Resources for Science Fiction and Fantasy Authors

New Blog

2011-03-17T18:08:00.002-04:00

Greetings!

As some of you may already be aware, I have opened my own website. On account of this, I am shifting my blog over to here. Don't worry -- this one isn't going to disappear. However, I will cease updating it, as the new blog is much easier to use and looks a lot nicer.

Women writing Science Fiction - Questions from the Readers

2011-03-13T17:12:00.002-04:00

Greetings,

Someone on twitter asked how women were doing compared to men in terms of writing Science Fiction.

This is not an easy question. This is also one I do not have a definitive answer for. However, I'll take a stab at my opinions and thoughts on the matter.

First, there have almost always been women writing Science Fiction. However, the brave women who were the early pioneers of a feminine touch in a male-dominated genre often hid their genders behind male pen names.

While women have been accepted in much higher frequency than ever before, there is still a very strong male lead in the genre.

That said, my book case has a decent amount of science fiction. Almost all of the authors are females. I enjoy their writing.

I cannot give you exact demos on male versus female, but the few publishers I DID manage to corner have said the same thing, "Females are increasing in number."

How high is the percentage? No clue.

The best way to find out, perhaps, would be to take a tally of authors -- especially best sellers -- and figure out how many are men and how many are women.

Since this branches a lot of different publishing houses, both large and small, this would be a massive undertaking.

If you have solid information on the split between males and females in science fiction, please note your resources. This is something I am definitely interested.

Releasing edited older works - Questions from the Readers

2011-03-12T14:36:00.003-05:00

Yesterday -- sometime before I finished my book -- I polled individuals on twitter on what they wanted to see written about for this blog. There was a very quick response.

Today, I am going to cover the very interesting subject of releasing a new version of an old novel. By this, I mean this: a writer dislikes a book they once wrote and published. They go back and rewrite or do massive edits to it and release it again.

The subject came up as one mouse (Hi Squeecha!) noticed that an author had done exactly this and had left both copies for sale.

From a personal point-of-view, I would love to release a new version of an older, crappier work. But, as a reader, I am going to be quite upset if I am expected to buy a second copy of the same book because the author was too lazy to do the job right the first time.

Once you publish, unless you are correcting minor things like a missed spelling-error during typesetting... please don't do this. This is entirely of personal opinion, but if I buy a book, and the author slaps me in the face by releasing a new version of it because they didn't do a thorough job of writing it the first time, well... this will upset me as a reader.

I could never do that to my audience as a writer.

Sure, I will improve my writing skills as I write, but I find this sort of behavior as the ultimate insult. If I buy a book, I buy it because I want to read it. If you release a new copy of the book -- where the story has been rewritten or massively changed -- I will feel like I have been ripped off.

The only way I think I could accept this is if I were offered a free copy of the new version to read. This is something I could accept, as it would show that the author wanted to give me the best story.

If I'm expected to pay for them correcting their mistakes or changing the story, I would be very, very upset. To the point I wouldn't purchase books from this author again.

I can't put a logical explanation to this. It is entirely my opinion, and there are no studies or logic to it.

Yes, I know, I usually post factual sorts of things, but I finished my book last night before bed. I'm allowed. (But just for today.)

There isn't much more that I can say on the subject than that.

More Questions from The Reader to come! If you have a question you want to ask, @rebeccablain on twitter with it and it might show up here!

More on Self-Publishing Versus Traditional Publishing

2011-03-10T15:19:00.003-05:00

The past few days have been dedicated to the growing conflict between my spouse and me regarding the differences of opinion relating to self-publishing.

Here is the basic argument: My husband believes that self-publishing is the route I should take.

His primary reason for this is the delay between a publisher accepting a piece of writing versus the time it actually makes it into print. He views the delay as a loss of money, as self-publishing would allow for a longer print run.

Now, I cannot disagree with this. The harsh reality is a 14+ month wait from acquisition to print. It is a difficult pill to swallow. Now, granted, I can be working on my next novel in that period of time, but with ever shrinking advances, 5k (and that is being too charitable!!) isn't a whole lot to live on for 14 months. I can make more than 5k in 14 months on cheap contract work. (Which my husband enjoys pointing out.)

I do not want to delude myself into thinking I could get a big advance. I'm somewhat realistic.

However, my argument comes up in I would have to foot the bill on the things the publisher would typically pick up. These include:

- Cover Art
- Formatting for print
- Formatting for ebooks
- Editing
- Basic Marketing
- Distribution

Now, there are a few perks to going this route. These include:

- Picking my own cover art, hiring the artist of choice, etc
- Picking my editor.
- Handling my marketing or picking someone I trust to do my marketing for me.
- Fast publication time.
- Selecting my own pricing.

There are disadvantages. These include:

- A lot more edit work I have to do on my own.
- Investment for all of the above things a publisher would normally handle.
- No brand backing my work.
- No agent for advice. Some self-pubbers have agents, but I strongly doubt I would get approached by an agent, and I expect I would be busy enough where I would not have time to go shopping for one.
- The negative impact of having gone the self-publishing route.

There are shared advantages and disadvantages of each, of course. The most notable point being::

- There is NO guarantee that I would succeed either by traditional OR self-publishing methods.

There are a lot of things missing from this list. I realize this. This is a uncomplicated form for those who are just dipping their feet into the process of determining which route is best.

On a personal front, I want to support the traditional publishing venue. However, I have to be realistic as well. I can afford to invest ~$1,500 to get my cover art, start marketing, and pay an editor to pick over my book.

I do not think I can afford to wait 14+ months with no chance of income at all. It is all-or-nothing in my personal situation. I have the choice of contract work -- which is paying less and less with each passing day as individuals seek volume and sacrifice quality. Or, I can buckle down and start producing books and selling them for the kindle or print.

At least this way, the stories I love to write might make it out to the populations that like to read. It is unlikely I will land in the coveted top 100. But, if I do not take life by the horns and ride the bull, I will never have a chance at all to shine.

The E-book World

2011-03-08T19:48:00.002-05:00

This post has been a long time coming. Let us just say I've been sick and busy and leave it at that.

I bought a kindle on Monday. It will arrive on Thursday. I saw one my friend had, and she was nice enough to allow me to handle it. (She even forgave me for losing her page as I was playing with her kindle rather than leaving her book on the page she left on...)

I was taken with it immediately. It is a tiny bundle of gadget geek glory. Complete with leather cover and a book light. I got mine in red leather, as I have an extreme fondness for red leather.

My first impression was, "This doesn't look much different than a real book!" This is what spurred my desire for one. That, plus my husband gave me the final ultimatum: Get rid of books or do not buy new ones. Apparently 600-800 titles crammed into two bookshelves is excessive.

I do not want to stop buying books OR get rid of my preciouses, and he refuses to get another book case, so the kindle was a good compromise. I already bought 34 classical novels I haven't read that I have wanted to read. And I already have already added a few books onto my wishlist. There are a few books I can't get as an ebook, but I'm sure I'll be able to talk him into just one or two titles.

I am definitely curious how authors view their works as ebooks. If you have been published and have both print and ebook copies, and don't mind sharing the stats between how many buy ebooks versus print, I would be curious to find out.

Throwing off the Mantle...

2010-11-16T10:01:00.004-05:00

Today's post will be a little out of the normal. Mainly because this national novel writing month, I returned to my roots as a writer and did something I haven't indulged in for a long time: I pantsered this book.

I am usually a fan of my plotting and my careful details. However, this time I said screw it, threw away my plot (which I had spent an entire month working on) and decided that I would dive in with nothing but my poet-possessed laptop and my brain.

Really, it was a great idea.

This novel does not use a unique concept. It uses a plot mechanism used before, but done in a way unique to me. This is also outside of my usual method of operation. While I won't quite say it has a cliche plot, I focused more on telling a good story than trying to tell a unique story. There is a little irony in that I think I managed to come away with one of my better stories just by focusing on having fun.

This got me thinking a little. When I stepped back and viewed my book on the level of telling a good story, there are often similar plot mechanisms I like in a story. 'Snicker's' bars versus fillet mignon, but.... I think this month I went for a book that would be a fun read.

And somehow, I think I have succeeded.

By throwing off the usual controlled style of writing, I think I touched back on why I love to write. I think this let me relax and do what I love the most. This reflects in the quality of my writing, as well. This book will need edits, but I am not so certain that it will need a rewrite. I know scenes that I want to tune, but so far there are none I want to scrape.

It is a pleasant, uplifting feeling. While I am usually able to write a good quantity of words when I apply myself, I do not usually feel so eager to get up in the morning and get to work on a book.

Thank you, November. Thanks for letting me get back in touch with my roots and remember what it is like to write a book off the seat of my pants!

This is the book that I will send to a publisher and agents. It will need work, it will need polish, but this is the one that I will take all of the way.

November killed the Blog Writer

2010-11-15T00:40:00.003-05:00

I'm sorry that I have been quiet. There are many reasons for this, and some of them I can delve into on a writing related blog. Shocking, isn't it?

It is November! It is just about halfway through November! Both of these things are excellent. I'm excited. I love National Novel Writing Month, and I have really enjoyed participating as a Municipal Liaison this year. I have met a lot of fun and interesting people. I get out of my condo at least once a week and I get to write as I do it. This is very pleasing.

Instead of my usual post, I am going to copy-paste my guest blog posts from another blog. Some of you have already read them, but I figured there was no better way to catch my mood of the past week than to revitalize the posts I have already done. They are almost all on writing subjects, and they may be useful to you.

Post #1 -- November 8, 2010
Post #2 - November 9, 2010
Post #3 - November 10, 2010
Post #4 - November 11, 2010
Post #5 - November 12, 2010
Post #6 - November 13, 2010
Post #7 - November 14, 2010

I cover quite a few writing related subjects in these posts. 7 posts in 7 days tired me, so I'm going to just leave you with these to keep you occupied.

The First Three Chapters

2010-10-04T14:12:00.002-04:00

Twitter has once again spawned a discussion subject in my brain. Thanks, twitter. Really. I should be working on other things right about now!

Joking aside, this is something that writers of all calibers should pay attention to.

Your first three chapters are very important. They will be what gets the interest of an agent or a publisher. It will be what hooks your reader into the story. Everyone knows that a story needs a strong foundation to stand upon. This is often done within the first three chapters. In fact, if you haven't built into your real story within the first three chapters, well, there is probably something very wrong. Even if your plot doesn't directly tie in with the climax or conclusion, it should somehow lead your character towards it.

Even if it is a swift kick in the butt to leave their door and go do something with themselves.

I feel that this is a generally accepted concept. However, I am going to take the mold and I am going to go smash it into a wall over there.

Do not polish your first three chapters and neglect the rest of your novel. The first three chapters are important. There is absolutely no denying it. You cannot have a great piece of fiction without a strong start.

You cannot have a great piece of fiction without a strong finish.

I like to call the syndrome, "Great opening and then came the can o' crap!" Crap is generally viewed as a negative thing. Because really, poop is gross. Toilet humor can be funny, but unless your book is about toilets or somehow features poop, you do not want this to be a descriptive term of your story.

I have read many manuscripts during the course of editing and critiquing that have really gripping starts and then they turn to crap. The polished, flowery language that worked so well in the first few chapters turns into a tired, lame horse that can't quite manage to climb the hill. The disappointment factor is typically so great that I have to step away from the computer so that my line edits are constructive rather than mean.

Those of you who have endured my critiques are probably aware of how bluntly honest I try to be. I firmly believe that you can learn the art of writing by doing a *lot* of critiquing. I certainly learned how to improve my craft this way.

This is advice, do as you wish with it. But, if you spend the same amount of time polishing your first three chapters as you do the entire novel, chances are that you will have a novel really worth something at the end of the day.

Also... just because you have polished your first three chapters, do not send them out immediately until your entire novel is done. This is just.... ugh. Don't do it. You never know when an agent or publisher will get back to you. You need to be able to send it out the next day if you get a reply asking for the complete manuscript.

True story: A friend of mine got a reply from Tor asking for the complete manuscript. She IMs me in a complete panic. She has not edited her novel.

Some 8 hours later I returned a line edit so she could panic through her corrections. It was perhaps the worst evening of my life.

I did it because she is my friend, but you should never put yourself into this situation. You want to be a responsive writer who is prepared. If they want the manuscript? It better be ready, printed, sitting on your desk in a nicely wrapped package and ready to send out the following morning. You don't necessary need to overnight the manuscript unless there are circumstances where they ask for it by a certain date. If it is by email, you should just have it ready for emailing.

There is nothing wrong with doing a one last reading before you send, but you should not be needing to do any significant edits. When you send your proposal or query, your novel should be ready from start to finish.

Your new editor or agent may suggest changes, but you should be sending them something that you feel is up to the publication standards of your genre.

I attended Con*Cept 2010!

2010-10-04T02:06:00.004-04:00

Really, it is too late at night for me to just be starting this blog post. No, really. After a fun-packed weekend of talking about writing, playing AD&D with friends and then talking about writing some more, I somehow thought it was clever and prudent to blog about my experiences at Con*Cept 2010. I wonder if those crazy folks would let me attend again as a panelist.

I hope. I had fun. A lot of fun.

But I digress.

As a panelist, I was expected to have some idea of what I was talking about. The last panel, well, they must have been convinced the Lady Firebird and I were impromptu artists. It was two of us versus some twenty of 'them'. You know, those writing people. Writing people who stared as if we would somehow be able to save them from the subject that took us all of five minutes to cover.

Leaving another 55 minutes to burn.

Apparently we burned it pretty well. The Closing Ceremonies peeps had to drive us out of there after we ran over time by five minutes and they were waiting on us to participate.

Oh look, that digress word again. If you're curious, the panel was on the subject of "Do you have the Writing Gene?". Lady Firebird and I both quickly agreed that you didn't need no stupid gene to write. If you want to write, you'll write. Back on that a little later.

I attended several panels over the weekend, and participated in three total. There are not enough blog posts in the world that can cover just how useful a convention with panels can be for a new writer. Or even an established writer. Heck, I'm pretty sure the professions there all learned something this weekend.

But, I will tell you about my experiences as a panelist at a convention dedicated to Science Fiction and Fantasy. My first impression?

Best. Idea. Ever.

I do not regret the instant I decided I would be brave and try something new. I have never had public speaking lessons. I'm pretty sure I slept through most of my book reports in high school.

The first thing I noticed when I sat on the panel was that the audience really couldn't care less of my credentials. They wanted to know what was in my brain, as well as in the brains of my fellow panelists. They wanted to know about the art of writing. They cared enough about the craft of writing to endure my squeaky-bird voice for the better part of an hour. (Brave, brave fools!)

The first panel, however, is something that will probably stay with me for many years as a treasured memory. Until the convention, I had only known of Deborah Beale as a name -- someone unlikely to meet but well known enough that I went, "Oh, I do recognize this name!". Turns out the chair I picked at the panel happened to be the one next to hers.

She also 'happens' to be married to Tad Williams, one of my favoritest authors. Sorry Tad, but Tailchaser's Song is still my favorite -- I'm about to give Dragons of Ordinary Farm a whirl as soon as I get a chance to get back to the library! (I'm coming for you, Deborah...)

Oh look, I digressed -again-. I did mention that I wasn't supposed to be writing this blog post so late at night, didn't I?

At least I didn't do it on no sleep like I did the first panel. We were discussing "Writing for Characters". This is a great, great subject. Though at one point I think the discussion may have gone to the sort of silly character -I- am. I mean, really? Who goes to a panel on no sleep?

My memory of the specifics are a little hazy. I do remember, however, that the audience was very eager. They had questions. They hung onto our words. Took us seriously.

Learned about how to write characters from the perspectives of four authors in various places in their careers. I was the little ugly duckling of the lot, in a way. I have been humbled, as a writer and a person, seeing just how much of a difference that just talking about something you love can do. I even learned a little of myself and how I write by telling others of it.

For the record, Violette Malan forgets she is cold once she starts talking.

When asked what one of her more interesting characters was, I seem to recall that Deborah Beale likes flying monkeys. This is ironic, as I was telling the crowd about the fact that one of my characters was born from a dream where a lady had flying monkeys.

I obviously had a soul-sister in the making. I mean, what is there not to like about someone who likes flying monkeys?

I D... nevermind. I won't say it.

Writing for Characters is a great subject for a panel. If you can attend one on it, I suggest it.

Fast forward 24 hours.

Tad Williams at panels! Tad, Tad, Tad, you are a funny, funny person. My husband has been lookin' at me funny because I keep breakin' out in random giggles. Go see Tad if you can. He is very entertaining. Also super nice.

Obviously I spent my morning at panels where Tad was in attendance. Had a great time.

Panel #2... "I have an idea but where to start?" -- Another great panel discussion topic. Once again at a table full of great people.

How odd... I ended up sitting next to Deborah Beale again. We may have been giggling a little bit. I'm sure the glass of wine from the bar just prior really had nothing to do with it.

This is a fantastic panel subject, as I said before, because there is just so much that can be discussed. Plotting, planning, execution. If you have a chance to see a panel like this, go! Very educational.

The last panel was on the Writer's Gene. We ended up continuing our discussion from panel #2 (Lady Firebird was on Panel #2 as well), but that is what the audience seemed to like. We covered all sorts of things from critiquing to how to write. The downside? Tad Williams and Mark Shainblum were the speakers before us. Talk about huge shoes to fill. Both of these male-creatures are extremely talented and funny. Put them together and you make an interesting panels.

The best panels, I think, are the ones where two writers get into an argument about the craft. Things get *lively* then.

Overall, don't expect to go into a writing panel at a convention and suddenly become a better writer. Go in with the hopes of learning something and being inspired.

I know I was inspired. There is something ethereal about being in the same room with so much talent. There is something special about looking eye to eye with those I admire and realize that my methods are so very similar to theirs... I just haven't had as much experience at it.

It is humbling to know that there were so many hopeful people wanting to learn to write and looking at my fellow panelists and me to help give them insights and answer their questions. In future blog posts, I hope I can take just a little bit of the wonder of those panels and put it into what I want to say here. If I can, it will make me a far better blogger on the art of writing than I am today.

If you are not familiar with Tad Williams and Deborah Beale visit their webpage and get to know them. Not only do I class them as fantastic people -- especially after getting the pleasure to talk with them face to face -- but they are wonderful talents in a world that could use a few more people just like them.

I need sleep. Good night!

The Purpose of the Plot

2010-09-29T13:29:00.002-04:00

Greetings, Pantser. Hello, Outliner. Warm welcome to those in-between.

No matter what type of organizer you are it is important that your story has a plot. There is one exception to this which I will go over at the very end of this post. Please deal with my humor until then.

First, no matter how good or how bad a story is, no matter what genre that story belongs to, it shares one simple thing with all stories. There is some form of plot. When you put a sentence down to the paper, you are writing about *something*. That something will become your plot. Or at least part of it.

When you write your first draft, you may not know what your plot is until you get there. That is one of the joys of being a pantser -- or someone who writes by the seat of their pants. I have served my time as a pantser. It can be a great deal of fun. It keeps the mystery alive. Until the last word, the last page, when you sigh and realize that you are 'finished'. Crossing the finish line as a pantser can be very rewarding.

But let us not forget about the dedicated outliner. These folks -- I've done this as well -- plan their plots, their conflicts and their characters in advance of writing. These folks know where their story is going. These folks sit through the hard moments where they know exactly what is to come and cope with having to wait to get there. In a way, the outliner may feel as if they are putting the finishing touches on a story by writing the dialogs, the descriptions and the scenes out true to their outline.

Then there are the few who are both pantser and outliner. I fall into this category. After having done dramatic experimentation with both outlining and pantser'ing. These folks have a direction but leave the details up to chance. Many pantsers will often have a concept of where they want to go, but it changes on the fly. The hybrid will know where they want to go, the getting there is just an adventure waiting to happen.

All of these methods are correct. The magic is in the editing, but that is a different subject altogether.

Now that we have covered the three basic types of writers, let us dig right into the heart of the issue.

What is a plot? Why do I need it? And why do *you* feel like you need to tell me why *I* need a plot? Who the hell are you anyway?

There are many more questions that could suffer answering, but I will start with these.

What is a plot?

A plot is the driving force behind a story. It is your story. It is your synopsis, it is the reason your reader wants to keep reading your book. It is the conflict. It is the drama. It is the breath-taking moment when your character's dream has come true. It is every defining moment of your book. It is the why of your book. It is also the how of your book. It is the purpose of your book.

The plot, in the nitty-gritty world, is the series of events that take your book from the start to the end. It is the tangled weave that your character spins as he or she goes out on their adventures. It is the series of events that take your character to the conflict and the events that allow them to resolve the conflict.

Wikipedia defines a plot as: A literary term, a plot is all the events in a story particularly rendered toward the achievement of some particular artistic or emotional effect or general theme. An intricate, complicated plot is known as an imbroglio, but even the simplest statements of plot can have multiple inferences, such as with songs in the ballad tradition. Basically a plot is the story line or the way a story is written.

Why do I need it?

Why do you need air? Why do you eat? Why do you sleep? Why do you ask me this question?

This has been something that I have been answering a lot lately. This is actually what spurred me into writing this post. With National Novel Writing Month quickly approaching, many writers are struggling with this concept. Some are even throwing their hands up in disgust and giving up because they focus on their characters and end up with no plot, no world and no purpose for them. When asked about this.... they'd get offended and say their characters are the plot.

No, your characters -- no matter how beautiful or wonderful -- are not your plot. You need a plot. Get over it and make one. Start with your conflict. Once you know what the main conflict and the climax (The most tense, story changing event in your novel) it is MUCH easier to figure out the rest of your plot. Just remember, you do NOT have to have all of your plots tied to the climax. Side-adventures are allowed. In fact, they are encouraged. They can add a lot to a story even if it may not be directly related to the climax. Your climax is very much your defining moment in the book.

And why do *you* feel like you need to tell me why *I* need a plot? Who the hell are you anyway?

I am just a writer like any other. I just love the craft so much I feel the need to ramble on about it. You don't have to follow my advice. It is, after all, just advice. Do what you want. But, your story will be much better off with a good plot.

And if you somehow manage to get me to critique your book, you won't get the lecture about plots and realize 80,000 words in that your story is actually lacking a defining plot and you need to rewrite the whole thing -yet again-. If you fail to get a good plot, you will end up doing a full rewrite.

I know I have fallen into this trap.

As a side-note, a good plot does not need to be a complex plot. Sometimes the best plots are the simple ones.

Now, as I promised early (Look, Ma, I kept my promise. Really, I did!) there is a situation where plot... well, who needs it? National Novel Writing Month!

All the rules are gone for this. If it is fiction, have fun. Write whatever. No plot? Pfffft. Who needs a plot anyway? The point and beauty of National Novel Writing Month is to enjoy writing. To accomplish something you haven't before. By all means, throw aside the wicked plot and just write. You might be surprised at the plot that sneaks in, but do not be afraid to experiment and play. It isn't for the professional, but for that scared little writer who really wants to write a book but needs the experience.

Don't worry. You can worry about your plot on the next book. November is for you, new writer.

On Characters

2010-09-22T09:37:00.004-04:00

There was an interesting discussion on twitter that I would like to bring to your attention. In its most basic form, the discussion was on whether or not stories with a second-chance theme should always result in a happy ending for the character in question. This spawned some discussion on how some individuals hated how a character had to die anyway even if they found redemption.

