Lessons on Story from the Hunger Games – Recording
Here you go. And here’s the presentation in PDF: Story lessons from The Hunger Games handout. Thanks again to Stephen Nelson for the recording!
Here you go. And here’s the presentation in PDF: Story lessons from The Hunger Games handout. Thanks again to Stephen Nelson for the recording!
One of the most basic way of coming up with story ideas is to take a familiar story or thing, list out what’s commonly associated with it, then start changing some of those elements.
For example, you list out all the normal things for vampires–the coffins, black, bats, sucking blood, etc.–then you begin to twist. What if the vampire wears, instead of black, some styling plaid? What if it isn’t a person but a rabbit (whoops, that one’s been done)? What if instead of gothic places like catherals you find him in a trailer park? What if instead of being dangerously suave, he’s a drunk?
Do you see? You can do this with anything.
In this interview, Matthew Sturges talks about how he did just that with the movie The Dirty Dozen and ended up with with Midwinter, a novel about prisoners given another chance. According to Sturges, “In the case of Midwinter, the beginning of the story was, ‘What is prison like in Faery?'”
Read the whole interview. I think you’ll find it enlightening.
SFWA has asked M.C.A. Hogarth to head up the new self-publishing committee. Hogarth posted about this and asks:
So here’s my question for those of you who self-publish, either entirely or as a hybrid author: what services would you look for in a professional organization? What would make you say, “Wow, that’s worth $90 a year, sign me up?”
I applaud SFWA’s move. And the many good things SFWA has done in the past. However, as an indie and SFWA member, here’s what would interest me: Business.
That’s with a big B.
That means . . .
Distribution into brick and mortar venues. So indie authors can get on the Ingram’s catalog. Big whoop. The retailer still has to order. If SFWA was able to facilitate the sales function in some way, that alone would be worth it.
One idea is a SFWA catalog of vetted work. I don’t know how you’d vet. Maybe some certain sales and revenue level. And revenue would have to be part of it. Brick and Mortar isn’t going to be interested in stocking the person who “sold” 50,000 units but only made $300 because 99% of them were free downloads.
You might also consider the back lists of authors with work that was once published that has been brought back indie style. So a catalog of that includes new stuff and a section for the back list. Quality and popular indie work.
BTW, this catalog would ALSO go to libraries.
Education in cover design AND art direction. Maybe adding this to an awards category chosen NOT by the general membership but art pros.
The Nebulas recognize author’s who sell. But what about recognizing those who are author-publishers, what about recognizing and celebrating quality and achievement in the key elements of publishing?
Education in Marketing that has actually been tested and shows positive ROI. Not a bunch of articles about bookmarks and conventions. Real ROI.
Interior formatting. Principles. Awards.
News. What’s new on the indie front. New markets etc.
Selling foreign rights as an indie with and without an agent.
What about an award like RWA’s Golden Heart, but for indie books? Or make indies more inclusive in the Nebulas.
A vendor forum where folks who provide services to indie authors (editors, artists, etc) can be listed and rated, GoodReads style, but only by SFWA members.
And two things I have submitted to SFWA before as a trad pub author.
Education and discussion of contracts and contract terms. What’s current. What’s alarming. I get more off of Kris Rusch’s blog than the professional organization I belong to. I should be giving my $90 bucks to Kris. What the heck?
Education and discussion of current contract rates. Same as above. For a professional organization to not have data on current rates for novels is a real head-scratcher.
How is it that Tobias Buckell can run a survey, but it never occurs to SFWA to survey and publish annual numbers?
How is it that Brenda Hiatt, the romance writer who does an annual “Show Me The Money” and “Indie Earnings” report, provides more info on Tor advances than SFWA? Romance writers are better organized than any writing group on the planet, but do they need to spank us in our own house?
These last two are no-brainers.
This is a trade organization. These types of things would be a HUGE help.
The Pew Research Center has just published their findings on reading in America. It’s called “The Rise of E-reading“. There’s a LOT of fascinating information in the report. Here’s a taste:
I also want to recommend this week’s post by Kris Rusch on Audience. She has a number of interesting things to say about the dream of being a best seller and building an audience. The money quote comes as she refers to a post by Tracy Hickman:
“The point here is that you do not have to feel as though you are in competition with the entire world. You don’t NEED the entire world to be a successful writer. What you need is an audience—just enough of an audience, mind you—who reads your words, is changed by them and wants to come back for more.”
An audience. More importantly, an audience that reads and “is changed by” your words. Not an audience who loves them, not even an audience who likes them. An audience who is changed by them, and because of that experience, “wants to come back for more.”
Simple. Important. Usually forgotten.
She talks about lots more. Read the whole thing.
First, there’s no need for authors or readers to worry about wading through “crap.”
According to Pew, readers only read 15 or 24 books a year on average. That’s not a lot of books.
More importantly, it takes about 3 seconds to get a lead for a good book. You hear something from a friend or family member, you look at the USA Today best sellers list, you browse a few books at a store or online, you read a blog and suddenly you’ve found a book.
