Win Signed Copy of My Novel DRAWN

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Hi gang!  To celebrate the re-release of my OUTLANDER-like novel DRAWN with its new cover, I’m doing a giveaway over at Goodreads.com. Starting today through the end of May, you can enter to win one of 5 free signed copies. To enter, just click here.

Here’s what the book’s about:

Michelle De Freccio moves with her dad to England, where she hopes for a more normal life. Instead she discovers a handsome guy appearing in all her sketches. When she actually meets him at the town’s castle, she’s unmistakably drawn to him. But something is definitely not normal.

He wears medieval garb, talks of ancient murders, and tends to disappear with a kiss. Could he be a ghost? Could Michelle be losing her mind? Or has she simply uncovered a love so timeless it’s spanned the centuries…

I’m SO very grateful to DRAWN’s many fans who have praised this novel with 5 star reviews and to the book bloggers who have awarded it top honors and high praise, including “Best Book” (Long and Short Reviews) and “Top Pick” (Night Owl Reviews), and have called it “breathtaking” (Moonlight Book Reviews), “epic and gorgeously written” (InD’Tale Magazine), “Loved it all! …one truly EPIC read!” (Book Love 101), and said, “…this book deserves to be shouted about from the rooftops! The author’s imagination and plotting skills are phenomenal. I think this is the 4th or 5th time I have read Drawn, and each time, the second I start that first paragraph, I am a captive in her perfect, imaginary world, and I never want to leave” (Geekery Book Review).

*Blush*

So enter to win anytime between now and the end of May. And if you haven’t already, please (humbly asking…) do add DRAWN to your “to read” shelf on Goodreads.com so your other friends there who might be interested in it will see this title as well.

I look forward to connecting with many more readers in the future. That for me is the true joy of being a writer! Thanks so much, all.

:)

 

Drawn by Marie Lamba

Drawn

by Marie Lamba

Giveaway ends May 31, 2016.

See the giveaway details
at Goodreads.

 

 

 

Agent Monday: The Time Traveling Agent/Author

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I’ve always been a sucker for a good time travel tale. A Connecticut Yankee in King Arthur’s Court, The Time Traveler’s Wife, and A Knight in Shining Armor are all favorite books of mine. And then there are the flicks: 13 Going on 30, 17 Again, Kate and Leopold, and the ultimate time travel movie Back to the Future. So it should be no surprise that I’m always hoping to find a smart time travel novel to represent as a literary agent.

And, also not a surprise, as an author I had the most fun writing my OUTLANDER-like time travel novel DRAWN, which I’ve just re-released this week with a new cover! So, cuz of the new cover release and all, I thought I’d dwell today a bit on the past, and my kind-of obsession with it…

I think what I love most about time travel is the way it allows me to toy with what it’d be like to visit another time. Not to be someone who lived in that time long ago or far away, but to be myself encroaching on another world. Whenever I visit an old building, a castle, or a ruin, I can’t help but wonder what the people were like back then. Were they very different? Would I connect with them somehow?

If you could go anywhere, or rather, anywhen, when would you go? What sort of tales would you weave around that?

Me? I’d end up smack-dab in the Middle Ages. I’d love to see a fully functioning castle, and women whisking about in those elaborate gowns and pointy headpieces, and knights clanking in their armor, and foppish troubadours strumming lutes.

Honestly, that’s one of the fun things about being a writer — being able to bring your own imaginings to life. In my novel DRAWN, Michelle De Freccio is a practical teen. She’s an artist, but still is someone firmly grounded in reality and the normal. When she moves to England, she keeps drawing pictures of some guy. Then she starts bumping into him at the town’s castle. That’s when things start to get really strange. Michelle refuses to believe he’s actually from another time, or that she’s no longer in the present. She’s convinced he’s just some nut, until this moment in the novel:

“Try taking your meds,” I tell him, stuffing these things back into my bag. “Try not wearing that cape and boots all the time. While you’re at it, why don’t you take up a hobby, like going to Star Wars conventions as a Jedi knight?” I hang the bag over my shoulder and grab my drawing pad. “I’m leaving and if you follow me, I swear to God I’ll scream and you’ll be in prison faster than you can say Society of Creative Anachronism. Got that?”

