So Long, Santa Baby

On December 22nd of 2008, my guest post, Santa Baby for Writers, appeared here at The Muffin. FIFTEEN YEARS AGO, y’all! And gosh, it’s been quite a journey since. 

Fifteen years ago, my byline was Cathy Hall. Within a year, I’d add the middle initial to differentiate me from all the freelance writers (and general population) of Cathy Halls out there. And now, as an author of cozy mysteries, I use Catherine C. Hall. (Honestly, it still throws me to see an email with a Dear Catherine.) 

Fifteen years ago, I had one blog, all about me and my freelance writing, at Cathy C.’s Hall of Fame—and it’s there now, on Blogger, though it only exists as a landing page, sending people to my current spot on the web. But that wasn't until 2013. Somewhere in between, I started a Wordpress blog where I promoted my children’s writing. After five years, I streamlined, exporting ALL my posts from both blogs to a Wordpress website. Yep, Cathy C. Hall Writes, where you’ll find an awful lot of fun writing stuff. Like Tooting My Own Horn Tuesdays, What Not To Do Wednesdays, Finding Something Fridays…Ah, good times. 

Fifteen years ago, I had a separate website at Cathy C. Hall, with my bio and a list of writing credits. And it still really annoys me that someone bought my domain within a few days of letting it drop while I sorted out the move to the new website. And then, this year, when exploring domains for the brand-spanking new website (where Cathy C. Hall was once again available!), I didn’t jump on it immediately and some BOT bought it. 

But if you’ve been reading The Muffin all these years, you know these stories. You’ve read about my techno difficulties, my umpteen rejections, and so many “What Not To Do’s” (where I learned lessons the hard way) that I could fill a book. But you also know the value of persevering, of picking oneself up and try, try, trying again. I’ve shared plenty of my Tooting My Own Horn stories, as well as other writers’ success stories. Which brings us back to Santa Baby. 

Fifteen years ago, I asked for all that a writer could possibly want…contracts, a book of my very own, an agent, and an angel editor, plus a stocking full of web promotion. Oh! And a ring—on the phone—from Oprah. 

I did get contracts through the years; I even snagged an agent. But when I wrote an adult cozy mystery, I said so long to Santa Baby. I found my own editor, and I didn’t ask Santa (or an agent) to believe in me; I believed in myself enough to publish a book of my very own. Thanks to WOW!, I found my sparkly web promotion. Well, you’ve heard all those stories, too. 

And now it’s time for me to finish the next story, the one where I write, write, write and get another book done in The Ladies of SPI series. So I’ll be stepping back from The Muffin—though if Oprah gives me a ring, you’ll be the first to know!—but truly, there’s nothing more I can tell you that you don’t already know, friends. 

Just keep writing—and thanks for reading my writing for the last fifteen years. ♥

~Cathy Hall

  Cathy C. Hall

  Catherine C. Hall

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8 comments Agents, blogger, Catherine C. Hall, Cathy C. Hall, Editors, Oprah, the muffin, Wordpress, writing advice

The Tale of the Three Good Rejections

Writers speak of the “good rejection” like it’s some sort of Holy Grail but the truth is, some good rejections are better than others. In fact, some good rejections only seem good while others that may appear bad are actually the best. Confused? I’m here to help, so today, it’s my Tale of the Three Good Rejections.

Rejection #1: It’s Not You, It’s Me

I have a Middle Grade mystery adventure with a pretty specific topic and I sent a query to an editor (at one of the Big Five publishers) whom I’d met at a conference. Imagine my shock when I got a response within a couple of days!

And it started out so wonderfully, personally praising me, and then the premise of my novel and the hooks therein! But then she regretfully had to pass because a colleague was working on a MG novel with this very same specific subject. What’re the chances? Still, it was a personal and glowing response and that’s always a good rejection, right?

Hmmm…it’s nice to get validation for hard work and good ideas but ultimately, this was a soft and very polite way of saying “not for me.” So though I felt good for a few minutes, in the end, I’d have to put this good rejection in the “so-so” pile.

Rejection #2: It’s a Southern Thing

So, the same MG mystery, but this time, it’s an agent who requested to see pages based on the pitch I’d made (also at a conference). And this is an agent who uses a form that requests all kinds of information; I think I may have had to send my GPA. From high school.

