Getting Ready for 2013: A Writer's Guide

It's much easier to make our dreams come true if we craft goals that can get us there.

Jan O'Hara, in her article Tormented by Toothless Writing Goals? Try These Tools, tells us how to create goals that can make our dreams a reality. (For more on this see: Writing Goals Versus Writing Dreams: How To Get From One To The Other.)

What's the secret to making one's dreams come true? Making SMART goals:

Specific: Goals not Dreams

As I wrote yesterday, we don't have direct control over our dreams (Earning a living from your craft) but we do over our goals (Write 1,000 words a day, Publish 4 books next year).

Let's use a concrete example:
Goal: Write, and complete, 2 books next year.

That's a good goal. It's specific. We'll make it even more specific and say that each book will be around 80,000 words.

Measurable

A good goal is one we can use to check our progress and see how we're doing. For instance, if we're going to complete 2 books next year we'll be writing (2 * 80,000) 160,000 words.

But we won't write the entire time--we need to edit the book, go through re-writes, and so on. Let's give ourselves 3 months to write a book and 3 months to edit it.

To write 80,000 words in 3 months we will need to write 80,000/(30 * 3) = (about) 889 words per day. If you do more, great! You'll get done quicker and have more time to edit.

Measuring your progress

We could put a calendar on the wall and use Jerry Seinfeld's chain method to keep us on track by putting an "X" through each day we complete our 889 words.

Actionable

Decide WHEN you are going to write as well as WHERE. Many writers find that when they have a set schedule--always writing in the morning, or always in the evening--it helps get their muse accustomed to waking up and being active during that time. (See: Vanquishing Writer's Block)

It doesn't matter what time you choose (Amanda Hocking is nocturnal!) just so long as you're consistent. (That said, flexibility is important as well. It's better that you write, even during an 'off-time' than that you don't write at all.)

Also, you know there will be times when you'd rather walk over hot coals than write. Decide now how you're going to handle that. Could you bribe yourself with a treat? Write for, say, 10 minutes then take a break?

Realistic

In my example we're writing 2 books a year. That might not be realistic for you. Although there is something to be said for trying to stretch yourself it's important that these goals are realistic. If you know you'd never be able to write two books than try for one. Or perhaps two novellas, or even a few short stories.

Time-bound

Goals need deadlines.

For my examples I've chosen the time frame of a year but perhaps weekly or monthly goals would work better for you. For instance, perhaps you'd like to try writing one short story a month--or one a week.

Choose deadlines that work for you and then find some way to make yourself accountable.

Accountability is something I'm still working on. I check in with my local writing circle every week and we share our goals but there is no consequence if we miss them. We're all very sympathetic and understanding--which is great! But it's easy for a deadline to slide by, unnoticed. (If you have a suggestion to make, something that works for you, please do!)

Jan O'Hara mentions a couple of motivational options: habitforge.com and stickk.com. You can read about them here, at the end of her article.

That's it! If you'd like to share your writing goals for 2013, please do. :-)

Other articles you might like:

- Writing Goals Versus Writing Dreams: How To Get From One To The Other
- The Structure Of Short Stories: The Elevator Pitch Version
- Where Ideas Come From And The Conspiracy Against Nothingness

Photo credit: "Zsa Zsa gets to work" by mpclemens under Creative Commons Attribution 2.0.

Writing Goals Versus Writing Dreams: How To Get From One To The Other

Dreams vs Goals

Wouldn't it be great to win the lottery? Or sell a billion books? Or have one of your titles hit the #1 spot on the New York Times Bestseller list?

These are dreams.

Dean Wesley Smith defines a dream as follows:

A DREAM is an object of desire over which you do not have direct control.

That's a paraphrase.

A GOAL is an object of desire over which you DO HAVE direct control.

This is Dean's example:

Dream: Winning the lottery.
Goal: Buying a lottery ticket every week.

Just because you buy a lottery ticket every week doesn't mean you'll win the lottery, but it's a course of action that will make achieving your dream more likely. And if you don't buy lottery tickets you are guaranteed not to win the lottery.

You have 100% control over whether you buy a lottery ticket each week. You have zero control over whether you'll win the lottery. There are no guarantees. You may win the lottery, you may not, but you're doing something to make your dream more likely to come true.

Goals And The Self-Published Writer

I think all new writers have a similar dream. They would like to, one day, be able to pay for all their wants and needs with the money their writing generates.

Before we look at what goals will bring us to that place let's look at the entrance requirements, the cost of the dream, what kind of person will be able to achieve it.

Dean Wesley Smith: What it takes to be a professional writer

Here's Dean's list of qualities:

1) Determination bordering on psychotic.
2)  The ability to keep standing back up and going on when something knocks you down.
3) The ability to ignore the negative from all those around you, especially family and friends.
4) The hunger to keep learning writing craft and the knowledge you will never be good enough.
5) Fearlessness.
6) The desire to learn business.
7) The ability to control your own time and what comes at you.

Got it? Feeling that fearless psychotic determination well up inside you? Great! Now let's set some goals.

Goal One/Path One

Figure out how much material (short stories, novels, flash fiction, whatever) you could, reasonably, create in a year. From that, guesstimate sales.

1. Reconnoiter and inventory: What are you doing now

Each day for a week (Dean says 3 or 4 days) keep a log and record:
- How much time you spent writing
- The time of day
- Where you wrote
- Your mental state (e.g., Were you too tired to write until you had your coffee?)

Also record:
- How much time you spent reading.
- How much time you spent doing research
- How much time you spend on Twitter, Facebook, YouTube, etc. (That's my suggestion.)

Folks, this is an excellent idea! I set goals for myself every Sunday and, this week, this is my goal. For the next 7 days I'm going to record how I spend my time.

By the way, I want to do the recording for 7 days rather than 3 or 4 because my schedule changes quite a bit on the weekends. For me, it would be much more representative if I looked at the amount I work per week rather than per day.

Okay, that's the first step.

