We’ve all heard the criticism:  “Your characters are flat” or “One-dimensional” “Make them deeper, more rounded.”

The problem is, most of the time the people offering that vague advice have no concrete suggestions for fixing the problem.  Many newer authors often fall into the trap of trying to add quirks or other surface affectations to try to make the characters appear ‘interesting’.  Quirks can be cool, but only if they tie into the character’s real psyche.  If not, they’re just weird and don’t help.

In my last post, I explored what it means to have deeper, more complex characters by utilizing Larry Brooks’ three dimensions approach to character development.  Today I want to explore additional examples from books and television to highlight what we mean when we say a character has ‘depth’ or is ‘complex’.

First, we need to know our characters, know them better than we know just about anyone else in our life.  Think about it – most of the people we interact with are enigmas.  We know their surface personalities, and we may know a little about their history, but how many people do we know well enough to imagine them in an extremely difficult situation like the ones we’re going to place our protagonists in, and then feel confident we can predict how they’ll react?  The number is probably smaller than we usually assume.  We can’t have that ambiguity with our main characters.  When we place them in extreme situations, we need to know how they’re going to respond.

Many of the ‘flat’ characters we see are ones where they don’t seem to have a history.  They step onto the page with no back-story, no childhood, no past mistakes or triumphs to be reminded about.  As a result, we only see the surface of a character but get no insights into why or how they reached that stage in life.  These are characters with only that first dimension defined.  Fine for secondary characters, but not for central characters.

For example, in The Dark Knight, the joker is such a fantastic character not only for how crazy he is on the surface, but also for the hints he gives us of his tortured past.  We never actually learn the truth, but just hinting at it is enough to make him far more deeply fascinating and freaky.  Who’s ever going to forget the line, “Want to know how I got these scars?”

As a reader, knowing a character’s back-story helps us develop empathy with them.  This is the why of a character’s actions that gives them meaning.  Without it, we cannot connect with them.

Another fascinating example is the character Cobb, the main protagonist in the movie Inception.  On the surface, Cobb is an efficient dream spy, capable of infiltrating the best-kept mental secrets.  Then we’re faced with his ex-wife who continually threatens to undermine all his work.  That twist becomes infinitely more interesting when we learn she’s actually dead, a projection created by Cobb’s own sub-conscious that refuses to be ruled by him.  Throughout the movie, the layers are peeled back as the stakes rise, until we realize this projection is his inner demon, the part of his psyche he has to face.  We’re left wondering right up to the end:  how did she die?  Was he really responsible?  Why can’t he let go?

Brilliant use of back-story and inner demons.

Another wonderful example, and an excellent venue for studying complex characters is the tv show Once Upon A Time.  Not only is the concept fantastic and the writing brilliant, but the show offers many examples of great character development.

Virtually every character in the show has a complex back-story that interweaves with other characters and generally experiences at least one major flip that catches the audience completely by surprise and challenges expectations.  This is especially true for the evil characters (the wicked queen and Rumplestilskin – the dark one).  We see them struggling against evil impulses and trying to live the best lives they can.  It’s absolutely brilliant because we end up developing empathy with characters we should simply loathe.

There is nothing simple about any of these characters.  Their second dimension is fully fleshed out and complex.  Even better, in critical moments, we see even some of the evil characters try to break out of the mold they’ve placed themselves in, and we root for them.  At other times, we see the heroes struggle with powerful temptations to do terrible things, usually with plenty of justification.  These are the deep moments when characters’ true selves are revealed, the third dimension moments of truth, and it’s wonderful to see a character we think is evil show us a hint of good, even if they back-slide later.  I’ve learned a great deal from this show, and hope to apply it to some of my own writing and character development.

Of course, most of us won’t get to use our back-story as heavily as Once Upon A Time.  They set up the show format around this complex back-story, and the very structure of the show allows them to maximize the power of it.  Still, the point is valid – it’s absolutely vital for the writer to know what happened in their characters’ lives before page 1, and find ways to share that information with their readers.

Another fun example is Shrek.  The funny, irreverent ogre who refuses to live within the narrow boundaries expected of him.  As he explains to his companion, donkey, he has layers, like an onion.  All good characters should have those same layers.

Of course, once we’ve created our onion characters, we then face the daunting challenge of when and how to weave that back-story into the narrative without falling into that dreaded ‘info-dump’.  It’s hard to not share the cool stuff we know about characters, but that information is best served in small portions, sprinkled throughout the story.  It’s the seasoning that separates the simple stories from the great.  But like any seasoning, apply too much, and you wreck the effect.

What other characters stand out as exceptional examples to you?  Why do you find them so powerful?

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We’re talking a lot about character this month, as well we should.  Great characters are critical components for great stories.  We need to understand our characters, their relationships, and then we need to reveal the truth about our characters with a deft hand, weaving in back story and inner demons.

It can prove a daunting process, and sometimes it’s hard to know how to approach working with our characters to maximize their effectiveness.  At times, it’s like looking at a hidden 3d image, like the one at the top of this article.  Can you see the hidden image?  It takes effort and practice to train your eye to see what’s right there.

Same with building great characters.

There are lots of opinions and articles and books on the subject, including this month’s Fictorians posts.  One resource I highly recommend is Orson Scott Card’s book Characters & Viewpoint.

Another, which I found extremely helpful, is Larry Brooks’ Three Dimensions of Character.  This is available as a standalone ebook, but is also incorporated in Larry’s best-selling book Story Engineering.

The brilliance of this approach is that it explains complex character building in a direct, understandable way that makes it accessible to every writer.  Larry provides a toolbox to assist authors in crafting great characters, and knowing what is required to do so.  He teaches, in essence, how to see the hidden image by removing some of the vague, mysterious elements from the process, which I found refreshing and extremely helpful.

I won’t explain the entire system.  This short article won’t do it justice, but I will review the core concepts to illustrate the power of it.

Characters have three distinct dimensions that authors need to understand and define, and which they can then apply for greatest effect.

Dimension 1:  Personality.  What a character looks like, their quirks, how they present themselves to the world.  This is all surface material, without any assigned meaning.  For minor characters, this may be all we ever see, and it’s left to the reader to assign any deeper meaning, if they choose.  For important characters, we cannot stop here without getting the dreaded “your characters are flat” reviews.

Dimension 2:  Back story and inner demons.  This is where things get interesting.  This is the why of a character’s choices.  This is where meaning is assigned, where they face their inner struggles, hide their deepest fears.  It’s the world view that motivates their actions, and it may or may not coincide with the face they choose to show the world.

Dimension 2 is where characters gain depth, it’s where the reader gains a glimpse into the why, and gives us a chance to build empathy with the character, which is absolutely crucial for our story success.

However, we’re not finished with Dimension 2.  Dimensions 1 and 2 are still what the character wants us to see, to understand.

Dimension 3 is where we get to the true heart of a character, their moral substance, or lack thereof.

Dimension 3 is what a character does in critical moments, moments of extreme stakes, moments that count.  This is where everything is stripped away and their true, inner core is revealed.

It may surprise us.  It may surprise them.  This is where a character really becomes a hero, or a villain.  It’s where they shine, or where they run away screaming.  This is where inner demons are excised, when a character arc is complete.  Only then is the hero ready to overcome the external antagonistic forces.

This is powerful stuff!  Too often advice about character lacks this level of clarity.  Larry goes on to expand upon this in his books, and I highly recommend you study his system, because it empowers authors to elevate character development to a much higher level.

