Words to write, Myths to shatter...

On my web site, I break a few myths, but I think a lot of the ones that bug us come from newer writers.  The ones who feel that since they’ve published one book, they know it all.  Let me tell you first hand, it ain’t so.  I’m writing book 36 and *I* don’t know it all.  I’ve been orphaned, multi-rejected, (I think I hold the record for have 7 different stories rejected in a single day) and yes, years ago I did the stupid stuff new writers do, but I learned and listened--and heeded.  Quickly.

So think of all this weeks posts as grains of advice in the ever-widening storehouse of knowledge we writers acquire.

That said, I started writing with historical romance.  It’s still my first love and I’ll make my way back there someday, but I have a definite button for that.

If you’re writing an historical novel, be accurate.  The writer who does not do the research in a particular era does not care about her readership because they know their history.  I have 16 different dictionaries and hundreds of research books specifically geared to the details of historical research.  For the avid historical reader, the mistakes jump out.  For me, I’ll close the book.  So if you write words like muffins or sugar in 12^th century, you’ve proven to me you don’t care enough to make it a truly historical journey for the reader.  If you commit to writing historical, you must commit to getting the historical facts right.  Now in fiction, there are no limits and nothing is illegal, but go read Bernard Cromwell, Kathleen Woodiwiss, Connie Brockway (or even me) and you’ll understand why it makes a difference.

Asking for cover quotes.  This is for my famous friends who are asked, and I’ve seen authors put on the spot.  Quote requests must go through an agent or editor.  Never, never ask an author face to face because A) they may have never read your work.  B) Won’t offer a thing till they do.  C ) They may not care for your work and turning you down in a bar at a conference is uncomfortable and unprofessional.  D) Their names go with that quote and the book had better be good because it’s their reputation stamped on that cover too.

Assuming the published authors are loaded.  I cannot tell you how many times Maureen Child, Rhonda, Cherry Adair, and I have been royally stiffed for cab rides, drinks, even dinner by unpublished or new writers in the last years.  I kid you not.  RWA Members wonder why published stay aloof?  This is why (and the gossip mills)  We try to be nice and its suddenly open season at conferences sometimes.  Published does not mean pots o’ gold.  Pay your own way, no matter what.  There’s an old Marine Corps saying, “Never assume because it makes an ASS out of U and ME.  =)

Give away books.  Excluding my parents, that’s one thing I do not do.  I’m well past the excitement of a novel published, and this is my livelihood.  I’ll direct you to the nearest books store, though in my town, I’ve never seen a copy of my books on the shelves.  A novel represents about six months of a writer’s life.  Would you give that much work away? 

Ditto with Rhon on its not my job to you get published.  I sold my first books while living 6,000 miles outside the USA.  Anything is possible if you learn, study, learn some more.  We all did (and still do)  Time to earn your stripes on your own.  You’ll be a better writer for it.

Workshops given by very newly published.  Other than, ‘this is what it was like for me to this road’ seminars, it's not cost effective for RWA national conf.   Now, I’m turning on the way-back machine to my first conference and thinking like an unpub here.  National conference is expensive and after saving, then laying out that kind of cash, (and for me, 36 hours on a jet to get there) I want the seasoned, the best of the best teaching me, not someone who is at my level.  I’m not saying you shouldn’t have your chance, just get some experience.  I’d written 12 books before I gave a workshop.  When the workshop committee turns down workshops by well-established, knowledgable writers, then give teaching slots to writer with little experience, I wonder what are they thinking?  To me, that isn’t enough bang for all those conference bucks.  Think I’m wrong?  Then ask yourself…. who do you think you’ll learn more from, Nora Roberts or Suzie first-sale? 

With regard to PRO, editors and agents don’t think it makes a difference, and frankly, I  see no point in it.  You’ve submitted and been rejected, just like the rest of us.  Its part of a writer’s career.  It does not warrant a pin and special status.  Put on the big girl panties, and deal with it.  I just don’t get the logic in broadcasting what is nearly a daily happening for the rest of us. 

This leads me to what I refer to as The Cumbiyah syndrome.  This falls on RWA and some of its members should understand that it’s not the responsibility of RWA to make every unpublished writer feel good about their struggle to sell.  Tons of information is at your disposal, more than it was 10 years ago.  Use it.  Don’t ask for a door to be opened for you, when you haven’t even knocked.  It’s an insult.  Members forget that RWA is the only writer organization with unpublished in its ranks.   With MWA, ITW, AGA, SFW, etc., you have to prove your sales to join, and the dues are higher.  But the benefits are better.  Yet when the published members of RWA want any benefit, we usually have to pay for it out of our own pockets, plus the dues.  So what’s up with that?

My work is done here.

Have a good weekend… and if you want to whine back, feel free.