Pitching my book as a TV show in LA

So, I went to LA last week...

Generally I share news about the things that work out and are going well. And that's because when things don't work out, it's upsetting for me to rehash the experience. As a creative, I'm so close (too close?) to the projects I work on. I feel bad for them, and for me, when they don't succeed. But, I also like sharing what I'm going through and what I'm up to. Suffice to say, last week I was in L.A. to pitch my last novel, The Regulars, as a TV show. Our team pitched ABC and the CW. While the pitches went well, both networks passed. 

Obviously, this is pretty disappointing. Working up a pitch takes a really long time. It's basically a flawless 30 minute presentation about a TV show that doesn't exist but is thought-out enough that it could exist and you can answer every single question about what happens in minute one, and Season Five. It's nerve-racking and exciting and very high stakes and on hearing that we didn't get an offer, I deflated like a sad balloon. 

But the good news is CBS Studios (who optioned the book and are the studio who would make the show for the network we're trying to find) really dug our pitch, and so did our agents. So, we're going back out again in a few weeks for a second round of meetings. 

While I feel really bummed we didn't get a bite the first time around, I am grateful for my producer and my show-runner's enthusiastic belief in the project. I'm grateful to have had the whole experience thus far. It was fun to pretend cast the show (the cards in the picture above are just examples, they're not the real cast) and to expand the action of the book. Keep your fingers crossed for me! Maybe we'll get a deal or maybe it'll be a really good learning experience, and chance to create fake Pretty with Gatorade. Stay tuned...

Come meet me in Brooklyn!

Join me and Books On The Subway for a night of drinks, debate & discussion for October's #OffTheRailsBookClub read, which is my book, "The Regulars"! I'll be joining you guys at 9pm for a Q&A session, by then you'll have had some time to meet, chat and discuss our *personal* views (i.e. you can critique without hurting my feelings). 

The event is sponsored by Maison Marcel, so a glass or 3 of rosé is included in the ticket price! I hope to see you there! Tickets here. 

Wed, November 15, 2017 7:30 PM – 10:00 PM EST

New Women Space, 188 Woodpoint Road, Brooklyn, NY 11211

On creating authentic diversity in fiction

One challenge I've been facing as I work on the second draft of my new novel, The Bucket List, is creating an extended cast of diverse characters that reflects our real world, but in a way that doesn't come across as tokenistic or othering. Unlike a visual medium, if writers don't state a minor character's race, or give an otherwise clear signifier, often we assume that character to be white. To avoid that, I stated a handful of minor characters' ethnicity.

But in my first round of feedback, it was clear this wasn't working.

One reader said, "I appreciate that you are being conscious of making your characters ethnically diverse, but something seems a little deus ex machina about it. Make your descriptions read a bit more organically." Another was blunter: "Like, EVERY person of color in this book is either black or Japanese, and you always mention that they're black or Japanese which feels kind of....weird, if you're not going to be like "x is white," too. It makes them feel like tokens in her world to show how diverse and with-it she is." 

In exploring the fix for this, this reader said, "It comes down to Lacey [the protagonist] and how she sees things. The fact that this is from her voice is what triggered it for me the most. I do think that a lot of people think about identity in the way she narrates (that's why we never talk about "my white friend Jess" or "this straight girl I met at a party"-- because if we have to mention identity, it's already because we're thinking about someone as the other). So figure out WHY Lacey would be noticing black and Asian people to this extent, and WHY that becomes part of her internal narration." 

I'm working on this. As an example, the breast surgeon character who Lacey initially described as black, is now portrayed as: "I’m introduced to Dr Laura Williams, a breast surgeon. She is six foot and almost disconcertingly beautiful; a tall Kerry Washington, in a white coat."

As I round out my world into one that is diverse, I am trying to show this through my characters' voice, and the ways she, specifically, would be noticing race, or difference or any kind. The aim is for it to feel more organic and read seamlessly. 

My paperback is out this week!

I can't believe it's been a whole year since The Regulars came out last summer. It's been such a wonderful year: not only has it been amazing to connect with readers from all around the world but I've loved getting to meet my fellow authors, booksellers, bookstagrammers, bloggers and everyone who loves/lives/breathes WORDS.

