The anthology takes a new look at zombies – what if humanity found a way to use them or co-exist with them, rather than exterminate them? My story, Reborn, is set in a world where a powerful church controls the rebirth of the dead, allowing some to come back as mindless slaves put to work to serve society. A young widow clashes with the Church when she searches for answers to her husband’s suspicious death.

Are you a fan of zombies? What’s your favorite zombie book, movie or TV show? Or do they leave you feeling all dead inside?

1. Be Specific – My short term goal is to finish my current work-in-progress. In order to make this goal specific, I’m going to say, “Finish my 80,000 word YA fantasy novel, currently at 72,000 words (and just shy of the climax, plot-wise).” That means I need to write 8000 more words. But is that all? Nope.
2. Identify Roadblocks – When I think about writing those 8000 words, I know it isn’t that easy. What’s been stopping me from finishing is a thorny problem plotting the climax. So I add another goal: solve plotting issue.
3. Create measurable objectives – since I measure my writing in scenes rather than chapters, I break goal one down by figuring out how many scenes I need to reach 8000 words. Since I know that the average length of scenes in this book is 1760 words, that’s about 4.5 scenes (round up to 5).  I’m going to say it’ll take me two days to write each scene for a total of ten days. For the plotting issue, my objective is tougher – I can schedule time to plot by myself, or plan brainstorming time with my writing group (a brilliant band who have saved my bacon on plotting problems many times). I’m going to brave it out and devote one week to wrestling this plot problem to the ground by myself. Those objectives add up to 17 days of work.
4. Create a schedule – I know my real problem is understanding how to make the climax of the novel work. Until I figure that out, the writing isn’t going to matter. So I schedule the plotting session first, then start writing.
5. Can I do this? – the writing isn’t the hard part, it’s the plotting. When I’m stuck, it’s hard to get unstuck. I’m hoping that devoting time to the problem will help shake my muse up. So yes, I think the goals are attainable.
6. Commitment – I’ve personally committed to getting the book finished in the next month, and I think telling you all about my goals qualifies as committing to my goals publicly. I love using Twitter and tags like #amwriting to say where I am in the process on a day to day basis.
7. Resistance – Some of my personal sources of resistance are playing computer games, watching TV, reading (every writer I know has that one), general procrastination, and using that thorny plot problem as an excuse. By taking down the plot problem first, I’m hoping to eliminate it as a source of resistance. As for the others…
8. Rewards – I’m planning to reward myself with an episode of one of my TV shows, a chapter of a book, or a half-hour of a game every time I meet an objective, like finishing a scene. I’m hoping I can help stave off the forces of resistance by converting them into rewards instead. Haven’t decided on a big reward yet for finishing the book. Any suggestions?
9. Start now – I’ve entered these goals into a cool, free website called Lifetick, that lets me enter my goals and objectives, email reminders to myself, and keep track of what I’ve accomplished. Now it’s time to start plotting!

What are your writing goals? And how do you plan to reward yourself once you’ve met them?

Want to achieve your goals in 2012? It helps to have a plan. Below I’ve outlined 10 steps I’ve learned from past experience and gathered from best practices to help you on your way.

