On-Line Writing Courses

Marilyn:
Peg, I've been writing novels for many years now, but I still take the
occasional on-line writing class. I recently took one on pacing with Mary
Buckham, which I found worthwhile. It reminded me how important it is to
include hooks in our novels -- to keep our readers reading. And it helped me
understand the scene-sequel principle, which I suppose I've been doing
unconsciously as I write along. Do you find writing courses of value?

Peg:
I thoroughly enjoy taking online classes. I learn something new from each one . What I find invaluable are classes where participants share their work and the feedback from the instructors. Sometimes it's easier to understand a principle when it's applied to someone else's writing! I've taken a number of classes from Mary Buckham, and she's an excellent instructor.

Marilyn:
There's so much to keep in mind when working on a manuscript -- the plot, the characters, the setting, the tension. Taking courses reminds us of the various elements we need to incorporate to write a satisfying story.

Peg:
I also love the camraderie in an online writing class. Most of my family and friends in "real" life aren't writers. It's wonderful to be steeped in a mileu where you can talk writing as much as you want without fear of boring someone! It makes the whole creative process feel more vivid.

Marilyn:
I agree. Besides writing classes, I love the camaraderie we writers enjoy via our online discussions. On my recent trip to Turkey I found myself telling my new friends about my close email writing friends.

Peg:
I think it's critical, though, to make sure you're taking a quality class. There are certain sites that offer excellent classes, and you can also get opinions from other writers. I like to check the instructor's bio--I prefer it if they're published in fiction or if they have experience teaching creative writing at the college level.

Avery Aames Talks About Writing A Work-For-Hire

Avery Aames, author of the newly released Long Quiche Good-Bye from Berkley Prime Crime, is here today to answer some questions about writing a "work-for-hire."


I understand that your book is a work-for-hire. Can you explain what that means?

A publisher comes up with a hook for a series, creates a "bible" (which is an outline including the characters, the setting, and the theme of the series), and then hires an author to write the series (usually based upon an audition to do so).

How has this been easier/harder to write than something you created from scratch yourself?

I love writing for myself, but when I was provided with a bible that the publisher "approved," it made me feel "free." I could write without that little voice in my head telling me that whatever I wrote was garbage. {After enough rejections, that little voice was getting quite vocal!} As I wrote the first book, I was able to remind myself that the publisher wanted this story, and I was providing it with my personal stamp. Words flowed out of me, and I fell in love with the characters and setting. My research wasn't too tough, either.

How much guidance did you receive when it came to plot and characters?

As I said, there's a bible. The bible is about three pages long. This may differ, depending upon which editor came up with the idea. My bible consisted of a few paragraphs of setting and story, a few paragraphs per character that the editor wanted included, and a basic premise for the set-up, the murder, and who did it. I covered all of the bible in the first three chapters. From that point on, the story was all mine.

Does a work for hire differ from other Berkley book contracts when it comes to advances, royalties and print runs?

As far as I know, Berkley pays the same money for any debut novel. The royalties are standard and the print runs depend upon what Berkley thinks will sell at the time of publication. Is cheese hot at the time of publication? They'll print more. Are cupcakes hot? They'll print more. Who knows??!!

Has it been left up to you to plan the next book(s) in the series, or have those plots already been loosely determined?

I came up with the next two plots. I had to run them by the editor, and then I was asked to provide a very thorough outline. Other Berkley authors I know are allowed to write the next book and turn it in, but my editor likes to see an outline. The tweaks she's made have been minor. We communicate in shorthand, and I adore her.

You’ve chosen to use a pen name for the series—why? How did you choose your name?

Because Berkley came up with the hook for the series, they "own" the series. Therefore, they wanted a pseudonym for the author. In the event they elect to have another author, they can use the same name for her. I was able to choose the name. I chose the surname Aames because it is virtually the first in the alphabet, and from a marketing standpoint, that's a good thing. Aames shows up first in lists for libraries and booksellers. Avery Aames has a nice ring, don't you think?
Are you continuing to pursue publication of non-cozies under your own, or another name?

I am continuing to pursue publication of cozies or thrillers under my own name. In fact, my editor is currently reviewing another series idea. We'll see how that goes. For now, I'm thrilled to be writing about cheese. I've fallen in love with my protagonist, my setting, and my stories. And I adore my research. I'm very lucky. Say cheese!

Writing Friendships

Marilyn: As you know, Kaye, the writing life isn't for the thin-skinned or faint-hearted. We write our hearts out, send our stories to editors and agents, and reap our share of rejections. I think I would have stopped writing years ago if not for the support and care of fellow writers like you and Peg.


Kaye: Yes, I have to admit I had always heard how supportive writers, and especially mystery writers, are of each other, but I was skeptical. Oh sure. Like another writer will help someone who will end up stealing readers from her. Or him.


Marilyn: Except now you know otherwise. [grin] We're in a small group of writers, and we're very supportive on one another. Even when we're vying for the same agent's attention.


Kaye: Since getting to know many other writers (including you and Peg and KD!), I have been so pleasantly surprised at how much support there is for new writers and writers who are trying to break in. Mystery writers are the most generous people you can imagine. The theory is, I think, that there are enough readers to go around. Just because someone buys Writer A's book does not mean they won't buy Writer B's. The more mysteries the better!


I received support very early on from a multi-published writer, Valerie Wolzien, who had no idea who I was, except that I knew her nephew--and that I was a mystery writer.


Marilyn: And I had the good fortune to take a writing course with Roberta Gellis many years ago. We became close friends. I still run the plot of my story by her whenever I start a new novel.


Kaye: Now that we've found Sisters in Crime and the Guppies, we have a friendly, comfy support net. But, still, writers that I meet at conferences and through other people, writers who have been published for ages, are always generous and supportive. Just the fact that they go to conferences and share their knowledge and wisdom on panels is a sign of their generosity.


One thing we must remember to do, Marilyn, when we're multi-published in mystery, is to be as kind and nurturing as everyone has been to us.


Marilyn: Absolutely! As a result of meeting so many Sisters at Malice, I've decided to start a Long Island chapter of Sisters in Crime. I only hope it takes off.



Kaye: I think you're already doing your part to nurture new writers, Marilyn. I wish your new chapter all the best!

Note: Photo is of Kaye and Marilyn, taken at Malice Domestic in May