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How to Write 10,000 Words a Day, Part II (Luc Reid)

Writing

Yesterday, I posted novelist James Maxey’s response to the question “How do you write 10,000 words in a day?” Here are my own thoughts on the matter, from my experience writing that much and more. This was written before I read James’s take, but not surprisingly, it turns out that our responses have a lot of comment elements.

  1. Don’t expect the result to be publishable unless you have a lot of experience writing. That’s not to say that you won’t produce something that can eventually become publishable, or even that you’ll necessarily miss the mark even if this is your first attempt at long fiction, but if you are going to be miserable if your work isn’t terrific, you may want to think twice before trying to write at this speed.
  2. Be a fast typist. If you can’t type quickly already, you’ll want to do some typing tutorials to improve your speed before attempting 10,000 words in a day. In theory you can write over 1,000 words an hour if you only type 20 words per minute, but in practice you’ll need to do things like make quick fixes and notes, use the bathroom, and especially think. If you know you won’t be able to type at least 40 wpm, set your sites lower than 10,000 words per day. 5,000 words a day is still an amazing accomplishment, for example–and any personal record or completed piece is worth celebrating.
  3. Clear your schedule; remove all distractions. Don’t check e-mail, Facebook, or Twitter; turn off your phone; make sure you’re alone (or at least will be left alone); prepare food ahead if possible; take care of anything pressing that might otherwise interrupt you before you start.
  4. Have all the ingredients you personally need to drive the story forward. If you’re an off-the-cuff writer, that’s fine, but make sure you understand what you’ll need in terms of research, premise, setting, character ideas, plot ideas, or whatever else you use for starting stories. For instance, although I sometimes like to use outlines, if I come up with two interesting characters having an argument, I’m off and running: setting and plot can emerge for me out of those. Other people will need a few key scenes to shoot for, or will need to know the beginning and the ending. Yet others will need a full-blown outline. Know what you need. If you don’t have enough writing experience to know what you need yet, be willing to experiment, be comfortable with the idea that you may run out of steam, and keep a copy of The Writing Engine handy in order to use the troubleshooting section as needed.
  5. Don’t revise yet. If your story gets off track, you can go back as far as you need and restart from there (while still counting the discarded words in your daily count if you like), or you can go back and insert notes as to what future revisions you’ll need, but don’t try to go back and fix things: you’re likely to lose all of your momentum and begin getting bogged down in editing rather than creation.
  6. Have a vision. If you have a vision of what will make writing so much in such a short period of time wonderful for you (for instance, the excitement of having a finished novel draft, however rough, or exploring a story idea that you’ve been wanting to explore for a long time), you’ll have something to sustain you when you almost inevitably hit those moments of “This thing I’m writing is junk!” or “What am I doing this for, anyway?”
  7. Immerse yourself in the story. The more involved you are in the story and the more you care about spending time with the characters and “seeing” what happens to them, the more likely you’ll be able to keep up the pace, and the more likely you’ll be to create something your readers can be excited about, too. Just as importantly, immersion in your story is another way of saying that you’ve achieved flow, which means maximum productivity and high quality (see “Flow: What It Feels Like to Be Perfectly Motivated“).

Photo by lscan

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How to Write 10,000 Words a Day, Part I (James Maxey)

Writing

One reader of my interview with James Maxey, “Writing a Novel in One Week,” had this question:

This is an interesting article, but fails to answer the question that every writer must be asking: HOW? He’s writing 10,000 words a day! That’s great! Can it be done? Well, one writer was successful at it. Presumably, others can as well. How? What steps made this goal actionable?

It’s  a pretty practical question, and I passed it on to James to see what his thoughts were. Also, I have some answers to that question myself, because while I’ve never written a novel in a week, I’ve written more than 10,000 words in a day from time to time, including when I wrote the the majority of my novelette “Bottomless,” which won the Writers of the Future contest and appears in Writers of the Future, volume XX.

How do you write 10,000 words in a day? Here’s what James had to say.

Right now, I’m slogging away on a novel called Witchbreaker, wistfully dreaming of those 10k days of Burn Baby Burn. I’m once again back in my 10k words a week territory. Every novel is different, so I’m not overly concerned about my slower speed. Still, while I’m struggling, it’s easy to look back and see what my advantages were at the time.

The things that made Burn Baby Burn a fast novel are actually pretty simple:

1. I’d been thinking about the story for a long time. I had a big list of events and themes I wanted to include. I had enough material to fill a novel ready to go, and a minimalist outline gave me a structure to fit everything into.

2. The unique circumstances that kept me away from work, at home, with no other commitments will be difficult to duplicate again. One thing that’s causing me grief on Witchbreaker is that I bought a house in March that needed a lot of renovations and repairs. Those took time, moving took time, and now we’ve been working on our old house to improve its chances of selling. I have a lot of distractions, and it takes me a long time to ramp back up when I do sit down to write. That said, I’ve carved out some additional time in June to have several sequential days with butt in chair and hope to beat 20k words a week at least a few weeks this month. The more I write in a short amount of time, the better my ability to keep the narrative thread.

