Tricking a Reader: Character Death

In the last post, I talked about misdirection as one of the ways you can hide a secret and fool a reader until that critical reveal. But how do you do that? I think one important aspect of misdirection is to believe your own lie.

For example, say you want the reader to believe, just for a moment, that a major character is dead. This is really hard to do because major characters almost never die (George R R Martin, notwithstanding), so the reader will always be looking for the trick. For example:

• The character's body is never shown or they died in an ambiguous way.
• The other characters are melodramatic or otherwise overreacting to the death.
• The other characters don't try very hard to determine if the character is really dead.
• A main character dies anywhere other than the climax.
• The character who died is someone normally considered safe (e.g. the hero, a point of view character, an innocent child, etc).

That's not to say you can't do these things, but the more of these tricks are present, the harder it will be to convince the reader the character is really dead.

If you want a fake death to be convincing, write it as if it were an actual death. You may not be able to show the body (though if you can, that's even more awesome), but have the other characters in disbelief. Not just disbelief, but actively trying to prove the character is really alive (check breathing, do CPR, call a doctor, etc).

The story might require the fake death to be before the climax (hi, Gandalf), but the longer the story goes without the character showing up, the more the reader will be convinced it actually happened. (Some readers -- not me -- might be in such utter disbelief that they -- not me -- will actually skip ahead in the novel to see if the death really happened. I, of course, would never do this. Not even if [spoiler redacted] from Song of Ice and Fire was struck in the back with an [spoiler redacted]).

You can do this for any kind of secret. Just think of the tricks you look for as a reader, then use them to your advantage.

I probably shouldn't ask where you've seen good character deaths, should I? Too many spoilers. Also the ones I can think of are characters who actually died, but I refused to believe it.

Holding Back Surprises

I can't think of a story with no mystery at all, whether it's a revelation of secret paternity, a mentor back from the dead, or a social worker with government connections. So as a writer, you have to figure out how to hide your secret long enough to surprise the reader.

Unfortunately, readers will be trying to figure out your secrets the whole time and, as we've said before, they are super geniuses. Their reaction is directly related to the amount of time between when they figure out your mystery and when you reveal it.

Obviously, you want them to figure it out as late as possible (zero words; though a smug nod is okay too; it means the reader thinks they figured it out before "most people," which makes them feel good about themselves).

You should know this is very hard to do without trial and error, which is why God created beta readers. A good beta reader can help you figure out which secrets are working, which are not yet, and which are so annoying because oh my gosh it's so obvious HE'S YOUR LONG LOST TWIN BROTHER, YOU TWIT!!

Sorry.

When you find readers are picking up on a secret much too early, there are at least two things you can do.

1. Be more subtle. Figure out what the reader picked up on and remove it. (Be careful, though. If you withhold too much information, the reader will feel tricked. If that chart went into the negatives, this is what would go there.)

2. Add misdirection. Make the reader think they know what's going on, even though it isn't. Scooby-Doo was a master of this . . . for 7-year-olds. If your audience is any older, you'll have to get more creative. The trick, I think, is to believe your own lie as you write it.

I think I'll talk more about misdirection later. For now, do you guys have any other ideas for successfully hiding a secret from the reader?

Holidays, a Sketch

Cross-posted from Anthdrawlogy's Holidays week. The floating lanterns are stolen from Thailand's Loi Kratong festival, but the scene is actually from Air Pirates (the lanterns are also in Tangled, apparently, but I swear I stole the idea first!).

I don't expect many of you to stick around next week, what with our Earthly holidays and all. And anyway, I thought you'd appreciate a break from the only thing I seem capable of talking about anymore. Have fun. Eat much. Sleep well.

Me? I'll be revising this manuscript (Apparently you still have to work once you get an agent. Did you know this?). See you in 2012!

The Offer I Turned Down

If all the posts about getting an agent didn't drive you off, then you know I got another offer before Tricia called. I turned it down because it felt sketchy, for a number of reasons I'll go into here. Though I won't name anybody; for all I know, the agency and the offer was totally legit and it was just the way it was handled that scared me off.

