Pimping a book: Wired for Story by Lisa Cron

Wired for StoryWired for Story: The Writer’s Guide to Using Brain Science to Hook Readers from the Very First Sentence by Lisa Cron
My rating: 5 of 5 stars

Every writer should read this book. It has great insight into how the brain and the written word interface and the avenue is via story. Fantastic learning tool for writers of all ability levels.

I was turned on to Wired for Story through an interview Chuck Wendig did with Lisa Cron in July 2012 for his blog Terribleminds. She gave us her views on developing story. Lisa has a very fresh take on the importance of STORY and how it relates to the human brain. She is a producer for Showtime and Court TV, a writer, and also teaches a writing course at UCLA, but spent the last ten years researching the connection between neuroscience and how the brain relates to stories. It’s quite fascinating and illuminating, allowing us to learn techniques that will make our story click with the reader. They can’t help themselves, the brain is hard wired for receiving stories and if we can strike the right chord it will resonate within the readers mind. Continue reading

Plot Devices and Literary Terminology

Just a little fun with some terms:

 
Chekhov’s gun
“One must not put a loaded rifle on the stage if no one is thinking of firing it.” – Anton Chekhov, letter to Aleksandr Semenovich Lazarev (pseudonym of A. S. Gruzinsky), 1 November 1889.
It is a metaphor for a plot device or foreshadowing, which if shown or discussed should be used later.
Red herring
A false clue that leads the characters toward an inaccurate conclusion within the plot of a story, considered to be the opposite of Chekhov’s Gun.
The Chewbacca Defense is starting to come into the lexicon as a famous Red Herring It refers to a South Park episode and refers to using something so patently absurd that it makes no sense and creates confusion.

Continue reading

Sprechen Sie Writer?

 

I’ve been at this writing thing for several years in earnest, but every now and then it becomes painfully obvious to me that I should’ve paid more attention to my college English class or read more about certain genres or pop culture references.  I’m actively compiling this list to benefit writers of varying levels of emersion in the waters of authordom, to help us look less stupid or simply to help you navigate the world of writing a little more confidently.
I am taking suggestions to add to this list, it’s not complete by any stretch.  I am particularly interested in ‘writer-culture’ words. Or, perhaps you disagree with my definition. I’d like to hear about that as well.
I’ve broken it down by categories.
General Terms
 
Active Voice                           Writing where the subject of the sentence is carrying out action
 
ARC                                       Advanced Reader Copy, printed before the actual print run on a new book
 
Auxiliary or Helping verb         A verb that goes with another verb (have or do)
 
Back Matter                            Back pages of a book that have appendixes, indexes and endnotes
 
Bastard Title                            Optional first page of a book containing only the title and nothing else
 
Blank Verse                            Unrhymed poetry
 
Block Quote                            A quotation set off from the main text (usually indented) and NOT surrounded by quotes
 
Bluelines                                  Final proofs that offer a last chance to make changes
 
Boilerplate                               Standard text used in multiple documents with little or no change, usually referring to contract language
 
Bubble                                     The circle that surrounds editors comments
 
Chicago Style                          The preferred method used by The Chicago Manual of Style – style guide for writing
 
Cliché                                      An expression or idea that is so overused that the meaning is weakened, more commonly used today to mean stereotypical or predictable
 
Clip                                         A sample of work
 
Conventions                            mechanical correctness, spelling, grammar, usage, indenting, capitals, and punctuation
 
Dead Copy                              Final edited Manuscript that is used to proof typesetting (less commonly used with software)
 
Draft                                       Preliminary version of a piece that will likely require revision and editing
 
Editing                                    Proof reading for mechanical features of writing, spelling, punctuation, etc
 
Ellipses                                    …
 
Fair Use                                   Allowing copying of short portions of copyrighted material for educational or review purposes
 
Forward                                  Introductory statement in the front matter written by someone other than the author
 
Front Matter                            Printed material at the start of a book including title page, table of contents and dedications
 
Front Piece                              A page in the front matter facing the title page, usually containing an illustration and often on different card stock
 
Galley                                      The first printed version (proof) of a document
 
GLB                                        Gay, Lesbian or Bisexual
 
H/H                                         Hero and Heroine (A couple in a romance novel)
 
HEA                                        Happily ever after (used in the romance genre)
 
het                                           Heterosexual
 
HFN                                        Happy for Now (used in the romance genre)
 
Hook                                       The important part of a work at the beginning that captures a reader’s interest
 
