Plot Without Conflict

Plot without conflict. Impossible? Not necessarily.

In the West, plot is commonly thought to revolve around conflict: a confrontation between two or more elements, in which one ultimately dominates the other. The standard three- and five-act plot structures—which permeate Western media—have conflict written into their very foundations. A “problem” appears near the end of the first act; and, in the second act, the conflict generated by this problem takes center stage. Conflict is used to create reader involvement even by many post-modern writers, whose work otherwise defies traditional structure.

The necessity of conflict is preached as a kind of dogma by contemporary writers’ workshops and Internet “guides” to writing. A plot without conflict is considered dull; some even go so far as to call it impossible. This has influenced not only fiction, but writing in general—arguably even philosophy. Yet, is there any truth to this belief? Does plot necessarily hinge on conflict? No. Such claims are a product of the West’s insularity. For countless centuries, Chinese and Japanese writers have used a plot structure that does not have conflict “built in”, so to speak. Rather, it relies on exposition and contrast to generate interest. This structure is known as kishōtenketsu.

Kishōtenketsu contains four acts: introduction, development, twist and reconciliation. The basics of the story—characters, setting, etc.—are established in the first act and developed in the second. No major changes occur until the third act, in which a new, often surprising element is introduced. The third act is the core of the plot, and it may be thought of as a kind of structural non sequitur. The fourth act draws a conclusion from the contrast between the first two “straight” acts and the disconnected third, thereby reconciling them into a coherent whole. Kishōtenketsu is probably best known to Westerners as the structure of Japanese yonkoma (four-panel) manga; and, with this in mind, our artist has kindly provided a simple comic to illustrate the concept.

See the comic and read the rest of this thought-provoking article here: The significance of plot without conflict. Thanks to C.G. Cameron for the link.

I had heard something about this--creating plot without conflict--but never had described in any detail. Lovely idea. I would like to read a short story based on kishōtenketsu.

Other articles you might be interested in:
- Helping Writers De-Stress: Meditation Apps
- Spice Up Your Writing: The Passive Voice & Elimiating Passive Verbs

Photo credit: davidppatriot

How To Be A Writer

From Roxane Gay is Spelled With One "N".

How to Be a Contemporary Writer:

1. Read diversely.

2. Write.

3. See items 1 and 2.

4. Accept that there is no one way to make it as a writer and that the definition of making it is fluid and tiered. 

. . . .

8. Be nice. The community is small and everyone talks. Being nice does not mean eating shit. Being nice does not mean kissing ass. Being nice just means treating others the way you would prefer to be treated. If you’re comfortable being treated like an asshole, then by all means.

. . . .

17a. You are neither as great or terrible a writer as you assume.

18. Know that sometimes you simply need to work harder and sometimes you’ve done the best you can do and there’s no shame in either.

. . . .

25. Ignore all of this as you see fit.

Read the rest here: How to Be a Contemporary Writer.

Or, as Robert Heinlein put it all those years ago:

Heinlein's Rules for Writing:
1. You must write.
2. You must finish what you write.
3. You must refrain from rewriting, except to editorial order.
4. You must put the work on the market.
5. You must keep the work on the market until it is sold.

Today with the advent of indie publishing I think the fourth and fifth points could read:

4. You must publish your work when it is ready. If your story has not been professionally edited and formatted, if it does not have a professional looking cover, then it is not ready.

5. You must keep the work published even if your initial sales are disappointing. Experiment with different covers and with different prices and even with different pen names.

How do you think Heinlein would adapt his rules of writing to the world of indie publishing?

Thanks for reading!

Other articles you might like:
- 8 Ways To Become A Better Writer
- 99Designs.com: How I Solved My Book Cover Dilemma, and How You Can Too
- Jane Friedman: How To Build An Awesome Twitter Bio

Photo credit: Håkan Dahlström

Fifty Shades of Alice In Wonderland: Sales Peak At $1,000 Per Day

Ever wondered what other authors are making on their self-published titles?  Melinda DuChamp, author of the indie bestseller Fifty Shades of Alice in Wonderland, shares how much her book has earned. (All quotations are from Joe Konrath's blog post Independence.

