Is Serial Fiction Profitable? Hugh Howey Says: Yes! Even With Absolutely No Promotion

Hugh Howey's Wool: An Overnight Success

Yesterday I wrote an article in which I asked the question: Is Serial Fiction Profitable? Just today Erica Jackson Curran published an article about Hugh Howey which added a few very interesting tidbits to the already fascinating story of his rise to glory and monetary solvency:

"It feels like it happened overnight," says Howey, a Florida resident who attended the College of Charleston in the early 2000s. Wool started out as a novella. He posted it online in July 2011 and forgot about it, deciding to focus instead on promoting his full-length novels.[1]

"I didn't promote this story, because it's a very dark story, and I didn't know that that's what was catching on " (Hugh Howey)

So the first novella of what would become Wool was a story he posted and forgot about. He did no promotion. No marketing. No advertising. In fact, he was intending to focus on full-length novels. Erica Curran continues:

Howey admits to being almost frustrated with how Wool took off, because he'd worked so hard to promote his previously published novels, and they got little attention. "You like to think you have some control over what succeeds and what doesn't, but for me it just highlighted that the reader is totally in charge of what succeeds and what fails," he says. "I didn't promote this story, because it's a very dark story, and I didn't know that that's what was catching on, but if you look at The Hunger Games and some of the stuff that even young adults are reading now, it's very dark themes, a lot of themes with class structure and class warfare with the downtrodden kind of rising up, and I guess it was just good timing that I happened to write that kind of story while that's what readers were after." [1]

It's a marvelous indie success story.
Hugh Howey has, of course, continued writing and this last August published I, Zombie, a full length novel. I find it interesting that he is going back to writing full length novels rather than novellas since it was a novella that sparked his rocket-ride to the top. But, then, Wool continues to sell fabulously well and I, Zombie is fairing very respectably.

It's no surprise, then, that Hugh Howey has decided to continue to independently publish.

"You do so well self-published, it's hard for publishers to compete with what you can do on your own," he [Hugh Howey] says. "I make 70 percent royalty rates on sales here in the U.S., and if I went with a publisher, that would be cut to almost one-sixth. And so, you know, we sat down with them, and they had some nice offers, but I'm handing them a bestseller with a film contract attached and all of these other things attached and what they're offering is just not as good as what I'm doing currently. I showed them what I'm earning now, and they kind of said, I don't know if we can compete with that." [1]

References
1) Hugh Howey doesn't need a publisher, thank you very much, by Erica Jackson Curran at Charleston City Paper.

Other articles you might like:

- The MacGuffin: A Plot Device From Screenwriting
- Serial Fiction: Is It Profitable?
- What's The Difference Between Paranormal Romance And Urban Fantasy?

Photo credit: "Edgy Pink" by Pink Sherbet Photography under Creative Commons Attribution 2.0.

The MacGuffin: A Plot Device From Screenwriting

I thought I'd do something different today and talk about a term from screenwriting: The MacGuffin. I find that once I put a name to an idea that I can more easily understand it, talk about it, and--perhaps--use it in my own work.

Did you know that the falcon in The Maltese Falcon was a MacGuffin? You probably did. I had no idea. Let me explain. (No, there is too much. Let me sum up. Couldn't resist! I re-watched The Princess Bride last night.)

A MacGuffin is a "plot device in the form of some goal, desired object, or other motivator that the protagonist (and sometimes the antagonist) is willing to ... sacrifice almost anything to pursue, often with little or no narrative explanation as to why it is considered so desirable. (MacGuffin, Wikipedia)"

Alfred Hitchcock & The MacGuffin

Alfred Hitchcock is thought to have come up with the idea, or at least the term "MacGuffin". Apparently Pearl White, a silent film actress, used the term "weenie" in much the same way. (MacGuffin, tvtropes.org)

Here's how the incomparable Mr. Hitchcock explained the MacGuffin. The year was 1939 and he was giving a lecture at Columbia University:

[We] have a name in the studio, and we call it the 'MacGuffin'. It is the mechanical element that usually crops up in any story. In crook stories it is almost always the necklace and in spy stories it is most always the papers. (MacGuffin, Wikipedia)

Hitchcock went on to remark that although a MacGuffin is an object the plot revolves around that--and this crucial--the "audience don't care" what it is specifically. Or, rather, even if they are curious, the true nature of the object is immaterial to the plot (MacGuffin, Wikipedia). A classic example of this is the suitcase in Pulp Fiction.

The MacGuffin Test

TvTropes.org has a wonderful discussion of the MacGuffin. For instance, here is the test to see if something is functioning as one:

[C]heck to see if it is interchangeable. For example, in a caper story the MacGuffin could be either the Mona Lisa or the Hope diamond, it makes no difference which. The rest of the story (i.e. it being stolen) would be exactly the same. It doesn't matter which it is, it is only necessary for the characters to want it.

A common MacGuffin story setup can be summarized as "Quickly! We must find X before they do!". (MacGuffin, tvtropes.org)

R2-D2: An Example Of A MacGuffin

R2-D2 is an example of a MacGuffin. George Lucas describes R2-D2 as the driving force of Star Wars. The droid that was the object of everybody's search. Lucas differed from Hitchcock in that he thought the MacGuffin should be powerful, that the audience should care about it.

For instance, while we were curious what was inside the briefcase in pulp fiction, it wasn't important to us as a character. R2-D2, on the other hand, was a character most movie goers genuinely cared about every bit as much as Luke Skywalker or Han Solo. (MacGuffin, Wikipedia).

Other examples of MacGuffins: the Maltese Falcon, the briefcase in Pulp Fiction, the mineral Unobtainium in Avatar.

The Mock Guffin

Sometimes I suspect screenwriters are joking when they come up with all these names, but apparently, there's also a Mock Guffin; that is, an object thought to be of great value that turns out to be junk. For instance, bank bonds that are at first thought to be extremely valuable then turn out to be worthless.