These next two steps don't have anything to do with the time of day your wrote at or where you wrote or what your mental state was like, that's for you, and it's (I think) valuable information.

I'm going to start a running log. Today, right after I finish publishing this post, I'm going to get a new notebook and make it my recording notebook.

2. Figure out your words per hour

This is what you'll do next Sunday. Take the data you've gleaned from (1) and figure out, on average, how many words you write in an hour.

3. Figure out how much you could write in a week

Take the data from (1) and (2) and figure out, on average, how many words you write a day. This will help you figure out how many books you'll be able to publish in a year. Of course you could do this from your words per week (words per week * 52 = words per year) but math is fun! :-)

An example:

Let's say you dutifully do your recording and one week from now have the following scribbled in your notebook:

The Data:
Writing time (time spend writing, not editing or researching):
Sunday: 2 hours; 1,500 words
Monday: 1 hour; 800 words
Tuesday: 5 hours; 3,000 words
Wednesday: half an hour; 500 words
Thursday: 3 hours; 700 words
Friday: 2.5 hours; 2,000 words
Saturday: None

Total writing hours that week:
2 + 1 + 5 + 0.5 + 3 + 2.5 + 0 = 14

Total words written:
1,500 + 800 + 3,000 + 500 + 700 + 2,000 + 0 = 8,500

First step: Calculate, on average, how many hours you wrote per day
14 / 7 = 2  
Average writing hours per day: 2

Second step: Calculate, on average, how many words you wrote per hour.
8,500/14 = (about) 607
Average words written per hour: 607

Third step: Calculate, on average, how many words you wrote per day
607 * 2 = 1,212
Average words written per day: 1,212

Fourth step: Calculate, on average, how many words you'll write in a year
You could do this two ways:
8,500 words per week * 52 weeks =  442,000 per year
1,212 * 365 days = 442,380 words per year = (about) 442,000 words

Fifth step: Calculate how many novels you can write in a year
Let's say you want to write novels that are about 80,000 words long.
442,000 / 80,000 = 5.525

Let me say, wow! If a person writes only 1,212 words a day for a year, you'll be able to publish 5 novels that year? (I just did the math again.) Yep!

I read Dean's figures but it didn't sink in until just now. That's amazing! Over NaNoWriMo I discovered I could write 1,500 words an hour without too much difficulty. 1,500 words a day, one hour, and I'd have over 5 books at the end of the year!

Huh.

Well, editing is where my time goes. For every hour of writing I spend 4 editing the darn thing (writers can have a love-hate relationship with their manuscripts. A lot like teenagers that way ...)

Goal Two/Path Two

Figure out how much money you need to live and then figure out, from that, how much material (novels, short stories, whatever) you'd need to create in a year.

Let's say (this is the number Dean uses) you need to make 50,000 dollars a year from your writing. There are two ways of doing this, the traditional publishing route and the independent publishing route. Let's take the traditional route first.

Traditional Publishing Route

What can a new author get for a first book, or for their first few books? It's very difficult to judge, but let's say $5,000 per book. Perhaps the first book would be less, perhaps some books would be more, but let's say $5,000.

At $5,000 per book you'd have to sell 10 books a year to make $50,000.

That sounds discouraging and I don't mean it to. At first no publisher will give your book a big print run but as you continue to sell more people will want to read your books, you'll get larger print runs and so publishers will give you larger advances.

It just takes time.

Independent Publishing Route

Dean says that, at first, an indie author would be lucky to sell 25 copies a month. So, let's say they're lucky and that the novels are selling for, as Dean suggests, $5.99. That means (if they are being sold on Amazon) the author will get 70% or $4.19 (let's say $4).

Each month our indie author will make 4 * 25 = 100 per month or 100 * 12 = 1,200 per year. That means they'd have to have (50,000/1,200=41.67) 42 books in the Amazon store to make $50,000 per year!

Of course 42 books is entirely doable, but not in a year!

Which, I think, is Dean's point.

So, how long would it take you to earn $50,000 per year if you wrote 5 novels per year? That's easy: 42/5 = 8.4. It would take around 8 years for an indie author to make $50,000 per year.

Actually, that's not bad. That's doable! 25 sales per book per month isn't much and many indie books are priced at $5.99 these days.

Wow. I think this was, for me, Dean's most awesome post--and there've been quite a few!

Focus On What You Control

There are no guarantees. Your independently published book might sell less than 25 copies a month. Significantly less. Your traditionally published book might under-perform and your publisher might drop you (if memory serves, this happened to Laurell K. Hamilton with her first book Nightseer).

There's a lot we don't control but there's two things we do:

- (T & I) How much you write.

- (T) How many manuscripts you send out.

- (I) How many books (short stories, etc) you publish.

- (I) The quality of your published books (blurbs, cover art, formatting) and where the book is sold (the markets, whether you have a print copy, audiobook, etc).

Indie Authors: Focus on selling your work in as many forms as you can

Dean stresses, and for what it's worth I agree wholeheartedly, that it's a good idea to make your work available in as many formats as possible (ebook, POD, audiobook). Dean writes:

You control the attempt to sell. You don’t control the buying or not buying, but you control the attempt to sell.

I think that, even if an author doesn't sell a lot of audiobooks, it's worth doing for the exposure to another market. It is one more way for you to get discovered by readers/listeners. That said, producing an audiobook can be expensive, but you can do it yourself. (See: How To Record Your Own Audiobook: Setting Up A Home Studio)

Dean warns against exclusivity and that's an old debate, one I've written about previously a few times. (See: Does Amazon KDP Select Drive Away True Fans? and Amazon's KDP Select Program Has A Lot To Offer New Writers, But What About Established Ones?)

That's just a sample of Dean's advice. I urge you to read his article: The New World of Publishing: Goals and Dreams.

Other links you might like:

- The Structure Of Short Stories: The Elevator Pitch Version
- Where Ideas Come From And The Conspiracy Against Nothingness
- The Structure Of Short Stories

Photo credit: "Blue Darkness Across A Beach" by A Guy Taking Pictures under Creative Commons Attribution 2.0.