In turn evolved into a discussion on the question of whether or not writers who coddled their main characters told as powerful of a story as they could.

No. No. No.

The character you love to write and protect is the character many readers may very well end up hating to read about. Strife and conflict are often the heart of the story. In the real world we often do not like to experience these things. They hurt us and make us suffer.

When I read I find myself drawn to the character who struggles and persevere. I am even more enthralled when a character struggles and fails to persevere. When I read, I wish to submerge into a story where the odds are defied even if success is not automatic. It makes the ending all the sweeter.

You damage your story when you protect your main character. Don't do it. Let your character fall. Let your character suffer.

If your character would die in the natural flow of the story, let them go. If you need to get a box of tissues and bawl your eyes out do so. But let them go and allow your story to thrive.

It is very easy to fall into the trap of becoming attached to the character. This is not necessarily a bad thing. However, you should fall into the trap of loving the story. A good character does not make a story. A loved character does not make a story. A good story makes a good character. The advice of character-driven stories is a good one to follow. However, character-driven does not mean spoiled rotten. It really does not mean pamper them.

It means make them the driving forces in your story. But your story is something much bigger than any one character.

When you select your main character, you need to pick the character that is in the thick of things. Don't pick the one you like the best if they are only casually observing the entire book. Do not pick the character that has nothing to do with the conflict. Do not pick the character that does not suffer or struggle for the sake of the story. If you make this error, it is your reader who suffers.

While you may write for your personal enjoyment you should never forget the presence of the reader. While you may give birth to the story, it is the reader that breathes life into it.

It is your main characters which are the vessel for your story's existence. If you think you are clever by having a main character who does nothing at all, chances are the story will suffer for it. It may not happen every time. A talented author -might- be able to break the rules in this regard.

But there are very few observing characters with the charm and inherent ability to be in the right place at the right time as one Watson crafted so diligently by Sir Arthur Conan Doyle. There are few authors so blessed in their craft to pull off this tricky skill with success.

There are few readers with the patience to deal with the failures of this type of story.

People do not read out of necessity. They read out of desire to do so. (We will leave school assignments out of this for now. Most people do not go to the bookstore and buy fiction novels for school assignments.)

So where does this leave you?

Here are a few tips for selecting your main character. Answer yes/no to these questions. If the majority of the answers are 'yes', your character is a good candidate to be a main character:

1: Is your character always in the thick of things?
2: Is your character critical to the resolution of the conflict?
3: Does your character cause conflict?
4: Is your character present in the majority of the story?
5: Does your character survive through 3/4ths of the novel?
6: Is the character a 'round' character?*
7: Has your character suffered?
8: Does your character have a likable personality?
9: Does your character have a background and history?
10: Do you care about the character?

* A round character is a well-developed character that defies the stereotypes. A flat character is your cookie-cutter character that serves a purpose and that is that. The stable boy that you see for ten pages is typically a flat character. Frodo from Lord of the Rings would classify as round. 'That Admiral' Lord Vader suffocates at random for getting mouthy would classify as flat.

Of course you do not need to answer 'yes' to every question, but it is a very good idea if almost all of them are yes. These are qualities that tend to make a strong character. Let us take a good look at a well-loved favorite: Harry Potter.

I am strongly confident that Harry would get a ringing 'yes' to all of the above questions. He suffered. He persevered. He was easy to like. (Sure, he whined... but he was still easy to like.) He was written in such a way that I felt it was obvious that Rowling enjoyed writing this character. He was *always* there, always in the thick of things. He caused as many problems as he resolved.

Almost every character that I truly love gets a ringing endorsement on all of these things. The stories that these characters are in are only made that much better for the presence of these characters.

In the previous post I discussed character detailing. In this one, I want you to consider the heart and the soul of the character and not just where they have been.

There is a proverb: What does not kill you makes you stronger.

Let your character be a 'living' example of this. And when they die, let them leave a lasting impression.

That is the least you can do for the people who will read your story. After all, as a writer, it is the reader that you wish to entertain.

I hope this makes you ask a few questions about your characters and their purpose in your stories.

Character Detailing

2010-09-13T10:06:00.000-04:00

As I have matured as a writer, I have found myself forming the habit of making very detailed notes about my characters. While I will often leave the general plot points flow as they will in the rough draft, it has become a habit to try to flesh out my characters as much as possible.

There are several reasons for this. The primary one is that I am building a world that is shared among several novels. By doing this I build a familiarity with the world that allows me to write new stories in the same general locations. By sharing locations I give myself the opportunity to decide if I want a light story or an epic story and have all of the materials I need to just sit down and write at leisure.
One thing I have noticed is that this process is not an easy one. I am going to share with you some character detailing from one of my books. I will also explain why I feel this information is useful for me.

There is no right or wrong about detailing your characters. This is not a post to tell you how to do things. However, if you are interested in creating a thorough plot and a world of your own, this may be of use to you.

Hair: Blond
Eyes: Blue
Height: 5'2"
Weight: 135
Real Name: ***plot note

History: ***plot note – Heritage details

Timeline:

1602, Age 10: ***plot note
1602, Age 10: ***plot note
1604, Age 12: ***plot note
1608, Age 16: ***plot note
1608. Age 16: ***plot note
1608, Age 16: ***plot note.
1609, Age 17: ***plot note.
1610, Age 18: ***plot note
1610, Age 18: ***plot note
1615, age 23: Married
1619, Age 27: First Born
1621, Age 29: Second Born
1626, Age 34: ***plot note
1637, Age 45: Third Born
1637, Age 45: Death of Wife
1638, Age 46: Death

The first section of my character notes I dedicate to physical statistics. These are stats that I use frequently. Someone of 5’2” that is male I would describe as short. 5’5” would be of average height; over 5’9” would be tall. I view the average female between 5’3”-5’5”.

Next, I have their real name. In the writing program I use, the main panel has me put their first name, last name, date of birth, date of death and occupation. Unfortunately, I have to follow the ‘real world’ calendar on dates. I randomly selected the 1500-1600s as the date range I would be working with. This may or may not carry over into the novel. I picked the months based off of the seasons. Regular months do not exist in my world, but rather a series of holidays that separate the year, the seasons, and the number of moon cycles within the season… there are terms for these spans of time, but I will worry about those as a last finishing detail. For now, the 12 month cycle is enough to give me an idea of the seasons.

The ‘History’ section is notes on heritage or anything of importance I feel I need to include that does not fit into the character’s timeline.

The timeline is major events in the character’s life and the year they occur.
Consider me paranoid, but I am not going to expose the plot of my novel to the internet at random. That is why I have used the handy ***plot note function. I left the things at are non-plot critical. :)

When I am setting up the timelines, I find that having the ability to look at the year something occurs help keeps plot bunnies at bay. It also gives me a feel for location. If I know that in this year, a character was somewhere doing a specific something, I can make certain that the events surrounding the character are more consistent at a glance. This prevents a character from being at two places at one time. I have done this before. It was rather embarrassing.

Once I am completed the timeline, I will add the following traits:

Personality: Fun-Loving, Affectionate, Prankster, Care-free
Skills: Rope Tricks, Horseback riding, Archery

These traits were randomly selected and not a part of the actual character, but meant as a demonstration. Once I have selected the Personality and Skills traits, I embellish on their levels with the trait and how it alters the behaviour of the character.

This becomes the foundation for the character. As I write the story, I will add to the timeline by marking seasonal notes. Example:

1637, Age 45: Third Born
Male, $name
1637, Age 45: Death of Wife
Winter, Childbirth
1638, Age 46: Death
Spring, Illness

I will try to leave the timeline as open ended as possible until the first draft is done.

The worst part about doing detailed character notes like this is the time investment it takes to ensure the timelines are accurate. However, it is well worth the time investment due to the sense of world I get from doing it. It also allows me to build an overall timeline for the kingdom I am working with. If I choose to do a true epic, this will allow me to build the kingdom timeline for the continent / global timeline.

I hope this sharing gives you something to think about!

The Point of the Rough Draft

2010-09-07T09:04:00.002-04:00

There are many types of writers. There is the casual writer, the serious writer and the professional author. While there are many different subsets of writers, I find that these three basic categories often catch most people. Not all people, of course, but like a good stereotype, there is truth to be found in it.

This could also match the experience level of the writer. A serious writer, however, can still be a beginner.

What does this have to do with a rough draft? It is simple. I strongly believe that these three types of writers view the rough draft in drastically different lights.

I will make a disclaimer here. This post is on a rampage with the stereotypes. In fact, there may be some good old fashioned mockery thrown in with the stereotypes. I am not making fun of any of you. In fact, I am poking the most fun out of myself, as I can see how my personal journey as a writer has reflected on this concept of the writer stereotype in regards to rough drafts.

The casual writer -- or "My rough draft is my final draft!"

When I started my journey as a writer oh so long ago, I was convinced that I was perfect and infallible. (Please. Snort. Laugh. Just don't choke on your tea or coffee. We'd rather the audience be alive to enjoy the rest of the humor in this posting.)

My first book. I was convinced that all I needed to do was send it to some fortunate agent who would be delighted to receive what would -obviously- be a bestseller...

I have to take a short break here to stop laughing at myself.

If you are in this stereotype, please do not be offended. There are a few people in the world who can write a perfect first draft. These people are often professionals. They are also extremely rare.

They typically write extremely slowly and do extensive plotting before they write a word to the page. Sometimes I would classify their 'plot lines' as a draft just due to their level of completeness.

As a casual writer, I think the importance of the rough draft is often lost or missed in the general excitement of writing a book. You may have written many drafts or you could be working on your first. No matter what, I think that it is very important that you take a moment to consider a point:

The rough draft exists for you to find out just what your story is about. It is there for you to experiment and to enjoy writing. It is not a place where grammar rules all. It should not be the place where you edit. You should be putting words to the page with the goal of expressing what you need or want to express in a scene. It exists for your personal gratification.

Edits are for the second, third and fourth drafts. Depending on just how far you took the experimental process, you may end up with five or more drafts. This is alright.

Writing is a lot of work, but you are supposed to have fun with your rough draft.

The serious and professional writer usually share very similar views on their rough draft policies. Of course, writing is a subjective task and there is no one right way to do it. But, I have not yet met a published author who did not make use of the rough draft as an experimental toy. I even know one lovely fantasy writer who realized her one book project was actually two books and split it halfway through her rough draft.

I seem to recall her worrying about what her agent and publisher would think of the sudden change. (To throw it out there, it worked out fine.)

The rough draft can surprise even the experienced professional. Allow yourself the freedom to experiment and to play. Edits are for the second draft.

The quicker that you acknowledge that your first story or your first draft will not be publishable (and barely tolerable in some cases) you will be much better off. You may even find yourself completing the first drafts quicker and more consistently.

That said, I feel that it is important that you remember one important thing:

You must find a style of writing that suits your needs. This starts with the rough draft, and must continue right through editing and polishing.

But I think it is definitely worth noting that the poor rough draft is underestimated and underutilized. Let your rough draft serve as a powerful tool in your writing hobby or career. The more freedom you give yourself to play in your draft and experiment, the more you will grow as a writer.

Publishers and agents do not want static authors who cannot mold their style and mature. In order to mature, you need to play. In order to play, you need to be flexible.

Most of all, you need to be willing to try and to leave your comfort zones.

NaNoWriMo looms on the horizon

2010-09-05T17:26:00.002-04:00

It is that time of year! NaNoWriMo is looming on the horizon and many people are trying to decide whether or not they wish to participate.

Here is my guide for diving into NaNoWriMo face first and surviving it.

For those of you in the Montreal area, I will likely be covering these subjects in an upcoming workshop in October as well as at Con*Cept. While I am still in talks with the good folks over at Con*Cept, an appearance by the Montreal ML crew is likely.

1: What is NaNoWriMo?

NaNoWriMo stands for National Novel Writing Month. While National implies it belongs in one country, don't worry. It takes place in many countries around the world. It does not matter what gender, age or occupation you have.

The concept behind NaNoWriMo is to write a novel in 30 days. Starting November 1st and ending at midnight on November 30, your goal is to write 50,000 words. This is technically shorter than some published novels, but it is long enough to properly classify as a novel.

You can view the rules of NaNoWriMo here.

Here is a glimpse of what is required to be an official participant: (Yes, this is a direct copy paste from the link above.)

* Write a 50,000-word (or longer!) novel, between November 1 and November 30.
* Start from scratch. None of your own previously written prose can be included in your NaNoWriMo draft (though outlines, character sketches, and research are all fine, as are citations from other people's works).
* Write a novel. We define a novel as a lengthy work of fiction. If you consider the book you're writing a novel, we consider it a novel too!
Be the sole author of your novel. Apart from those citations mentioned two bullet-points up.
* Write multiple words (not the same word repeated 50,000 times).
* Upload your novel for word-count validation to our site between November 25 and November 30.

Pretty easy, huh?

Not quite.

2: Just how hard is it to win at NaNoWriMo

From my personal experiences, I have years I have won and years that I have not won. However, it is important to realize that the point of NaNoWriMo is not to win, but to experience the thrill of writing your own book. Sometimes victory is not in reaching 50,000 words, but the journey you took when you set out to do it. It does not matter if you succeed or fail. It matters that you tried at all.

3: I am not certain I have enough time to dedicate an entire month to NaNoWriMo! I have school, work, exams, etc...

Excuses get you no where. Do what you can as you can. Your goal is to write 1,667 words a day. If you know that you cannot reach that goal, set a smaller goal for yourself that you can win.

4: I really want to reach 50,000 words, but I don't know how to do it. Help!

Practice makes perfect. Writing a novel in 30 days is hard no matter how you look at it. Break your novel down into sentence sections. Sit down and force yourself to write a sentence. That goal is not difficult to meet. Anyone can write a sentence. Stop viewing your writing as 50,000 individual words that make a plot and a story. When you sit down, focus on the sentence you wish to write. If you're stuck and you do not know what to write, I find it is easier to focus on a small little piece rather than the overview.

5: This doesn't make sense. Novels are supposed to be good and well written. Why are you suggesting that I ignore my plot and focus on sentences? One sentences does not make a plot!

Oh dear. You're right! How could I have missed that? Why? Because NaNoWriMo is not meant to make a great story. In fact, I would state that NaNoWriMo is more about writing the crappiest story that you possibly can. If you do not care about quality, quantity will come. While professional writers do participate in NaNoWriMo, this month is not for them. It is for the person who has sat at their computer and wished that they could write a book. It is for those who have never accomplished something so large. It is for the unpublished writer who wants to taste sweet victory without a looming rejection on the horizon. There are no rejection notices in NaNoWriMo. The only person you have to please is yourself. If you do not have a plot but 50,000 words of rambling sentences, you have still succeeded.

You can try to write a book that makes sense later.

4: Seriously. Quantity over Quality.

It is worth a second look at. For the person who has never written a novel before, it is important that you get that first story under your belt. If your dream is to be published, use NaNoWriMo as a stepping stone. The first draft of a novel is there to find out what the novel is about. Use NaNoWriMo to make that first draft. You can repair the plots and do the other things this blog suggests in December.

5: Who should participate in NaNoWriMo? Who should not participate?

While I believe anyone can benefit from NaNoWriMo, or at least have a little fun, I think it is harder for the professional writer to get something productive out of it. Their livelihood is based on the quality of their writing. If you do not have a deadline and need to do a draft anyway, then it may be the ideal situation for a professional author. However, it really is meant for the amateur who doesn't know if they can reach 50,000. It won't stop me from participating, but I always keep in mind that I need to make certain I meet all of my requirements as a professional writer before I have fun with NaNoWriMo.

I have, however, made a point of ensuring that I won't have any contracts for November this year. /innocent

6: What do you suggest I do to survive NaNoWriMo?

I have hours of content on what you can do to survive NaNoWriMo. It won't all fit here. Not without writing a novel on the subject. To make a long story very, very short, here is a list of things that you can do to help yourself survive November.

* Get a writing partner who is working at NaNoWriMo with you
* Hook up with your Municipal Liaison. They are there to help you.
* Set aside a time specifically for your writing.
* Use sites like 750words.com or WriteorDie.com to help you focus
* Keep high supplies of caffeine and sugar within easy reach.
* Turn off IRC, Twitter, Facebook, Instant Messaging and your phone when you write. They do not help you.
* Believe in yourself.
* Ask for plot help on the forums if you get writing block. Do not sit and stare at a blank screen.
* Write something. Anything. If you're blocked, writing angry commentary about how you're stuck might help you get unstuck. It may not make sense in your book, but you are writing and that is the entire point of NaNoWriMo
* Have fun. Anything worth doing is worth doing well, but this is a chance to do well without needing quality. Take advantage of it. You don't get the chance often.
* Help others as they have helped you. Take a break from your writing long enough to help someone else. How much they help you later may really surprise you.
* Remember -- there are thousands of people just like you participating. This can quietly lift your spirits even when you question why you are putting yourself through the nightmare of 50,000 words in 30 days.

7: How can I help someone else succeed at NaNoWriMo?

Sometimes the best support is quietly letting someone know that you are rooting for them and making yourself available if they need someone to listen. However, you help someone best when you tell them they should be writing rather than chatting if they have overcome their plot problem or have cracked through their writing block. Listen if it is necessary. Nudge them back to writing when it is not.

Good luck, everyone! I will be right there with you this year, rooting you on and hoping that all of you experience and enjoy NaNoWriMo as it was meant to be enjoyed.

Suspending Disbelief

2010-09-04T13:32:00.001-04:00

While all types of fiction require that the author make their works believable, science fiction and fantasy share the need to actively suspend disbelief. Because of the very nature of these genres, failure to meet this lofty goal can result in unpleasant consequences. The worst of these being that the person reading your work is disappointed or dislikes your book.

If you are interested in selling your book to a publisher make note of this. If you cannot suspend disbelief for the average reader, potential agents and publishing houses are going to send you a rejection. If you are fortunate it will be a form rejection.

When I write a novel I try to focus on several things:

1: Making my storyline feasible within the rules of my world and society.
2: Make my characters as ‘real’ of people as I can.
3: I try to steal my character’s shoes.

But what does this mean?

1: Making my storyline feasible within the rules of my world and society.
Whenever I write a novel I set rules on the societies, the functions of magic or the processes of science that will take place. My science fiction piece has a planet with two suns. It is questionable, at the very best, that such a planet can exist.
In order to suspend disbelief I found one simple solution: the planet cannot exist for a long period of time.

In a golden cradle situation, where the planet is trapped just at the brink of the two battling suns, my characters fight for their survival by seeking a way to get away from their planet. Before either one of the suns exert dominance over the globe and it is destroyed out of that golden cradle zone where life can exist.
Weather patterns change as the planet is pulled towards the more dominant sun, and the sun that is being overwhelmed is being pulled with it. The one sun is dying a slow death, and the other will be consumed in the last moments of its sister’s destruction.

Especially as the villain accelerates the process.

By admitting how infeasible the concept is, it is possible for the reader to temporarily suspend disbelief and accept that this situation could – in the light of advanced science – be feasible.

In science fiction, suspending disbelief is even more important. A reader approaching a fantasy book wants to explore new worlds where things that cannot happen do happen. Science fiction fans want to imagine that something might – somehow – happen and want to see just how the author believes it can be so. Obviously there are some genres of science fiction that share the easily suspended belief of a fantasy book, but there are more genres that require a steady foundation and reasonable suspensions of belief.

2: Make my characters as ‘real’ of people as I can.

When I read a book, I want a character I can relate to on some level or another. Because of this, I try to make my characters as real as possible. I believe this is a key part of writing a good book. This is just my opinion, however.

Finally, 3: I try to steal my character’s shoes.

What the…?

I’m sure the shoes of these poor characters are not that comfortable. In fact, I like reading about characters that have to struggle and fail before they succeed. However, there is one thing I remind myself when I think of my characters’ shoes. If I am going to steal their shoes to walk around with, I want to be as far away from them as possible when they find out. This way, I have their shoes and I am really far away from them when they try to kick my butt.

No matter how you look at it, it often becomes a notable point that characters in science fiction and fantasy novels are really, really made of awesome sauce and could kick my butt in a street fight. I mean, really. Would you want to be caught with the shoes of a character that can shoot lightning beams out of their…
I’m sure you get the idea.

Writing is not an art where you can write about characters without leaving some sort of trace of yourself in them. It happens whether or not you are aware of it. This is due to the simple fact that when you write, you are drawing on your own skills, your own experiences and your own perceptions of how a society should be within your world. Some writers ‘get into the heads of their characters’ while others state they do not.

In either case you will often leave something of yourself behind. It is this link that will allow your reader to see glimmers of things that they can relate to with your characters. It is also this relation that will help you suspend disbelief.
I am not suggesting that you make every character a cookie cutter form of yourself. However, you need to somehow ensure that there is enough of a ‘human’ side to your characters – especially the protagonists – which they can believe in what these characters are doing.

The further outside of the realms of normality you stray the more important that this becomes.

Read your own writing and ask yourself one little question: If I had not been the one to write this, would I believe it?

Sometimes looking over your own works with a grain of salt and a lot of scepticism can help.

Good luck, writer. This is a long and difficult journey.

On Success and On Failure

2010-09-02T18:39:00.003-04:00

Today, I watched a video on facebook that made me stop and think.

It is the story of a man named Nick, who was born without arms or legs with a very simple message. If you fail, will you try again, and again, and again until you succeed?

Today, I wish to apply this message to the subject of writing both fantasy and science fiction. While this can be used in any genre of writing, there are some applications that just make more sense to use with both fantasy and sci-fi.

There is a common thread that the heroes and villains of both fantasy and science fiction pieces are healthy, strong and evil. At the very least, dramatically misunderstood. They often have to make efforts -- why would we read about these characters? -- but they almost always pick themselves up and succeed .

Usually without nearly half as much of the fuss that we feel as we go through life. (Emo or not.)

The more I think on it, I often see books or stories where characters deal with catastrophic injuries and somehow 'get all better'. Or they are given fake limbs. Luke Skywalker is a classic example. He loses his hand but proceeds to function just as if he had not lost it in the first place through use of replacement limbs. Anakin Skywalker is burned over most of his body and must use a respirator... but he is able to function just fine through the use of science and the force.

Characters are killed frequently in many stories. They are rarely disabled.

I believe that everyone enjoys a story with a happy ending, or at least the glimmer of light at the end of the tunnel, even if the ending is happy at the end. I do not think may people are comfortable about writing about disabilities, especially when it is not something that they themselves have experienced.

However, one of my favorite books of all time has a crippled boy as a main character. A catastrophically crippled from birth boy who rises above his disability to become something much more than 'just a cripple'.

It is this that I would like to offer as something to consider.

When you write, it is a daily process of getting back up and trying again. And again. And again. For every day that you do not work on your story, you have failed.

Every time you submit a novel for publication and receive a rejection from a house or an editor, do you allow this to bring you down? Does this failure mean that you lose hope that you will succeed?

As a fantasy or science fiction writer, you have the ability to twist the rules of reality to purpose the finer and more troubling aspects of life. You can turn a crippled man into a hero that can walk through science. You can play god with little regard to the real life and the real rules. We step out of the realms of normality each and every day.

But from the books I have been reading as of late, many authors do not pursue the thought of what it would be like for a cripple who does not benefit from the godly powers of science or the fantasy world they have created. Often, the handicaps characters face are emotional or magical in nature. Rarely physical.