1. Create specific goals. Whether you want to write a novel, paint a mural, or redecorate your house, your goals need to be specific. “I plan to write a 120,000 word young adult fantasy about a teenage girl falling for a sparkly vampire” is more specific than “I plan to write a novel.” Not that I’m suggesting that you write that book – but you get the idea. Your goal should be specific because it’s easier to break specific goals down into objectives – the next step.
2. Create objectives. It’s easier to reach a goal if you break it down into small steps. Create objectives for your goal. For a novel, you can break the writing down into sections or chapters. There will likely be more steps to your goal – background research and plotting, for example. Figure out what the steps are, and break your goal down into manageable sections. There are many tools that can help you manage your progress towards your goal – even just writing these goals and objectives down on a piece of paper or in a Word file will help. If you want to get fancy about it, there are project management tools like Microsoft Project or Basecamp that can help.
3. Make your goals measurable. After you create objectives, decide how you want to measure your progress. If you’re a writer, you can assess your work in page count, word count, or number of hours spent working on your manuscript. If you’re an artist, measure yourself by time spent working on your piece, pieces completed, or whatever accounting works for you. Just so long as you use some measurement. Set a goal – such as 1000 words per day, or two hours a day – and stick to it.
4. Make your goals attainable. It can take time to find out what’s reasonable for you. For example, for some writers, writing a novel in six months is no big deal. For others, one novel a year is a better pace. And figuring out how many words or pages that breaks down to depends on how much time you can devote to writing. Everyone is different. Give yourself time to find out what an optimal goal is for you. Don’t beat yourself up if you aren’t achieving your objectives right away. Don’t compare yourself to others, but do set goals that challenge you and let yourself grow.
5. Make a commitment. All the goals in the world will lead you nowhere without commitment. Make a commitment to yourself to meet the goals that you set. If it helps you, write down your intention to meet your goals on a piece of paper and sign it.
6. Tell the world. Further reinforce your commitment to your goals by announcing them to the world. Post them on Facebook, tweet them, tell your friends and family. Update your progress on toward your goals on all your social network sites. Partner up with a friend and help each other reach your goals.
7. Do your research. Before you start your project, know whether or not your project fits the requirements of your field. For example, if you’re writing a novel, understand the typical word count for the genre you’d like to write in.
8. Understand resistance. Resistance is that nasty little force that keeps you from reaching your goals. It’s that voice inside your head that says you’d much rather play video games or watch the latest episode of Grey’s Anatomy than write your book or paint your picture. The bad news is that you can’t get rid of resistance. The good news is that you can manage resistance. Ignoring it does not work. Giving into it does not work. This is what does work (in my experience): acknowledge that resistance is there, that it wants you to stop, and then go on working. And watch Grey’s Anatomy only AFTER you’ve met your goal for the day.
9. Reward yourself. Every time you meet an objective, give yourself a reward. Martha Beck, author of The Four Day Win, recommends that you give yourself a small reward every time you reach a small goal and a large reward every time you meet a large goal. You decide on your own small and large rewards – small rewards can be time spent reading or watching TV, an ice cream cone, a bubble bath, a walk in the park or anything else you enjoy. Large rewards could be tickets to a ballgame, the theater, that expensive book you want, or anything else that means “reward” to you. Use rewards to motivate yourself.
10. Start now. Don’t put off creating your goals and objectives and making the commitment to succeed at whatever it is you want to do. The sooner you start, the sooner you will finish.

Next time I’ll use my goals and objectives for the new year to illustrate this method.

And if you are an RWASD member, don’t forget to register for the January Workshop on Writer Resolutions: Realistic Goal Setting for 2012.

What tips do you have for meeting goals and objectives? Have you set your own yet? What are your goals for the new year?

1. Books. Reference books are sure to be a hit with your writer friends. The Synonym Finder by J.I. Rodale is my favorite thesaurus. It’s a great place to find those strong verbs and action words. Another great pick is On Writing by Stephen King — both a memoir of a first-rate writer and a great craft book. A gift card to your favorite independent bookstore is also a no-fail selection.
2. Time. One thing every writer could use more of is time to write. Why not give a gift certificate for babysitting, housekeeping, or other chores? Or make your favorite writer a delicious homemade dinner so he or she can spend their time on their novel instead of in front of the stove.
3. Technology. If you want to splurge, a Kindle, Nook, or other e-reader is cheaper than ever. Kindles now start at $79, Nooks at $99. If they already have one, a gift card for e-books is sure to be appreciated.



4. Supplies. Every writer I know could use more notebooks, pens, pencils, sticky notes, paper clips, and other office supplies. This is an area where you can get really creative — like with these typewriter key paper clips or an endangered species eraser.
5. Journals. I know I fill up a new writing journal almost every month, between notes, research, and character sketches. Even the most technologically advanced writer appreciates the beauty of a well-crafted journal like the ones from Paperblanks, Moleskine, and local artist Susie Ghahremani.



6. Typewriter Key Jewelry. Because it’s pretty darn cool.
7. Chocolate. I think this one speaks for itself

What’s on your wish list?