House Style                             Preferred editorial style of a publisher
 
Imprint                                     A branding name used by a publisher for books they release, one publisher may have several
 
ISBN                                       Unique number assigned to each book by a publisher, now a 13 digit number, not necessarily required by self-publication
 
Lead or Lede                          The first couple of lines of a story
 
Ligature                                   Special characters formed by combining two or more letters, such as æ  
 
Logline                                     A brief description of a piece, usually a teaser
 
MC                                          Main Character
 
Meme                                      Pronounced ‘meem’ – an idea, belief or system of beliefs that spreads among a culture
 
NaNoWriMo                           Pronounced ‘Nah No Rye Moe’, National Novel Writing Month, a 50k word challenge for the month of November
 
Neologism                               A new word or expression
 
On Acceptance                       Payment received only when the editor accepts the final manuscript
 
On Publication                        Payment received only when the MS is published
 
On Spec                                  A submission accepted without obligation to publish it
 
Orphan or Widow                   First line of a paragraph that appears at the bottom of a page by itself
 
Parenthetical                           Using these (), still acceptable but falling out of use in fiction
 
Passive Voice                          A sentence where the subject is being acted upon instead of doing the action
 
Pitch                                        A short description of a piece
 
POD                                        Print on Demand
 
POV                                        Point of view – the perspective of the story, 1st person
 
Preface                                    Introductory statement in the front matter written by the AUTHOR
 
Prewriting                               Invention, Brainstorming, Researching, Plotting, Outlining before starting on the first draft
 
Proof                                       A trial sheet printed to be checked and corrected; a galley is the first proof
 
Query                                      A sales letter showcasing writing style, usually limited in length to 1 or 2 pages
 
Red Shirt                                 Expendable, refers to the crewmen of the TV Series Star Trek who were often killed during a mission
 
Reproduction Proof                A high quality proof for final review before printing
 
Revising                                  Making structural or content changes to a draft
 
Royalty                                   The Percentage of book sales paid to the author by the publisher
 
Run-on Sentence                     A sentence containing two or more independent clauses improperly joined or simply too long
 
Serial Comma                          Comma preceding ‘and’ or ‘or’ in a list of items
 
Show Don’t Tell                      Writing in a manner that allows the reader to experience the story through the description of actions, thought, senses and feelings rather than through exposition or summary
 
Stet                                          Proofreading mark indicating that the editing marks should be ignored and the text displayed as the original (let it stand)
 
Synopsis                                  A longer description of a piece, usually including all the secrets and how the story ends
 
Tautology                                Needless repeating of a word or idea, such as ‘final result’
 
Trim or Boil                             To reduce the length of a story
 
Vanity Press or Publisher        Where the author pays to have their work published and covers all out of pocket expenses themselves
 
Voice                                       The personality of the writer coming through the words
 
WIP                                         Work in progress, usually the current project being written
 
YA                                          Young Adult genre
 

 

Editing terms or abbreviations
 
ASGCM                                  American Suburban Gated-Community McCastles – Castle or palace settings where royals don’t actually act like royals and answer the door themselves, dress themselves, etc
awk                                         Awkward sentence or phrase
cap                                           Capitalization
DTG                                        Delete the grimace
FBP                                         Floating Body Parts, using description in a way that gives action to the character/person, not his/her independent body parts, like ‘Her eyes roamed the room’
frag                                          Sentence Fragment
gr                                             Grammar error
ital                                           Italicize
lc                                             lower case
MS                                          Manuscript
mss                                          manuscript formatting
nc or ?                                     Not clear or confusing
p                                              Punctuation
P E                                          Printer’s Error
R O                                         Run-on sentence
ref                                            Pronoun antecedent is unclear
RUE                                        Resist the urge to explain

SDT                                        Show, Don’t tell

sp                                            Spelling Error

ss                                             Sentence structure error
t                                               Incorrect Verb tense
Tr                                             Transposition error
TSTL                                       Character acting Too Stupid To Live
UC                                          Upper Case
wc                                           Word Choice
Grammar Terms (Just a little refresher)
 