3. Burn Baby Burn is a fully developed novel, but it’s also a fairly simple novel. Witchbreaker is the third book in my dragon apocalypse series, and I have dozens of characters I have to keep track of, and at least seven or eight characters with story arcs that have to weave together. Burn Baby Burn really only followed the character arc for Pit Geek and Sunday. The other major characters, the superheroes, remained more or less static. They were fleshed out with backstories and conflicts, but pretty much exited the novel unchanged by the events. This simplicity also provides intensity. By the end of the book you will really be emotionally invested in Pit and Sunday. With Witchbreaker, you have a whole buffet of characters to sample. Some you may fall in love with, some may leave you cold, but all weave together in a grand soap opera. Writing an epic fantasy like this is really kind of like writing a half dozen smaller stories and fitting them all together seamlessly, which is more time consuming.

4. This is probably the biggest factor of all: I’ve been practicing. A long, long time. If Burn Baby Burn were my first or second novel, I would have almost definitely gotten bogged down. Instead, it was maybe the eight novel I wrote? The ninth? On top of what, a hundred short stories? I’ve easily written a million words of fiction by this point. If I count multiple drafts of the same works, I’ve probably got several million words under my belt. I’ve measured my output enough to know that I’ve had several peak days in the past when I did get out over 10k words in a day, usually when I was really swept up in the heat of a story. So, while 10k words in a day is still ambitious, I know it’s possible, so when I have a day where that’s my goal, I can approach it with confidence. Fifteen years ago, 10k words would have felt like a lot of writing. Now, meh. It’s about ten hours of my life. Finding 10 unclaimed hours is an increasingly difficult trick, but, when I do have an hour, I know I can trade it for a thousand words, at least. Last summer, life handed me a week of unclaimed time. I swapped them for a book.

If  you’re just starting out as a writer, your art is just like learning to play a musical instrument or learning to master an athletic skill. Talent only takes you so far. You have to dedicate the practice time if you want to get good. There really are no shortcuts.

I’ll follow up based on my own experience in tomorrow’s post.

Photo by sundaune

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How Do You Research Characters and Settings So That They Feel Real?

Writing

Old Vermont barns like this one were part of my experience I wanted to use in the setting for my novel of curse-keeping in rural Vermont, Family Skulls (see left sidebar)

I try to limit the number of posts I make on the craft of fiction writing, because while I’ve been seeing some great success in my writing, it’s not as though I’ve written the Great American Novel and hit the bestseller lists, so advice on how to write a story seems like something I should be careful not to give out too much of. However, a reader recently wrote to me saying she was concerned that she might not be able to learn enough about her characters and settings to write a novel that feels real, and asking what kind of research I do when writing fiction to make sure that these elements work. Feeling that I had some useful information on the subject, I replied. Here’s what I wrote:

Based on my own experience and on many discussions with other writers, there seem to be a lot of different approaches to researching character and setting. Some of us just dive right in and either stop to do research as necessary or make notes about what we need to research and just keep writing around the blanks. Personally I’m not a fan of putting in a blank and expecting to fill in with research later, because I think good research can weave itself deeply into the story, but I can’t deny that it works for some good writers.

Using research to make a story work well and feel real isn’t especially difficult, but it does take time and effort.

Approaches for characters
I’d suggest taking different approaches for characters and setting. For characters, unless you’re the kind of person who (like me) likes to try to draw characters out while writing the story, I’d suggest putting down some key information about each major character first. Basic life facts and physical information are important, of course–What are their hair colors? How strong or weak, heavy or light are they? What kinds of medical problems have they had to go through? How tall or short are they? What were their families like as children, and who was in those families? What are their family or living situations like now? How do they get along with family members in the present? How far have they gotten in school? How did they do? What job, if any, do they have?

Even more importantly, though, you can delve into what drives them. I don’t think it’s necessarily important to know what a character’s favorite color is or what that character ate for breakfast unless that’s very meaningful to who they are or to the story–though some writers disagree and feel that this kind of extreme detail is worth gathering. For my money, though, what’s important is what the character desires, what they’re afraid of, what their doubts are, what kinds of situations get under their skin, and that kind of thing.

Strengths and schemas
I often use strengths and schemas, at least informally, to flesh out characters. The 36 strengths outlined by Marcus Buckingham, et al. (see http://www.strengthstest.com/theme_summary.php ) are one good way to find out what characters are good at. The 18 early maladaptive schemas from schema therapy (see http://www.lucreid.com/?page_id=1292 ) can be used to find at least one major personality flaw for each character. Real people have multiple strengths and usually multiple schemas, though some may be milder than others. Characters don’t necessarily have to be fleshed out with a cocktail of five strengths and three schemas, for instance, unless it’s really necessary to get that deep to figure out what they’ll do.

Have reasons for your choices
One piece of this process that seems essential to me (and that I forgot to mention to my correspondent on the first pass) is that I don’t see any point in coming up with arbitrary choices. I’d advise choosing character details because they grab you, because they make the character more interesting and complex, because they’ll drive the story, or because they make an interesting cocktail with other characteristics. If your character creation process contains steps like “I guess she’ll have been brought up by a single mom, because I know there are a lot of single moms,” then I suspect you won’t get much juice out of that fact of her upbringing. If you say, though, “I guess she’ll have been brought up by a single mom, and the mom was an alcoholic, so my character had to be the parent to her own mom as she was growing up,” or “I guess she’ll have been brought up by a single mom, being told her father was dead, and then in the story her father will show up at some crucial point when she can’t afford to spare any attention to connect with him.” … well, then maybe you’ve got something.

