Learning Story Structure: Deconstructing a Novel

Lately, the writing world has been a twitter with the Department of Justice lawsuit and we have read more than we ever thought likely of sock puppets, or at least sock puppet accounts. And that's fine. Those were, and are, important issues, but let's talk about the act, and art, of writing.

Which brings me Kathy Steffen's terrific article, 10 Steps to Deconstructing a Novel (or How to Learn From Great Authors). Folks, this is a terrific post! Kathy advises us to:

Read first as a reader to enjoy the book, then go beyond the “magic” and take a look behind the curtain to discover how the writer enthralled you. Get that other part of your brain working—not the imagination part, but the analytical part. Read as a writer. Deconstruct your favorite novels.

So let's do it! Look at your bookshelf and pick a book, or books, you've read and enjoyed.

1) The Blurb/Jacket Copy
Look at the blurb, otherwise known as the jacket copy. If you chose an ebook, the blurb isn't always included, but you can look it up on Google Books, or at your favorite on-line bookstore. For instance, this is the blurb for A Discovery of Witches:

Deep in the stacks of Oxford's Bodleian Library, young scholar Diana Bishop unwittingly calls up a bewitched alchemical manuscript in the course of her research. Descended from an old and distinguished line of witches, Diana wants nothing to do with sorcery; so after a furtive glance and a few notes, she banishes the book to the stacks. But her discovery sets a fantastical underworld stirring, and a horde of daemons, witches, and vampires soon descends upon the library. Diana has stumbled upon a coveted treasure lost for centuries-and she is the only creature who can break its spell.

As soon as I read that blurb I knew I wanted to read the book, although I didn't get around to it for some months. Kathy Steffen writes:

When you go beyond your emotional reaction to the copy and look at it with your analytical brain, notice what jumps out at you and what excited you about the story and the characters.

For me, it was the mention of witches, a library and a bewitched alchemical manuscript. But what really got me was the last line: "Diana has stumbled upon a coveted treasure lost for centuries-and she is the only creature who can break its spell"

2) Prising apart the universal and the unique
What are the familiar/universal elements? What is unique? What is the hook? Kathy writes:

The familiar element gives your story mass audience appeal and connection. Ask yourself, how is this story universal or something people will connect with and understand?

The unique angle is just that—unique, fresh, or something familiar with a twist—and unique appeals to people. These two opposite aspects pull readers into the book.

Finally, add the hook. The hook is exactly what it sounds like, the reason someone gets intrigued. Think of the hook as the catalyst that pulls the reader into the book. The “closer” for the “familiar/unique” deal.

Here's an example:

Darkly Dreaming Dexter by Jeff Lindsay (yep, was made into a television show, Dexter.)

Familiar: Dr. Dexter Morgan, a highly respected police lab technician is a nice guy. But this isn’t just another CSI or serial killer fiction because…

Unique: Dexter (the protagonist) is a sociopathic serial killer (an example of been there, read that—serial killer—with a twist).

Hook: He’s the hero! It’s actually fun to see him figure out how to mimic emotional behavior so no one will guess he’s a sociopath. As you read, you find yourself rooting for a serial killer. (Writing a Page-Turning Novel: What’s the Big Idea?)

3) Goal, Motivation, Conflict
A book is generally about the goal of the protagonist, whatever that is. Can't quite bring that into focus? Try Kathy's fill-in-the-blank sentence:

Protagonist wants _____________ (goal)
because _____________  (motivation—why he wants it)
but _____________  (conflict—why he can’t have it).

For instance, in A Discovery of Witches, all her life Diana has wanted nothing to do with magic because magic killed her parents but she can't stop using it because magic is a part of her. (Or something like that.)

4) The hero's goal versus the hero's need
I'm sure I'm making a mess of this, but--again using A Discovery of Witches--I would say that while Diana's goal is to stop using magic entirely, her need (arguably) is to incorporate magic into her life and, in so doing, accept herself for who she is. It works nicely when the hero's need and the hero's goal conflict since that helps create conflict and conflict is interesting.

5) The story dilemma
Here is where you have to be mean to your characters. The characters you have lovingly created and are emotionally invested in. I feel toward my characters a bit like how I imagine a mother hen feels toward her chicks. I want to protect them from harm, not thrust them out into the cruel world and subject them to brutal story dilemmas! But, alas, we must if we want to create a great story.

