What Goes in a Query?

Query letters can be frustrating, but I think they're much simpler than we make them out to be. Really a query letter only needs three things to be made clear: character, plot, and basic statistics.

CHARACTERS
No more than three (and if you name that many, one should probably be the antagonist). More names than this becomes hard to keep track of. Of these, only one should be the main character. The novel may be about multiple people, but it's hard to tell all those stories in just 200-300 words. Choose the most important character and tell their story, starting with what they want.

PLOT
Now that you know what your MC wants, show how they try to get there. That means the conflict (what keeps them from achieving their goal) and the stakes (what happens if they achieve it? what happens if they don't?).

STATISTICS
Title, word count (rounded to the nearest pretty number), and genre.

And that's it. I mean obviously you want to include more than that -- details that make your story unique, aspects of your voice, etc. -- but if the characters and plot are unclear, then your query will be unclear. So include those details, answer the obvious questions you raise (e.g. why does your MC want what they want?), but in doing so be careful not to lose the story.

On Wednesday, I'll talk about a couple of optional parts of the query, commonly confused as required. In the meantime, got any query tips you wish you knew starting out?

The Women of Naruto

I really, really like Naruto. The story arcs (when they're not filler, of course) are clever and powerful. Almost every character has a unique personality, backstory, powers, and secrets.

But I've been watching the show for over 300 episodes now, and I'm starting to get tired of swooning, ineffective female ninjas. I didn't really notice until someone pointed it out to me, which is sad (I'm such a white, privileged, heterosexual male that way; sorry).

A quick briefing for those who haven't seen the show. It centers around the ninjas-in-training of the Hidden Village Konoha, most especially Naruto (the Goofy Boy Trying to Prove Himself™) and Sasuke (the Awesome Hawt Boy™). There are dozens of other characters, though only a few major women.

Sakura is part of Naruto's original team along with Sasuke and their sensei. She's super strong, but usually we only see her strength when she's hitting Naruto for being rude. She's also a medical ninja who is in love with Sasuke.

Ino is Sakura's childhood friend and rival. She can take over someone's mind, but it's rarely effective (her most awesome moment was in a fight with Sakura, of course). She's also a medical ninja who is in love with Sasuke.

Hinata is part of a very powerful ninja clan, but she is its weakest member. She suffers from a lack of confidence, being overshadowed by her older brother. Also she's in love with Naruto.

It seems like the only cool, kick-butt women in the series are villains, and even then... I just finished an episode where Sasuke teamed up with what looked like an awesome villain ninja. Two episodes later, she still hasn't fought anyone (though Sasuke and others have), and what do you know she's in love with Sasuke.

Sigh.

The only major female character who isn't in love with someone is Tsunade, who becomes the leader of Konoha Village. Unfortunately, since she became the leader, she hasn't fought anyone and has only used her super-strength to...hit Naruto for being rude.

For a show with such awesome characterization, this is really disappointing. In your writing (especially if you're a guy), this is something to watch out for. It's not like every woman has to be kick-butt and super awesome, but if none of them are -- if all the interesting stuff is being done by men -- it's a red flag that something is wrong.

Not that Naruto doesn't have it's moments. There was one episode where an enemy ninja was mocking Sakura for being a weak girl. The enemy had Sakura by her ponytail, gloating over how wussy she was. Sakura snapped. She grabbed her knife, cut off her hair (a big deal for her), and kicked the enemy's butt. It was awesome. I wonder what happened to that Sakura.

That Thing Where I Draw: Angry Suriya

I don't want to say much about this scene. Even though Cunning Folk is T-minus-infinity years away from being published, I don't want to spoil it. (Though now I wonder how negative numbers fit into the spoiler formula).

All I'll say is Suriya finds herself betrayed and gets mad. Like many fledgling super-powered humans, her powers go a little nuts when she's upset. On the plus side, there's no one left to mess with her when she's through.

So after a year or two of asking people what kind of pencils they use, and searching in vain for Prismacolors (they seem to be the brand of choice, but good luck finding them in Chiang Mai), I finally found colored pencils that actually blend. My previous attempts with colored pencils -- even the better ones -- never felt like this. It's like I've been playing a two-string guitar and someone said, "You know there are supposed to be six?"

The Problem with the Gun on the Mantle

"One must not put a loaded rifle on the stage if no one is thinking of firing it."
-- Anton Chekhov

This is good advice. By putting a loaded gun on stage (or on the mantle, in the other version of this quote), you are making a promise to the reader. If that gun doesn't go off, it's not only wasting words but it's kind of a let down. If a storm is brewing, it better hit by the end. If there are embarrassing secrets, their keepers must be embarrassed!