Personally, I tend to try to let characters emerge organically as I write them, and only stop and question myself about them when they’re not already coming alive. However, this approach takes some practice to work well, doesn’t suit everyone, and may not be ideal anyway. My suggestion in regard to how to come up with characters, as with everything else, is to try everything … then spend a few years getting better at the techniques you decided to use and try everything again. Write, grow, repeat.

Approaches for settings
For settings, I’d suggest starting with a place you have easy access to if possible and paying close attention to the sights, sounds, smells, and physical experience of being in that place. If that’s not practical, it’s worth digging up photos, videos, articles, or other materials that give you a lot of physical specifics. Writing comes alive when it’s full of fresh, unusual, accurate sensory details–and ideally not just sight and sound, but all the senses. If you go too far with this, it begins to get overwhelming, but one or two good sensory impressions per page really pack a punch.

The facts about a location are easier: you can use Google Maps or Google Earth to find out how things are laid out, look up construction of houses or how an office is furnished, etc. I tend to do a lot of research looking for images and videos, because they give me much more of a feeling of being in a place than a simple description.

A couple of writing books you might really like, in case you haven’t already read them, are Orson Scott Card’s Characters and Viewpoint and Stephen King’s On Writing. Between the two of them, they can give you a lot of tools, explanations, and confidence.

Photo by Beth M527

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Writing a Novel in One Week

Writing

How fast can you write well? Don’t mistake slowness for quality: what speedy writing lacks in deliberation, under the right circumstances and with enough writing practice behind it, it can more than make up for in involvement, awareness, and momentum.

James Maxey, author of numerous successful short stories and of the Dragon Age trilogy of novels, has been used to a goal of 10,000 words written per week. This is pretty ambitious by almost anyone’s standards, and he doesn’t always hit the mark. Recently, though, he found he suddenly and unexpectedly had a full week without obligations, and he asked himself if for that time he might be capable of writing 10,000 words a day. Working like that for a week, he reasoned, it should be possible to write an entire novel.

Maxey planned a roughly 60,000-word sequel to his superhero novel Nobody Gets the Girl (Phobos Books, 2003; available in paperback and for Kindle), wrote an outline based on ideas he’d been having for years, and psyched himself up. At about 4:00 am on August 8th, he started writing. Stopping for little more than food and sleep, he pushed hard and completed the book in a 58,829-word first draft on August 14th at about quarter to three in the afternoon, with more than 13 hours to spare. His novel, appropriately enough, is called Burn Baby Burn.

And not only did he complete and survive the project, but he also kindly agreed to let me interview him about it a few days later.

Let me jump in with an obvious question: what in the world made you think you could write a novel in a week?

I knew that crime and adventure novelists from the pulp era often cranked out multiple short novels per month. Michael Moorcock claims to have written some of his Elric novels in a week, and I’d heard that Jim Thompson wrote The Grifters in a weekend (though I tried to Google that factoid this morning and couldn’t find it, so I may have been working under a false premise!).

Like most writers, I have a day job. I’ve pretty much been continuously employed since I left college. The vast majority of my writing takes place in stolen moments. When I’m in the zone, I can produce roughly 1000 words in an hour. But, it’s so hard to get in the zone. After I get home from work, I’m too burned out to sit down and write immediately. After I start feeling like myself again and get to work in an evening, right about the time I’m feeling warmed up, it’s bed-time, since I have to get up at 5:30 in the morning to punch the clock again.

And I’ve always wondered: What if I was punching the clock to write? Could I put my butt in a chair and leave it there for eight hours a day? Every now in then on a day off, I managed to do this. My record for a single day was 13,000 words. But, it’s rare I have a day off when I have a free eight hours. On weekends, I like to go biking and canoeing with my fiancée. My vacations are normally spent with family at the beach. I don’t want to be a recluse and cut myself off from all human contact. So, most weeks, I only get about 10 hours of writing time.

Then, in a surprising plot twist, my employer announced they were shutting down my workplace for a week to rewire the building for new equipment. I had only a month’s notice. Suddenly, I found myself with a week of time where I’d be home all day while my fiancée and all my friends would be at work. I had no plans to travel, no obligations at all. After fantasizing for the last twenty years about how much writing I could do if I wasn’t employed, it was suddenly time to discover if I had what it takes to write a book in one week, or if I’d been kidding myself all along.

I know this is already a long answer, but there are two more elements that play into this: 1. I discovered this year that I had a severe thyroid deficiency. One way I discovered this was that the records I keep of how many words I produce a week showed a declining trend. I’ve now been taking medication for several months to compensate, and just in the last few months have felt my brain wind back up to full speed. I wrote the bulk of my last novel, Hush, when my thyroid deficiency was at its worst, I felt like I’d been running a marathon wearing lead boots. Now, the boots were off, and I felt faster than ever. 2. The novel I had in mind was a novel I’d wanted to write for years, but hadn’t because I didn’t think I could sell it. But, the publishing world has been upended by e-books, and now I can write whatever I want to write secure in the knowledge that I can bring it to readers via Kindle and Nook. Knowing that what I’m writing is definitely going to see print (or pixels, at least) is a tremendous motivator.