Alliteration                              A series of words all beginning with the same letter or sound
Anagram                                 A word or phrase formed by transposing the letters of another word or phrase
Antecedent                             A word or phrase that is referred to by a pronoun
Clause                                     A complete phrase containing a noun and verb that is part of a compound sentence
Complex Sentence                  A sentence containing an independent clause and one or more dependent clauses
Compound Sentence               A sentence containing two or more clauses separated by ‘and’, ‘but’ or ‘or’
Gerund                                    A form of verb acting as a noun and ending in ‘ing’, like ‘acting’ (present participle)
Homograph                             Words spelled the same but pronounced differently and having different meaning
Homonym                               Word spelled and pronounced the same way but with different meaning
Hyperbole                               Extravagant and deliberate exaggeration
Idiom                                      A phrase peculiar to one geographic area or group of people
Imperative                               A word used as a command; Go
Independent Clause                 A group of words containing a subject, verb, and if necessary, an object, that can stand alone as a sentence
Indirect Object                        The object preceding the direct object that tells to whom or for whom the verb is acting, such as ‘me’ in ‘He sold me’
Interrogative Pronoun              A pronoun used to ask a question, What, Which, Where, Whom, Whose, etc
Intransitive Verb                      A verb that doesn’t need a direct object, such as ‘she fainted’
Metaphor                                A phrase comparing two unalike things WITHOUT using ‘like’ or ‘as’
Onomatopoeia                         Use of Words whose pronunciation sounds like their meaning, like Buzz or Hiss
Oxymoron                               Phrase consisting of words with contradictory meaning, military intelligence
Palindrome                              A phrase or word that reads the same forward or backward
Participle                                 A verb form ending in ‘ing’ or ‘ed’ that can be used as an adjective
Personification                         Giving human traits to non-human objects
Predicate                                 Part of a sentence, excluding the subject, that tells about the subject
Restrictive Clause                    A subordinate clause essential to the meaning of the sentence and which does not require a coma preceding it
Simile                                      Comparing two similar things using ‘like’ or ‘as’
Split Infinitive                          A verb form where an adverb or phrase comes between the ‘to’ and the verb
Subordinating Conjunction      A conjunction such as ‘although, because, since, while’ that precedes a subordinate clause
Transitive Verb                       A verb that requires a direct object, ‘he threw the ball’
Page Set-up or Style words
 
Curly Quotes                           Special Quotation marks slanted toward the quote (smart quotes)
Deck                                        The sentence or two under the title of a book
Folio                                        The page number on a page; blind folio has no page number but counts in the page count
Kerning                                   Adjusting the space between characters
Leading                                   Adjusting space between lines of text
N                                            Short for number
Nut Graf                                 The paragraph right after the hook which explains an article
Plate                                        A full page illustration, often on higher grade paper or different color
Running Head                         A title that is repeated at the top of every page
Sink                                         Distance from the top of a printed page to the first element on that page
Slug Line                                 ALL CAPS – location and time of day
I look forward to hearing from you with more suggestions.
 
Clear Ether!

NaNo Prep: Writing Rules III – Return of WriMo

NaNoWriMo is merely three days away, and in the spirit of preparation I revamped my Writing Rules again.  This time when I went back to review them I realized that they were a hodgepodge of thoughts with no form.  So I organized them and revamped them and added some new content.  As always I am open to suggestion if you see something wrong or something that needs clarified or plain just doesn’t make sense.

This is kind of long and I have it posted as it’s own page here.

A few years back a friend of mine asked if I could pass along some of what I’ve learned over the past couple of years about trying to write a book.  I’ve tried to distill that info here.
I am focused on novel writing, so all of these ideas may not apply to poetry writing or something other than Novels or Novellas.  Please feel free to add in some comments that will help refine this.  This is all from the perspective of a novice unpublished writer, but I have done my homework, and learned a few things along the way.  These so called “rules” are merely guidelines.  There are no hard and fast rules.
Getting Started: Setting and Characters
There are a couple of ways to do this, and a couple of key ingredients that you need to start.  You are going to need to know the setting…intimately, at least for the actual places your characters will be.  This doesn’t mean you need to include every detail in the narrative, but you, as author, need to know how things work. 
The other key ingredient is the characters.   A strong protagonist and a strong antagonist are absolutely essential.  Other types of characters you might include are companion, or foil, for your main characters that will allow you to showcase certain aspects of your main characters, to bring out viewpoints or details about the background that might be needed to flesh out the world.  Another key character type is the relationship character, which will usually be at odds with the protagonist early and will mend the relationship by the end.
I recommend writing down everything you know about the character.  You don’t want to make them perfect people, interesting characters have flaws.  They need to be balanced.  Try writing a little bit in their POV to get to know them if you are stuck.  You don’t have to use any of this but it may help you understand the pathos of your character better, and they should all be suffering to one extent or another, otherwise, why are we writing about them.
 