When the Agent still had my full, I did some research on them (I do that sometimes; part of the Crazy) and discovered two things. (1) The agency was listed as Not Recommended on Preditors & Editors. I don't know if I just didn't check P&E when I queried, or if I didn't care. After some Googling, it seemed the rating was based on something that happened years ago. Also, I'd heard of instances where the Not Recommended label was possibly applied unfairly, so it wasn't an immediate "no" for me.

(2) I discovered the Agent was not at the agency anymore. I looked at the full request e-mail again and noticed that it was from someone else "on behalf of the agency." Again, not a definite "no," but since they didn't say anything about it, I was concerned.

So they were red flags, but I didn't think much of it -- most of my manuscripts got rejected, right? When I got an offer though, I had to face them, and the offer itself came with a couple more red flags: (3) The offer came from yet another person (not the Agent, nor the person who requested the full), who I discovered was an intern who'd been with the agency no more than 3 months. (4) It was just a straight out offer, with no mentions of revisions or wanting to talk first or anything.

Again, these were just flags. They didn't necessarily mean the offer was a scam. It's possible the agency was just taking care of the original agent's queries after she had left. It's possible they liked my story so much they didn't need to talk. It's possible the intern was a new agent (like, I don't know, my agent).

But the biggest problem was that, even before I'd talked to them, I didn't trust them. The agent-author relationship is, well, a relationship, and those require trust in order to work. These people weren't telling me much, so I didn't trust them.

But I gave them the benefit of the doubt. I e-mailed them direct questions: Who are your clients? Can I talk to them? Who are you thinking of submitting to? Will we do revisions first? etc. Instead of hearing back from the Intern, I heard back from a fourth person: the Head of the Agency. Unfortunately, the Head answered very few of my questions. The only definite answer I got was that we would submit right away. To who? I have no idea.

I wasn't even clear on who would be representing me.

I talked to a friend about it, and she said, "You can do better." It confirmed what I already felt -- not that I could do better (at the time, I thought that was the only offer I'd get), but that it wasn't the kind of offer I wanted. I walked away.

I'm glad I did, and not just because I got a better offer. Really, the two offers are very similar: they both came from someone I didn't query, who had been an agent only a very short time.

But the differences are telling:

Good Offer	Sketchy Offer
Joan told me she'd passed the manuscript on and that Tricia would be e-mailing me about it herself.	A different person e-mailed me each time, with no acknowledgement of that fact. No one even mentioned the Agent until I said something.
Tricia didn't offer representation until we'd had a chance to talk.	The Intern offered without talking at all.
Tricia answered all my questions (most before I even had a chance to ask them).	I only got vague answers, where I got answers at all.
Tricia's other client and fellow agents went into detail about how awesome she was.	The Head told me his client list "speaks for itself," but never told me who they were, let alone how to contact them. Nobody said anything about The Intern.
Tricia had specific revision ideas and told me the name of at least one editor she was thinking of submitting to. Talking to her, I got the strong impression she really gets my book.	Nobody mentioned my book at all except the title and that we'd be "submitting right away."

The lesson here? Think about what you're being offered. It's easy for the Quest for an Agent to slip into desperation, when we just want someone, ANYONE to represent us.

Trust me. You don't want just anyone.

Does anyone else have stories like this? Got any warnings for the rest of us?

3.5 Years + 231 Rejections = 1 Crazy Author

(I've been using my temporary insanity tag a lot lately. That's what querying will do to you, I guess.)

So here are statistics on three rounds of querying, including some highlights and A Chart. Let's jump right in!


QUERY STATISTICS
("Queried From" counts from the months in which I sent out queries; it doesn't count when I got responses. "Rejections" are of the query itself. Consequently, "No Response" are also rejections.)

