SODG out to first round of possible blurbers

“Blurbers” is so much more fun than “endorsers.” Stacy has sent the manuscript of Servant of a Dark God out to the first round of people who said they would give the story a go. If they find they’re in the audience, they’ll write up a blurb for it. This is all in preparation for the launch meeting in December when my editors go to bat for me and sell the book to the salespeople inside Tor.

While I hope the potential blurbers will all find themselves in the story’s audience, I do not assume it’s a given. If they’re not, I’m still a happy man (although a bit disappointed). There are many wildly successful tales that I myself am not in the audience for.

I expect we’ll get reactions back in a month or two. I’ll post here the results.

I can’t remember the last time I was this anxious. Yesterday I read Scott Card’s review of K.J. Parker’s stuff.  All his business about great writers. And I’m thinking, holy heck. I’m a nothing. Just a little dude with this nothing book. And then I thought, what if none of these readers find they’re in the audience for the book? It’s one thing to send out a manuscript. You can always change, improve. But this is it. This is the book. It either soars or plops in the mud.

But then I read Mette Ivie Harrison’s first article on writing for IGMS and thought—you know what, I tell the stories I tell. While others may aspire to “greatness,” that’s not something I care to strive for. I want to write stories that entertain and move. And while I can learn how to write and tell better stories, they’re always going to be John Brown stories. If they plop, they plop. And I just have to forget all the greatness-everybody-must-love-me nonsense and write John Brown

I met Mette at Card’s boot camp in 2002. We’ve read each other’s manuscripts every once in a while. I respect her ideas, loved MIra, Mirror, and am grateful for that article. If you’re a writer, I recommend it to you highly.

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    Writing Update: 6/13/11 – reviewing the beginning

    I’ve finished chapter 17 of CURSE. I’m up to 50,000 words and have moved from the presentation phase into the struggle. And I’m stopping at this point to review the what I’ve got. I’ve learned that if the foundations of the story–the presentation phase–has fundamental flaws in it, you’re only going to create a HUGE rewrite mess if you push on.

    I know this from experience. When writing the first draft of CURSE back in 2009 (oh my heck, it feels like forever ago), I ignored my Spideysenses and told myself I could fix anything that was wrong in post production.  And it IS possible to fix many things afterwards–you can change scenes, improve clarity and transport, remove continuity errors, layer in character tags and things like that.

    And it IS true that sometimes you do just have to write to the end to figure out the story.  Sometimes you have to just write to the end, and do it in a substandard way, because if you don’t you’ll never finish anything. Sort of like sketching first and then painting. But if there’s something wrong with the basic premise of a story line, and you keep writing, then that story line affects everything it touches. The fractures ripple out all the way to the end of the book. And you might end up, like I did, having to toss a huge amount of what you’d written.

    Which is not all bad. I learned a lot and invented a lot of cool stuff while writing that. But when you’re on a deadline, it can be a killer.  And I’m not doing that this time. I worked out the big issues in my chapter outline.

    So I’m pulling back and reviewing. I’m delighted with everything but the villain. He’s still not right. I love his chapters, the scenes. I love the name I’ve given him–Endless. But the structure isn’t right. I’ve inadvertantly created two main villains. And that’s not useful. Having two “main” villains doesn’t double the power of the opposition. It splits it. The villain/henchman model works well. But I don’t have that either. Over the next few days I’ll be rectifying the setup. Then moving forward.

    For those of you who are writers, I thought you’d be interested to know that there were a few times these last two weeks when I dreaded the writing. I had a large problem before me or had to invent a new chapter (as opposed to using something from the previous draft), and a dread filled me. But I sketch/drafted my way to the end, and soon found the writing a joy again. 

    I can’t say enough about the sketch/draft method. I’ve found it works in creative activities OUTSIDE writing as well. When working up a lesson plan for my day job, designing landscaping for our house, developing a talking script for a sales call, writing a technical manual, or a hundred other things I’ve had to do–it’s always easier to work from something than create everything all from scratch.

    Sketching allows me to create that first draft. And it allows me to do this without having to worry about quality. Sketches can be silly. Weird. Full of crap. They can be all this because I can throw them away. They’re not meant to be permanent. And so there’s no pressure to perform. There’s no staring at a blank screen or page. Sketching is a free-wheeling joy. It fills me up with ideas. And then, when I’ve got the general idea of what I want to do, I can start in on the “real” draft knowing WHAT I want to accomplish which leaves me free to think about the HOW. And if I run into problems and realize the draft isn’t going to work, or I run into something better, I just call the current draft a sketch (or “take” as used in the movie business) and move on to the real one.

    Sometimes a chapter or section requires 1 sketch or take, sometimes I’ve run up into the 20’s. Sometimes I haven’t needed any at all. It’s not the number that’s important, it’s the process that has really freed me.

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  • Edward Bear Shares His Proofreading Secrets

    One of the things I enjoy about being an author are the emails I receive from readers. A few months ago I received one from Mr. Edward Bear. He’d purchased Servant and, as he was reading, found an unclosed dialogue quote.