Anyway, again, within a few days, I received a response. And again, the email started with lovely words about me and the conference and what a joyful experience we all had. But following all these delightfully charming and personal words was the bottom line about my manuscript: the agent didn’t connect with the voice.

Still a good rejection, right?

Not so fast. This is the equivalent—around these parts—of saying, “Bless your heart, this manuscript’s a hard no.” The thing is, there is no way to get around not connecting with voice. And as polite as this rejection was, there was nothing substantively good here. So this rejection went into the “bad” pile.

Rejection #3: The NGB

Back in my dating days, we had an expression for the guy who may have been practically perfect except for maybe one little thing. We called him the NGB, the Nice Guy But…maybe there was no chemistry with him, or maybe he was too short, or maybe too serious. With the NGB, you knew he was a great guy—just not for you.

So I had a request from an editor to send my manuscript for a Young Adult ghost story (as a result of an open submission call). Months went by and then the world closed down and honestly, I forgot all about that manuscript. Until I had a response in my inbox from this publisher. And at first, I thought this was a bad rejection, starting with the stock line, “Thanks for sending your manuscript.”

But she continued with words that will make every writer’s heart sing: I read this one to the very last page! She told me that she connected with the characters and supernatural themes but as much as she loved it, there was one thing in the story that she didn’t connect with so she’d have to pass.

Now, there were no glowing words about me; this was a strictly business response. But this was probably the best rejection I’ve ever had. I knew exactly the one thing that wouldn’t work for her, and her explanation helped me think about how this book might do in the YA mainstream market.
For me, this bad rejection turned good and then golden! So the moral of this tale is clear: not all the good rejections that glitter are the Holy Grail.

Also, just in the general help column here, beware the Bless Your Heart.

~Cathy C. Hall

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8 comments Agents, Cathy C. Hall, Editors, good rejections, query rejections

Build relationships (along with a portfolio)

I mentioned earlier this year that although I have directed successful public relations campaigns for others, I have a difficult time promoting my own work. Because you can't solve a problem until you identify it, and to be honest, I've identified it, named it, and lived with it for a long time, I now feel ready to move on to the next step.

I have begun, in earnest, to promote my own work. And, I'm building momentum. For example, I've read my work in front of others, as well as submitted stories, poems, pitches, and books. A couple of weeks ago I noticed a real-world problem, pitched the idea to an editor who liked it and will pay me to write about it. Cool. Dream job, right? To be honest, yes and no.

The reality of working as a writer on her own is that once you write and sell an idea or story, then you may need to start over. The satisfaction of submitting that story is short-lived. After I sell that article, I need to start from scratch, and that's when contemplating the safety of a 9-5 job sounds pretty good. Well, maybe for a few minutes, because there are many ways to connect your writing to those who need it.

The key is to think in terms of building relationships, and building a network of connections that overlap. If I connect with Company or Editor A, then I should take a look at their connections (as much as I can) to see where I may be able to write and sell something similar to Company or Editor B.

If my relationship with my editor or contact is friendly and casual, I can ask for other names of people who might be interested in my work. If not, I may go online to find their business contacts, and ask Editor A if I can use him or her as a reference when contacting someone else in their network. Be careful that Company or Editor A is not archrivals with Company or Editor B. You may never hear from either one again. I speak from experience. But sometimes they hate each other so much that they like stealing each other's writers. That's also happened to me.

When I sold my last article to the editor I am working with, he told me their budget for summer projects is pretty low, so not to expect much in the next two months. That's bad news for me, but I know he's been in his job for a long time, and one of the people he had me interview for an article has a media production company. Guess who I'm going to call next week?

During these conversations, I'm going to ask both of them for names of other people they do business with to see if any of them need a writer. I'm also going to look at those industries because I have pertinent writing examples.

I've reached out to others in the publishing industry as well. I am now a first reader of stories for a literary journal. There is no deadline for these, and sometimes they remind me how many I have left to read as a gentle push to finish one batch so they can send the next. It's a great way to see the type of writing others are submitting. Although I can't submit to this journal now, as a reader, my work may get a second look at a different journal when they find out about the work I do (because I will tell them!).

As a teacher, I've been asked a few times to review textbooks, which I find enjoyable. When I did this a few months ago, the editorial assistant who was responsible for submitting my W9 form couldn't read the one I sent through the website. We emailed back and forth a few times, and after she received a good copy, I asked if I could send a humorous short story. She said it wasn't her area of interest, but she would pass it on to other editorial assistants in her very large corporate publishing company. I haven't heard back, but I have her email and will use it later if I think of something educational she may want to read, because that is her area of interest.