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This may be the only article I post today so I'll give my NaNoWriMo update now. As of last night my word count was 22,031 and today I'm hoping to get it up to 24,000. Thanks for being my writing buddies, go us! :-)

Other articles you might like:

- Serial Fiction: Is It Profitable?
- What's The Difference Between Paranormal Romance And Urban Fantasy?
- A NaNoWriMo Pep Talk From Neil Gaiman

Other (off site) articles:

- MacGuffin (tvtropes.org)
- Mock Guffin (tvtropes.org)
- Top Ten Movie MacGuffins (ign.com)

Photo credit: "The Death Star plans are not in the main computer" by JD Hancock under Creative Commons Attribution 2.0.

Serial Fiction: Is It Profitable?

For the past few months I've been thinking of experimenting with serial fiction. One thing I'm wondering is whether it's financially profitable.

You've heard, no doubt, that Charles Dickens was one of the first to serialize a story, The Pickwick Papers, in 1836 and that it was a great financial success, but the form seems to have fallen out of favor with readers ... although perhaps less so with listeners. (Serial, Wikipedia)

When I was a kid I spent summers at my parents' cabin, a ramshackle three bedroom tucked deep in the Dead Wood, listening to serializations over the radio. That was great fun. Years later a public broadcasting station re-broadcast episodes of The Shadow (The Shadow knows) along with the original commercials (Roma wine, that's R-O-M-A) from the 40s. The show broadcast every Saturday at 11:00 pm; I'd make popcorn and hunker down for an hour of campy goodness.

Serial Literature Today

Jane Friedman has written a fabulous article about serials for Publishing Perspectives called Experimenting With Serials for Fun and Profit. I would encourage anyone at all curious about the state of serial literature today to read her article.

Is Serial Fiction Profitable?

Here's what I think: It can be. I say that because for certain authors, authors like Hugh Howey and Sean Platt it has been. For other folks, not so much. As you can see from reading Jane's article, many people produce serial fiction simply for the love of it.

Since my question is whether serial fiction can be profitable and, if so, how to go about doing that, I'll concentrate on folks who seem like they've been able to make a nice go of it. Although please keep in mind that this is guess work on my part, I haven't seen their financials!

Hugh Howey - Wool

Jane wrote her article before the phenomenal success of Hugh Howey's Wool. Here's what Hugh Howey says about his ride to the top:

The first WOOL story came out in July of last year. At just over 12,000 words, it qualified as a novelette, and not much more. I forgot about the story until it began garnering a slew of positive reviews that could muster only a single complaint among them: Where was the rest? They wanted more.

So I began writing more. I released the rest of the story in installments, something I'd always wanted to try, and I enjoyed the quick turnaround and the immediate feedback from readers. The entries grew as the series went along, until the fifth and final WOOL story was the length of a short novel. Once the tale was complete, I collected the five books into an Omnibus, which was when it began to really take off.

The WOOL OMNIBUS is now roaring up the charts, and I like to think of the work as much as a collaboration as a singular effort. It was borne out of the call from reviewers for more and forged almost as it was being read. (How My Self-Published Book 'Wool' Became A Hot Movie Property)

Hugh Howey seems to have discontinued selling the first five serials and now just offers the omnibus version, but since that's currently at number 151 in the paid kindle store he's clearly made the right decision. Wow! That is very good, and the book was published in January 2012.

The question is: Would Wool have been such a great hit if Hugh Howey written it as a novel from the start? We'll never know, but clearly the serial form can be lucrative.

Roz Morris - Author, Editor and Ghostwriter

This is from Roz's site:

I’m a professional writer, editor and writing blogger living in London. You’ll have seen my books on the bestseller lists but not under my name because I ghostwrote them for other people. (Roz Morris)

Roz has come out into the daylight, as she puts it, with a 100,000 word literary novel she released in four parts. She published in September 2011 and appears to have done fairly well. One thing I find fascinating is that her first episode--the first serial--seems to be doing about as well as the completed book! Here, take a look for yourselves (keep in mind that I'm writing this on Nov 11th and things will likely change over time).

My Memories of a Future Life - Episode 1 of 4: The Red Season (Aug 23, 2011)
My Memories of a Future Life - Episode 2 of 4: Rachmaninov and Ruin (Sept 1, 2011)
My Memories of a Future Life - Episode 3 of 4: Like Ruby (Sept 9, 2011)
My Memories of a Future Life - Episode 4 of 4: The Storm (Sept 16, 2011)
My Memories of a Future Life - the complete novel (Sept 19, 2011)

Roz also has a great blog about writing: Nail Your Novel.

Sean Platt - The King of Serial Fiction

Together with co-author, David Wright, Sean has quickly become “King of the Serial,” as the father of the five series: Yesterday’s Gone, WhiteSpace, ForNevermore, Available Darkness, and Dark Crossings. Inspired as much by Stephen King’s serialized story, “The Green Mile,” as well as superbly scripted TV shows, such as LOST, Fringe, and The Walking Dead. Their first series, Yesterday’s Gone has received over 200 5-Star reviews, and has spent time on Amazon’s list of the Top 100 Best Reviewed Fiction Books of All Time. (Sean Platt)

Sean calls his omnibus works "seasons" and each contains six episodes. He models his serials after Lost and uses cliffhanger endings to keep his audience coming back for more. Jane wrote that the first episode was free and each after that each is $1.99 with the full season selling for $4.99. Apparently things have changed.

I just looked up Yesterday's Gone: Season One on Amazon and it's selling for $5.99 (#2038 in the Kindle store), the first episode is 99 cents and all other episodes are $2.99. Even though the first season is up on Amazon the first episode is still selling reasonably well (#29,490 in the Kindle store).

Keep in mind, too, that Yesterday's Gone is just one of the serials Sean and David are writing.  As I mention, above, they are also working on: WhiteSpace, ForNevermore, Available Darkness and Dark Crossings, all of which seem to be doing very well.