Now, I am not saying it does not happen. It does. There are a lot of books I really enjoy that pursue this very subject. But these authors are known to push the envelope and write about things that will take you out of your comfort zone.

When you write you leave your safe, sheltered little box and step into a great big world. Many people write what they know.

My challenge for you is to write something that you do not know. Step into that big bad world and give it all you got.

When you fail, stand up and try again. And no one promised you a pretty novel on a silver platter. You will fail.

All that matters is never stopping trying to stand back up at the end of the day.

Motivation and making excuses

2010-09-01T12:50:00.005-04:00

It seems like one of the most common threads of discussion among writers is how to stay motivated. It can be hard. I fail at it myself. However, there are a few things that you can do to keep yourself going.

For me, I think one of the biggest things that helps keep me on pace is one very simple tip:

A novel is much larger than a sentence.

When I think of a novel and writing one, it is difficult to get past the scope of what I am doing. No matter how I look at it, the idea of undertaking a novel is enormous. You cannot sit down and write a completed novel in a day.

Really. I don't think it is statistically possible. Maybe if you were superman.

For those interested, you would have to write 2083 words an hour (34 words a minute) for 24 hours. Without stop. Maybe a very fast typer could manage it, but the whole lack of sleep and plot bunnies thing would probably prevent a successful completion. If you have managed 50k in 24 hours, however, I'd be interested to hear from you. What color would you like your shrine in? :)

I stray.

The point remains that the average person cannot write a novel in a day. However, the average person *can* write a sentence in a day. In fact, I would hazard that most people could write a sentence every few minutes, if they were really interested in doing so. Enough people manage to write many sentences in a few minutes on twitter.

Do not view your novel as a novel. If you have trouble maintaining your motivation when you consider your novel, view it as a connected series of sentences. Sit down, every single morning, and tell yourself the following:

Today I will write one sentence.

Sit down and write one sentence. Sometimes, just sometimes, that one sentence can bloom into several sentences. Time twists and warps, as your fingers settle into the steady rhythm of typing. Because you sat down with the goal of writing one sentence, you may find an hour has passed you by, and your moment of dedication evolved into something much better than a moment.

Do not tell yourself "I cleaned, I edited, I walked the dog. I took care of the children. Maybe I will find time tomorrow to write.

Do not push off to tomorrow what you can do today. If you have enough time to log onto twitter, check your saved searches, see who messaged you and respond, you have enough time to sit down and write your sentence.

The only person you fail is yourself. The instant you have time to go to a website like twitter, visit my blog, or go to facebook, you have enough time to write a single sentence.

After all, the greatest stories of all times began with a single sentence.

The only person that you fail when you choose twitter or facebook or a blog is yourself.

I wrote 2846 words so far today. That is many sentences.

It all started with one.

Stop viewing your novel as a novel, and start viewing it as a sentence that happens to have a lot of other siblings. Are you stuck? Don't think of the plot. Think of the next sentence. If you are still stuck, write something -- anything -- onto the page.

Even if it is something as simple as:

"I can do this."

Excuses hurt you and do not define your character as a writer. The difference between an author and a writer is quite simple:

The Author didn't make excuses.

They corrected what they were doing wrong, sat down at their computers or typewriters, and wrote their sentences.

You can do it, if you stop making excuses and start making sentences instead.

Quality will come with time.

National Novel Writing Month is coming up in November. Starting today, you can see what results practicing your sentences today can do for your writing of tomorrow.

Handwriting versus Keyboarding

2010-08-27T15:42:00.002-04:00

Hey -- sorry for such the long delay in making any posts. Things have been busy.

Today, I am going to throw to the table the classic argument of which is better: Handwriting versus Keyboarding. By Keyboarding, I mean typing your story directly to the computer.

This is not as easy of a subject as it sounds. There are lots of arguments for both. In fact, there is no one right way to do it. This is completely subjective.

This level of subjectiveness is what makes this a *fun* topic of discussion. What do *you* do?

I do both. It depends what mood I am in when I start a project. This is the key point: What mood I am in when I *start* a project. I think a very costly mistake is trying to do both at once. I write completely differently on notebook paper when I do to the computer. I don't know what it is about notebook paper, but I write to the plot, plot bunnies abound, and I usually tell an entertaining, if not horribly written story.

That said, once I go to the computer, I often end up with a better product at the end of the day. I lose the tendency to edit while I am writing, so every word I add is being directly productive.

This is just me, of course.

Here is a very small list of pros and cons for handwriting -- specific to me:

Pros:
Inability to edit
Inability to see word count
Pure story-telling
PENS.

Cons:
Inability to see word count
Aching Wrists and Hands
Need paper + Pen. Lots of pens, and lots of paper.

I really like pens. No, seriously. I love pens. You want a friend for life? Give me a pen. Costco sells pens in bulk. My husband tries very hard to avoid that section of the store.

There is one benefit to handwriting that is hard to list as a con or pro. It is the primary reason I still use what many view as an archaic form of writing. When I transfer the handwritten work to the computer, I am able to 'see' the story better. I can fix many of the plot holes, add in the descriptions I need, and track the correct character appearances. (As an aside, my characters change their looks 10 or so times each when I handwrite. Absolutely zero attempts at consistency. I will pick their 'true' appearances when I copy the writing to the computer.)

On the other hand, when I try to type directly onto the computer, I tend to develop some bad, lazy habits. This is great for projects like NanoWrimo, where the entire purpose is to write for fun and solely for fun and word count. I find I take a few steps backwards from over analyzing when I write draft onto the computer.

I think the primary source of this is my contract work as a professional writer/editor. When I see text in a word processor, my mind begins to go into editing mode.

After much thought, I realized the only way to solve it for my situation was to cease the word processor.

That said, I have not used many 'writing programs'. I consider trying them, but either they are extremely expensive or I am too lazy to follow their suggested method of doing things. I have always done things in the way that suit me best. For a more coherent example of the differences in the type styles, I will cover my thoughts on my own writing, first on handwriting and then on keyboarding.

Writing Quality - First Draft - Handwriting

Poor quality. I spend little time on spelling, while i make efforts to use somewhat proper grammar, this is secondary to getting the story told. I focus on elements that drive the story. If a description is important, I have a tendency to over-describe it. There is a lot of focus on dialog and basic character actions and interactions.

Writing Quality - First Draft - Keyboarding

Higher quality. I bog down with grammar fixes, spelling and word choice and general flow. I have a secondary focus on description, and I am less likely to include any frivolous conversations between characters. There are less plot-bunnies, but often less plot in the first draft.

Writing Quality - Second Draft - Handwriting

At this point I am copying the draft to the computer via Keyboarding. Draft quality is significantly higher. I refine what is there, kill off the bunnies and groom the ones I wish to keep.

Writing Quality - Second Draft - Keyboarding

Lower quality compared to handwriting. I am just polishing first quality draft. I end up with 'less work' because it is already on the computer, but sacrifice quality in the sense that I did not play as much outside of the box when I originally drafted.

Word Choice - Handwriting

More natural word choices. I am less likely to hit a thesaurus and more likely to just use the first appropriate word that comes to mind.

Word Choice - Keyboarding

Much more likely to use higher level vocabulary since a thesaurus is a click away.

Grammar - Handwriting

First draft grammar is laughable at best. If there is a rule for something, I have likely broken it. However, the benefit to this is learning through experimentation. Since I know sentence structure will likely not remain the same, I feel free to try new things since I know they will be corrected upon transfer to the computer.

Grammar - Keyboarding

Those green squiggles sometimes make me go back, often, and think of better ways to write a sentence. I tend to refine my grammar on the first draft. This is slower to write, but somewhat educational. That said, I don't totally trust those green squiggles. Humans are better at grammar.

Spelling...

*snort* There is no point in this entry. Keyboarding wins.

Editing - Handwriting

I have half pages chunks scribbled out. If I have made a 'this must be gone error', it is immortalized in big scribble marks. This is good for reference later.

Editing - Keyboarding

I do not track my edits on a novel to keep file size down and prevent more sources of potential crashes. I sometimes miss seeing the horrible sections I removed. If I removed a section while handwriting, it was just *that* bad.

Time - Handwriting

Counter to initial thought, I write faster when handwriting in many cases. I won't win a straight word count battle versus my keyboarding skills, but I do not stop and go. I just keep a constant stream of fairly quick writing going on. Because I am not saddled to my computers, I can write in more places conveniently.

Time - Keyboarding

If I am on a roll, I can whip out thousands of words an hour. IF I do not edit, IF I know exactly what I want to do, and IF I can ignore facebook and twitter. That is not often the case.

In a way, it takes longer to deal with handwriting because of the fact I have to copy it to the computer after. However, when I am copying, I am not using facebook, twitter and other distracting websites.

All in all, handwriting wins for when I want to write something seriously. Sigh. Now if only I could convince my husband that yes, I really need the hundreds upon hundreds of pens I want and that he refuses to buy for me...

Researching your novel

2010-05-27T11:21:00.003-04:00

One thing that some Fantasy and Science Fiction writers (and authors) fail to realize is that research should be an important part of your world building process. It is very easy to fall to the temptation of just writing whatever you want when you are working on a F/SF novel.

This should not be the case.

I have been working on a young adult novel project lately. This has some fantastical elements - ghosts, legends, myths and the kin. But, in the end, it really is about a modern girl who gets to experience some pretty fantastic things. Fantasy? In a way.

Factual? As factual as any myth or legend can be.

Researched? You bet.

But, as I have been doing the research for this project, I realized something. No matter how much I would just jump in and write a fantasy novel, I would be doing research. However, not as much research as I should have been doing.

What things should I have researched for my fantasy novel projects? Well, I will provide you a list and my reasoning. Writing this young adult, I feel, has greatly improved my ability to see a plot line and condense it into something manageable. I will go into this a little later, as there is a research element involved here as well.

1: Basic sciences.

Magic, as we all know, is magical! It is not science. However, one thing should remain the same, even if you use magic in your world. This law of science should still apply. You suspend this, and you break your concept. Suspending disbelief -- or the act of convincing your reader that this could actually happen -- is vital if you want your fantasy novel to succeed. You can do this by looking at every action taken with magic and applying a basic physics law to it.

"Every action has an equal and opposite reaction."

If you throw a fireball, there will be the same force of the fireball expanding from the explosive point. In exchange, there should be a similar -- equivalent -- cost to the user. If you have a character that can just throw around massively damaging fireballs with no consequence and no reaction, belief in the sciences of the real world will not be suspended.

If you use fire a lot, research fire. This can include materials that burn best, and materials that do not burn at all. If throwing a fireball means that your character gets hit with the backlash, how can the character best protect themselves?

Exhaustion, both physical and mental, are the standard equal and opposite reaction of magic. Someone casts a fireball, and they become tired. If they become too tired, they risk death.

In the case of a cannon, the cannon recoils. But, hey, it is magic. You can bend the rules a little. But, you should always have this little rule in the back of your mind.

I would also keep the one about "What goes up must come down" firmly in mind. Especially if you have a character prone to tripping up the stairs.

2: Location, Location, Location.

Many people have it set in their minds that a F/SF novel must take place in many different locations. In some cases, this is true. In others, it is not. However, one thing does tend to be clear: The higher the number of locations pursued in a novel, the more convoluted the plot tends to become. Do not add locations just for the sake of adding locations. More locations does not give your novel an epic feel. Your writing, your style, and your story give your novel an epic feel.

When you research locations for a SF/F novel, there will be a lot of creation. The world should be yours. However, in order to suspend disbelief (here we go again...) you need to make your locations at least somewhat realistic. For this reason, I have taken to researching the equivalent on earth. Then, I see what is nearby.

Why do large cities tend to be where they are? Water supplies. Most large cities are near some form of major water supply. My home is actually on an Island. Many people I have spoken with did not realize that Montreal is in fact an island, but sure enough... there is water on all sides. Lots and lots of water. (For those who are not familiar with Montreal, it is in the middle of the St Lawrence river in Quebec... directly north of New York State.)

New York City? It has the Ocean. Baltimore? Chesapeake Bay. Miami? Ocean. Los Angeles, San Fran... Oceans, rivers and Lakes all fairly close. Ottawa? Has a river. Toronto has a lake. Chicago, Milwaukee both have a lake. Detroit likes those lakes, too. London has the ocean...

I'm sure you are getting the idea. Pay attention to the details of your location. This is particularly true of Fantasy novels. Your people will not live in a region where they can not get their basic needs: Food, Water and Shelter. They can make their own shelter, but they are in a lot of trouble if they cannot get food or water. Sure, that barren wasteland may seem like an awesome place to put a city, but large numbers of people will not be able to reside there. Not without a heck of a lot of explanation.

3: Resources

Civilized lands need resources for trade or for crafting. The resources available are determined by your location. When you research location types, do not forget to research valuable resources. You may not mention them in your novel, but these factors need to be kicking around in the back of your mind. This is an important part of what makes your world function.

4: Politics and Religion

Both of these are something that many are advised not to talk about in polite company. They can break friendships (and couples) about as fast as a penny falling to the floor from the counter. That said, these are often driving forces behind many plots. Making up your own politics and religion is great! But, you better do your research and see just how politics and religion can change a nation -- for better or for worse. With so many politicians around the world -- professional and the type who sit on their couches and comment on it -- you need to have a good idea of what actually is going on. Hitting the history books may be wise.

There are so many more things that you can research to make a SF/F novel happen. That said, it is important that you do not lose focus on the most important thing:

Your story needs a plot. It is not a story without a plot.

A plot has a beginning, a middle and an end. It is really just a big problem that needs solved. The resolution of the problem is the climax, and the stuff after that is just wrapping up the details.

You may love to write about a character, but your character needs to serve an important role to your plot.

Often, the most simple of plots are the most enjoyable to read. The more plots, the harder it is to follow.

A few examples of simplistic plots include Twilight and Harry Potter.

I will use Harry Potter in this case, as most people have had long exposure to it.. that, plus I have not read Twilight. I might read it in the future, but we will see.

Harry potter, through all of the books, has one main plot. This is the conflict between Harry + Voldemort. There are many subsequent plot lines, but all of them actually contribute, in one way or another, to the final showdown between Harry + Voldemort.

This is very important, people. Pay attention.

Every subsequent plot, in some way or another, contribute to the final showdown between Harry + Voldemort.

Your novel needs to be the same way. Every scene, every action and every dialog somehow needs to link to your main plot line.

This will really make your life a lot easier. It will also eliminate many plot holes. Easy to fix a problem when it doesn't exist in your book. (They will exist... but they will be much more minor than if you're flying off the cuff without your primary plot.)

I will leave you to chew on that a while on your own.

Good luck!

Pitches and Queries - Part Deux

2010-05-20T13:08:00.005-04:00

This is not the first time I will delve into pitches and queries. It will not be the last time. Last time, I posted a few tips and query fails as found on twitter.

Today, I will show you the singes and burn marks from passing a pitch to a willing victim... err... volunteer.

Meet the nice folks over at @Seagman on twitter. You never know if you are talking to Aaron or Scott, but they are both great folks with equally great senses of humor. Aaron was nice enough to be cornered and take some time out of his busy schedule to rip apart a query.

As my experience with queries is limited, I wrote a query specifically for the purpose of education. My education. Now, your education. As I am shameless, I will post the entire thing for you to learn from. There are some purposefully seeded #queryfail moments. (Which Aaron caught and lectured about. I guess it is a good thing that I have thick skin.)

Now, onto the query in question:

The query itself is 166 words long. This is also a #queryfail in a whole, but it was a first attempt at a serious query.

The first noted #queryfail is the fact that Aaron does NOT represent the science fiction and fantasy genres. He represents more along the lines of mysteries, thrillers and suspense. However, this is a common issue. I was astounded to discover just how many people would query out of genre. While this was a controlled experiment, done with Aaron's blessings, I strongly suggest that you do NOT do this. Learn from the ripping of this critique. These are the immediate thoughts of an agent reading the query. Do you REALLY want an agent thinking these things about your writing? I didn't think so.

When I wrote the query, I had not intended on including any manuscript with it. Why? This was an experimental query. That said, as I was about to hit send, I decided on sending a blurb along with it. Aaron seemed to enjoy ripping through it, so I'll share with you the importance of sending only POLISHED works to an agent. By polished, I mean, spit-shined polished. That manuscript better have more luster than a pearl. I am not including the entire section that I included with the query email. I don't think I could survive the embarrassment. Yes, it is a rough draft. No, I'm not happy with said rough draft. No, it was never meant to be sent to an agent. Ever. Ah, well. The things I do for the craft.

Dear Secret Agent Man Aaron,

In a single night, three hundred years of history burned to the ground.

Propelled by hatred and racism, Danar sought the annihilation of Kelsh and her people. Unprepared and undefended, the city of Heliash toppled, her inhabitants slaughtered, captive or on the run.

Mari had returned home expecting a warm reunion with her mother, father and siblings. Instead, she found plumes of dark smoke coiling towards the uncaring sky and the stench of death. Her decision to fight her way into the city to find her family's fate hurls her into a living nightmare.

Lost, alone and despairing, Mari discovers the Tower of the Rising Sun. Never found by those seeking it and never granting its power to those who desired it, the Tower was both legend and myth.

What Mari did not expect was the high price the Tower would demand.

Burdened with a pledge unbreakable even by death, Mari must stop the demons of Danar, even if it means the destruction of her soul.

Thank you for your time and consideration,

Rebecca J. Blain

Faint screams drifted on the gusting winds of the Sariano plains. The acrid stench of burning flesh assaulted Kari, the force of it so great she yanked her horse to a halt. The dark mare tossed her head and snorted, ears laid back. Falling over the saddle’s horn, she clutched at her mouth with a hand, fighting the waves of nausea that sought to overwhelm her.

Kari blessed the stars and the sky that Luna was so well trained. Legs braced in place, the horse patiently stood as she struggled to sit upright. Kari’s lungs burned as she choked and coughed. While the smoke was not thick, the putrid odor was so vile that her stomach churned despite her best efforts.

Her throat swallowed and convulsed as she sat up. Days of sweat and dirt had a unique and disgusting scent of its own, but it bought her the precious moments to steel her nerve and her guts.

After all, days on the road without a bath gave her plenty of time to adjust to that smell.

With the dark tendrils of night falling over the plains, she did not dare kick her horse into a gallop to climb the hill and discover the source of the sounds and scent. Turning Luna into the wind, she settled on a sedate walk.

_Goddess above, what is happening here?_

Kari knew the stench of decay or of burning bodies but that did not make it any easier to endure. She had survived two wars that bore more death and hardship than she wished to remember. The smell was reminiscent of the aftermath, the sacrificial pyres of the dead so that the survivors might not die of disease even as they recovered.

--

Now, onto the critique.

Dear Secret Agent Man Aaron,

This should be just Aaron, or Mr. Montaine to impress my mom.

In a single night, three hundred years of history burned to the ground.

Nice opening line. No, really. I like it.

Propelled by hatred and racism, Danar sought the annihilation of Kelsh and her people. Unprepared and undefended, the city of Heliash toppled, her inhabitants slaughtered, captive or on the run.

This is kind of interesting, except . . . why? Besides the whole hatred/racism thing, why does Danar want to annihilate Kelsh? That's not something you hear every day. Also, is Danar male, female, a unicorn? Is Kelsh a city or a queen? And I'm not sure what Heliash has to do with Kelsh, Danar or the unicorn.

Mari had returned home expecting a warm reunion with her mother, father and siblings. Instead, she found plumes of dark smoke coiling towards the uncaring sky and the stench of death. Her decision to fight her way into the city to find her family's fate hurls her into a living nightmare.

Danar, Kelsh, Heliash and now Mari . . . I'm already getting dizzy. I suspect Danar took care of Heliash, and is now going after Kelsh, and Mari is, I assume, going to be the savior. I'm pretty sure most skies don't care, so to specify that this particular sky is "uncaring" is a bit of over-writing. Also, hurling into a living nightmare is not very specific or descriptive. Is she tortured? Raped? Forced to watch Dancing With The Stars? Those are living nightmares.

Lost, alone and despairing, Mari discovers the Tower of the Rising Sun. Never found by those seeking it and never granting its power to those who desired it, the Tower was both legend and myth.

This is a bit confusing since she's lost, yet finds a tower no one else has found. She should buy a lottery ticket. And if she finds it, it is technically no longer a myth. The language is nice, but it doesn't tell me anything. What is its power? Why does everyone want to find it? And since the House of the Rising Sun was a brothel, I can only assume the Tower of the Rising Sun is going to get busted by the cops any day now.

What Mari did not expect was the high price the Tower would demand.

Yeah, this is vague too. I get that Mari might have lost her family -- that's a big deal. Everything else is a nicely painted mish mash of nothing. I don't know what it means, and you really haven't given me a reason to care. I should care, I want to care, but I don't. Why should I give a hoot about Mari and her missing family if there are thousands of other people burning, dying, watching Dancing With The Stars? I want to give a hoot. I have too many and I'd hate to throw them out. But Mari? She doesn't deserve any of my hoots.

Burdened with a pledge unbreakable even by death, Mari must stop the demons of Danar, even if it means the destruction of her soul.

The most concrete part of your plot yet: Mari must stop the demons of Danar. But why? Okay, I understand they're demons, and stopping them is a good thing, but she must stop them? Who said? And what would happen if she didn't? Would that high price the Tower demanded get a 25.7% APR added to it? And if it destroys her soul, wouldn't that put a damper on family reunions? I mean, a soulless Mari would just sit there and eat all the Pringles.

Thank you for your time and consideration,

Word count? (I know you don't have one yet, but it's nice to pretend.)
Rebecca J. Blain

Okay, gotta go. Dancing With The Stars is on.

But wait! There's more!

Faint screams drifted on the gusting winds of the Sariano plains. The acrid stench of burning flesh assaulted Kari, the force of it so great she yanked her horse to a halt. The dark mare tossed her head and snorted, ears laid back. Falling over the saddle’s horn, she clutched at her mouth with a hand, fighting the waves of nausea that sought to overwhelm her.

Is this part of the other thing? Because it's not helping. A "gusting wind" is kind of like a "smelly fart" -- redundant and highly reminiscent of my Uncle Olaf, who was gusty in many different ways.
I don't know how a stench can assault someone, since it can't hold a club. Unless you were referring to Uncle Olaf.

The last two lines are kind of confusing since the dark mare snorted, then apparently clutched at her mouth with a hand, which means this is one special horsie. I believe you meant Kari was about to barf, but that's not what it says.

Kari blessed the stars and the sky that Luna was so well trained. Legs braced in place, the horse patiently stood as she struggled to sit upright. Kari’s lungs burned as she choked and coughed. While the smoke was not thick, the putrid odor was so vile that her stomach churned despite her best efforts.

The second line is also confusing because it's not clear who is struggling, Kari or Luna. It gets cleared up in the next line, but the confusion is still there.

Her throat swallowed and convulsed as she sat up. Days of sweat and dirt had a unique and disgusting scent of its own, but it bought her the precious moments to steel her nerve and her guts.

Okay, we get it -- three paragraphs about stinky. And it's not quite clear how her own stink gave her nerve.

After all, days on the road without a bath gave her plenty of time to adjust to that smell.

Is this really how you want to start your novel and introduce your character? Kari The Smelly?

