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John guest posts about writing memorable fiction on ReidWrite

Luc Reid is the author of, among other things, Talk the Talk: The Slang of 65 American Subcultures.  He is also the lizard king of Codex, which he started and of which I’m so happy to be a member. He’s always starting provocative threads on Codex, making us all think and reexamine the principles of story and the whole writing business. He recently posted some insights about what makes memorable stories. A lot of other fellow Codexians joined in the discussion. Happily, he asked me to share some of my thoughts on his site, ReidWrite. They begin as follows:

YOU’RE MINE, DEAR READER

 Mwuhahaha.

 Okay, maybe not. But you are wired to be mine. And you wouldn’t have it any other way.

Let’s back up. Luc wrote about writing memorable. I agree with the idea that the stories that produce a strong emotional reaction are the most memorable. In fact, I believe that triggering of emotion is THE reason why linear narrative that puts us into the trance has lasted so long in so many forms and makes so much money.

But can writers guide reader emotions? Or is it all just by accident?

Read the rest here: http://reidwrite.livejournal.com/8331.html.

BTW, when you’ve finished that, you might want to check out Luc’s new site, WillpowerEngine.com. It’s a place where he shares what he’s found in his research for his current book project, The Willpower Engine, on how self-motivation works. I think you’ll find a number of the posts there very interesting.

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    The book trade is a . . . trade

    James Dawson, YA author, feels it’s somehow wrong to hold back on cussing in his fiction. He wrote an article about this in the UK Guardian called “Why Teens in Books Can’t Swear.” He thinks it’s unrealistic. He thinks it’s about gate-keeper censorship. You know, parents wanting to steer their children towards certain experiences and away from others.  

    People.

    Dawson’s approach to the whole problem is wrong-headed. This isn’t about the virtues and vices of fiction. Or about gatekeepers, especially in today’s ebook world.  Or what experiences parents want to provide their children. And it’s not about art reflecting reality. Reality includes trips to the toilet, and yet we somehow fail to include realistic bum wiping in so many of our tales. Good heavens, have we betrayed our artistic integrity? No. We’ve just naturally chosen to include things that appeal to us and leave out others that don’t. Every book is an exercise in hundreds of such choices.

    The fact is that Dawson’s forgetting that a fundamental aspect of the book trade is the trade.  The buyer trades his or her money for a product (the book) that provides a service (the entertainment, thrills, chills, etc. of the reading experience) he or she values.  A customer preferring one kind of experience over another isn’t censorship (the horror, the horror).  It’s choice.  

    As an author, you make your offer. If folks like it, they buy it. If not, they don’t. Nobody owes you a purchase.

    This means that in any business, and selling fiction is a business, the most sensible way forward is to offer your intended buyers something they are likely to value.  Something they’re going to like.  Something they want.  If your buyer is thirsty and wants water, offer him a cold glass of water, not a waffle iron.  And if you can’t bear to develop anything but waffle irons, then, by all means, develop waffle irons.  Just make sure you offer them to the folks looking for . . . waffle irons. 

    This business of making offers also means that we package our products and services so that customers can easily tell what’s in the box. You don’t want someone to purchase your box thinking it contains breakfast cereal when in reality it’s a bunch of bolts.

    Yeah, writing is an art. But offering it in trade to others is also a basic economic act.

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  • Lesson 6 on writing done

    Theory is important, but practice trumps theory. Every single day.

    Lessons 1-5 have all been theory and helping you see how stories work and get sensitized to the effects they have on you. Now it’s time to get to work. In lesson 6, I guide you through a number of key techniques I’ve found helpful in getting me to the point where I’m ready to write the first draft. In this lesson, you’ll learn:

    • Productive creative Q&A questions for finding zing about setting, characters, and the main driver of your plot.
    • How to clarify your THOMR
    • A powerful technique to help you clarify the core of your story
    • How to figure out how many scenes you need
    • Techniques that help make potential events for your plot flood into your mind

    Here it is: Lesson 6: Develop your idea

    Enjoy!

    Edit 1/24/15 at 10:45 a.m.: Lesson 6 revised

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  • If you liked “From the Clay of His Heart” you can nominate for Hugo

    You may nominate works for the 2009 Hugo award if you either:

    • were an attending or supporting member of Denvention 3 (the 2008 World Science Fiction Convention); OR
    • are an attending or supporting member of Anticipation (the 2009 World Science Fiction Convention) before January 31, 2009

    If you liked “From the Clay of His Heart” and want to nominate it in the novelette category, all you need to do is go here and fill out this form before Saturday, February 28, 2009. You can nominate up to 5 stories in each category.

    If you want to read it, you can do so online if you have an IGMS vol 8 subscription ($2.50). If you don’t plan on subscribing to that issue, post a comment, and I’ll make sure you get a copy.

    Here are nomination numbers for last year’s awards. What this shows is that 40 nominations puts a novel on the final ballot. 17 nominations put a short story there.

    Best Novel (382 nominating ballots cast):
    65 – Brasyl by Ian McDonald
    58 – The Yiddish Policemen’s Union by Michael Chabon
    58 – Rollback by Robert J. Sawyer
    41 – The Last Colony by John Scalzi
    40 – Halting State by Charles Stross

    Best Novella (220 nominating ballots cast):
    52 – “Memorare” by Gene Wolfe
    50 – “Recovering Apollo 8” by Kristine Kathryn Rusch
    49 – “All Seated on the Ground” by Connie Willis
    39 – “The Fountain of Age” by Nancy Kress
    34 – “Stars Seen Through Stone” by Lucius Shepard

    Best Novelette (243 nominating ballots cast):
    69 – “The Merchant and the Alchemist’s Gate” by Ted Chiang
    45 – “Dark Integers” by Greg Egan
    24 – “Finisterra” by David Moles
    22 – “The Cambist and Lord Iron” Daniel Abraham

    Best Short Story (270 nominating ballots cast):
    46 – “Tideline” by Elizabeth Bear
    29 – “Last Contact” by Stephen Baster
    28 – “Distant Replay” by Mike Resnick
    25 – “A Small Room in Koboldtown” by Michael Swanwick
    17 – “Who’s Afraid of Wolf 359?” by Ken MacLeod

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  • Drovers Update: second draft finished up to climax!

    I  have been making progress on my next novel. Today, I revised the second draft up to the climax. Tomorrow, I get into it. It’s going to be an awesome battle with lots of heroics. Can’t wait. You’ll notice the progress meter. I thought the book would be 35k. A quickie. But it’s probably going to end up at 60k. Almost twice as long, but still the shortest novel I’ve ever written.

    You can see some of the images I’ve been gathering for this on Pinterest.

    The thing that’s eluding me at this point is the name of the series itself.

     

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