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.

Guy Kawasaki Writes The Definitive Book On Self Publishing: APE: Author, Publisher, Entrepreneur: How To Publish A Book

If you don't agree that Guy Kawasaki has written the definitive book on self publishing, go look at his table of contents: APE: Author, Publisher, Entrepreneur: How to Publish a Book.

That's okay. I'll wait.

Back? Good. :)

I had been thinking about writing a small step-by-step guide on how to go through the nuts and bolts of the publishing process, but it looks like Guy has covered that.

Today Joe Konrath broke his month-long hiatus and published an interview with Guy Kawasaki, former Chief Evangelist of Apple. Barry Eisler, bestselling author of the John Rain thrillers, conducted the interview.

Here are a few highlights:

Barry Eisler On APE, Guy Kawasaki's New Book

I just finished Guy’s extraordinary new book ... and it’s easily the most comprehensive, best organized, nuts-and-bolts-useful work on self-publishing I’ve seen to date. I think Guy has written the bible on self-publishing, and I expect it will be recognized—and widely used—as such.

Guy Kawasaki On The Advantages And Disadvantages Of A Traditional Publisher

The advantage of a traditional publisher is that it takes care of so many details for you such as content editing, copyediting, cover design, interior design, printing, sales, distribution, and returns. It also provides a large advance. The disadvantage is that it rightfully pays you a lot less and reduces your flexibility.

The Democratization of Information

The historical trend of publishing, like many other industries, is towards democratization and an open system. It used to be that only the church and royalty had scribes. This meant a lower level of literacy, and that one had to go to church to learn about God. Then Gutenberg invented the printing press, and it was possible to print many more copies of the Bible. Now people could learn about God by reading the Bible without going to church.

Fast-forward to the introduction of Macintosh, LaserWriter, and PageMaker, and now anyone with these products could print a book. The current curve doesn’t even involve printing: anyone with a computer, a word processor, and Internet access can upload a book to Amazon. Then anyone with a computer, smartphone, or tablet can read the ebook. The democratization of information is not something to get in the way of.

Physical Limits To Publishing And Gatekeepers

There were physical limits to ... how many titles a store could physically display and stock. This meant that gatekeepers—arbiters of taste—were necessary to act as filters. If Random House or Penguin published a book, it must be good. And only a Random House or Penguin could print the book on dead trees and get the dead trees to the store.

This isn’t true anymore. Do you care who published a book? Do you even look to see who the publisher is before you buy a book? I don’t. I just look at the number of stars it has on Amazon and read a few reviews and buy it.

Unbound Is Kickstarter For Writers

From Unbound.co.uk:

Unbound puts the power of publishing in the hands of authors and readers. Authors pitch their book ideas directly to you. If you back a project before it reaches its funding target, you get your name printed in the back of every copy and immediate behind-the-scenes access to the author’s shed. If any project fails to hit its funding target, you get refunded in full.

Guy's Advice For New Writers: His Views On Book Marketing

The most important thing a self-publisher has to understand is that the hard part of publishing a book is marketing it, not writing it. On the day you start writing your book, you should start building a marketing platform, too. I recommend three hours per day writing and one hour per day building a social-media presence. You cannot wait until you finish your book before you start building a marketing platform. Life for a successful author is doing things in a parallel, not serial manner.

Guy's advice turned out to be incendiary so Barry Eisler added his two bits in the comments and I think it's worth repeating. (I didn't get Barry's permission to post this portion of his comment, but it was posted in a public forum and I am confident he would not mind.)

[W]hat makes for cost-effective marketing for your first book, when no one in the world has heard of you, is likely different from what's cost-effective for your 10th, 20th, etc book, when (hopefully) you're a big bestseller. Certainly I've changed my marketing tactics as my circumstances have changed. There were things I did for my first several books that I think were well conceived and well executed at the time, and that I would never do now because my circumstances have changed and the old tactics are no longer cost-effective.

I agree. You're not going to see a bestseller like Stephen King enrolling his books in Amazon KDP Select because, regardless of how he feels about Amazon (I have no information on this) he doesn't need the publicity so the exclusivity requirement could only hurt him. On the other hand, an author with absolutely NO following has nothing to lose.