With the dark tendrils of night falling over the plains, she did not dare kick her horse into a gallop to climb the hill and discover the source of the sounds and scent. Turning Luna into the wind, she settled on a sedate walk.

If it's all so putrid, wouldn't she go downwind and around the hill so she wouldn't have to revisit her lunch?

_Goddess above, what is happening here?_

I don't know what those little underline thingies are doing there. Just italicize it.

Kari knew the stench of decay or of burning bodies but that did not make it any easier to endure. She had survived two wars that bore more death and hardship than she wished to remember. The smell was reminiscent of the aftermath, the sacrificial pyres of the dead so that the survivors might not die of disease even as they recovered.

Back to the stink? I know the creative writing teachers emphasize using the senses, but some of the others would be nice.

--

Can you smell burned feathers? Those are mine. Once again, let me comment on the importance of never, ever sending a draft to an agent. Many of the problems that Aaron points out here I correct in edits and revisions. The draft is just that: draft. It isn't meant to see the light of day.

There was a line I bolded and italicized. Why? It is my favorite.

You will get burned as you write your queries. Take a moment and learn from mine. You can also learn from @Janet_Reid and her awesome @queryshark. I strongly recommend following Janet, her shark, Aaron and Scott. You won't regret it.

You will see a mention of using _ rather than italics. I had been fussing with an easy way to find out where I was using italics in a file and they were throwbacks. I typically use italics! That said, look at your agent's submission guidelines. Some agents absolutely do NOT want to see italics. Others want to read it as they would read the novel. Watch your submission guidelines very closely. Remember, if you do not prove you are capable of reading their guidelines, the agent will not believe you are capable of writing.

As a fare-thee-well, I leave you with a gem from twitter:

@Seagman Will the owner of a query missing a name, address, etc, but sent from the email "ILoveMyShnookies" please claim it in dumpster. Thanks.

Pub Tips and Query Fails!

2010-05-13T10:29:00.002-04:00

I love Twitter. It is a wonderful source of information, tips and people.

Today's blog post serves two purposes. First, it allows me to procrastinate starting the massive spring cleaning efforts I must begin as soon as I am done writing this. Second, it allows me to share with you one of the resources I truly love.

I will make comments as needed. However, most of these are rather self-explanatory.

Enjoy! The format is as follows: The name of the person who made the post, then their post.

LindaEpstein

#pubtip Can you at least try to hide that your query has been forwarded to 10 other agents? Those blue forward lines are distracting me.

emilyreads

Dear random author: For the last time, I WILL NOT EAT YOUR COOKIES. #pubtip

agentgame

Reading a query that was interesting up until the part where it said the wordcount was over 390k. Don't do this. #pubtip

(Why: Most epic fantasies, even the 'long ones', tend to cap at 250 words. There are exceptions, but not often. If you're writing epic fantasy... do yourself a favor and save the 500,000 word monstrosities for book #2.)

Ginger_Clark

Authors, the following words have VERY different meanings, so stop mixing them up: important/impotent; prostrate/prostate #pubtip

BostonBookGirl

Finishing your 100,000 word book in 10 days is not a selling point. Might be true, but don't put that in your query. #pubtip

LindaEpstein

#pubtip Novelists: if you're not done writing it, it's not time to query an agent. No matter how "good" it is. Query when it's complete.

tor_intheory

an MFA, while it may improve your writing skills, does not make you more publishable or guarantee you success as an author #pubtip

LindaEpstein

Eight sentences. Only seven paragraphs. #queryfail

... twitter has failed and won't let me access the older posts to get out some of my favorite query fails. That said, please head over here for #queryfail and here for #pubtip. Both of these feeds often have a lot of excellent resources for writers. It is really an eye-opener to see just what gets an agent riled up.

Self-Editing

2010-04-27T22:19:00.002-04:00

This post is going to go out into far left field. I have no posted in a while, so I figured it was about time I made some progress on blogging. This will cover, once again, personal references so there will not be a lot of outside sourcing. This is what *I* do. Please do not judge what the rest of the writing world does based off of what I do. My methods may not work for you.

First, I will cover self-editing. This is a very personal matter, but a very important one. When you write a book, you need to know how to edit your own writing. A professional publication house is there to make you and them money. It is not there to clean up your poor writing. Do not just submit crap to an agent, editor or publisher. Before you even dream of submitting, it is vital that you do a lot of self-editing.

Self-editing should occur before you send to anyone for critiques. This is important because you need to grow as an author. In order to grow, you need to practice. In order to practice, you need to do.

It is very easy to fall into the trap of editing what people say you should edit. For this reason, you should try to self-edit on your own before you send it to even your first readers. First, you should be able to catch spelling errors by reading through your writing. You would not even begin to believe how many times I have typed 'and' when I meant to type 'had'. Spelling errors like this are often not picked up by spell and grammar checking programs. This is human error that a computer cannot typically correct, so you need to be on your guard.

When I self-edit, this is the process I take:

Step One: Read the piece.

I will read the section of writing anywhere between one to five times. It varies, really. If I wrote slower and had less stupid mistakes, I may not need to re-read it more than once or twice. If I was being sloppy as I was writing, I will need to re-read it several times. Mileage may vary.

Step Two: Correct Obvious errors.

Step Two occurs as I re-read it the first time. As I read, I will correct simple errors as I spot them. This may not work for everyone. It does not distract from my reading as I do this, so I can get away with it. Some people get distracted and cannot handle this. You need to find your own rhythm. Once again, mileage may vary. No matter when you correct the obvious errors, these need to be addressed. I like to get them out of the way first so I can focus on the more challenging things later.

Step Three: Correct the Not So Obvious errors.

I have to revisit step one to do this. Once I have corrected the obvious, easy errors, I read through the piece again. OUT LOUD. I will even record myself reading so I can listen to it. (Voice recorder in windows is a great tool if you have a mic.) There are several reasons for doing this. First, if you read your novel or story out loud, you can hear if your pacing is all right. If you run out of breath before you finish speaking a sentence, your pacing is wrong. Every sentence should be easily spoken. Length of a sentence is vital, as long sentences are often grammatically incorrect and difficult to read. Taking your time with this phase can make a huge difference.

Step Four: Allow your writing to sit for a day.

Taking a day off to work on something else or plot a different story helps me focus come editing time. This may not work for everyone. I will try to plan my drafting so that I finish on a Friday and start edits on a Monday. This gives me the weekend to relax and clear my thoughts, as well as put a little space between me and the writing.

Step Five: See Step One.

Rinse and repeat until you have a polished draft. Then send it off. If you can avoid first readers until you are DONE the first draft and polished, you can spare yourself a lot of anguish. So, you might have to do massive edits or a second draft... so what? You finished your draft. A bad critique can cause a new author to lose hope. Once you become a professional author, your editor or book publisher typically will NOT hold your hand every step of the drafting process. You will have a deadline you will be expected to meet. Accept this reality and work towards streamlining the self-editing process so that it works best for YOU. What works for me may not work for you.

Self-Editing will help you enhance your writing style while also improving the quality of your drafts. You do not have to write a perfect draft the first try if you can focus and put in the work to make it into a perfect manuscript.

Conflict - The Heart of the Plot

2010-04-12T11:20:00.002-04:00

As a writer, I find myself working on various plot lines. Often, I have more ideas than I know what to do with. To make matters worse, I sometimes try to use too many ideas in one novel or series.

In order to combat my own ambitions, I decided to try something a little different. Instead of focusing on the random ideas, I decided to pursue more of the conflicts and less of the exact scene concepts and other mechanisms I enjoy working with.

This led to some interesting research. What, exactly, makes a good conflict?

No matter how many ideas that you have, all of them will be made worthless without a good conflict to make your story alive. You may have these excellent ideas on a character design. But, what good is a character without the conflict to make them grow?

In order to know if you have the necessary conflict, you must first know just what a conflict is.

There are several types of conflicts. Let us go into them:

Man versus Man
Man versus Himself
Man versus Environment

These are the basic types of conflicts. I am no expert on conflicts. This is the entire point of delving into this subject. As usual, this is my take on the subject. Do with it as you please. I will list some resources you can reference at the bottom of this post.

Man versus Man

This can be a lot of things. This can be society issues, wars, rivalries... anything where a man is pitted against another man. Political drama, for example, would fall as a man versus man conflict. This can also be physical struggles of a man versus another man.

Man versus Himself

This is the personal drama, the internal conflict. This is the hero who has to struggle with the morals of killing off an innocent in order to save the lives of man. Internal conflict is a very common type of conflict. In my opinion, it is almost necessary for a good story. Every novel that I have truly loved has had some form of man versus himself conflict.

Man versus environment

This can fit almost anything that doesn't fit himself or man. Be it fighting fate, fighting off natural disasters, or any circumstance that is outside of the control of man *or* himself would fit into this category. I tend to view fighting gods and fighting fate all a part of the man versus environment category.

Now that you have an idea of what the types of conflicts are, just what can you do with them?

I have made the error of writing stories without significant conflict. The stories were fun to write, but they really did not have any purpose. Conflict is what hooks a reader. A story with no conflict is a ship without water. It may be beautiful to look at, but it really would work a lot better if the ship had an ocean to sail on. Characters are the same as that ship.

I am going to use Harry Potter (JK Rowling) as an example of a story with conflict. No matter what critics may say about the writing style of these works, Harry Potter is full of conflict. This is a part of what draws so many people into reading these books.

Without spoiling the books for those who have not read the series, the conflict begins as man versus man. A boy with an unpleasant family. In this case, it is the boy versus his family. Then, it becomes a tale of a man versus himself versus man. He has to struggle with his own personal problems while dealing with his family *and* with the big bad guy of doom. This is dumbing it down as much as it can be, of course.

No matter which way Harry turns, Rowling throws problems at him. She throws him directly into problems. Whether he goes looking for conflict or not, it comes to him. Frequently. This keeps the story moving forward.

And, as she resolves one conflict, she naturally brings in another. Each conflict is a stepping stone towards the resolution of the major conflict. Best of all, the hero does not always win the battles.

Conflict should drive your stories. Ideas should not.

Some resources:

Short Story Elements

Literary Elements

Wikipedia on Conflict

A long time coming - Writing from Experiences

2010-03-30T16:23:00.003-04:00

First, I must apologize for the very long delay in blogging. Things have been hectic, and I have not had time for everything.

This post will be shorter than my usual, and it will not be full of links or resources. This is a personal journey, and as such, it will be my thoughts. Today, I want to comment -- briefly -- on writing from your experiences.

From the length of time that you have maybe noticed from my previous post to this one, a lot has happened. There has been family drama, the death of my great uncle, and other things which I do not wish to delve into.

A lot of drama and personal problems often results in a writer not writing. It happens to me, and it happens to those I know who also write. However, this is the perfect time to be writing. The experiences are ways to have you as a writer delve into the real pain, tragedies and personalities of characters. If you want your characters to be real, give them real emotions.

To learn those real emotions, examine your own emotions. Examine the emotions of those around you. That is how I try to make my characters real.

Crap happens.

Me, I'll use that crap to my advantage.

Once I get done digging out from a back log of other things I must get done, I will resume posting useful tidbits of information, but it will be at least another week or two until that point.

Cheers!

Writing a Pitch

2010-02-25T10:13:00.002-05:00

I have been hoo'ing and humming over writing this post for several weeks. It is something that is asked for frequently, but also something very difficult to actually write a guide for. There are several reasons for this. The most obvious one is that my experience with pitches is not as much as I could hope for it to be. This is one of my weaknesses.

That said, it doesn't seem productive if I just post to you a series of links that are on the subject of the pitch. That does not seem fair to you, who is struggling to make your way through the writing world just the same as I am.

That said, I have a great deal of experience pitching for freelance writing. Without a good pitch for this, I lose my contract to someone else. Because I charge more than the average person, I have to have a really good pitch to get any contracts at all. (For those of you not aware of the freelance writing market at the moment, it is not a good picture, as the demand for quality is far, far less than it used to be. Passable English suffices, which means many of the people want to hire those from India who charge significantly less than a cent per word for work.)

Now, onto the good stuff.

First, I would like to direct you to view the Post-Mortem of the pitch fest over at Johnson Literary. Unfortunately, the pitches themselves are long since gone, but this is a good overview of what was submitted.

Next, I would like to direct you to Elana Roth's Anatomy of a Query Letter. There are tied together as your pitch is an important element to your Query Letter.

However, as this is about the pitch itself and not about the Query Letter, let us focus on the Post-Mortem.

Let us begin with the initial statistics so kindly provided. Of 164 submissions, two survived the pitch to become full manuscript requests. This is a very low number, and a very good representation of what you need to do as a writer. There are lots of individuals putting out pitches. You need to learn how to present your story as one that stands out.

Four were invited to send in sample chapters. This is promising, but not quite as grabbing as those two who made their one hundred words go the distance.

That is right, ladies and gentleman. One hundred words was the limit for these pitches. And, an agent can tell, just from these one hundred words, whether or not they are interested in your story.

Before I go into my speech regarding the word count, I wish to point out that seventeen people did not follow Elana's directions on what she was looking for. You may think you are God's Gift to Readers, but unless the agent is interested in your style of writing, please don't submit to them. You are wasting your time and theirs.

That said, there is no reason you can't, if the situation provides itself, learn from these agents or even be professional acquaintances. Knowing people is a very good thing. Wasting their time is not. Please do not waste the time of these agents. They are busy enough without having to process a manuscript they cannot properly work with. You may have an interesting pitch, but these individuals represent a certain style of work because that is the type of work they enjoy reading and selling. Sure, a domesticated cat can hunt mice, but a dachshund is much better equipped to deal with a badger. Don't make your cat hunt a badger, it will end poorly for the cat.

Let us return to the Pitch Fest itself. First, the rules were simple. Each agent wrote a list of requirements for their pitches. They all wanted different types of stories, and were clear in what fields they were interested in. Then, there were a series of instructions. For example, no more than one hundred words. The paragraph below is exactly one hundred words so that you can see how much each writer was given to work with.

This is a demonstration of what one hundred words looks like. This is only to show you exactly how much space that these writers were given in order to present their characters and plot to an agent and get them completely interested in it. One hundred words, unfortunately, is not really a lot. However, it is sufficient to prove your writing skills and whether or not your story is interesting. With a required count so low, it is important that you understand that every word must count. Only then can you make your pitch as viable as you possibly can.

I had the pleasure of reading the pitches before they were removed from the site. There were some interesting stories present. Some used as few as ten to fifteen words. Others used too many words! There were moments where I was scratching my head and wondering where the pitch was in their pitch. There were others that made me want to grab their book and read it.

Your goal, when you write a pitch, is to make the agent want to grab your book and read it.

This is strictly my opinion. I am no professional pitch mistress, and every agent wants something different in their pitches. However, this is what I picked up from talking to agents and reading pitches from others. I will call these Rebecca's Rules of Pitching.

1: Make every word count.

This should be obvious, but when you pitch, every word must count. If the word does not serve an immediate purpose, it should be removed. If it does not forward your pitch or add to the intensity of the story, it should be removed.

2: Pitch only to agents who are interested in your work.

Don't pitch a fantasy or science fiction novel to a romance agent. They won't be interested, no matter how interesting you think your book is. This applies to every genre. Don't send romance to science fiction agents, don't send non-fiction to a mystery agent. Pick your market properly.

3: Pitch to your market.

Every agent likes something different. Many agents have pet peeves. When you are considering pitching to an agent OR a publishing house, see if you can find blog posts or other information that reveals their pet peeves. See if you can find out what interests them. By pitching to a captive audience, you greatly increase your chances of a manuscript request. Remember, a pitch may or may not include chapters. You want your potential new agent to be alive with interest in your story before they pick up the first page to read.

4: Grammar. Use it.

Please try to use good grammar when you pitch. Your pitch is a presentation of your writing style. Don't close the door to an agent or publishing house through being lazy.

5: Love your pitch.

If you are not on fire with enthusiasm with the quality of your pitch, then it is not going to be suitable for an agent or publishing house. Enthusiasm is contagious. Agents can often detect, just from writing style and presentation, how much a writer puts into their story just from their pitch.

6: Grow thick skin. You'll need it.

Many writers will see many rejections before they see an acceptance. The same applies to your pitches.

These are points I've picked up from reading the experiences of other people. I do not know how well they will translate into how well I pitch.

I had been intending to show you some of the pitches for a 140 character or less pitch fest I did with some individuals during NaNoWriMo, but somehow, these pitches have disappeared. Seeing as I have people coming over in an hour or so to fix my cable, I need to get cleaning. This post is not nearly as long as I would like.

Perhaps I will revisit it someday, and that someday, I will even include pitches of my own to share.

Writing a Critique

2010-01-29T15:42:00.003-05:00

I have covered how to accept a critique or criticism. Now, it is time to learn the art of writing a critique. This is a skill that many writers take for granted. There is a wealth of things that you can learn from taking the time to review other works that are not of your making.

Before we begin on the methods of how to write a critique, I am going to try to impress upon you the value of critiquing as I have experienced. This may not be truth for everyone. These are my experiences. At the end of this blog post, I will provide a wealth of information on what others think. For now, I will pursue my own thoughts and opinions.

1: The Value of the Skill

In order to critique, you must be a critic. You must look at writing with a new eye and judge every word. Every word must bear value and weight. The story must retain the simplified elegance that intrigues and captures.

If you can write a good critique for others, you are well on your way to being able to critique your own words. This is the true value of the skill.

When you see errors in other works, you will begin to identify those same errors in your own works. This is another added value of the skill.

When you correct grammar in someones work, you will begin to see how your own grammar is flawed. If you find a sentence that does not flow well, you may even search google to find out why it does not flow well, in efforts to teach the person you are critiquing. In turn, you learn a great deal more of the craft that you would if you had not taken the time to help someone else out.

As if these things were not benefit enough, there is a sheer, simple joy in sitting down and reading. You can see the starts of a story blooming before your eyes. If you are so fortunate, you can follow the story's progress towards a publisher. Should that great day come where that story is then published, you can bask in the glow of knowing you had helped that author along the way in some form or another.

To me, there is great value to the skill, and great value to the act of doing a critique or edit. There are days I sometimes wish to quit writing and become an editor just so that I can enjoy these benefits day to day. It would not be a bad life. However, I love telling stories even more than I love editing.

2: The lasting effect on others

When people set out to write a critique, it is often forgotten the lasting consequences of their critique on writers. Writers are often flighty folk who wear their heart on their sleeves. Even the most thick skinned of us fail at keeping some particularly stinging critiques from temporally crushing hopes.

In the worst of cases, these temporary emotions turn into permanent scars.

It saddens me to even acknowledge that I know a few former writers who have quit because of a critique written in such a way where it was meant to bring harm to the writer.

When you write a critique, you are supposed to be helping the person, not beating them down and crushing their hopes. Their words are not personal to you. Do not personally attack someone because of what they have written.

On the flip side of the coin, a writer *does* need to make efforts to believe that the critique is not a personal attack.

Karma comes and it goes. I hope for your sake you're on the right side of karma. A person who purposefully writes a hateful critique tends to get a slap to the face later down the road.

3: How best to benefit from writing a critique -- both as a receiver and a giver of critiques.

Like I mentioned in point #1, you benefit from writing a critique almost as much as the person who is receiving said critique. However, I find that I have to write a critique in a certain method in order to make the most of having written the critique.

I would like to call this the top ten list on things you should remember when critiquing.

While I often use 'you' in these points, please note that this is how *I* handle critiques when I write them.

First, I must find both the good with the bad. Finding the good may be harder in some pieces for others, but it forces me to focus and dig deeper into the point of the story. The same may be true for finding the bad in particularly good stories. It is sometimes actually harder to find 'bad' things about a good story than it is to find good things about what you view as a 'bad' one.

Second, you must learn diplomacy. You are allowed to be opinionated. You are allowed to be honest. However, learn to watch your mouth. I am opinionated, honest and stubborn all in one nice little package. That does not give me the right to Lord over someone as if their work is inferior to mine. There will always be someone more talented than you at writing in some form or another. You are critiquing to help someone else -- as well as yourself -- improve at writing. You are not critiquing to get a happy-good feeling. It will not kill you to be kind. It just means it may take a little longer to write that critique.

Third, you must take care with your words. This is not the same as diplomacy. If you are writing a critique on someone's writing, are they really going to take you seriously if you write: "Nice werk u did great job. U haz mad skillzors! Ur grammar here doesnt seem rite. Plz fix!"

Oh dear heavens, it hurt me just writing that. Unfortunately, I've seen it. And it made bits of my soul cry in agony. If I am critiquing someone, I should be writing at the best of my ability. The author I am writing the critique for deserves that much.

Fourth, do not waste their time. The time of an editor, agent and publisher is precious. When you submit to them, we do not wish to waste their time. The same applies in reverse. When you are critiquing, don't waste your time and do not waste theirs. This time is better spent correcting errors, critiquing new works, and improving yourself as an author.

Fifth, it takes one million bad words to write a good one. Writing a critique is writing. Ever word, every effort that you put in, goes towards improving your art at the craft. When you find a section of a story that seems 'off' or 'wrong' to you, try your hand at rewriting a suggestion for them. This allows you to practice your craft. At the same time, you may be able to help them overcome their issues with that section.

Sixth, confirm the use of your grammar before you lecture. If you spot a grammar error, hit google or another reference site and confirm that what you *think* is correct actually *is* correct. This will go a long way towards reinforcing your skills at the written craft without guiding anyone astray by accident.

Seventh, accept that they may not take your advice. A writer will often reply to a critique and thank you for the work you have done for them. Sometimes they will be rude and will not. However, accept the bitter fact that your advice is just that: it is advice that they can choose whether to accept or not.

Eighth, unless you are a paid editor, do not expect any favors (or cash) in return. Writers can be temper mental creatures. When you write a critique, do not expect anything in return except for what you learned as you tried to write the critique. If you get a critique in return of your own writing, be happy. Do not expect the same amount of work you put into your critique from them, however. This sets you up for being bitter in the end.

Ninth, do not hold a manuscript or story hostage. It concerns me that I feel the need to mention this. However, when you are writing a critique for someone, they are putting their trust in you not to expose their manuscript to harm. Treat it as you would their own. Do not steal from them, do not post your comments on public forums unless that is what they desire. The benefit to this is knowing not to make the mistake before you make it.

Finally, approach every story with an open mind. Critique genres that you are not used to critiquing. Explore new worlds. If you are a fantasy author, reading and critiquing a romance can be extremely valuable to you. After all, romance and love are emotions that people feel and experience. Why should your characters be any different? Exposing yourself to new things is never a bad thing. Your critiques of these genres may not be as useful at first, but they can make a significant difference to your own writing. Even if your critique lacks the sparkle of experts of those genres, the person receiving the critique will most likely respect the effort that you put into critiquing their manuscript.

4: How to Write a Critique

Onto the meat of this post. How exactly should one write a critique?

There are so many different ways to write a critique that I do not dare even try to go into them all. That is what the handy dandy list of critiquing methods and commentary from others at the bottom of this post is for.

What I will do is explain how I write a critique. In order to do this, I will expose you to a rough draft sampling of my epic fantasy piece. It is a small sampling which has not seen much sunlight or edits.