As a writer, don't just focus on submitting work. Build relationships, because all business involves people, and publishing is a business.

Mary Horner teaches communications and has been spending more time contacting potential clients to increase her writing revenue.

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6 comments all business involves people., Build relationships, contact lists, Editors, literary journals, publishers, publishing business, reviewing textbooks

Margo Dill--You Stopped Me From Writing

I recently hired Margo Dill to critique my manuscript. Dill delivered what she advertised: feedback.

However, what she wrote about my story stopped me from writing myself off as a writer who would have always wondered "What if...?"  

Here's the quick backstory: I'd written a middle grades novel for NaNoWriMo of 2016. I'd done lots of research (it's historical fiction). I'd revised as I wrote, so I knew it was perfect. Okay, deep in my head (but not my heart) I figured it wasn't completely perfect. I could probably be forced to begrudgingly admit that my manuscript needed a bit of minor tweaking, but just a few adjustments here and there.

Margo did not agree.

Here is some of what she suggested:

• Kill off one of your characters--literally. My main character has two younger sisters. Margo thinks I should get rid of one. Moving the story along doesn't require both of them, and it would make my story easier to tell. (Making this revision process less work? I'm all for that.)

• Cut scenes but delete nothing. She thought I should cut the unneeded scenes, but paste them into a file for possible later use. (For example, if in the future an editor says, "You need a scene right here where the main character is eavesdropping on his parents," I could let them know I already have one that I cut during an earlier revision.) After reading her critique and reflecting upon my story, I knew beyond a doubt Margo was right. My story has lots of unnecessary stuff in the first three quarters of the story... and then the last quarter is rushed through. (Yeah, I admit it. I did do that. I spent way too many pages setting up the story--which is the stuff I could write, and then hurried through the exciting part like it was an afterthought--because it was completely foreign soil for me as a writer and I didn't feel very confident when writing about it.) Which brings me to the next suggestion...

 

 
• Plan out the story. Divide it up into 3 acts. Create a story arc. Really? Are you serious, Margo? I'm a pantser, not a planner. I fly by the seat of my pants. Outlining my story? Creating a storyline? Making a tension graph? It's never been my modus operandi.) With very specific suggestions, she gave me the beginning of a plan. I had definitely yadda-yadda-yadded my way through a tension-filled historical event... and I'd managed to do it with only a whiff of tension and precious little excitement. (That takes true talent, right?)

Oh, don't get me wrong. Margo gave me lots of specific praise. The constructive criticism was just that--constructive. It was far from disheartening. In fact, the experience was energizing and validating. 

I've now pasted her feedback to the beginning of my manuscript, to help keep me on track. I'm now excited over the prospect of completely revising my manuscript. I've even done some preliminary research to fill in my story's huge gaps. 

And how did Margo stop me from writing myself off as a frustrated writer... as a writer who would always wistfully wonder What if ? 

Well, if I keep the manuscript as is, due to my stubbornness/laziness/conceitedness, it will never ever get published. With some lots of work, it has a chance... 

   

Sioux Roslawski is now wearing a hardhat and is in the middle of taking a wrecking ball to her manuscript... which is okay, because when the construction tape is torn down, she'll (hopefully) have something shiny and pretty to shop around to various publishers. This summer she's teaching, but July is completely free. If you'd like to see more of her writing (if she ever writes a new post), check out her blog.

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13 comments Editors, Margo Dill, revising manuscripts

Sioux the Stalker

I didn't plan on stalking someone. It just happened.

There I was at one of my favorite bookstores, strolling up and down the aisles, when I saw the above book. I pounced on it. Taking it to the cashier, I almost felt guilty.

I mean, I didn't buy the book simply for the joy of reading it, although I'm sure I will enjoy reading Caught Between Two Curses.

I also didn't buy the book for my classroom library, although I know that once I'm finished with it, I will either put it on my shelf in my class or offer it as a giveaway to fellow writers/bloggers.

No, I bought the book to spy on Margo... to examine what writing choices she made... to try and find out what makes Margo tick as a writer.