Don't Use Serial Fiction As A Gimmick

Jane warns against using serial fiction as a marketing gimmick. If it just so happens that each chapter of your novel stands on its own as a self-contained unit, then fine, but if it it doesn't you may find yourself with disgruntled readers--or, worse, board ones--rather than fans.

Serial Fiction: Try It!

It seems the most successful attempts at serial fiction have been when novel length works are serialized in 5 or 6 novelette sized chunks and released about a week, or a month, apart.

In the end, the only way you'll know if serial fiction would be right for you is to jump into the deep end and try it. Write some serial fiction, publish it on Amazon, Barnes & Noble, Smashwords, Kobo, WattPad, or what have you.

If you're a bit shy you can use a pen name so if no one buys it you don't have to worry about anyone knowing. I think that's unlikely though, especially if you give your first serial away for free. :)

Whatever you decide to do, best of luck!

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My NaNoWriMo update: Yesterday was a good day for me, I'm at 19,921 words, I'm hoping to reach 22,000 today. Coming up to the midpoint.

Other articles you might like:

- What's The Difference Between Paranormal Romance And Urban Fantasy?
- A NaNoWriMo Pep Talk From Neil Gaiman
- David Mamet On How To Write A Great Story

Photo credit: "My forest dream is still a dream..." by Vinoth Chandar under Creative Commons Attribution 2.0.

What's The Difference Between Paranormal Romance And Urban Fantasy?

The question is inevitable. You're at a get-together and someone asks you, "So, what do you do?"

Fair question, right? Then why do I feel so sheepish?

Here's me: Um, well, I guess ... I write.

Usually my interlocutor is interested. "Oh, how fascinating! What do you write?"

Ah, there it is. THE QUESTION. I used to say I was a genre writer but, inevitably, people looked at me blankly and asked, "What's that mean?".

So I thought, well, just pick a genre, something most folks are familiar with, something which more or less describes what you write. If they're interested you can refine the description later. So here's what I said.

"I write fantasy"

My questioner flushed and took half a step toward me. "You mean, like, dirty books?" they whispered.

Back to the drawing board.

Here's my current response: Think Buffy the Vampire Slayer without vampires.

So far it's worked, everyone I've spoken with has either watched Buffy or at least knows what I'm talking about. If they don't--this only happened once--I wave my hand in front of me and say, "Oh, you know, Joss Whedon's stuff". They understand that, or at least feel they should, and so change the subject.

Paranormal Romance Versus Urban Fantasy

If my experience at parties is any guide, most non-writers aren't familiar with the names of the genres they enjoy. And that's just fine. But we're writers and names can make a huge difference.

If you've written a horror novel and it's mistakenly categorized as paranormal romance chances are many readers who buy it won't be happy and may even leave disgruntled reviews.

Not good.

Here's how I think of the difference between these two genre:

Paranormal romance

A paranormal romance is fundamentally a romance. In the beginning of the story the lovers-to-be meet each other, are powerfully attracted to each other, but there is a reason, a very good and perhaps tragic reason, why they can't be together.

This reason, whatever it is, complicates their lives in various ways until the midpoint of the story when either things change slightly or they throw caution to the winds and, er, connect.  It turns out that being together was a bad idea, but perhaps for an all new set of reasons, and the would-be lovers are separated until the 3/4 point when our couple finally admits to themselves and each other that they are hopelessly in love.

Unfortunately, though, for 'a very good reason' (tm)--often something to do with a greater good--they must now say goodbye. Forever. Fortunately, just before all hope is lost and the two are irretrivably severed from each other and all hope of happiness fades the problem is solved and our lovers fall into each others arms and, probably, beds, and live together happily ever after (HEA). The End.

What do you mean, I must have read a lot of paranormal romances? ;) Of course I have, they're great! I especially like Katie MacAlister.

My description, above, was tongue-in-cheek, but I tried to hit some of the plot points a romance story needs to cover. A much better description can be found here: Xtranormal: How To Write A Romance Novel. That's the structure. That's the skeleton of every romance novel, paranormal or otherwise, ever written.

What's paranormal about paranormal romance?

Generally what makes a romance a paranormal romance is the addition of paranormal abilities. One or more of the characters have abilities that are considered "beyond the scope of normal scientific understanding" (Google Dictionary).

According to Wikipedia, a paranormal romance blends together, "themes from the genres of traditional fantasy, science fiction, or horror". That seems about right. No category these days is rigidly defined, but that seems to capture the expectations of readers when they pick up a book they've been told is a paranormal romance.

Urban Fantasy

Urban fantasy is the gritty bulked-up cousin of paranormal romance. Where a paranormal romance is fundamentally a romance, an urban fantasies is fundamentally a fantasy. There is a LOT of variation within the fantasy genre and so there is a lot of variation in urban fantasy. That said, it does have some unique aspects.

1) An urban fantasy must be ... well, urban

The bulk of the story has to take place in a city. The urban fantasies I've read generally take place in the cities of today, but in a world where we've realized that vampires and witches and werewolves (oh my!) exist.

That said, the city could be one from the past or the future, or it could be on another planet entirely.

2) An urban fantasy must have paranormal elements

Like a paranormal romance, an urban fantasy will have one or more characters who have abilities that are considered beyond the scope of normal scientific understanding. Being such as witches and werewolves, demons and vampires.

3) In an urban fantasy the outer goal of the protagonist IS NOT the love interest

In a romance the outer goal of the protagonist is the love interest; it is their bond, their eventual union.

Recall the structure of a romance I discussed, above. If this is the structure of a book that has been shelved in the urban fantasy section then the book has been misshelved. That book is NOT an urban fantasy, it's a paranormal romance.

In an urban fantasy something OTHER than the love interest is the protagonist's main goal.