I hope you enjoy watching me tear new holes into myself critiquing my own writing. I didn't think to ask for a volunteer for a small passage of their work. The passage I have selected is one of my favorites. It was an experiment with writing about someones reaction to sudden deaths of those he knew. It was meant to set the tone for future parts of the novel as well. I apologize for the font differences.. Blogger is making fun of me as I try to do this. :(

All the background that you need is that a blizzard swept through a village with an environment rather similar to the tropics. I will put my self critiques in bold italics for easy spotting.

They continued their search. The brothers investigated each home with a detachment that Bion could not share. Every home told a different tale of death. Some were like Petrin’s, a calm release into a sleep that they would never awaken from. The first five homes they searched told that same tale.

I need to show Bion's lack of detachment, as well as the brothers' detachment rather than telling you about it. Things like, "No emotion showed on the brothers' faces as they peered into the ruins of the homes." should be added. A less 'fact by fact' tone needs to be taken with this paragraph to give it a deeper sense of being there.

It was the sixth that revealed the true horror of the killing cold.

Bion had gathered the courage to be the first to enter the home. In part, it was due to the fact that he was not intimately familiar with the couple who lived there. Riran and Marrany had been reclusive, quiet people. They had shown kindness to their neighbours, but respected distance and privacy. While older than Bion’s twenty four spans, they had not yet had children.

Show vs Tell, shame on me! (Egads, I did a lot of telling... I want to go pick a different section now. Mommy!)

Direct thought would be a good addition. For example,

I can do this, Bion straightened as he tentatively strode towards the door of Riran and Marrany's home. They do not have children. I do not know them well. This cannot hurt me.

Or so he hoped. Guilt at invading the privacy they had so carefully maintained warred with concern. Could they, unlike the others before them, still be alive?

Riran’s body lay close to the door. His limbs were sprawled, as though he had thrashed on the floor as he died. Unlike the others, his eyes were wide open in horror, ice crusting over most of his face. The roof had all but collapsed. Snow had fallen into the home, dusting Riran’s body.

I should probably describe wind sweeping in from the open roof above, blown snow drifting over the corpse rather than "the roof had all but collapsed..."

Bion stepped over the body, eyes searching the room.

Eyes searching the room is so cliche. Be gone, cliche! Be gone!

If Riran’s body had been disturbing, Marrany’s was grosteque. She had died naked, her hands clawing at the window as though she sought escape. Blood had frozen on her nails from where she had tried to claw through the wood and had only succeeded in tearing her fingers. Her body was pressed tight to the wall, one hand still clutching at the window sill above her head.

I like this paragraph. I will need to think on whether or not I wish to change it. At this moment in time, I do not.

Bile rose in Bion’s throat. He had enough dignity to make it outside before vomiting beside the house. His body shook from shock and cold. His vision blurred as he knelt in the snow. His hands clenched into fists, his breath coming in short, ragged gasps.

“We can stop,” Halens’ voice lacked all smugness, the short man opting for sympathy.

Change it to, "Halens' voice lacked his typical, high handed smugness. Scratch opting for... it is revealed in the following dialogue.

“I don’t want your sympathy,” Bion violently shook his head and forced himself back to his feet. Wiping his mouth on the back of his glove, he turned back towards the home in steely determination. “I’m not the one who is dead.”

I like Bion's reply here. It really shows a change of personality. He comes across very meek until this point. This is when the character starts standing up for himself.

It is harder to critique yourself than it is to critique someone else. I suggest you try to practice on yourself, as I have done here. You will learn a lot. If you can roleplay it better than I, talking to the author as if they were not you, you may be able to go far with it!

I will add the good with the bad as I go through the story. I add line edits, just as I did here. However, I make a point to mention brad points and *good* things at the *end* of the critique, and a disclaimer that I mean to make no offense.

That is my critiquing style in a nutshell.

Onto the resources! More resources are welcomed. If you know of any, please add a comment and I will edit them into this post.

On Writing Critiques:
RPI.edu
Writing World - Links
Creativity Portal
Suite 101 Article
Help with Writing Critiques
Experience Festival - Writing Critiques

Critique Groups:
Critique Circle
Critters Writing Workshop
Internet Writing Workshop

Help, I've fallen and I can't get up! (Or how to resume writing if you have stopped)

2010-01-29T04:57:00.005-05:00

Before I begin with this entry, I wanted to extend a kind thank you to those who have started to follow this blog and for those who have linked to specific entries, or even the blog itself! Your support is greatly appreciated.

I write this blog with no intent to profit or benefit from it beyond having taken the journey doing it. As you've probably noticed, I have not added ads to the blog, nor will I ever. I do not even have a donation button. So, that anyone has taken the time to respond to this blog at all is extremely valuable to me. I hope that you continue to enjoy and make use of the things I have learned.

In addition to this, I would like to point out -- once again -- that these are my opinions. I try to support my opinion with the opinions of other writers. Sometimes, I even find some facts out there on the internet! Please do not swallow every word I say with blind trust. I want every person who reads this blog to reach out and come to their own conclusions. If it happens to be inline with mine, that is wonderful.

Now, onto the real subject.

Something I hear about frequently is that a writer friend of mine has abandoned writing or has not picked up their pen in months. Some made the long haul for Nanowrimo and have since jumped off of the bandwagon. In some cases, they face-planted directly into a mud puddle. This often just adds insult to injury.

It causes a bit of pain to realize that I too have suffered from this syndrome. I think all writers do from time to time.

I have some insights that I have developed, oddly enough, without much influence from others. Writing is a very personal journey. For me, even more so. I'm fairly willing to hand out copies of my work to people who want to read if I have any trust in them whatsoever. However, until the moment I dedicated myself to posting to this blog as I became inspired to, I had not shared many of the details of the actual journey itself.

This post, I warn you now, is extremely personal for me. Because of this, I will be opinionated, stubborn and sometimes surly. I may even sound grumpy. (That may be due to the fact that it is 5:19 AM and I am looking at a draft with 61,661 words and I don't want to type a word because I really enjoy the look of that word count.)

Yes, I am procrastinating.

In order for this post to make sense, I will have to tell you a bit about two projects I am working on. This is relevant, because this is what I had to do to dig myself out of the latest hole I have buried myself in.

I will also warn you that this post meanders in all sorts of directions. If you're looking for the nice, neat and tidy posts you are used to. . . look away. Quickly. This is the union of a pig sty with chaos. This may sound angsty as well. In a way, it is. Emotions tend to be angsty things, and these are some of the darker emotions of writing.

The Projects!

Project One: My epic fantasy series. (As of yet, Untitled)

This is the novel series that I started with NaNoWriMo '09. I have 61,661 words to it at the moment. I have done some drafting, I have done some minor edits, and I have done a lot of world building for this story. I am writing slowly. After November, I admit to having done the inelegant face-plant directly into a pile of ....

... I'll let you imagine just what I fell into.

This story is my love child. It has been hard for me to write, however. I have strayed outside of my normal comfort zone and have not only pursued an epic, but I have pursued a story where people die. I have pursued a story that delves into grief, joy and difficulties. I have pursued a tale where a man must give up the things that he loves in the hopes of protecting them and giving them a future, only to find out that those hopes and those sacrifices meant nothing in the end.

I pursue a tale where men and women struggle for things that they believe in for the sake of people other than themselves. I pursue a tale where these same people then sacrifice those things they have fought so hard and long for in hopes of doing something purely for themselves.

This is a tale about building a future through a shroud of tragedy. It is a dark epic that finds glimmers of light in the oddest of places.

It is action and adventure paired with a little romance. And lust. (What is a good story without at least a little bit of lust, after all?)

I fell off the bandwagon on this story for a few reasons. As I mentioned before, it is difficult to write. I do not like writing of the deaths of people, even fictional. I have always been a fan of those stories where many people somehow manage to survive against all odds.

This time, I sacrificed those people. I let people die as is their fate. If someone is struck through the heart with an arrow, I allow them to bleed and become a statistic.

I have let main characters survive and die as necessary. After all, these people are but human, and humans are fragile.

So, I admit, I did get a keen sense of pleasure from killing off the random villages and describing their fates. There was something thrilling about the process. Also, there was something gleeful about making some of my friends squirm as I discomforted them.

I love a good, dark epic fantasy. So, this is my journey to write one. But I fell off! Woe is me.

Project Two: Ten Years Later (Tentatively titled: Darkest before the Dawn)

Yep. I revisited the world of the epic fantasy ten years later, on a different side of the continent that the main story takes place. Characters from the epic reappear. Ones who have not yet been introduced earn their keep. Ground work on "What Happened After?" is set into place. A few major players from the epic have minor roles, but are not the stars.

The star of this book is someone who does play a major role in the epic. However, she is not a major character, nor does she have a long term role. Her story did not begin until after she died and became a witch.

Er.. what?

In my world, in order to become a witch, you must first suffer fatal injuries. In a sense, it is a divine intervention of sorts. The powers of a witch are powers of nature, and a tie with nature that can only be completed once she (or he) has experienced all aspects of life. Including death.

If the person who dies is to be a witch, then he or she survives the injuries after walking through the shadows of death, of a sort. It is those "I have seen the light in the tunnel and somehow survived" type of people, who by all rights should have died. More people with the power to become a witch die than actually become a witch. It takes someone - or something - with a lot of dedication to keep one of these people from dying completely.

In this character's case, it was a bit of both.

This story is also a dark tale, at least at first. However, the main point of this story is a story of hope. It is the story of someone who has lost it all and has somehow survived despite that fact and has a glorious chance to take it all back. With an indominable spirit and a desire for vengeance, this witch goes on to not only serve justice, but to reclaim everything that she has lost.

It also touches into grief and healing, but is mostly a feel-good story about someone who does overcome those odds.

This novel was how I picked myself up off of the ground.

How I stood back up

After NaNoWriMo '09 ended, I think I wrote maybe 1,000 words a week total. Of which I deleted more words than I added. Very counterproductive, that. In furstration, I put it aside completely at the end of December, flailing in general. Who doesn't, sometimes?

I knew where I wanted to go with this story. I worked hard poking at it, but the inspiration that is still with me was having trouble coming to the surface. It is a form of writer's block, but somewhat different. I had the entire story, I knew what I needed to write, I knew what was happening in the scene. I just could not get myself to type the words onto the computer.

When coupled with a general sense of failure, this can result in tragedy for a writer. And the inability to put words to the page.

So, I asked my husband one day to buy me some writing journal or another. I wanted to jot down some story idea or another that was rattling in my brain.

He came out of the store with a pack of four 16 sheet journals.

Truly, these were the bestestestest things I have ever laid my eyes on. I squealed. There is a yellow, a blue, a green and a pink journal in each pack.

My creative juices had a collective freak fit and went into a state of catatonic shock. Who ever would have thought something so simple as a 16 sheet writing journal could make such a difference?

Armed with these journals, I began to write random stories. I had two false starts before I found project #2 kicking around in my skull.

The first 24 hours resulted in 6,400 handwritten words.

By the weekend, I had 12,800 and had the starts to a story I was really satisfied with.

After the shine wore off a bit, I found myself right back to where I had left off: saddened, discouraged and thinking I would never get a project properly finished, edited and out the door.

I took a step back, blogged a bit to motivate myself, and glared at my computer.

Then, I fell onto the solution of my problem.

Belief.

For one critical moment, I believed I could do this. I just had to figure out how. So, I made this expression at my computer and my writing paper: >:|

Project One is my dream novel(s). It is the story I wish to publish and share with the world. I had reached that precipice and stared into the abyss. The abyss stared back and mocked me.

No one is going to help pick you up when you fall. You must do it on your own. I realized this and started trying to find out just how to do it. I sat on my rump and reflected and found that I still had that critical belief in myself. It had just gone into hiding into some dark, dusty corner. It was a skeleton in my closet.

Just to repeat this: No one is going to help pick you up when you fall.

People will say kind things and try to help, but only you can help you get back up at the end of the day.

This is kind of painful to write about. And embarrassing. But, I am human, so there we have it.

Again, just in case the first two times weren't opinionated and stubborn enough:

If you want to be a writer, stop relying on other people to pick you up and start relying on you. People, like me, will tell you kind words or mean ones trying to motivate you. But at the end of the day, when you fall in the mud, you need to believe that you can stand back up. An agent may love your story, an editor may shower you with praise. A publication house may pick up your story. However, none of this will ever happen if you do not believe that you can make it happen.

Now, onto the next stage of recovery:

Remembering to Write

Life gets in the way. Some of the time, I just forgot to fit writing into my day. I got distracted by shiny objects or by how warm and comfortable my bed really was and how much I enjoyed sleeping.

I cannot tell you how to remember to write each day! I fail at it miserably enough. (I am one week in of non interrupted writing. I feel like I'm succeeding at rehab.)

One tip I can suggest: Never ever take a day off completely. Write one sentence at a minimum. Once I fail to do that, it is sometimes a month before I pick up my pen again, which is totally unacceptable if I wish to become a professional author, as I do wish to do.

Finally, making progress!

Once you have gotten back up, it is easier to stay on the horse than to get back on after you have fallen. Train yourself not to give up. Once you do, you have to go back and find those shreds of belief and motivate yourself. This is hard. Oh, is it ever hard. But if you sit there and tell yourself that you can do it AND you actually do it, good things will happen.

Oh, yes. Good things will happen.

Believe. Remember to Write. Make it Happen.

Three very simple things that are extremely difficult to do. But, I stand by it. Hindsight is rather good for me, and each time I have fallen off, this is exactly how I ended up getting back up on the saddle and riding off towards that gorgeous sunset.

Now, as soon as I submit this and drink some tea to soothe my frayed nerves, I will exceed that shiny 61,661 word count. I want 75,000 by Monday, and they will not write themselves down.

By Friday, I want 85,000.

Two weeks from now, I want 100,000.

Can I do it?

I don't know. But I'm back up on the saddle, and I refuse to fall just yet. If I do, I will get back up.

But, I can thank four little 16 sheet writing journals and Project Two for helping me get the courage to resume on Project One. I will continue to write Project Two as a reward, but I have rededicated my focus back onto Project One where it properly belongs.

I would like to note that I had five spelling mistakes in this entire entry. For writing at 5-6 AM, not bad!

Also, a piece of advice before I find some fancy schmancy quotes to share: Do not forget to take your tea bag out of your water. It leaves unpleasant surprises an hour later.

Quotes on Motivation, Inspiration and anything else I feel interesting at this hour:

Dreams are extremely important. You can’t do it unless you imagine it. – George Lucas
A man is not old until regrets take the place of dreams. - John Barrymore
The man who goes farthest is generally the one who is willing to do and dare. The sure-thing boat never gets far from shore. - Dale Carnegie
Strength does not come from physical capacity. It comes from an indomitable will. - Mahatma Gandhi
The world is full of willing people, some willing to work, the rest willing to let them. - Robert Frost
The difference between the impossible and the possible lies in a person's determination. - Tommy Lasorda
The price of success is hard work, dedication to the job at hand, and the determination that whether we win or lose, we have applied the best of ourselves to the task at hand. - Vince Lombardi
One’s best success comes after his greatest disappointments. - Henry Ward Beecher
Don’t be afraid to take a big step if one is indicated. You can’t cross a chasm in two small jumps. - David Lloyd George
A man's doubts and fears are his worst enemies. – William Wrigley Jr.
Failures are divided into two classes - those who thought and never did, and those who did and never thought. - John Charles Salak

Accepting Criticism and Critiques

2010-01-28T07:27:00.000-05:00

Every novelist, every short story writer, every student and every person who has picked up a pen or pencil has encountered criticism in their life. Whether it is for work, school or play, the beautiful or ugly head of the critique will rear up and take nibbles from your written words. This can be a painful or a liberating process, depending on just how harsh the critique is and how thin (or thick) your skin is.

This blog post is intended for anyone who enjoys to write. It does not have to be for the science fiction or fantasy author. This blog post is intended for anyone who wishes to pick up a pen and express themselves on paper.

In fact, this is intended for anyone who has ever had the urge to get up and create something unique to themselves.

Having the courage to accept a critique and criticism is difficult for many people. Writers, painters and artists of all types tend to be emotional about their work. It is through dedication, passion and love of the craft that many pick up the pen, the brush or their instruments and struggle to make their art something that can be shared with others.

Some people never get the courage to share their works with others at all, which is the greatest tragedy of all.

Now that I have the little intro out of the way, let us dive down into the meat of this subject!

1: Asking for Critiques and Criticism

The first step to successfully surviving a critique is knowing how to ask for a critique. Every editor, reader or author critiques writing differently. If you just tell a person to "read my work and give me feedback", you may be setting yourself up for a lot of trouble. A *lot* of trouble.

Allow me to explain.

Feedback covers a lot of ground. Another writer who is reading your piece may work very hard to provide a meaningful critique that covers aspects of your story that need correction. They may, in the course of writing the critique, comment on your characters, your writing style, your dialog, your scene set-up and much, much more. They may find those little plot bunnies that have nested in important places. They might even locate discrepancies on the appearance of your characters.

For someone who is new to accepting critiques, this can be devastating. Thick skin is not something most people have in large amounts just as they begin. Because of this, you may wish to ask for certain things when you seek a critique.

Ask questions. This will help those who are critiquing know what you are looking for. If you need help with grammar, ask for advice on how to improve your grammar. Directed criticism is easier to swallow and can be extremely useful. In addition to this, if the critiquer knows that you need help with your grammar, they may explain the *why* to the rules, and not just point out that you have broken them.

In addition to this, you will want to ask your readers to avoid certain subjects if you are not comfortable with them, or you are already *so* well aware you have problems with them. This can let the reader know you're aware of the problem. That saves them time and allows them to focus their attention elsewhere. If you have thin skin syndrome, you can limit the amount of critiquing you have to swallow at any one given time.

2: Who to ask for Critiques and Criticism

If the first half of the battle is knowing what to get critiqued on, the second half is knowing who to ask for the critiques. There are many characteristics to good and bad critiquing partners. I can not sit here, hold your hand, and tell you exactly what makes a good partner for you. This is a personal process.

However, I can tell you what I look for in a partner.

First, I look for three or four basic types of people:

1: The Reader
2: The Writer
3: The Editor / Grammar Nazi
4: None of the Above

1: The Reader

This person loves books. They love reading the genre I am writing. They will dive into a story of any length and plow through it to the bitter end. They love to read.

This is the type of person I want *buying* my book. If I can't hold this person's attention, all of my work and effort has been done for nothing.

Unfortunately, it often defeats the purpose to ask 'The Reader' for specific critiques. Their feedback is so vital I tell these people to "Write whatever they feel at the time they read. It is important."

This type of critique tends to hurt the most. Why? I can't really tell them not to hit on any subject, and they are not writers. Their honesty is most valuable, but is also the most painful for me to cope with.

2: The Writer

This is your direct peer. The writer is that person who is taking the same exact journey that you are. They are trying to write a book they can share with others!

Writers tend to get together in packs. In a way, critiques from writers is similar to herding cats. There are know-it-all writers, writers with no confidence, and writers with too much confidence. There are those who are afraid to critique you honestly in fear that you will be harsh on their writing. Getting a critique from a writer is very much like reaching blindly into a bag of candies and hoping for that one type of chocolate bar that you really like.

Usually, you will get the tootsie roll. That is great, if you like tootsie rolls.

That said, I have gotten some very useful critiques from writers, but you need to be aware that getting critiques from your peer group can have its risks.

Sugar coating may be found in thick, sticky, gooey supply from this category of individuals.

3: The Editor

If you have an editor in your pocket, treat him or her like they are crafted of fine crystal and pay them in gold. They are worth their weight in it. An editor is often a reader and a writer, and blend the best of both worlds. They know the craft. They know their business.

You can trust an editor to be honest with you. It does not profit them in any way not to be honest. However, there are a few things you do need to keep in mind.

Not all editors are created equal, and not all editors are out to get you published. If you have an editor in your pocket, ask yourself if this person is actually an editor, or if they are a talented writer with editing tendencies. When I say editor, I mean a true editor: that poor person who spends their day leashed to a desk reading our manuscripts on a day to day basis.

Writer beware: an Editor is often constrained on time. As such, they will not sugar coat their commentary. Thick skin is definitely a requirement.

4: None of the Above

What? This doesn't make sense?

Sure, it does. If you have a friend who is neither a reader, editor *or* a writer, but is willing to read your book anyway, you may have something truly special.

Most people are aware of the phenomena of Twilight and Harry Potter. These books, somehow, not only snapped up the attention of those who like to read, but they grabbed those who typically did not as well.

Knowing how your book ranks among those who don't usually like to read can give you some surprising insight. You may even target those who *do* read, but don't read your genre. Either way, thick skin is required, but there is a lot to learn from those poor victims you manage to subject to your work who wouldn't typically pick your book up while in a bookstore. In fact, getting these people into a bookstore in the first place might have taken a miracle if they weren't your friends already.

3: Developing Thick Skin

So, you have identified the types of people you want to get critiques from and you have put some thought into what questions you wish to ask. Now, you need to know what to do with the critiques you do get.

First thing should come first: develop some thick skin.

The first critiques you receive may put you on edge. They may make you want to quit writing because you have been told just how terrible your writing is by someone.

First, it is okay to get upset. However, get upset in private. Never let your critiquer know you have gotten upset. Deep breaths.

This is the first stage of developing thick skin. Repeat the process until you can sit at your computer and feel like your chest is tight, but you can accept the words written on your screen. It hurts, but it helps.

Not all writers will have problems developing thick skin. However, you will only get thick skin if you subject yourself to enough critiques. It truly is a chicken and egg situation.

4: Making use of the Critique

Now it is time for you to make sense of the critique.

Read every bit of the critique before you put any serious thought into anything written in the critique. Everyone writes a critique differently. They may be disjointed, with some thoughts tying into commentary found at the end of the critique. Plow through the critique and make certain you have read all of the commentary first.

Next, go over the critique again and see what immediate points make sense. Take notes on the obvious corrections. Don't implement them now, but make certain you are aware of the changes you want to make.

The rest of the critique you will need to evaluate carefully. Does the critiquer bring up a good point, but you do not know how to deal with it? Does the critiquer mention something that makes absolutely no sense to you?

Does the critiquer comment on something that gets explained later? Sometimes pacing your novel to reveal important details can be difficult. Could this be an indicator you have failed at it?

Every critique is the *opinion* of the writer of the critique. You do not have to make use of the suggestions made in that critique. However, if you asked for a critique, it is your responsibility to at least take the time to properly read through the critique.

Yes, even if the person writing the critique seems to be a hater who wants to bring you down. Amidst their hate, they may have painful little truths that can do your book a world of good. Don't rashly discard a critique because you do not like what is written within it. This may be one of the biggest mistakes that you can make as a writer.

5: Give yourself some time

There are some errors, such as a grammar error, or a misspelling, that could use immediate repair. However, I would always put a week's worth of time between a critique and making changes if possible. This will give you adequate cool-down time and also permit you to clearly think of the best way to improve your story.

Granted, some people do not have the luxury of this time. Especially with looming deadlines.

What others have to say on Critiquing and Criticism

This would not be a very good resource blog if I did not include resources on critiquing and criticism.

Information on how to critique a novel: (I am not responsible for some of the horrendous colours found on these pages. My apologies, but the information was quite useful, even if I could live without the neon pink.)

Writing a Critique
How to Critique Fiction - Victoria Crayne
Vancouver Public Library - Novel Critique Section
Fiction Factor

And as a treat, a few quotes for your reading pleasure!