Travelers
Queried From: May 2008 - Jan 2009 (8 months)
Queries Sent: 52
Requests: 0
Rejections: 41
No Response: 11
Request Rate: 0%
Representation Offers: 0

Air Pirates (Adult SF/F Version)
Queried From: Feb 2010 - Jun 2010 (4 months)
Queries Sent: 41
Requests: 5 = 4 partial + 1 full
Rejections: 16
No Response: 20
Request Rate: 12%
Representation Offers: 0

Air Pirates (YA Version)
Queried From: May 2011 - Oct 2011 (4 months)
Queries Sent: 140
Requests: 16 = 5 partial + 11 full
Rejections: 72
No Response: 52
Request Rate: 11%
Representation Offers: 2

Obviously, I sent out a LOT more queries for this latest version. Part of that is there are just a lot more agents repping YA than adult SF/F. Part of it is I got excited/desperate sometime around my 10th request, and, thinking I had gold on my hands, started sending queries to EVERYBODY.

It didn't work though:

Air Pirates (YA Version)
Request Rate in the 1st Half of Queries Sent: 17% (12 out of 70)
Request Rate in the 2nd Half of Queries Sent: 6% (4 out of 70)


RECORDS
Across all three rounds of querying:

Slowest Request: 78 days (one of two requests I got after following up on a lost query)

Fastest Request: 3 hours 45 minutes

Slowest Rejection: 1 year 24 days (the query had gotten sent to the agent's spam, but she fished it out along with a number of others)

Fastest Rejection: 55 minutes. That was Michelle Wolfson, who also gave me my...

Best Rejection: In which Michelle said she recognized my name from the comments on Kiersten White's blog. The rest of the letter was a pretty standard form, but because of the personalization, I felt like she meant it. (I also started following her on Twitter. She's fun.)


THE CHART
So, a couple of months in, I wanted to see a graphic of the responses to my query. I'm not sure what I hoped to glean from it -- probably I just wanted to make a chart. Here it is.

(RED = query rejection/no response deadline passed; BLUE = partial request; GREEN = full request; BROWN = partial rejected; BLACK = full rejected; GOLD = offer made).

I did learn a couple of things. (1) Most agents responded on Monday (being Tuesday here and on the chart), with Tuesday and Wednesday coming in second. (2) My emotional state in any given week had a very strong correlation to the placement of green and black circles.

(The chart also makes it look like summer responses are few, but keep in mind, too, that I doubled my query rate in the middle of August)

The fact that I got an agent exactly where the chart ends was completely unintentional, or coincidental, or God telling me something. Take your pick.

Was there anything else you wanted to know? I got all this data here; might as well do something with it.

How I Got My Agent, Part II

You've all read everything leading up to this post, right? Cuz if you think querying is all excitement and roses, you should go back and read the last post.

So Tricia Lawrence is my agent, but it may surprise you that I never queried her. I couldn't have if I wanted to: she wasn't an agent until after I'd stopped sending new queries out.

Ammi-Joan Paquette was one of the first five agents I queried, being one who asked to see the YA version when it was ready. She had my manuscript throughout the entire process and sometimes felt like my only hope. (And oh my gosh, if I had known the third query I sent out would be The One, and I could have saved myself the time and pain of sending out another 137 -- Oy! Just . . . kill me now (but don't because then I wouldn't have an agent anymore)).

When Joan upgraded from partial to full, she said she had reservations but wanted to see how it ended. I tried to tell myself (with only a little success) that she would say no. And, in fact, she did. She said the same as all the other agents: very promising, but she wasn't quite passionate enough to offer representation.

But the e-mail didn't end there. Apparently, Joan had passed it onto her agency's newest agent, Tricia, who had read it with enthusiasm. Joan said I should be hearing from Tricia quickly.

Listen, if you thought sending out queries is crazy-making, you should try getting an e-mail like that. I stared at my inbox for hours at a time, tenaciously ignoring the fact that nobody in America was even awake. I was checking my inbox in my sleep. I once checked my wife's e-mail to see if Tricia had somehow E-MAILED HER BY MISTAKE.

So yeah. Crazy.

Finally Tricia e-mailed me. She told me how much she loved Air Pirates, gave me a list (yay, lists!) with specific and awesome revisions ideas, and asked when we could talk on the phone. I looked and looked for the "I'm just not passionate enough" line, but I couldn't find it. It sounded like she actually wanted to work with me on it.