In The Hunger Games if Katniss achieved her goal then bad things would happen to people she cared about. Specifically, she'd have to kill them. That's bad. That creates conflict. Tension. What is bad for your (beloved) characters is great for your story.

Or look at The Firm. Mitch McDeere wants to become a rich through practicing the law but it turns out that would mean being a lawyer for the mob, something that would put himself and his beloved wife, Abby, in mortal danger. Not good. And then Mitch's choices get really complicated when the FBI enters the picture. Great story, but I wouldn't want to be Mitch.

6) Your character's moral compass
In The Firm, I think the most important thing to Mitch was getting as far away as possible from the poverty and squalor of his youth. Showering his wife with gifts, providing for her, for their family, these were the things that drove Mitch to accomplish his goal of becoming a lawyer.

7) Don't forget your antagonist!
So far we've only been talking about hero's but a hero is nothing without an antagonist. Antagonists have goals, motivations and conflicts, just like heroes do (#3). They have needs (#4). They have a moral code (#7).

Granted, the antagonist's moral code is usually skewed in interesting ways, but they usually have one. In The Firm Avery (who I view as Mitch's nemesis) has adopted the morals of the firm and sold his conscience. But not entirely.

Avery is conflicted between accepting the danger of turning his back on the firm and accepting the poverty, accepting the loneliness, that would come with doing the right thing. He wants to, but he can't. In the end he does and saves Abby's life. Avery is a interesting, and exquisitely human, character.

8) Turning points
There is generally at least one turning point in a story. (In The Firm there are at least three, or so I would argue.)

One usually occurs when the hero answers the call to adventure. Another occurs at about the middle of the novel, the point of no return. For Mitch this was when there was no way back to his previous life. He was told he either had to side with the FBI or the mob. Either way he could never go back to his old life. Another generally occurs just before the end at the "all is lost" moment where the hero's schemes unravel and it seems he/she will never reach the goal. (Michael Hauge has a great article on this: The Five Key Turning Points Of All Successful Scripts. Also--I have this on a bookmark I've hung above my desk--here is Michael's Six Stage Plot Structure.)

Read the rest over at How To Write: Ten Steps to Deconstructing a Novel (or How to Learn from Great Authors).

Other articles you might like:
- Writing Resources
- Pixar: 22 Ways To Tell A Great Story
- Want Help With Editing? Try Free Editing Programs

Photo credit: CillanXC

Speaking of Grammar: "Affect" Versus "Effect"

I must be thinking of grammar more lately, either that or there are just more great grammar related articles floating about the internet. Ever wondered whether you should use "effect" or "affect"? Wonder no more! Rachel Berens-VanHeest has written a (terrific!) post about just this.

Let’s start with at “affect” vs. “effect.” Many people use these worlds interchangeably, rather than correctly.

So what do they mean? By definition, you “affect,” or act on something, and something that you do causes an “effect.” In other words, “affect” is a verb, and “effect” is a noun. Or think of it this way: “affect” is something you DO, while “effect” is something that IS.

EXAMPLE: Susan wondered if David’s compliments were starting to affect her self-confidence. (The compliments are doing something, acting on, Susan’s self-confidence.)

EXAMPLE: Bob waited to see if his joke would have the same effect that it did the last time he told it. (The verb is “has,” while “effect” is a noun.)

That's just the beginning. There are many more gloriously simple and easy to understand examples in Rachel's article: Short and Sweet: Grammar Cake Pops – Affect vs. Effect.

Other articles you might like:
- Writing Resources
- 19 Ways To Grow Your Twitter Following
- 8 Tips For Blogging Success

Photo credit: Giuseppe Arcimboldo

Branding: Not As Painful As It Sounds

Branding is a mystery to me. Those in the know say a writer must do it, but I never knew what 'branding' meant or why anyone would commit their precious time and resources to it. It could just be me, but doesn't branding sound uncomfortable? Isn't that something done to cattle?

Today I read a post by Copy Blogger that did the impossible, it explained branding to me. Here are the parts that did it:

"Branding is just another name for creating a perception."

"A brand is a promise. It's an expectation of an experience."