To illustrate briefly:  Assume we have a character, a middle-aged school teacher who works with first graders.  Never married, but beloved by her children.  All first dimension stuff.  Then, let’s give the readers a glimpse into her past.  Maybe she went into teaching because a younger sibling died and she always felt guilty for not protecting that child, and has dedicated her life to teaching to help excise that guilt.  Second dimension back-story and inner demon.  She’s an easy character to empathize with.

Then let’s set the school on fire.  Children are in danger.  What will she do?

Well, that’s the question, and the moment that will make the story.  Will she rush into a burning room to save children, perhaps by making the ultimate sacrifice, and therefore justify her life’s work?  Or will she break down and ignore everyone around her, perhaps letting children suffer because she’s unable to break out of the prison of her memories?  Or does she do something totally different?  It’s not until that moment of crisis that her true character is revealed.

In my next post, I’ll explore examples of great complex characters, and lessons we can learn from them.

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Any of you trying to decide whether to take that cruise to the Bahamas or attend a writing workshop?  Well, now you can do both!  The Sail to Success writing workshop combines the awesome vacation experience of a Bahamas cruise with a professional level writing workshop.

I attended this year’s first-ever workshop, and it was well worth the cost, which was higher than some other venues, given that we combined a vacation with a small group workshop with top talent.

When I heard about the Sail to Success writing workshop, I had to go. Not only was the venue uniquely enticing (I’d never cruised before), but the line-up of faculty presenting to the small group was outstanding. Presenters included:

• The prolific and always helpful Kevin J Anderson and his wife, Rebecca Moesta,
• Legendary author Mike Resnick
• Top literary agent Eleanor Wood
• Novelist, instructor, and editor Nancy Kress
• Author and instructor Jack Skillingstead
• Author and teacher Paul Cook
• and Toni Weiskopf, head of Baen Books.

Wow. And the reality lived up to the expectation.

The workshop proved extremely productive, although being on a cruise ship proved to be a challenge as well as a great benefit.  It was a little difficult to focus on class time while the ship was docked in Freeport or Nassau.

The class schedule was intensive: from 8 AM to noon, and from 6 PM to midnight most nights. We managed to slip ashore in the afternoons, but lacked the time for extensive excursions like scuba diving (we had to return to the ship by 4:30). Luckily, my wife came along since the purchase included cruise for two, and she vacationed for both of us while I sat in class.

I didn’t mind. The classes were excellent. Not only did we receive excellent instruction on craft from Nancy Kress, but we learned from these long-time, successful professionals about the nuts and bolts of the publishing business.

The highlights of the class were the critique sessions from Nancy Kress and Toni Weiskopf. Nancy reviewed samples of our writing from an editor’s perspective, and provided wonderful feedback. Toni reviewed other samples from her perspective as a purchasing editor. What a rare opportunity to sit with a publisher and see exactly how they look at your work. It proved enlightening, and a little scary.

Toni receives over a thousand manuscript submissions per month. When she considers those submissions, she’s not looking for reasons to like a manuscript. She’s looking for any excuse to stop reading, and to give that submission the dreaded ‘red mark of doom’. It might come in the first paragraph if she sees it’s not the type of story they’re looking for, or it might come on page two when she finds herself confused, or sees too many grammatical mistakes. If she can’t find a reason to throw the manuscript away quickly, then it just might be a work she’d consider reading further.  Of the fifteen students in the class, only three of us earned that distinction, which was a rare moment of validation.

The only complaint about those critique sessions was the lack of time. Given the time constraints, feedback was limited to 7-10 minutes per manuscript. It just wasn’t enough time.  However, in 2013 the program will be structured slightly different.  Each student will select if they want a critique from Nancy or from Toni, not both, although all students will get to sit in on both critique sessions and hear the reviews of all of the submitted works.  That should allow for more time per submitted work.

So overall, this workshop proved well worth the investment in time and money, and I strongly recommend it to anyone who’s a serious aspiring writer.

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Have you ever had a great idea for a story that thrilled you with the possibilities, only to struggle to develop it into a fully realized manuscript?  You have that scene that burns so bright in your mind, but just can’t seem to expand it into a full novel, or that character you know as intimately as yourself, but lacks the right scenes to shine? Or, maybe you just finished a work and you’re searching for the next big idea, but aren’t sure where to start?

Whatever stage of your project you happen to find yourself struggling in, there’s a simple yet powerful tool you can always turns to for inspiration.

The “What if?” game.

This game casts you beyond all bounds, out into the realm of pure imagination. There are no limitations, no hesitation. No idea is too crazy, no disaster too terrifying that you cannot consider it. Don’t hold back when playing the “What if?” game. Ask yourself, “what’s the worst possible thing that could happen in this scene, or to this character?” and then explore the possible answers.

The results can be a little scary. We need to torture our heroes, but sometimes we cringe back from the awful reality of just how bad we can make things for them. Or we hesitate because if we follow the newly illuminated road our ideas have revealed, it’ll mean a lot of mental struggle to figure out how to guide the heroes through the new difficulties to their eventual triumph.

Don’t hold back.

These are exactly the moments to take a second look and ask “what if?” again. That new, twisted, crazy idea might just be what our story needs to drive it from mediocrity to excellence. It might require more work on our part, it might torture our characters until we cry out with them, it may challenge assumptions we’ve made.

It may be awesome.

Of course, it may kill our story too by taking it off a cliff. In that case, discard that idea, ask “what if?” again, and explore a different road.

Sometimes we play the “what if?” game in the middle of free-writing a scene, when we’re struck by a sudden burst of inspiration and type a few lines that veer the story off the expected course. Again, we need to explore it, consider it, and decide if it was a false start or an exciting new twist.

In one manuscript, I wrote a scene where one character’s powerful magical weapon, which was critical to the plot, unexpectedly fell into the sea and was lost. I hadn’t planned it, but while writing the scene, I realized this was the worst thing that could happen, and I wrote it. The resulting scene became more powerful by entire magnitudes, although it left me quite literally shaking from the shock. At first I wanted to delete it, to shy away from the disaster I’d revealed, but that would have weakened the story and been the easy way out. Eventually, I figured out how to deal with it, and the story proved the stronger for it.

Recently I played the “What if?” game with a friend to explore the deep back story of a current work in progress, and after traveling far afield, we came up with some wonderful ideas I never would have considered without casting myself out into the world of limitless possibilities opened through “What if?”. Those answers now tie in aspects of the plot that were hanging a bit loose, and the resulting whole is consistent and far more powerful.

What experiences have you had with the “What if?” game? If you’ve never tried it, what are you waiting for?

What if it revitalizes your story?

What if . . . ?

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We’re writers, so we write, right? Absolutely.

But that’s not all we do, and honestly the actual writing of a manuscript is far from the most time-intensive part of creating a novel. In fact, the writing of a viable manuscript is the culmination of a great deal of preparatory effort. We might spend months working on a story before we sit down to write that viable draft.

That final manuscript is like a beautifully crafted building we hope will stand firm for ages, so it must be built upon a firm foundation. Few people visit any architectural wonder just to say, “Wow, great foundation.” Most of us have eyes only for the finished product. Leave it to the architect to know all about the foundation.

Same principle with writing. A great foundation allows a manuscript to reach its full potential. Careful preparation allows a writer to pound out tremendous word count. For example, just yesterday I wrote about 13,000 words. During one writing retreat this year, I wrote 50,000 words in one week. And they were good words, not throw-away fluff.

So, can I write 10,000 words a day, every day of the year? Of course not. Those kind of word counts are not possible unless you’ve already got the foundation set. Much time is spent preparing for those burst of productivity. I’ve discussed those burst-writing times in detail in the past here.

