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Fictional Advice For Fictional Authors
Writing a novel or two (or ten) is on my bucket list. I’ve jotted down ideas, notes, scraps of dialog from a dozen different stories. But I have yet to actually write a book… even a bad one. This, despite the ubiquitous advice from published authors that writing anything every day is the biggest step. Do Ricochet comments count?
I have read books on the various processes of many authors, which is a bit like asking people in every state in the USA for directions to Oklahoma City. Strangely, they disagree. Still, I appreciate the suggestions.
So what are your suggestions? Ricochet has more authors than Obama’s autobiography. What are some habits or surprises that worked for you?
Most importantly, how did you get started? Did you begin with an outline or a scene? Did you know your main characters from the start? Are those characters people you know, tweaked ever so cruelly? How detailed was your plot in the beginning?
Any kind of advice is welcome, from anybody. Poetry and short stories are fair game, though I am most eager for book tips. All genres: I have an odd assortment of ideas to start from, including a werewolf philosophical thriller and a stupidly fun satire of video games.
Alas! Alack! A lot!
Published in General
And read, and study how others write.
I have many years of experience with poetry and lyrics. Going with the flow and returning later for revisions is certainly my process for short fiction like that. But novels always seemed a different animal entirely because of the centrality of plot.
Do you ever write train-of-thought and then discover a major plotline forming unexpectedly?
I’d be happy to have a look.
Very, very true, if the novel has a plot. I suspect some that are lauded by the experts do not.
Of course. I have also had them come in dreams. I go to bed thinking about writing, and I write in my sleep.
I got totes from Mrs. Cole.
I love reading writing advice; I find it entertaining and fascinating. I think it is wise to consume all the formulas out there; any one of them can be misappropriated and can result in derivative trash, but if you mash them all together into your subconscious, you can gain an understanding as to What Works.
For writing advice I can recommend:
Regarding Scenes & Sequels: so many writers get frustrated because they have a worthy idea and even a decent outline, but the intermediate chapters go flabby and they can just tell that their prose has become dull, dull, dull. Scenes & Sequels shows you how to build and maintain momentum in the short run, to motivate the reader to push on through to the ending.
You, my friend, are definitely on my beta reader list!
Well, that 5% include any useful feedback. That’s a pretty broad category.
When I have a decent draft, I will share it with the Ricochetti; in which case I expect 100% useful feedback.
But if my draft gets thrown into the PIT, all bets are off.
This is a man who has experienced an Arahant critique.
That sounds broad, as if you would post it for review. I would not advise that. For one, that counts as a form of publication and some publishers do not want to republish pre-published works. On the other hand, posting a call for volunteers who are willing to spend time with a critique is fine.
Of course, when it comes to critiques, you might want to consider something like this.
True. But I have to support a family.
I was joking. I would indeed solicit private reviews, rather than publish a draft publicly.
My first book will probably be self-published on Amazon for 99 cents or so. I wouldn’t expect it to sell many copies, so it will serve mostly to build an audience for future works.
I have plenty of experience on both sides of literary criticism. The main consideration in receiving criticism is understanding who the critic is — what he or she wants and expects — and then comparing that to my target audience. This is an essential lesson when interacting with flaming liberals who start from very different experiences and expectations than a conservative writer like myself. But that doesn’t mean ignoring the comments of anyone who doesn’t fit the reader profile I imagine. There have been times when I failed utterly and could only start over.
Since I’m focusing on the video game spoof first, it will be interesting to see how the responses of non-gamers compare to those of gamers. Coming up with funny scenarios is easy. Stringing them together into a cohesive and consistently entertaining plot will be the challenge. Then the challenge will be advertising.
But, again, it all starts with not beating myself up for failing my own expectations, as I am wont to do.
I would advise sending it to traditional publishers first. Not to a NYC publisher, but rather to a regional or university press.
Why? Two reasons:
1. They might buy it. (Once in a while the horse learns to sing.)
2. Occasionally, after rejecting it, they send a letter explaining why it was rejected. You can use this to sharpen the book. (No, that isn’t a violation of Heinlein’s 3rd rule – you just got editorial direction.)
Seawriter
As John said, lightning could strike this way, but I wouldn’t count on it. I am publishing my science-fiction series this way, but that’s not my serious work. In my case, it is actually experimental art. My other writings go through other channels, and I would agree with Seawriter on this. Not only might it get you some answers as to why, but it will also toughen you up with all those rejection letters you can use to wallpaper your office. Someday, when you’re a famous author you can say, “I was rejected by the best, and what did they know?”
I think I am there, if I count all the books, magazine articles, reviews, and paid online commentary I have written. But my first paid, published piece was in the late 1990s, so it has taken nearly 20 years.
(I am definitely over the 1,000,000 word mark if I include the artist briefs and map instructions I prepared for the various Osprey books I wrote. Those were almost as long as the books.)
So, if I can do it, it can’t be that hard. What’s stopping the rest of you? Oh yeah – Heinlein’s Rules, especially Rule #2.
Seawriter
I’m over my first million. (Not hard at 500 per page, that’s only 2,000 pages. That’s like one PIT.)
What forms do modern publishing contracts commonly take? If I did manage to sell my first book to a publisher, would I have to commit to a second book within a year or two? Would I have to accept an advance toward the second book?
Have print publishing contracts changed much in recent decades?
My experience is black ink on paper, or more often now, pixels on my screen. (That wasn’t what you wanted to know?)
Most people would not phrase the questions that way. Do you have to commit? No. Do you have to take an advance? No. A contract is simply an agreement between two parties. Make sure you understand it and that it clearly spells out what you are giving and what you are getting. If you do not feel you can commit to a second book, say so. Most writers would be thrilled to get such offers, so long as they expected the books to sell. And why would an offer for an advance come unless the publisher really expected it to sell?
I would be more concerned about rights for reviewing the proofs before publication. A friend of mine had his book published many years ago, before everything was electronic, and the publisher managed to introduce hundreds of errors into the text.
Another thing is to watch out for clauses that bind up your rights more strongly than the average.
Issues of digital rights are added, which might not have been seen in say, 1980.
You should be able to look at the Amazon author’s agreements without committing to them. You can probably also find some forms for publishing contracts online. I know I did a search before I established my magazine many years ago.
Okay, that’s almost as many words as seconds in a year.
I remember those days. I remember all sorts of word processors, too. PC-Write, WordStar, Word Perfect, etc. I have probably lost most of my writing, too.
I’m doing all of my brainstorming and structuring by hand in a journal. Computers are too full of distractions. Plus, I would like to retain some of my vision as I get older.
Yes. Here’s an IP lawyer who specializes in working with authors writing about legal aspects, especially in terms of your agent and IP rights.
Life-of-copywrite and all format rights are asked for, publishers praised for how great their contracts are still have non-compete clauses and my favorite mystery series is on hold because they magically sell exactly enough to keep publishing rights, but not to earn back the advance and pay royalties.
Aaron, Writer’s Digest Magazine has frequent articles on the nature of publishing. You might want to look into a subscription, though I find the writing advice they provide rather simple. It’s been years since I subscribed so I don’t know if it’s changed. The first year’s subscription should be fairly inexpensive if you want to try it out.
Most public libraries subscribe to Writer’s Digest, so you can read it free at your local library. You might find value to a subscription, but it is worth reading it first, to find out.
If you do not know where your public library is, and do not use it regularly, I have doubts about your success as a writer. (Why? Many reasons, but her is a big one: ILL. No, that is not the abbreviation for Illinois. It is an acronym.)
Seawriter