If you'd like to join the conversation over on Joe's site, click here: Comments on Interview with Guy Kawasaki.

Even if you don't agree with all Guy's opinions his book seems like a must-read for independent authors. I know I want to read it.

Other articles you might like:

- The Dark Art Of Critiquing, Part 1: What Makes A Story Good?
- The Dark Art of Critiquing, Part 2: Formulating A Critique
- 12 Tips On How To Write Antagonists Your Readers Will Love To Hate

Photo credit: "Guy Kawasaki at front of USS Nimitz" by Robert Scoble under Creative Commons Attribution 2.0.

The Dark Art of Critiquing, Part 2: Formulating A Critique

Yesterday I was going to write a post about how to critique prefaced by a few words about what I mean when I say a story is good. Well, the preface grew and grew and became a post all its own. Today, though, I will talk about critiquing. (For part one in the series see: The Dark Art Of Critiquing, Part 1: What Makes A Story Good?)

Story Elements

A story is boring if it doesn't elicit emotion; in other words, if we don't care about the characters and what happens to them.

A number of things go into making a story interesting and I've talked a lot about them over the past while. Stories have themes, arcs, deeds of daring and (occasionally) cowardice. Good stories have strong protagonists and strong antagonists. Good stories can whisk us off to other places, other times, even other universes.

Three Ways A Story Can Go Wrong

To conclude, there are three ways a story can go wrong:

1) An unintentional departure from the rules of grammar
2) Infelicitous word use
3) Boring story (one or more story elements are either mangled or missing)

(I discussed the first two points in part one of this series, yesterday.)

How To Critique

When I say, "how to critique" I mean how I critique. There is no One Right Way so do whatever feels right to you, whatever you're comfortable with. I've spent a lot of time setting the foundation for explaining why I do things this way rather than another, but your mileage will vary.

What To Include

Grammar

I only talk about a departure from standard grammar if I am explicitly requested to. Although there are exceptions.

For instance if a writer uses "affect" as though it meant "effect" or vice versa, if they (and here I am self-consciously using 'they' rather than 'he' or 'she') used "advice" as though it meant "advise", and so on. Why? Because that sort of word misuse kicks up a lot of static.

That said, if the writer qualified "unique" or used "decimated" as though it were synonymous with "obliterated" I would keep silent. Why? Because from the context I think it would be clear what the person meant and because the error is widespread.

But that's me. I know it is painful for some folks to let any departure from standard grammar go unmentioned.

Here's a trick I wished I knew years ago:

When you give someone your story for critique be specific about the kind of feedback you'd like.

If having someone comment on grammar drives you nuts, then, when you give someone your manuscript, tell them you're not interested in that level of feedback.

If someone wants to point out all my silly mistakes, that's fine, but I never request it. My manuscript is going to a line editor and I trust her to catch everything. Also, asking for a critique with this level of detail is asking someone to do a lot of work.

By the way, on the subject of grammar, an excellent book is: Eats, Shoots & Leaves: The Zero Tolerance Approach to Punctuation by Lynne Truss. The book is hilarious! And highly informative.

Word Use

As with grammar, I only talk about awkward word use if the writer specifically requests it. And, honestly (and this is true for grammar as well), I might just decline to give that sort of feedback. I'm not a line editor, I don't have that skill set. Knowing your limitations is part of giving a good critique.

 Where I would be torn--and this is part of the reason it makes me SO LONG to do critiques--is over constructions like:

"I love you," he said huskily.

Gah! Where does one start?

I'd probably say something along the lines of 'show don't tell' and 'as a rule of thumb, I try to avoid using an adverb directly after "said"'.

Story

There are wonderful people called developmental/story editors--they probably have other names as well ("angel", "saint")--who will look at your manuscript and give you a detailed analysis of your story's elements along with tips on how to improve them. This is a LOT of work and they charge accordingly.

Critiquers are busy people and I don't request this level of feedback. If someone wants to talk to me about my protagonist's arc and says they think it's weak and suggests how it could be strengthened, I'm all ears. But I would never expect that level, that depth, of analysis.

How I Critique

If accept a manuscript to critique I'll tell that person four things:

1. Was the meaning clear?

I will flag any constructions that seemed awkward to me, that I had to re-read before I realized what was being said.