What are some of those foundational items we as authors, the architects of our stories, need to understand? What are ways we can prepare for productivity?  The specifics of the list will vary depending on each writer’s style, but regardless of how we get there, we still need to end up with a firm foundation, or the story will fall.

Some common items that apply to just about everyone writing fiction include:

World building. What is our setting? Where is the story taking place? In what environment, what culture, what physical reality? Are characters human or animal or robot or jelly beans? Until we know these things, either written down or firm in our minds, we cannot begin a viable draft.

I write fantasy, and I generate copious notes about the world, the nations, cultures, religions, geography, climate, magic system, value systems, etc. Until it’s real for me, I cannot make it real for my readers.

Characters and conflict. There is no story until there is a conflict. For a conflict to exist and to matter, we need to have characters to torture. Before we craft scenes that will capture readers and draw them into the story, these elements must be clear.

One thing I do at the beginning of a story is to generate a list of names I feel fit this project. In my YA fantasy novel, I chose Scottish names for one nation and German names for another. Behind The Name is an excellent site to find names. Then when I need a name, instead of losing productivity trying to invent one, I just turn to my list, choose a name I’ve already decided will work in the context of this story, and move on with hardly a pause.

For those who are planners, who like to outline and craft a story before sitting down to write that viable manuscript, the list of preparatory items gets a lot longer, including:

Timeline sketches. Particularly for complex stories with multiple characters, charting out the timeline and how the various POV threads will interact can be invaluable. Even if you only have one main character and one main protagonist, the exercise of plotting out when and how they’ll intersect over time can spark new ideas or identify holes in the planned plot.

For me, this helps particularly in complex endings. When tons of things are going on and the action jumps from one POV to another, and from one quick scene to another, weaving all of that in together into a tight, constantly escalating climax is daunting. A high-level timeline sketch keeps it all under control.

Character profiles. Who are your characters, what is their backstory? What do they want? Why can’t they have it? What are they going to do about it? Knowing all this for every main character, and even for important supporting characters provides fodder for tremendous depth and complexity of your story.

Character development and depth has been a challenge for me, and this exercise has helped tremendously.

Outline. How is your plot going to roll out? What scenes will you write to drive the story forward? How exactly will you generate empathy for the hero in the beginning, reveal the true conflict at the first plot point, illustrate the stakes, etc? For planners, the outline is the skeleton, the frame upon which you build the story. This is where great energy and time is spent as you explore all the possibilities.

My outlines keep getting longer. This is where I spend the bulk of my creative thinking time. It’s so much easier for me to explore different options and look for ways to ratchet up tension or stakes or conflict up front than it is after I’ve written 50,000 words and realize something is missing.

For those who prefer to free-write, to discover their story through the act of following the muse down the rabbit hole, the preparation process is more like exploring the back roads around your city at night. There’s a certain excitement to driving into the darkness, not entirely sure where the road will take you. The trip may take a lot longer then expected, you’ll take wrong turns, and have to back track. You may end up needing to return to the very start of your trip and begin anew.

For those free-writers, or pantsers as they’re often called, the early drafts of a story are like those late-night drives in the darkness. This is where you discover the story, just as a planner discovers their story through the outlining process. This effort can take a great deal of time, and through this process, the free-writer is building the foundation of their story. Once all of the necessary elements are in place, only then can the free-writer begin a viable draft that can stand successful.

This list is not exhaustive, but it’s a good place to start. Writers must think about it, particularly as we begin a new novel. Understanding the foundation we must build, regardless of how we choose to get there, is one of the most important things writers need to grasp.

This knowledge, and understanding how we individually approach the foundational elements in our story, allow us to become truly productive. Once we have these elements in place, we can dive into that manuscript, and the words will flow faster than we can write them. I type pretty fast, but sometimes I can barely keep up.

I started as a free-writer, and over time and as I’ve come to better understand these foundational requirements, I have slowly drifted across the spectrum to becoming more of a story planner. I free-write within each scene. This hybrid approach, which I think is fairly common, provides the most focused, most productive result for me while still allowing for some of those midnight drives.

How do you approach these foundational elements in your own stories? What other foundation blocks would you add to the list?

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It seems every author has at least one book on writing they feel every other writer needs to read. For me, this one rises head and shoulders above all the others. Larry Brooks‘ often blunt and always brilliant exploration of what he calls the physics of storytelling is game changing.

I actually read two of Larry’s e-books that were wrapped up into his final, polished product known as Story Engineering. They were Story Structure – Demystified, and The Three Dimensions of Character. They can be downloaded separately as PDFs from Larry’s site for only $3 each, but just buy the full Story Engineering book. You won’t regret it.

What makes Story Engineering so brilliant? It’s clear, it’s easily understandable, and it works.

I’ve read several other great books on writing, but never did any of them strike me with such power as this one. The journey toward becoming a professional writer is much like climbing a high mountain. We hit peaks in our journey that only reveal another peak rising behind it, a peak we couldn’t see before. We can get stuck on those smaller peaks, not sure how to proceed or to climb higher.

That was where I found myself when I discovered Larry Brooks’ physics of story telling. I had already completed two manuscripts, but I was stuck. I knew there was a problem with my story, even though it was so much better than anything I’d ever written before. Unfortunately, I couldn’t identify the issue, so I couldn’t fix it.

Then I learned about the underlying structure that needs to exist in any successful story. Larry lays it all out: The four-part structure, which I had heard of before, but with the mission and context of each part clearly explained, and the reasons why the story must shift at specific points to maximize its power. I’ve never found another explanation that so clearly lays it all out in a way that any story can be measured against it.

Some things the book answered for me were:

Why can’t we have the first plot point in chapter 1?
What needs to exist after the first plot point, where the hero learns his true mission, the stakes involved, and what force of opposition stands in the way?
What needs to happen at each of the other major milestones of the story to maximize its power?
How do I know if a scene really belongs in the book, and where it should be placed?
And much more.

In his Story Engineering book, Larry adds to the foundational structure, or physics, of a great story, by explaining what he calls the other ‘core competencies’ of writing required to make a story great. These include:

Concept
Character
Theme
Structure
Scene Execution
Writing Voice

If you can’t explain exactly what each of these are, particularly in context to your manuscript, you need this book. As he points out, the first 4 are elements of a great story, the raw material you craft your story with. The final two are the process of execution, where the art meets the physics.

Larry is clearly a proponent of story planning and outlining. I’ve moved in that direction myself  and found I can reduce the amount of rewriting substantially. However, for authors who are free-writers or discovery writers or ‘pantsers’, this knowledge is still vital. The early draft(s) for discovery writers are the search for story, just like story planners’ outlines. Only when they know the story they need to write and understand how all these core competencies fit into their story can they finally write a draft that will work.

I can’t recommend this book enough.

Another aspect of craft that Larry explores in his Story Engineering is found in the Three Degrees of Character. I’ve read other great books on character, but again I found Larry’s blunt, clear style incredibly powerful. He drills deep and lays truth bare in a way that authors can use it instantly. Within each of those three degrees of character are seven categories that need to be defined. Once an author understands these, they can be mixed and combined in almost infinite combinations to produce memorable, unique characters.

The three degrees of character are powerful. He explains them as:
1st degree: Surface Affections and Personality – what we show the world externally.
2nd degree: The inner landscape, the reasons why the character chooses to express themselves as they do to the world externally.
3rd degree: The very inner soul of the character, perhaps not known even to them in advance, where they show their true nature under extreme pressure. This is the dimension that ultimately defines character.