What obstacle threatened to hold you back the most, and how did you get past it?

I would say that my biggest obstacle was that I can type a heck of a lot faster than I can imagine story details. So, after a big rush of words on the first day, each subsequent day got a little tougher as my imagination buffer kept running dry. By Wednesday, I really wondered if I should pull the plug on the project. I wrote a very clunky chapter that was also pretty short, but which still took hours to produce. I worried I’d reached a point of diminishing returns, and continuing might actually ruin the book if I kept cranking out bad chapters.

Fortunately, I was posting chapters to my blog at dragonprophet.blogspot.com as I wrote them. I’d announced I was going to finish a novel in a week there, and on Facebook, and on Codex. Failing to keep posting chapters would have been a pretty public failure. So, mostly to avoid embarrassment, I kept writing on Thursday morning. And, yay! I liked the chapter I wrote. I didn’t spend as much time at the keyboard Thursday – Sunday as I did Monday – Wednesday, when I was pretty much glued to the computer. I would walk away and think about what happened next, then what happened next, and not come back until I had three events to flesh out. Three events didn’t require a huge effort to think up, and proved sufficient to let me keep typing without feeling like my brain was running dry.

I do think that, if I hadn’t been so public with my goal, the temptation to quit after I’d gotten 30k words written for the week would have been difficult to overcome. I’d never written that much in a week before. It would have been very easy to call it a win and finish the rest of the book before the end of the month at my old 10k words a week pace.

How do you feel the book came out compared to books you’ve written at a more usual speed?

The plot was definitely more stream-lined. It’s still a fully developed main plot, but it only has two or three sub-plots. Through the book, there are only three point-of-view characters. Sunday and Pit’s POVs drive the main story, while the superhero known as Ap has a few POV chapters where the primary subplot is developed.

In comparison, my Bitterwood novels all have at least a dozen point of view characters, and more interweaving subplots than I can count.

But, I wasn’t aiming for epic fantasy. I was shooting for a page-turning pulp adventure featuring atomic supermen and space aliens drifting along dark desert highways. This is the sort of novel I used to devour on a single summer afternoon when I was a teenager. On the other hand, this novel isn’t mental junk food filled with empty calories. I think I manage to get to moments in the book that will prove thought provoking, and other moments that will provide genuine emotional catharsis. It’s a book I’m proud of, and can’t wait to get into the hands of readers.

You can also read James Maxey’s post “Five tricks for writing a novel in a week” here. The full text of the first draft of Burn Baby Burn is available permanently for free on Maxey’s Web site, though Maxey says “it may be a bit of a slog to read since I didn’t bother fixing the formatting for the web,” while you can get the finished and polished book for Kindle here. The result was entertaining and fairly engrossing, I thought. You can read my review on the book’s Amazon page.

By the way, James has a habit of coming up with pithy things to say about writing. You can see some of his writing quotes here.

This piece is adapted from my Futurismic column “Brain Hacks for Writers”

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What Makes Characters Riveting?

Writing

I’ve been thinking about the question of what makes a good fictional character, and the result is this list of ways characters can draw readers’ interests, which I hope you’ll find useful.

There seem to be some basic requirements for characters that aren’t as much about drawing readers to them as about the character being workable at all, things like having flaws, actively pursuing goals, being vulnerable in some way, and being believable (at least in the context of the story). My list below is not so much about these things, which we might consider the character basics, but about the more difficult and touchy job of creating a character that pops off the page or that readers love.

With that said, my fictional success isn’t yet to the point where I can claim that all of my characters do this, so certainly you can take this list with a grain of salt.

So what I came up with when I dug into this question was five categories of things that get and keep readers interested in a character. They aren’t entirely exclusive of one another, but they seem to be helpful categories. They are:

1. sympathy (we like the character)
2. attention (we want to see what the character will do next)
3. entertainment (we enjoy seeing the character in action)
4. admiration (we aspire to be like the character), and
5. identification (we feel like the character reflects ourselves)

It’s likely that there are some other methods or even an entire category or two I’ve missed, but this list should be useful at least as a starting point.

By the way, I give a character for each of the below as an example of that item, but I’m not suggesting that the item in question is the only or even necessarily the primary thing that’s interesting about that particular character, just that the character is an example of that item in action.

SYMPATHY
* Suffering through something undeserved (Harry Potter in Harry Potter and the Sorcerer’s Stone)
* Makes a sacrifice for someone else’s good (Sydney Carton in A Tale of Two Cities)
* Consistently kind to others even when mistreated (Little Orphan Annie in the Little Orphan Annie comic, etc.)
* Extremely loyal (Sam Gamgee in The Lord of the Rings)
* Highly principled (Atticus Finch in To Kill a Mockingbird)
* Not consistently nice, but sometimes willing to put real effort into being kind or friendly (Greg House in the TV series House)

ATTENTION
* Mysterious (Lestat in Interview with the Vampire)
* Trying really hard to accomplish something difficult (Hazel in Watership Down)
* Extremely resourceful, whether well-intentioned or not (Tom Sawyer in Tom Sawyer)
* Unique, fascinating, or exotic (Iorek Byrnison, the armored bear in The Golden Compass)
* Very powerful, whether in politics, money, physical prowess, etc. (Darth Vader in Star Wars)