A successful person is one who can lay a firm foundation with the bricks that others throw at him or her. - David Brinkley
Criticism is prejudice made plausible. - H. L. Mencken
It is not the critic who counts, not the man who points out how the strong man stumbled, or where the doer of deeds could have done better. The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood, who strives valiantly, who errs and comes short again and again, who knows the great enthusiasms, the great devotions, and spends himself in a worthy cause, who at best knows achievement and who at the worst if he fails at least fails while daring greatly so that his place shall never be with those cold and timid souls who know neither victory nor defeat. - Theodore Roosevelt
Criticism may not be agreeable, but it is necessary. It fulfils the same function as pain in the human body. It calls attention to an unhealthy state of things. - Winston Churchill
Any fool can criticize, condemn, and complain but it takes character and self control to be understanding and forgiving. - Dale Carnegie

Statistics and Writing

2010-01-26T14:51:00.000-05:00

Twitter is quite an amazing website, especially if you are interested in learning about the in depth details of certain industries. I peek at twitter a few times during the course of the day, which spawned an interesting conversation. Thanks go to Jane Smith and Carole Blake for bringing this subject up to my attention. If you have a Twitter account, I suggest that you follow both of these ladies. Carole is a writing agent, and Jane is a writer and editor who has a little blog that you can find here.

The article in question can be found here. I suggest you read it so that you are aware of what I am speaking of.

There are many, many opinions on the writing world, which in turn includes the discussion of publishing through a publishing house (see Tor, Penguin, DAW, Random House) or through a self-publishing agency (see Lulu). Both have their advantages, both have their disadvantages, and both have those supporters who believe one or the other will be the death of the publishing industry.

For the sake of argument, publishing houses are oranges and self-publishing agencies are apples. We all know that comparing apples and oranges can cause problems. Mixed together, they can make a delicious drink. In this case, they only cause problems. Perhaps the self-publishing agencies should be milk in this example. Then you could see how milk curdles when you add orange juice to it.

I have a few issues that i have with the article that I linked above for your reading pleasures. Above all, he compares apples to oranges and expects grape juice as a result.

What do I mean by this? Let me show you.

As Jane Smith mentioned on her twitter:

Para numbered 5: "The average book in America sells about 500 copies"
Paragraph numbered 8: "And the average new book generates only $100,000 to $200,000 in sales"
From that we can assume that the average book price in America is $200-$400. See the problem?

Apples and Oranges, ladies and gentleman. I preserved her tweets as they were in their form, only switched around so that they are easily read. (Twitter organizes by time published.. so it reads backwards according to regular logic.) This is directly from our discussion.

In the self-publishing world, it is true that the average book will sell somewhere between one hundred to five hundred copies.

In the publishing house world, a book is not viable for publication unless it can pay for the advertising and the editors that work on each book. As such, they need books to sell significantly higher in order to be viable. Because of this, the quality of writers for these publishing houses is also higher. After all, most self-publishing agencies do not require quality checks in order for a book to be printed with them. This is the beauty of print on demand. However, this lack of quality control is exactly why many of these books never make it onto a book shelf.

If you are a writer and wish to become published, just as I wish to become published, open your eyes, take that pinch of salt, and swallow it. While I try to expose the in depth world of writing to you even as I take that journey myself, you need to make certain that your sources are reliable.

Every advice, every grain of knowledge, you should approach as if it were a spider. Sure, some spiders are harmless, but others are quite poisonous. Some spiders even enjoy being pet! Others will put hairs in your eyeballs if you even think of trying it.

Even publishers have opinions. Just because an agent or a publisher states something is so, it is your responsibility to check your sources. If a publisher states something? Find out just what type of publisher that they are. Every genre is different. Harlequin, for example, functions far differently compared to Tor.

I might suggest you buy salt in bulk. It will save you a little money down the road.

Now, I will approach the meat of this, and go into what I feel are some of the misleading aspects that you should in turn research for yourself and make your own conclusions on.

Point 1: On Book Growth.

Truth: Self-Publishing has picked up phenomenally.
Misleading: Self-Publishing number focus does not indicate the health of the standard publishing industry. It just shows that people are willing to dip into their own pockets to see their book in print in any form.

Point 2: On Book Sales

This is misleading. First, he doesn't account for aspects like the recession. Inflation aside, that there was any increase at all % wise is phenomenal. That means people are still spending money despite that fact that many people have lost their jobs and have less money to spend in the first place. Second, he does not mention if the sales are by book or by retail value of the book. These numbers are rather meaningless in the long run. Nor does he account for whether or not these are publishing house or self-publishing sales. These are two totally different industries.

Point 3: Book Sales, by the book

Read this carefully. Then, I refer you to Jane's commentary above. She says it best.

Point 4: On Stocking.

Once again, I return to the differences between self-publishing and a publishing house. Of course many books will never make it on the shelf. Most people who purchase a self-publishing option acquire an ISBN. This allows them to be put on the shelves. This does not mean that the bookstore will be willing to carry a book from an unknown author without the backing of a legitimate publishing company. That would be like putting a blindfold on and driving 95 miles per hour down a busy highway. Someone is going to crash. The bookstore would be making a rather stupid error if they took every single self-published novel and stuffed them on the shelf. They want novels from the major publishers that have a good chance of being sold.

Point 5: How hard it is to sell books...

Of course it is hard to sell books. It is much harder to sell a book unless you have a name for yourself or you have a reliable company vouching for you. I don't know about you, but I choose TOR and DAW books over other publishing houses because that is the type of writing I enjoy reading. I am certain many other people have similar preferences.

... to be blunt, I have made it to the half way point and I am spluttering. There are many misleading details. Each one of these points could have their own blog post of notable length to the entire blog post in question just clarifying where these numbers come from.

Statistics, ladies and gentleman, are often assumptions that support your opinion. When someone mentions a statistic, I get nervous.

When someone mentions a statistic without specifying which of two very different industries it comes from... then I get disgusted.

Please be careful about what you believe. A nice presentation does not necessarily mean that something is true or completely accurate.

Personally, I will judge the publishing industry by one simple fact: There are books on the shelves that I have not read and wish to buy. So I continue to buy books.

Until the day comes where I cannot find an interesting novel or four to buy in a bookstore at any one given time, I do think the publishing industry is safe enough. Especially if you go with a reliable publishing house.

How to Procrastinate

2010-01-20T11:14:00.000-05:00

Procrastination.

The beloved art of finding anything to do other than what you need to do.

Procrastination, my friends, is the death of a writer. It is very easy to stop writing because there is something else more interesting to do. Time keeps marching on, and writers who procrastinate are left in the dust. Let us face the truth: a writer who does not manage their time well will have a very difficult time succeeding at being a professional.

That said, I'm a procrastinator. I love the thrill of approaching a deadline and needing to chop to make it. It is an adrenaline rush that I should live without but somehow manage to always bump heads with.

However, I've become a bit of a trained procrastinator. Over the years, I have learned ways to procrastinate while still doing things that are useful. Sometimes, procrastination is the mask for resolving an internal writing block. Doing something else helps me break a block, and fairly quickly. In that aspect, a bit of procrastination is a useful thing.

Unfortunately, I am quickly learning that time is something that you have a lot of when you are young and a lot less of as you age.

I'm in that little special place in between. Now, I wish to remove my urges to procrastinate. This is a lot harder than it sounds. The human species is a creature of habit. Once you are into the habit of procrastination, it is very difficult to remove the habit of procrastination. This sounds terrible. Oh, believe me, it is.

Building good habits is like quitting smoking. It is easy to say, "I wish to quit smoking". It is not so easy to stop lighting up and quit.

I'm just glad I don't smoke. I don't think I could handle trying to deal with that many habits at one time!

This will be a reoccurring subject. As I try to get into the habit of using my time better, I will add little blurbs to my posts on writing to tell you all just how I am doing at it. I expect there will be a lot of failures in the near future, as I balance contract working, my epic series, and the other novels that I wish to write. Then, I want to add in some more writing related research...

... I am sure that you can see where I am going with this. I'm already procrastinating on getting done any one of these things by making this post.

Today, I need to do a lot of things. I am going to try to hop to it. Let us see if I manage to manage my time better today.

With that said, here are some sites relating to procrastination, why people do it, and what you can do to stop doing it. If you procrastinate like I do, maybe you will want to try taking this little journey with me.

I will say this much: there are thousands of references on procrastination. Below, you will find a handful if you really don't have anything better to do with your time! I suggest you look at the causes and cures section. I am.

What is procrastination?
Wikipedia's Entry on Procrastination
Psychology Today - 10 things to know about Procrastination
Carleton University's Procrastination Research
Cal Poly's Reference

What are the causes of procrastination?
UNC.edu's reference
Reference Site, Causes of Procrastination
Suite 101's entry

What can be done to stop the habit of procrastination?
Mind Tool's Beating Procrastination
John Place Online
Canada One
Montgomery College

What other writers have to say about procrastination!
John Perry
Paul Graham

And as a final tidbit, famous quotes on procrastination!

"Nothing is so fatiguing as the eternal hanging on of an uncompleted task. " - William James

"Procrastination is the art of keeping up with yesterday. " - Don Marquis

"Anyone can do any amount of work, provided it isn't the work he is supposed to be doing at that moment." - Robert Benchley

"The two rules of procrastination: 1) Do it today. 2) Tomorrow will be today tomorrow." - Unknown

"I do my work at the same time each day - the last minute. " - Unknown

"Never put off until tomorrow what you can do the day after tomorrow. " - Mark Twain

I was also asked, randomly, to add a short entry on what my fish Cortez thought on Peanut Butter. Cortez reports that he would surely like to try Peanut Butter, but his mother is an evil tyrant and will not permit him to try it for fear of what peanut butter might actually do to a fish. He thinks this is entirely unfair, and that he is a noble Betta Splendens, who is afraid of no fish, no food and not even death itself!

Maintaining Motivation

2010-01-15T09:39:00.000-05:00

Maintaining motivation is one of the most challenging aspects of being a writer. It is very easy to say, "I am a novelist!". Making the attempt or writing a novel, regardless of whether or not you make it to publication, is a very large and sometimes frightening task.

Straying back from posts that are based firmly on my experiences, I have dug out a few references that speak for themselves. However, I do have my own tips and strategies that I use to stay motivated, which I will share with you. If you're interested in my ramblings, go below the delicious links I have provided.

A few sites with references on how to stay motivated:

TheWritersSite.com
Writing-World.com
Wikipedia's Reference on Writing Motivation
FictionFactor.com
TheAdventurousWriter.com
Time to Write - Blog

... there are hundreds upon hundreds of motivational sites. There is no way I can list them all. This is a mere sampling of the motivational resources available to you. If you want more, I suggest you go to google.com and start a search.

What I do for Motivation

I set goals and rewards for myself.

There are many different goals I will dig out of the closet and remove the dust from. These skeletons, for that is exactly what they are, tend to reside in that closet for along time. However, when I am down, these goals sneak their way out. The bones creak as they move, but they -do- move. There are some goals that stay with me for a very long time, but I will often set a tiny goal that will be immediately stuffed into that closet to decay. These goals are meant to motivate me right-here-right-now. They are not a long term solution to any given problem. They are a tool for me to get up off my lazy rump and get to work. Here are a few examples of some goals and prompts I use! Rewards are also a great way for me to get cracking. However, the rewards must be small. You'll see some examples below.

Write 500 words
Kill A Character Prompt
Kill a Village Prompt
Save a Village Prompt
Torment a Character Prompt
Write a short story in one hour or less and submit it somewhere
Spend four hours writing today.
Reach $x number of words by end of day today on $story.
Get up an hour early to write.
Go to bed an hour late to write.
If I finish $x number of words, I get chocolate. (Mhmmm chocolate.)
Convince significant other it is a good idea to go out for dinner if I finish $x hours of writing this week.
Buy new candles if I write $x hours of writing this week.

Goals and rewards? They work, but only if you ensure that you do not reward yourself unless you succeed at your goal.

I write about what I enjoy.

This should be obvious, but if you are having a hard time writing, change what you are writing to something you truly enjoy. This will make the writing process less work and more play. You can't always do this, but it is a good way to up your motivation when you are blocked or having a bad day. Jump to a scene you have been looking forward to, if necessary, but continue to write. Sitting down and writing is the main priority here. You don't need to always keep every word written.

I write about what I know.

Having knowledge on a subject often makes writing about that subject easier. If I am struggling, I often do not have the knowledge I need to successfully write the section I am having trouble with. If this is the case, I move onto something I know now, and use research time to get the knowledge I need to continue with the section I am working on that is giving me trouble.

If I get blocked, I start a new temporary project.

Sometimes I just lose motivation for a story altogether. I've written myself into a major plot hole, or I dislike where the story is going. This is a common issue. I have an expedient fix for this: I start a new project and give myself a certain number of hours to work with it. This lets me clear my head of the frustrations of my main project. This is a common tactic among writers. However, make certain you only give yourself a certain amount of time to work on the new project. You are using this to clear your thoughts not to replace your project

I focus on my goal.

Focus, focus, focus. This is a mantra that should be repeated. Become a pitbull and refuse to let go of your goal. My goal is to publish. I have to remind myself never to lose sight of this goal for the chocolates or the dinners or the short term rewards of being a writer. Every word I write is a step closer towards the summit. Publishing a short story, or even a novel, is not enough. It is to write, and publish over and over again. This goal will never end, for it begins anew when a project is completed. It is sometimes easy to lose sight of a goal that is far in the distance.

I give myself a day off.

We all need mental health days. Just don't take them every day.

Identify my bad habits.

Knowing why I fail is almost as important as standing up from it when I do. Failure is a crucial tool. Identifying my bad habits is knowing why I fail and learning from it. Once I have identified it, it is up to me to fix the problem.

Quotes

Quotes are something that motivates many people for some reason. I am no different. Here are a collection of quotes that motivate me when I am down, or keep me going when I am up on cloud 9 breathing the clean air of success.

"Do you know, I always thought Unicorns were fabulous monsters, too? I never saw one alive before!' 'Well, now that we have seen each other,' said the Unicorn, 'if you believe in me, I'll believe in you."- Lewis Carroll
“Two roads diverged in a wood, and I -- I took the one less traveled by, and that has made all the difference.” - Robert Frost
"Try not to become a man of success but a man of value." - Albert Einstein
"Every artist was first an amateur." - Ralph Waldo Emerson
"Men do less than they ought, unless they do all they can." - Thomas Carlyle
"Happy are those who dream dreams and are ready to pay the price to make them come true." - Leon J. Suenes
"He who has imagination without learning, has wings and no feet." - Joseph Joubert

The Plotting and Revision Process

2010-01-11T10:33:00.000-05:00

Greetings!

This post will be similar to my map post. This is from my personal experiences and will not link out to other people's works, as some of my other posts have done. However, as editing and revisions are an important part of the writing process, I thought I would lay out how I am editing my epic novel series, just in case it proves useful to you. Feel free to use my method if you desire -- that is why I am posting it after all.

An epic series, whether it is science fiction or fantasy, shares one thing in common with every other epic series: length and detail. While I have been drafting this series, I have noticed one thing: my brain simply needs assistance keeping all of the details in order. The first draft got the general idea of the story onto paper, developed my characters so I have an idea of their personalities, where they start and where they go, and ensure that I have a good idea of where I want the story to go.

The revision process is making all of these details coherent and stick together. This post will relate, in some ways, to the devious plot hole post.

However, instead of covering how the plot hole is found, this will cover how I fix them.

For this project, I am using word 2007. I have the full version of it, which is proving invaluable.

Coupled with word 2007, I am using One Note. One Note is a journal program that is bundled with Office 2007. It is nearly as invaluable as word 2007 is. I'm quite fond of it. Thank you, Microsoft, for making a product that has behaved itself fantastically. However, that doesn't stop me from making backups out of sheer paranoia.

Now that I have listed my tools for this, I will make one commentary: my husband is cheap and didn't buy me note cards, so I had to make due without. He told me I could waste all of the printer paper I wanted, though. I will probably print 'note cards' for some parts of this process. For now, I am just using One Note and seeing how it goes from there.

An epic fantasy novel has a few characteristics. It has many characters, many lands, many cultures and many events going on throughout the world. For the sake of demonstration, and because I recently read the books, I will use David Edding's Belgariad and the Alera Codex as examples of *why* I'm doing this as I have.

If you have not read either of these series, I strongly recommend it. The Alera Codex (Jim Butcher) is very, very entertaining. The Belgariad I consider a classic.

The first thing I will note about both of these series is the rich characters found in them. The Belgariad typically follows two points of view: Belgarion and Ce'Nedra. Others are thrown in, but you mostly see the world from these two young folks.

The Alera Codex is deeper. It follows many PoVs, ranging from Tavi , his mother, and a long range of supporting *and* main characters. My novel shares the Alera Codex's methodology and character range. I found that my epic just could not be done with only one or two points of view.

Either way is fine.

While the Belgariad does not go into more than two direct PoVs (seriously at any rate), you get to see many other characters on the rate. Where Eddings' excels is through his ability to stay true to his characters. They grow and change, but you never go "What the heck, this character would not do this!". He builds up to the important roles as much as necessary. The Alera Codex uses characters that are deeply shadowed in shades of gray. They are mysteries and you never know exactly what will happen next.

I am attempting a blend of these two styles.

So, in order to accomplish this, I have to take all of the ground work that I have done in my first draft and put it to words. When I drafted, I went in with nothing but a keyboard, a copy of word 2007, and determination to get it done. Thus, I started to write. I did make the error of not pausing to write down character information as I went. I was too eager to get the story onto paper.

So now I have a lot of extra work on my hands. I suggest you write this stuff down as you go. It will save you time. However, it is very useful for rereading your story for plot holes if you do not choose to write it down as you go. I'm still torn a bit on which way I prefer, so I do jump back and forth between the methods.

My first step was to open One Note and start laying out my journals. Currently, I have the following journals made. Please note that this is a work in process and I am by no means done the general plotting footwork of this novel.

Characters, To Do, Kingdoms, Char 1 Plot, Char 2 Plot, Char 3 Plot, Char 4 Plot, Villain Plot

I have removed the names of my characters, but Chars 1-4 are the main protags / antags. The villain plot is the general overview of the bad guys ploys -- this involves more than one or four individuals with different stories, but a more concise, cohesive force. This may be different for others, but my main protagonists are not very cohesive, at least from the start. Because of this, I have to weave their plots separately. If my good guys were more united (such as Mercedes Lackey's Valdemar Heralds) I may have just had an Antagonist Plot and a Protagonist plot. However, this is not the case with this specific series. I will be adding a general Protagonist Plot tab, but I will mostly be working with the specific char plot lines.

So, let us delve a little deeper into what I'm doing with these journals!

Characters

This is the major list of my characters. I have cp'd a small snippet of the type of things I'm including in this listing. As I write sections that introduce or name these characters, I write down at least the very basics about them.

Age	Gender	Hair	Eyes	Build
24	M	Pale	Blue	Tall/Muscular

Personality	Likes	Dislikes
Easy Going Loyal	Horses Traveling Haggling	Combat Arguments Cunning Women

This is a bare bone model for a character. The more advanced the character, the more in depth I will go with this. However, this is the minimum I will tend to use if I name a character. I use this as a basic template, then build it as needed. Things I include for more common characters are the clothes that they wear, their professions, etc. This is a very good start for me when it is a minor character. (All major characters also start it this sort of information.)

Let us go a little into the specifics. I try to be as clear as possible when I write out this information. I want to remember what I meant later. For example, build is purely physical, just to help me remember what they look like a bit. Obviously, every character has different needs, so it is up to you to decide what is best for your book.

I have a section in this journal for every named character, regardless of whether it is a protag or an antag.

To Do

Next we have the To Do list. These are things I need to do in the near or far future that I do not want to forget. In this journal, I have several sections.

General To Do List
Character Modifications
Plot Hole Fixes

This list will grow as I progress in the novel. The novel will not be complete until I have addressed all of the items in my to do list.

Kingdoms

This section ties in with that big maps file I have. For every kingdom listed, I am working on defining the political, economic and cultural aspects of the people of these kingdoms. In a way, these kingdom sections in the journal will become general templates for the people found in them. There will be a section dedicated to the stereotypical behavior pattern, classes and beliefs of the people of these kingdoms. This section is a massive amount of work. I am approaching this by listing all of the kingdoms and basic general points about them. When my characters are active in a kingdom, I flush it out to make certain it is consistent with what I have written. Some of these kingdoms may never actually find their way into the novel as a major role, but it is important to know regardless.

Character Plot Points

Plot Point #

Main Plot Point

Second Point

Third point

Fourth point

Importance

This is the basic template that I am using for the plot points. This will help me get their overall plot written out. Each Plot Point # will become a section of its own. I may have several Plot Point #'s per a chapter, but each plot point # will only have one Main Plot Point. This is to help keep all of the threads of the plot organized. I may add another column to reference previous plot point numbers so I don't have to dig back as often. The second, third and fourth points are to make small notes of important things that occur based off of their importance. I may have three or four things listed under secondary points. The Importance is just how vital this point is for the success of the plot I want for the novel.

I will use variants of this for all of the character points *and* the villain points.

This is the basics of my structure. Once I have the plot points listed out, I may print out the One Notebook as my note cards, cut them out per plot point and use that to determine where things should happen.

I am chewing on whether or not to have a "date of event" column in my plot. This may be very useful keeping things in chronological order, but I am still uncertain if I will do this.

Now that you know how I structure my notes for revisions, I can begin the rewrite. This is the second draft, and may or may not use sections from the original. I have some sections that will remain mostly intact. However, a lot of the sections can use improvement. While I will keep the general idea of the passages, I will not necessarily keep the exact wording. However, some gems will remain in the final novel! I know some of my more powerful sections will be remaining with some revisions for the sake of consistency.

The second draft is about letting that editor come out and play. While I will be doing a lot of writing and rewriting and working, I will be picking apart every section to make certain that I do this correctly. Writing in this stage is slow. When I work, I expect 500 to 1,000 words per hour. This is rather slow compared to many others I know. However, unlike some events during the year, Quality trumps Quantity. However, time is precious. If you are serious about novel writing, you will remember this. Time is precious. Do not waste it.

Good luck with your writing, and I hope this proves of some use to you!

The Art of Mapping

2010-01-06T12:37:00.000-05:00

If you are writing an epic length novel of any genre, mapping is important. I don't know about the rest of you, but I find myself deluged in plot holes, consistancy errors and many other problems if I do not have maps.

So, I am going to share with you the efforts of the past day or two.

In order to create these maps, I used gimp 2 and a wacom tablet. This can be done with a mouse or with tracing paper and pencil. Regular paper won't work as well due to the fact I try to make 'layered' maps -- if you're really willing to splurge, you can use see through drafting paper. These *can* be done on printer paper, but it is a lot more work.

Before I start showing you the maps, please note that these are a work in progress. I'm not finished with them by any means. However, I have enough of a base to use as a guide for how I make maps.

With my current novel series, I am using a single continent and a set of islands. As this is the scope of my novel, this is all I am mapping for now. Eventually, I will add a world map. If you have a lot of sea trade, you may need your world map immediately. However, most of my novels take place midland, so the sea trade aspects of my world aren't necessary for my novel.

The first step I use to generate a map is to draw the landmasses.

Thus, Map 1 is born. This will become the base for the rest of my maps.