• Lay down your story concept, characters, and as much of the plot as you’re comfortable with beforehand. I know you pantsers are wincing at this, and is a fellow pantser I feel your pain, but I believe it is worthwhile. Minimal preparation might be a logline and a few quick character worksheets. If you’re feeling a little more ambitious you might add goal, motivation, and conflict outlines for your characters, and sketch out some of the plot. If you have more time and a higher comfort level with preparation, add in world building and outlining.
• Set aside time in your schedule each day during NaNoWriMo for writing. Pick a time that you know you will have free and uninterrupted. In other words, don’t pick that hour when the kids come home from school or your mom insists on calling every day. If you need to go to a coffee house or some other public place to write, do it. My local writer’s organization sponsors get-togethers every week during NaNoWriMo — chances are good somebody in your city does, too.
• Know your goal and work towards it. To make that 50,000 word goal at the end of November, you’ll need to write an average of 1667 words per day. If you can’t write every day, you’ll need to work more on the days that you can’t. Plan for this in advance by scheduling blocks of time on your calendar during weekends and other days when you can write for longer periods. Your manuscript will thank you.
• Go with the flow. Don’t try to edit while you write — banish your inner editor and let the words come as they will. If you followed my first tip, and have some idea of what your story is and who your characters are, let that preparation be your guide as you write. Trust your instincts, and don’t worry about whether you’ve written everything just right or not. That’s for the rewriting process – perfectionism has no place during NaNoWriMo.
• Minimalize cheating. Resist the urge to pad your manuscript with superfluous words to up your word count. It won’t help you meet your word count as much as you think, and it detracts from helping you to write a better book. Having said that, the occasional gratuitous sex scene (or pick your favorite guilty writing pleasure) can make the writing go faster
• Use the NaNoWriMo community. The forum is a great help for research, support, and inspiration. You’ll find people there who can answer your questions about everything from species of cave dwelling bats to Russian swear words, challenge you to writings sprints, and be a shoulder to cry on when your computer just ate the only copy of your book (did I mention you should backup your work?)

Are you planning to participate this year? What are your favorite tips for NaNoWriMo? Leave me a comment and let’s chat.

• The War of Art – Every writer struggles with resistance. Resistance to sitting down in front of the computer, to writing the next line, to revising that difficult chapter, to sending out that first (or fiftieth) query letter.  Steven Pressfield’s book taught me how to identify and conquer resistance by acknowledging it, refusing to fight it, moving past it, and doing the task at hand no matter how much the forces of resistance want me to give up. His method is like aikido for your inner demons. Nothing makes resistance go away for good, but Pressfield’s book gives you a weapon to use against it.
• Bird by Bird – Anne Lamott’s gently humorous guide to the writing life is both a practical handbook of how to overcome common writing problems like perfectionism and a warm voice of companionship on lonely nights of writing and re-writing. Lamott makes it okay to write “shitty first drafts”, to feel jealous of other writers’ successes, to fail over and over until you succeed. Her tips on how to silence the critical voices in your head long enough to get a first draft done made this book one of my favorites.
• Immediate Fiction – A few years back I struggled with the old “show, don’t tell” thing. Sure, I understood the theory, but I had trouble applying it in my own work, or so a few plain-speaking critiquers told me. Then writer/editor Michelle Scott recommended Immediate Fiction by Jerry Cleaver, and I “got” it. Cleaver explained “show, don’t tell” in a way that I could apply to my own work. He also does a bang-up job of  showing how to describe emotion. Immediate Fiction is the best book I’ve found for these two elements of writing.
• The Fire in Fiction – Donald Maass’ classic book on adding depth and passion to your novel has much to add to any writer’s repertoire of techniques, but my favorite takeaway is the concept of a scene’s turning points. A turning point is the exact point in the scene where change takes place, either for the reader (an outer turning point), or the POV character (an inner turning point). Using Maass’ techniques, I began to re-craft troublesome scenes around turning points and voila! those troublesome scenes became magical.

What are your favorite books on writing, and why? Leave me a comment below and share a few.