Example: Jim Butcher's book Changes (The Dresden Files series)

In Changes Harry Dresden's outer goal is to save his daughter's life. I chose this book because the protagonist's goal is clear cut (and because it's a great book!). The red court vampires are going to ritually sacrifice his daughter unless Harry does something about it. The rest of the book is Harry doing something about it.

Changes is also the book where ... okay, no spoilers. But, as in most of the Dresden File books, there is a romantic element, a romantic subplot, but this romantic element is decidedly secondary (as one would expect) to saving his daughter's life. So it's usually there, but it's never the main thing.

Clear as mud? :-)

Okay, I've rambled on enough for today, talk to you again tomorrow. I studiously worked away on my NaNoWriMo manuscript and am now at 16,036 words and ever single word I typed was painful! lol Yesterday was NOT a fun writing day, hopefully today will be better. I want to reach 18,000 words by the time I go to bed.

Keep the NaNoWriMo faith! WE WILL FINISH!!

Other articles you might like:
- A NaNoWriMo Pep Talk From Neil Gaiman
- David Mamet On How To Write A Great Story
- How To Earn A Living As A Self-Published Writer

Photo credit: "Nosferatu (1922)" by twm1340 under Creative Commons Attribution ShareAlike 2.0.

A NaNoWriMo Pep Talk From Neil Gaiman

The Great Swampy Middle

Well, we're into the second week of NaNoWriMo. That first blush of exuberant confidence is gone and we're into the long uphill slog.

That's how I feel at least. The bright-shiny is wearing off and I'm finding it difficult to finish my daytime work and THEN sit and write for another two or three hours for NaNoWriMo.

But I'm going to.

Because I'm a writer.

And writers write.

Neil Gaiman's NaNoWriMo Pep Talk: Find the next word. Write it down. Repeat. Repeat. Repeat.

Just reading Neil Gaiman's prose is an inspiration.

By now you’re probably ready to give up. You’re past that first fine furious rapture when every character and idea is new and entertaining. You’re not yet at the momentous downhill slide to the end, when words and images tumble out of your head sometimes faster than you can get them down on paper. You’re in the middle, a little past the half-way point. The glamour has faded, the magic has gone, your back hurts from all the typing, your family, friends and random email acquaintances have gone from being encouraging or at least accepting to now complaining that they never see you any more—and that even when they do you’re preoccupied and no fun. You don’t know why you started your novel, you no longer remember why you imagined that anyone would want to read it, and you’re pretty sure that even if you finish it it won’t have been worth the time or energy and every time you stop long enough to compare it to the thing that you had in your head when you began—a glittering, brilliant, wonderful novel, in which every word spits fire and burns, a book as good or better than the best book you ever read—it falls so painfully short that you’re pretty sure that it would be a mercy simply to delete the whole thing.

Welcome to the club.

That’s how novels get written.

I would encourage you to read Neil Gaiman's entire article, I've just quoted from the beginning. You can find it here: Neil Gaiman’s Pep Talk.

Neil Gaiman is just one of dozens of authors who have written pep talks for NaNoWriMo. You can find them in the NaNoWriMo Pep Talk Archive.

My word count right now is 13,952 and I plan to bring that up to 16,000 by the end of the day. We can do this!! :-)

Other articles you might like:

- How To Earn A Living As A Self-Published Writer
- How To Write 10,000 Words A Day
- NaNoWriMo: A Survival Guide

Photo credit: "Contemplation - Dartmoor, Devon" by Janicskovsky under Creative Commons Attribution 2.0.

An Indie Success Story: Donna Fasano

Donna Fasano And Her Publishing Journey

Donna Fasano wrote for a traditional publisher for nearly 20 years and published 32 romance novels that sold over 3.5 million copies worldwide.

3.5 million!

Do you know how much her royalty was? 2% to 6%! Still, Donna was able to put her kids through college and do nifty things like take vacations. And, besides, when Donna started writing there was no alternative to traditional publishing. Now, of course, there is.

Once Donna realized what self-publishing could do for her she wrote to her publisher and got the rights back to 10 of her books.

Since then Donna has sold ... wait for it ... 120,000 copies of those previously out-of-print books! I hope Donna doesn't mind but I did some quick calculations. If she sold each book for, say, $3.00 and received a royalty of around 70% she would receive well over $200,000!

No wonder publishers don't want to give authors their rights back!

Reversion Of Rights: How To Get Your Rights Back

It can be brutally difficult to get your rights back. Often the publishing contract is unclear regarding what needs to be done and publishers drag their feet at every step of the process hoping you'll give up. (see: Doing What's Right: How To Get The Rights To Your Books Reverted)

Donna Fasano went to a lawyer for help, David P. Vandagriff of The Passive Voice Blog. In her superlative blog post Donna steps you through what she did and sings David's praises. Her article is well worth reading, even if you've never traditionally published: Going Indie: from OOP to self-pub bestseller.

Thanks to Passive Guy for posting a link to Donna's article.

Other articles you might like:

- David Mamet On How To Write A Great Story
- How To Earn A Living As A Self-Published Writer
- Third Person Omniscient, Third Person Limited or First Person. Which Point of View Is Right For You?

Photo credit: "Mystical station" by Jsome1 under Creative Commons Attribution 2.0.

Third Person Omniscient, Third Person Limited or First Person. Which Point of View Is Right For You?

In a recent post Nathan Bransford talked turkey about Point of View.

First Person

In the first person perspective everything that happens in your story is told through your narrator's perspective. For example:

"Ouch! That hurt," I yelled. Jan glanced back and grinned.
"Oh, I'm sorry, was that your foot?" she said.
I glared at Jan's back as she peddled off into the distance, laughing maniacally. She would pay. Oh, yes, she would pay.