 

 That I can understand. For instance, Stephen King is branded as a horror writer. It doesn't matter that he writes a heck of a lot more than horror (Stand By Me for instance), when Jane Doe hears the name "Stephen King" she thinks horror.

When Stephen King's name is on a novel we expect it to be a horror story, that's the promise, that is the experience we want.

The very essence of brands doesn’t lie within your brand colors or site design, even though those are important.

The essence of a brand lies within its meaning. And words have meaning. Words matter.

As we all know, the goal of writing is the manipulation of your readers' emotions. That makes it easier to understand branding because when we brand ourselves we take ourselves as the subject of our own story. This story creates an expectation of an experience. A Stephen King novel? We expect to be scared, terrified, creeped out.

Sometimes, like Volvo, we don't know what our brand is going to be when we start out. I'm pretty sure Stephen King didn't think about branding when he wrote Carrie.

I'm glad I read Why Content Marketing is the New Branding. The article talks about more than what I've discussed here, but the revelation for me was in thinking of a brand as a story, my story. It is the mask, the persona, I hold up to the public. I find the idea both gleefully mischievous and sinister.

Other articles you might like:
- Want Help With Editing? Try Free Editing Programs
- Stephen King's Joyland (June 4, 2013): Cover Art Just Released
- Amazon's KDP Select Program: The Power Of Free

Photo credit: Daniel Schwen

Want Help With Editing? Try Free Editing Programs

Are you sick of hearing about sock puppets? Do you want to shut the world out, march into your writing cave and scribble like a madperson? I do! But when you emerge, pale and blinded by the light, you will have to decide: How are you going to edit all the glorious content you've created?

If you're anything like me, you understand you must edit your manuscript before you publish but you'll look for ways to reduce the cost. Some editors change less if your manuscript is mostly error free, so eliminating as many errors as you can before you send it off makes financial sense.

Apart from the cost, it's always nice to get your manuscript into the best possible shape before you send it out to readers. Which brings to mind something acutely embarrassing that happened to me last week: I emailed a short story to my critique group and only later--much later--noticed I'd sent them a first draft as opposed to the nearly final draft I'd intended to send! Although they were gracious, I still feel like I'd walked to the grocery story naked. Yes, that's a little off-topic, but I guess part of the reason for this post is I've resolved to make everything I send out as good as I can make it.

What's the solution? Editing programs! Preferably free editing programs.

What follows comes from a blog post of Virginia Ripple: Paid and Free Editing Software For Manuscripts. Here are the three programs Virginia uses: EditMinion, Pro Writing Aid, ClicheCleaner. She writes:

I use EditMinion first because it highlights adverbs, weak words, said replacements, sentences ending prepositions and passive voice in different colors. It wasn’t until I ran my first couple scenes through this free editing software that I realized I was in love with adverbs and had a real problem with passive voice.

Next I use Pro Writing Aid. This free editing software catches things like sticky sentences (sentences with too many glue words), vague and abstract words, overused words, repeated words and phrases, complex words and pacing. Like passive voice, I have a real fondness for sticky sentences, and this program finds those with ease.

Last of all, I use ClicheCleaner. It’s great for finding cliches and redundancies. You can download a free demo version that lets you scan up to 20 documents before needing to pay $12.95 to do any more. I downloaded ClicheCleaner because I always thought I had issues with using too many cliches. After using this free editing software, I was surprised to find I don’t have a big problem after all. Of course, even one can be too many.

I put the first three paragraphs of this post through EditMinion and Pro Writing Aid [1] and feel it did help. But, for me, that's not the real test of an editing program. I want to see what the program has to say about the prose of a writer I admire. I want to see what the program says about those paragraphs I read and I think, "I wish I could write like that!" THOSE are the kind of paragraphs I use to test editing programs.

Stephen King, On Writing
From the time I read his first book I've loved Stephen King's writing, so it's natural--or at least predicable--that I came to regard On Writing as something of a bible. How better than to test the editing program with Stephen King's prose? As you can see, I've also included Jim Butcher's work. I did this because if any editing program tells me that man can't tell a good story, then the program has spaghetti for circuits and is getting the old heave ho.