He flashes a half smile. He’s so attractive. He’s so cocky. I grit my teeth and back away. I’m near the steps. I turn, about to run down, when I see over the wall something far below. My heart seizes up.

No tourists. No tents. No cars. No parking lot. Just grass, a water-filled moat and a deep forest in the distance.

***

From this point on, Michelle is forced to believe in things she never thought possible. Like the ability to connect with another time. Or how two people from such different times can feel so close. Of course Michelle and Christopher have serious differences in their beliefs and outlooks on life. Like in this scene:

He drinks a few handfuls of water, then sits back. “First you must tell me, do you support the House of York and the true and rightful king? Or are you with the so-called King Henry, that addlepated idiot who is not sane enough to know his own name?”

“You shouldn’t call him an idiot. He’s sick. Like your father was sick.”

“He is nothing like my father,” he says, indignant.

“I mean King Henry is mentally ill. It’s a sickness. It’s pretty sad.”

Christopher snorts, which seriously annoys me.

“Lots of people are mentally ill, Christopher. Lots of good people.” The tremble in my voice makes him look up. “If there was a cure, maybe he would get better and have this really great life.”

“Michelle, I happen to know for a fact that physicians have bled the king and attempted to drive out the demons that possess him, and to no avail.”

“That’s not science. It doesn’t fix anything. You know, some day in the future they’ll come up with all sorts of medicines and treatments that will—”

“You think too much.” He stacks his armor in a neat pile.

“And you don’t think enough. You are so, so…”

I’m about to say “medieval” when Christopher says, “So concerned about getting through every day alive.” He holds up the dented piece of armor to punctuate his point, then throws it clattering to the ground.

***

One of the most fun things about writing a time travel is tossing in modern stuff and contemporary comments into the mix. Like when Michelle, after watching Back to the Future in her own time, goes to Christopher’s time with a book outlining all the battle outcomes of the 1400s. She tells him, “This book holds all this information about what will happen. In the wrong hands, it could be disastrous. At least according to Hollywood.” And Christopher responds, “I do not know of this Hollywood person…”

And what does happen with this book? If Christopher uses it, people will live who shouldn’t have, and others will die who shouldn’t have. Quite a mess. Then there’s a scene when Christopher is unconscious from a battle wound, and Michelle tries to save his life with one of those impossibly tiny first aid kits people keep in their purses:

“Okay, modern science to the rescue.” I open the kit and inside are three Band-Aids, a Midol pill, a small foil tube of antibacterial cream and one alcohol wipe. That’s it. I sink onto the chair.

***

Throughout the novel, the couple faces a ton of challenges as they fall in love. How can they have any sort of life together when every time Michelle sees him, she’s changing destiny in dangerous way? Plus Christopher is “no prince.” His life is intertwined with treachery and murder. And adding to their couple issues is this biggie: every time they kiss, she’s thrown back into her own time.

Can love overcome all of these problems? Should it? DRAWN is my way of exploring these questions…and of getting completely lost in the past.

If you are interested in exploring DRAWN, you can check out more about it by clicking here. Also, if you are on GOODREADS, you can enter to win one of 5 signed print copies of DRAWN with its new cover by entering the giveaway there starting this Friday.  To enter, click here from Friday. The giveaway runs through the end of May.

 

*Marie is a Literary Agent at The Jennifer De Chiara Literary Agency in New York City. To keep up with all her Agent Monday posts, subscribe to her site.

 

Agent Monday: Focused Writing Can Help Land an Agent

MP900178092Happy Agent Monday, everyone!  Spring is in full bloom here, and as a Literary Agent, I’m here to help writers’ careers blossom and grow. To that end, I’ve been scouring my query inbox hoping for the next great writer to grab my attention and inspire me to offer representation. Too often, though, queries lack focus, or the writing does. So today, I thought I’d spend a few moments pointing out how focus can help you land an agent.