Nathan Bransford says this of it:

The really compelling first person narrators are the ones where a unique character is giving you their take on something that is happening, and yet it's clear to the reader that it's not the whole story. You're getting a biased look at the world, which is central to the appeal of the first person narrative. [1]

For example, in Jim Butcher's Dresden Files series each story is told by Harry Dresden, Chicago's only consulting wizard. As a result, the books are infused with his personality. A very good thing! But the reader doesn't know whatever Harry doesn't know and sometimes that's quite a lot; enough, certainly, to keep the story interesting.

Nathan Bransford suggests that if you use the first person prspective that you make your character likeable. Or at least likable enough to pass the "stuck in an elevator" test. He writes:

Would you want to be stuck in a room with this person for six hours? Would you want to listen to this person give a speech for six hours? If the answer is no, then you might want to reconsider. [1]

Third Person: Limited Versus Omniscient

In the third person perspective, limited, you are, as the name implies, limited to one person's point of view while in the omniscient mode you can peek into the minds of all your characters and report what you find. While the latter is VERY convenient it's not as personal.

Here's an example of third person limited:

"Ouch! That hurt," Karen yelled. Jan glanced back and grinned.
"Oh, I'm sorry, was that your foot?"
Karen glared at Jan's back as she peddled off into the distance, laughing maniacally. Karen decided that Jan would pay for defiling the pristine newness of her sneakers.

It's not quite as personal because you're not hearing Karen's thoughts first hand, you're being told them by someone else.

In third person omniscient you can dip inside the head of anyone in the scene.

The Choice: Do You Want To Head-Jump?

Nathan Bransford writes that the decision whether to use third person limited or third person omniscient comes down to whether you want to head-jump. He writes:

Third person limited is, well, limited. The perspective is exclusively grounded to one character, unless you cheat a little. This means that you have all of the constraints of first person (all the reader sees is what the protagonist sees), but with just a tad more freedom. The reader will wonder a bit more precisely what that character is thinking and there's a bit more of an objective sensibility.

One of the classic third person limited narratives is the Harry Potter series, and Rowling strays from Harry's perspective in only a tiny few rare instances. She therefore had to bend over backwards to filter everything the reader needed to know about that world through Harry's view. If Harry can't see it? It doesn't happen for the reader.

I would wager my sorting hat that things like the invisibility cloak and the pensieve were extremely inventive ways around the narrative challenges posed by third person limited. There is no "offstage" for the reader to witness something that Harry can't see, so instead he has to be present to see he shouldn't  (invisibility cloak) and witnessing historical events for himself (pensieve).

Third person omniscient is, ostensibly, a bit more freeing, because you aren't limited to a single character's perspective. However, it's also very difficult because for a reader it's very disorienting to head-jump. If you're inside one character's head and then jump to the next character's head and then another, it's very difficult for the reader to place themselves in a scene. They just have whiplash. [1]

He ends by saying:

That's the key: Whatever perspective you choose, it has to be grounded. The reader has to know where they are in relation to the action so they can get their bearings and lose themselves in the story.

Nathan Bransford's entire post is well worth reading--heck, all his posts are!: Third Person Omniscient vs. Third Person Limited.

Other articles you might like:

- David Mamet On How To Write A Great Story
- How To Earn A Living As A Self-Published Writer
- Using Pinch Points To Increase Narrative Drive

Referenced articles:
1) First Person vs. Third Person, Nathan Bransford

Photo credit: "Writing" by ^ Missi ^ under Creative Commons Attribution 2.0.

David Mamet On How To Write A Great Story

David Mamet sent a memo to the writers of The Unit in which he tells them how to craft a dramatic story, one which will keep an audience's attention riveted.

I've included Mr. Mamet's original memo at the end of this article (it's from: David Mamet's Master Class Memo to the Writers of The Unit), but I've summarized his points.

What Is Drama?

Drama is:

The quest of the hero to overcome those things which prevent him from achieving a specific, acute, goal.

The hero must have a simple, straightforward, pressing need which impels him or her to show up in the scene.

Every scene must be dramatic. It must start because the hero has a problem and it must culminate with the hero finding him or herself either thwarted or educated that another way exists.

The hero's need is what the scene is about. It is the hero's attempt to get this need met which will lead, at the end of the scene, to failure or to a third way. It is this failure (or change of direction) that will propel us into the next scene.

The Job Of The Dramatist

The job of the dramatist is to make the audience wonder what happens next. It is not to look at past action and explain what just happened nor is it to suggest what will happen next.

The Anatomy Of A Great Scene

If you can answer all three questions, below, then your scene is dramatic. If you can't, you're just giving your reader information.

1) Who wants what?
2) What happens if they don't get it?
3) What now?

If you can't say "Yes!" to both of the following, that scene is either superfluous or incorrectly written:

1) The scene advances the plot.
2) The scene is dramatic. That is, in it the hero has a pressing need which impels him to show up in the scene and, at the end, the hero is either thwarted in his goal OR finds that another way exists to achieve it.

If a scene is superfluous, throw it out. If it's incorrectly written, rewrite it.

Signs That Your Script Is In Trouble

- Your script is in trouble if it has two characters talking about a third character not present.

- Your script is in trouble if it has one character saying to another, "As you know ..."

I think things might be slightly different when we talk about writing as opposed to screenwriting since screenwriting is a VISUAL medium. There you really can show not tell. Also you can easily cut away and show an event happening that no character is seeing, but this is more difficult to do when writing a story.

Kill Your Darlings

I'd like to end with a quotation, one that I believe applies to both story writing and screenwriting:

This is a new skill. No one does it naturally. You can train yourselves to do it, but you need to start.

I close with this one thought: look at the scene and ask yourself "Is it dramatic? Is it essential? Does it advance the plot?"

Answer truthfully.

If the answer is "No" write it again or throw it out. 

Great advice regardless of medium.

Best of luck with your writing today. I'm just over 14,000 words for NaNoWriMo.