This is from page 153 of Stephen King's, On Writing:

Once I start work on a project, I don’t stop and I don’t slow down unless I absolutely have to. If I don’t write every day, the characters begin to stale off in my mind—they begin to seem like characters instead of real people. The tale’s narrative cutting edge starts to rust and I begin to lose my hold on the story’s plot and pace. Worst of all, the excitement of spinning something new begins to fade. The work starts to feel like work, and for most writers that is the smooch of death. Writing is at its best—always, always, always—when it is a kind of inspired play for the writer. I can write in cold blood if I have to, but I like it best when it’s fresh and almost too hot to handle.

I used to tell interviewers that I wrote every day except for Christmas, the Fourth of July, and my birthday. That was a lie. I told them that because if you agree to an interview you have to say something, and it plays better if it’s something at least half-clever. Also, I didn’t want to sound like a workaholic dweeb (just a workaholic, I guess). The truth is that when I’m writing, I write every day, workaholic dweeb or not. That includes Christmas, the Fourth, and my birthday (at my age you try to ignore your goddam birthday anyway). And when I’m not working, I’m not working at all, although during those periods of full stop I usually feel at loose ends with myself and have trouble sleeping. For me, not working is the real work. When I’m writing, it’s all the playground, and the worst three hours I ever spent there were still pretty damned good.

I'm only going to focus on two reports: The Overused Words Report and the Adverbs/Passive Report. For the following I use Pro Writing Aid. (I'm only using one editing program because, for me, the question isn't whether one program is better than another, it is whether any editing program is very good, and I think Pro Writing Aid is one of the better ones.)

Overused Words, Stephen King, On Writing:

Overused Words	Found	Suggestion
could	0	Awesome
feel/feeling/felt	2	Remove about 1 occurence
generic descriptions	0	Well done
had	0	Nice work
have	4	Remove about 2 occurences
hear/heard	0	Perfect
initial -ing	1	Very good
it/there	7	Remove about 3 occurences
just/then	1	Just right
knew/know	0	Excellent
initial conjunction	0	Way To go
look	0	Great work
-ly adverb	2	Nice job
maybe	0	Awesome
see/saw	0	Well done
smell/taste	0	Nice work
that	6	Remove about 4 occurences
was/were	2	Perfect
watch/notice/observe	0	Very good

 Adverbs/Passive Report, Stephen King, On Writing:
 I can't copy and paste the text, but no passive constructions were found and two adverbs were listed:
- Absolutely
- Usually

Jim Butcher, Small Favor
Pick any of Jim Butcher's Dresden books and, if you like urban fantasy with witty characters, then you'll end up becoming a fan of the series. Really. Try it. (If you want to read the series, start with the first book, Storm Front.)

The following are the first few paragraphs from Small Favor:

Winter came early that year; it should have been a tip-off.

A snowball soared through the evening air and smacked into my apprentice’s mouth. Since she was muttering a mantra-style chant when it hit her, she wound up with a mouthful of frozen cheer—which may or may not have been more startling for her than for most people, given how many metallic piercings were suddenly in direct contact with the snow.

Molly Carpenter sputtered, spitting snow, and a round of hooting laughter went up from the children gathered around her. Tall, blond, and athletic, dressed in jeans and a heavy winter coat, she looked natural in the snowy setting, her cheeks and nose turning red with the cold.

“Concentration, Molly!” I called. I carefully kept any laughter I might have wanted to indulge in from my voice. “You’ve got to concentrate! Again!”

The children, her younger brothers and sisters, immediately began packing fresh ammunition to hurl at her. The backyard of the Carpenter house was already thoroughly chewed up from an evening of winter warfare, and two low “fortress” walls faced each other across ten yards of open lawn. Molly stood between them, shivering, and gave me an impatient look.

“This can’t possibly be real training,” she said, her voice quavering with cold. “You’re just doing this for your own sick amusement, Harry.”

I beamed at her and accepted a freshly made snowball from little Hope, who had apparently appointed herself my squire. I thanked the small girl gravely, and bounced the snowball on my palm a few times. “Nonsense,” I said. “This is wonderful practice. Did you think you were going to start off bouncing bullets?”

Molly gave me an exasperated look. Then she took a deep breath, bowed her head again, and lifted her left hand, her fingers spread wide. She began muttering again, and I felt the subtle shift of energies moving as she began drawing magic up around her in an almost solid barrier, a shield that rose between her and the incipient missile storm.

