Author Mette Harrison writes a column on writing for Orson Card’s Intergalactic Medicine Show. I think you can read them without a subscription. This month’s column had some great insights. Here’s one fab example.
I also recommend that if you want to write a book that readers will not be able to put down, focus on one really good story (more on this next month). I am not saying that you can’t have sub plots or minor characters. You can. But I urge you to make sure that your page count does not obscure which characters are the main ones or what their main goal is. If you have lots of different characters who are in different parts of your world, that is fine. But make sure that they are all working at different ends of the same thread, that they all end up being part of the same story. If you cannot figure out which character is the one you want your readers to care the most about, to root for most desperately, you may have too many characters.
An avid reader friend of mine began reading through the books in a list called “100 books you must read before you die.”
She got to Jack Kerouac’s On The Road and went to Facebook and posted the following: “I don’t get the appeal. It’s about a group of boys/men who are irresponsible, drunks, whoring around taking advantage of others and being enabled by their women. Why is this a classic and why should I have wasted my time on it? Can some of my literary friends explain? I hated a brave new world and the handmaid’s tale too.”
Is the book a classic?
Should she read it before she dies?
Is it really that important?
Let me share an edited version of my response and then provide my list of 30 books you should read before you die.
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Annette, the unfortunate truth is that these lists of “classics” are a sham because there is no objective criteria for determining literary excellence.
Or maybe I should say that measuring quality in the arts isn’t like measuring the unambiguous, objective score of a baseball game. After books exhibit a certain level of proficiency, it becomes increasingly difficult to distinguish the quality of one book from another, especially because much of this depends on a reader’s interests and subjective experience of the story.
When it becomes hard to rank performances, people rely on other measures. One of the most powerful is social networks.
So if two readers find two different books that blow them away, one of the books might get all the attention because the one book gets picked up by a news service (The New York Times) or a platform (the Oprah Book Club effect) or some other social network of influence. A lot of the so-called literary classics only appear on various lists because they tapped into the academic network, which kept them alive far longer than they would have lasted otherwise.
On The Road is simply a book that made a stir among some circles in the 1950s. That’s it.
Was it more important or of higher quality than Exodus? The Chronicles of Narnia? Lord of the Rings? A Town Like Alice? All published in the 1950s as well.
It depends.
If you’re wanting to understand the 1950s beat culture, it would be an important book.
But if you’re wanting to understand fantasy writing of the time, it wouldn’t.
If you’re wanting to read a book that’s had a huge impact on popular culture, well, LOTR beats On The Road like a dog.
Some people have the feeling that the so-called classics have some inherent medicinal value because someone put them on a list and called them classics.
Nope. They’re just stories. Some of which can shed light on the issues and interests of a part of the culture in a given period. But if you’re not interested in that specific sub-culture, who cares?
And if you’re reading to be entertained, moved, uplifted, or educated—which ones do that best for Annette is for you to decide.
So all that to say I wouldn’t devalue your reaction to the book
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I’m now going to give you my list.
But it’s not going to be a list of titles. Nor will it focus on a book’s impact on some sub-culture of a given period.
It’s going to be a real list. One that focuses on what so many of us go to stories for.
The one that makes you weep.
The one that makes you giggle and snort.
The one that reminds you of what it’s like to fall in love.
The one that gives you hope.
The one that you begin to read more and more slowly because you don’t want it to end.
The one that scares the soup out of you.
The one that you can’t put down, even though you need to wake up early in the morning.
The one that makes you wish you lived there.
The one that’s so good that when you close it, you immediately start to read it a second time.
The one that gives you and your child hours of pleasure together.
The one that gives you a sacred, spiritual experience.
The one that makes you reread some of the lines because the turns of phrase are just so delicious.
The one that gives you courage.
The one that takes you on an awesome adventure.
The one that makes you want to be a better person.
The one that bores you to tears (just so know you how good the others are).
The one that introduces you to a different culture that delights you.
The one that makes you think.
The one that lingers with you for days.
The one that gives you lovely insights.
The one that inspires you to love your spouse more.
The one that introduces you to the sorts of people you normally don’t like and makes you actually like them.
The one that delights you with its characters.
The one that whisks you away to a different historical period.
The one that inspires you to give your children a hug.
The one that gets your adrenaline pumping.
The one that sparks all sorts of ideas in your head.
The one that makes you wonder and start imagining what it would be like to be there.
The one that blows your freaking mind.
The one that makes you stand up in your living room and cheer.
We could do more than 30, couldn’t we?
Like the one that makes you think people from a different time period are just like us. And the one that makes you think people from that same period are completely alien.
But I think we’ll stop. That there above is a list.
Those are 30 books I think everyone will want to read before they die.
I had tons of great feedback from the last workshop. It seemed to be helpful to quite a few people. There are a number of other good workshops for writers going on before and after mine that you’ll want to look into as well.