Other articles you might like:
- How To Earn A Living As A Self-Published Writer
- Using Pinch Points To Increase Narrative Drive
- Chuck Wendig And The Battle Song Of The Storyteller
- How To Write 10,000 Words A Day

Photo credit: "Strong Revolutionary Lift" by JD Hancock under Creative Commons Attribution 2.0.

#  #  #

 David Mamet's Memo To The Writers Of The Unit:

TO THE WRITERS OF THE UNIT

GREETINGS.

AS WE LEARN HOW TO WRITE THIS SHOW, A RECURRING PROBLEM BECOMES CLEAR.

THE PROBLEM IS THIS: TO DIFFERENTIATE BETWEEN DRAMA AND NON-DRAMA. LET ME BREAK-IT-DOWN-NOW.

EVERYONE IN CREATION IS SCREAMING AT US TO MAKE THE SHOW CLEAR. WE ARE TASKED WITH, IT SEEMS, CRAMMING A SHITLOAD OF INFORMATION INTO A LITTLE BIT OF TIME.

OUR FRIENDS. THE PENGUINS, THINK THAT WE, THEREFORE, ARE EMPLOYED TO COMMUNICATE INFORMATION -- AND, SO, AT TIMES, IT SEEMS TO US.

BUT NOTE:THE AUDIENCE WILL NOT TUNE IN TO WATCH INFORMATION. YOU WOULDN'T, I WOULDN'T. NO ONE WOULD OR WILL. THE AUDIENCE WILL ONLY TUNE IN AND STAY TUNED TO WATCH DRAMA.

QUESTION:WHAT IS DRAMA? DRAMA, AGAIN, IS THE QUEST OF THE HERO TO OVERCOME THOSE THINGS WHICH PREVENT HIM FROM ACHIEVING A SPECIFIC, ACUTE GOAL.

SO: WE, THE WRITERS, MUST ASK OURSELVES OF EVERY SCENE THESE THREE QUESTIONS.

1) WHO WANTS WHAT?

2) WHAT HAPPENS IF HER DON'T GET IT?

3) WHY NOW?

THE ANSWERS TO THESE QUESTIONS ARE LITMUS PAPER. APPLY THEM, AND THEIR ANSWER WILL TELL YOU IF THE SCENE IS DRAMATIC OR NOT.

IF THE SCENE IS NOT DRAMATICALLY WRITTEN, IT WILL NOT BE DRAMATICALLY ACTED.

THERE IS NO MAGIC FAIRY DUST WHICH WILL MAKE A BORING, USELESS, REDUNDANT, OR MERELY INFORMATIVE SCENE AFTER IT LEAVES YOUR TYPEWRITER. YOU THE WRITERS, ARE IN CHARGE OF MAKING SURE EVERY SCENE IS DRAMATIC.

THIS MEANS ALL THE "LITTLE" EXPOSITIONAL SCENES OF TWO PEOPLE TALKING ABOUT A THIRD. THIS BUSHWAH (AND WE ALL TEND TO WRITE IT ON THE FIRST DRAFT) IS LESS THAN USELESS, SHOULD IT FINALLY, GOD FORBID, GET FILMED.

IF THE SCENE BORES YOU WHEN YOU READ IT, REST ASSURED IT WILL BORE THE ACTORS, AND WILL, THEN, BORE THE AUDIENCE, AND WE'RE ALL GOING TO BE BACK IN THE BREADLINE.

SOMEONE HAS TO MAKE THE SCENE DRAMATIC. IT IS NOT THE ACTORS JOB (THE ACTORS JOB IS TO BE TRUTHFUL). IT IS NOT THE DIRECTORS JOB. HIS OR HER JOB IS TO FILM IT STRAIGHTFORWARDLY AND REMIND THE ACTORS TO TALK FAST. IT IS YOUR JOB.

EVERY SCENE MUST BE DRAMATIC. THAT MEANS: THE MAIN CHARACTER MUST HAVE A SIMPLE, STRAIGHTFORWARD, PRESSING NEED WHICH IMPELS HIM OR HER TO SHOW UP IN THE SCENE.

THIS NEED IS WHY THEY CAME. IT IS WHAT THE SCENE IS ABOUT. THEIR ATTEMPT TO GET THIS NEED MET WILL LEAD, AT THE END OF THE SCENE,TO FAILURE - THIS IS HOW THE SCENE IS OVER. IT, THIS FAILURE, WILL, THEN, OF NECESSITY, PROPEL US INTO THE NEXT SCENE.

ALL THESE ATTEMPTS, TAKEN TOGETHER, WILL, OVER THE COURSE OF THE EPISODE, CONSTITUTE THE PLOT.

ANY SCENE, THUS, WHICH DOES NOT BOTH ADVANCE THE PLOT, AND STANDALONE (THAT IS, DRAMATICALLY, BY ITSELF, ON ITS OWN MERITS) IS EITHER SUPERFLUOUS, OR INCORRECTLY WRITTEN.

YES BUT YES BUT YES BUT, YOU SAY: WHAT ABOUT THE NECESSITY OF WRITING IN ALL THAT "INFORMATION?"

AND I RESPOND "FIGURE IT OUT" ANY DICKHEAD WITH A BLUESUIT CAN BE (AND IS) TAUGHT TO SAY "MAKE IT CLEARER", AND "I WANT TO KNOW MORE ABOUT HIM".

WHEN YOU'VE MADE IT SO CLEAR THAT EVEN THIS BLUESUITED PENGUIN IS HAPPY, BOTH YOU AND HE OR SHE WILL BE OUT OF A JOB.

THE JOB OF THE DRAMATIST IS TO MAKE THE AUDIENCE WONDER WHAT HAPPENS NEXT. NOT TO EXPLAIN TO THEM WHAT JUST HAPPENED, OR TO*SUGGEST* TO THEM WHAT HAPPENS NEXT.