For example, if anyone has watched the Firefly SciFi series, the captain of the Serenity is a great example of a complex character.
1st dimension (the face he shows the world): He’s a tough-as-nails, no-nonsense character who will kill without remorse, and engage in illegal activities for a living.
2nd dimension (why): He fought against the empire that rules the galaxy, but his side lost. He does what he does to stay free and gain little victories against an enemy he still hates.
3rd dimension (true character): He will risk his life to save people he could easily justify sacrificing. He’s a man of honor who will risk everything to save those he loves or to fight tyranny. But he’ll punch you out if you say that to his face.

This is powerful stuff, and liberating when an author understands it. I need to review it again since character development is still one of my weaker skills, but the toolchest is there. I just need to train myself to use it.

For any author who really wants to master the toolbox we use to craft great stories, get Larry Brooks’ Story Engineering book and study it carefully. It will open doors of understanding and illuminate the path to the next peak in your writing career.

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Last week, the World Fantasy Convention (“WFC”) was held in Toronto, Canada.  For all of you who may not know, WFC is a convention for fantasy and science fiction writers, artists, agents, editors and other professionals. The four day conference has seminars/panels on craft issues.  There’s a dealer’s room for hard-to-find, and rare books, and an art show. The price of admission includes a swag bag full of free books, and use of the convention suite. There’s also lots of time for networking, including nightly parties often hosted by publishers, and a closing banquet.

Four of the Fictorians (Evan Braun, Ace Jordyn, Nancy DiMauro, and Frank Morin, from left to right in the photo) attended this year. Evan asked us to share our thoughts about the conference with you. So, here they are:

Nancy: I attended my first WFC last year, and through the introduction by fellow Fictorian Colette Vernon met Celina Summers the head editor at the newly formed Musa Publishing. WFC opened doors for me that I never knew were there. I knew I wanted to attend this year’s WFC to connect with friends, further my writing career, and help others do the same. Why did you attend?

Ace: I wanted to see writer friends from all over the world, and WFC makes connecting with friends easy. It’s also a great place to meet new people from writers, editors, agents and publishers.

Frank: I attended for two main reasons. First, to meet with my agent, John Richard Parker from ZENO, in person. He’s based in London, so this was a rare opportunity. Second, I feel it’s vitally important to interact, socialize, and network with other industry professionals. WFC is a great venue to do that.

Nancy:  What was the best thing about this year’s WFC?

Ace: Shanghai Steam, an anthology I co-edited, was launched at the con. The anthology authors had a blast at the autograph signing session and readings at the launch. It’s wonderful to see the excitement, and feel the energy of so much creative pride.

Frank: At my first WFC two years ago, I didn’t know what to expect. Luckily, I connected with several other new authors. We spent the conference looking for and talking with agents and editors we wanted to talk with. This year, I still focused on networking and meeting new people. For me, it was deeply rewarding to mentor newer authors at this WFC  and continue to learn from more experienced professionals.

Nancy:  The best thing about WFC is the conversations I had with people. I spent hours talking with editors and writers, both well established and new. Brandon Sanderson met with the attending Superstars Writing Seminars alumni, which most of the Fictorians are. Brandon spent about two and a half hours with us. We talked about his outlining technique, working on the Wheel of Time, talking to and working with agents and editors, dealing with deadlines, book tours, writing, Writing Excuses, and so much more.

There were so many great things that I’d be hard pressed to single out anything “bad” about the experience. If I had to though, I’d say that there never is enough time, and the hotel NEVER staffs the bar right. Even though the Con officially lasts 4 days, those days fly.  There’s so much to do. The Con runs from 8am when the Con Suite opens until 4-ish am, when the last party goer has returned to his room.  A lot happens unofficially at the bar, and you can find people there at all hours. Despite being warned that there will be anywhere from 50 to 100 people at the bar at any given time, the hotel never has enough staff. When they can finally get you your drink (whether spirited or not), tip well as those few staff members are working hard.

Ace:  All the activity means that my least favorite thing is the lack of sleep. There’s so much to do. So many people to see and meet. It’s electric and the conversations go long into the night.

Frank: For me, it’s the travel distance.

Nancy:  One of the reasons I love WFC is you can accomplish more there than you can in two years outside WFC.  What was the most useful thing about it for you?

Frank: This is tied closely back to question about the best WFC-related thing - the connections we make. WFC is a wonderful place to network and interact with professionals representing all aspects of writing, including other authors, agents, editors, and publishers. The first several years of writing, I didn’t attend conventions. I wish I had. There are so many benefits to rubbing shoulders with others in the same business. People at WFC have consistently proven their willingness to share their knowledge, mentor newcomers, and provide opportunities.

Ace: Getting my finger on the pulse of what direction the industry is moving not only with writing trends but on the publishing environment.

Nancy:  Next year’s WFC will be in Brighton, England. Other than buy your membership now since it will likely sell out, any tips for those attending future WFCs?

Ann: Relax and enjoy yourself. Have fun. Talk. Attend panels, readings and parties; not only do you learn lots; you never know who you’ll meet.

Frank: Get to know the hospitality suite. It’s a great place to mingle, and to eat. This year’s hospitality suite (or con suite as it’s often known) was well stocked with surprisingly good food. I made some good contacts there and met a lot of people.

Put yourself out there. Most people were very outgoing and eager to talk with others. I saw a few who seemed to be lingering on the fringes, and managed to draw a couple of them into conversations. They were new authors with few connections, who felt a little lost. Many of us authors are introverted people, but we have to set that aside at conferences and take the initiative to meet people. The connections are invaluable. Once you have a base group of friends and acquaintances, it makes it that much easier to reach out even further.

One way to start getting to know people is to attend other writing seminars or workshops. For example, there were 8-10 of us who were alumni of the Superstars Writing Seminars. Those events were excellent in and of themselves, but now provided a secondary benefit. We all came to WFC already having a large group of friends to socialize with, share advice with, and to help us maximize our WFC experience.

Nancy:  To build on what Frank was saying, the benefits of WFC or any seminar or convention might not be immediately obvious, but there are long-term benefits. Every relationship you maintain is one where you can help someone else’s writing career, and that person, in turn, can assist you. Just remember to pay it forward.

Speaking of which, any tips on how to approach editors/agents at WFC?

Frank: Remember, relationships come first. We all want to meet editors, agents, other authors, etc. They want to meet people too. Relationships open doors both ways. But before we can make that pitch, before an editor will do more than look for a way to excuse themselves at the first opportunity, we need to establish a connection. Be friendly, but not desperate. Ask them about their projects, what they’re interested in, what books they’ve been reading. Look for things you have in common that can help build that connection. If you’re successful, they’ll ask for a pitch or give you a card. If you’re not, they’ll slip away no matter how hard you try to chase them. DON”T CHASE THEM. This is a business, and we are successful when we act like professionals.

One thing I had not understood prior to my first WFC is that many agents don’t really want a full pitch, although some do, so be prepared! I butchered my first live pitch, but thankfully the agent took the time to explain why I was so awful. She wouldn’t have if I hadn’t made a solid connection first. For those agents who do not want a full pitch, they’ll give you their card. This is a good thing. It opens the door to then send them a query per whatever guidelines they have posted on their website, and reference that meeting at WFC in the query. My agent was one of several I queried after WFC in 2010.

Ace: My nervousness at meeting editors and agents disappeared when I realized I wanted to buy their services. Yes, getting my novels published is the ultimate goal but it’s important to me that I find an agent who will work hard for me, and a publisher who has access to the appropriate markets who will work with me to make us both successful. An attitude of selling means I know my product; I have questions I want to ask and so all that makes me less nervous. And yes, my pitches are all prepared.