The Structure Of Short Stories: The Elevator Pitch Version

This post is part two of my series on the structure of short stories. To read the first post, click here: The Structure Of Short Stories.

The Chicken And The Egg

One thing I should have said a few words about yesterday was how you can establish elements like setting (time, place, mood, and so on), who your characters are, what your protagonist's major conflict is, and all the rest of it, if you don't already have a good grasp of your story idea.

The fact is a lot of times we work our way into a short story through a bootstrapping process. Perhaps you have an initial idea--a critter with paranormal abilities, a pirate (arg!), two people who fall in love. Chances are, you'll have some an idea when you sit down what you want to do. Go with it. Brainstorm.

Here are some resources that might help generate ideas, or shape the ones you have:

Writing Prompts

Writing prompts can help defeat writer's block, but they're also great for generating ideas. There are many sites on the web with writing prompts, but here are two I like:

- Writing prompts
- CanTeach: Writing prompts

Seventh Sanctum

Seventh Sanctum has all sorts of generators. You can generate names, settings, even story ideas! The next time you're stuck for an idea, go browse.

The Essential Idea

If you don't have all the elements of your short story yet that's fine, but lets try and distill those you do have and, perhaps, get a few more along the way. You can make sure you're starting off on the right foot. (This is also a great exercise for after you've finished your story to make sure all the essentials are in place.)

Nathan Bransford has a terrific blog. The post I come back to the most is Nathan's Query Letter Mad Lib in which he gives the forumla for how to summarize your novel in one sentence. But to condense an entire story down to one sentence is challenging! I propose to first condense our story ideas into 5 sentences and then, from there, we can hone it even farther.

Sound like a plan? Great! Let's get started.

A 5 Sentence Story Description

Nathan Bransford very generously posted the query he used to shop around his first book: Jacob Wonderbar and the Cosmic Space Kapow. (Nathan used to be an agent for Curtis Brown Ltd.)

Let's dissect Nathan's description of his novel and see if we can't make a template out of it:

1. The ordinary world

"Jacob Wonderbar has been the bane of every substitute teacher at Magellan Middle School ever since his dad moved away from home."

[Protagonists name] has been [protagonists outer challenge] ever since [protagonist's wound]. 

2. Setting and characters introduced

"He never would have survived without his best friend Dexter, even if he is a little timid, and his cute-but-tough friend Sarah Daisy, who is chronically overscheduled."

He never would have survived without [friend1 description] [friend1 name], even if he is [friend1 fault], and his [friend2 description] [friend2 name], who is [friend2 fault]. 

3. Entering the special world

"But when the trio meets a mysterious man in silver one night they trade a corn dog for his sassy spaceship and blast off into the great unknown."

But when the trio meets [threshold guardian description] they [cross the threshold] and [exciting verb for "enter"] [the special world]. 

4. It all falls apart

"That is, until they break the universe in a giant space kapow and a nefarious space buccaneer named Mick Cracken maroons Jacob and Dexter on a tiny planet that smells like burp breath."

That is, until [the awful thing that happened as a result of protagonist's actions] and [antagonist description] named [antagonist name] does [some hideous deed to protagonist that hurts him and will definitely prevent him from reaching his external goal]. 

5. The challenge

"The friends have to work together to make it back to their little street where the houses look the same, even as Earth seems farther and farther away." 

The [protagonist] has to work [deed] to [achieve their external goal and return to the ordinary world].

Example: The Firm

1. Ordinary world

Mitch McDeer worked hard to get top grades at Harvard Law School because he never wanted to be poor again.

2. Characters and setting

He would never have succeeded without the love and support of his beautiful wife Abby who, more than anything, wants Mitch to stop running and accept who he is, and to accept his brother, even though his family is a reminder of what Mitch is running from: the shame of growing up in a trailer park, poor, raised by a mother who didn't really care about him.

3. Entering the special world 

When the lawyers from Bendini, Lambert & Locke offer Mitch more money than any other law firm it is a dream come true and he and Abby move into their brand new house, courtesy of the firm.

4. It all falls apart

Everything is great until Mitch learns about the secret files and discovers Bendini, Lambert & Locke is just a front for organized crime. As the FBI closes in on Mitch, threatening him with prison, the mob gets suspicious.

5. The challenge for the protagonist

Mitch has to rely on his wits to save himself and Abby. But is he up to the challenge?

One Sentence Summary

"A young lawyer joins a prestigous law firm only to discover that it has a sinister dark side. (The Firm, IMDB)"

Let's see if we can't expand on that summary of The Firm using Nathan's formula:

[protagonist name] is a [description of protagonist] living in [setting]. But when [complicating incident], [protagonist name] must [protagonist's quest] and [verb] [villain] in order to [protagonist's goal]. (Query Letter Mad Lib)

Here's my attempt:

Mitch McDeere is a smart, motivated, young lawyer living in Boston. But when he gets a job with a group of crooked lawyers, Mitch must thread his way between the dual threats of the FBI and the mob in order to preserve both his life and his law degree.

What I find interesting is that certain points had to fall by the wayside. Here we are forced to only focus on what is of primary importance for the plot: Mitch, the threat posed by the mob and the threat posed by the FBI.

Mitch's wife, Abby, was a large part of the plot, but in the one (okay TWO!) sentence summary she falls by the wayside.

Being ruthless like this and cutting away until you're left with the essential bits can help you focus, right from the beginning, on what is critical to your story. It can help make it strong and easier and quicker to write.

I think that's it for now. In the next post in this series--which probably won't be tomorrow, I'll give you folks a break!--I'll talk about Dan Well's 7-Point system.

(By the way if you haven't read Ben Guilfoy's article on how to write a serial you're missing out! I think serials are the next big thing and Ben's been writing them for years. He explains his system clearly and with humor. Truly, a must read.)

 Till tomorrow, happy writing!

Other articles you might like:

- The Structure Of Short Stories
- Where Ideas Come From And The Conspiracy Against Nothingness
- Roleplaying Games And Writing, Does The One Help The Other?