Focus on your genre… What is it? Your book should fit into one genre, and meet (and exceed) the expectations of those readers.

Focus on the agents that represent your genre… If I say I do not rep high fantasy, then don’t send me a high fantasy query (or pretend that your high fantasy is really something different). Spend your time and energy querying a receptive audience.

Focus your query… Make it clear what your book’s genre is, what it is about, why you have picked this particular agent to query (see points 1 and 2 above!).

Focus your writing… Make every word count, every scene vital to the story, and every action important to advancing your plot. Whatever you promise the reader in the beginning pages, be sure that you deliver exactly that!

Scattershot queries, writing that doesn’t fit anywhere in particular on a book store shelf or that crosses disparate genres (like a middle grade novel with a serious romance, or a picture book with adult themes, or a supposed thriller with a slow literary pacing), or books that disappoint because they promise something that they then don’t deliver — will hurt your chances of getting an agent, and finding an audience.

So think it through. What is YOUR focus? Zero in on that, and others will soon be focusing on YOU.

 

*Marie is a Literary Agent at The Jennifer De Chiara Literary Agency in New York City. To keep up with all her Agent Monday posts, subscribe to her site.

 

 

Agent Monday: But What’s the Story?

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Happy Agent Monday, everyone!  I don’t know about you, but sometimes I feel confused. Like WHY was it snowing on Saturday? Boo. And WHY does a grocery story ever think it’s a good idea to rearrange where everything is? Seriously.  And here’s another one that bewilders me: why would a writer spend an entire pitch talking about everything BUT what their book is about? During these pitches, I actually find myself stopping the writer and asking them: But what’s the story?

Last Saturday (yes, when it was snowing!), I spent an enjoyable day taking pitches from a ton of nice writers at The Philadelphia Writing Workshop (thanks to Chuck Sambuchino for having me along). There were some seriously good pitches coming my way. These were well-crafted, and writers were able to convey a cool story idea within the 10 minute time frame we had together. But other times, writers buried their stories in such a way that I didn’t have a clue about the plot, the genre, and sometimes I struggled to figure out what, exactly, they were trying to present. It was like I had to play detective to get any real answers.

As not only a literary agent, but a writer myself, I get how this can happen. It can be nerves. Or perhaps the writer is having trouble boiling their complex book down into that one pithy line followed by a brief description. Sometimes we writers are so wrapped up in how a book was put together, or why we decided to write it, or in trying to impress an agent with our overall persona, that we forget that none of this really matters as much as the story itself and how it will engage readers.

Yes, when I see a pitching author squander their time on everything BUT their novel’s story, I do stop them and start asking questions to parse out what I need to know. But that doesn’t always work. Sometimes writers get flustered, or they truly haven’t thought out the answer to: what’s my book about?

Don’t let that happen to you.

First some do’s: Tell me the title, the manuscript length (in words not pages), and the genre right away! Then tell me a one line description that captures the overall plot of the book. Then you can elaborate on the story a bit more. And you can add in a bit about yourself, plus leave time for us to chat a bit.

Now for some don’ts: Don’t fill up your pitch time with talk about yourself, about your motivation for why you write, or about the mechanics of your writing. Discussion about how awesome you are at your full-time job, or about the way you transition from paragraph to paragraph is not going to draw an agent in.

Don’t waste time telling an agent details about things that have nothing to do with the actual story you’ve written. Just don’t.

Don’t spend lengthy time explaining about all your followers on Twitter and Instagram, etc., unless your social media presence and platform is startling (like a hundreds of thousands of followers), and don’t share every moment you’ve ever spoken in front of a group of people (unless you did something really extraordinary like were on Oprah or something). Just say: I’m active in social media and will be an eager promoter.