Nancy:  I saw your pitch sheet. It was really impressive. If you have a story that’s looking for a home, it helps to be prepared because you never know when someone will ask what you are working on. Having a prepared pitch helps reduce the nervousness. And I can’t emphasis what Frank said enough. Make a connection first and be a professional and polished version of yourself. Be courteous. Manners matter.

Frank:  Also, if you are too nervous to approach an agent or editor, rely on your friends, or people you’ve made a connection with at the Con. Have another author you know introduce you to an agent or editor. Chances are someone helped that person out when she was getting started, so she’s happy to help you, just like you’ll be happy to do it for someone else down the road.

Nancy:  What do you know now that you wished you knew before attending WFC?

Ace: I think I’d make plans with writer friends to stay an extra day or two to either hang out or have some writing time together. The con generates great energy that’s worth hanging on to for as long as possible.

Frank:  I wish I had taken more time to research people I wanted to talk with. Work was very busy prior to WFC so I didn’t have enough time to do the research I needed. For example, I wanted to talk with a couple of editors, but I didn’t manage to learn the names of the other editors at the publisher. I had a productive time, but there were definitely opportunities missed due to lack of preparation.

Final thoughts from all of us:

For those who have not attended WFC, we can’t recommend it highly enough. The publishing industry is small, and, in some ways, getting smaller as it changes. It’s important to become known and make connections.  Unlike, say some of the conventions where people walk about in costumes, WFC is a primarily professional convention. People attending WFC are, generally, those in the industry who we, as writers, will do business with. Making connection with people at WFC may mean the difference between publishing or not since people want to do business with someone they know.

See you in Brighton next year!

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Life is busy. We all have tons on our plates: family, day jobs, church, hobbies. Amid everything else, we aspiring writers struggle to squeeze in time to write.

Just about everyone I know is racing full speed ahead, myself included. Many of us fall into the trap of taking ourselves too seriously, and when life hits those ever-present road-bumps and fails to meet our expectations, we get stressed and cranky.  Not only does that make life unpleasant for us and anyone unfortunate enough to be around us at the time, tension and anger usually serves to block access to the creative side of the mind.  When trying to write, this kills productivity, which results in our becoming more stressed, and leads to a downward spiral that usually ends with any pages we’ve managed to write in that state having to be thrown away.

It’s time to lighten up.

Dr. Richard Carlson, in his best-selling book Don’t Sweat The Small Stuff, said, “People are frustrated and uptight about virtually everything – being five minutes late, having someone else show up five minutes late, being stuck in traffic, witnessing someone look at us wrong or say the wrong thing, paying bills, waiting in line, overcooking a meal, making an honest mistake – you name it, we all lose perspective over it.

The root of being uptight is our unwillingness to accept life as being different, in any way, from our expectations.”

I’ve been thinking about this a lot. Sure, life is busy and there’s a lot to do. As authors it’s far too easy to think about all the pages we haven’t written, or to curse the fickle muse who led us astray, resulting in yet another draft.

But that’s no fun.

I’ve decided to focus on the other side of the coin. When I get in ‘the zone’, focused on nothing but the story as words fill the page as fast as I can type, all those worries float away.  Those moments can be magical, and productivity soars.  So despite the fact that I’ve been writing for seven years with nothing yet published, I choose to focus instead on the skills and mastery of craft I’ve developed that I didn’t even know I needed to know when I started down this road. I now have three viable manuscripts in various stages of editing, with clear goals to work them to completion.  It’s been a long, difficult road to get this far, but it’s also been a wonder-filled journey I am deeply grateful I experienced.

Like Dr. Carlson says in his book, if we can learn flexibility and stop trying to control things we cannot control, we can evolve from battling life to dancing with it. Challenges will come, unforseen edits will be required, life will throw unexpected curves in our path. It’s going to happen anyway, and we already know we can’t control it. All we can control is our reaction.

I’ve decided to dance more and fight less.

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I recently attended the LTUE (Life, The Universe, and Everything) conference in Orem, Utah at the UVU campus.  I sat in on the book trailers class more out of curiosity than any real expectation to learn anything useful.  After all, I had never heard of book trailers.

This turned out to be an extremely insightful session.

Book trailers are a growing phenomenon.  Just like movie trailers, some authors and publishers are now developing book trailers.  This was news to me.  I had never considered making a trailer for a book.  But as was stated in the panel, today’s world is a video-centric world so a book trailer could draw a very wide audience.

What a brilliant idea.

Who doesn’t love a good movie trailer?  When done right, they can drive moviegoers into a frenzy to see the movie.  Book trailers can do the same thing.

Then again, a bad book trailer can be the stake through the heart of your book.

My first thought was, “Book trailers?  That’s great for publishers with a marketing department and deep pockets to pay for expensive graphics design or live actors.”

But, book trailers can be more affordable than you may think.  The panel at LTUE gave us some useful tips.

First, for the do-it-yourselfers, there are some great sites to download photos, music, and even video clips royalty-free for very reasonable prices, like iStockPhoto.  With a little work, you may be able to piece together an excellent trailer with very little cost.  Please remember, no matter where you find your material, make sure you have permission to use it.  One author mentioned that they produced a book trailer independently.  When they signed with a publisher, they were forced to take the trailer down because they could not guarantee that all of the images they used were royalty free or used with permission.

A couple of points were stressed repeatedly:

1. Find the right music.  Great music can make your trailer.  Bad music will kill it.  Again, there are lots of resources online for royalty-free music.  Or, if you know a musician, they might just let you use their music for free as a way to increase their own presence on the web.
2. Don’t underestimate the importance of asking.  If you want a piece of music, or a photo, or even live actors, ask them.  Many people will give permission for their work to be used, or will offer to help free of charge because they see your trailer as a way to highlight their talents.

Another idea is to check with local colleges, or with any college students you might know, particularly those involved in film production or any related field, including acting or modeling.  You may be able to get high-quality assistance from students looking for a good project.  Again, they want their names out on the net, and this provides a way.

One example of a good book trailer is the one for Dan Wells’ new book, Partials.  You can view the trailer here.  It had only been out a month when I watched it, and the YouTube link had already received almost 3000 hits, plus all the hits on the official web page.

I also found this one for Sense & Sensibility & Sea Monsters,  that was very well done.

Other links of interest:

On Darcy Pattison’s web page, she lists a Book Trailer Manual for sale as well as many links to other resources on book trailers.

Book-Trailers.net shows some existing book trailers

BlazingTrailers also has existing trailers to watch.

From the little research I’ve done to date into book trailers, I don’t find a ton of trailers yet.  I find that encouraging because a good trailer might just get a lot of attention.  The sobering flip-side is that of those trailers I’ve watched so far, many of them weren’t very good.

So if you’re going to do a trailer, make a good one or don’t bother releasing it.  You don’t want to hurt your sales.  If you can develop a really good trailer, it might play a major role in your marketing plan, especially if you e-publish your own novels.

This is an idea too powerful to ignore.  I know I’m going to look into it this year.

Does anyone know of any good trailers to recommend?  Do you know any authors who have successfully developed trailers?  Are you planning to release your own trailers with your books?

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Knowledge + Experience = Wisdom.

Great writers develop a deft touch and an extensive toolkit of skills to draw upon. They marry their knowledge with their experience to produce something more. The good news is that we don’t each have to discover every skill ourselves in a vacuum.

I enjoy reading. I always have. It is one of the reasons I turned to writing as a youth. I find reading to be a great escape, which is probably why one of my favorite genres is fantasy. I love getting lost in a good story. However, as a writer there’s so much more a good story can provide than just the escape. Great authors teach those willing to learn from their experience, those able to see. I struggle sometimes to do that. I tend to get sucked in too deep to analyze as I read. Usually I have to go back and study after I reach the end.