ENTERTAINMENT
* Eccentric, unpredictable, fun to watch (Captain Jack Sparrow in Pirates of the Carribean)
* Willing to say things most people would only think (Sherlock Holmes in the modern movie and TV adaptations–I can’t comment on the originals, not having read them for a long time)
* Witty or intentionally entertaining (Bartimaeus in The Amulet of Samarkand)
* Strongly identifiable and partly–but not entirely–predictable (Homer Simpson in the TV series The Simpsons)

ADMIRATION
* Great at something (Zorro in various movies)
* Wise or knowledgeable (Gandalf in The Lord of the Rings)
* Unflappable; impossible to keep down (Lyra in The Golden Compass)

IDENTIFICATION
* Struggling with issues we can identify with, whether successful or not (Holden Caulfield in The Catcher in the Rye)
* Feels like a stand-in for the reader (Bella Swan in Twilight)

Of course, many of the best characters hit multiple points above.

As an exercise, it can be useful to think of a character you love from a book, movie, or television show, consider whether one or more of the above applies strongly to that character, and decide for yourself whether or not that has much to do with why you like the character. Recently I’ve been watching the excellent BBC series Masterpiece: Downton Abbey, and I was interested to realize that as I made this list, various characters from that show popped into my head without me even trying.

A more potent exercise: take a piece of your writing–or even someone else’s writing–in which there’s a character who doesn’t really stand out, and go through this list to find one or two of the above items that you can use to punch the character up. What are your results?

I’d appreciate your comments, additions, protests, and so on.

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Would Scrivener Make You a Happier Writer?

Writing

The process of writing has changed enormously in the past 50 years. Word processors transformed writing from something you have to redo every time you want to make changes to something that can include any number of changes with no extra effort beyond the edits themselves. The Web has elevated research from a limited, time-consuming, and sometimes expensive process into a few minutes communing with Google. Laptops and similar devices have taken these improvements out on the road. Print on demand and especially eBooks have opened an entirely separate career path for some independent writers.

In comparison to these game-changing tools and resources, what difference does Scrivener make? Well, if you’re like about 80% of writers, the answer used to be “none at all,” because Scrivener was originally a Mac-only program. Unless you’ve been beta testing the Windows version, all that changed yesterday when Scrivener 1.0 for Windows was introduced.

What’s so great about Scrivener?
I originally posted about Scrivener in an article called “How Tools and Environment Make Work Into Play, Part I: The Example of Scrivener.” My main point in that article was that for long or complex writing projects–novels, screenplays, stage plays, non-fiction books, articles with lots of information, or even short stories with especially detailed worlds or plots–Scrivener takes the heavy lifting out of organizing a lot of thoughts, resources, research, ideas, plot points, facts, scenes, or other details into a living outline that naturally evolves into your actual book.

For example, when I wrote my short book The Writing Engine: A Practical Guide to Writing Motivation (available in PDF form for free on this site, or for 99 cents on Amazon for the Kindle), I had an enormous number of tips, tricks, insights gleaned from scientific research, anecdotes, and whole articles to organize into a well-structured book. Using Scrivener, I dumped everything in without worrying about the order and then was easily able to organize it all into a structure that I could write and rewrite my way through until I had a clean final draft. While organizing, I was able to focus on just a few elements at a time, which took away that crazy, overwhelmed feeling of worrying that I’d forget some important piece of information. Once I began my actual writing, it also allowed me to focus singlemindedly on what I was writing.

How does Scrivener work?
The basic idea behind Scrivener is very simple: it conceives of a piece of writing as a bunch of pieces of text, each of which might be a paragraph, a scene, a chapter, an illustration, some research material, notes for your reference, etc. These pieces are organized into two general categories: Draft (for the writing itself) and Research (for supporting material that’s not intended to wind up in the actual book).

All of these pieces can be organized into an outline. For instance, I might start with these ideas for an evil bathtub story:

Note that in this picture I’m just showing the “binder,” the section on the left where I come up with the pieces I want to organize. I typed the names of my pieces right into there. I also could have started with some material I’d already written, which would go into the text area on the right that appears as I click on each item.

As you can see, I’m starting with some ideas about characters, a few plot points, some incidents, and some research. I’m not sure what happens when yet: all I have is glimpses of what’s happening in a short story about an evil bathtub.

(It’s ironic to me that I had forgotten, in putting together this example, that in college I actually wrote a story in college about a cursed bathtub. I guess this is a thing with me. I think the title was “Miriam Pzicsky and the Handyman from Hell.” I’m pleased to say that I have improved as a writer somewhat since college.)

In the next picture, you’ll see what I did with those pieces of information: I chose to impose three-act structure (something I don’t have to do and generally don’t do explicitly) and then dragged the items around into something resembling an order for the story. One of the great things about Scrivener is that in doing this, I automatically begin to see where there are holes in the story, where it might get repetitive, and what kind of structure I’m dealing with. Just seeing the story as an outline helps me improve the story.

click to enlarge

Once I’m done adding or changing elements in my outline, I’ll just start clicking on items in it and writing those items one by one. I can add, delete, and move around pieces as I write (which is why I refer to this as a “living outline”), and the click-and-write experience makes it easy to focus on one part of the piece at a time.