1. Turn off the Internet. Literally. Programs like Freedom let you disable the Internet for set periods of time, freeing your attention for your plot and characters. Other programs such as Anti-Social and Leechblock let you limit how much time you spend on social networks like Facebook.
2. Change locations. Bring your laptop to a coffeehouse without wi-fi, or better yet, a park. Anyplace you can sit and focus without the constant distractions of 24-hour news and sports scores.
3. Write without a computer. That’s right, go old school: pen and paper. Not only will putting words down in ink free you from the temptations of the Internet, but the different writing format may also liberate your muse. I’ve found that switching from typing, to handwriting, and even to voice dictation results in freeing my writer’s voice in surprising ways.
4. Use a writing program with a full-screen mode. Programs like Scrivener, WriteSpace, Dark Room, and WriteRoom allow you to make the blank page your entire screen, blocking out menus, palettes, and all distractions. While facing the empty page can be intimidating, the lack of diversions can be freeing.

So what do you use to get rid of distractions? Or does switching back and forth from your work-in-progress to Google+ to HBOGO add power to your writing? Leave a comment and let me know.

• Have priorities – Go into the conference knowing why you are there. Want to learn more about writing? Then focus on the craft panels. Trying to land an agent? There are plenty of opportunities to pitch, both at the agent/editor appointments, and informally, at parties and in bars. Interested in what publishers are looking for? Make their spotlights a priority. Remember that most programs are taped. You can catch up on almost all of the programs after the conference by buying the CDs.
• Make a plan – Review the schedule of events before you get to the conference. Know which programs will not be recorded, and if those programs are important to you, plan on attending them. Choose in advance which programs interest you and download the handouts.
• Be willing to toss the plan – No matter how interesting a program sounds on paper, it may not be what you expected once the presentation starts. Don’t be embarrassed to leave and find a program that works better for you. People enter and leave programs all the time for many reasons – appointments, breaks, etc. Do what works for you.
• Embrace the unexpected – Sometimes the most interesting and useful things are the ones you didn’t plan: sitting in on a program by an author not in your sub-genre and learning tons about writing, that chance meeting with an agent at the bar, finding a kindred spirit in the person sitting next to you at the luncheon. Don’t be afraid to try something new or take a chance.
• Take advantage of opportunities – Many people are not aware that some folks bail out on their agent/editor meetings (crazy, right?). If you hang around the meeting area and check in with the volunteers, you may be able to grab one of these open appointments. Prepare your list of agents/editors ahead of time and know who you want to pitch to.
• Don’t forget to take care of yourself - Wear comfortable shoes, take frequent breaks, keep hydrated, and don’t forget to eat. Sounds like common sense, but attending to the basics is easy to forget when you are running from panel to panel.
• Have fun - An often-neglected part of attending conferences. Find something, anything, you find fun and make sure to do it. Whether that’s meeting your favorite author, or going out to dinner with old (or new) friends, or playing tourist, doing something fun makes slogging through a long conference much more bearable.

So what are your strategies for tackling RWA? Feel free to share them below.

• When an agent calls, ask questions. According to Ms. Bradford, it’s important for an author to learn everything they can about an agent before they sign with them. Ask about communication style (and frequency), their process, their editing style (if they edit), how they submit work to editors, if they have an agency agreement, and which editors they plan to submit to. Ask them what their expectations are of their authors.
• While you are feeling the agent out, the agent is feeling you out. Ms. Bradford always talks to the author before making an offer—the offer is the last thing in the conversation. She wants to get a sense of who the person is first. She also wants to know that an author she’s thinking of signing is an active participant in their own career.
• Ask for time to decide. If an agent makes an offer, she recommends the author ask for a week to decide. Take that time to do research and determine if that agent is a good fit for you. Check with other agents you are currently working with. They will pay much more attention now that you have an offer on the table. E-mail them and let them know about your offer, and give them a chance to make an offer of their own.
• Once you get an agent, s/he gets to work pitching your book. Ms. Bradford creates a pitch list of the best editors to target. She usually can’t submit to multiple imprints at the same publishing house, which can limit the number of editors she submits to. Often she can do multiple pitch rounds, depending on the genre. She might use some of the material from the author’s query in her pitch, or she might rewrite the pitch entirely, considering another element of the book to be a better hook.
• The pitching process varies by agent. Ms. Bradford likes to call rather than email—she uses the phone call as an opportunity to build interest in the book and bring it to the top of an editor’s pile. After eight weeks she follows up with the editors. She has no set timeline for how long it takes to sell a book – her books have  taken from 24 hours to 16 months. The average is 3 to 4 months.
• Closing the deal. When she gets an offer, she may ask for a week to make a decision. She talks to the editors who still have the manuscript and gives them a deadline. Depending on the process of each editorial house, some can respond within that deadline, and some cannot. The decision of which publisher to go with is made by the agent and the author together, and depends on many factors, or deal points—— format, publication dates, advance, royalties, and options on the next book. She advises an author to make an option as narrow as possible. Instead of giving a publisher an option to all future books, for example, narrow the option down to something like “your next romance featuring these specific characters.”
• The Pros and Cons of Auctions. If more than one house is interested, the agent can call an auction. According to Ms. Bradford, auctions sound more exciting than they are. They don’t necessarily mean big money. In a typical auction, the editor who wins is the person with the most money — not necessarily editor who “gets” the book and will support the author’s career. Ms. Bradford conducts a “best bid” auction — one sealed bid from each interested party. She consults with the author and they choose a winner.