In a recent post, Leigh talked about how she learns from great authors. I haven’t yet tried the technique she recommends, but I think when I do it will help cement even better some of the lessons I learn from authors I enjoy.

In my own writing, I’ve developed some strengths, and am working to identify additional areas for improvement.  One strength of mine is action scenes. I’ve spent a lot of time working on these, and I’ve studied some great authors to learn ways to improve delivery of a good action scene. Matthew Reilly, author of Scarecrow, is one example. This book is an excellent military thriller that delivers non-stop action from page one to the very end. From him, I learned the importantce of keeping sentences and even paragraphs short in action scenes to ratchet up the tension. That simple change in structure has a huge impact. Another critical element for writing great action scenes is to use multiple senses to really draw the reader into the action and help them feel the danger. Too many authors gloss over action scenes at a high level and miss delivering that visceral experience to the reader.

On the other hand, an area I am working to improve is character depth/complexity/arc. Since I write fantasy, not thrillers, I need more character development and depth than a pure thriller might worry about, so I’ve turned to other authors for insights.

I recently read Patrick Rothfuss’ The Name of the Wind. I thoroughly enjoyed the novel, and learned some lessons from it. The book is very interesting, but not really very action packed. Despite the lack of lots of action, it did not bore me or let my interest wander. That’s because it is a great example of a fascinating, complex world brought to life with excellent descriptions, and a character we really root for. These are things I can learn from and add to the solid structure and explosive action scenes I already know how to write.

Another book I recently finished reading was The Warded Man by Peter V Brett. This is a dark fantasy with a brilliant concept and truly high stakes. Again, the action scenes were not what jumped out at me in this book. Instead, the magic system and precarious situation of the characters sucked me in. The worled was well defined and exotic, and all the main characters were complex and compelling. I plan to study this book again with an eye toward developing stronger, multi-faceted characters.

I’m on the hunt for other books that are great examples of particular skills. What books do you consider landmark novels that have taught you or given you insights to lift your craft to a higher level?

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This month we’re talking publishing in all its shapes and sizes.  Like many of you, I am an author struggling to reach that huge milestone of my first published workd.  I’m very optimistic this is the year it’s going to happen.  I’ve been writing for seven years, and although I have two novels I could self-publish, I’ve opted to sign with an agent and pursue a traditional publishing route, if possible.

Several people have asked me why bother?

With the advent of ebooks and the ease of self-publishing novels, why not just throw my manuscripts out into the ether like so many other people?  Maybe I could become one of those few to really succeed with it?

Maybe I should.  Perhaps I still will.  The publishing industry is going through very difficult times, and there are many people who argue an author is doing themselves terrible damage by signing a traditional publishing deal.

I’m not convinced it’s all bad.  First, I want confirmation from industry professionals that I’m really ready, that I’ve mastered the craft to the point where I can approach publishing a work with confidence that it can compete and not waste my time, or the time of my readers.  Having an agent say, “Yes, I love this manuscript and I believe it is written to a professional standard and is ready to submit to publishers” is a huge milestone in my career.

Now it’s no longer just me and my close circle of relatives and friends who think I’ve got what it takes.  I need that confirmation.  Without it, how do I really know I’m ready?  After four years and several drafts, I completed my first novel, a 300,000 word behemoth I was convinced was awesome.  Thankfully the e-publishing bubble hadn’t hit yet, so rejection letters from agents started piling up.  Eventually I progressed in my mastery of the craft to where I could recognize the novel’s flaws.  I made the hard choice to throw it away and re-start from the ground up, saving only some of the worldbuilding and characters.  The resulting novel is worlds better than the original, and that’s the one my agent accepted.

So yes, the first huge benefit of agents is that confirmation by the industry that I’ve at least got a shot at a deal.  Another undeniable benefit to traditional publishing is getting your physical book distributed to physical book stores, hopefully around the world.  That distribution has value, and especially for a new author, I’d love the help of a publisher in getting my book out to readers.  I know there’s still tons of work to be done to market it myself, but at least I’d have a physical product to sell.

We all know authors who have self-published, and most of them sell few copies, despite how well deserving their books may be.  So, a traditional publishing deal might help establish a reader base to build off of.  I know it’s not guaranteed, but it’s something worth investigating.

Another big reason I am still pursuing a traditional route for my first book goes back to my agent.  John Richard Parker with Zeno Agency knows the industry and players far more than I can since he’s worked with them for many years.  His expertise is invaluable, and even though we have not landed a deal yet, working with him has already brought valuable insights I could not have gained otherwise.

The other reason I’ve hesitated to self-publish is that after working for years on my books, I want them to be the best they can be.  I’ve read e-books that could have been great, but fell short of their potential because their authors failed to wait just a little longer and complete a rigorous editing process.  Landing a traditional publishing deal, and working with the professional editors there, will be wonderful when it happens.  I am eager to learn from them all I can.

With all this said, I am not ignoring other publishing options.  My YA fantasy novel, which my agent is reviewing now, is scheduled to be professionally edited by Joshua Essoe (see his post on editing here)  later this year after I complete a third revision.  If the traditional route falls through, that novel is a prime candidate to be e-published through an e-publisher like MUSA, or directly self-published after it’s fully vetted and ready to go.

And while I complete preparing my two novels for some type of publishing, I’m busy writing the next one.  I also plan to explore e-publishing for a novella and related short story I wrote.

It’s an exciting time to be an author, with so many options out there.  I encourage everyone to learn as much as you can about each avenue, and explore multiple options.  But whatever way you choose, make sure your finished product is the best it can be.  Anything less is nothing short of a tragedy.

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Last week, I completed an extremely successful Burst Writing retreat.  I wrote 50,000 words in five days, even though I lost almost 8 hours to travel each on Days 1 and 5.

I’ve spoken of Burst Writing before.  I define it as an intensely focused period of time in which to write significantly higher word count than normal.  This is not free-writing time with throw-away word count.  A successful Burst Writing session takes a lot of preparation and produces well-crafted, effective scenes.

Most important is to know what you’re going to write before you sit down to pound away at the keyboard.  There’s little time for blank staring out the window.   For me, that meant scheduling the retreat only after several weeks of focused effort to develop the story fundamentals and outline the scenes I would be writing.

Last year, the first time I tried Burst Writing, I managed 50,000 words in 7 days, and finished half of that book.  I’m now currently planning the third revision of that novel.

My goal is to eventually prepare well enough to where I can crank out huge sections of a clearly defined story that won’t need multiple major revisions afterward.

Last week, I wrote about 35% of a new novel.  I believe I did a better job defining exactly what each scene needed to include from a plot and characterization perspective.  We’ll see how that holds up once I complete the book.

I get a kick out of tracking stats.  So, here are the stats for last week’s trip:

Day 1:  8 hours travel time.  1.5 hours writing time.  New word count:  2700

Day 2:  10 hours writing time.  New word count:  13,500

(Day 2, evening, couldn’t sleep.  Wrote another 1800 words in the middle of the night)

Day 3:  6 hours writing time.  New word count:  12,000

Day 4:  10 hours writing time.  New word count:  15,000

Day 5:  3 hours writing time.  New word count:  5,000.  Travel time:  7 hours

As you can see, I started slow, but once I got in ‘the zone’, I cranked out far more words each day, as high as about 2,000 words per hour, which is twice what I can normally produce.

So, what did I do to prepare?

