Still at it.

Things are going smashingly around here with THE FAKE MCCOY. I've never worked with an outline before, but I have to say, it is really the best invention EVER. My outline (subtly) changes daily, but having it really keeps me focused. There are scenes that I haven't written (LOTS of them, in fact), but I feel like I have because they fit so well into the outline that I have a really good idea of how it's all going to go down.

So, yes. I was slow to make this discovery, but outlines are AWESOME. I will never attempt another writing project without one.

That's all for now!

The long awaited rejection.

Remember ages upon ages ago, I was stressing because my first-choice agent hadn't responded to my full after five months of having it in her possession? It took nine months, but I finally got the (form) rejection letter yesterday. It had been so long and I'd (almost) forgotten about her. I didn't think I'd end up hearing from her at all. I'd even joked to my husband that I might go to a conference and pitch the same novel to her just for fun. (It really was a joke. I wouldn't do that. Honestly.)

In these past few months, I had taken her out of the first-choice spot and had even considered whether I would actually want to work with her after hearing nothing from my status inquiry notes. No agent is better than a bad agent? They say.

I remember those olden days when I used to wonder what I would do if she and some other agent both offered me representation. How would I choose?

So young. So naive was I.

Writing a boy

I've written about 85 pages for THE FAKE MCCOY. They are not consecutive and most of them need more revisions, of course, but I'm pretty pleased with my progress. When I first started, I wasn't sure whether I could pull off the whole first-person male protaganist thing. I'm not done, so it is still yet to be seen. But, so far, I'm getting really positive responses from everyone who is reading.

My husband is my first reader. He tells me when I'm not being guyish enough or when parts of a scene start to drag. Then my coworker, Joyce, is my second reader. She is one of those super-supportive non-critical readers who makes me feel like the best writer EVER, but then she does often have some type of insight that helps me out.

Next I post it on the class message board and get up to ten short critiques from my classmates (the number varies depending on how many are in the groove in a given week). And finally, get feedback from my instructor.

For the first six weeks or so, a lot of the feedback from my classmates was along the lines of, "I am so impressed that you - a woman - can write such a realistic teen male!"

I was grateful for the kudos. Really. I never look a cliche in the mouth. But I did start getting a complex over it. Is it only good because I'm a woman? Or is it good because it's good? Will everyone ignore the story itself because they're too busy being shocked that a woman wrote it?

But gradually, the positive points they've been bringing up don't have anything to do with my gender. Now it's about my dialogue, characterization, and pacing. So, I am feeling much more confident!

When people ask me how I can possibly write a boy, I don't know what to say. I don't think I can write any old boy, actually. I can write THIS boy.

The thought of trying this again with another male POV character is even more intimidating than when I was first pondering ideas for this story. I look forward to writing a girl again, but I'm having a lot of fun writing Seth.

Not enough hours in the day.

Work and social obligations are interfering with my writing! Over the summer, it really wasn't a problem because even though I was writing in theory, I was still in kind of a slump, you know?

Right now - this very second! - I am anxious to revise a scene and to get to work on another that I'm excited about. I can't, because I have to leave for work in a few minutes where I will be for the next eight hours. When I get home, I'll need to tidy up the house for overnight guests. I might be able to get in a few hours of writing from 5pm to 8pm, but then I'll be heading out for my husband's band's Friday the 13th gig. Saturday morning I'm getting a ride to the south end to visit family. (Oh, which means I need to pack as well.) I won't be home until Sunday late-afternoon. I should probably spend those few Sunday hours with my husband. And then I'll be working a 12-hour shift on Monday.

Tuesday is the soonest that I'll be able to really sit down and refocus. AAAUUUUUGGGGGGGGGGHHHHHH!

In which I squeal.

An agent who sent me a really nice rejection a few months ago contacted me today out of the blue. He had this to say:

Did I read on your blog that you’re working on a second YA manuscript and aren’t yet repped? If so, definitely try me on the new ms. – every editor I’m lunching with lately seems to be looking for literary/ coming of age and I think that’s something you can do … :)

By the way, you should become writing buddies with my client [Name]– she also lives in Seattle, and does really cute YA with paranormal elements …[blog address]

Best, [Male Agent]

I wrote back and said that he's on the top of my list to query when the manuscript is complete and that I'm aiming toward a full draft by the end of the year.

He then wrote back and said he would like to see an outline or synopsis as soon as I have one ready!

That's really, really great news, right?

I mean, isn't it?