Scrivener has many, many more useful features. This glimpse is only meant to show what I think is the key useful concept behind the program. Fortunately, it’s more than a concept: the software has been developed with a lot of appropriate, productive, and easy-to-use features.

While Scrivener is useful, it’s also fun, at least for me. When I use Scrivener, I use less of my attention to keep track of details and more of it to write. This makes me a happier writer.

When is Scrivener not useful?
Scrivener isn’t for everyone. If you like to start writing a piece from the beginning and then go right through to the end, or if you tend to make a traditional outline just to get a grip on what you’re doing and then don’t do much with that outline except consult it as you write, I’m not sure Scrivener would be especially helpful for you. If you write off the cuff, without research or planning, there won’t be much Scrivener can help you organize. Personally, I love Scrivener’s organizational features, but I rarely use it for short stories: I find it much more useful for outlined novels and non-fiction projects.

Even if you write by the seat of your pants, though, you may find Scrivener invaluable. You can start writing a novel by typing “Chapter 1” and plunging ahead with only the most general sense of where you’re going, but even in that kind of situation you will probably start coming up with scenes you want to include later, plot developments that need to occur, bits to insert into what you’ve already written, research materials, and more things to be organized. Scrivener doesn’t care whether you organize before, during, or after writing: it just helps you get everything into a usable structure.

If I’ve piqued your interest
The fine folks at Literature and Latte offer a free, 30-day trial which is in fact far better than most 30-day trials in that it doesn’t count calendar days, but instead days you use Scrivener. If you use it twice a week, your 30-day trial will last you 15 weeks. You also don’t have to create an account, sign up for anything, or even supply an e-mail address to get the trial. You can download it here: http://www.literatureandlatte.com/scrivener.php .

If you do opt to buy, the price is $40, but there’s a 20% discount you can find at http://www.literatureandlatte.com/nanowrimo.php . A 50% discount is available for people who “win” NaNoWriMo, completing at least 50,000 words of a novel project in the month of November. (For more info on NaNoWriMo, go to http://www.nanowrimo.org/ .)

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15 Ways to Avoid Embarrassment Over Your Young Adult Fiction Habit

Writing

Harry Potter, The Hunger Games, Twilight, even A Wrinkle In Time … technically, these books were never meant for those of us over the age of 18 or so. As Young Adult (or in the case of Harry Potter, Middle Grade) fiction, they were intended for the younger generation, and yet adults–by which I mean possibly you and definitely me–are still reading them by the bookmobileful. I think we’re supposed to be reading more serious stuff–maybe The Grapes of Wrath, or Moby DickWar and Peace is probably good. I always tell people I’m reading War and Peace, and I’m at that part right near the end. This helps make sure they’ll change the subject quickly so that I don’t have to prove I don’t know what it’s about. Except, you know, obviously war, and also peace. Probably there’s something there about Russia invading … I don’t know, somebody. Maybe Russia invading Russia. Russia is pretty big: they could probably get away with that.

Anyway, my point is that it’s not always impressive and mature-sounding to say “Oh, I just read this great book written for 12-year-olds …” Here, as a public service, are some excuses writers and readers can use to cover for an addiction to young adult fiction.

  • I have a teen at home, so I have to know what they’re reading to be a good parent.
  • I work with teens, so I have to know what they’re reading to do my job.
  • I know my kid is only four, but I have to be up to speed by the time she hits middle school.
  • While I don’t have or work with kids now, I might someday, and it’s better to be safe than sorry.
  • I mistook it for the latest long, boring novel about the grim reflections of an emotionally deprived settlement camp volunteer. That’s what I really meant to read.
  • I’m a writer, and that market’s hot right now.
  • I’m a writer, and I just want to make sure that I know what’s Young Adult so that I don’t write some by mistake.
  • Actually, I’m pretty sure Harry Potter and the Prisoner of Azkaban is classified as a technothriller.
  • What, that? That’s not mine.
  • Well you know, it’s interesting: it turns out that there are moral and ethical threads to the subtext that really delineate an entirely separate and more cerebral story not immediately evident if you don’t really dig in, but that with energetic literary analysis really emerges with a characteristic–wait, come back! Don’t you want to hear about the affective parallelism?
  • Young adult fiction is where all the really steamy stuff is these days. Who wants to read about two old people doing it?
  • Oh, I just have that because I’m translating it into Serbo-Croatian.
  • That’s just one of the fake covers I use to hide my D.H. Lawrence books.
  • That’s from when I was a kid. I only read eBooks now.
  • Yes, I’m reading young adult fiction. When’s the last time you read a book you couldn’t put down?
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Codexian Writing Quotes: James Maxey

Writing

Continuing my series of quotes from writers I know through the online writing group Codex, here are some memorable thoughts from James Maxey, author of the Dragon Age trilogy and the superhero novel Nobody Gets the Girl. James’s latest feat, which floored a number of us at Codex, was writing the first draft of a novel (the sequel to Nobody) in a week. The resulting book, Burn Baby Burn, can be read in its first draft form as a series of blog posts on Maxey’s Web site. More on this particular accomplishment will show up in a week or two in my “Brain Hacks for Writers” column on Futurismic.

James is quoted often on Codex, so I’ll be breaking up the large selection of his quotes I put together into two or possibly three posts.

Swagger when you lie.

If the WRATH OF GOD couldn’t make this character give a sh**, I don’t know what might.