“Ready!” I called out. “Aim!”

Overused Words, Jim Butcher, Small Favor:

Overused Words	Found	Suggestion
could	0	Awesome
feel/feeling/felt	1	Well done
generic descriptions	0	Nice work
had	1	Perfect
have	3	Remove about 1 occurence
hear/heard	0	Very good
initial -ing	0	Just right
it/there	2	Excellent
just/then	1	Way To go
knew/know	0	Great work
initial conjunction	0	Nice job
look	2	Remove about 1 occurence
-ly adverb	9	Remove about 3 occurences
maybe	0	Awesome
see/saw	0	Well done
smell/taste	0	Nice work
that	2	Perfect
was/were	3	Very good
watch/notice/observe	0	Just right

Adverbs/Passive Report, Jim Butcher, Small Favor:
I can't copy and paste this, but there are 9 adverbs:
- early
- suddenly
- carefully
- immediately
- thoroughly
- possibly
- freshly
- apparently
- gravely

The program also mistakenly flagged the name "Molly" as an adverb.

Stephenie Meyer, Twilight
I was going to stop there. Both Stephen King and Jim Butcher are marvelous writers and if any editing program says otherwise, it's not an editing program I want to use. So far I like what I've seen.

But I couldn't leave it at that. I wanted to see how Pro Writing Aid did with a piece of writing that Stephen King thinks is horrible. Now, Mr. King isn't the kind of guy to read a piece of prose to the world and mock it, dissect it, criticize it, and I don't want to be that kind of person either. That's just being a jerk.

So, before I continue, I want to say that I read Meyer's Twilight series and liked it. Whatever flaws anyone sees in it, it works beautifully and is another brilliant caution against taking what anyone says about good or bad writing, grammar and all the rest of it, too seriously.

The following is from the beginning of Twilight:

Eventually we made it to Charlie's. He still lived in the small, two-bedroom house that he'd bought with my mother in the early days of their marriage. Those were the only kind of days their marriage had — the early ones. There, parked on the street in front of the house that never changed, was my new — well, new to me — truck. It was a faded red color, with big, rounded fenders and a bulbous cab. To my intense surprise, I loved it. I didn't know if it would run, but I could see myself in it. Plus, it was one of those solid iron affairs that never gets damaged — the kind you see at the scene of an accident, paint unscratched, surrounded by the pieces of the foreign car it had destroyed.

"Wow, Dad, I love it! Thanks!" Now my horrific day tomorrow would be just that much less dreadful. I wouldn't be faced with the choice of either walking two miles in the rain to school or accepting a ride in the Chief's cruiser.

"I'm glad you like it," Charlie said gruffly, embarrassed again.

It took only one trip to get all my stuff upstairs. I got the west bedroom that faced out over the front yard. The room was familiar; it had been belonged to me since I was born. The wooden floor, the light blue walls, the peaked ceiling, the yellowed lace curtains around the window — these were all a part of my childhood. The only changes Charlie had ever made were switching the crib for a bed and adding a desk as I grew. The desk now held a secondhand computer, with the phone line for the modem stapled along the floor to the nearest phone jack. This was a stipulation from my mother, so that we could stay in touch easily. The rocking chair from my baby days was still in the corner. There was only one small bathroom at the top of the stairs, which I would have to share with Charlie. I was trying not to dwell too much on that fact.

One of the best things about Charlie is he doesn't hover. He left me alone to unpack and get settled, a feat that would have been altogether impossible for my mother. It was nice to be alone, not to have to smile and look pleased; a relief to stare dejectedly out the window at the sheeting rain and let just a few tears escape. I wasn't in the mood to go on a real crying jag. I would save that for bedtime, when I would have to think about the coming morning.

Forks High School had a frightening total of only three hundred and fifty-seven — now fifty-eight — students; there were more than seven hundred people in my junior class alone back home. All of the kids here had grown up together — their grandparents had been toddlers together.

I would be the new girl from the big city, a curiosity, a freak.