Why? Why am I interested in getting into her head? Why have I become a stalker? I want to get into Margo's head because I want to know if she'll get into my manuscript. Somehow, I think that as I read her words and get engrossed in the story she's spun, I'll feel a connection, a certainty that she will appreciate the story I've crafted. And the stalking part? Well, this manuscript is the first baby I'm not thinking people will label "breathtaking." I'm keeping my fingers crossed that people don't shudder when they read it... And yet that is the point of hiring an editor.

An editor will tell me if my baby is a monstrosity... or whether it's something worth cuddling and nurturing and feeding. Should it grow, or should it be set aside? A decent editor will tell me.

As writers, we sometimes are blind to the flaws in our work. If we've worked for a year or two or three on a project, we develop rose-colored glasses. Our story starts sounding like it's Pulitzer Prize material. The holes, the stilted parts, the tangled-mess-of-a-plot? All that disappears as we bask in the glow of what we created.

Here is an article about the necessity of book editing (in case you've never hired an editor). I felt good when I read myth #5, since several writing friends have sung Margo's praises. This other article spells out what makes a great book editor. (I cringed when I read about the problem of "sagging middles" but then calmed down when I realized they were talking about lagging-middles when it came to the story line, not poochy bellies.)

So Margo, be gentle with me. No, I take that back. Be honest with me. When I get around to sending you my manuscript (which will be soon), tell it to me straight: Do I have a beautiful baby, or is it "breathtaking"?

And for those who have hired an editor in the past--or if you're an editor yourself--I'd love to hear from you.

After all, I'm new to this process, and they say you never forget your first time...

Sioux Roslawski is a freelance writer, a middle-school teacher, a consultant with the National Writing Project, a wife, a mom, a grammy and a dog rescuer. In her free time she reads (until she falls asleep, drooling and snoring). If you'd like to read more of her stuff, check out her blog.

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4 comments book editors, Editors, Margo L. Dill

Editor: Ally or Adversary

“After that experience, I’m never working with an editor again. It’s strictly self-publishing for me.”

While there are many reasons to choose self-publishing, not wanting to work with an editor isn’t one of them. The fact of the matter is that a top-notch editor is your greatest ally for a variety of reasons.

• They give us that little push. Most writers I know reach a point with their manuscript where they are just done. They don’t want to see it again. They don’t want to think about it. They want to go on to something new. An editor can give you that push you need to take a good story and make it great. Nine times out of ten, when my editor asks me to make a change, it’s something that I suspected needed to be done but I just wasn’t sure. Or, perhaps more honestly, I just didn’t feel like doing.


• They maintain a bit of distance. Part of the reason that it is so hard to make our writing great on our own is that we are just so close to it. It is too familiar which means that we don’t always see the story that we have written down. We’re still seeing that perfect creation we had in mind when we started writing. The editor is going to be better at spotting things that should have been cut, reslanted or polished to a high gloss. With their help, we can take the story we wrote and make it the story we meant to write.


• They know the market. We may think that we know the market, but if you are like me you write for several different markets. That means you just aren’t going to know the market as well as your editor. The good news is that they can use this knowledge to shape your work. Yes, I’ve been asked to take out things that I thought were brilliant, but I’ve also been told to add things that I regretted leaving out. The good news? I didn’t have to leave them out. My editor, who knew the market, encouraged me to add something that I thought would be too dark and grim but it’s the gory, icky detail that young readers love.

I’m not going to say that the editor is always right. I worked once with an educational editor that didn’t know what leveled vocabulary was or that individual words had known reading levels. He ignored our contracts and heaped on as much work as we allowed. When I finished with that particular project, I told him that I had another contract with someone else and didn’t have time for a second assignment.

Not every editor is top-notch, but work with a great one and you’ll definitely see a difference in your writing even if you chose to self-publish.

--SueBE

Sue is the instructor for our course, Writing Nonfiction for Children and Young Adults. The next session begins on June 6, 2016.

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1 comment editor/author relationships, Editors, working with an editor

What To Give a Writer

It’s time for my annual holiday what-to-give-a-writer words of wisdom.

At first, I was a little stumped. I mean, I covered a lot of good stuff last year in “A Wish List for the Nice Writer.” And maybe you remember them all, but just in case you need a refresher:


· Permission to take time to write
· A writing class (like the ones we have here at WOW!)
· A professional critique
· Membership in a writing organization

But wait! The year before that, I covered the extra-special wonderfulness of the book review in “One Size Fits All Writer Gift.” So honestly, I had to dig deep to find more gift ideas. Thank goodness, I have long arms.