1. Outline.  I spent a great deal of time working out the characters and plot of the novel.  I had some advantages in this book over the last one because this is a sequel to another novel, so the world and many of the characters are already very well defined.  Even so, I had to wrestle with some difficult plot issues in the second half of the novel that required changes to the first half to resolve.  If I’d started writing chapters before I had the plan complete, my productivity would have screeched to a halt, and I would have been forced to throw away a lot of good work.

2. Find the right writing retreat.  This year, I found the Colonyhouse, owned by the Oregon Writer’s Colony.  Signing up to be a member was inexpensive, and the house was exactly what I needed.  It was comfortable, located within driving distance, with a beautiful location (about 100 yards from the ocean).  I experimented with several different locations in the house and settled on a layout that was comfortable for writing long periods of time.

3.  Set lofty goals.  I honestly did not believe I would hit 50,000 words.  I wrote 12,000 words on my best day in last year’s retreat, so this year’s goal was a stretch.  I hadn’t really factored in the travel time correctly, so when I arrived I realized I was way behind right on day 1.  By staying focused on the goal, and motivated to reach it, I produced far more than I would have otherwise.

4.  Set the right duration.  Five days turned out to be an excellent length.  Last year I took seven, which was honestly a little too long.  I found that the four days in the middle of the trip were the most productive.  This year, I had been planning a three day trip, and managed to squeeze in the other two at the last minute.  I’m glad I did.

5.  Reduce distractions.  I did walk the beach a few times when I needed a break, but other than that, I did very little but write.  On the drive out to the house I stopped and purchased all the food I would need for the week so I could pretty much lock myself away and not get distracted shopping or running errands.  Once I got in ‘the zone’, I was able to stay there for a long time, which is so much more productive.

And, as always, I learned a few lessons about what to do better next time:

1.  Bring spare batteries.  I learned last year that having a full size, comfortable keyboard is key to cranking out high word counts for me.  This year, I brought my cordless keyboard and mouse.  And of course, on Day 2, the batteries died.  I did not have spares, so I wasted an hour running out to the store to get some (the only excursion I took other than walking to the beach).

2. Sleep.  One of the biggest challenges for me when I’m away from home is sleeping.  I just don’t sleep well.  I know I have this problem, but I forgot to bring any kind of sleep aid.  As a result, I did not sleep well most of the week, and returned home very tired.  I did bring some movies to watch in the evenings when I needed to unwind, and that did help.

3.  Have the first chapter or two already complete.  I started the retreat on chapter 1 of a new book.  The first chapter is always the hardest, and I wasted a bunch of time trying to set the tone, description, and locking in the characters in the setting.  Luckily, I spent a lot of time on the drive up the coast working some of this out in my head so the writing time wasn’t an entire waste.  However, by the time I hit chapter 3, I had things flowing well, and I could just roll forward at full speed.  Next time, I’ll try to get the first couple chapters complete ahead of time.

I’ll be writing a series of blog posts on my web site www.frankmorin.org, discussing each day in more detail, for those who want to know more specifics.

What have you found helps boost your productivity at home or during a writing retreat?

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There are two opposing camps when it comes to how an author approaches writing their novel.  On one side are the story ‘pantsers’, those who sit down with only a vague idea of their story and start typing.  They discover the story through the act of writing it, usually through a multiple re-drafting process.  On the opposite side are the ‘planners’, those authors who sit down and design a story to the nth degree before they actually begin the first draft.  They might write almost as many words in the outline as they do in the first draft, but end up with fewer re-writes most of the time.  Both camps have their avid followers who trumpet the benefits of doing it their way while pointing out the drawbacks of the other philosophy.

I’ve found that most authors fall somewhere in the middle between these two philosophies.  We plan some, and we free-write some.  Authors will shift along the spectrum between the two philosophies from one project to another, or as their level of experience changes.

I started as a total discovery writer, complete with many drafts of my first novel as the story evolved and I figured out what I was really writing about.  Over time, and as I’ve gained a better mastery of the craft, I’ve crept across the spectrum toward the opposite camp.  The more of an outliner I become, the more up-front work I invest in a story before beginning to write.  Once the outline is ready, I can schedule a ‘burst-writing’ session – a focused period, several days to a week, where I can pound out tons of work based on that outline.  I did that last year and wrote 52,000 words in one week.  I’m planning to do so again soon with my next novel.

I’ve developed the following outline process:
1.  First I do all the high-level brainstorming for the new story.  This can take a while as I chew on a new idea and work it from the initial proposal into a viable story worthy of serious consideration.  Lots of ideas don’t make it past this first step.

2.  Once I feel the story has promise and I’m starting to get a good sense for it, I write down the foundational information I’ve developed so far.  This includes character sketches, world-building, and initial plot ideas.  The process of writing it all down and trying to work it into a logical, comprehensive whole identifies gaps and leads to new inspiration in fleshing out the world, characters and plot.

3.  I develop the high-level plot outline.  In my current story, this ended up being about 8000 words.  I choose scenes, decide which characters to populate them, high-level conflicts, and how each scene will drive the plot forward.  At this point, I’m looking to get my first full view of the complete story arc from beginning to end.  I develop arcs for each major character to ensure I’m addressing things from each of their perspectives, and considering the plot through each of their eyes.  This process yields tons of fresh insights, new twists to consider, and helps the story really come alive.

4.  If this is a brand new story (as opposed to a sequel), I find it useful to write the first few chapters based on the high-level outline.  This helps solidify the character voices and the feel for the world and how the story is going to work.  I get ‘locked in’ to the story this way.  I can usually tell if I’m on the right track now, or if there’s something still fundamentally wrong with the plot, characters, or world.

5.  I develop what I call a mid-level outline.  I run through the outline again, fleshing out the scenes, clarifying and adding detail.  For some of the important scenes, I add sections of dialogue or work out how I’m going to approach the action sequences.  This is particularly helpful in planning complex endings.

This is the step I’m on right now.  I’ve taken the 8000 word high-level outline and expanded it to about 15,000 words so far.  I’ll probably complete the outline at about 20,000 words or so.  At that point, I could do another pass and produce even more detail, but the story is really coming alive for me, so I don’t think that will be necessary.

When I begin writing scenes for the first real draft, I keep the outline in mind, but this is where I free-write.  The outline is the framework and helps me identify when my free-writing takes me off on new tangents.  Sometimes those tangents are awesome – a flash of inspiration that I could not have figured out unless I was in ‘the zone’ writing full scenes.  Sometimes they’re a bad idea that takes the story off a cliff.  Any time I break the framework, I need to go back and analyze how this change will impact the story.  Either it’s brilliant and the rest of the story needs to change as a result, or it’s a false-start that needs to be chopped.

If I decide to keep it, I have to make sure I can still maintain the story integrity.  I have to ask:  do my plot points and story arcs and character arcs still make sense?  Will pacing be right?  Will the ending still work?  Adjustments often need to be made.

This sometimes seems like a lot of work, but it’s actually a lot less than the alternative.  This way I can identify the impacts to the story early on and choose how to address it.  Before, I would keep writing, maybe all the way to the end of the story before I realized other components needed to be changed.  That would require an entire new draft, which was a lot more re-work and took a lot more time.

Through this blended outline/free-write approach, I’ve dramatically cut down how long it takes to write even a big-fat-epic-fantasy novel like mine.

How do you approach a new novel?

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Today, Day Two of Superstars Week, three more Fictorians share some of the top benefits the Superstars Writing Seminar provided to us.

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Frank Morin: Superstars was a landmark event in my writing career. I came to Superstars thinking I knew what it meant to be a writer. I left knowing what it takes to succeed.