The worst novel you ever put onto paper is better than the best novel you are walking around with in your head.

On the other hand, I may be underestimating the appeal of my main character, a homosexual, drug-addicted, Republican, vivisectionist zombie. Sweet merciful Jesus, I wish that last sentence was a joke…

Momentum matters!

I can’t sing, play an instrument, dance, paint, sculpt, or act. So, in my early years, I drifted toward writing as my claim to some sort of creative ability simply because it seemed like the easiest talent to fake.

But a completed novel is always going to be haunted by the novel it might have been.

If you have affection and enthusiasm for your characters, then the readers will follow you into some very dark places.

If you and your partner find yourself co-owners of a project that gets optioned for a motion picture and I hear you complain about it on this forum, I will personally drive to your house and slap you about the head and shoulders with a rubber monkey until my envy is abated. And I can be very, very envious.

If anyone wants to power a time machine, the deadline for the first novel you ever sell from a proposal has amazing time acceleration properties. I can only imagine that committing to a whole series must propel you straight into old age.

My motto is, little by little, the writing gets done.

Is Batman really making the world a better place by wearing his underwear on the outside of his pants and clobbering muggers with boomerangs? I think that having your characters learn the wrong lessons from their private tragedies is the key to making them interesting.

… the key to writing a good novel is to first write a bad novel. You’re just piling clay onto the wheel at this stage. You aren’t spinning the wheel to turn it into something until the second draft.

But, I don’t yell. I write. I turn our presidents and judges and televangelists into dragons and I send heroes (or, more frequently, anti-heroes) out to slay them.

Look, I’ve had it up to here with people dismissing all Yellow-Eyed Beasts from Hell as “evil.” The idea that Judea-Christian labels for morality apply to creatures from the pit is an outdated, human-centric view of the world that I hope we, as a society, are finally outgrowing. Baby-eating and stabbing people with pitchforks may seem taboo to most Americans, but what right to we have to impose our values on the denizens of the underworld?

For me–and I can’t speak for anyone else–my formula was stupid stubbornness. I kept plugging along despite rejection letters and harsh critiques because I was too dumb to understand that I really was no good at what I was doing and it was time to give up and move on to something else.

The one thing you can do is buy a lot of lottery tickets, metaphorically. Every short story you write might be the one that wins you an award. You never know. Any book you write might be the exact book that a publisher is dreaming of publishing. Productivity is key.

If Jesus himself were to tell me the sky is blue, I’d argue the point. I mean, sure, sometimes the sky is blue, but a high percentage of the time it’s black, or gray, or white, or any of the zillion shades of pink or purple you find in the bookends of day.

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An Introduction to eBook Publishing

eBooks and Publishing

A friend recently e-mailed me and asked me for some general background on eBook publishing. My answer went on for quite some time (maybe too long), but it covered a lot of basics. If you’re interested in learning about what possibilities eBooks offer to writers, you can read the cleaned-up version of that answer below.

Selfpub vs. tradpub
First, there’s the question of traditional publishing versus self-publishing, what I’ve been calling tradpub vs. selfpub, which is a very different comparison than it was even a few years ago: there are now authors (many of them already published through a traditional publisher, but others only self-published) who are getting substantial readership for their books through selfpubbing eBooks, sometimes along with a paper version (often through CreateSpace), but often not. eBook readership has grown so much and people who own eReaders are so hungry for content these days that it’s entirely possible to build a substantial career without even dealing with paper books any more.

However, the surest path to substantial eBook sales seems to be having already become popular (or at least modestly successful) through a traditional publisher.

In evaluating which route to go, you might be interested in reading “Two Roads Diverged in the Interwebs: Finding Your Place in Tradpub versus Selfpub” and/or “Traditional Publishing vs. Self-Publishing (‘Indie Publishing’) Breakdown.”

eBook stores and venues
Amazon.com leads the way with eBooks, and in virtually all cases authors I know are selling far more books through Amazon than through Barnes and Noble or Smashwords, the other two most substantial options. Many publish on Amazon for the Kindle only. Of those I know who have published for other formats, only a very few seem to be getting compensated enough for it to be worth the trouble. However, it’s hard to predict whether or not these other formats will begin to grow a lot in the foreseeable future. My general perception is that Amazon is making all the right moves and other companies are struggling without much success to catch up.

Amazon and other ePublishers generally pay the author a much higher royalty than traditional publishers. If a traditional publisher is publishing your eBook, you’ll probably get something on the order of a 25% royalty, while Amazon offers 70% for books in the $2.99 to $9.99 price range. However, traditional publishers can get reviews of your book in venues that don’t review self-published books and have other promotional advantages, so it’s certainly possible to earn more through having an eBook tradpubbed, though in other cases the higher selfpub royalty makes that the more profitable choice.

Tradpub limitations
Tradpubbed eBooks tend to be more expensive than selfpubbed ones, $9.99 vs. $.99 to $4.99 being fairly typical prices, though there is a lot of variation.

Some traditional publishers are being very greedy and/or underhanded in attempting to grab electronic rights, so it’s important to be cautious with publishing contracts these days. Even some agents are attempting similar shenanigans. With that said, of course there are a number of good and ethical people in publishing, too.