Readers fill up their book reading slots much more quickly than they can ever empty them. That’s why we all have years of reading in our queues.
It doesn’t matter that there are millions of other books out there, a good majority of which might have been written by monkeys. There’s no need for authors to worry that readers will have to wade through a mountain of crap to find a good book. They don’t need to because they have leads for good books coming out their ears.
Second, people purchase books that friends, family, and co-workers love.
Which means that when you deliver a great experience to one person, it’s going to ripple out. It’s probably not going to be linear. It’s probably going to ripple out like viruses do into different population pockets. Or seeds do into different environments. It will run through one pocket, make a jump to one or more others, or it may not jump at all. Some pockets are big, some are small.
The way to keep a virus going is to release it in a lot of places where it’s likely to thrive or in places that a lot of people travel through. And as Kris points out, writing is all about repeat business–making sure you have a stream of good product (something I hope to rectify with my own writing this year).
Bottom line: the best way to build your writing business is to simply write the best book you can, and keep them coming.
Third, the market is BIG.
If you read Rusch’s and Hickman’s articles, you’ll see that even the mega sellers only reach a fraction of those who read. This is reinforced by the statement made by Thomas McCormack, former CEO of St. Martin’s that you can read here. So just because 100,000 people read one book doesn’t mean 100,000 others won’t read mine.
Moreover, e-books and online shopping are broadening distribution. Brick and mortar stores only have so many slots for books. Every 8-12 weeks they rotate the old books out (like 12 weeks is old) and replace them with the new ones, unless, of course, your book is selling very well and gets “modeled” at the store. The point is: when you only display a few books at a time, those books will get bigger sales numbers. This happens because there isn’t anything else to purchase.
But you don’t have that limitation with e-books and online shopping. Nothing rotates out of the store. Sure, things rotate on and off the best seller lists. But the books are always there. With an ever growing selection, there won’t be as many mega sellers. Publishers Weekly discusses this trend in their 2011 Facts & Figures articles, which list best-seller numbers (make sure you click through to the Trade Paperback article as well). The same thing has happened with TV station viewership with the explosion of channels, DVDs, and online streaming. Same thing happened with music.
What this means is each author has a better chance of getting his or her books to those who will love them. We’ll still have best-sellers. But we’ll also have a lot more medium sellers as well. And that’s great for authors everywhere.

If were smart and didn’t compare myself to other writers, then I wouldn’t care that Meyer is a true overnight success, I wouldn’t be green with envy, I certainly wouldn’t be thinking that I should write YA romance.
His eyes were smoldering…
She couldn’t look away from his smoldering eyes…
His yellow smoldering eyes were upon her…
Alas, imperfect man that I am.
Time has written an interesting article about the Meyer phenom. Of the many fine tidbits, I wanted to highlight one comparing Meyer with Rowling.
But as artists, they couldn’t be more different. Rowling pieces her books together meticulously, detail by detail. Meyer floods the page like a severed artery. She never uses a sentence when she can use a whole paragraph. Her books are big (500-plus pages) but not dense–they have a pillowy quality distinctly reminiscent of Internet fan fiction. (Which she’ll readily grant: “I don’t think I’m a writer; I think I’m a storyteller,” Meyer says. “The words aren’t always perfect.”)
I’m not a writer, she says.
I’m a storyteller.
There are volumes in that one paragraph. Meyer knows exactly why the vast majority of us fiction readers read. And it ain’t for style.
Here’s an even more interesting video clip of Meyer talking about how she came up with her novel. Notice how this woman follows the zing. Notice how she makes time (novel completed in three months). And look at her success. A lesson to all of us wanting to tell great stories.
…His red eyes were smoldering, and her brown eyes were smoldering, and together they were all smoldering…
If you write poopy-slow like me, you will finish 500-700 words of your draft in an hour. Let’s see what that means for various novel sizes.
And those requirements don’t count time you might need to spend re-imagining a piece or researching some gap in your knowledge or figuring out some knotty bit you couldn’t see was problematic when you first set out. A novel can be a big project and stretch over a few weeks, especially when you don’t have eight hours a day to write.
In this lesson, you will learn that you need to treat the draft like what it is–a project–and use basic project management techniques to help you get the work done.
One of the best articles on responding to stories and listening to responses that I have ever read. Ever. “The Business Rusch: Perfection” by Kristine Rusch.
For those of you that have seen my presentation on The Hunger Games, you’ll recognize the idea immediately. O, but Kristine says it with so much more insight and grace.
No, I’m not going to comment. Just go read that essay.
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So glad to see this finally up. I thought this was excellent, and It was truly said that more people didn’t stay late enough to see this. It changed my opinion on a lot of things, and gave me some much-needed encouragement to keep on writing. Thanks, John!
Sometimes staying late pays off. Sometimes it just makes you tired.
Looking forward to this. Thank you.