ANY DICKHEAD, AS ABOVE, CAN WRITE, "BUT, JIM, IF WE DON'T ASSASSINATE THE PRIME MINISTER IN THE NEXT SCENE, ALL EUROPE WILL BE ENGULFED IN FLAME"

WE ARE NOT GETTING PAID TO REALIZE THAT THE AUDIENCE NEEDS THIS INFORMATION TO UNDERSTAND THE NEXT SCENE, BUT TO FIGURE OUT HOW TO WRITE THE SCENE BEFORE US SUCH THAT THE AUDIENCE WILL BE INTERESTED IN WHAT HAPPENS NEXT.

YES BUT, YES BUT YES BUT YOU REITERATE.

AND I RESPOND FIGURE IT OUT.

HOW DOES ONE STRIKE THE BALANCE BETWEEN WITHHOLDING AND VOUCHSAFING INFORMATION? THAT IS THE ESSENTIAL TASK OF THE DRAMATIST. AND THE ABILITY TO DO THAT IS WHAT SEPARATES YOU FROM THE LESSER SPECIES IN THEIR BLUE SUITS.

FIGURE IT OUT.

START, EVERY TIME, WITH THIS INVIOLABLE RULE: THE SCENE MUST BE DRAMATIC. it must start because the hero HAS A PROBLEM, AND IT MUST CULMINATE WITH THE HERO FINDING HIM OR HERSELF EITHER THWARTED OR EDUCATED THAT ANOTHER WAY EXISTS.

LOOK AT YOUR LOG LINES. ANY LOGLINE READING "BOB AND SUE DISCUSS..." IS NOT DESCRIBING A DRAMATIC SCENE.

PLEASE NOTE THAT OUR OUTLINES ARE, GENERALLY, SPECTACULAR. THE DRAMA FLOWS OUT BETWEEN THE OUTLINE AND THE FIRST DRAFT.

THINK LIKE A FILMMAKER RATHER THAN A FUNCTIONARY, BECAUSE, IN TRUTH, YOU ARE MAKING THE FILM. WHAT YOU WRITE, THEY WILL SHOOT.

HERE ARE THE DANGER SIGNALS. ANY TIME TWO CHARACTERS ARE TALKING ABOUT A THIRD, THE SCENE IS A CROCK OF SHIT.

ANY TIME ANY CHARACTER IS SAYING TO ANOTHER "AS YOU KNOW", THAT IS, TELLING ANOTHER CHARACTER WHAT YOU, THE WRITER, NEED THE AUDIENCE TO KNOW, THE SCENE IS A CROCK OF SHIT.

DO NOT WRITE A CROCK OF SHIT. WRITE A RIPPING THREE, FOUR, SEVEN MINUTE SCENE WHICH MOVES THE STORY ALONG, AND YOU CAN, VERY SOON, BUY A HOUSE IN BEL AIR AND HIRE SOMEONE TO LIVE THERE FOR YOU.

REMEMBER YOU ARE WRITING FOR A VISUAL MEDIUM. MOST TELEVISION WRITING, OURS INCLUDED, SOUNDS LIKE RADIO. THE CAMERA CAN DO THE EXPLAINING FOR YOU. LET IT. WHAT ARE THE CHARACTERS DOING -*LITERALLY*. WHAT ARE THEY HANDLING, WHAT ARE THEY READING. WHAT ARE THEY WATCHING ON TELEVISION, WHAT ARE THEY SEEING.

IF YOU PRETEND THE CHARACTERS CANT SPEAK, AND WRITE A SILENT MOVIE, YOU WILL BE WRITING GREAT DRAMA.

IF YOU DEPRIVE YOURSELF OF THE CRUTCH OF NARRATION, EXPOSITION,INDEED, OF SPEECH. YOU WILL BE FORGED TO WORK IN A NEW MEDIUM - TELLING THE STORY IN PICTURES (ALSO KNOWN AS SCREENWRITING)

THIS IS A NEW SKILL. NO ONE DOES IT NATURALLY. YOU CAN TRAIN YOURSELVES TO DO IT, BUT YOU NEED TO START.

I CLOSE WITH THE ONE THOUGHT: LOOK AT THE SCENE AND ASK YOURSELF "IS IT DRAMATIC? IS IT ESSENTIAL? DOES IT ADVANCE THE PLOT?

ANSWER TRUTHFULLY.

IF THE ANSWER IS "NO" WRITE IT AGAIN OR THROW IT OUT. IF YOU'VE GOT ANY QUESTIONS, CALL ME UP.

LOVE, DAVE MAMET

SANTA MONICA 19 OCTO 05

(IT IS NOT YOUR RESPONSIBILITY TO KNOW THE ANSWERS, BUT IT IS YOUR, AND MY, RESPONSIBILITY TO KNOW AND TO ASK THE RIGHT Questions OVER AND OVER. UNTIL IT BECOMES SECOND NATURE. I BELIEVE THEY ARE LISTED ABOVE.)

How To Earn A Living As A Self-Published Writer

I believe the key to earning a living as a self-published writer is two-fold: write short and write series.

1) Write short

It used to be that particular genres, such as crime fiction or paranormal romance, had to be a certain length.

My first paranormal romance was about 72,000 words because I had been told by the editor she expected all submissions to be between 70,000 and 75,000 words. Other genres have other requirements but, at that time, 70,000 words was considered on the short side for a novel.

With the growing popularity of lower priced ebooks readers have become more accommodating of shorter novels and don't mind paying a few dollars for a 30k, 40k or 50k word novel or novella. In fact, some readers prefer shorter stories.

As evidence of this trend, I give you these posts penned by authors writing in very different fields:
- Ian McEwan Believes The Novella Is The Perfect Form Of Prose Fiction
- Shorter Novels in the Digital Age?
- Indie Epublished Authors: Build Your Backlist Quicker with Shorter-Length Novels

2) Write Series

Not too long ago Melinda DuChamp, a writer with over 50 published books to her credit (although under other names), wrote a guest post for Joe Konrath's blog at his request. Melinda disclosed she had made $15,000 in one month from her first independently published book, 50 Shades of Alice in Wonderland, an erotic novel.

