This one is a bit odd for me, considering The Flying Girl was published all the way back in 1911. Still, it came highly recommended, and I found it easier to read than a lot of other writing at the time was.

It's also far more feminist than you'd imagine, at least for its time. The Flying Girl tells the story of Orissa Kane, a 17-year-old in California who's holding down a job to support her blind mother and her brother, an inventor who's working on his own flying machine. To say airplanes were still new at the time puts it mildly; in fact, the author gives credit for help on the book from Glenn C Curtis, a founder of the U.S. aircraft industry and winner of the first international air meet, and Wilbur Wright, who with his brother did something even more spectacular just eight years before publication.

Orissa's brother Steve is a genius in mechanical design, but the Kane family finds itself in the middle of a dispute with two former business partners, who want to invest in the Kane airplane for different reasons. Here Van Dyne cleverly describes one partner in heroic terms and the other like one might describe a silent movie villain--then flips the script.


 Soon the plane is the target of sabotage that injures Steve; and although it can be repaired, Steve is forced out of an upcoming nationwide competition by a broken leg. If only there was someone who'd been watching over his shoulder the whole time, and knew just about as much about the flying machine as Steve himself ... but who ...?

Oh, no, surely not a girl. How indecent!

To say the book's approach to a female protagonist was advanced for the time is putting it mildly. Orissa Kane jumps into the role of airplane pilot fearlessly, and meets all the many challenges that come along with it. Yes, there's a boy, and Orissa never loses her "maidenly virtues", but she's also competent and way braver than I would have been.

But what would you expect, from the same author who invented Dorothy Gale and Ozma of Oz?

Because Edith Van Dyne was really L. Frank Baum, who wrote The Wonderful Wizard of Oz and its sequels. That shouldn't come as a surprise for those who read the Oz books, which were full of strong, smart, competent female characters. (And it's how The Flying Girl came into my reading orbit. I've been reading up on Baum as I prepared to tackle writing my own Oz book.)

By today's standards The Flying Girl would be considered a young adult book, and it also works pretty well, a century later, as an historical novel. In context it's surprisingly advanced not only in its treatment of women, but in its technical aspects--it turns out Baum, who wrote science fiction and invented an early robot and miniature submarines, had an interest in the mechanical.

There's a sequel, The Flying Girl and Her Chum, and I liked this one enough to look forward to trying the second one.

 https://www.gutenberg.org/files/53386/53386-h/53386-h.htm

 https://www.amazon.com/gp/product/1929527241

 

 

 

Recently I spent two days sending queries to literary agents. Several hours of researching the agents and their agencies, composing query letters, enclosing requested materials, and sending out twenty-two e-mails. Most agents accept simultaneous submissions, but they also appreciate a personal touch, so researching whether we'd be right together was pretty time consuming.

By the end of the first day I'd already received two rejections.

Many authors do just fine without agents, these days. You don't need one if you self-publish, or if you submit to publishers that permit direct submissions, like most small and medium sized publishers. Harlequin, the Big Shot in the romance novel business, doesn't require agented submissions. In fact, one of the Harlequin lines is currently looking at my romantic comedy novel, Fire On Mist Creek.

They've had it for two years. I'm not confident.

Many authors get published without agents, after all. I should know.


Many publishers, especially the big ones, won't look at a submission unless it's received through an agent. Also, good agents act as full partners with the author, assisting in many areas besides the submission process, and also provide a shoulder to cry on. As slow as the publishing industry can be, that shoulder can be important.

But is an agent worth the process of finding one?

I tweak my submissions to make them more personal. In addition, each agent has different requirements: Some want a synopsis, some a separate author bio; some want the first five pages, or the first three chapters, or the first twenty-five or thirty or fifty pages.

So  I took the time to target each. Some gave me a quick rejection; some I might never hear back from; some might send an encouraging note that they liked my writing, but didn't get excited enough about it. (And an agent must like your work, because they're going to dive into it with both feet.)

Maybe they'll like the query and ask for a partial; maybe they'll like the partial and ask for the whole manuscript; maybe they'll like the whole manuscript but, as with one agent, have a meeting with their staff in which it's ultimately rejected. (They loved my young adult novel but thought it wasn't dark enough, and felt "dark" was the way the YA industry was headed. No wonder young people today are depressed.)

Even if you ultimately land one, it might not be a good fit. I did have an agent, years ago, but eventually he decided to get out of the publishing industry, and I started again from square one. It wasn't my fault. I think.

There's ultimately no guarantee that the agent can make the sale, but you can be sure they'll try ... because a legitimate agency won't make any money from your efforts unless they do.

So there's the process: similar to the process of submitting directly to a publisher, and with a similar rate of success. Many authors are successful and perfectly happy with independent publishing, and others do very well submitting directly to publishers. Is the extra step worth it? Well, so far it's only cost me time ... on the other hand, time is a precious commodity.

We'll see what happens.

Any way you go, you still have to put the after-sale work in.


 

Find all of our (unagented) books at:

 

We received the first 25 print copies of The No-Campfire Girls today, and Emily spent some time polishing up the website to take orders. Of course, it’s still available on Amazon, but if you want one signed—by me or by both me and Emily, since she worked as hard at it as I did—you can order it here for $5.00 plus shipping and handling:

http://www.markrhunter.com/books.html#

Or, if you live nearby, just let us know and we’ll get it to you! We’re not against traveling, but I don’t think the expenses are tax deductible. As you can see on the website, there are links to buying all our books in print or e-book format. If, for some reason, you can’t use PayPal, we’ll come up with some kind of arrangement.
 I'm going to go live on internet radio tonight, at 6:30 EST! The link to HumorOutcasts Radio is here:

 

http://www.blogtalkradio.com/dtcav/2014/05/14/humoroutcasts-radio

 

But don't worry if you can't catch it live: I'll post a link later to the HumorOutcasts website, when the recording goes up.

            Welcome to my blog tour! I didn’t get around to announcing when it would start. *ahem*

            But it did start, with this blog by my writer friend Donna Yates. She asked questions about my new book, the humor/action/adventure The No-Campfire Girls, and it only seemed polite to answer:

 

http://dmyatesbelieveinyourself.blogspot.com/2014/05/the-no-campfire-girls.html

 

            When you’re done reading—and I hope you will read, because she says nice things—be sure to visit my webpage or amazon.com to order a book or two.

www.markrhunter.com
.

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