Literary Love, Part I

Oh, I just love writerish jewelry, don’t you? (Why is bookish a word but writerish not a word? Hmmph.) I have a pair of typewriter key earrings, one a “C” and one an “H” that I purchased from an artsy writer friend. Which brings me to my gift idea: show your love and support by purchasing gifts from your writer friends!

I have lots of writer friends who are creative in lots of different ways. Some make jewelry while others craft in fabric or sell their illustrations on mugs or in prints. Their creativity allows me to buy affordable one-of-a-kind gifts, not something I’ll see in every rack in every store. Plus, the gift has special meaning for me, knowing a friend made it. I treasure gifts like my earrings. And P.S. I also gift my friend every time I wear the earrings by promoting her business!


Literary Love, Part II

I also have writer friends who market their services. They’re editors, mentors, and teachers. They can help with anything from writing to website building. Some work on their own while others work through organizations or companies. I’m sure to find the specialized gift I need and best of all, I get to work with a friend!

And I can give my friends another gift, when I take the time to provide a great review on their services. Here’s where social media comes in handy, to tell the world what great editors, mentors and teachers are out there! A personal recommendation can make a big difference.

T'is the season, writers. Now go forth and spread a little cheer (and business)!

~Cathy C. (Deck the) Hall

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6 comments art, book reviews, Cathy C. Hall, critiques, Editors, gifts for writers, literary gifts, mentorship, professional writing organizations

The Business of Reading

I’ve got a conference to attend in a week or so, and I’m rushing to finish my reading. It’s a big part of my writing business, all this reading, though it’s changed a bit over the years.

Early in my fiction-writing journey, I read stacks and stacks and more stacks of the books in the genre I was pursuing for publication. Reading good writing can only help improve writing—that’s the advice given by just about every published author.

But now that I have improved, and have a few manuscripts of my own, I read with an added purpose.

What To Read Before the Conference

If your work is ready to submit, it’s time to take your reading to another level. Here’s a couple ideas of what to read, depending on what you’re looking for:

AGENTS:

There could be anywhere from three to a dozen agents at a writer’s conference. If you’re looking for a good fit, read their websites and/or blogs. Then check out the books they’ve sold and/or had published. And then read a couple of those books. It won’t take long to get a good feel for what an agent likes. Because if you want an agent to fall in love with your book, give him or her what they like. Put another way, don’t waste your time or the agent’s time. If your work leans to dark and edgy, look for an agent who leans the same way. Like calls to like, my mom always said. (And Mom was right.)

EDITORS:

Like agents, editors have specific likes. You’ll quickly pick up on them if you read a couple books from their list. That’s not to say that your manuscript won’t knock their socks off if it’s different from their list—it very well could—but you’ll have a harder sell. Look for a way to connect your manuscript in some way to what an editor already likes. The more you read, the more you’ll know. And they’ll appreciate that you’ve done your homework, perhaps giving you a connection for a future manuscript.

And what if you’re not attending a conference but you’d still like to get this insider information?

Reading is still the answer. Go to your library or bookstore and choose books similar to the manuscript you’re hoping to sell. Those are the publishers you’ll want to target. And if you need an agent to submit to the house, look inside the book, to the very back page of acknowledgements. What agent does the author thank? Start your list and continue your reading homework.

Reading. It’s a tough job, but a writer’s got to do it.

~Cathy C. Hall

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8 comments Agents, Cathy C. Hall, Editors, reading, writer's conferences

The Importance of Comps

The first time I heard the expression “comps” at a writer’s conference, I had no idea how important that word was. Or even what “comps” meant.

That’s the way it is, when you hear a new term. Your brain doesn’t have time to stop and figure it out, especially when you’re listening intently to a speaker. But eventually, your brain skids to a halt and goes, “Wait. What?” And if you’re lucky, there’s a knowledgeable person sitting next to you and you lean over, and ever so politely, whisper, “What’s a comp?”

Think of me as that person sitting next to you at the writer’s conference. Because now, I’ve got this.

Comps, General

So when you hear an agent or an editor discuss comps, they are referring to comparable titles, books or stories that are similar in some way to the book you’ve written.

Sometimes, it’s just an easy and quick way to get everyone on the same page.

