Writing From A Place of Pain & How Process Can Change For Each Project With Anica Mrose Rissi

Today’s guest is Anica Mrose Rissi the author of the Anna, Banana chapter-book series, the picture books Watch Out for Wolf! and The Teacher’s Pet, as well as a YA novel, Always Forever Maybe. Her essays have been published by The Writer and the New York Times, and she plays fiddle in and writes lyrics for the band Owen Lake and the Tragic Loves. Anica grew up in Maine and spent many years in New York City, where she worked as an executive editor in children’s book publishing.

Anica joined me today to talk about writing from a place of pain, and methods to redirect the endless feedback loop of anxiety towards something creative and productive, as well as how process can change from project to project and across age categories. Also covered: considering the performance of reading aloud versus the narrative that is meant to be read silently, writing for other writers, and how essays can both remind of your own authority on the subject, as well as open yourself up to vulnerability.

Author Mike Chen On The True Hell of Being On Submission

If there's one thing that many aspiring writers have few clues about, it's the submission process. There are good reasons for that; authors aren't exactly encouraged to talk in detail about our own submission experiences, and - just like agent hunting - everyone's story is different. I managed to cobble together a few non-specific questions that some debut authors have agreed to answer (bless them). And so I bring you the submission interview series - Submission Hell - It's True. Yes, it's the SHIT.

Today's guest for the SHIT is Mike Chen, author of Here And Now And Then, releasing January 29th from Mira Books.

How much did you know about the submission process before you were out on subs yourself?

Absolutely nothing. I wound up Googling a lot. I found a few articles about it, but those tended to only provide a macro view of the process. It felt devoid of timeline specifics or process specifics, and that’s really how my mind operates. The best repository of info really was the SHIT archives. I actually bookmarked my favorite ones, and when I was feeling desperate, I would re-read them. So SHIT was kind of like my 12-step meeting when I was getting to anxious and needed to check SOMETHING. That’s why I wrote you a thank-you note in 2016 for them!

Did anything about the process surprise you?

How mysterious the whole thing is! It just seemed weird that there was no real step-by-step breakdown of what happens. You get so much of that with agents and queries, and then with submissions it becomes a black box. Also, I died at acquisitions four times, and I just didn’t think those odds were that bad. One of my agent siblings died five times before getting acquired, so I guess I wasn’t the worst of the bunch.

Also, I was surprised at how much the business side had sway. I had a lot of interest and support from the creative (editorial) side but it was always the business people who said that I was too literary for an SFF imprint or too SFF for a literary imprint. Much later, there was an episode of Printrun Podcast where Laura Zats talked about her speculative clients facing the same issue. I actually texted Eric (since he knows Laura) that I was relieved to hear it wasn’t just us.

Did you research the editors you knew had your ms? Do you recommend doing that?

I did do that, though my agent (Eric Smith) advised me against it. He’s right, by the way, and I would recommend staying away from that as much as possible, particularly Twitter. Because most editors don’t really tweet much about their submissions, but they may follow you purely for research purposes. HOWEVER, because we are writers and super neurotic and everything is awful, any sort of accidental Like could become an Omen From The Heavens when it really means nothing.

It’s really better just to trust your agent that they have a good sense of what’s going on, who to sub, and what people want. It is also nearly impossible to keep this distance.

What was the average amount of time it took to hear back from editors?

I double-checked and my death-at-acquisitions were all spaced about four months apart. I’d say we’d get rejections in 6-8 week cycles. For second-read interest, that would usually be at the two-month mark. “You’re going to acquisitions” was usually at the three-month mark and then the final say was around four months.

What do you think is the best way for an author out on submission to deal with the anxiety?

It is so cliche, but write another project. My total time on sub was nearly two years, and in that time, I completed another manuscript. For MS #2, we actually created a sub plan and my agent did some preliminary tire-kicking towards the end of MS #1’s cycle. When MS #1 sold in a two-book deal, I really believed that MS #2 was the perfect companion book in tone and style to MS #1, so I felt really strongly that it would be accepted.

My editor (Michelle Meade) didn’t want to look at it until we were done with copyedits, but she approved it in proposal format shortly after that. The big difference with me and my writer pals who wrote book 2 on proposal was that I was way ahead of the game. This created significantly less stress and allowed me to start a few different WIPs, one of which my agent and I ultimately decided for MS #3 on general sub.

Also, get a good group of writer pals that have been through the sub ringer. They’ll be the only ones who can understand the bizarre stress of sub.

If you had any rejections, how did you deal with that emotionally? How did this kind of rejection compare to query rejections?

It sucked. It felt soul-crushing, particularly at acquisition. My first acquisition death, I had talked with the editor on the phone and we’d made rough editorial plans and it felt SO GOOD. Then she said she’d get back to us in about a week, and a week became a month and then it was an apology.

The second and third passes were especially crushing. I thought I had the numbers on my side. Then when the fourth one came, I was ready to call it quits. I was kind of numb to it at that point, and when my agent told me that they ultimately passed, I remember doing a bit of a maniacal laugh at my computer. My friend Kristen Lippert-Martin joked that in a way, the fact that the publishing gods chose to pick on me so harshly was kind of a compliment.

If you got feedback on a rejection, how did you process it? How do you compare processing an editor’s feedback as compared to a beta reader’s?

I actually did three R&Rs of varying length. The first one was a massive 10-page edit letter, which I thought was super cool. I took it really seriously, and it was my first experience with that detail of feedback. The other ones weren’t as strenuous but they did add to it.

Funny enough, when we did sell to Mira Books, the team there had requested an R&R to add in world-building and address some pacing issues. When I saw the notes, I realized that it was basically a compilation of the previous R&Rs. I created a consolidated version, then added one new scene, and that was the version that sold. The editing process for the final really focused on streamlining that new version down to the core essentials, but Michelle was really happy that a lot of the heavy lifting was done for her.

When you got your YES! how did that feel? How did you find out – email, telephone, smoke signal?

Utter disbelief. I was so convinced that it was going to fail again that when my editor specified a date and time for a response (because my agent was on paternity leave at the time), I was totally skeptical. Then he texted me with “It’s time” while I was chatting with writer pal Diana Urban. My response is documented in photos here.

I work in a big office and literally no one knows about my writing life, so I had to dash outside to take the call a minute later. As I did after I got an agent, I did a lot of sitting or standing alone and pumping my fist to myself over the next few days.

Did you have to wait a period of time before sharing your big news, because of details being ironed out? Was that difficult?

We waited about 6 weeks until the deal memo was hashed out. I had a few short conversations with Michelle leading up to that but she didn’t deep dive until months later. By then, most of my writer pals knew, but when it went up on Publishers Marketplace, there was the awkward part about telling people in real life. Outside of my wife, no one knew, and I have this weird hang-up about integrating real life and writer life. So it made for a very awkward Facebook post to friends and family.

But I won’t complain. I’ve seen friends sit on it for 6+ months because of contracts, and I’m just thankful that the Mira team was cool with just having a deal memo.

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!

a Rafflecopter giveaway
https://widget-prime.rafflecopter.com/launch.js