2. Were you bored?

I will indicate where my attention waned, the places where I wanted to put down the manuscript and do the laundry.

3. Did you believe it?

I will indicate anything that seemed unbelievable or implausible. Anything that didn't work for me. For instance, let's say I'm reading about a fight between a 300 pound, six foot eight inch tall linebacker and a five foot four inch tall chess champion. And the chess champion wins.

I'm not saying the fight couldn't work. It could. But you see the challenge. It's almost like a contest between you, the writer, and the scene.  I'll tell you if I think the scene won.

4. Was it cool?

If I read a passage and think, "Wow! That was cool," I'll tell you. I like it when critiquers give me this kind of feedback because I cut a lot of passages as I revise a manuscript. If someone thought a passage was especially good I'll flag it and save it if possible.

By the way, I added "Was it cool?" after I took Mary Robinette Kowal's workshop, "The Mysteries of Outlining." Thanks Mary! :)

Before I leave, here are two rules of thumb I use:

Find at least one thing nice to say about the story.

Try not to say more negative things than positive.

That's it!

If you take anything away from this article please let it be this: Find out what kind of feedback the writer wants, preferably before you read their manuscript.

If someone hands you their story and they don't specify what kind of feedback they want then ask. If I ask and the writer says something vague like, "I'm interested in what you think," or "It doesn't matter," then I give them the four point analysis I just covered.

Oh. One more thing. Someone asked me the other day what they should do. They were given a manuscript to critique by a new writer and it was ... well, it probably looked like the first story any of us ever wrote! Which is to say, something that is a long (LONG!) way from being publishable and which will, mercifully, end up living (or should I say lurking) under the bed.

"What should I say to them?" this reluctant critiquer asked.

Given my two rules of thumb (say at least one nice thing and try not to say more negative things than positive ones) situations like this can be challenging. Then I realized that there's always one nice thing you can say: Good for you, you wrote something! You had an idea, you turned that idea into a story and you finished the story. That is awesome!

Now do it again.
 
The more we write the better we get. In the beginning my biggest fear was that someone would read my story and tell me: Stop writing! Just stop. Put down the pen and back away sloooowly. You're horrible and you're not going to get better.

Thankfully that never happened. Instead, people encouraged me. I try and do the same.

#  #  #

If you'd like to share the criteria you use to do a critique, please do! There is no right and wrong in this area and wisdom is often found in a multitude of opinions.

(By the way, this will be my only post today. I'm taking a day trip down to Seattle. To ... er ... research. Yes. Research. Nothing to do with shopping. Nope.)

Other articles you might like:
- 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
- Editing & Critiquing

Photo credit: "Ancient Dragon" by ToastyKen under Creative Commons Attribution 2.0.

The Dark Art Of Critiquing, Part 1: What Makes A Story Good?

This was going to be a post about critiquing with a short introduction about what we mean--or what I mean--by "good writing". That post turned into the first of a two part series on critiquing!

Today I'll discuss what makes a story good. Or, more to the point, what can keep a story from being good. Tomorrow I'll talk about how to critique a story, or at least how I do it.

The Difference Between "I like it" and "It's good"

Everyone has their own idea of how to critique. If something I mention resonates with you, great! Use it. If it doesn't, that's fine. Forget it.

Use what works for you.

A critique is, at its core, an evaluation. An appraisal. But in order to appraise we must have a measure. For instance, in order to say whether a man is too fat or too thin we must know the correct weight for a man of his age and height.

But evaluating a story is very different from evaluating weight. Saying whether a man is too thin or too fat belongs to medical science but writing is an art. And the arts do not admit of the same kind of measure.

This doesn't mean writing can't be evaluated, it means the metric for evaluation isn't objective in the same way as it is for science. I think that, like beauty, the worth of a story, the value of a story, resides in the eye of the beholder.

Example: Movies

What do you think? If you disagree with me, let me try and persuade you. Think of a movie you loved. Chances are, if you picked 10 random people out of a crowd at least two of them wouldn't even like that movie.

Does that mean you're wrong to love that movie? Does it mean you were foolish to spend your money to see that movie? No! Of course not. Tastes differ.

Even great works of literature like "The Picture of Dorian Gray" by Oscar Wilde have their detractors.