    Mr. Bear could have simply noted it and read on. But he did not. Mr. Bear is a proofreader. And so he practiced a bit of wizardry, found that I had a handful of quote goofs, and emailed them to me.

    Many of them ended up being weird smart quote issues Word introduced into the text when I broke a line of dialogue with an action like this: “You will not”–he scratched his nose angrily–“share another pair of my panty hose with that woman!”

    You’d think that would be enough for a doughty reader. But Mr. Bear didn’t just notify me of the errors. Oh, no. He also included the page from his proofreader’s grimoire that allowed him to find those quote issues in a matter of minutes in the first place.

    As soon as I had the time, I tested the spell on Bad Penny, and, voila, in a matter of a few minutes found a couple of issues in that text. I was delighted.

    But Mr. Bear wasn’t satisfied with mere delight. He then sent me another page from that grimoire to help with spelling. We luvs wizardly readers, Precious.

    Copy editing and proofreading require patience, painstaking reading, and a knowledge of what to look for. You have to know not only the mechanics of the written word (capitalization, spelling grammar, syntax, punctuation, abbreviations, usage, etc.) but also, if you’re reading for a printed edition, interior formatting (widows, orphans, word or hyphen stacks, headers, and so forth). There’s a lot to it. And anything that speeds up the process and minimizes errors is welcome.

    If you’re contracting your proofreading out, a cleaner copy can also translate into lower rates. Knowing that many of you who visit this website are writers, and because your host’s generosity knows no bounds, I asked Mr. Bear if he might be willing to share his wizardry with you. The wizard responded with a yes.

    Augmented Proofreading 1

    By Edward Bear I’m Ed Bear. I work, both professionally and otherwise, as a proofreader. I’ve gone over books for my publisher and I’ve done scan/OCR/check against paper books for republication, both electronic and back-to-treeware. When I mentioned some of the “ancillary tools” I have for aiding the work, John offered me this guest post slot in his blog. Feel free to pass this stuff around. I’ve found these techniques invaluable in getting the job done faster, and with better quality.

    First, though, I need to tell you about the tools themselves. The biggest component is the software for electronic text editing. However, I’m NOT talking Word or anything like that. I’m talking about an editing program which can a: work with plain text and b: handle Regular Expressions. (What are those, some of you ask? I’ll get to that.)

    Since I’m a windows user, I have two such programs available. My favorite is a program called TextPad (www.textpad.com).  I’ve used it for years and it’s become invaluable to my work. They currently charge $28 for a single user license, but IMO, the program’s so useful that, even though upgrades are free, I buy another license every time they bring out a new major release. The other program is free. It’s called NotePad++ (http://notepad-plus-plus.org/) I’ve tested it and it can handle the methods I use, but I haven’t used it much, since TextPad and I are long-time buddies. If anybody out there knows a program for the Macintosh which will do these jobs, please mention it in the comments.

    Regular Expressions

    You don’t have to be a wizard to use them. The tutorial over at http://www.regular-expressions.info/tutorial.html describes them elegantly:  “Basically, a regular expression is a pattern describing a certain amount of text.”  They are also called a regexp or regex, and I’ll be including the regexes I use in this post.

    I have a small library of regexes, and two of them are critical to aiding the proofreading process. One of them allows checking dialogue quotemarks, to insure that speech is properly closed off, and the other makes it possible to generate a word list of each unique word in the  book. I’ll be walking through the usage, including screenshots.

    Quote Checking

    One of the challenges of checking dialogue passages is that, with one exception, every opening quote (“) needs to have its matching closing quote (”). The exception, of course, is when the same character is speaking in the next paragraph. This can lead to a heavy false positive load if the characters are loquacious.

    The first time I tried this stunt, I found  73 paragraphs with unbalanced quotes. Only 6 of them were errors. But being able to find them quickly so they could be fixed in minutes instead of hours? That paid for the effort.

    The process itself is simple: You take the document and convert it to plain text. If it’s an RTF or Word document, you simply select ALL, hit copy, and paste it into Textpad.  The result will look something like this:

    image001

    What I normally do is turn on word wrap, so I can see the whole paragraphs as I go. So it looks like this:

    image002

    Now, we go hunting. The next step is to set up the search pattern using a regex. The one I use for this is the following: (?!^([^“”\r\n]++|“[^“”\r\n]*”)*$)^.+ Complicated little brute, isn’t it. I didn’t write it, but I knew who to ask if he could write one, and the above is the result. FYI, there’s also one for straight quotes: (?!^([^”\r\n]++|”[^”\r\n]*”)*$)^.+ You use it the same way. So go into find, and put the regex into the “Find what:” box:

    image003

    Notice that the “Regular expression” box is checked. I also “Wrap searches” just in case I miss something and want to loop around. Click “Find Next” and:

    image004

    The paragraph highlighted has two opening quotes, one at the beginning and one at the end. Word assumes that a quote preceded by a space is an opening quote, so you need to correct it in your RTF/DOC. Wash, rinse, repeat. You keep doing “find next” all the way through, checking for situations like the following:

    image005

    As I said, same speaker, next paragraph, so this one is good. This post is getting a little long for a blog entry, what with illustrations, so I’ll break off here. Stay tuned for part two: checking spelling and spelling consistency. In the meantime, here are the RegEx tool commands plus a few bonus goodies: RegExToolCommands.