I mention Melinda's success NOT to suggest we all become erotic novelists but because she came up with a business idea I thought was brilliant.

5 trilogies + 5 omnibus editions = 20 books

Imagine you write a trilogy and that each of the three books is about 30,000 words long. You then bundle each of these books into an omnibus edition and sell that. You'll have written three novels--well, novellas--but have four items to sell (the three books plus the bundle of the three books).

For only 90,000 words you'll have a trilogy and four books to sell!

Let's take this a step further. If you wrote four more trilogies you would have a total of 20 books, and book bundles, for sale. That's 20 books for the work of 15.

How quickly could this be done? If you wrote 2,500 words per day you'd be able to write 15 novellas (450,000 words) in 6 months!

Amazon's KDP Select Program: With 20 books for sale one could always be free

Here's a twist: If you offered your 20 books for sale on Amazon and enrolled them in the KDP Select program, you'd always be able to offer one book for free!

I hesitate to recommend enrolling your books in Amazon's KDP Program because whenever exclusivity is required many other issues have to be considered. That said, it's something to think about over the short term, especially if no one knows your name and you want a lot of exposure in a short amount of time.

Other articles you might like:

- NaNoWriMo: A Survival Guide
- Using Pinch Points To Increase Narrative Drive
- NaNoWriMo: How To Reach Your Daily Wordcount
- How To Write 10,000 Words A Day

Photo credit: "Psalm 103 texture" by Rachel Shirey under Creative Commons Attribution 2.0.

Using Pinch Points To Increase Narrative Drive

Think of what a story would be without structure. Many of us don't have to imagine it, we have those stories buried under our beds!

Structure helps move a story along, it lends novels that most mysterious of things: narrative drive. The I-can't-put-it-down quality that keeps sane people up way past their bedtime.

Structure also helps writers when we have that feeling: Gee, shouldn't something be happening about now? But what? Following a structure, or even reading about it, can generate ideas.

The Purpose Of Writing/Storytelling

Screenwriters talk about structure more than novel writers, so I've been studying screenwriting. Not with the intention to write a script--novels are challenging enough!--but to learn about different story structures.

Whether we're talking about writing a novel, short story or a screenplay, it's the same basic idea: We're telling a story to an audience. We are entertainers seeking to wow the crowd.

One concept I discovered recently, that of the Pinch or Pinch Point, is another tool a writer can stow away in her toolbox just in case she needs it. And, during NaNoWriMo, who knows what will come in handy before the month is through.

Pinch Points

A pinch point is a reminder. It's a reminder of who the antagonist is and what is at stake. Further, this reminder isn't filtered by the hero's experience. In other words, it's not just how the hero sees the antagonist, or antagonistic force, this is how they are. Here we see their true nature. (Story Structure Series: #9 – Pinch Points, Larry Brooks)

The Structure Of Your Story: How To Use Pinch Points

There are two pinch points--sometimes just called "pinches"--in a novel or screenplay. Assuming a three act structure, the first pinch comes halfway through the first part of the 2nd act (3/8 mark) and the second pinch comes halfway through the second part of the 2nd act (5/8 mark).

Clear as mud? Here's a drawing:

First Pinch Point:

The first pinch point reminds us of the central conflict of the story.

Second Pinch Point: 

The second pinch point, like the first, reminds the audience of the central conflict of the story, but it also is linked to the first (Wikipedia, Screenwriting). It shows the audience the threat (whatever it is that still stands in the way of the hero achieving his goal). The pinch point scene lays out what the hero has yet to conquer/overcome/accomplish. (“The Help” – Isolating and Understanding the First “Pinch Point”, Larry Brooks)

My background isn't in screenwriting but, to me, pinch points seem a lot like sequels. Not exactly like a sequel, though, because sequels come after the scene, after the action. Perhaps a pinch is like a scene+sequel. You show your audience the antagonist in all their unadulterated glory (or horribleness) and then you see the aftermath, the personal consequences for the hero, the goals he has still accomplish and why he must accomplish them.

Examples of Pinch Points

First Pinch Point 

[I]n Star Wars, Pinch 1 is the Stormtroopers attacking the Millennium Falcon in Mos Eisley, reminding us the Empire is after the stolen plans to the Death Star R2-D2 is carrying and Luke and Ben Kenobi are trying to get to the Rebel Alliance (the main conflict). (Screenwriting, Wikipedia)

Second Pinch Point

In Star Wars, Pinch 2 is the Stormtroopers attacking them as they rescue the Princess in the Death Star. Both scenes remind us of the Empire's opposition, and using the Stormtrooper attack motif unifies both Pinches. (Screenwriting, Wikipedia)

So, in Star Wars, the pinch points remind us that the Big Bad is the Emperor. Further, the pinch points are related--the second one calls back to the first--through the use of Stormtroopers.

Even if we end up not using them, the concept of pinch points can help remind us that we shouldn't lose sight of the antagonist in the story. Sometimes this is a danger when the antagonist works behind the scenes, through his or her minions, and receives little "on stage" time.

# # #

If you're doing NaNoWriMo this year, best of luck! How's it going? It's been tough for me. Life has a way of intruding on my writing time. But that's okay! I'm at approximately 12,075 words, hopefully I'll have over 14,000 by the end of the day.

Go NaNo-ers! :-)

Other articles you might like:

- More Writing Advice From Jim Butcher
- How To Get Your Readers To Identify With Your Main Character
- Chuck Wendig And The Battle Song Of The Storyteller

Resources:
- Syd Field's Podcasts (Syd Field was the first person to publish a book on modern screenwriting)
- StoryFix (Run by Larry Brooks)

Photo credit: "Ice Storm" by JD Hancock under Creative Commons 2.0.