Fifty Shades of Alice in Wonderland: Marketing
On July 23, 2012 Melinda DuChamp self-published Fifty Shades of Alice in Wonderland. Over the next two days her novel sold one copy. (Melinda also bought a copy to check the formatting, but that doesn't count!) Then, on the third day after it was released, Melinda set Fifty Shades of Alice in Wonderland to free for the next five days.

Other than enroll Fifty Shades of Alice in Wonderland into Amazon's KDP Select program and take advantage of the free days, Melinda did two other promotions:

The only promotion I did was the interview on Joe's blog. NYT bestseller Ruth Cardello was also kind enough to include Alice in a contest for her fans. Joe also was sweet enough to mention it on the Facebook page "What to Read After Fifty Shades of Grey" because I'm not on Facebook yet (I know! I know! I need to get on Facebook. I'm trying to become more like Joe and Ruth and get into social media, but I'm a Luddite and I was on a deadline for another book.)

Other than that, I didn't do anything to promote Alice. I figured it would sink or swim on its own merit.

Downloads of Fifty Shades of Alice in Wonderland
Melinda writes:

During the free period, I gave away 22,740 copies in the US and 10,255 in the UK and hit the Top 10 free list in each. That surprised me, because I'd done free promotions before but had never given away that many.

Sales of Fifty Shades
Downloads when a book is free is one thing, how did those downloads translate into sales? 

Assuming the loans are $2 each, Alice has made close to $15,000 in the last 20 days. That's more than many of my advances. [....] Alice peaked at #194 in the US, and #56 in the UK. It is currently #643 and #208. At its peak, it was earning over $1,000 a day. Things have slowed down, but it is still outselling all of my other novels on Amazon.

Melinda's Plan
Where does Melinda go from here? How is she planning to capitalize on the incredible success of Fifty Shades of Alice in Wonderland?

Melinda has done what any smart author would do in her place: write a sequel. Fifty Shades of Alice: Through The Looking Glass is now available on Amazon. Melinda writes:

At the height of Alice's sales, I was fantasizing about money. What if I had twenty ebooks doing well instead of just one? Making $20,000 a day is almost impossible to comprehend. But is it really impossible?

I'm working on the third book in the Alice trilogy. When finished, I'll release it as a stand alone, and also package the trilogy as a set. So I'll have four ebooks (each individual title, and the combined collection.)  If I did this four more times with four more trilogies, I'd have twenty ebooks for sale. With twenty for sale, I could have one ebook always free on KDP Select. Twenty ebooks at five days per free promo is one hundred days of free promo. KDP Select resets every three months, and then you can use the free promo again.

Writing twenty ebooks might seem like a daunting task. But remember, five of those are box sets, and each ebook is only around 30,000 words.

So in order to have 20 erotica ebooks, and one title always free, I only need to write 450,000 words. That's less than five full length-novels. Writing 2500 words per day, that's only six months of writing.

Half a year to write twenty ebooks? It sounds crazy, but it is entirely possible, even though I really believe $20k a day is a fantasy that can never happen. It's just too big a number. And who knows when the mommy porn bubble will burst?

I'd never thought of it quite like that, but Melinda's got a point.

If an ebook were only 30,000 words long and every three books written was a trilogy, each trilogy could be bundled to make a fourth book. In that case an author could write 20 books after writing ([3 x 30,000] x 5) 450,000 words. At 2,500 words a day that would take about 6 months to do.

Amazon Select allows an author to offer her book for zero dollars for a maximum of five days every 90 days. With 20 books on Amazon's virtual shelves an author would have 100 days of free promo time which means that she could always run a free promotion on one of her books.

Here's Joe's comment on Melinda's plan:

If she [Melinda DuChamp] wrote 20 ebooks (15 titles and 5 collections) and each one earns only $150 a day, that's a million dollars a year. That's just 75 ebook sales and loans a day per title, and I've hit that number many times and for extended periods.

2,500 words a day, huh? Where'd I put my pen ...