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    Will readers completely die off?

    For many years people have been predicting the death of literature because the stats on the reading public  show fewer and fewer books are being sold because fewer people are reading. For an author it’s a bit depressing. However, you might find this article provides some hope: http://www.newsweek.com/id/136961.

    Generation R (R Is for Reader)
    The book business may be flat, but there’s at least one bright spot: the booming sales of books for teens–and no, it’s not all Harry Potter… Contrary to the depressing proclamations that American teens aren’t reading, the surprising truth is they are reading novels in unprecedented numbers. Young-adult fiction (ages 12-18) is enjoying a bona fide boom with sales up more than 25 percent in the past few years, according to a Children’s Book Council sales survey…”

    If that trend holds, it means we’ll have a fine wave of readers to replace all of us who die off, and then some. Someone praise JK Rowling for Hogwarts and for awakening pleasure reading in the hearts of children (and adults).

    And take it as a lesson. The future is in the next generation. Perhaps reading provides just as much entertainment as anything else. The kids just have to discover it.

    Hopefully, Nellie will be doing her part to awaken that joy in the hearts of the marvelous youth of our small town. As I wrote before, she’s going to be following the steps of Nancie Atwell who has done amazing things for 20+ years up in Maine.

    http://www.amazon.com/Middle-Understanding-Writing-Learning-Workshop/dp/0867093749
    http://www.c-t-l.org/about.html

    It’s all about reading and writing for the intrinsic joy of reading and writing. Only 15 minutes of her 65 minute class will be spent in traditional lecture. The rest is for the kids to read and write. This isn’t study hall. It’s rigorous. And again, it follows the principles I learned in my last 20 years of teaching and learning how to write.

    I cannot wait to see what happens this fall!

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    LTUE schedule posted

    ltuelogoLTUE has posted its schedule for the upcoming conference Thursday – Saturady, Feb 12-14. I’m, of course, stoked to present and participate on the panels. But I’m also looking forward to attending some of the sessions.

    Look at this one: How a Military Unit Works in Real Life: Zachary Hill, Brook West, Robert J Defendi, C. R. Asay, Mike Kupari (m)

    Or this one: All about armor: Zachary Hill, J. D. Raisor, Kay Mildenhall, Charles B. Stanford (m)

    Or what about this one: Law Enforcement: James Ganiere, Zach Hill, Robin Ambrose (m), which conflicts with one of mine, dang it!

    Or this: Making Creatures Realistic to their Environment: Keliana Tayler, Brian Hailes, Jessica Douglas, Bryan Beus (m)

    This: Applied Biotechnology: Derrick William Dalton, Mikki Kells, Charlie Pulsipher, Chersti Nieveen, Ali Cross (m)

    This: How to Create a Language: Maxwell Alexander Drake, Dirk Elzinga, Valerie Mechling, Samuel Stubbs, Bryce Moore (m)

    And tons of others.

    Oh, and what about the keynote address on Saturday by Toni Weisskopf?

    It’s going to be a great conference. I’ll be giving these presentations.

    • How to Build an Action Plot. In this one, Larry Correia and I team up to share a model of plotting that should make developing your action story much easier. Attendees will be able to use the methods on a novel idea Larry, Joe (Larry’s son), and I came up with called Mech Runners. Basically, Larry turned to Joe and said, “What’s awesome?” Joe said, “Giant robots, bandits, and murderers.” We took it from there.
    • How to Build a Romance Subplot. In this one, I team up with romance author LL Muir to share a model of plotting that should make developing your romance plot or subplot much easier. Attendees will be able to use the methods on a story idea Lesli and I came up based on The Hobbit. It’s called My Precious.
    • Tapping into the Power of the Story Setup. The story setup is a fabulous tool that’s not only helped me drastically cut down the time it takes me to develop my ideas, but it has also helped me develop better ideas. In this presentation, I will explain what the story setup is and how you can use it to help you nail your novel.

    I’ll also be moderating or participating on these panels:

    • The Hero’s Journey & the Virgin’s Promise: Patterns and Archetypes for Better Characters:Michaelbrent Collings, Tracy Hickman, Blake Cassleman, Renee Collins, John D. Brown (m). Did I tell you I think the hero’s journey is stupid? This ought to be a fun one.
    • Action Sequences: John D. Brown, D. J. Butler, Peter Orullian, Adrienne Monson, M. Todd Gallowglas (m)
    • Self-Publishing Pros And Cons: Jared Abram Barneck, John D. Brown, Mikki Kells, Joe Vasicek (m)

    Hope to see you there!

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  • Lessons 2-4 on writing now available

    I’ve added 3 more writing lessons to help you learn:

    • The fundamental parts of story
    • Story structure
    • Plots
    • How suspense works
    • What makes characters interesting
    • How to see and sensitize yourself to how a story works its magic
    • The core driver of your story
    • And more

    Find them on the menu or link to them here.

    Lesson 2: How in the world does that work?

    Lesson 3: Learning to see

    Lesson 4: More cause and effect

    Enjoy!

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