Map 2 is the kingdoms. I will use this to colour in political regions, economic regions, religious regions, territories of influence, etc. This map is uncoloured.

Map 3 is the kingdoms map with colour fills.

Map 4 is the religious regions. This world has broad areas of influence of primary religions.

Map 5 is the general geographic lay of the land. This elevation map is used to help me determine what resources would be found where. This is a significant map, as it really helps determine my trades. I view the economy as a very important part of a world setting.

Map 6 is an elevation map with -major- rivers. This does not include every creek in existance. These are the major waterways in the land, as well as notable lakes.

Map 7 is the elevation and river map with the coloured kingdom maps + the outline overtop. This lets me get a general view of where the kingdoms are situated in accordance to the land and terrain types.

Map 8 is one of the hardest maps to generate. This is a village / town / city map of one of the kingdoms and surrounding regions. This map is no where near done. However, there are a few interesting things to note here. First, I have laid out the route that one set of characters takes. Squares that are a yellow orange are visited locations. These are locations I need to generate note sheets for. I have done roads for locations on the route. Blue Xs are major cities, red xs are larger towns, black small x's are villages. Green squares around Blue Xs designate largest city in the kingdom, and typically where the ruler resides. Some kingdoms have several ruling parties, so each city with these parties are labeled with the green square. As you can tell, this map hasn't been cleaned up yet -- but I can see where the rivers are at, as well as the country borders. This area doesn't have any elevated major locations, so you can't see the elevations. If it was in a region with elevations, you would see those markings as well.

For each kingdom, I need to make a repeat of Map 8. This is extremely time consuming. Other maps I am planning on adding are resource maps. These will go with elevation / river maps, and denote things like trade routes.

How every person maps is different -- this is just my method of doing it.

Now that you have seen the maps, I will go into a little detail of how they are made. You CAN do all of this by mouse if you are patient, and gimp 2 is free. (See gimp.org for a copy of the program I use.)

Step one:

Draw your continent. The more rough around the edges, the better. Shorelines aren't neat and perfect, so there is no need for perfect circles. Because of this, mouse work is totally acceptable. I find a wacom or other pointer device useful when drawing the elevation and river maps.. but, once again, it can be done with a mouse.

When you draw your continent or world, you should do this on a transparent layer above your background. You want your background to be a plain white background with nothing on it. This will let you adjust your maps as needed. So, add a transparent layer and draw your lines on that.

Once you have your continent, lay out your kingdoms on a -duplicated- layer of your continent map. You want the edges of your continent as a part of your kingdoms. This will make future steps easier. Draw your kingdoms as necessary.

Next, make a duplicated copy of your kingdoms layer. You can do your colour fills on here. I set my transparency at 30% or so when I fill. This just tones the layer so it can be used beneath things like your elevation maps.

Now, go back and duplicate the NON coloured version of your kingdoms layer. Move this layer ABOVE your coloured layer. This will restore your nice dark lines for visibility. Duplicate it again.

On the second duplication, colour in sections as you desire for religious factions, political factions, or whatever factions you like. You can repeat this as many times as you like.. just duplicate your kingdoms layer as needed.

To do your elevation map, you will need to go back to your continent only layer. Duplicate this and move it to the top. Now is a good time to HIDE your previous layers. Hiding is done by clicking the eyeballs in your layers in gimp 2. Don't worry, just clicking that spot again will bring them back. You can adjust your maps accordingly.

When I did my elevation maps, I determined where I wanted mountains. I used series or 4-6 elevations to represent mountains. The first elevation ring is low hills.. then higher hills.. then we're into foot hills and mountains. The basic non ringed areas are flat lands, slightly rolling hills and plains. The more rings, the more detailed your elevations. I coloured light for low elevations to dark for high elevations. Make a duplicate of your elevations map before you colour it in.

Rivers are done in the same way as elevations, except in blue. You may want to adjust your elevations (like I did in the northern section) based off of location of some major rivers.

Making the kingdom map is the hardest.

First, you need to use a selector tool to select the kingdom and some areas around it. hit control-c to copy. Go to File -> Create -> from clipboard

This will create a small file the size of your copy pasted section. Now, go to Image -> Scale Image.

Blow it up. You will have larger lines.

I work in 1600x1400 resolution typically.

Then you can work on your detailed maps. I use the same theories with multiple layers for my blown up maps.

That is how I do my mapping. Enjoy! I hope this is useful

The Stereotypes and Cliches of Fantasy Writing

2010-01-05T11:27:00.000-05:00

First, I'd like to thank Ian T. Healy (spelled correctly this time..) for the subject of today's blog post. His original post is as follows: @rebeccablain "Fantasy: more than dark elves, demons, and magic"

There is so much more to this subject than just dark elves, demon and magic... so I thought it would be a good time to do the post on the whole lot of them.

Let us first be honest with ourselves. It is very difficult to write a 100% original fantasy piece. With thousands of fantasy novels on the shelves, many of the ideas held within those volumes are twists on cliches or stereotypes of some sort until they are no longer cliche or stereotypical.

However, there are a lot of writers who stick with the cliche / stereotype. This is a shame, but it is not really avoidable. After all, you must border on true genius in order to totally escape having these elements in your novels.

With that said, I will start by regurgitating a very insightful post from a short story publisher of the science fiction and fantasy genres. If you are not aware of this publisher, you should be. Allow me to introduce you to Clarkesworld Magazine. The below is an except from their submissions page. This content is a direct copy paste and used for educational purposes. It in no fashion belongs to me. I only wish I were this brilliant.

Though no particular setting, theme, or plot is anathema to us, the following are likely hard sells:

stories in which a milquetoast civilian government is depicted as the sole obstacle to either catching some depraved criminal or to an uncomplicated military victory
stories in which the words "thou" or "thine" appear
talking cats
talking swords
stories where the climax is dependent on the spilling of intestines
stories where FTL travel is as easy as is it on television shows or movies
time travel too
stories that depend on some vestigial belief in Judeo-Christian mythology in order to be frightening (i.e., Cain and Abel are vampires, the End Times are a' comin', Communion wine turns to Christ's literal blood and it's HIV positive, Satan's gonna getcha, etc.)
stories about rapist-murderer-cannibals
stories about young kids playing in some field and discovering ANYTHING. (a body, an alien craft, Excalibur, ANYTHING).
stories about the stuff we all read in Scientific American three months ago
stories where the Republicans, or Democrats, or Libertarians, or the Spartacist League, etc. take over the world and either save or ruin it
your AD&D game
"funny" stories that depend on, or even include, puns
sexy vampires, wanton werewolves, or lusty pirates
zombies or zombie-wannabes
stories originally intended for someone's upcoming theme anthology or issue
stories where the protagonist is either widely despised or widely admired simply because he or she is just so smart and/or strange
stories that take place within an artsy-fartsy bohemia as written by an author who has clearly never experienced one
your trunk stories

This is perhaps one of the best pages I have ever seen that goes into exactly what not to do for a serious submission. Read this, absorb it, and quickly Hall of Shame most of the things for this. However, there are venues for this type of writing. But, for the most part, they are hard sells, just as the magazine states.

Let us go through this list and pursue just why these are stereotypical, cliche, or hard to sell.

stories in which a milquetoast civilian government is depicted as the sole obstacle to either catching some depraved criminal or to an uncomplicated military victory

First, milquetoast means the following: sissy: a timid man or boy considered childish or unassertive -or- A person of meek or timid disposition; meek, timid (source, define: milquetoast via google.)

Reason: Well, first, anything timid or meek isn't really a challenge. Second, give us a better villain, something more interesting, please! Granted, this is just my interpretation, but I wouldn't be interested in reading this.

stories in which the words "thou" or "thine" appear

Reason: Above all, most people do not use thou or thine appropriately. It takes away from the genre, it does not add to it, ladies and gentleman. I have seen it used exactly once in modern writing to good success. David Eddings used it sparingly as flavour text. This is why he got away with it. Thou and Thines often take away, they do not add to the environment. Especially when they are not used properly.

talking cat, talking swords, talking.. anything.

Reason: I lumped these together because it is the same basic concept. Talking animals can work, but in this case, it doesn't fit the publication. I can think of several great series and stories that use these concepts. However, most tend to be cheesy at best, without good justifications for the talking pets and objects. This concept is so abused that publications like Clarkesworld have totally just abandoned them completely.

stories where the climax is dependent on the spilling of intestines

Reason: I absolutely love this. I became a huge fan of Clarkesworld just for this reason. Gore has its place in fantasy. Especially Sword and Sorcery. However, a story dependent on it is not a great story. I've yet to read a published work that was dependent on it and I ever read a second time. With that said, there is stuff like that out there. But, I have not returned to those novels since reading them. This does not mean that you cannot have death or gore in your books. It means that you should not base the story or novel on the gore. This is an important distinction.

stories where FTL travel is as easy as is it on television shows or movies (time travel too)

Reason: Magic can be limitless... but limitless magic can be truly annoying. If they can do all of these things so easily, then what is the point? In my opinion, once a character is able to do such things easily, he or she should be able to snap their fingers and get it done. Then, there would be no point to the story.

stories that depend on some vestigial belief in Judeo-Christian mythology in order to be frightening (i.e., Cain and Abel are vampires, the End Times are a' comin', Communion wine turns to Christ's literal blood and it's HIV positive, Satan's gonna getcha, etc.)

Reason: I think this is fairly obvious. There are markets for this type of work, but your short story or novel should stand on its own feet, not on the belief systems of the real world.

I have done a few of them... you can figure out the rest.

Dark Elves, Dragons and Dungeons, Oh my!

Novel or short story writing is not without entering into the world of stereotypes and cliches. I have stated this before, I will state it again in the future, I am certain. What will determine whether or not you are a good writer is what you do with the stereotypes and cliches you come up with.

There is nothing stating that you cannot use a cliche or stereotype. However, in order to succeed, it is up to you to make certain that you somehow twist it so that it becomes something new. Making something unique is truly a difficult task. It is very difficult, as a writer, to separate yourself from the things that inspire you. Writers who read and enjoy a certain series will often pick up aspects of that series in their own writing. It is so very common. The key is that you catch yourself doing it and transform trash into gold. Until you make it your own, those elements are trash. Just accept that, it will make you a better writer in the long run.

Is there more to fantasy beyond the stereotypes? Of course there is. Make your Dark Elves distinct by stepping away from the normal evil elves and go into a world where these elves separated from their lighter skinned brethren for a good purpose. Have them just be a genetic mutation and no different than their lighter counterparts. Get rid of the lighter counterparts altogether. And for the love of all that is pure, don't make them look and act like a cookie cutter. Make them dark skinned humans with an ear mutation. Do something to make them different than opening a Dungeon Master's Guide and reading about it.

Dragons? There are lots you can do with dragons. The best concept I've heard for a dragon? Make them stupid and dislike hoarding things. That will make people stop long enough to go "What the heck is this?"

The instant you make your reader ask questions is the moment that you are stepping away from the stereotype. Fantasy need not be cookie cutter. If you find your concept in another book, add or take away until your concept becomes unique. Then take it and make it your own. Only then will you surpass the cliche.

I cannot give you a template on making sure your races and people are not stereotypical. That is something personal you have to conquer on your own. However, we have all dealt with it. If you find a truly unique concept, work with it. It may just go somewhere really pleasant.

The Plot Hole

2009-12-08T09:35:00.000-05:00

Happy New Year, everyone! I apologize for the delay of this post. I was visiting family for the holidays and only returned recently. At least I can say I had a great time this year, and I managed to get a variety of fantastic photographs of roads in the winter. I like photographs of roads, and I like photographs of winter. Three hours of photographing roads in winter was highly enjoyable.

With that short side trip out of the way, onto the writing related subject!

---

Arguably, the plot is one of the most important parts of your novel. It is the whole point of the story. The plot determines what your characters need to do versus what reactions they have and *actually* do. It is the plot that is responsible for many headaches author's suffer over the course of their writing careers. With writing blocks, where authors cannot seem to form the next phase of the plot, coupled with the infamous plot hole, there are more downfalls than anything else when it comes to this subject.

The Plot Hole

What most people are concerned with is the plot hole. It is the most obvious form of writing problem and can stop new and experienced author alike dead in their tracks. The plot hole is many things. It is a show stopper, an annoyance, and something feared as people work on their stories. Below, you will find some of the common characteristics and symptoms of plot holes.

1: Inconsistancy.

At first, this is more of an error than an actual plot hole. However, it is not uncommon for inconsistancies in writing to bloom into a plot hole. Allow me to give you an example. Let us say that we have a story about a woman who has been kidnapped by three men because she is the daughter of a noble. So far, so good. However, let us take it a step further and have one of the men doing the kidnapping a noble -- of the same family. This is the potential for a plot hole. Right now, it isn't, but if the story develops so that the group is targetting all members of that noble family, you will need to justify just how that man came to be in that group. If not done correctly, it becomes a plot hole. If done properly, it is a plot device. More on plot devices later, however.

2: Developed Personalities turn into Plot Holes

One problem that many writers do not anticipate is the growth and development of their main characters. This often means that the story you originally came up with never comes to pass because your characters would not take an action required for it to do so. So, you end up writing a story with a certain ending in mind, but your character decides to take the north road instead of the south road. All of those loose ends that you were planning on wrapping up have a tendancy to become plot holes. This is ok. If your story has developed in this way, you can go back and close the holes later. However, you need to be aware of them come editing time.

3: You forgot about something

I'm guilty of this frequently. Editing is often a blend of fixing sentences, structure and all of those little things I have forgotten I had intended to do but never actually got around to doing! This can result in adding a lot more words than you anticipated, or cutting out a lot to remove the threads you were tossing around in your mind as you were writing and forgot about. Take heart, however. Even professional writers make this mistake. Having forgotten about something does not mean you cannot have a good book. The difference between a good writer and a 'bad' one is that the good one will either find a way to add that forgotten bit in later or make it so that the reader forgets about it as well. (After all, random 'what the hell?' moments happen in the real world as well...) A bad writer, or an experienced one, may end up sweating out the majority of their body weight over a small issue they had forgotten. A golden rule to remember is this: it is your book. You can fix it.

4: Ideas that evolve while you write.

Writing can be an extremely fun and creative process. When you come up with new ideas, these ideas evolve. This evolution can very easily lead to the plot hole. Most new writers -- and even experienced ones -- will allow the plot holes to form at this stage. First drafts are meant for this. However, if you are a writer who dislikes second drafts, this will cause you a significant number of problems.

Let us face the truth: there is little that you can do as a writer that does not have the potential to turn into a blazing plot hole that threatens to devour your writing. But, what can you do about it?

Let's find out.

Resolving Plot Holes

This is the second thing people think of when they are addressing a plot hole. Fixing a plot hole is important. A good book ties up as many loose strings as possible. When a series ends, you want a sense of closure. While a standalone or series is in the middle, closure is not as necessary. At the end of the book (or series), however, you want your readers to feel satisfied. Leaving plot holes can remove this feeling.

In order to resolve your plot holes, you must have a plot. If you have a plot hole and wish to resolve it, don't just resolve it right away. Stop now. This is not step two.

Identifying your Plot

Plot Holes exist because you have a plot. Isn't that fancy? However, resolving plot holes before you have outlined your entire novel can result in the creation of even more plot holes. Note cards, white boards or notes on paper -- no matter how you go about it, it is important that you identify all aspects of your plot. Only then can you determine how you can resolve a plot hole without adding a new plot hole to your story.

When you identify your plot and your apparent holes, you may even be able to add more depth to your novel. Sometimes plot holes are golden treasures in disguise. Consider what you can do with your plot hole before you pick up your shovel. Sometimes there are inconsistencies in the plot that need fixed, and sometimes there are just plots you did not pursue far enough. This is for you to decide.

Now you can go back and resolve whatever plot holes that you may have.

Here are a few sites that also cover the infamous plot hole:

Wikipedia's Entry on the Plot Hole

Cracked's 8 Classic Movie Plot Holes: This isn't for books, but it does demonstrate just how movies and books can get away with plot holes.

Leah Michelle's Take on the Plot Hole

Truth be told, I don't use a lot of resources when I fix plot holes. I just do it. However, as I find more interesting sites, I'll try to get them listed here.

Writing Year

2009-12-07T22:57:00.000-05:00

Seeing as it is early December still, I thought I would take a moment to go over something for the truly dedicated writer. This is not the same type of crowd that National Novel Writing Month draws, but a more serious type of person who wants to do as much writing as possible.

Writing Year, or WriYe, is very similiar to NaNoWriMo with several significant differences. First, it isn't officially associated with NaNoWriMo in anyway. While NaNoWriMo influenced the creation of WriYe, it is a beast all of its own.

As such, you are not required to write 40k/month for an entire year. Instead, you set a goal for yourself and see if you can make it.

I'm setting a rather lofty and probably impossible goal of 1,000,000 words. Hey, never know if I don't try, and I'm sure I'll be very satisfied with whatever amount I get. If I do make it, I'll be pleased beyond expression. For now, I will view it as a good motivation to try to write as much as possible.

There are very few rules when it comes to WriYe, except the obvious be nice to your neighbors and don't cheat. The only person you are cheating in this case is yourself.

I have never done WriYe before, so this is new territory for me. However, I will treat it in the same fashion I treat NaNoWriMo -- if I make it, great. If not, I had fun trying, but it isn't worth sacrificing writing quality for.

I just thought those writers out there might be interested in participating. Enjoy!

The Rejection Letter

2009-12-07T09:05:00.000-05:00

The rejection letter is something that everyone faces every now and again. In fact, some believe it is not possible to be a true writer until you have been tempered by the flames of the rejection letter. Whether or not this is true, there are a lot of things to learn about this letter, from how to cope with the fact you have been rejected to what you can gain from the rejection.

I have received far more rejection slips than acceptances, this much is for certain. However, I am one of those who enjoys receiving rejection slips. I am very curious to see what is contained within, and try to discover what I have learned from them. In fact, I have written stories and submitted them to important markets just to receive a rejection.

But, why would I do this? First, once you get one or two under the belt, they do get a little easier to accept having received. Using this logic, I would rather have my first faltering steps be done in a controlled fashion. While I expect my fantasy series to receive a rejection, it would not be so great a thing if it was the first rejection I ever received.

Know yourself. Would receiving a rejection on your prized story or novel send you for an emotional roller coaster that results in your cart leaving the rails? If so, grow some thick skin by experiencing rejection in short stories you do not care so much about. It will still hurt, but you will learn from it and grow from it, if you so choose.

I can not teach you what the standard rejection looks like. There is no standard. It is by slush reader or by editor and by publishing house, e-zine or magazine.

So, this guides us to the fun part of this post! The collection of sites dedicated or making mention of the rejection letter. I will have plenty of comments and opinions, both on editors and on writers, but this will wait until after you have had a chance to read the rejections.

Rejection Sites:

Rotten Rejections - A Reference to a Book
Literary Rejections on Display
Rejecting Rejection
Famous Author's Rejections Surface
Making Light: Slushkiller
Dallas Woodburn's Writing Life: Rejection Letters
Susie Smith's Children's Stories Famous Rejections
Rejection Letters before they were Famous
Collection of The New Yorker rejections
Ursula K. LeGuin: A Rejection Letter

Resources on Rejections:

Why you get Form Rejections
How to deal with Rejection Letters
Wikipedia's Rejection Letter Entry

There are obviously many, many more sites than I have listed here. This list will grow over time, but here is a good start.

The most important thing to remember is that the individuals who are reading your story do not have enough time to be personally offended by your writing. When you receive a form rejection, you story simply does not fit what they are looking for. This may be caused by poor writing quality or a story that simply does not suit them. The unfortunate part of the form rejection is that it is impossible to know exactly why your piece of writing failed.

This is where the handwritten or personalized rejection can be a double edged sword. Frankly, it is easiest to accept a form rejection. There is nothing personal in the rejection. Your story was not what they wanted, and that it that. When they personalize it, it is much easier to get personally offended by what the editor has to say.

Especially if it is because your editor felt the story was so poorly written they couldn't leave it alone and had to mention it. Unfortunately, without seeing what you submitted, it is impossible to say whether or not an editor is justified in saying this. However, there are ways to find out if the editor was just having a bad day or if there is really something needing changed with your submission.

First, if the same piece gets several really bad, personalized rejections from different editors, then you should seriously start looking at the reasons why. There will be editors who are having a bad day and take it out on you. Accept that now, your pride might be a little more intact at the end of the day. However, like I said before, most are too busy to spend the time to do so.

Live and learn. If your writing skills need improvement, start your next book and continue improving. Keep submitting, keep writing, and keep learning until defeat turns into victory.

On the flip side of the coin, there will be stories that editors notice, they like, and just simply cannot buy for one reason or another. This will spark into the 'good' rejection. It is personalized, but it is complimenting you! Some smaller publishing houses will always send some form of personalized reply. However, most are just too busy to do so, especially the larger houses. I suggest you mount those rejection letters. They are few and far between, and are worth their weight in gold, so far as I am concerned.

But, if your story is good enough to get a 'good' rejection, why were you rejected in the first place?

Publication is a business. I suggest you drill this into your head now. A publishing company has no interest in catering to your 'fantastic new concept that has never been done before, sure it is weird, but it is different and interesting'. They are interested in what sells. You need a story that toes their comfort lines while providing something new to the market. This is a lot easier said than done. You need a story that grips them, fits into their business, and can be sold. High writing quality and a good story have a good chance of getting published. A talented writer who knows their market *and* has writing quality *and* a good story *will* find a home for their stories or books.

Surviving the rejection letter is more easy than it sounds. Accept it, learn from it, and move on.

For now, enjoy the rejections and feel free to link any rejection sites you find amusing or useful, and I will add them to this post.

The General Writing Process

2009-12-04T18:27:00.000-05:00

Writing a novel, whether it is science fiction, fantasy, romance, non-fiction or any subject in between, is not an easy process. Many people are overwhelmed just on writing a novel. This is a normal response, as writing a novel involves a great deal of dedication. However, if you want to publish a novel, it is important that you understand the entire process from start to finish. This will help ensure that you have the best chances of possible of seeing your book on a shelf.

The ways of writing a novel are as numerous as the authors who write them. Each and every person writes their novel a different way. There is no one correct way to write a novel. So, how should I present the novel writing process to you then? This is simple enough. I am going to present to you how I go about the process as well as introduce methods that I do not use but have attempted in the past. I have tried many different styles of novel writing trying to settle into a method that suits my personality and needs. This is a journey that you must go about, although you can use my suggestions as guidelines for your attempts. Just remember: It is your novel. Write it how you see fit.

The following is my process for writing a novel.

Step One: Idea Conception.

The muse is rarely so kind as to present to me an entire story in a gift wrapped package. I will not claim that this has not happened to me before. It has. The current series I am working on was presented to me by my muse on a silver platter. I had every idea required to make this story happen.

What then, classifies as required ideas? This varies from person to person. For me, it means I have a beginning, a middle and an end. Huh, fancy that.

It is a little more complicated than that. In order for my story to have a beginning, it must have a conflict. I am the type of writer who needs to have characters actively facing conflict or be approaching a point where conflict will come to them. If there is no conflict, I do not think there is much of a foundation for a good story. Every story I have liked has involved some form of conflict within the first five to ten pages of the story. By pages, I mean standard manuscript format pages. For quick math, 5x250 to 10x250 words. When I read, I tend to lose interest if there is nothing holding my attention.