Photo credit: "Sunburst" by John-Morgan under Creative Commons Attribution 2.0.

Where Ideas Come From And The Conspiracy Against Nothingness

I love Elizabeth S. Craig's twitter feed! Whenever I want to read an article on the craft of writing I go and pick a few links from her twitter feed and browse.

There's one thing I love more than her twitter feed, though, and that's her blog. Today she wrote about something I've been thinking about, something I was going to write about: how we get our ideas. Elizabeth writes:

Lately, I’ve had ideas bursting out of me at crazy times of the day: frequently when I’m doing something else.

I’m driving a car and am struck by three or four ideas or bits of dialogue or plot points or character names. I was honked at yesterday while dreaming at a stoplight (particularly irksome for me because I'm usually the honk-er and not the honk-ee).

I’m having a conversation with someone and get ideas.

I’m falling asleep (this is happening on a daily basis now) and getting ideas. (The Importance of Doing Nothing)

I know what she means. I've been fortunate and had the time to direct my own activities lately, to pursue what I'm really truly deep-down interested in and, right now, ideas are jumping out at me from everywhere. And I'm finishing the stories! (* knock on wood *)

Of course I'm not bored, but the key is that I have time. Time to sit and mull things over, to puzzle out whether certain ideas fit together; in short, to pursue what engages me, what interests me.

Elizabeth S. Craig talks about how children--and certainly adults--are often viewed as wastrels if they want to just sit and think, just sit and dream. She writes:

The funny thing (here in the States, anyway) is that free time, where you’re just doing nothing, isn’t particularly valued.

My son, for instance, was involved in way too many activities last year. He was gone most of the time—day in and day out, on weekends, and in the evenings. He was drained, so I pulled him out of one of the main time-stealing culprits—marching band.

I ran into one of the other marching band parents and she asked me about it. I said that he was too busy and was too rarely at home.

“Well, what’s he going to do with that free time?” she asked.

I just blinked at her. Of course I was the wrong person to ask this question of. “Whatever he wants to,” I said. “Stare off into space if he wants to. It's free time."

“He’ll be bored,” she said.

“That might be a good thing.”(The Importance of Doing Nothing)

I agree!

I've read several times that the best thing you can do for a child is to make sure they have time to dream, and I believe that.

As Elizabeth points out, so did A. A. Milne:

Here’s a bit of dialogue where Christopher Robin explains to Pooh that he won’t be around as much anymore (he’s being sent off to boarding school):

I'm not going to do nothing anymore."
"Never again?"
"Well, not so much. They don't let you." [1]

There does seem to be a conspiracy against nothingness.

I wanted to get that last bit in there because, well, it's a great line, isn't it? "A conspiracy against nothingness." I hope Elizabeth won't mind my borrowing it for my title. :)

Notes:
1) The House at Pooh Corner. A.A. Milne. 1928.

Other articles you might be interested in:

- The Structure Of Short Stories
- The Dark Art Of Critiquing, Part 1: What Makes A Story Good?
- 12 Tips On How To Write Antagonists Your Readers Will Love To Hate

Photo credit: "Between the Dark and a Light Place" by Neal. under Creative Commons Attribution 2.0.

The Structure Of Short Stories

The Structure Of A Short Story

I've been thinking about short stories lately; specifically, about how to structure them. I'd like to write an article that makes it easier for a new writer to create a decent short story right off the bat, the kind of article that might have helped accelerate my learning curve when I was starting out.

(Grin) I guess everyone's gotta have a goal! We'll see how this goes.

A Caveat: Use what works for you

Let me digress for a moment. I don't mean to suggest that there aren't many fine articles out there written by folks much more capable than myself. For instance, Kurt Vonnegut's article How to write with style. But everyone is unique, everyone has a different perspective. Perhaps you and I will be similar enough that my take on things will strike a cord with you. If so, great!

I'm not saying this structure, or any structure, is for everyone. If you like it and it works for you, great! If it doesn't, that's fine. (smile) Use what works for you.

The Roadmap

I've been working on a post on short story structure for the past few days but it keeps growing and, today, I realized I'm going to have to do this in parts. In this post I want to talk about what we need to bring to the table before we start building the structure of our story, before we start talking about hooks and pinches, midpoints and resolutions.

In the next post in this series I'll discuss how to condense the essential ideas in your short story down so they can be expressed in one, or a few, lines. The post after that we'll start talking about Dan Wells 7-Point system for short stories.

Another caveat: If you have an idea and it's bursting to get out, write it! You don't need me, or anyone, to tell you how to express your creativity. This structure is mainly for folks who have an idea curled at the back of their minds like a shy kitten. They know it's there, they know it wants to come out and play, but they can't quite coax it from its hiding spot.

Preparing To Write A Short Story

Before we start talking about story structure (hooks, turning points, pinches, resolutions, and so on) there are a few things we should decide on. Things such as:

1. The basic idea your story is about

What is the setting?

Time: Where are we in time? Is it the present? The past? The future?
Place: What geographic location are you going to use? (New York? LA? Toronto? Etc) Are you going to create your world or use this one?
Mood/Atmosphere: What feeling do you want to create at the beginning? Bright and cheerful? Dark and frightening? Is this going to change by the end? (See: Short Story Elements)
Social milieu: How does the social milieu shape your character's values? What cultures are you going to include? (Setting, Wikipedia)

What is the major conflict?

There are various kinds of conflicts:

- person against person,
- person against society,
- person against nature and
- person against self.

The protagonist often has both an internal and external conflict, so person against person (the antagonist) and person against self (the internal struggle) are the most common forms of conflict found in stories, at least genre stories which are the kind I am focusing on. (See: Conflict, Wikipedia)

For instance, in The Firm, Mitch McDeere has the outer goal of becoming a wealthy lawyer and the inner goal of shedding the negative emotions he has concerning his childhood (well, at first, he just wants to run away and ignore them). His external goal changes throughout the movie, as does how he approaches his inner goal. The obstacles/opposition to these goals creates conflict.

