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Along the Road

by MichelleRae

Today we’re pleased to host writer Joanna Ruth Meyer, represented by Sarah Davies of Greenhouse Literary, as she stops by on the blog to discuss rejection, holding onto your dream, and why it’s ok sometimes to take it all personally.

“I’m here to tell you it’s okay if that latest rejection broke your heart…You can’t help but take it personally sometimes. If it wasn’t personal—if you didn’t feel to the depth of your bones that this thing you created needed to be shared with the world—well, you probably wouldn’t have sent it out in the first place.”

Sometimes I think being a writer is the most difficult profession in the world. Not because of the actual writing (although I have those wringing-words-from-stones days too), but because of everything surrounding The Dream of Publication.

And isn’t it just the grandest, most glorious dream?

Except it’s also discouraging, agonizingly glacial, and so subjective it’s not even a little bit funny. Everyone always tells you to expect rejection, to not take things personally, to develop a thick skin…

Which is great and all, except a lot of writers are by nature thin-skinned, sensitive, deep-feeling creatures—and I think that often goes hand in hand with being creative. We’re the wide-eyed dreamers who are always staring up at the stars and drinking in the scent of the trees and watching dust motes dance in sunbeams. We pour our unique way of looking at the world into our writing, along with—let’s be honest—substantial pieces of our beating, bleeding hearts.

In what UNIVERSE should that kind of person offer themselves up for brutal critique and constant, bald-faced rejection? And yet here we are…

I’m not here to tell you that The Reality of Publishing is Bleak. I’m here to tell you it’s okay if that latest rejection broke your heart. It’s okay if you need to curl up on the floor and cry for an hour, or eat an absurd amount of ice cream, or just sit on the couch and play Candy Crush for a whole day.

You can’t help but take it personally sometimes. If it wasn’t personal—if you didn’t feel to the depth of your bones that this thing you created needed to be shared with the world—well, you probably wouldn’t have sent it out in the first place.

“The hurt is real and sometimes it takes a while to get past it—that’s okay too. Sometimes you’re not ready to get back into the game right away. Let yourself heal. Take a break. Go on a trip. Start reading a new book or re-read an old favorite. Stare out the window and daydream, reconnect with that thing that made you fall in love with storytelling in the first place.”

I’ve been writing since I was seven years old, but started seriously pursuing The Dream of Publication after college. I wrote a couple of novels. I revised them. In the fall of 2008, I started querying my third novel, and had my first taste of Rejection.


Fast-forward SIX YEARS, and I was back querying a revised version of that same novel, after a really discouraging several rounds of querying a different novel (including an almost-contract with an indie pub). I was getting a lot of requests, more than ever before, but I was also getting SO MANY rejections on those requests. It was absolutely soul-crushing. I thought it was never going to happen for me, that my particular brand of storytelling was never going to be good enough. It seemed like every day someone else was announcing on Twitter that they’d signed with an agent—some courtesy of all those Twitter writing contests I kept entering and never got picked for. My rejections kept piling up and piling up and piling up.

And then the thing I never thought would happen, happened: in April of 2015, after receiving FOUR agent offers, I signed with Sarah Davies of Greenhouse Literary. I was ELATED. I didn’t think I would ever stop smiling, and honestly sometimes I still can’t believe it’s real!

I spent months revising for Sarah, and then came the much-hoped-for Next Step: Going on Submission. I can’t really go into what all that’s entailed so far, but to give you a little hint, crying on the floor and playing Candy Crush for a whole day didn’t exactly happen during my querying run…

There’s this song called “The Starting Line” by one of my all-time favorite bands, KEANE, that goes like this:


Drag your heart up to the starting line

Forget the ghosts that make you old before your time

“That’s what the journey to publication has been like for me—you get put down and crushed over and over and over again, and somehow (when you’re ready) you find it in yourself to drag your heart up to the starting line and try again. That takes courage.”

This process can be long and hard and sometimes brutal. Go easy on yourself. Dream. Feel. Imagine. Explore. Surround yourself with people who will encourage you. Don’t let go of your dreams.

I’ll leave you with a few more KEANE lyrics, from their song “On the Road”:



When the world’s laying you low

Don’t you let it rattle your bones

Sometimes a dream itself can keep you safe

All along the road

ABOUT THE WRITER

Joanna lives in Mesa, Arizona with her dear husband and a rascally feline named Bertie. When she’s not writing, she’s trying to convince her piano students how awesome Bach is or plotting her escape from the desert. 
She loves good music, thick books, looseleaf tea, rainstorms, and staring out of windows. She aspires to own an old Victorian house with creaky wooden floors and a tower. 
Joanna is represented by Sarah Davies of Greenhouse Literary.
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MichelleRae

Post © MichelleRae and/or Adventures in YA Publishing. All rights reserved.
Posted: Jul 13, 2016
Category: Imported from AYAP
Tags: WOW Wednesday | Writing Inspiration

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Thank you to the women who started Adventures in YA Publishing and ran it for years. AYAP and TMM have merged to form Adventures in PUPlishing, and the legacy AYAP posts are now part of TMM. Click here to learn more about the earlier AYAP team.