In fact, I would go so far as to claim that for any creative work you'd care to name, there will be folks--sane, reasonable people--who don't like it.

And that's fine. That's the nature of art.

Why Bother With Critiques If It's All Relative?

You might wonder, if the worth of a story really is in the eye of the beholder, why do we bother with critiques? Isn't it impossible to say, "That story is good" or "That story is bad"?

Yes and no.

We know what we like. We know whether a story was interesting, whether it was difficult to read, whether we were able to suspend our disbelief (whether we 'bought the premise'), whether it made us feel inspired.

And, in certain ways, humans are pretty similar in what they like and dislike.

It's All About Emotion

Really, what are we asking for when we give someone a story to critique? Scratch that. What is it that we, as storytellers, want to know? We want to know whether the story grabbed that person's attention. Whether it rocked their world. Whether it made them feel something. Anything!

As Stephen King said in a recent talk to a group of students at the University of Massachusetts:

“I’m a confrontational writer. I want to be in your face. I want to get into your space. I want to get within kissing distance, hugging distance, choking distance, punching distance. Call it whatever you want. But I want your attention.” (Stephen King: My mother-in-law scares me)

Perhaps a better question than "Was the story good?" is "Did the story move you emotionally?", "Did it grab you?"

I used this quotation from Chuck Wendig in my article yesterday about how to create a great antagonist, but it's so good I'm going to use it again:

I hate that I love Hans Gruber. I love that I hate every Nazi in every Indiana Jones movie. For #$%$’s sake, make me feel something. (25 Things You Should Know About Antagonists)

So what we need to ask is whether there is anything that a story needs to have in order to elicit emotion. Is there some one thing that is absolutely essential for a story to stir the emotions of readers?

I don't think so.

Now hold on, don't throw anything at me yet!

There are some things that will turn readers off, that will prevent your stories from eliciting emotion. We'll take a look at those in a moment but first I have to tell you what writing really is:

Writing is telepathy.

Writing Is Telepathy

If you think I've gone completely batty you can blame Stephen King. It's his analogy from On Writing.

I hope Mr. King will forgive me for quoting extensively from his book but this is a terrific concept every writer needs in their toolbox.

And here we go—actual telepathy in action. You’ll notice I have nothing up my sleeves and that my lips never move. Neither, most likely, do yours.

Look—here’s a table covered with a red cloth. On it is a cage the size of a small fish aquarium. In the cage is a white rabbit with a pink nose and pink-rimmed eyes. In its front paws is a carrot-stub upon which it is contentedly munching. On its back, clearly marked in blue ink, is the numeral 8.

Do we see the same thing? We’d have to get together and compare notes to make absolutely sure, but I think we do. There will be necessary variations, of course: some receivers will see a cloth which is turkey red, some will see one that’s scarlet, while others may see still other shades. (To colorblind receivers, the red tablecloth is the dark gray of cigar ashes.) Some may see scalloped edges, some may see straight ones. Decorative souls may add a little lace, and welcome—my tablecloth is your tablecloth, knock yourself out.

.... The most interesting thing here isn’t even the carrot-munching rabbit in the cage, but the number on its back. Not a six, not a four, not nineteen-point-five. It’s an eight. This is what we’re looking at, and we all see it. I didn’t tell you. You didn’t ask me. I never opened my mouth and you never opened yours. We’re not even in the same year together, let alone the same room … except we are together. We’re close.

We’re having a meeting of the minds.

I sent you a table with a red cloth on it, a cage, a rabbit, and the number eight in blue ink. You got them all, especially that blue eight. We’ve engaged in an act of telepathy. No mythy-mountain shit; real telepathy. (Stephen King, On Writing)

Good And Bad Transmissions

Think of an old-fashioned radio. There are two reasons my grandparents turned off their radio.

Static. If there was a lot of static then whatever was being transmitted, music for instance, sounded horrible. The radio would get turned off even if it was playing everyone's favorite song.

Boring. If no one liked the song the radio would get turned off even if the signal was clear as a bell.

This corresponds to the two major ways stories can go wrong:

1) Static = Unusual grammar and infelicitous word choice

2) Boring = Boring

How To Test For Static

Unsure if a certain word or sentence or scene is static? Ask: If I removed it would the meaning be unchanged?

a) The cat was very fat.
b) The cat was fat.