Please note that conflict does not have to be physical. It can be mental / emotional. Do not make the mistake that thinking that mental conflict can not engross a reader. It totally can.

Once I have a conflict, I have to have characters that are involved with my conflict. My stories are driven by characters. These people make mistakes, they are human. (Well, most times human.) Sometimes, conflict is bred from the very mistakes those characters have made. Without conflict and characters, there is not much of a story to tell.

And so, I have the beginning idea for my story. Once I have this, I can usually start writing. This can take me anywhere from one hour to a week to figure out. If it is in a world I have already written about, I can usually jump right in to writing. However, on a new series or a new world, I have to do some world building. I classify world building in the beginning portion of the idea. After all, there has to be a land for my characters to stand on. Depending on how desperate I am to write, I may only develop the village, town or city my characters are starting in and piece it together from there. However, this involves a lot more editing work later. I typically try to get a rough idea of the entire continent, the kingdoms on the continent, and as much information on the trades as my patience allows. (When the muse strikes, however, she typically provides me with decent starting information in this regard.)

That leads me to the mentioning of the muse. Many people blame the muse on their failures and successes. The muse, for me, is nothing more than an amusement. I write my novels on my own creativity. There is no outside force that makes me write a novel or gives me an idea. They are all mine. It just sounds nicer to say 'muse' rather than sound snotty and impressed with myself. Sometimes writers can be humble. Sometimes.

Step Two: First Draft Writing

Now that I have a world, a beginning, a middle and an end, I begin to write. The first draft is never a masterpiece, but I try to write with some quality in mind. This is where I am flushing out my characters and allowing them to grow. There are many things that need to occur, especially in an epic fantasy. Science fiction is little different, although there are rarely the 3.3 million word monster series in science fiction as there are in epic fantasy.

Since I am currently working on an epic series fantasy, I will be throwing out a lot of commentary in regards to how I approach this. While I have written science fiction in the past, it is not my forte.

If you are planning to publish, this is the draft where you begin to put your craft to the test. It is important, however, that you tell the story. Quality is important, but it is vital that you express your story. Now is the time to make mistakes and experiment with your plot. The first draft will be edited and changed. While there are some who can write publishable works on the first draft, do not make the error of believing you are one of them. Edits will occur, get used to the idea now.

When I am writing, I try to view all of my characters as real people. Real people make mistakes. Real people overreact to things. Real people make decisions that aren't always logical. Many writers try to have these perfect characters who never make a mistake. These books, frankly, are boring. Don't be afraid to have your characters do something stupid as you write. Who knows, you might even have fun with it!

Also, people die. It is natural. It is remarkably easy to kill a human. If you have a situation where someone is at high risk of death, they probably won't survive. This should carry on through your novel. If you have them live, you need to suspend disbelief and prove to us why they should live. This is your job as a writer.

If you have not noticed yet, I do not plot out my first draft. I write it. That is for the next phase.

The first draft writing phase should not end until book 1 has come to a close. Don't continue to book 2 of your series. Stop at the end of book 1. I will explain why shortly.

Step Three: Plotting.

Question: What? Why am I plotting after I have written the first draft?

Answer: Because I have to do a second draft OR major edits, and I do not want the important plot points to be missed.

So, how does one go about doing this?

You read your novel. As you read each and every scene, do the following:

Characters Present:
Location(s):
Major Plot Points:
Minor Plot Points:
Corrections Required:

You may have more or less on your list. This is what I use. I may have character deaths listed in a different field, if there are enough of them. In my current series, there are enough of them to justify the listing in some chapters.

You may wish to use note cards to do this. Note cards can help you keep things organized in such a way where you can see a lot at one time. You may also wish to do a character biography at this point. If you do, here is the sort of information you will need.

Name:
Gender:
Age:
Eye Color:
Hair Color:
Height:
Weight:
Build:
Talents:
Weaknesses:
Basic Personality:
Spouse/Children:
Enemies:

There are many things you can add for this section. Do as much as you need to succeed at keeping your characters organized.

Once you have done this, there is one final plotting aspect that you may wish to do. This is the overall plot line. I find this is best done with a storyboard of some sort. A cork board is fantastic for this if you can afford one. Take the major plot points from your scene cards, and put them on small scraps of paper. Lay them out on your cork board, then read them. If your plot makes sense in the order you have presented it, the plot checks. This is a great way to identify plot holes.

Do this with your minor points as well. Your minor points should tie in with your major plot in some form or another.

Now, you are prepared for step four.

Step Four: Edit or Rewrite.

You have a draft, you have a plot line. Now, you need to take what you have written and turn it into a work of art. Editing a novel is hard work. If you thought Step Three was intensive, Step Four may break your brain. But, stick with it.

You are a writer, and by extension, you are an editor. It is time to bring your editor out of the closet and let them work. If you rely on your 'muse', fire him or her. They are going to get in the way here. Now is typically not the time to add in a new plot line or do major revisions to the story, *unless* you discovered in Step Three that this course of action is required. If it is required, this will be a rewrite phase rather than an editing phase. If you are rewriting, return to step one. If you are editing, please proceed.

Editing may involve rewriting certain sections. Just do steps one to three for those sections. This will provide your checks to ensure clarity throughout your novel. Yes, this is hard work. Don't whine about it, just do it.

Please note the bold. This is the heart of being a novelist. It is *work*, not play. Get used to it. There is no easy way out. No one said you couldn't have fun doing it, but... even if you don't use my way of writing, there is no way to avoid the hard work portion.

I find the easiest way to edit is to read out loud and record what I am reading. It is slow, but it can often point out sections that I am missing when I'm just reading. Of course, I do read and edit as I go, but I read out loud to myself and record. And no, it isn't because I like the sound of my own voice.

Because I am masochistic/sadistic, I will do an edit example of my own writing below.

First draft example:

Demons were real, that much Laelia knew. It had not been that long ago that someone had attempted to create a demon from the bodies of a bear and a boar and had succeeded. The creature was nothing but beastial fury bred to unholy delight in the kill. Unlike a chimera, which was a more peaceful blend of several animals, the demon had been created for one purpose only: slaughter.

Editing examples:

Demons were real, that much Laelia knew. It had not been that long ago that Yetritris had birthed a demon from the bodies of a grizzly bear, a wolverine and a boar. His success was bestial fury bred to unholy delight in killing. Unlike a chimera, which was a peaceful blend of several animals, the demon had been created for one purpose only: slaughter.

Notes: This needs more work, but its just a quick example of how a few word changes can completely alter the mental images associated with a paragraph. Not only must you edit for the single paragraph in mind, you must do it with your scene and plot in mind. This can be difficult, but it is not impossible.

I find the editing process to take significantly longer than the drafting process. I typically do not do a full rewrite, but revisit steps one to three as needed for specific scenes. If I have a major plot revision, I may spend a great deal of time in one to three, but I don't typically scratch a first draft unless I do not plan on revisiting that story. Granted, there have been a few instances where a draft has not been salvageable. I put those drafts into my Hall of Shame and write a new story. I may use the same basic idea and the characters over again, but it is a new story.

Editing is vital. Take your time with it. Your novel should be sparkling and perfect before it ever leaves your home.

Step Five: Manuscript Format

So, you have survived steps one to four. Great work. Now, you need to put your story in manuscript format.

I am not the greatest of teachers on manuscript format, so I will let the masters teach you instead.

Tor | Forge Manuscript Format
Holly Lisle's Guide to Manuscript Format
William Shunn's Guide to the Manuscript
BBC's Guide to Manuscript Format

If you know a good resource for the manuscript format, please feel free to leave a comment. I will add good references at later dates. The starting posts I have added should be sufficient for understanding the format.

You will also need to write a query letter. The letter will often include information about your novel and your series, if applicable. Every publisher has different requirements, so take the time to do your homework. The query letter may or may not be required in order to submit your novel. If you are submitting chapters, the 'query' letter is very much the same as if you were not. Here are some resources on the query letter:

Holly Lisle's Guide to Querying an Agent
Manitoba Writers' Guild Query Letter Sample
Gail Eastwood's Query Letter Do's and Don'ts

Step Six: Submit.

SASE. Self-Addressed Stamped Envelope. Never. Ever. Ever. Forget. This. Let me repeat: Never, ever, ever forget this. Always include a SASE with your manuscript for the reply and return of your manuscript. Never submit your original manuscript. Be patient, and make certain you mail it. After all, you can't be published if you never try.

Do NOT include bribes, art or anything or that nature. Do NOT bind your manuscript in anyway. Stuff it in an envelope in numeric order, do not embellish, and mail it. Get a tracking number. Most companies will not send you a notice saying they have received it until the date it is opened and review has started, and only if you include a postcard that is SASE'd.

Step Seven: See Step One.

What? See Step One? What does this mean?

Your novel is completed. Start a new one. If you are working on a series, you should be working on book two now. Wait patiently for a reply to your submission. By the time that horrible six month wait is over, you should be in process of editing book two.

You will probably get a rejection. However, good books will find a publisher. Keep trying.

Good luck. This is the basics to the novel writing process. Every writer is different, so please remember that this is how I do it. Enjoy.

Scams amongst us!

2009-12-03T14:20:00.000-05:00

I had not intended to post again, but I have this tendency to find things as I use the internet and work on my freelance work. Today, I was reminded once again why writers must be very careful.

Today's discovery was found via twitter. I follow a great many publishing companies because it is my business to know the business of publication. This is how I know the market, and know what to write for that market. (Hint: if you do not know the market, how can you write targeting the market?)

Allow me to introduce you to IFWG Publishing. This is a Print on Demand company. However, they require that your manuscript be passed through their quality monitors, just as a real publishing company does. (A real publisher, being individuals such as DAW, Tor | Forge or Baen.)

At the time of this post, here are the services that IFWG offer:

Basic Publishing Package: US$299.00
Action Publishing Package: US$499.00
Pro Package: US$799.00
Distribution Package: US$999.00

Each of these packages offer a variety of different things. The basic package includes a website page about you, ISBN, Distribution through Amazon, and a basic press release. The rest have more, ranging from e-book releases to Kindle compatibility.

So, what is the problem with this? There are a lot of them.

First, the publisher is taking the responsibility of your book from their shoulders. They are forcing you to pay for the basics that a true publishing house will handle for you. Ladies and Gentlemen, allow me to introduce you to what a legitimate publishing house does, and how this differs from what IFGW does. If you want to see a legitimate Print on Demand, please refer to LuLu. This site has the best reputation of Print on Demand markets at the moment of this blog writing.

1: Manuscript Sent to Publishing House for review. I will note here that unlike true print on demands, IFGW has a review process.
2: Publishing House Accepts or Rejects the manuscript. In the case of acceptance, it will be a request for the completed manuscript. This is by no means a guarantee that your book will be published. In the case of IFGW, an acceptance means you get to pay them. (Does anyone see what is wrong with this yet? Let me bold it for you.)
3: Publishing House reviews your completed manuscript. This is when they will decide if they want to make you an offer.

This is where the notable difference occurs. The publishing house will make *you* an offer. This means that they are paying you. (Here is that bold again, funny that.) You never, ever, ever, ever, ever pay your publishing house unless you are requesting a copy of an imprint book. Even then, they will often give copies away to their authors. And, it is often faster just to go purchase the book in your local bookstore. This is dependent on house, of course. A publishing house should be paying you, not the other way around. Every aspect, from ISBN to the printing of your book, is handled by them.

4: Once you have an offer and a contract, you negotiate the contract and you sign. This signs over the copyright of the novel to the publishing house. They own it now, with limitations as set in the contract! They'll work with you to make certain that your book is published and all edits are done if needed. The typesetting, etc, will occur after the contract is signed. IFWG does this, except you pay them instead of them paying you. As they do not have their contracts online, it is impossible to see if you sign your copyrights away. I assume you do, seeing as they require them to do the printing. Please note this is a guess / assumption and not a fact.

5: Your book is released to the public! Your publishing company works hard to ensure it is marketed properly so they do not lose money.

Granted, this is just a 'basics' on how it works. It does not cover every step of the phase. That is for a different post altogether. However, let us pursue what IFWG does.

The main problem is that IFWG is scrubbing for quality while attempting to be a Print on Demand. It is this crucial difference that puts up a lot of red flags and puts this company in the same class as scammers such as PublishAmerica. Please note the PublishAmerica link routes to SFWA's Writer's Beware. You can also refer to Preditors and Editors, an excellent resource on the traps and pitfalls writers may get themselves into.

This is not to say that Print on Demand cannot, in fact, work. It can, in certain situations. However, print on demand is something that you should be very careful about. SFWA, once again, has an excellent article on Print on Demand. Here is Wikipedia's entry on Print on Demand.

However, you should be very cautious. Never accept anything less than a true publication. If you go with a print on demand company, remember that you will lose the ability to publish that novel elsewhere until the terms of the print on demand have expired. Because print on demand prints your novel, most publications will not take your work. This is not always the case, but this is the case 99.9% of the time. Publishing houses do not want to have to deal with the investment and hassle of freeing a book from the clutches of a POD publisher.

Writers, there are scams everywhere. Never go with something just because you are desperate to see your work in print. This can have consequences that can not be easily repaired.

EDIT: After several hours, IFWG has shown its true colots. They have launched their royalties page. That is right, ladies and gentleman. They operate via royalties, just like a traditional publisher and unlike a print on demand. Here is a sample from their royalties page.

Author Royalty $3.98
Production cost $4.89
Trade discount $5.12
IFWG portion $1.00

For comparison, here is how LuLu breaks it down:

Lulu takes 25% OR $0.19. If you look at IFWG, this is very similiar.

However, Lulu's printing cost for the equivalent novel is $5.95. In addition to this, Lulu gives you *full* control over your manuscript.

In other words, if you wish to publish total crap, they are not going to stop you.

'nuff said.

National Novel Writing Month

2009-12-03T11:22:00.000-05:00

Seeing as it is early december, I think my first specialized post will be on the wonders that is National Novel Writing Month, commonly referred to as NaNoWriMo. Always performed in November, the goal of NaNoWriMo is to write 50,000 words during the month. This is roughly 1,667 words per day.

The 1,667 words per day may not sound like a lot. However, unless you are into the habit of writing, it is a challenge. It is a challenge that I suggest every new writer tries to attempt at least once, as it is a very unique experience.

Having participated in NaNoWriMo several times, I can confidently say that many of the people who attempt this sacrifice a great deal of their regular life to accomplishing this lofty goal. I think this is a fantastic thing, especially for those who have never written a novel and wish to learn how.

However, NaNoWriMo is not all sunshine and cookies. Like all things, it is designed for certain audiences. While many people will get something out of participating, November is truly a hats off towards those who have always wanted to write a novel but have never had the courage to sit down and do it. With that said, below you will find all sorts of things I like and dislike about NaNoWriMo. These are my opinion. The salt pile is that-a-way, ladies and gentleman. Take some at leisure.

What I like!

1: The Community

The most powerful part of NaNoWriMo is definitely the community for me. It is the one time in the year where you can find thousands of writers converging into one place sharing something precious to each and every one of them. Ideas pour out from the fount of enthusaistic minds. People with knowledge are available to answer even the most mundane of questions. The forums are an excellent source for those who are new to the craft and need a little bit of help. The downside? People go home after December 1st and the place typically turns into a haunted house for much of the year.

2: The Need for Speed

NaNoWriMo is about writing fast, writing a lot, and meeting deadlines. These are awesome traits for a promising novelist, and a great way to get a view into the life of a professional author. Quality means nothing to the average NaNoWriMo participant, and that is how it should be. There is one simple rule for those participating: Edits are for December.

3: Quantity over Quality

Getting the words onto paper is vital for a novelist, and NaNoWriMo excels at making that happen. If you want a book, this is really one of the best ways to make it happen. Believe in yourself and go. Edits, after all, are for December. This is much like point #2, but it is important to specify that Quality is a homeless mutant freak for most participants in NaNoWriMo. If the horse is not dead and beaten yet, allow me to ensure that it is. Quantity. Over. Quality. This is a double-edged sword, however.

4: Proof of Life

In kidnappings and hostage situations, Proof of Life is a basic. In NaNoWriMo, it is the reward. If you win at the end of the month, you will be at your computer staring at a manuscript that belongs entirely to you. This is your Proof of Life as a writer. For someone who has never finished a story but wants to, this is even more rewarding that seeing your own novel on a bookshelf in some store. The first time you cross that threshold and can say "I did it" is truly a moment that will be cherished for years to come. While I did not complete my first novel during NaNoWriMo, I still remember the moment quite clearly when I could say, "I wrote a book."

For many, that moment comes in NaNoWriMo, when a month of slaving has bloomed into a beautiful flower.

What I dislike!

1: Quantity over Quality

Huh? Wasn't this in the list of what I liked? How does that work? As I mentioned, it is a double-edged sword. The concept of Quantity over Quality for a new writer is so important. I am a firm believer of the concept that it takes one million bad words to write a good word. This means that practice and dedication are what will help you succeed. Talent will only take you so far. It is perseverance that will make the difference in the long run. For established writers, Quantity over Quality can have a serious negative impact: it can lower overall writing quality. For a professional, this can be devastating. It is for this reason that it is strongly suggested that a professional writer _not_ participate in NaNoWriMo. It is hard enough to let loose as an amateur, and it can cost a contract for a freelancer. If you are someone who depends on your deadlines and writing quality to survive and get paid, this is not something you should participate in.

On the other hand, if you want to challenge yourself as a professional, paid writer, you can attempt NaNoWriMo as a Quantity AND Quality endeavor. This is a great way to force yourself to draft high quality material. Just do not expect to fully jump into the community, as everyone except you will be doing Quantity over Quality. Just remember, don't fall behind on your contracts. Not getting paid really sucks.

2: The TGIO mentality.

While it is very reasonable to say "Oh, Thank God it is over", many people say that, throw the manuscript into a closet, and that is that. The journey ends. Some people do not even finish their story, but stop writing after 50,001 words. I have always viewed NaNoWriMo as a gateway to the writing world. Writing once a year during NaNoWriMo only does not make you a writer. Even if you do not finish in November, it would be nice to see many more people go on with their story until the true conclusion of the tale. Just because November has ended does not mean the writing can not continue.

Now, granted, every person's situation is different. If that is all you want from the experience, more power to you.

3: The Formation of Bad Habits

This really should be point #1 in this section. It is very easy to develop bad habits during November, ranging from poor eating, disrupted sleep cycles and writing habits we'd rather not have occur. If you plan on participating in NaNoWriMo... take some time to sleep and eat well. You do not want to make yourself sick! (I should not have to feel compelled to say this, but after seeing just what some people do to themselves during the month, I feel I have to.)

4: Watching other's word counts

Part of the glory of NaNoWriMo is watching your word count go up. That is half the fun! However, there are those who can just write so much so quickly that it is very easy to get distressed and discouraged. Do yourself a favor and don't focus on the word counts of others.

Final Comments!

For me, NaNoWriMo has always been a great experience, win or lose. As my professional career as a freelancer has developed, I have had to take care with how I approach NaNoWriMo. However, if you are in the position to do it with no boundaries, it is a liberating experience. It is also an enabling one, where you know that you are not the only one going "I will do this!".

NaNoWriMo is open to all genres of writing. If you are interested and this little blog post hasn't scared you away, there is a fancy FAQ available that will answer most of the questions that you may have on the month.

Also, ignore the name. It isn't National, but International. InNoWriMo just didn't sound as nice. Yes, you can participate, even if you aren't sure which Nation it is for! (Don't worry, I'm sometimes not so sure myself.)

If you choose to participate, good luck!

The Basics of Writing

2009-12-03T10:14:00.000-05:00

The dream of many writers, both young and old, is to one day walk into a bookstore and see their published novel sitting on a shelf. But, this dream is often smashed through ignorance and a lack of realization on just how difficult the publishing industry is.

I am working towards submitting a novel manuscript to Tor | Forge. This journey started when I was somewhere between ten or twelve years old and I picked up a copy of A Wrinkle in Time. Until I picked up this book, I was functionally illiterate. Sure, I could sort of read and write, but I had no interest in it. I was more interested in seeing how far I could hit a softball or trying to determine just how high one really could jump when using a trampoline. I am entirely unsure how my parents survived my antics, or even how I survived them unscathed. But, I owe a great deal of thanks to Madeleine L'Engle for doing what an author does: writing.

In the years since I first picked up a pen and begged my mother for notebook paper on which to write, I learned one thing painfully quick. In truth, I knew nothing at all about writing. In a detour that did me far more good than not, I began to read every fantasy novel I could get my grummy paws on. My first piece of advice to those who wish to write? Read, read, read. Then, just as you feel that your brain is full to capacity, please read some more. Learn from the mistakes of the published. Learn to identify what errors that they do not make.

Then, lay your own writing out before you and compare it to those who have come before you. There are reasons that these writers are published and you are not. This is a very good first step.

This blog is not meant to make you feel happy. I will try to be as blunt and honest with you as possible, because these are my experiences. These posts will also delve into resources that I find extremely useful. As a writer, I do a great deal of research. The blame for this is on my work as a freelance author. While I am specialized in search engine optimization, I have ghost written several non-fiction books. Unfortunately, due to the very nature of ghost writing, I cannot mention the titles of these books. However, I will say, if you do not have a high threshold for punishment, avoid the freelance market like the plague. You will make more money at McDonald's.

Because I am interested in the science fiction and fantasy fields, this blog will be specialized towards providing information on these two genres.

Back to the meat of the subject: writing. If you wish to be published, there is one very important thing that you must have: a manuscript. When editors discuss a book or a short story, the term manuscript will come up often. Manuscript format is often intimidating for those who are not familiar with it. Every publishing house has their own guidelines for submission, as well as their own opinion on what manuscript format is. Here is Wikipedia's entry on the manuscript format. Here is Tor | Forge's submission guidelines. I suggest you read both and make yourself comfortable with them. There will be a future post dedicated to the manuscript format, but this is a good start. Tor | Forge is very clear about what they want. Not all publishers are, so beware.

Do not feel like you need to write your novel in manuscript format. There is time for formatting after the story is written if you do not have a firm grasp on the right formatting yet.

If you want to write a novel but have not started yet, I suggest that you learn the basics of plotting. While many successful novelists can write a draft without a plot line, knowing how a plot functions is a fundamental part of writing a marketable novel. Even if you do not write the plot line explicitly, you need to ensure that the elements of a good story are present.

Yes, if you clicked the above link that reads plot line, you will quickly determine that it is referring to plays and screenwriting. This is intentional. Your novel may have many plot lines, but every line you draw should reach some form of logical conclusion and contain the elements found within, even if they are not necessarily meant for science fiction and fantasy. Every good book, no matter the genre, has the elements of the plot line as described above.

If you have the basics of a plot line, characters that your reader can associate, and a strong desire to succeed, novel writing is far from impossible. However, expect the journey to be long and hard. You will fall down. What matters is that you get back up and try again.

For now, I leave you with Writer's Beware. Writer's Beware is a part of the Science Fiction and Fantasy Writers of America, or the SFWA. If you are interested in publishing, have a manuscript, and want to see your work in print, this site is for you.

I will be doing a future post dedicated to Writer's Beware, as well as the scams that you may encounter on your journey towards publication.

For now, I leave you with a decent supply of reading material. Enjoy!