Don’t waste a ton of time talking about a book you’ve written that isn’t the one you are actually there to pitch. Just don’t do it.

Don’t put yourself down. Time and time again writers tell me that their pitch is going to be awful, or that their book probably isn’t any good, or that there are probably a ton of these types of books out there already, but…  Stop that! Seriously STOP! Best foot forward, people.

And do not come with papers for me to read or an ipad with a manuscript you want me to skim. Pitches are verbal. If you are nervous and must refer to your own notes, that’s okay with me. But I won’t take your book or manuscript or massive media kit home with me. Not even your first chapter. If I’m interested, I’ll ask you to email me material. If an agent is too polite to say no to your offered stack of papers, chances are VERY GOOD (like 100%) that these will end up in the trash minutes after you go. Save your money, people. No props required or bling, or printed up stuff.

Just a pitch. About your story. No mystery there!

 

*Marie is a Literary Agent at The Jennifer De Chiara Literary Agency in New York City. To keep up with all her Agent Monday posts, subscribe to her site.

 

Agent Monday: Writers Should Learn from Liars

 

Gregory Frost 1Happy Agent Monday, everyone! Writers are liars! And I mean that in the nicest way possible. Writers are pretenders, and are in the business of making things up for a living. Not coincidentally, I met today’s poster, our client Gregory Frost, through a group we both belong to called The Liars Club. Greg is not only a phenomenal author, but also a top fiction professor at Swarthmore. So he’s obviously one heck of a liar himself.  Now he’s sharing with us what we writers can gain by studying the art of the lie.

 

Good Writers are Consummate Liars

by Gregory Frost

Lately, I’ve been thinking and reading a lot in preparation for leading the upcoming spring semester Fiction Workshop at Swarthmore College. I almost always spend the months leading up to it reading a new crop of short stories across the spectrum, and thinking about how I might approach the Workshop this time that would be different from the last time I led it. Such questions have made me, among other things, a collector of books on writing, which includes everything from Stephen King’s down-to-earth and often-cited On Writing to Samuel R. Delany’s terrific and sometimes head-spinning essays collected in his About Writing.

One thing the plethora of “how to” books reveals is that you can pretty much unpack the act of writing any way you like, teach the elements in whatever order you prefer, and still at the end have delivered a comprehensive overview of writing fiction. Because nobody writes the way fiction writing is broken out for a series of successive lectures or for chapters in most writing texts. We don’t write once through focused solely on Character, and then once focused Narrative Structure, and then once focused on Voice. (Okay, we’re all different in our approaches, so maybe there is someone who does that, but I can’t imagine it working.) What I do find, and believe, is that those “how to” books are most useful to us at the point of revising and editing our work. We do potentially read through our 2nd or 3rd draft just for voice, just for character portrayal, and so on. We read it once out loud to ensure we don’t have any hidden rhyme schemes that have inadvertently turned us into Dr. Seuss. In effect, then, the rules and recommendations laid out in many writing books are helpful to you once you have written a draft, but less so during the first-time-through conjuring.

There’s one out-of-print book by Michael Kardos, called The Art and Craft of Fiction, that I like in particular for his approach to tackling this very issue. Kardos’s emphasis on fiction writing (before you get to all those rules and observations of the modular aspects) is on detail. He says “When we lie, we know instinctively to supply details because the details lend credibility to our story.” Right. Good liars, con artists, and teenagers caught sneaking in late from the party they definitely did not go to, know that detail is everything.

The first day of class, Kardos tells his students that if they are to learn “just one thing” about writing during the semester, it should be “Relevant Detail.” If they learn only two things, the second thing should be “Relevant Detail.” The third thing . . . and down the line.

As he puts it, if he says “animal,” you might think “giraffe” while he meant “dog.” And while “dog is better than “animal,” it’s not half as good as “golden retriever” for lighting an image in the reader’s head, which he pushes further with a “golden retriever with a dry nose and a meek bark like it was asking for a raise it knew it didn’t deserve.” (Yes, you can get carried away with this.)