The presenters shared so much knowledge in such a short time, it’s hard to understand until you’re there. Of all the brilliant advice, here’s what I found most useful:

1. Volume matters, particularly in today’s market. One book per year is minimum. No longer can a writer slave over a manuscript for years before it’s ready for release. Just like everything else in our world, the pace is faster than ever. Competition is fierce and readers’ attention spans are short. They have too many other options available. They won’t wait for years. Kevin J Anderson said early in his career, he was querying with over 30 separate pieces simultaneously.

2. Contracts. This is business. Publishers, and even some agents, are not your friends. The only person who is really looking out for your interests is you. Learn about contracts, ask questions, and don’t sign anything you don’t fully understand.

3. The economics of publishing. We got a glimpse at the economics involved from both the authors and publishers points of view. It was eye opening.  I had never realized publishers generally lose money on an author’s first book. A publisher is making an investment, hoping to reap a return on that investment through future books by that author as their fan base grows. That helped explain why most new authors get very little for a first novel. Understanding how the industry works allows us to approach it as professionals, with correct expectations.

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Ann Cooney: Superstars was wonderful because now I’m able to manage my career with confidence and approach it with professionalism rather than naive timidity.

Superstars showed me where the bar sits to be a professional writer. For example, if you’re serious about writing, WRITE! A novel a year is the minimum output. So, that first year after Superstars I wrote two novels to complete the trilogy I had started. Last year I researched and wrote another novel. This year, my new research complete, I expect to complete one, possibly two novels for a series. So now when I talk to publishers and editors, I have a product line which show I’m serious because I have more than a one-time dream I’m selling.

Before Superstars I found the idea of talking with anyone in the industry intimidating because I felt so naive. And I was. Now, with some understanding how things operate, it’s easier talk to publishers, editors and successful authors in a time when the industry is changing so much.

When I saw how much the superstar authors give back to the writing community I was inspired to do more than I had been. I’m a short story contest judge. I’m editing an anthology. I help other aspiring writers and support writing groups. The neat thing is that the more I give, the more I learn and grow and my network of resources and contacts are always expanding.

In short, the greatest thing about Superstars is that I have great role models who have not only inspired me but have shared what it takes to make it in this industry. And for that, I’ll always be grateful. Thanks!

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Jason Michelsen: I can’t recommend the Superstars Writing Seminar enough. Even after going through two different writing programs at the undergrad and graduate levels in college, there were so many things left untaught during my education about the business side of the industry. I suppose it is a school’s job merely to teach its students how to write better, but, as I learned at the
seminar, there is so much more to being a writer than just writing.

For one thing, we never discussed contracts in school, and if you ever want to get paid as a writer, knowing about contracts is important. The lecture by Eric Flint on contracts was invaluable. Granted, there are a lot of writers out there who may not read their contracts carefully and leave all negotiating up to their agents, but I for one want to know exactly what’s in my contract should I ever be lucky enough to get published through traditional means.

Getting published through traditional means typically requires an agent, something else that was never discussed when I was in school but is covered at length during this seminar. It’s true that just about every author has their own unique story about how they acquired their agent, but the Superstars Writing Seminar prepares you for what you need to do when you’re ready to go to market with your finished manuscript.

Knowing a little about the market doesn’t hurt either. Okay, knowing a lot about the market is ideal: what kinds of books are selling, what publishing houses publish the types of books you write, what you might expect to make as a mid-list author or national bestseller, etc.

Sure, discussing salary might be jumping the gun a bit for most seminar attendees, but that’s the beauty of the Superstars Writing Seminar. Not only do you get access to a wealth of knowledge about the publishing industry, you also get access to some of the most prolific writers producing speculative fiction today. So if you go, hang out with the authors during breaks, ask them questions, network and make connections with your fellow attendees. You’ll be glad you did!

See you in April at Superstars!

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When people ask me what I do, I mention my day job and also state that I am a writer.  It took me a while to feel comfortable calling myself a writer even though I’ve been writing for years because I haven’t published any novels yet.  I wasn’t sure I could rightfully call myself a writer until I’d reached that golden moment.

So, when is it all right to assume the title?  I’ve settled on five things that I consider helpful in distinguishing the ‘writers’ from the ‘dabblers’.

1.  You complete a manuscript

Half the people I meet, when they hear I’m a writer, say, “Hey, I’ve got a great idea for a story.”  Few actually sit down and try to write it.  Of those who start, only a fraction actually complete their first manuscript.  Joining this group is a huge step forward.

For me, my first manuscript took over four years and countless restarts to complete.

2.  Write your ‘million words of crap’

Estimates vary from half a million to a million words, but the message remains consistent:  you have to write a lot before you write well.  Writing is a profession that requires a lot of blood, sweat and tears before any return on that investment is seen.  This is a hard truth that many wanna-be writers don’t understand.  Sometimes I wonder if I had really understood the long road I was embarking on when I sat down and typed “Chapter 1” would I still have done it?

One of the most dangerous temptations for writers with the new easily accessible e-publishing option is to publish a story before it’s ready.  It’s easy to convince yourself your story is far better than it really is.  Unfortunately, the e-bookstores are inundated with this kind of wishful thinking.

I’ll just say, take the time to do it right.  It’s a shame to see a book released too soon.  It’s almost worse to see a book that’s almost really good than to see one that is terrible.  If only the author had taken just a little more time.  But I’ll explore this topic more in-depth in a future post in order to do it justice.

3. Make the hard decisions

Kill your darlings, and kill them as soon as they get in the way of the real story.

There’s a saying in business:  “If you’re going to fail, fail fast.”  It means identify flaws, learn what you can from them, and then move on.  Don’t waste time bemoaning the fickle muse or the cruel fates.

The not-yet-professional writers don’t like to recognize this.  Darlings might be favorite characters, scenes, conflicts, anything that makes up the story.  Initial ideas morph as you progress down the journey of writing and ‘find’ your story.  The story you find is often not the story you expected.  That’s when the hard decisions must be made.  To have any chance of succeeding, we must be true to the real story once we know it.  Remove any extraneous material, no matter how dear to us.

For me it was a dark day when I realized my first book, the manuscript I poured my heart and soul into for four long years could not work in its current state.  There were fatal flaws I did not recognize earlier because I lacked the mastery of story craft to see them.  I faced a crossroads in my writing career that day.  I could no longer pretend I was on the cusp of selling that book to a publisher.  If I refused to kill that darling, I might never have progressed.  To move forward, I either had to start an entirely different story; or I had to throw away that manuscript and redesign the story from the ground up.

I started again.  The new book, using many aspects of the original story’s world-building and characters, is ten times better than the original.  This new story is the one that landed me an agent and real hopes of a publishing deal.

4. Write the next book.

With everything else done, it’s important to know when a manuscript is complete.  There’s still a lot to do even then.  If you’re trying the traditional publishing route, there’s the long, painful submission process.  If you’re going the e-publishing route, you still need professional editing, cover art, cover quotes, and a marketing plan.

Don’t let these tasks delay for too long the most important next step that a writer needs to do:  write the next novel, and then the next.

5.  Learn to enjoy the process.

Being a writer is not an easy road to travel.  It is long and often discouraging.  Most people don’t understand what it takes and can’t understand what we do.  And yet, we write because we must.   Writers are driven to write and we love it.  The process of developing a manuscript for eventual  release to the public is challenging, and also rewarding.

This is a journey filled with growth and exciting milestones.  The road behind us may be littered with discarded manuscripts, cut scenes, and  tens of thousands of words sacrificed to the editing red pen, but when we stand with a work worthy to be called our best effort in our hands, it’s a magical moment.

In the end, we keep writing.  It’s what we do.

When did you first start calling yourself a writer?  How did you know it was time?

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