From the phone call, my story sort of devolves into everyone else's agent stories: I was nervous, she loved my story, she asked where I got certain ideas, she wanted to represent me, had editors in mind, etc, etc (but imagine me dancing a little the whole time). It was like every agent story I've ever read, with one exception.

See, when I first got the e-mail from Joan, I heard a tiny, evil voice. It said, "You're not good enough for the 'real' agent so they're giving you to the new one." Totally unfair, I know, and I feel bad even admitting it. But I don't know how anyone could get over 200 rejections and not doubt themselves like that.

Tricia couldn't know that lie had crossed my mind, but she totally murdered it. She told me when Joan had passed Air Pirates to her, she was actually wavering. She almost took it back to represent me. And Joan not only passed the manuscript to Tricia, but also to Erin Murphy, head of the agency and agent for 12+ years.

Honestly, I didn't need to know all that to make my decision; I knew that evil voice was lying to me, and Tricia's professionalism and enthusiasm had already won me over. But when I heard that, it made me feel all good inside and gave me a faith in Air Pirates I didn't realize I had lost.

So next week I will get some querying statistics up, along with some other related posts. I'll try not to bore you with All New Agent Posts All The Time, but, well . . . you know.

How I Got My Agent, Part I

I don't know about you, but when I read these stories, I'm always more interested in how long and difficult the journey was (it encourages me when I'm dealing with The Long and Difficult myself). So this first part is everything leading up to the call. The part where Tricia chose me comes on Friday.

BACKGROUND
2003-2008: I wrote a novel (Travelers). I learned what a query letter is. I got rejected a lot.

2008-2010: I wrote another novel (Air Pirates). I got lots of feedback on it, learned how to delete whole chapters, and queried again. I got rejected less, but still . . . rejected.

(Side note: I also spent some time writing three short stories, getting one of them published, and drafting another novel (Cunning Folk)).

2010-2011: I revised Air Pirates from adult SF/F to Young Adult and, in May, queried it again.

THE REFERRAL
Querying the YA version of Air Pirates started off fantastic. Three agents from the adult round said they'd be interested if I did revisions or had another novel, but more than that, I had the Holy Grail of the Unpublished Author: a referral.

As part of my, ahem, "networking" I lucked into a couple of beta readers who have agents and/or book deals. One of them LOVED Air Pirates (still does, I believe) and thought her agent would too. Her agent requested the full within hours.

Three weeks later, she passed.

She was really nice, and said her client was right to refer it to her, but she just wasn't passionate enough to represent it. And I learned something I thought I had already known: a referral can only get your work seen, not sold.

THE ROLLER COASTER
That rejection hurt the most, I think, because I'd put so much hope in it. Over the next month I got a couple more requests and a couple more passes (always with the same thing: "There's a lot I liked, but I just don't love it enough to offer representation."). I also wrote this post and found myself in Stage 6 of this one.

Then in August I got 8 more requests(!). I thought I was level-headed about it, but I also doubled the rate I sent out queries so . . . maybe not.

In September, my manuscript was with 10 agents. A month later, half of them had passed -- some that I'd been really excited about -- all with the same comments as the others. I was still querying, but emotionally I was in the final stages.

THE OFFER I TURNED DOWN
This is another post, because it comes with warnings I think every Professional Aspiring Writer should hear. For now, know that I got an offer that may or may not have been a real offer and probably wasn't a good idea even if it was. I turned it down.

And I realized I was sending my 140th query letter to agents I probably wasn't going to be very excited about even if they offered -- agents I might even have said no to. I stopped sending out new queries.

I was done. Yes, there were still a few manuscripts out there, but I'd lost hope in most of them. I didn't even know some of the agents who had requested them. Would they turn out to be the same as the offer I turned down? I let it go and focused my efforts on drafting another novel.

It was less than 24 hours after finishing that draft when I got an e-mail with some hope in it. (Continued here)