to be involved with readers and writers across social media platforms. I also designed my own swag and am working to creatively compile giveaway packs with a focus on supporting local Belfast businesses when possible. I made my own book teaser trailer.

https://www.youtube.com/watch?v=K3i5YSUL5Gk

I also have a website and blog, and can be found on Twitter, Goodreads, Instagram, Facebook and Youtube.

When do you build your platform? After an agent? Or should you be working before?

I got on Twitter and started my blog/website back in 2014, when I really got serious about treating writing as a profession. Participating in Twitter-based writing contests like Pitch Wars helped me to build my writing tribe. My writing friends have continued to help me build my craft, and now also help me get the word out about All The Walls of Belfast. But it takes a lot of genuine relationship building and mutual support to get there, so definitely work on it before. Plus, who knows, if I never got on Twitter, I may never have gotten my agent in the first place.

Do you think social media helps build your readership?

Absolutely. I think it’s critical. Both my personal friends and writer friends are already helping me spread the word about All The Walls of Belfast. I must say, joining the Novel Nineteens, a dedicated group of MG and YA writers debuting in 2019, has been absolutely essential to my career. I learn so much from them, and we help one another get the word out about our upcoming books. They’re so much fun, too! And let me tell you, so much literary awesome is about to explode on the scene in 2019, so be ready.

You can pre-order All The Walls of Belfast on Amazon, Barnes & Noble or Indiebound.

And be sure to enter the giveaway below for a chance to win an ARC!

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Quinn Sosna-Spear On Knowing When To Shelve A Project

I'm lucky (or cunning) enough to have lured yet another successful writer over to my blog for an SAT - Successful Author Talk. SAT authors have conquered the query, slain the synopsis and attained the pinnacle of published. How'd they do it? Let's ask 'em!

Today's guest is Quinn Sosna-Spear author of The Remarkable Inventions of Walter Mortinson, which follows 12-year-old Walter’s travels in the stolen family hearse, through towns where people dress as fish, worship bees, and dig for living rocks, en route to meet the infamous inventor who mentored his father.

Are you a Planner or Pantster?

I have never heard the word “Pantster” in my life and I am living for it. On first glance I’m imagining a fierce panther wearing skin-tight Levis frolicking through the . . . jungle? (Is that where panthers live? I’m a writer, not a scientist.) All I know is that she’s a pants-wearing panther prancer and that is absolutely me.

Okay, I’ll stop babbling and actually look it up. *Old People Googling* Ohhh, “One who flies by the seat of their pants.” I’m a little of both. I’ll plan every detail of something, making sure I’ve covered every angle and spackled every crack—and then in the actual moment I inevitably panic and go off the rails. So, I do plan, I just don’t stick to my plans.

How long does it typically take you to write a novel, start to finish?

Similar to my last answer: I am both fast and slow. I’m actually known for writing quickly. On Remarkable Inventions I wrote twenty pages a day, at my fastest. Unfortunately I suffer from many conditions including “I-have-to-make-money disorder,” “Distracted-by-YouTube-enza,” and “I-don’t-feel-capable-so-I’m-going-to -lay-in-a-ball-and-pretend-to-be-a-pillbug-itis.” What I’m trying to say is that it takes a lot longer than it should. I wrote my first draft of Remarkable Inventions in a couple of months. My current book will probably take about six months.

Do you work on one project at a time, or are you a multi tasker?

Oh, I’m a multi-tasker. Unfortunately that means my tones sometimes get blended and I have trouble finishing anything, but I get too distracted by new ideas to work on one alone.

Did you have to overcome any fears that first time you sat down to write?

The first time I sat down to write—like really write—was when I was a brass-ovaried teenager who thought I was the second coming of Shakespeare (Spoiler: It turns out I was not). So, not really.

That being said, I have to overcome about a dozen fears every time I sit down to write now, and the list keeps growing. It makes me think about the Dunning-Kruger effect which essentially says that the more you know about a topic, the more you realize how little you know. I’ve come to realize that I’m not nearly as talented or knowledgeable as I would have previously thought, and the more I’m learning, the more I’m realizing how large that gap is. That intimidates me.

How many trunked books (if any) did you have before you were agented?

I didn’t have any, unfortunately. I’m sure I’d be a better writer now if I had. I began as a playwright, went to college for screenwriting, and there I wrote a number of features, one of which I adapted into my first book. So, I don’t have any trunked manuscripts, exactly, but I have plenty of trunked scripts.

Have you ever quit on an ms, and how did you know it was time?

I have (again, I’m going to count scripts here because I’ve written many more of them). Typically it’s because I came to realize that my concept or structuring was inherently flawed from the beginning. I also just lose interest in concepts. I know it’s time to trash (or at least shelf) a project when it becomes something I’d no longer enjoy as an audience.