You don't have to have an inner conflict and in a short story you might find it too much to fit in, especially if you're a new writer.

A good strong external conflict (external goal + opposition) is an absolute must. It is the engine that will drive your story forward.

2. List your characters

This is a short story so you probably want to keep the number of characters to the bare minimum you need to tell the story.

You'll have a protagonist, an antagonist and one or both of them might have a helper. Also, the protagonist might have a mentor and there might be some sort of shady character trying to keep the protagonist from leaving the status quo/ordinary world.

Keep in mind that the same character could fill more than one role. For instance, the antagonist could corrupt the mentor and the mentor could act as the shadow-y character keeping the antagonist from crossing the threshold into the special world, the land of adventure. (See: Story Structures: Several Ways Of Structuring Short Fiction)

Character Sheets

I love character sheets! I gave this link in the article, below (Before You Start Writing ...) but I'll give it here as well: Character Brainstorming Worksheet. That's, hands down, the best character sheet I've seen in a long time!

Update (Dec 14, 2012): Thanks to Sam Hunt over at Dark-Fantasy Writers I just learnt about Seventh Sanctum. They have a great character generator over there, best I've seen. Fun to play around with (well, if you're a geek like me).

Test Your Characters

Martina Boone came up with a brilliant idea: Test your characters before you write them into your story to make sure they're strong enough. If this is something you'd like to read about I'll direct you here: Before You Start Writing Test Your Characters: Are They Strong Enough?

3. Who is your point of view (POV) character?

If you're going to write in third person omniscient or third person objective then you don't have to choose just one, but chances are you won't be writing from the these points of view. Usually your protagonist will be your POV character.

That said, there are notable exceptions. For instance, Sir Arthur Conan Doyle wrote his Sherlocke Holmes stories from the point of view of Watson but Sherlock Holmes was his protagonist.

Sometimes you may want to have two POV characters. For instance, often in romance stories one POV character is the girl the other the guy and the POV shifts between chapters. (Or girl/girl or guy/guy depending on the story you're writing.) If you're a new writer, or you want to write a story under 2,000 words, I'd suggest you pick just one.

4. Are you going to write in first, second or third person?

I'm not going to talk about narrative points of view. Wikipedia has a wonderful write up about each one, with examples galore: Narrative mode. If you're at all fuzzy about what first person, second person, third person subjective, third person objective and third person omniscient are please do head on over to Wikipedia and brush up. I know I have to read the definitions again every few years!

Sometimes the narrative point of view you choose will be (in part) determined by the genre you're writing for. For instance, most urban fantasy is written in the first person (See: Urban Fantasy: Threat or Menace? - The Story Board Ep. 1). Second person is popular only in special areas, for instance recipes, songs, blog posts, and so on. If you are like the majority of authors (why do I feel like I've just given someone a challenge? lol) you'll likely end up choosing between first person and third person subjective (also called third person limited).

5. A description of your story

This is something I always do. I've never read anyone else say to do this, so use this at your own risk!

Eventually (we'll talk about this in the next post in this series) we'll go over writing a one liner, or tag-line for your story. But lets not worry about that yet. Right now I'd like to you to write out what your story is about, all those ideas that have been purcolating in your noggin as we've been doing all this preparation work.

Go and write it out. That's okay. I'll wait.

Back? Good!

Okay. Your description might be 5 pages long or just a list of ideas (or you might have nothing at all), it's all good, but now you need to take what you've written and hone your story down to its essentials.

6. The one-liner/tag line

I'm going to break off here. Tomorrow I'll write about how to condense your story down to its essential elements and express them in one line.

Or at least that's the goal! See you next time.

Update: Here's a link to the next article in this series: The Structure Of Short Stories: The Elevator Pitch Version.

How about you? Do you use a story structure when you write? What is your process?

Other articles you might like:

- Roleplaying Games And Writing, Does The One Help The Other?
- How To Write A Twitter Story
- Why Your Story Should Have A Theme

Photo credit: "Моя Мелочь:) | My Meloch:)" by eXage under Creative Commons Attribution 2.0.

Roleplaying Games And Writing, Does The One Help The Other?

Did you know that Dan Wells, Chuck Wendig and Jim Butcher, three wonderful and wonderfully successful writers, not only are avid gamers but also create roleplaying games?

What is the connection--is there a connection--between between a successful writer and gaming?

Jim Butcher

Did you know there's a Dresden Files role-playing game? That's right! Jim's also a LARPer and avid role-player. He goes so far as to, at least occasionally, take the his world-building-ideas on a trial run with his weekly gaming group.

Chuck Wendig

Chuck Wendig of Terribleminds needs no introduction. One thing I didn't find out until recently is that he is an avid gamer as well as game designer.

About a year ago Chuck wrote an article entitled Twenty-Sided Troubadours: Why Writers Should Play Roleplaying Games. Trust me on this, even if you would rather try and cross the North Pole naked than try a roleplaying game, his post is a great read. Here are a few highlights:

Writers should playing roleplaying games because:

1. The essence of roleplaying is characters in conflict.

What is at the heart of great storytelling? Character driven conflict.

2. Pacing

Pacing is tricky. It's not the easiest thing to get right. Too slow and it'll be easy for your readers to put your book down, too fast and you'll burn them out. As Chuck writes:

Constant action is naught but the electric cacophony of a single guitar chord blasted over and over again.

You have to ease off the gas sometimes and let your readers breathe a little.

This becomes abundantly clear at the game table. ... Let the characters talk to one another. Even the tried-and-true “our characters walk into a tavern” schtick reveals this, to some degree: they don’t kick open the door and start throwing punches. A tavern fight starts simple. Drinks. Laughs. A goblin says some shit. A paladin encourages restraint. A warrior gets all up in the goblin’s business. Someone throws a bottle. And then — explode. Spells and swords and shotguns and goblin venom.

3. No Such Thing As Writer's Block

You can't get writer's block when a goblin spits in your face. You have to do something. Anything.