I learned a lot from Ms. Bradford’s enlightening talk. I thought her point that choosing a publisher is more than a monetary decision was thought-provoking. What did you find surprising or interesting about her advice?

For more on Ms. Bradford’s current needs and submission guidelines, please visit the Bradford Literary Agency.

• Do your research. Decide what kind of agent you want. Do you want a teddy bear who will hold your hand through the long process of publication, or a shark who will get you the best deal? Most agents are closer to one end of the spectrum than the other. Once you have a short list, find out about your chosen agents through conferences, organizations like RWA, websites like AAR, blogs, and twitter. QueryTracker has some information, but agents can’t post information so the data can be out of date. Word-of-mouth is another good resource. Books like Writer’s Market are also good sources, but can be out of date by the time they are published.
• Personalize your submission. She gets from 800-1000 queries per month. If you want to stand out, always personalize your letter. Refer to the type of material the agent is looking for, make sure your genre is one the agent represents, mention attributes of your book similar to an author they represent, say if you’ve met them at a conference. Show that you’ve researched this agent, and say why this agent is the right agent for your book. Personalization and research show a level of care an agent appreciates.
• What Kills a Submission: Addressing the query letter to the dreaded “Sir/Ms.”, instead of the agent by name. Not checking the agent’s submission policies before sending your material in. Nothing annoys an agent more than getting submissions outside the genres they are selecting for. Many queries Ms. Bradford receives are thrown out because they are for the wrong genre, the word count is wrong, etc. She can’t sell a novel that’s only 20,000 words long.
• On putting together your submission packet: When writing your query, boil the story down to its essence. Throw out confusing or distracting details. Get rid of any point that might be a red flag. For Ms. Bradford, the point of the  synopsis is to tell the agent where the story goes. She doesn’t care how long it is, but says to check other agents guidelines. Before sending in your sample chapters, have a second set of eyes look over your work — critique partners, beta readers, even a friend who knows grammar, punctuation, and spelling. If you have no one who can help you, she recommends a new site called Book Country. They have an online critiquing forum.
• Getting Past the Slush Pile: Whether or not she requests a partial is a gut reaction. “Can I sell this? Is it emotional appealing?” This isn’t something the author can know or prepare for. If she likes what she sees, she asks for a partial. If she likes that, she asked for full. Occasionally she requests a revised and resubmit. If she has a problem with the storyline, plot, voice etc. she will write a letter making suggestions to the author. She does not send out a lot of these. If you get a revise and resubmit, she advises that you do not make changes you do not agree with. Use your own judgement.
• How to submit to Laura Bradford: Check her website for the latest information, but in her talk she said she wants a one-page cover letter with a brief blurb on the story. Keep it concise. She also wants a blurb on the author’s publications and contest wins. It important to include the word count and the genre. In addition, she wants a synopsis, and the first 10 pages.

What do you think? Does personalizing a query help your success rate? How do you research agents?

In my next post I will cover the rest of her talk – her advice on what to do once you get that all-important “call”, what questions to ask a prospective agent, and how she goes about pitching her author’s books to editors. See you next time.