Now I get to have mini-launch all over again with the release of the paperback! 

Three Easiest Ways to Help

1. Buy the book. It's cheaper than the hardcover, has a super sexy new cover, and still makes an awesome present for the fiction-lover in your life!
 
Support your local indie by buying through IndieBound.
Support your local overload by buying from Amazon.

2. Share a pic on social media. Include #TheRegulars and tag meeeee! You can use the ones above or more fun pre-made pix here. 

3. Write a review. Post a review/rating on Amazon or Goodreads. Reviews help potential readers decide whether or not to buy the book. The more reviews, the better.

Come party with me!

I'm hosting a party at Books are Magic on 8/23 featuring my fave contemporary authors, booze, giveaways, performances and more! RSVP here. It's free!

Thank you for being here. My gratitude knows no bounds.

Meet my new agent, Allison Hunter!

Allison is at the fancy NY agency, Janklow & Nesbitt. She's a total gun, a women's fic expert and fan, and I'm tickled pink to be working with her. 

Q. What do you look for in a submission?
A. The author’s platform matters, especially for non-fiction—I always want to know if the author has been published before and where, and (for fiction) if he or she has an MFA.  But the main thing I’m looking for—which is so hard to describe—is voice.  I want to be sucked in by the characters, or the setting.  I want to keep reading.  I want to know what happens next.

Q. One thing every author could be doing better?
A. I’m constantly shocked by how many authors don’t read new books.  If you want to be published, in today’s market, you have to know what today’s market looks like!  If you’re writing a memoir, read other, popular, NEW memoirs.  If you want to write women’s fiction, read women’s fiction.  Know who is selling.  Read reader reviews.  It’s the best way to understand the market and your potential place in it.

Q. Hottest reads of the summer?
A. The Regulars in paperback of course!  I also have to plug my author Anne Helen Petersen’s book Too Fat Too Slutty Too Loud The Rise and Reign of the Unruly Woman, analyzing how female celebrities—and women in general—are pushing boundaries of “acceptability,” which feels so timely and important right now.  Janklow & Nesbit author Rachel Khong’s novel Goodbye Vitamin is everywhere this summer.  Zinzi Clemmons’ What We Lose and Matthew Klam’s Who Is Rich are on my “to read” list.  Finally, I absolutely loved Grant Ginder’s hilarious novel The People We Hate At The Wedding.

Q. Can readers of this blog submit to you?
A. Please do!  Send a query and the first 15 or so pages to ahunter@janklow.com.

How to be a better copywriter

As well as being a very very famous author, I do occasional copywriting for select clients. Want to get better at your everyday copy?
 
1.Less is more. As an author who writes 100,000 word novels, I love my words. But in copywriting, less is more. Everyone’s attention span is basically zero, so you’re always looking to cut and trim. Don’t repeat yourself. Cut anything that’s subtext or inherent; if it makes sense without it, cut. (i.e. “Below you’ll find three tips on how to grow healthy orchids using things you probably have already in your garden shed. Here they are!” is all unnecessary; just get to the tips.) Don’t babble (i.e. “We’re starting to try to reach out to people who feel very passionately about and really enjoying growing orchids” = “We’re connecting with people who love orchids”). Look for your written tics (mine are an overreliance on “just” and “actually”) and cut.
2.Stay fresh. Flowery is out. Fresh is in. Modern prose is clean and stripped back. This means no adverbs, no boasting, no exclamation points. Cut up long sentences so they’re short, muscular, to the point. Make interesting word choices (rather than “Our orchids are very pretty”, play with “Our orchids are elegant/graceful/lush”). My preferred embellishments are jokes, and they work best when they’re dry. Your prose should feel confident and cool.
3.Speak to your audience Your tone, form and content must speak directly to your audience. You can’t please everyone, meaning you can’t speak to a teenager and a CEO at the same time. Decide on your demo, and work backwards from what they want, and expect. Read successful competitor copy to see what they're doing well. Walk the walk, talk the talk.