Overused Words, Stephenie Meyer, Twilight

Overused Words	Found	Suggestion
could	2	Awesome
feel/feeling/felt	0	Well done
generic descriptions	0	Nice work
had	7	Perfect
have	4	Very good
hear/heard	0	Just right
initial -ing	0	Excellent
it/there	15	Remove about 8 occurences
just/then	2	Way To go
knew/know	1	Great work
initial conjunction	0	Nice job
look	1	Awesome
-ly adverb	11	Remove about 2 occurences
maybe	0	Well done
see/saw	2	Nice work
smell/taste	0	Perfect
that	9	Remove about 5 occurences
was/were	15	Remove about 7 occurences
watch/notice/observe	0	Very good

Adverbs/Passive Report, Stephenie Meyer, Twilight:
- Eventually
- Gruffly
- Only
- Easily
- Only
- Dejectedly
- Only 

Passive word phrases
- "was born"

Conclusion
I found it helpful comparing Meyer's work with King's and Butcher's. If I had more time, I would also analyze a passage from her newer book, The Host. My guess is that, like all people who write regularly, Meyer's prose has improved.

I haven't compared my own work to King's or Butcher's yet, but I will, and when I do I'm sure I'll cringe and blush. I do hope, though, that what I write today is better than what I wrote a couple of years ago. I think it is, and I believe reading Stephen King's book, On Writing, and taking it to heart, accounts for much of that improvement.

Other articles you might be interested in:
- Jim Butcher, Harry Dresden and the Dresden Files
- Stephen King's Joyland (June 4, 2013): Cover Art Just Released
- Writing Resources

Notes:
1. ClicheCleaner required me to download software, and cliches were covered by the first two programs, so I didn't use it.

Photo credit: Georges Méliès

The Seven Year Itch And Publishing

Have you ever watched the movie The Seven Year Itch? That's the movie in which, among other things, Marilyn Monroe stands stands over a subway grate so she can get some relief from the summer heat. The heat which, at least in the 1950s, drove people out of New York during August.

Apparently New Yorkers aren't the only folks to take August off. The publishing world did as well. Which is no surprise given that New York used to BE the publishing world. But that wasn't the only reason. Dean Wesley Smith tells us that book sales traditionally slump during the summer, from mid-May to mid-September.

Which brings us to the subject of Dean's post: The Seasons of Publishing. Specifically: fall, winter and spring. When I read that list I suspected a typo. Where's summer? But in publishing there was no summer. There were three seasons and each lasted for 4 months. Dean writes:

[A] major reason for no summer catalog and sales season for the publishers was that it was known that the lowest time for buying books by customers was May through the middle of September. That has not changed.

The lesson for indie publishers:

Don't watch your numbers like an obsessive-compulsive hawk!

If, currently, your book sales are down, at least one of the reasons is that it's summer and book sales go down in the summer. Simple as that. But that's just one reason that your sales could be down. The important point here is that, many times, when your sales go down it has nothing to do with your book. The dip is often completely beyond your control.

So if indie authors worry about our sales dropping and try to prop them back up by commissioning another cover, by rewriting the blurb, and so on, we really are just wasting time that could have spent writing more books.

Given the natural ebb and flow of book sales, what should indie authors do? Here are Dean's suggestions:

1) Focus only on learning and writing the next book.

2) Check your numbers when the money gets deposited every month and no more.

3) Expect your overall sales to go down from May 15 to September 15 unless you push in new titles or do something else to change your list.

The summer is a great time to push in new titles because they will be solidly in the system, throughout the world, as we go into the fall book-buying season. So if you do anything in the summer, get new titles up.

If you do change a price, for heaven’s sake, give the new price at least six months to nine months to return numbers to you. Changing a price from week to week or month to month is just flat silly in this business.

Think long term. Checking your sales numbers twelve times per year is enough. And for heaven’s sake, stop reacting to low sales in a traditional low-sales period in the business.
Nothing wrong with your books. Low sales in the summer are just normal.

I especially like Dean's recommendation to give a new price at least 6 months to preform before changing it again. Well, that and the advice to publish during the summer to give your book some traction before Christmas. Actually, I like it all! (grin)

You can read Dean Wesley Smith's entire article here: The New World of Publishing: The Seasons of Publishing.