But there's a problem: if the gun always goes off, then as soon as it's introduced, the reader knows what will happen.

I noticed this while reading Duma Key by Stephen King. There's some early foreshadowing that basically told me how it would end and drained some of the tension. I respect Stephen King, so I won't spoil his novel by using it as an example. Instead, I'll spoil Avatar.

Jake learns the ways of the Na'vi -- a super tall, blue-skinned race of nature-loving aliens. One of their rites of passage is to bond with a predatory bird they use for transportation and war, which Jake does. But he's almost taken down by an even bigger predator called the Turok.

Jake's girlfriend tells him the Turok is the biggest predator on the planet. "It has only been tamed five times in our history," she says. "Those riders became legends. They brought all the tribes together, bringing peace to the world."

Gun. Mantle. You don't have to see the movie to know what they do with it. Foreshadowing is good, and Chekhov was right about using all the elements you put on stage. But if you're not careful, it becomes obvious and predictable.*

The trick? One trick is to be subtle. Subtle foreshadowing is the stuff you don't realize was there until after the gun goes off, then you're all, "Holy crap, it was there the whole time!"

Another trick is to foreshadow things so that the reader has to know how it happens. The Turok wasn't interesting because we knew the result: Jake would prove himself legend, bring the tribes together, and use their combined might to fight the humans. Contrast that with the other Avatar: the final showdown between Aang and Ozai is forecasted from episode 1, but you have to see it because (a) Ozai has to be killed and (b) Aang doesn't kill anybody.

If you must foreshadow plainly, then twist what the reader expects. The gun goes off, but it backfires on the shooter. Jake fails to bond with the Turok, but his girlfriend rescues him and she becomes the legendary rider.**

Like anything in writing, be intentional. Keep your promises to the reader, but don't stick to the letter of the promise. A predictable climax can be just as bad as a gun that doesn't go off.

* My only real complaint with Avatar was its predictability -- there was a lot more than just the Turok.

** Then the movie might not have been so much like this 20-second summary.

True Neutral

From a conversation I had on Facebook. Make your own motivational posters here.

5 Secrets to Keep You in the Game

The writing game is really, really easy to quit. Maybe it's because your first novel always sucks but, like an American Idol first-rounder, you have no idea. Maybe it's because you need to write a million words before you start writing good ones. Maybe it's because you get rejected 100 times before something clicks and you understand why.

I don't mind if people quit -- less competition for me. But since you guys keep coming back and saying such nice things, I'm going to tell you a few secrets to keep you in the game.

It's okay to rehash old plots. I quit for almost a decade because I rewrote The Fellowship of the Ring without realizing it. Granted that novel would never have sold as written. But I could have worked the story and reworked it. I could've injected it with other rehashed plots, original twists, and my own voice until it was something fresh. Everything's been done and will be done again. Don't let that stop you.

Your first draft will suck. Write it anyway. Everything bad can be made good with revision. Even something good can be made better. But you can't revise a blank page.

Everything can be deleted. That clever turn of phrase? Gone. That supposedly-important chapter? Don't need it. That boy you thought was the protagonist, but actually this girl over here is far more interesting? Delete him. Nothing is sacred. Nothing is necessary. Everything can be cut. Try it and see.

Your first story will not be published. Harsh? Yeah, but it's better for you to know now. Don't let it stop you. Try and get published anyway, because the stuff you learn from failing will help you too. Who knows? You might get lucky. But don't be surprised when your dreams are shattered, cutting your bare feet on the floor.

You have more than one story in you. A lot of folks learn the previous truth the hard way then get bitter, decide the game is rigged. It's not rigged, it's hard. The only way to keep your hopes from piling up on a story that can't sustain them is to write another story. And another one after that. If your dream is to get published, then keep writing until it happens. Who knows? Maybe you can pull that first story back out of the gutter, rinse it off, cut it up, and try again.

How about you? Got any secrets?

That Thing Where I Draw: Novice Suriya

No, this isn't Aang (though she does live at a temple, and she is, for all intents and purposes, firebending). I've paused work on Cunning Folk to implement Air Pirates Plan B, but Suriya's story is still bouncing around my head in pictures like this one.

So after fleeing the villages and ditching Anna (a decision she's still not sure was the right one), Suriya takes refuge at a Buddhist temple in the countryside. It becomes almost a home to her, the first place she has felt safe since she was little. But it's only temporary -- someone will find her eventually.

When she sees a vision of bounty hunters burning the temple to the ground, looking for her, she wonders if she should trust the monks with her secret.