Who is your agent and how did you get that "Yes!" out of them? 

My agent is John Cusick who is also, maybe, a superhero, or a wizard—ooh!—Or a time traveling alien! (Sorry, I’m just writing a bad fan fiction now.)

I went the traditional querying route. I knew almost nothing about publishing going into it, I made a lot of mistakes, and I was obnoxiously fortunate.

John liked my first draft, which is what I initially sent to him, but had reservations about aspects of the plot. He asked for an R&R, which took me seven million years to write. A few months after that and he signed me.

How long did you query before landing your agent?

Okay, picture this: The year is 2015. I was small bundle of dimpled dough smushed into I Love Lucy pajamas. I had just graduated college, my face was bloated due to the tears of adulthood and Taco Bell drive thru, and I spent all day writing about Japanese robots for about a Canadian penny an hour. This is not a person who should be contacting other people professionally, and yet . . .

My initial understanding of querying was a bad combination of what a professor had told me and my knowledge of film agents (who are an entirely different species than literary agents with entirely different rules). If literary agents are like regal, leaf-nibbling giant sloths, then film agents are land sharks with a constant hunger for blood (or money, or something, again, I’m not a scientist.)

I sent out a wave of sort-of-okay queries. My professor had told me that agents would usually ask for fifty pages so I only had fifty pages written. Then an agent asked me for a full and I was like, “Huh. You sure? Gimme a sec.” I ended up blasting out the rest of the book in two weeks in a haze of tacos and typos. He passed. Which was, you know, the respectable decision.

I then thought I should probably research querying more thoroughly. I took it a lot more seriously, and the first agent I found who I was like—hang on a minute, this guy might be seriously cool—was John.

He asked for a full three months after I queried and an R&R three months after that. I shelved the project for a while and came back to it about a year later. I queried him at the beginning of 2015, he offered late 2016.

Any advice to aspiring writers out there on conquering query hell?

I had a professor once tell me that you have to get through ninety-nine “nos” before you get one “yes,” and since then I’ve always thought about submissions and applications with that in mind. You need to pay the ninety-nine “no” toll before you get let in. It’s not always exactly that number, but by chipping away you will eventually get through, you know?

Also—think about querying like dating. There are BILLIONS people in the world. Most of them aren’t right for you. You do not want to work with someone who doesn’t “get” your writing, the same way that you don’t want to date someone who doesn’t make you a better person. You just have to find an agent who fits with you. So keep chipping! Or dating! Or something! My metaphors are mediocre, sorry.

How much input do you have on cover art?

I didn’t weigh in much, but that’s for the best. My taste in art falls somewhere between 1980s anime and Doritos Locos Tacos. The cover, on the other hand, turned out absolutely beautiful thanks to the work of the artist Gediminas Pranckevicius.

What's something you learned from the process that surprised you?

It’s incredibly slow. I am an impatient person and every step takes weeks or months (or years, even). Again, I come from a film background which is a much faster process. I don’t mind the wait, however, because it’s due mostly to the fact that those in publishing take their jobs and their art very seriously. What these teams of people manage to produce is amazing.

How much of your own marketing do you? 

I’m just starting marketing now. I suspect, based on what I’ve talked to other authors about, that I’ll be doing a good portion of it, and I’m prepping for that. I’ve created graphics, I work with outside artists, and I try to abuse my goodwill with family and friends as much as I can. As a totally unknown debut author, my goal right now is just to get my book out there so that teachers, librarians, and parents know it exists and is super great! (Did you hear that teachers, librarians, and parents? So great. Go tell your friends please, I love you.) I mostly do that on Twitter. I probably should have a blog, though, shouldn’t I? Someone would read it, I’m sure.

It’s my dad. That someone is my dad.

When do you build your platform? After an agent? Or should you be working before?

I mean, the responsible thing to do would be to build it before but, pshhh. Let’s be real. It probably won’t make a huge difference unless you get yourself Twitter/YouTube/MySpace famous before you query or enter submissions. I can’t imagine it hurts, but I would say spend your time making sure your manuscript is as good as it can be before worrying about your platform.

Do you think social media helps build your readership?

I’ve heard mixed things from other authors. It would seem to me that it has to help some amount. People seeing your book and recognizing your name must push the sales needle a little bit, but I imagine the quality of your book is far more important. How many books do you buy because you follow someone on Twitter? How many books do you buy because you are a fan of the author’s other work, or read a glowing review, or see an amazing cover at the bookstore complete with a HOUSE WITH CHICKEN LEGS? (Sorry, I recently bought that one because I couldn’t help myself.) I’m sure it helps and gives readers a place to appreciate writers, but I suspect the effect is limited. Then again, ask me in April.