A lot of people get hung up on world building.  They really like this part, and I can see the fun and the draw of that, but at some point you need stop world building, develop a plot idea, some characters and start writing an actual story.
Okay, so now you have some characters and a setting what do you do next?
 
Plots and Character Arcs
There are basically two types of arcs, an internal and an external.  The external is pretty straight forward, things happen in the world.  Usually your characters will react to these things and respond, making a new thing happen.  The external character arc is usually what people will refer to as the plot of the book.  A happens then B happens then C happens. 
The internal arc is about how your protagonist deals with things in their head.  The internal character arc is what the book is about.  The internal arc is more about how your character changes through the book, not how things in the external world change.
An Arc is exactly what it sounds like, rising action to the climax then falling action to the dénouement.   You can have multiple arcs and for novels you will have several hopefully.  A short story usually has one. For the longer piece you will have an overarching character Arc.  The big problem that needs to solved.  Inside of that you will have mini-arcs that tell a smaller story within the story, and different characters may be involved with each one.  You need to close each of these off before you end the story, unless perhaps it is part of a larger story arc involving multiple books.  
Each of these little arcs are like promises to the reader, and you need to keep your promises and solve the arcs or the reader will feel cheated.
The axiom is that the closer together you can resolve the external and internal arc and reconcile with the relationship character the more powerful the ending will be, ideally in the same chapter if that is possible.  A really great book for this concept is Wired for Story by Lisa Cron.
There are a couple of well-known formulas for setting up your story arc, for example: The Three Act Play, or the Hollywood Formula or 7 Part Story Structure.  There are lots of ways to skin the cat.
Point of View and Voice
Choose your voice for the story and be consistent. The POV is really going to set the tone for your narrative, so you need to think this through to see who will tell the most interesting story.
You have two tenses and three basic points of view to choose from and you can mix and match these giving you a wide variety of ways to tell your story.  Most established authors that I’ve spoken to or read about tell you to avoid present tense, leaving past tense as the most commonly used method.   Third person narrative is the prevailing approach, but books are also written in first person, Twilight by Stephanie Meyers is a good example, and second person, Halting State by Charles Stross is a good example of this form, but it’s fairly rare. 
There are also variations on how to use the third person in the form of omniscient, objective (primarily used for news reporting) and limited, which can lend itself to a narrator that is unreliable.  Unreliable just means you only see what the character sees and feel what the character feels, whether it’s a true representation of reality or not.  Third person works very well if you are changing the narrator. 
Each character will allow you to tell a different aspect of a story, but you will need to pick the one that tells the story you want or at least has access to all the important stuff.  You can use more than one Point of View character.  But please don’t jump heads in the middle of a paragraph, have the decency to have a definite break before you switch POVs. 
For each scene the POV character should have something at stake.  If they don’t have anything at stake for that scene then someone else should be the POV.  If nobody has anything at stake you might want to rethink keeping that scene.  As a general rule of thumb if you start a scene with one POV and switch, you should try to end the scene in the POV of the one you started with.
Pantsing or Outlining?
There is no right or wrong way to write a book.  The end goal is to have a finished story that makes sense and the reader is able to follow and enjoy.  The two most prominent that I am aware of are outlining and discovery.
Outlining is just what it implies; you make an outline then flesh it in and keep adding layers and detail to your outline in the form of story.
Pantsing, or maybe better known as Discovery Writing, is where you have a kernel of an idea and just start and let the story go where it wants.  I prefer a combination of the two, with a basic outline then start writing and adjust my outline as the story progresses.  Another common way for discovery writing is to get to where you are about what you think is 2/3 done then outline the ending to help you close the loop on your story.
Where do you start the story?
There is an oft quoted idea that says, “Get in as late as you can and out as early as you can.”  But this doesn’t necessarily mean you start like a James Bond Movie.  There is a lot of advice out there that says “start in the middle of the action,” but I’m not convinced that’s the best way to do it.
We need to have enough of a feel for the normal life and even a little empathy for the protagonist before we start blowing up his or her world.
The beginning of the book should grab the reader.   But what it really means is showing us why we should be interested in this particular protagonist.  What is different or interesting about him or her? This is not universal, I know a lot of established authors don’t really follow this advice, but they already have a following.  To hook new readers you need to start out with an interesting passage.  Most editors and agents are going to ask for the first three chapters or X number of pages, but they want to see the beginning, so it should be your best stuff and include what is referred to as the hook.  The hook is just that thing that is interesting about your character or the story that will make someone want to read further. 