However, the more specific and solid the details in most instances, the better.

33590_2694Good writers have taught themselves this because they want you to believe their lies. We are after all liars. We lie for a living.

The late John O’Hara is quoted as saying: “Detail has to be handled with care. For instance when you are describing a man’s clothing, you must get everything right, especially the wrong thing.”

If, as can be said, the beginning of every story is in effect that “Things are not as they seem,” then that piece of advice seems to me absolutely critical. The wrong thing can tell you volumes about a character while simultaneously eliminating a full page of cold expository oatmeal.

So if there’s one thing you should learn from this post, it’s . . . yeah, you already know.

***

Gregory Frost’s latest books are TAIN and REMSCELA, comprising a retelling of the Ulster Cycle of Irish Mythology. And his newly completed gothic historical, Dark House, is an engrossing tale about a cursed and haunted White House, and about the brave slaves who risk all to battle a mysterious evil. Frost’s many titles have received starred reviews, and he has been nominated for top prizes including the Stoker, the World Fantasy Award, the International Horror Guild Award, and the Nebula. His duology Shadowbridge and Lord Tophet (Ballantine-Del Rey) was a finalist for the James Tiptree Award, was named one of the four best fantasies of the year by the American Library Association, and received starred reviews from Booklist and Publishers Weekly, the latter dubbing Shadowbridge “… a sparkling gem of mythic invention and wonder.” Currently, Frost is director of the Fiction Writing Workshop at Swarthmore College.

*Marie is an Associate Agent at The Jennifer De Chiara Literary Agency in New York City. To keep up with all her Agent Monday posts, subscribe to her site by clicking on the Follow link located on her page on the upper left margin.

 

Agent Monday: Introverts Unite! Networking for Writers

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Caroline Noonan

Happy Agent Monday, everyone!  Writers are often introverts. People who enjoy sitting alone and writing far more than being at the center of attention. Yet these days writers MUST get out into the world for their writing and for their careers. Today I’m pleased to welcome our client Caroline Noonan, who is here to give us all some painless tips on how we writers can connect…and on why it’s vital that we do.

The Importance of Networking for Writers
By Caroline Noonan

Definition: noun net·work·ing: Connecting with other people to exchange information and develop contacts; the cultivation of productive relationships for employment or business.

Hmmm, you say. Doesn’t apply to writers. Writing is about me, my laptop and my awesome manuscript. Well you’re right. To a point. But nowadays we are expected to self-promote, self-market and be our own editors. We are asked to speak, maintain websites and have a presence on social media. And if that’s not bad enough, a great many of us are introverts. Introverts prefer to listen and observe. We are reflective and focused and speak through our art. Networking goes against our very nature and can feel disingenuous.

But consider the potential benefits of a little networking:

• Are you looking for feedback on your manuscript before querying?
• Would you like to find critique partners whose opinion you trust?
• Would you like support and encouragement from like-minded individuals?
• Are you actively seeking an agent or an editor?
• Do you want to make writing your career?

If you answered yes to any of these questions, then you should seriously consider networking. Okay, so maybe I’ve piqued your interest. The next step is How? Here are a four practical ways that have helped me personally:

1. Meetup. Meetup.com is the world’s largest network of local groups, making it easy to organize or find an existing group in your area. I found my local writer’s group and my regular critique partners through Meetup. Yes, I was biting my nails and psyching myself out before that first meeting, but it was smooth sailing after that. Remember, give the same courtesy and consideration in critiquing other’s work that you would like given to yours.

2. Join a Professional Writer’s Organization. There are many organizations who connect you with other writers and organize local events, such as the Society of Children’s Book Writers and Illustrators (SCBWI). These organizations have strong on-line communities, as well as terrific regional and national conferences that are well attended by other writers, agents and editors (some of whom give preferential consideration to organization members).