 

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← Previous: FINDING YOUR VOICE THROUGH LETTER WRITING Next: Red Light/Green Light: Round Three →

The first slide is an animation of a science/magic room in a castle. A cartoon character of a mad-scientist looking man in in the foreground says: “Hello! Dr. Frankenstein here to say, Well Done on kid lit zombie week! I’m an expert at reviving the dead, and let me assure you, with a little spark, you can bring dead projects to life. Especially if you dig up parts from other dead things. I’ll even let you have a sneak peek at my laboratory’s store room to consider potential parts for your dead project. If you see something with a yellow glow, that means you should click it. Have fun!”

He points to the right side of the screen and a new scene slides in of a castle science/magic storage room. There are various cartoon Frankenstein body parts scattered around. Some of them have a yellow glow. If you click on them, the images below appear (I’ve added alt text to them, so I hope it works).

The Heart of your story is the main character. The protagonist is the beating core that truly brings your story to life. If your MC doesn't make kids (and their grown-ups) care within the first few pages, your story will flatline. </p>
<p>Your main character needs to be:<br />
•  Relatable enough for kids to see themselves<br />
•  Unique enough to stand out in the slush pile<br />
•  Active enough to drive the story<br />
•  Memorable enough to survive multiple readings at bedtime</p>
<p>Where do you find this amazing donor heart? It might be the very thing you loved so much about the manuscript you want to revive. It might be the younger sister from your shelved YA novel. Or maybe it’s the hilarious kid you blogged about meeting at a school visit. Find a character beating with potential and place it in the center of your story.<br />
The Brain of your story is the theme or central message. The theme is the big idea that controls everything else. Picture books are more than stories - they're tiny life lessons disguised with humor and heart.</p>
<p>But your theme needs to be:<br />
•  Subtle enough not to trigger the dreaded "didactic" rejection<br />
•  Clear enough for a four-year-old to grasp<br />
•  Universal enough to speak to both kids and adults<br />
•  Fresh enough to prevent agents and editors from responding with "Not another sharing/bedtime/first-day story!"</p>
<p>Check your other dead manuscripts to see if there is a recurring theme, something that really seems to be speaking to you. Find the bit of poetry you scribbled on the back of a receipt to see what theme inspired it. Reread the pep talk you texted your critique partner at 1am. Pick the theme that will drive your story, giving it purpose, direction, and deeper meaning.<br />
The Legs of your story is the plot. Not to be confused with a grave plot.🤪 The plot is what keeps everything upright and moving, as well as providing support for all the other elements. You have very few words to use in a picture book, so you need to do a lot with each plot point.</p>
<p>In general, your plot should:<br />
•  Hook readers fast<br />
•  Build tension that a child can follow<br />
•  Create page turns that feel natural<br />
•  Wrap up in a way that satisfies</p>
<p>You can borrow a plot twist (a leg) from one manuscript and the opening (the other leg) from a different manuscript. Consider if the subplot of the middle grade novel you trunked would work better as a picture book. Or maybe your Facebook post about a disastrous camping trip could become a story for kids. Just keep putting one foot in front of the other until you have your storyline.
The Arms of your story are the side characters.
The Torso of your story is the setting. Setting helps a story breathe and connects all the elements of the story. It isn't just where your story lives, it's what makes your story ALIVE. It's the difference between "this happened in a park" and "this happened in that park, the one with the twisty slide that burns your legs and the creaky swing that sounds like a baby crying.”</p>
<p>Your setting should:<br />
•  Make your character's world feel real<br />
•  Contain your story in a way that makes sense to young readers<br />
•  Connect different scenes and moments organically<br />
•  Give your illustrator enough room to add visual subplots</p>
<p>Half-finished manuscripts are a great place to dig up settings, since you worked out the place details before the plot petered out. Or maybe you had to cut a second fantastic location from your chapter book. You can also revisit the detailed caption from your Instagram carousel documenting your tour of that delish candy shop. Disinter a robust setting that can house all of your story's vital organs.

After you press the Click When Done circle button, the lights flash with the sound of electricity buzzing. Then the screen goes black and lightning zaps across the screen with the sound of thunder.

The screen then lights up to show the storage room, and all the Frankenstein pieces have been assembled into the whole monster. An upbeat song plays in the background. Then a speech bubble pops up with the words, “I’m alive! I’M ALIVE!” Then the screen goes to black. 

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