UPDATE (February 25, 2013): Joe writes:

I ... asked my buddy Melinda DuChamp for a sales update, and she emailed me.

Melinda: "Happy to share, dearie. The two ebooks have made me over $65k in seven months. I'm working on a third, then I'm going to follow your lead and make a trilogy boxed set and a paper version via Createspace. Considering how quickly I wrote these books, this is the highest paid I've ever been as a writer per hour, even with traditional paper sales in the millions under my other names." (Ann Voss Peterson's Big Regret)

Other articles you might like:

- Kristen Lamb: 5 Steps To Writing Success
- What To Write About: Fiction That Sells
- Update On Amazon's KDP Select Program
- Indie Authors: Bad Sales? Redo Your Cover!

Writing, Publishing and Productivity: Links

I thought I'd try something different today and share links to articles I found interesting or helpful.

How Amazon Grew My Audience By More Than 24,000 Readers in Three Days
How to successfully market your books on Amazon.

What if your slogan is true?
Seth Godin on the importance of having a true story.

7 Writing & Productivity Articles Worth Reading
The best way to be productive is to stop reading this and write! But reading this article comes in a close second. :)

Book Spine Poetry: Your Turn
Poetry is writing! And this looks fun.

The Science of Sleep: Dreaming, Depression, and How REM Sleep Regulates Negative Emotions
This article has nothing to do with writing, it's about what may be one of the primary functions of dreaming: the regulation of emotion.

I hope it's sunny where you are and that a tall cold glass of lemonade is in your near future. That and writing. Cheers!

Other articles you might enjoy:
- Jane Friedman: How To Build An Awesome Twitter Bio
- Seth Godin on Creativity, Childhood and Heroes

Photo credit: Light Cue 23

Spice Up Your Writing: The Passive Voice & Eliminating Passive Verbs

Elizabeth S. Craig writes about passive verbs:

What people sometimes confuse as passive voice is really the use of static verbs instead of dynamic (or active) verbs.  But frequently editors will ask you to reword sentences with static verbs because you could write a stronger sentence with dynamic verbs. Journalist Constance Hale wrote an interesting article for the New York Times in April about static and dynamic verbs and some subcategories of each (I loved her list of wimpy verbs.)

Although hunting down “to be” words isn’t necessarily going to help you create active voice sentence structure, if you have a lot of linking verbs in your story, you might want to make sure you’re showing, not telling.  So even though Anna was mad isn’t passive, it might make for stronger writing for you to say Anna slammed John’s plate on the table in front of him, making green peas fly off.  Frequently, when writers talk about finding linking verbs in their manuscript, they’re really advising us to avoid using weak verbs.

Read the rest of Elizabeth's article here: Passive Voice with Elizabeth S Craig.

If you're looking for a good article on the passive voice and how to avoid wimpy sentences I highly recommend Elizabeth's article. 

Another great article on how to avoid passive sentences is the one Elizabeth recommended: Make-or-Break Verbs by Constance Hale. Here's a sampling:

Fundamentally, verbs fall into two classes: static (to be, to seem, to become) and dynamic (to whistle, to waffle, to wonder). (These two classes are sometimes called “passive” and “active,” and the former are also known as “linking” or “copulative” verbs.) Static verbs stand back, politely allowing nouns and adjectives to take center stage. Dynamic verbs thunder in from the wings, announcing an event, producing a spark, adding drama to an assembled group.

. . . .

Power Verbs Dynamic verbs are the classic action words. They turn the subject of a sentence into a doer in some sort of drama. But there are dynamic verbs — and then there are dynamos. Verbs like has, does, goes, gets and puts are all dynamic, but they don’t let us envision the action. The dynamos, by contrast, give us an instant picture of a specific movement. Why have a character go when he could gambol, shamble, lumber, lurch, sway, swagger or sashay? Picking pointed verbs also allows us to forgo adverbs. Many of these modifiers merely prop up a limp verb anyway. Strike speaks softly and insert whispers. Erase eats hungrily in favor of devours. And whatever you do, avoid adverbs that mindlessly repeat the sense of the verb, as in circle around, merge together or mentally recall.