There have been attempts to study what makes people keep reading, of course it’s not universal, but if you have an interesting hook most readers will give you the benefit of the doubt and get through the first chapter.  If you hold them that long they will read more chapters until they are invested in the book and finish it.  Most readers are stubborn and once you hook them they won’t give up on a book unless you give them a reason to.
Prelude or not? Most writers I’ve talked to recommend skipping the prelude idea, just start your novel there if it’s that interesting.  It is situation dependent. Again, this is not a hard and fast rule. 
Mechanics
The most important thing is to tell a good story.  It’s more important to tell a good story than to write well, but both are a plus, so learn your craft.
Show, don’t tell.  This means let the action play out; don’t just describe it in summary form.  Action sequences should always be shown.  There are parts of the story you can skim over with broad brush to avoid boring the reader, but too much of this makes the story feel empty.  Ideally you leave all the boring parts out.
Info dumps should be kept to a minimum or broken up into smaller bits and brought out in the right spots, preferably by one of your characters via conversation.
Know the rules of grammar.  You can say anything but punctuate it properly.  An excellent book for the essentials on clear, correct English is Strunk and White’s – Elements of Style
Another great resource is the podcast Grammar Girl.
Read your book out loud to make sure it flows.  Dialogue should be dynamic and not stilted, but written dialogue is not like real talking.  Leave out the “uhs,” the choppy unfinished sentences and stuttering unless you are trying to set a tone or particular character trait.
Minimize the use of strange language.  Too much technical jargon or unusual language is going to lose your reader, just pepper it in to give the feel and style you are trying to portray.  Ease the reader into it and you can use it a little more later on perhaps, once they get accustomed to what you’re doing.
Describe only what is needed.  My personal pet peeve is over-doing the description.  Most of us are not Nora Roberts.  Let’s not fool ourselves or overcompensate by describing every detail of something that really has no bearing on the story.  The idea here is to only describe things that might be different or things the character notices.  I know different people have different tastes on this and some well-known authors still do this, but if you are going to do it just know that I am probably skimming that part.
The Joy of discovery.  Sometimes your characters are going to take you places you hadn’t planned on.  This, to me, is one of the great joys of writing, but sometimes they will take you down a dead end or completely off course.  Then you will have to decide if the new direction is a better story or if it really is just going to derail the entire plot.  Save all this stuff though.  Don’t throw any good prose away.  I keep a boneyard for all my ideas that I can salvage things from later.
Use Active voice.   Passive voice is weak and tends to make you add a lot more words than you need.  It is appropriate at times to slow up the pace, but as a general rule active voice makes things happen in a style that creates action and movement, which will help hold the reader.  There is a place for passive voice and it will require some work to develop a feel for it.
Avoid editing and writing at the same time.  You write with the right side of your brain and edit with the left side.  Your creativity flows from the right side, so try to avoid mixing in left side stuff when you are in the creative mode.  You do use both sides at the same time or you wouldn’t be able to write, but if you avoid going back and changing a lot of stuff constantly while you are in creative mode you will likely have more success moving the story forward.
A good book on helping avoid passive voice and other editing tips is The 10% Solution by Ken Rand. 
I love using the thesaurus to avoid using the same word too often.  http://thesaurus.com/
Where do you get your ideas?
People ask all the time where you get your ideas from, but honestly once you actually start this writing thing as a regular part of your life the ideas just flow. 
Keep a notebook with you as much as possible and write down ideas as they come to you. 
Reading a lot helps, with style and tempo and form.  Read as much as you can.  But I know a lot of authors avoid stuff that is too close to what they are presently working on to avoid too much influence on their story (and lawsuits).
Dreams are often a good source of ideas.
I read lots of magazine articles on the subjects I’m interested in writing about.  For me Scientific American is a great source of ideas.
The web is a great source for ideas as well.  I stay up on news events in my area of interest also.
I love listening to writing podcasts.  My favorite is Writing Excuses. These guys and gal are successful writers and have a plethora of good advice for aspiring writers.
I borrowed an idea from Brandon Sanderson for keeping track of story ideas.  I use a Book Guide.  It is broken down into four sections: Character, Setting, Plot and Boneyard just flesh out the information for each section as you develop more of the ideas.  I find this helps immensely with continuity and just tracking down mundane stuff that you’ve put in the setting or how you spelled someone’s name, or the color of their hair, etc.