Other articles you might like:
- Writing Resources
- The Role Of The Unconscious In Writing
- Lyla Sinclair's 8 Secrets Of Successful Romance Writing
- How Do Writers Get Their Ideas? Neil Gaiman, Seth Godin & Stephen King

Great Authors Who Wrote Only One Novel

From Office Space For Rent:

Stephen King, Sue Grafton, and Dean Koontz have each written dozens of novels. They are successful, prolific authors whose works span decades. Other authors have been less productive but no less successful. 

 For instance:

Oscar Wilde, The Picture of Dorian Gray: Wilde was a poet and playwright and like Salinger and Mitchell, published a number of collections, but only wrote a single novel. The Picture of Dorian Gray was criticized as immoral and was heavily censored. Wilde revised the book, and it eventually became a gothic classic. Wilde went back to poetry and plays and never undertook another novel.

Harper Lee, To Kill a Mockingbird: Published in 1960, To Kill a Mockingbird was an immediate bestseller. The critically acclaimed classic won Lee a Pulitzer and a Presidential Medal of Freedom, and its 1962 film adaptation won three Academy Awards. Lee never expected the novel to be successful and shied away from the attention she received. She started other novels, but, dissatisfied with them or unwilling to face more publicity, abandoned them.

Oscar Wilde and Harper Lee are just two of many who, while writing short stories, plays, etc., wrote only one novel. To read about the rest, click here: 8 Amazing Authors Who Only Wrote One Book.

An interesting read! Thanks to Eric for the link.

Other articles you might like:
- Norway Pays Authors $19,000 Per Year
- Amazon's India Store Now Offers 70% Royalty Option
- Writing Resources

Photo credit: Infrogmation

Stephen King's Joyland (June 4, 2013): Cover Art Just Released

From EW.com:

Not only is King going retro with the setting of his upcoming novel, he’s also sticking to a tried-and-true format. “I love crime, I love mysteries, and I love ghosts,” he said in the press release. “I also loved the paperbacks I grew up with as a kid, and for that reason, we’re going to hold off on e-publishing this one for the time being. Joyland will be coming out in paperback, and folks who want to read it will have to buy the actual book.”

Charles Ardai, editor of Hard Case Crime, promises a layered, genre-crossing story. “Joyland is a breathtaking, beautiful, heartbreaking book,” he said. “It’s a whodunit, it’s a carny novel, it’s a story about growing up and growing old, and about those who don’t get to do either because death comes for them before their time. Even the most hard-boiled readers will find themselves moved. When I finished it, I sent a note saying, ‘Goddamn it, Steve, you made me cry.’” (See the cover of 'Joyland' by Stephen King)

- Read Stephen King's press release on StephenKing.com
- View the cover art for Joyland
- Join Stephen King's mailing list.

I find Stephen King's stories usually either make me scared of the dark, closets, washrooms (especially toilets) and dogs, or they turn me into a puddle of tears. This one seems to be the puddle of tears kind, although I do have the feeling I might not want to go to any carnivals after dark, at least for a while .... None of that matters, though. I've marked my calendar and am counting the days until Joyland hits the shelves. :-)

Other articles you might like:
- Stephen King: 15 tips on how to become a better writer
- Stephen King on Ray Bradbury: The sound I hear today is the thunder of a giant's footsteps fading away
- Henry Miller's 11 Writing Commandments

Photo credit: StephenKing.com

A Discovery of Witches: An Oxford Walking Tour

From time to time Amazon sends me book recommendations. When they started doing this, years ago, I used to read their recommendations to friends so we could share a laugh, that's how inaccurate they were. Lately, though, they've been getting better. Much better. For instance, recently I picked up a copy of Deborah Harkness' book, A Discovery of Witches. I haven't finished it yet, but am thoroughly enjoying it.

Just this morning Amazon sent me 10 book recommendations. The second from the top was A Discovery of Witches. Right under that was the sequel, Shadow of Night. I had no idea there was a sequel, so that made me happy, but it felt like cold fingers were trailing up my spine. Gah! Am I really that predictable?

Although I haven't yet finished A Discovery of Witches I am thoroughly enjoying it, so when I came across a link to this this YouTube video (A walking tour of Oxford for A Discovery of Witches) on Deborah Harkness' website I thought I'd share it.



Apparently there is going to be a third book in the series as well as a movie based on A Discovery of Witches.

