Tag Archives: The Fire in Fiction

Pointers from the Pros: Agent and Author Donald Maass on Great Fiction (Pt. II)

Posted in Pointers from the Pros, Writing by

“Pointers from the Pros” gives tips from authors and publishing industry professionals on everything from craft to querying to their experiences on the road to publication.

I spoke at the 30th annual Romance Writers of America conference in Orlando, Fla.  Although I couldn’t go to all the faboo sessions being offered, I took a ton of notes at the classes I was lucky enough to attend—and I’m sharing some of those tips with my lovely blog readers. (<—Thanks for being so fabulous, BTW!)

The first afternoon of the conference, I attended the PRO Retreat, which was stockpiled with talks by awesome agents, editors, and authors.  *ahem—Donald Maass much?*

Here is what else Writing the Breakout Novel and The Fire in Fiction author/agent extraordinare Donald Maass of Donald Maass Literary Agency (or, The Donald, as I like to call him) had to say about writing great fiction. Click here for part I.

The Donald.

WHAT TURNS THE PAGE?

  • The notion of microtension
    • Microtension: the line-by-line tension on the page, which causes apprehension on the part of the reader and makes them move forward
    • It’s that “What’s going to happen?” feeling you get when you’re reading—it’s not in the story, not in the scene, but “what’s in the next few seconds?”
    • If you understand the principles, the underlying conflicting emotions inside the central character, you can do anything on the page.
    • Highly emotional and emotionally gripping writing

HOW DO YOU WRITE EMOTIONALLY-GRIPPING STUFF?

  • Ask yourself these questions:
    • What in the world of my story makes me personally furious?  Why?
    • What is the greatest injustice that you know, and how on the page can you give that fury to your heroine?
    • What are two new probs your MC can face?  And what are two ways your character can NOT get it?
    • What are two things your MC wants?  What is the opposite?  Two times to reject it and then, when she gets what she wanted, REJECT it?
    • In what way is the antagonist right? In what ways is he most human in what ways?
    • What are things only your heroine notices what about your world?
    • What could she say that would be shocking to even herself?
  • Knowing the answers to these kinds of questions and implementing some of them will make your fiction great.

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Click here for part I with The Donald.

Pointers from the Pros: Agent and Author Donald Maass on Great Fiction (Pt. I)

Posted in Pointers from the Pros, Writing by

“Pointers from the Pros” gives tips from authors and publishing industry professionals on everything from craft to querying to their experiences on the road to publication.

I spoke at the 30th annual Romance Writers of America conference in Orlando, Fla.  Although I couldn’t go to all the faboo sessions being offered, I took a ton of notes at the classes I was lucky enough to attend—and I’m sharing some of those tips with my lovely blog readers. (<—Thanks for being so fabulous, BTW!)

The first afternoon of the conference, I attended the PRO Retreat, which was stockpiled with talks by awesome agents, editors, and authors.  *ahem—Donald Maass much?*

Here is what Writing the Breakout Novel and The Fire in Fiction author/agent extraordinare Donald Maass of Donald Maass Literary Agency (or, The Donald, as I like to call him) had to say* about writing great fiction.

The Donald.

ON THE PUBLISHING INDUSTRY: Is it a brave new world, or a lot like the past?

  • He says the industry hasn’t changed at all:

“The fundamental transaction (between the storyteller and the reader) is exactly the same.”

  • He points to the evidence that eBook bestsellers are the same as hard copy bestsellers—a direct correlation
  • He says there are some nuances, but, generally, it’s the same.

“Everything depends on great fiction.”

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THREE THINGS THAT MAKE NOVELS GREAT

1. FEEDBACK

  • Most of his work is story development—working with authors to better their stories, create tension, etc.
  • In the “third draft stage,” you know your writing is good—you’re ready—you’re worthy—but you’re still getting rejections.
    • It’s the point at which you’ve learned everything you can from workshops, from crit partners
    • You need the last 10%—the stuff that agents and editors aren’t willing to share
      • What is it?
        • Craft and more craft—in particular, the pieces of the craft that you need
      • How do you get this?
        • Detailed, professional feedback—it’s worth paying for, if it’s good

2. CRAFT

  • Top authors in the field are very often students of the craft
    • Books 2,3, 4 make or break your career
    • Nora Roberts, for instance—160 books—and they’re all good!
    • He cites one author who runs a runs a book club, where the members read one book a month and then discuss how well the author handled one lens or aspect of the craft.  (These are all authors who have written 20—30 books, he says.)

3. WRITE WHAT YOU KNOW

  • He cites the example of 2010 RITA finalist Pamela Morsi’s Red’s Hot Honky-Tonk Bar
  • He says it’s emotionally gripping because Morsi brought herself into the story (she is from San Antonio—she knows the world intimately; she reinvented herself—as does her main character)

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*More posts on The Donald at RWA to come–stay tuned!