Let’s say, for example, that a speaker tells you that she’s just come across the most amazing Romeo and Juliet manuscript. In a succinct manner, she’s relayed a couple key points about a manuscript you’ve never read:

a. It’s a romance (with at least two protagonists, the lovers, and at least one antagonist)
b. It involves some sort of forbidden love (the conflict)

It’s often very helpful to use well-known stories, fairy tales, novels or plays as comps, particularly if you’re pitching a novel and word count is limited. Saying that your manuscript is a Cinderella story gets to the heart of your pitch in a snap. And then you have all those additional words to explain the twist that makes your well-known story unique!

But sometimes, using a well-known story as a comp is not such a good idea.


Comps, Specific

Many agents like to see comps in a query. But there’s a good way to use a comp and a not-so-good way to use a comp. It’s really swell to know the difference.

Let’s say that you have written a middle grade book about a child who is on a journey to fulfill his or her destiny. You might think it’s a good idea to say that your book is the next Harry Potter! But what you have done, instead, is projected an image of a writer who’s over-confident and amateurish because there is no way that your book can compare to J.K. Rowling’s tour de force.

But you can use comp titles to let an agent know where your book fits in the market, thus giving a forecast of how your book might perform with the same target audience. Look for similar books, in subject, reading level, and word count, but stay away from comparing your book to best sellers. And do explain how your book fills a need in the market that the comps do not meet.

Do your homework well and the agent can pass on your comps to an editor, who can use those comps as a selling tool when your manuscript arrives at an acquisitions meeting.

And that’s the really important part of knowing comps!

~Cathy C. Hall

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7 comments agent queries, Agents, Cathy C. Hall, Comps, Editors, marketing, writing tip

Taming the Beast: From Pitch To Query To Synopsis

So you’re almost finished with your book. Perhaps you’re leaning back in your chair, thinking, “Whew. The hard’s part nearly done!”

Ha!

HahahahaHA!

Unless you’re planning on self-publishing, you’ll need to convince someone—either an agent or an editor—that your book is amazing. For that feat, you’re going to need a pitch, and a query, and probably a synopsis, too. And those thousands of words you wrote for your book will seem like child’s play compared to the beastly task ahead of you.

Why is it so hard to write a pitch or a query or a synopsis? One reason may be that we’re a bit confused. What makes a pitch different from a query? A query from a synopsis? You can research—and it’s as easy as asking, “How to write a query letter (or pitch or synopsis)?” But you can start with my quick, down and dirty tips for whipping these beasts into shape.

The Pitch

When I’m figuring out my pitch, first I figure out the essence of my story. Somebody wants something. A pitch is usually around 30 words, so you need to zip to your want, and then cut to the twist, the part of the story that makes it different.

If I were pitching Beauty and the Beast, I might write:

Beauty is prepared to sacrifice her life to save her father from a terrifying beast. (The initial want.) But this Beast doesn’t want Beauty’s life—he wants her love. (The twist to the story.)


The Query

The query has several parts, but for now, we’re concentrating on the bit about your plot to understand the difference with a pitch.

With the query, you get a couple sentences to explain your story. (Whee!) But you do not get to tell the ending! The point of your query is to generate interest, to rattle an agent’s brain so much that he or she must read the rest of your story.

So you write the set-up, follow with the conflict, and include stakes and the twist. That’s usually about three to five sentences, and that’s really all you need to reel ‘em in.

A query for Beauty and the Beast might read:

Belle’s father has plucked a rose from the Beast’s castle and now he must pay with his life. But Belle, who asked for the rose, insists on taking his place. (The set-up) The Beast surprises Belle with kindness, instead asking for her hand in marriage. Belle refuses, for she does not love him. (The conflict) But the Beast has a terrible secret, a secret that will take his life—and only Belle can save him. (The stakes, and the twist to the story.)

The Synopsis

Oh, joy! With the synopsis, we at last get lots and lots of words to tell our story, from beginning to end. But often, writers struggle with the synopsis as well.

If the synopsis is challenging for you, try this technique: take each chapter and sum it up in one sentence. When you’re done, go back and edit. Take out anything that doesn’t move the story along, and perhaps add transitions to make it all sparkly.

Whew! Now you’re ready to tame your own pitch, query and synopsis. All you have to do is finish the darn book.

~Cathy C. Hall

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8 comments Agents, Cathy C. Hall, Editors, query tips, selling your book, synopsis, writing pitches, writing tips