4. You Have A Built In Audience

Gaming is a group activity. You can tell immediately if what you're doing works.

This [gaming] isn’t something you do in isolation. ... You’re in the thick of it. Your words — whether as a player or, more importantly, as the game master — are the central focus. You can tell when you’ve hooked them, and can tell when you’re losing them. You shuck and jive and duck and weave and do any kind of narrative chicanery to keep the momentum going, to ensure that the table doesn’t spiral off into restless side-conversations (“Do you think an Alchemical Exalted would be able to beat Jesus, if Jesus were wearing like, Mecha Armor given to him by the Three Wise Men?”). ....

Your story is the story of the moment, and it reminds you just how important it is to keep the audience in mind — not just your intent as storyteller but their interests, their needs, their attention.

It also reinforces the cardinal rule:

Never be boring.

Chuck Wendig prose is definitely not boring.

I encourage you all to go and read Chuck's article. It's great, I love his use of language, sometimes even the spicy bits: Twenty-Sided Troubadours: Why Writers Should Play Roleplaying Games.

Dan Wells

Last, but definitely not least, we have Dan Wells. You might know him as a bestselling horror writer, or from WritingExcuses.com, or from his YouTube videos on how to write a short story or, well, the list goes on.

Here's Dan's connection to roleplaying: Dan's 7-point system for how to structure a story was drawn from a Star Trek Roleplaying Game Narrator's Guide.

But that's not all. Dan is designing his own game. (See: My Game Design I Keep Talking About)

Dan has been designing games since he was a kid. He writes:

I consider game design to be very similar to fiction writing, at least in terms of why I do it and what I get out of it. Both are creative outlets that let me tell a story and craft an experience for my audience. If I can get you to feel something while reading my books or playing my games, I’ve done a good job; if I can get you to feel something specific, I’ve done a great job. (My Game Design ...)

Could Roleplaying Games Make Us Better Writers?

Could be! Only one way to find out. :-)

Have you played a roleplaying game? Did it help your writing? Does writing help your gaming?

Other articles you might like:

- How To Write A Twitter Story
- The Dark Art Of Critiquing, Part 1: What Makes A Story Good?
- How To Earn A Living As A Self-Published Writer

Photo credit: "fairies never die" by kait jarbeau is in love with you under Creative Commons Attribution 2.0.

How To Write A Twitter Story

Twitter is a new, challenging, medium for storytelling, one with its own set of quirks. Today I'd like to take a look at the subject of writing for Twitter. Not novels, not at this stage at least! But short works like short stories or flash fiction.

How To Write Good Twitter Flash Fiction

Gayle Beveridge in How To Write A Good Twitter Story gives three wonderful tips:

a) Your story must have a beginning, a middle and an end

Just like it's longer cousin a story must have a structure, there must be movement, an arc. Gayle gives the following example of a story without an end:

At an auction they bought a box of stuff and spent a melancholy evening reading the one hundred year old love letters of complete strangers.

Here it is with one:

At auction they bought a box of stuff, spent a melancholy night reading the 100-year-old love letters of complete strangers and loved anew.

b) Your story must have a character that needs something

Gayle gives the following example:

A full story will have a character who must deal with something. The following story lacks impact as its character is not challenged; she does not want for anything.

During El-Nino the angler fish rose to the surface. While her husband fished she found them, floating dead.

Add tension and a dull story about a fishing trip becomes one of a women struggling with a mundane life.

During El-Nino the angler fish rose to the surface. While her husband fished she found them. Floating. Dead. She sighed, "They are my life."

 c) Your story must be easy to read

Pronouns are your friend, don't omit them to squeeze more words into 140 characters. Again, here's Gayle's example:

Stonemason chips away at last job before retirement. Will be best.  Passion carved headstone. Written words of love, 'My beloved, my wife'.

Rewrite the story and test it by reading it aloud.

A stonemason chips away at his last job before retirement. It will be his best.  A headstone, carved with passion. 'My beloved, my wife'.

All quotations in this section are from Gayle Beveridge's excellent article: How To Write A Good Twitter Story. 

A Tweet Sized Story: Examples

In October a number of well-known authors were asked to write what may be the ultimate flash fiction: they were asked to write a story in 140 characters or less. Here are a few:

Ian Rankin:

I opened the door to our flat and you were standing there, cleaver raised. Somehow you'd found out about the photos. My jaw hit the floor.

Geoff Dyer

I know I said that if I lived to 100 I'd not regret what happened last night. But I woke up this morning and a century had passed. Sorry.

Jeffrey Archer

"It's a miracle he survived," said the doctor. "It was God's will," said Mrs Schicklgruber. "What will you call him?" "Adolf," she replied.

You can read the rest here: Twitter fiction: Twitter fiction: 21 authors try their hand at 140-character novels.

Also, if you want to read wonderfully spooky stories that are only 140 characters are less, click here: Scared Twitless.

Tweeting A Longer Tale: The Short Story on Twitter

i. Make the plot appropriate to the format

In 2009 Rick Moody published a short story in 153 consecutive tweets, one each hour. Moody said he tried to make his plot--a story about online dating--appropriate for the "merciless brevity" of Twitter. (See: Are Tweets Literature? Rick Moody Thinks They Can Be)

Brandon J. Mendelson, another Tweeting pioneer, agrees. He writes

If a character is mugged at 6am, you could post a police announcement on the Twitter novel looking for the perpetrator. What are the characters listening to on the radio? Is someone calling them that’s important to the story? Use Twitpic to show a photo of one of your friends or an actor to show the reader who is calling or what the mugger looks like. (How to Start a Twitter Novel)

ii. Have A Roadmap

Have an outline but don't let that limit your creativity. (See: Mary Robinette Kowal and The Mysteries of Outlining)

iii. Don't Be A Slave To The Machine

Use a service like Hootsuite to schedule tweets.

iv. Don't Overload Readers

Brandon recommends tweeting no more than 5 times a day while Rick Moody tweeted once an hour. Find what works for you and your readers. If you have a website perhaps put up a poll and ask them.

v. Move The Story Forward With Each Tweet

This is true for any story, but especially a tweeted one. Each and every tweet must advance the story. If it doesn't, cut it.

vi. Be Kind To Newbies

Brandon mentions that, with luck, you'll get new followers/readers as you go. Set up a page on your website--or create a simple website if you don't have one already--that contains all the tweets in the story so far, including the day/time they were tweeted, if that's important. Then put the URL to the page in your Twitter Bio so it appears at the top of the page.