This reminds me of the advice Stephen King repeated gave in his book On Writing to use strong verbs and, as much as possible, avoid the use of adverbs and even adjectives.

Good writing!

Other articles you might like:
- Stephen King: 15 tips on how to become a better writer
- What To Write About: Fiction That Sells  
- Henry Miller's 11 Writing Commandments

Photo credit: photo by Vincepal on Flickr

Jane Friedman: How To Build An Awesome Twitter Bio

It is impossible to overemphasize the importance of Twitter in building my author platform. My Twitter Bio is my public face on Twitter, it's the first thing folks see and also what they use when deciding if I'm the sort the tweeter they want to follow.

Every writer owes it to themselves to make their Twitter bio the absolute best it can be. Enter Jane Friedman and her blog post

Jane breaks the Twitter bio into four components:

1. Photo
2. Name and handle
3. 160 character bio
4. Link

Jane Friedman goes into much more detail, here is the Coles Notes version:

1. Photo
- Clear and closely cropped image of your face
- High contrast

2. Name and handle
Name: Use your real name or a pen name. This is part of your platform so you want people to be able to find you easily.
Handle: You probably won't be able to come close to your real name, don't worry about it. Just pick something easy to remember and type.
Tip: Jane suggests not putting "author" as part of either your name or your handle.

3. 160 character bio
Bad:
- Inspirational quotes or aphorisms
- Excess marketing
- A description that is so general it could fit anyone.
Good:

- Tell people what you do. If you're a writer, tell them that.
- Let people know what you'll be tweeting about.
- Add some personality. People like humor.

Jane writes:

As far as that third item [add some personality], it’s popular for people to mention their hometowns or states, the universities they graduated from, or other things we share in meet-and-greet environments. That little bit of personality is more often than not what starts a conversation on Twitter. For me, it’s bourbon and usually my city of residence. (I do highly advocate listing your location—again, it’s likely to spark more connections.)

 Jane's bio is excellent. Here it is:

I share links on writing, publishing & tech. Web editor for @vqr + former publisher of @writersdigest. Bourbon lover & Hoosier native.

Charlottesville, VA, USA · http://janefriedman.com  

4. Link

Leave a link to your digital home. For most folks this will be a website or perhaps a blog. If you don't have a digital home and you're a writer hoping to sell your work, what are you waiting for? Get one! (This article may help: How To Build A Platform: Why Every Writer Needs A Website.)

To read the rest of Jane Friedman's article click here: Build a Better Author Bio for Twitter.

Jane's article inspired me to revamp my Twitter bio. If you'd like to see it, click here. While you're there say hi, I love hearing from readers. :-)

Other articles you might be interested in:
- 19 Ways To Grow Your Twitter Following
- Twylah: Turn Your Tweets Into A Blog
- Aherk! Makes Writing App 'Write Or Die' Look Tame

Extraterritoriality & DRM: An Insidious New Gottya Clause

I generally read Kris Rusch's business post as soon as it comes out on Wednesday or Thursday, but I've been busy and didn't get to it until this morning and read it while my brain was still trying to wake up.

It was hilarious! My responses, that is, not Kris' post. I kept batting my eyes and shaking my head thinking, no I can't possibly have read that, that's absurd. But, no, I hadn't read it wrong.

Apparently Hachette has added, or will be adding ...

... language that would require authors to “ensure that any of his or her licensees of rights in territories not licensed under this agreement” will use DRM. 

That's from an article by Cory Doctorow, Doubling Down on DRM: Hachette U.K. dabbles in extraterritoriality . Kris quoted him and I've taken these quotations form his article over at Publishers Weekly. Here's Cory's analysis:

It’s hard to say what’s more shocking to me: the temerity of Hachette to attempt to dictate terms to its rivals on the use of anti-customer technology, or the evidence-free insistence that DRM has some nexus with improving the commercial fortunes of writers and their publishers. Let’s just say that Hachette has balls the size of Mars if it thinks it can dictate what other publishers do with titles in territories where it has no rights.  