I prefer (b).

As for sentences and scenes, ask whether they push the story forward. If they do, great! If they don't, cut them. Kill your darlings.

Unusual Grammar Adds Static

Writers sometimes consciously decide to not use correct grammar--in dialogue for instance--because this can help communicate something about the speaker.

That said, in general, the rules of grammar are there for a reason. If you follow them your writing will be clearer and easier to understand than if you don't.

Clear writing = no static.

Clear writing is good.

Anything that prevents your writing from being clear is bad. Why? Because, continuing with my radio analogy, it adds static to the signal and makes it harder to hear the song.

Infelicitous Word Choice Adds Static

Every writer has their bugaboos, their pet peeves. These are mine:

Very unique
- "Unique" doesn't admit of degrees. Either a thing is unique or it isn't.
- "Very" is an adjective that, generally speaking, can be taken out of a sentence without changing its meaning.

Decimate
- "Decimate" is not a synonym for "obliterate".

English is my first language and yet I am continually learning, continually amazed by the complex and evolving nature of language--and of my often frail grasp of it. Everyone makes mistakes.

Remember, even if there is a tiny bit of static in the channel folks aren't going to turn off the radio as long as they like the song.

Creating A Clear Channel

I've compared writing to a transmission, or to the channel through which a transmission is made, and discussed various ways the signal can degrade.

Now I'd like to talk about clear channels; zero static transmissions.

I'd love to be able to say, "If you do this and that and the other thing, then your writing will be awesome. But then, of course, machines could do it and we'd all be out of work!

No, the best I can do is give you examples of writing that reaches into my soul and makes me want to write like that.

Neil Gaiman, M Is For Magic

Stories you read when you’re the right age never quite leave you. You may forget who wrote them or what the story was called. Sometimes you’ll forget precisely what happened, but if a story touches you it will stay with you, haunting the places in your mind that you rarely ever visit.

Horror stays with you hardest. If it brings a real chill to the back of your neck, if once the story is done you find yourself closing the book slowly, for fear of disturbing something, and creeping away, then it’s there for the rest of time.

Ernest Hemingway, Hills Like White Elephants

The hills across the valley of the Ebro were long and white. On this side there was no shade and no trees and the station was between two lines of rails in the sun. Close against the side of the station there was the warm shadow of the building and a curtain, made of strings of bamboo beads, hung across the open door into the bar, to keep out flies. The American and the girl with him sat at a table in the shade, outside the building. It was very hot and the express from Barcelona would come in forty minutes. It stopped at this junction for two minutes and went to Madrid.
‘What should we drink?’ the girl asked. She had taken off her hat and put it on the table.
‘It’s pretty hot,’ the man said.
‘Let’s drink beer.’
‘Dos cervezas,’ the man said into the curtain.
‘Big ones?’ a woman asked from the doorway.
‘Yes. Two big ones.’
The woman brought two glasses of beer and two felt pads. She put the felt pads and the beer glass on the table and looked at the man and the girl. The girl was looking off at the line of hills. They were white in the sun and the country was brown and dry.
‘They look like white elephants,’ she said.

If you haven't re-read Hills Like White Elephants recently, perhaps you'd like to. I just did, it took me five minutes. Each time I read it that story amazes me. Especially how I know what the characters are talking about even though they never say it. That story is all about subtext, about what is not being said. Brilliant.

As I wrote at the beginning, this was going to be a post about how to critique prefaced by a brief discussion of the nature of stories. (Sigh) I really do have trouble writing short!

I'll talk about critiques and critiquing tomorrow. Till then, happy writing! :-)

Update: Here's a link to The Dark Art Of Critiquing, Part 2: Formulating A Critique

Other articles you might like:

- 12 Tips On How To Write Antagonists Your Readers Will Love To Hate
- Editing & Critiquing
- The Albee Agency: Writers Beware

Photo credit: "Le Jour ni l’Heure 2225 : autoportrait avec un glossaire, Plieux, bibliothèque, samedi 12 mai 2012, 24:28:31" by Renaud Camus under Creative Commons Attribution 2.0.