Resources:

- How to Write Twitter Stories (Tzvetan Todorov's five stages of narrative)

Other articles you might like:

- Why Your Story Should Have A Theme
- Hugh Howey's Awesome Deal With Simon & Schuster And The Importance Of Agents
- Turning Off Your Inner Editor

Photo credit: "[ Grand Style : Grand Light : Grand Hotel ] The Langham Hotel, London, United Kingdom @ Langham Place" by || UggBoy♥UggGirl || PHOTO || WORLD || TRAVEL || under Creative Commons Attribution 2.0.

Why Your Story Should Have A Theme

Theme has always been a bit of a mystery to me.

One of the ways I've thought of theme is that it's similar to the moral of a story. For instance, Hansel and Gretel. The theme might be expressed as: if something seems too good to be true it probably is. But that's vague and I felt I was missing something.

What Theme Is

Talia Vance has an excellent article on what exactly we mean by 'a story's theme'. In her article, The Power of Theme, she writes:

My take on theme in writing is simple. / What do you have to say about the human condition? That’s your theme.

Talia's agent told her that a book needs to be about more than the characters and plot and if an author can't say what that something is, and in only one sentence, then the book wasn't finished.  Each story needs

Something that makes the reader think beyond the characters and their immediate problems, intruding into the reader’s own views about the human condition, reaffirming or changing the way they look at the world.

What Theme Is Not

Talia holds that the way I had thought of theme, as being akin to the moral of a story, is incorrect. She writes:

One caveat, theme should not be confused with a moral. Themes can be dark and pessimistic. And the goal of your book is not to “teach” a certain point. Your goal is to tell a good story, and through story, share a truth about the human condition. Theme connects readers to your work in an immediate, interactive and persuasive way.

Some Examples And A Tip

Examples of themes:

- Hell hath no fury like a woman scorned.
- Beauty is only skin deep
- Promises are made to be broken
- A man/woman is only as good as his/her word.
 
Tip: At some point have one of your characters explicitly state the theme. Stating the theme "primes your audience to interpret events with your world view in mind".

Conclusion

The power of theme is that:

It challenges the reader to question their own beliefs. Through story, a writer can raise new questions and present a different way of looking at society, life and our own belief system. When executed well, theme can help ... people ... empathize with a different world view.

Powerful indeed.

Other articles you might like:
- Hugh Howey's Awesome Deal With Simon & Schuster And The Importance Of Agents
- Robert J. Sawyer: Showing Not Telling
- Short Story Structures: Several Ways Of Structuring Short Fiction

Photo credit: "Like Stars" by Mikko Luntiala under Creative Commons Attribution 2.0.

Hugh Howey's Awesome Deal With Simon & Schuster And The Importance Of Agents

Today I was spoiled for choice concerning topics to write about.

Hugh Howey broke the news about his terrific deal with Simon & Schuster.

Also Dean Wesley Smith has been having some interesting discussions over on his blog about agents and--since Hugh's terrific deal was landed with the help of his agent--I thought, in an odd sort of way, the two stories go together.

Hugh Howey's Awesome Deal With Simon & Schuster

Hugh Howey, bestselling author of Wool, has landed a breathtakingly good deal with Simon & Schuster. The bones of the deal are as follows:

- Hugh Howey retains control over ebook pricing and will continue to sell ebooks online.
- Simon & Schuster publishes paper copies of Wool--both hardback and paperback--and (of course) distributes them to traditional brick and mortar bookstores.

Congratulations Hugh Howey!

Here is what Hugh wrote about it:

In March, Simon and Schuster is releasing a print edition of WOOL here in the United States, and I couldn’t be more excited. This deal is all about the new publishing paradigm. There are no clauses limiting what I can write and how quickly I can release. I keep control over the ebooks, which means the prices will stay where they are. ... You’ll finally get a print edition with the utmost in quality and design.

Simon and Schuster is also doing a simultaneous paperback and hardback release. This is just a whole bunch of firsts! I'd encourage you to read Hugh Howey's post in full: Luddites, Rejoice!

Hugh Howey also made a 13 minute video in which he talks more in depth about his publishing journey and how this deal came about. Fascinating and highly recommended.

Agents And The Independent Author

One of the things Hugh Howey mentions in his video (Announcement Time!) is the role his agent, Kristen Nelson, played in landing his deal with Simon & Schuster. And not only that deal, his movie deal with Ridley Scott as well. Hugh Howey said that these deals would never have happened without his agent's help (this is my own transcription):

[W]e're talking about a book that's only been out since January and in that time we've had some incredible things happen.

One of the first of which was hearing from Kristen Nelson in the middle of the night who ... I'd already told some agents I didn't think it made sense to go with an agent, I was happy doing things the way that I was and she convinced me, "Hey, let's explore foreign rights, let's amp up the Hollywood push," both of which have been ... I mean, Ridley Scott and 20 countries later she's proven herself, everything she said has come true.

It seems like Hugh Howey feels that Kristen Nelson more than earned her commission!

Let's think about that for a minute.

Dean Wesley Smith has published two (excellent!) articles in a row about agents (See: A Side Note About Agents and One More Agent Question). Dean and a number of authors have been vocal in their opinions that, these days, authors do not need agents.

In fact, Dean feels that, for most authors, agents hurt your writing career more than they help it. Dean writes:

Agents are no longer needed in this new world of publishing for most writers.