Habit patterns
Write as often as you can.  It’s best if you can develop a habit of writing.  If you can manage to get a regular time and place to write that is ideal.  The whole trick is to write, as often as you can.  Then write some more.  Did I say that enough?
Here is an interesting fact: 250 words is approximately one page for determining your novel length.  It takes about 15 minutes to half an hour to do that each day.  If you do that for a year you will have a novel length book.  Obviously if you can write for an hour or two each day you can pump one out a lot faster.
You may find that the more you write the better it flows and the ideas just start coming out of the wood work.  The imagination is a muscle that needs to be exercised regularly.
Editing and Reviewing
Get a Writing Partner or two or three.  They write, and can be a free way to get good edits and ideas for where you went off course or just didn’t connect something properly.  Sometimes you have all that story in your head and you make assumptions that the reader knows things, when you haven’t actually made it clear.  A critique group is a great idea also. If you can’t find a local group, then look on the Internet.  There are lots of places to get free critiques.  One of the better ones I’ve used is Critters. Beta Readers can help with this also. 
Once you finish the manuscript hand it off to a first reader, one that is going to give you real feedback, not your mom, who loves you and won’t tell you the hard truth.  Listen to the critiques and make changes if you think their critique is valid. You don’t have to take all, or any for that matter, but listen to what they are saying.
Don’t over edit.  Error checking is great and continuity checking is good, but your editor voice doesn’t have the same view of your work and if you do too much editing you may lose the magic that made your story work.  I read often that the first draft is often crap and you need to edit brilliantly, but the creative part of your story is going to come out on the first pass more than likely, so keep this in mind.  Three or four passes is probably enough to get the big stuff: errors, continuity and first reader/beta reader comments that show stuff that might require some tweaking is probably all you need.  Your mileage may vary here, but the idea is to let go at some point and start mailing out your story.
In the end you will want a professional editor and they do cost money.  If you can sell your book, then the publisher will provide this for you, but if you self-pub do everyone a favor and pay for one.
You’re done, now what?
If you are going to submit your writing to someone, whether agent or editor, follow the guidelines they lay down.    There are people that get picked up that don’t follow the rules but they are not norm.
Have faith in yourself and be prepared for rejection, it’s likely going to happen, a lot. 
Publishing cycle
Traditional publishing is going to take at least two years before you see your book in print.  It could be longer.  Many of them won’t want to publish more than one a year due to their seasonal release schedule and just not wanting to oversaturate, if that is even a real problem.  They also don’t give you a lot of information on sales, and payment can be delayed.  They will often give you money up front though, in the form of advances.  The value of the advance has been going down in recent years as the publishing industry has been in such turmoil, but from what I am reading lately things seem to be leveling off and traditional publishing is profitable again (for them). 
This is where self-publishing has a real advantage.  You can publish quickly, in a few days to get formatting right, and publish as frequently as you like.  I know several novelists that are publishing as many as four novels a year this way.  If you are a prolific writer and don’t want to wait on the traditional publishing cycle this is the way to go.
Agent or Not
There is a lot of discussion on this issue right now.  It will really depend on how much of the business side of things you want to take on.  If you don’t want to mess with any of it then an agent is probably the way to go.  If you can take the time to understand the business and work your own contracts then you probably don’t need an agent.  You can always use an independent editor and an attorney that specializes in book contracts to help you out here.  For more on this subject I would read through Dean Wesley Smith’s website on debunking the publishing industry myths: http://www.deanwesleysmith.com/?page_id=860
Once you are ready to submit your novel get it in the mail and START ON THE NEXT BOOK.
Self-Publishing
If you don’t have any luck getting a big time publisher to buy your book or you simply just want to, you can self-publish and there are lots of ways these days to do this.  You will also keep a larger percentage of the book sale, and have a lot more velocity in the publishing cycle.  The down side is you have to pay for all marketing yourself and take care of all the business transactions, cover design, tracking for taxes, etc., yourself.
This tidbit is something I found in the comments section of one of Dean Wesley Smith’s blogs:
Put your novel up on Smashwords, which gets you to Sony, Nook, iBook, and other places. Cost: Free
Put your novel through CreateSpace in trade paperback form in POD. That gets it to Amazon. Cost: Free (or $39.00 if you want better distribution into all stores.)
Put your novel through LighteningSource in trade paperback form in POD. That gets it to Ingram. Cost: around $100.00
From what I gather that will pretty much get your books to every English speaking market on the globe.
Good luck on your writing!