At Killer Nashville, a trio of extremely knowledgeable publishing pros held a panel on the most common reasons why a manuscript is rejected by an agent. Below you'll find part two of this post series.

Keep in mind that the panelists were discussing why a manuscript will be rejected, not a novel synopsis or query letter. They were talking about problems within the writing.

Panelist No. 2: Donna Bagdasarian

Agent at Maria Carvainis Agency, Inc.
Formerly at William Morris
http://www.authorsontheweb.com/features/0105-literary-agent/carvainis.asp

Donna's top reasons why your manuscript can be rejected:

1. Problems with basic writing skills—grammar, syntax, defining who the protagonist is. To be successful, aspiring writers must learn how to write—well. 

2. Bad dialogue. Write like people speak. 

3. Too much plot. Writers may read a variety of books by bestselling mystery authors and then try to take plot elements from several of these books, combining those elements into one convoluted tale. Write one book, not eight books crammed into one. 

4. Not having the protagonist involved in the climax.

5. Spending too much time at the beginning of a story on a character who seems to be the protagonist, but isn't.

6. Supplanting quality for a gimmick. Take a moment and examine certain gimmicks, such as the following: 
      - Writing in the second person

      - Having many points of view
      - Having your book be very, very dark in nature
      - Having scenes in a backwards order

      - Hopscotch (where you can jump around anywhere and the story still makes sense)

      These gimmicks are unique, and can produce an extraordinary book, but they can only be pulled off by the most superior of writers—and most writers are not superior writers. Therefore, writers should pass on all such gimmicks and just try to tell a good story. 

7. Excessive and salacious material. When your manuscript is complete and a peer/editor says "It needs more violence/sex/action/dialogue," they may be right, but inserting these aspects in the book must make sense. There can’t just be violence or sex in a story simply to have it. Make it work. 

8. Know how much is too much. If you can cut a scene and the story still works, you must cut it. Ask of the scene: "Why is it here? What does it do to further the plot?"

9. Purple prose—writing where the reader is conscious that these are the author’s thoughts, not the character's. This is prose where the language is excessively flowery and/or lyrical.

A few years ago, two prominent writers - romance writer Jennifer Crusie and mystery writer Bob Mayer decided to team up together and write a romantic mystery. The result was Don't Look Down, a book that received praise for its content, and press for how the authors teamed up to collaborate on such a project.

Since then, not only have Crusie and Mayer finished a second book together, but they've posted a blog that instructs on writing. Though the blog is now dead, just like with Miss Snark's site, there is a wealth of information left behind for writers to mine and enjoy.

The blog (called He Wrote/She Wrote) deals a lot with craft, and touches on numerous topics. Getting to know more about them is also wise if collaboration with another author is in your future. 

Ah, Maine in the summertime...

I had a great opportunity this past week—to attend the Writers' Conference at Ocean Park in Ocean, Park, Maine (25 mins. south of Portland) and present several sessions. Though the event calls itself a "conference," it's truly a retreat. The attendance is smaller than most, and the whole shebang lasts five days, with homework assignments each night for writers, poetry writings on the beach, and inside jokes galore from individuals who have attended this gathering many years in a row. (On the first day, I was sitting next to a woman who had been there 16 straight years. Two other nearby attendees were from Chicago and Ventura. Calif. No joke. They're hardcore.)

The gathering gave me a chance to sit down with plenty of writers and talk critique and craft—something I don't always do at conferences. The people were extremely nice and the Maine shore was ... well, see for yourself.

The coastline at 9 a.m. Ah, Maine. The state with
warm days, cool nights, fireworks aplenty, and
the locals who just want the &^%$ tourists
to drop some cash and get lost.

It was incredible to be with a group of people and talk writing, not so much business. Many of the attendees just loved to write (read: lots of poets) and everyone got several chances to read their work aloud. The retreat focused on the love of writing and reading, and that was enough to recharge even my batteries.

Me presenting a workshop. Note my cool
query letter drawing on the right.

Before I forget, I want to mention that editors from Writer's Digest Books will be appearing at Joseph Beth Booksellers in Cincinnati on Wednesday, Aug. 22, in the evening. Editors will be going over the basics of publishing before opening it up for any and all questions.

I'm not exactly sure who will be there besides me, but the other editors who usually attend such events are the following:

      - Robert Brewer, editor of Writer's Market
      - Alice Pope, editor of Children's Writer's and Illustrator's Market
      - Rachel McDonald, editor of Novel and Short Story Writer's Market
      - Nancy Breen, editor of Poet's Market

Hope to see you there! In the coming weeks, we will also be presenting at bookstores in Lexington and Dayton.