3. Go to a Writer’s Conference. I suggest starting with a local or regional conference. Get there early and introduce yourself to the folks sitting around you. Ask them what genre they write and what they are working on. Ask them for a business card. Maybe even follow them on Twitter. (Follow Caroline @carolinehnoonan)

4. Social Media. There is a huge on-line community of writers, especially on Twitter. Many literary agents run contests on Twitter, and I know individuals who have found their critique partners there. Social Media is a great place to share ideas, connect with others and give someone a nod of encouragement when they need it. Next time, it might be you needing the nod!

I hope you find these ideas as helpful and practical as I did. Just remember, writers are basically all nice people, and nearly everyone is in the same boat as you!

 

Caroline Noonan’s debut YA novel Till Someday is a riveting contemporary about a girl eager to turn 18 and finally take charge of her life beyond foster care, but life keeps getting in her way. Caroline writes with authority — she grew up in foster care from the ages of 4-18, and got on with her own life, becoming an aerospace engineer for NASA, and a technical writer/editor for the space industry.

 

*Marie is an Associate Agent at The Jennifer De Chiara Literary Agency in New York City. To keep up with all her Agent Monday posts, subscribe to her site by clicking on the Follow link located on her page on the upper left margin.

Agent Monday: Query No-No’s

MP900386224Happy Agent Monday, everyone! Spring has finally taken hold here in the Northeast. Time to make things grow – like your writing career. Chances are if you have found this page, you are looking for an agent to help you do just that. This can be a tough and competitive process for sure, but it can be even tougher if you are making query mistakes that seriously ruin your chances.

We writers (NB: I’m an agent and a writer, so I totally get it…) have wonderful imaginations, which means we can worry about SO MANY things. I didn’t put my title in caps, I double spaced my query, I didn’t use a comma after an “and.” Maybe that’s why I’m not getting any agent offers? Nope. That won’t stop an interested agent from being drawn in, so relax. Here are some No-No’s that WILL turn an agent off, though:

Addressing your query to every single agent at once… I get these all too often. The email address of every known agent is included. I immediately delete these – as does every agent ever known.

Your salutation is general or non existent. Dear Agent. Dear Sir or Madam. Hello. That’s another mass mailer. That’s a goodbye.

You say your book is a YA/adult/historical/paranormal/thriller/horror/romance/Christian/humorous tragedy. There is no such shelf in a bookstore, and this is a sign that you don’t know your genre or market, and that your work will reflect that.

You know your genre, but are sending it to agents that clearly say they are NOT representing that genre. Maybe you think your work will change their mind or, more likely, you haven’t bothered to look at agent guidelines to see what we do and do not want to see. This ain’t gonna help you.

You send your query letter as an attachment. Would you open attachments from someone you don’t know? Neither will we – we will delete it.

You direct the agent to an online link to see your query letter or sample pages. That won’t work either. You need to follow agent submission guidelines and this won’t be a part of those guidelines – I promise.

Your query letter is poorly written and riddled with errors. Now I’m not talking about a misplaced comma or that one typo you found, horrified, after you pressed send. I’m talking about truly terrible writing that is careless and shows that the writer isn’t taking their craft seriously.

Chances are pretty good that if you’ve found this page, you ARE doing your homework. You may be saying, hm, I’m doing none of these awful things. Then take heart! If you are following submission guidelines, writing with care, and targeting your genre well in your writing and in your submissions, you’ve already risen to the top of an agent’s inbox. You won’t be immediately deleted. Your query will be read. You have given your manuscript a fair shot.

And, here’s a tip you may find helpful: If I were in your shoes, I’d be sure to include newer agents at established agencies in my query lists. These are people who have all the support of their agency, who have access to any editor because they are certainly legit agents, and who are eagerly building their client lists.

And, hint hint, I just might be one of those agents.

 

*Marie is an Associate Agent at The Jennifer De Chiara Literary Agency in New York City. To keep up with all her Agent Monday posts, subscribe to her site by clicking on the Follow link located on her page on the upper left margin.