I don't disagree with Dean. How could I? He, Kris Rusch, Laura Resnick and a number of other full-time writers have horror story after horror story involving their former agents. Everything from fiscal mismanagement (author's money not remitted to him, incorrect amount of money remitted, etc.) to neglecting to pass along offers (offers from publishers, movie people, and so on) to the author.

On the other hand, there are some authors who praise their agents. Hugo award winner, Jim C. Hines for instance. Jim has stated publicly that he is happy with his agent. He writes:

[T]here seems to be an assumption ... that I’m blindly sticking with a system that’s screwing me over, that I haven’t seriously considered or researched other publishing options, and so on. I would like to reassure people that this is not the case. I read my contracts, both U.S. and foreign. I review my royalty checks and statements, and I ask my agent about anything that looks odd. (Often he beats me too it, sending me royalty spreadsheets with a note that he thinks some numbers look off, and he’s following up with the publisher.) (In Which Others Worry About the State of my Career)

Does An Indie Author Need An Agent?

It could be that while many, perhaps even most, agents are a hinderance to a writer's career, this is not always the case.

It seems that for certain things: offering one's book for auction, pursuing a movie deal, and so on, having an agent can make sense financially.

Could Hugh Howey have done, himself, everything his agent did for him? Possibly. But chances are he wouldn't have had as much time to write. And chances are he wouldn't have gotten the movie contract or the publishing contract with Simon & Schuster, as quickly.

Also, let's face it, some writers loath the business side of writing. If they could find an agent who was both skilled and honest they would gladly pay them to handle rustling up movie deals and the like.

Perhaps in the beginning, before the writer has hit it big, they don't need an agent. But, afterward, when things like movie rights and deals with large US publishers are being discussed, then having a savvy agent can be an asset.

But, still, the writer is left with the daunting task of finding an agent both skilled and honest.

Other articles you might like:

- Turning Off Your Inner Editor
- Guy Kawasaki Writes The Definitive Book On Self Publishing: APE: Author, Publisher, Entrepreneur: How To Publish A Book
- The Dark Art of Critiquing, Part 2: Formulating A Critique

Photo credit: "My little ladybird" by jonespointfilm under Creative Commons Attribution 2.0.

Turning Off Your Inner Editor

In order to write a first draft you need unbridled creativity not criticism, even warranted criticism. In this article I look at various ways to turn off your inner editor, or at least tune her out.

Ideally, I would have posted about this just before NaNoWriMo, but better late than never!

To Write A First Draft You Need Unbridled Creativity Not Criticism

One of the worst things for a first draft--or at least this has been my experience--is being critical of your writing. Notice I didn't say OVERLY critical because on a first draft being critical is being overly critical.

Yes you could have chosen a different word and, no, perhaps that's not the right word. You sense there's something off about it, that another would serve better, but you can't think what it is. Oh well, grab a cup of coffee, you need to fix that before you go on. No point in continuing if you'll just have to come back and redo it later. Right?

Wrong!

Your first draft will be crap. You're going to want to put it in your Last Will and Testament that any first draft you're working when you pass beyond this veil of tears will be burnt, unread.

Only if I totally and completely embrase that attitude can I roll up my sleeves and start to write.

Your First Draft Is A Roadmap

For the past few days I've been editing the first draft I wrote during NaNoWriMo 2012 and you know what? Some of it was crap, but a lot of it wasn't. Most importantly, as I combed through my manuscript  I was able to quickly and easily create an outline that will be very close to what the book looks like when it's done. Or at least that's what it feels like at this stage.

My point is that a first draft gives you something to work from, something to revise. It gives you a feel for the scope of your story and where the (gaping) holes are. It lets you think about your plot in greater detail. If you don't like a word, or even an entire scene--or chapter--take it out! Redo it.

But you need something to work from. It's hard to get somewhere unless you know where you're headed, and that's what your first draft gives you: a road-map.

How To Tune Out Your Inner Editor

Hopefully by now you all agree that turning off your inner editor--or at least tuning her out--while you're writing your first draft is a good idea. The question is: How?

Kim Neville has written a fabulous article on this subject: Tuning Out Your Inner Editor. She gives 4 tips on how to do this, but because I want you all to read her article (it's great and she is a terrific writer), I'm just going to give 2 here.

1. Trickery: Draft Zero

Kim writes:

Sometimes the only way through to the end is to fool myself. My first drafts are always called “Draft Zero”. They’re less than first drafts. They don’t even count. Somehow it’s easier to write a story when I’ve convinced myself it’s not real. I also use Scrivener so I can only see the scene I’m currently working on and am less tempted to tinker with previous ones. Kind of like the writing equivalent of keeping your chocolate stash hidden in a cupboard.

Great idea! I'm going to do this from now on.

2. Pressure: No Time To Worry

It’s easier to ignore that critical voice in your head when you’re in a time crunch. I attended Clarion West this summer. Secretly I wondered if I’d be able to complete a story every week. It turns out I could. The deadline mobilized me. NaNoWriMo can be a powerful tool for letting loose. Critique groups are great for productivity too. Knowing the group is expecting a story helps force the words out.

I can vouch for NaNoWriMo. I wrote over 50,000 words in 26 days and am happy with my first draft, especially since I've been (so far at least) able to preserve some of the momentum I had during November. For me, that's probably the most valuable thing.

Kim gives two more great tips! You can read them here.

Before I go I want to mention that Kim Neville is a recent graduate of Clarion West and that she has a great blog about her life, her work, and the many challenges facing writers today:  Kim Neville: Faith, trust, pixie dust.

Just one more thing. Speaking of pressure, here's a great cartoon from Jim C. Hines:

That's a muse you don't want to turn off!

Other articles you might like:

- Guy Kawasaki Writes The Definitive Book On Self Publishing: APE: Author, Publisher, Entrepreneur: How To Publish A Book
- Henry Miller's 11 Writing Commandments
- 12 Tips On How To Write Antagonists Your Readers Will Love To Hate

Photo credit:"One of Those Days" by *clairity* under Creative Commons Attribution 2.0.