Formatting eBooks
When formatting an eBook for publication, the process is not especially difficult, but there are a few hoops to get through. While other possibilities are available, the best way to deliver your book to Amazon or another eBook selling venue is often either HTML (with certain limitations) or EPUB (the most popular standardized eBook format, which Kindles don’t read but which Amazon does allow you to use for your upload). There are a variety of tools out there that can help in this process, for instance Atlantis (a word processing program with special import and export capabilities), Sigil (a WYSIWYG eBook editor), and Calibre (an eBook reader, library manager, and converter), all free programs. Alternatively, you can pay someone to prepare your book for you. Traditional publishers, of course, do this part for you.

Smashwords has its own, very specific format for uploading books, which is somewhat burdensome, but which allows them to publish in a wide array of formats and to offer books for the Sony eReader, Apple iPhone/iPad, and other players in the eBook world whom you won’t reach through Amazon or Barnes & Noble.

Some eBook formats have DRM (digital rights management); for example, Amazon offers this as an option for all eBooks they publish. If you opt to have DRM, then readers may have trouble reading your book or transferring it legitimately under certain circumstances. If you opt not to have DRM, then it’s all easy as pie, but it also means that any computer literate reader can copy your book and do anything they like with it.

Cover design
Another important concern if you’re selfpubbing is the cover, which while it may not be very important on the eReader itself is a key part of the marketing of the book. The quality or lack of quality in the cover design may make a big difference with potential readers and purchasers in terms of judging how well the book is likely to be written, how interesting it might be, etc. There can be a lot to consider in creating covers, but if this gets overwhelming and/or if you have zero graphic design skills, this too can be hired out.

Promotion
The last essential thing to take into account in selfpubbing an eBook is promotion. If you simply post the book, few people will know of it or hear about it unless you’re already famous. Traditional advertising methods (like taking out display ads, for instance) don’t seem to work well for most books; the more successful approaches tend to involve things like getting people to review the book, talking the book up in visible places on the Web, participating in social media, giveaways, etc. In the best cases, word of mouth takes off and readers begin encouraging other readers to get it, in time.

The great majority of people who selfpub eBooks sell virtually no copies. Some of us sell regularly but not in great quantity. A small but not impossibly small number make a substantial income from them. For an extreme example, see “Some Reasons for Amanda Hocking’s Success.”

Photo by ntr23

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Do Introductions Turn Away Readers?

Writing

My friend Nancy Fulda‘s collection of science fiction stories, Dead Men Don’t Cry, was recently featured on Why Is My Book Not Selling?, where in addition to comments about the cover and about the title sounding more like detective noir stories than science fiction stories, Vicki (the author of the site) said this:

I was disappointed that the book stared with explanation about the stories. It’s interesting, so I wouldn’t cut it, but I would definitely suggest putting that at the end and starting right away with the strongest story.

This such immediate and powerful sense to me–not just for Nancy’s book, but for most books–that I was surprised I hadn’t come across the idea before. After all, when someone opens a book of short stories, or a novel, or a non-fiction book about ironclads, what they almost certainly are interested in getting is short stories, a novel, or information about ironclads–not the author’s reflections on the importance of the book, the process for coming up with it, gratitude toward dozens of people the reader has never heard of, etc.

I don’t mean that there’s no place for this kind of thing. Personally, I’m often interested in it, but not before I’ve read the main part of the book. I think using afterwords instead of introductions and forewords is a brilliant idea.

Of course, readers can always skip this material–but isn’t there value to a book where, when the reader opens to the first page, there’s something immediately interesting? Further, putting it at the end may get it read more often, as compared with the reader skipping it at the beginning. It also provides the author with a chance to mention some of their other work.

I’ve fallen into the introduction trap myself with my book Bam! 172 Hellaciously Quick Stories*. After all, what’s a more interesting start to a book … ?

INTRODUCTION

Of course I enjoy immersing myself in a really good novel, but sometimes there’s not enough time to wallow properly.

Blah blah blah–who cares what the author enjoys, especially before reading any of his work?

or

THE WAR WITH THE CLOWNS

Sure, there was some temporary anxiety when they took over Trenton and Allentown to carve out their independent nation of Clowninnia, but it soon settled down into a national joke, a prank on a revolutionary scale, a riffing topic for late-night talk show hosts.

This might or might not be your cup of tea, but at least it’s a story!

On a related subject, at a workshop back in 2001, Orson Scott Card advised us attending writers to avoid writing prologues. While my personal point of view is that these can occasionally work well (this may or may not match Card’s opinion), I think by and large no prologue is a smart bet. The typical reason for including a prologue is that the author feels there’s information the reader needs to know about before the story starts. However, it seems that readers are rarely interested in studying up on background information in preparation for reading a story that may or may not turn out to interest them. It would be better to start the story right off and hand out information in an engaging way as you go–even though this is much more difficult than just dumping it at the beginning. Alternatively, have the prologue introduce the central conflict early on in a gripping way. Prologues do seem to work well sometimes, but I believe they should prove they can earn their keep by grabbing the reader’s attention, or else they should go.

*Bam! also suffers from a title that advertises only that the stories are very short, something I was originally thinking might be a prime selling point but which I suspect prevents the book from engaging anyone because there’s nothing in that description that suggests the stories might actually be interesting. I hope to rearrange and retitle the book in the near future.

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