I just changed the cover of a book (Maid for Love, book 1 in my McCarthys of Gansett Island Series) that’s been on sale for three years and free for two as a loss leader for a series that has 11.5 books (as of today–release day for book 11). I changed the cover (of books 2 and 3 as well) just ahead of a BookBub ad for Maid for Love. This book has been on BookBub quite a few times since it’s been free and lately, I could expect about 25,000 or so downloads across the platforms after a BookBub ad. This time, the number was closer to 70,000 downloads with a huge conversion to books 2 and beyond. Another thing we did before the BookBub ad was drop the prices on books 2-3 from $4.99 to $2.99 and books 4-6 from $4.99 to $3.99, leaving the front list at $4.99. I realized with 11 books and a novella in the series, it would cost a new reader more than $50 to buy the full series, thus the price break on the earlier books. Both the new cover for Maid for Love and the new pricing for books 2-6 yielded very impressive results. The series has sold more than 1.3 million ebooks since it debuted in 2011 and the last three have been top 10 NYT bestsellers. I was hoping to gain many more new readers from these strategies, and so far, it seems to be working just as I’d hoped it would. I love being able to try these things as an indie author!
Another poster congratulated her and said he’d gone and purchased the book. It was free; why not give it a shot?
Thanks, Bill. Hope you enjoy Maid for Love, and thanks for the congrats. The 1.3 million sales is especially thrilling when you consider that Maid for Love was rejected all over the place. Except by the readers. 🙂
What’s Marie using? A series with a number of titles in it, competitive pricing, loss-leader sampling that sometimes includes a free book, and BookBub.
There are a thousand things to “remember” when writing story. New writers who make lists of these things soon begin to drown in them. But I’ve come to realize that many of these “rules” don’t matter.
They don’t matter because many ignore the function of story. And so you can’t know how and when to apply them, or if they’re even something you should apply in the first place. Furthermore, a good number that do tie back to function often have little impact.
The more I develop and write, the more I begin to see that the key is to focus on a liminted number of fundamentals. To focus on the things that matter most.
So what really matters when you’re writing a story?
I’m going to be speaking for an hour at the Book Academy tomorrow. It’s at Utah Valley University. The week after I’ll be presenting all day at the American Fork Arts Council’s autumn writer’s conference. I will probably write up all my thoughts and post them to my site at some time. But for right now this is where you can hear them.
I truly believe the Pareto Principle applies to writing. But you can’t go searching for those vital few factors until you know the effects they’re supposed to produce. Form follows function. And the function is something that happens in the reader.
Here’s a nibble. This quote from David Howard is an example of what I’m talking about.
“As we’ve seen, what the audience hopes for and what the characters hope for need not be the same thing. The same is true of our fears versus their fears. But how do hope and fear fit into the scheme of storytelling? Hope and fear are about the future. They derive from uncertaintly about future events in the story, future decisions the characters might make, future discoveries or revelations that might be unearthed, future outside forces and how they will influence the journey of the characters. When we discuss hope verusus fear in dramaturgical terms, this uncertainty is a function solely of the audience and its experience [my emphasis]. This is dramatic tension. We hope the man with the cobra in the shoe box won’t open the box; we fear he might and get himself or someone else bitten. We don’t know what will happen, but we know what might happen and therefore feel tension about those possibilities” (How to Build a Great Screenplay, 52).
Readers buy novels because novels provide a service. They provide something to the reader. They DO something to the reader. That’s why readers pay good money for them, and stay up late at night (well past smart bedtimes) with them, and spend hours of their lives reading them.
What do stories do? What are the key factors that have to be present in the stories for them to be able to do these things? How do you help readers hope and fear for what might happen?
I’m no story guru, but I do hope to share some of the vital few factors I see in the presentations I’ll be giving this week and next.
This is a 2012 interview with Ginjer Buchanan, the then managing editor of Ace\Roc, about editing and editors. For anyone who wants insights into what editors at publishing houses do, this is a fabulous interview to watch.
2 Comments
Hello John, I really enjoyed the 12 of 12 series of writing tips you and Larry did on Youtube. I stayed awake until 1 am watching them all, they were great. Can you let me know if your doing any seminars in Ontario at any time? I would travel just to get advice from you. I am a fourty-five year old female paralegic. There are not many jobs out there for us, but I work at Home Depot as Greeter, but my passion is writing. I’m looking forward to a day I can publish a book. Congrats on work well done.
Diane,
So sorry to be tardy on approving your comment. And thank you for your kind words. I’m so happy you found the presentation useful. Alas, Ontario is not on the schedule in the foreseeable future. Of course, there are many resources in the On Writing section of this site. Hopefully, some of those will help you on your way. If you can travel, I highly recommend Orson Card’s Literary Bootcamp. If you can’t, you might want to check out some of the online workshops that Dean Wesley Smith and Kristine Rusch put on. What genres are you writing in at the moment?
Hello John, I really enjoyed the 12 of 12 series of writing tips you and Larry did on Youtube. I stayed awake until 1 am watching them all, they were great. Can you let me know if your doing any seminars in Ontario at any time? I would travel just to get advice from you. I am a fourty-five year old female paralegic. There are not many jobs out there for us, but I work at Home Depot as Greeter, but my passion is writing. I’m looking forward to a day I can publish a book. Congrats on work well done.
Diane,
So sorry to be tardy on approving your comment. And thank you for your kind words. I’m so happy you found the presentation useful. Alas, Ontario is not on the schedule in the foreseeable future. Of course, there are many resources in the On Writing section of this site. Hopefully, some of those will help you on your way. If you can travel, I highly recommend Orson Card’s Literary Bootcamp. If you can’t, you might want to check out some of the online workshops that Dean Wesley Smith and Kristine Rusch put on. What genres are you writing in at the moment?