Warner Brothers Pictures has secured the film rights to the All Souls Trilogy. Work is currently underway to adapt the first book, A Discovery of Witches, for the screen. Denise DiNovi and Alison Greenspan are producing the film. Playwright David Auburn, who has received both a Pulitzer Prize and a Tony Award, has been hired to write the screenplay.

For the latest information about the movie, click here: All Souls Trilogy Movie.

Has anyone else read A Discovery of Witches? What did you think of the book?

Other articles you might like:
- Norway Pays Authors $19,000 Per Year
- Amazon's KDP Select Program: Is Exclusivity Worth The Perks?
- Amazon's India Store Now Offers 70% Royalty Option

Norway Pays Authors $19,000 Per Year

This is from MediaBistro.com:

Norway buys 1000 copies of every book a Norwegian author publishes. It provides a $19,000 annual subsidy to every author who is a member of the Authors’ Union. The Association of Bookstores is allowed to have a monopoly on the sale of books—but is prohibited by law from engaging in price competition. It requires, by law, that bookstores keep books in stock for two years regardless of sales. And it exempts books from its very steep sales tax. Not surprisingly, Griswold finds, “Norwegians everywhere read, and they read a lot; Norway has one of the world’s highest reading rates.”

I tried to confirm those figures at the Authors' Union website but, unsurprisingly, the text is in Norwegian. The quotation comes from Regionalism and the Reading Class, a book on sociology by Wendy Griswold.

Wouldn't that be nice? $19,000 a year may not be enough to live on, but it would certainly help! It only applies to those living in Norway, but, still, I can't help but wonder what the entrance requirements are for joining the Authors' Union!

Other articles you might like:
- Tips For First Time Writers
- Kristen Lamb: Don't Let Trolls Make You Crazy
- Pixar: 22 Ways To Tell A Great Story

Photo credit: Photo by Mahlum, altered by Karen Woodward

Amazon's KDP Select Program: Is Exclusivity Worth The Perks?

A few days ago I mentioned that the Amazon store in India is now offering a 70% royalty option (Amazon's India Store Now Offers 70% Royalty Option) but apparently I didn't read the small print. Kris Rusch writes:

This week came the news that Amazon’s Kindle Direct Publishing program will offer its content providers a 70% royalty on all sales made in India—provided the content providers go with Kindle Select only. For those of you who don’t know, Kindle Select requires exclusivity from anyone who joins it. You can’t market your work on the iBookstore, for example, or on Kobo if you’re part of Kindle Select. Only on Amazon.

Let me play devils advocate. Many writers I've spoken with say they make upwards of 95% of their sales on Amazon, so selling only through Amazon is not costing them a great deal of money. Further, since Amazon gives them perks like free days and inclusion in the lending library many authors end up selling far more through Amazon than they would have through all the stores combined.

Personally, I thought the above line of reasoning was compelling, but Kris raises an excellent point. She writes:

[M]y own beliefs about maintaining different platforms for my work got reinforced this week after WMG hired someone to input the sales figures for the last six months. We looked at those numbers yesterday. I sell a lot of books on Kindle, but my biggest selling title, a short story called “The Moorhead House,” sold a grand total of one copy on Kindle from January to June.

Every single one of “The Moorhead House”’s rather surprising (to me) sales came on the Nook. For some reason, Nook readers either like or have found or continue to find that one short story. And they buy it more than they buy anything else of mine offered through Barnes & Noble.

If I had joined Kindle Select with that story, I doubt I would have made comparable sales.

I don't think I've read a business post of Kris Rusch's that wasn't well written and well thought out. This one is no exception. If you'd like to read the whole thing here's the the link: The Business Rusch: Content is King.

I'd like to share one more thing with you before I leave. Kris writes:

If you can control the content, then you can control the money.

But here’s the problem with content: it’s not easy to create. If a bunch of monkeys at typewriters could write novels, don’t you think the publishing industry would have conscripted the little buggers decades ago?

I thought that was hilarious! So true.

Other articles you might like:
- How To Format A Word Document For Amazon's KDP Publishing Program
- Lyla Sinclair's 8 Secrets Of Successful Romance Writing
- Indie Books: What Price Is Right?

Photo credit: Karen Woodward