Kirs Rusch agrees. She writes:

Yeah. Cory’s exactly right about this. And he’s right about the balls the size of Mars. ...

Still, I e-mailed the link to a friend of mine who happens to be an intellectual property attorney who deals with the publishing industry a lot. The attorney’s response? Not shock, not surprise, but this (and I’m paraphrasing here):

Given what I see in  my dealings with the general counsels at various traditional publishing houses, I have to say that everyone in traditional publishing has gone insane.

Needless to say this clause—if indeed it exists—will be a new deal breaker. ... Do not sign anything that requires you to tell other publishers who publish your work in a different territory what to do. For that matter, do not sign anything that requires you to publish all your other work  (not covered under this contract) with DRM attached. If I had signed a contract like that, for example, I would not be able to publish this blog on my website. I would need to have some sort of DRM on this blog to remain in compliance with this contract.

So…if a publisher demands this of you, do not sign that contract. Negotiate it away. If you can’t, walk away. (A Tale Of Two Royalty Statements)

Cory Doctorow tells the story of an author, left unnamed, who published work with Hachette and also with Tor Books. The problem? Tor Books doesn't use DRM. The author had just received a politely worded letter from Hachette explaining his dilemma to him and inquiring about his proposed course of action. Talk about being between a rock and a hard place!

So put this on your list of deal-breakers: If a publishing company wants to control how your other work is published, work that has nothing to do with them, don't sign it!

I'd normally end my post at this point feeling releived that as an indie author I don't have to worry about gottya clauses and the wiles of the Big Six.

Um, wrong. As Kris points out:

This clause [the DRM clause] has a major impact on indie writers who publish their own work in their native language, then sell foreign rights to Hachette. If you sign the DRM clause as Cory outlines it, you must make sure your indie title is available only as DRM. Do you indie writers now understand why you must pay attention to these contract discussions?

Indie writers often handle sales to the English speaking world (or the world of their native tongue) themselves but hand over foreign rights to a publisher who can then have the book translated.

But if a writer signs one of Hachette's contracts with the DRM clause in it then the indie author would have to use DRM to protect even the English language titles they sell through, for instance, Amazon. Yikies!

Personally I don't like DRM and don't use it because it frustrates readers--I know, because it frustrates the heck out of me! Why would I want to aggravate readers who paid for my book by making it harder for them to read? That doesn't make sense to me. I know some folks believe DRM helps prevent an ebook from being pirated, but I doubt that. For more on the topic of DRM and whether it works, read the rest of Cory's article, Doubling Down on DRM, especially the comments.

Wishing you the best of luck in all your contract negotiations! Cheers.

Other articles you might be interested in:
- Why Indie Authors Are Good For Publishing
- Hugh Howey, Bestselling Author Of Wool, On The Key To Writing Success

Photo credit: listentomyvoice

Duotrope: Keep Track Of Your Submissions

From author Michael Haynes:

[T]hree benefits of using Duotrope:

1. Market research and submission tracking. ... You can use Duotrope to research markets ... You can also track your submissions on the site; this allows you to easily avoid submitting two stories at the same time to a market which doesn't allow for this ... I do suggest that people have some kind of backup of this submission tracking data external to Duotrope, just in case something should happen ....
2. Keeping track of upcoming deadlines. Duotrope has a Theme and Deadline Calendar feature which can help you keep track not just of themed deadlines like those I write about every Thursday but also when submission windows are closing for other publications.
3. Spotting signs that a market might be having difficulty. Admittedly, this one involves making some educated guesses. But there's a lot of information around the response time statistics of markets which can be viewed on Duotrope. Often, before I submit to an unfamiliar market, I will look at the "Response Times" section of the market's Duotrope page and also click on the link on that market's page titled "View report of recent responses from this market." Between those two sets of data, I can see if it looks like the market has been doing a poor job of responding to recent submissions and that does sometimes influence my decision of which markets to prioritize.

Looks like a great service, and it's free! Read more about Duotrope over at Michael's blog: Three Benefits Of Using Duotrope.

Other articles you might like:
- Why Indie Authors Are Good For Publishing
- StarShipSofa: A Great Way To Promote Your Novel

Photo credit: tiltti

Why Indie Authors Are Good For Publishing

A number of bloggers have linked to David Vinjamuri's article (Publishing Is Broken, We're Drowning In Indie Books - And That's A Good Thing) but it's so good I'm doing it too. To be honest, I wasn't going to read David's essay at first because it's LONG, but after Dean Wesley Smith recommended it I did and, yes, it was well worth the time investment. Here's an excerpt:

To understand the future of publishing we must examine three trends that have helped to rip it apart: eBooks, social media and low-cost self-publishing. But before that, we first need to understand the two big strategic decisions that traditional publishers made which left the door open for Indie books.

The two big strategic decisions traditional publishers bobbled were hardcover book pricing (too high) and publishers turning authors into marketers. If authors can write and market their own books they only need publishers for printing and distribution. This left a gaping hole which Amazon gladly filled.

By the end of the 2000’s, the elements existed for a revolution. A few gatekeepers tended an inefficient pricing model that consumers and authors both hated. A whole set of mid-list authors were increasingly not making enough money to write fulltime. And beyond that, a generation of new writers was growing up on social media. These writers are tempermentally less able to accept the gatekeeper model of publishing.

This led to the explosion of indie authors and ebooks that we've seen over the past couple of years.

A truely excellent and far-ranging article, you can read it here: Publishing Is Broken, We're Drowning In Indie Books - And That's A Good Thing.

Other articles you might like:
- Seth Godin on Creativity, Childhood and Heroes
- Amanda Hocking's Unusual Writing Schedule

Sue Grafton: I Did A Bad Bad Thing

Yesterday Sue Grafton backpedaled on her claim that self-publishers were "too lazy to do the hard work". Ms. Grafton writes:

The responses to that quote ranged from irate to savage to the downright nasty.  Indie writers felt I was discounting their efforts and that I was tarring too many with the same brush.  It wasn’t my intention to tar anyone, if the truth be known.  Several writers took the time to educate me on the state of e-publishing and the nature of self-publishing as it now stands.  I am uninitiated when it comes to this new format.  I had no idea how wide-spread it was, nor did I see it as developing as a response to the current state of traditional publishing, which is sales driven and therefore limited in its scope.  I understand that e-publishing has stepped into the gap, allowing a greater number of authors to enter the marketplace.  This, I applaud.  I don’t mean to sound defensive here…though of course I do.

I don’t understand the mechanics of e-publishing and I still don’t understand how you can earn money thereby but I realize now that many indie writers are doing well financially and netting themselves greater visibility than I had any reason to believe. 

Read the rest over at The Pulse of the City: More from Sue Grafton on Publishing & Indie Writers.

Hugh Howey wasn't impressed. Here's his response to Sue's clarification of her thoughts on indie publishing:

Here is my favorite part of her disingenuous backpedaling:

When I’m asked for advice I warn many writers about the charlatans lurking out there.  I warn about the risk of being taken in by those who promise more than they actually deliver and do so at a writers expense. 

Sue? If I didn’t know better, I’d say you were talking about traditional publishers. Promise more than they deliver? Self-publishing makes no promises. You work your butt off with nothing but your own hopes and dreams. Every success startles. The empty promises I’ve seen made have come from major publishers, who have graciously offered to take my hard work and pay me less money and less frequently while they profit handily. Who are the charlatans? Look around, Sue. They’ve been milking you for years.

You can read Hugh's entire response here: An Explanation from Sue Grafton

Personally I think there's something to the adage: By their fruits you will know them. Are indie authors making money? Is indie publishing advancing writers' careers allowing them another option for advancement? The answer: Heck ya! But one thing indie publishing is not is easy.

Related reading:
- Hugh Howey, Bestselling Author Of Wool, On The Key To Writing Success
- Seth Godin: When To Go With A Traditional Publisher
- Amanda Hocking's Unusual Writing Schedule (Amanda Hocking writes between 6 and 12 hours a day! Anyone who calls that lazy has a different definition than I do.)