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How do you know when to start drafting?
This week’s Writing Excuses was an interesting topic. I’ve had similar questions from folks as I give my workshop on writing fiction. Here are some additions to the excellent comments made by our fearless Three.
Can you plan for a single draft?
In my experience and those of other published writers I know, wanting to start to draft only when you’re ready to begin writing THE draft that will take you clear to the end is only going to land you into a bog of dither.
Here’s why. It’s almost impossible to know if this attempt at the hill is going to work until you make the attempt at the hill. Much of the story creation, even for those who do a lot of the creation in summary/outline form first, still takes place in the drafting. And you never know if something you create while drafting is going to throw a monkey wrench into the whole thing.
Nobody I know who does a lot of development in the outline/summary form (and I’m one of those) has ever written a satisfactory novel without having to continually modify the original outline or abandon it altogether. David Farland tells a story of getting to the ending of one novel, the ENDING, and only then seeing a new ending that was going to be so much better than the one he planned. Which meant he needed a different beginning. Which meant a rewrite. And so he started the whole freaking story over.
Writing is like blazing a trail
Writing a novel is like seeing a far off destination that you’ve never been to before and to which there are no roads. You’ve got to make a trail to that destination. So when you set out you may be able to see a path for a mile or so, you may even have tried to get an overview of the terrain, but you must reconcile yourself to the fact that you are going to run into an impassable bog, or a cliff, or killer bees–you’re going to have dead-ends and backtracks.
No matter what you do, it’s gonna happen. It’s just part of the nature of blazing trails. Even if you scout out possible routes, some of those routes are just not going to work when the wagon train finally gets there.
This isn’t to say we must all become draft-only writers. There is HUGE value to some of us in having a starting line-up or knowing the ending or having the bare bones of the plot or having done a good deal of world building. For myself, I’ve learned I never get very far down any path if I don’t have a number of strong ideas for all the parts of story–character, setting, problem, and plot. But I only learned that by setting off time and time again and each time immediately having to stop. And new writers will never learn what they need, as was said, until they just start.
So if the reality is that every author is going to have hiccups and course changes along the way, then it’s far more important and useful and efficient, not to wait for the perfect moment to draft, and draft the story only once, but to just start drafting.
But how much pre-draft work is too much?
Okay, for those of you who want a specific number, let me help you. A new writer recently posted a question wondering if she migh have world-builders disease. Here was my response.
—
Ms. X, one way to approach your diagnosis is to determine how many books per year you want to write. Because world-builders disease is only a malady in certain circumstances.
If you don’t care about output and simply enjoy building worlds, then maybe you’re like Tolkien. He started The Book of Lost Tales in 1917 and didn’t finish THE HOBBIT until 1937 (20 years). He didn’t finish LOTR until 1949 (another 12 years). In this is your situation, then you are hale and hearty and have many years of enjoyment ahead of you.
If you DO care about output and want to write one book per year, then I’d suggest you get some drafting treatment immediately. Here’s why: you now have only 26 weeks to finish.
But wait: take out 4 weeks for vacation, sickness, relatives, and mosquito infestations. You now have 22 weeks.
Assume you get 2 good hours of writing 6 days a week for 12 hours a week. Assume further that you can get a conservative 500 words of finished product per hour, or 1,000 words in 2 hours. (Sure you may be able to write faster than that in any given session, but when you go back and fiddle with it the next day and the next, you have to accout for that.)
At this rate it will take you 17 weeks to finish a 100,000 word novel. And that’s only if you keep your story furnace hot with consistent hours each day.
But wait: that’s only a FIRST draft. You now need to let it sit a bit. Reread it. Send it out to readers. Then REVISE. You only have 5 weeks to do that!
Of course, your inputs to the equation might differ. But if your goal is a book a year, you need to get cracking. Most of your development will come as you write. It’s exciting and lovely. Don’t miss it. Get your starting line up written out in the next three days and then take the plunge.
How much does author Jim C. Hines make?
Dear But-All-Writers-Are-Rich,
Jim C. Hines is a hard working midlist author with a couple of fun series out. Hines reveals what he makes in his post 2011 Writing Income. More importantly he reveals what he’s been making for a few years. For more information on advances etc., please peruse my page on Writing Business Facts & Figures.
Sincerely,
The Man
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.
Is Amazon’s game totalitarianism?
Amazatzi?Franklin Foer and Scott Turow recently made comments which suggest Amazon is in the process of ushering in a totalitarian book economy.
Is Bezos, as Hitler was in the 1930s, biding his time, playing a long game, one that will lull the masses into a false sense of bookish security? Are we appeasing him, letting him take over the continent bit by bit? Is the blitzkrieg less than a decade away?
If you listened to a recent Intelligence2 debate, you would have heard Foer-Turow claim that, yes, that’s exactly where we are headed. On the other side of the debate were Joe Konrath and Matthew Yglesais, arguing that Amazon is the reader’s friend.
Konrath and Yglesais made some good points. But they left the central Foer-Turow argument standing like a citadel. It was left standing because much of what they had to say, as good as it was, frittered around the edges or went off into beer land.
But the Foer-Turow argument is not a citadel. It’s a house of crackers.
Here’s why: publishers, authors, readers, and entrepreneurs all have brains. And somehow, in their threat assessment, Foer-Turow forgot that.
How could they forget something so fundamental?
Well, their argument went like this.
- Amazon right now provides an amazing service that’s far and above anything any other bookseller currently provides. They have made more books more accessible to more readers than anyone else ever in history. Readers, of course, love this. But this is a bad thing.
- It’s bad because Amazon is becoming a monopoly–it already has 41% of all new book and 67% of all e-book sales, and in many divisions of those markets it has even more.
- If Amazon were an enlightened ruler like Aslan, okay. But Amazon is a business, and as a business it only cares about its profits. And the way to make profits is buy low and sell high. So when Amazon finishes consolidating its hold on the market, it will force publishers and authors to take less of the pie.
- In fact, Foer-Turow claim Amazon wants to not just reduce the share of the pie publishers get, it wants to kill off the publishers and take their share of the book pie completely. In addition to being very poor manners, this is bad for three other reasons.
- First, authors of non-fiction books that take a long time to research will never be able to get the money they need to do that research. Publishers are the only ones who can give them that money, which they do in the form of an advance.
- Second, few authors of fiction will be able to afford good editing, marketing, and book design, and so the many voices that could have been heard will be stifled, or never rise out of the crap to their true potential.
- Third, and this is the nefarious Nazi part, if Amazon is the only place you see books, they can control which books you see, which means they will exert enormous control over our culture because they will be able to suppress some books, and therefore the ideas in those books, and promote others. Foer-Turow claim Amazon has already done this.
- Finally, because it’s a business and has a goal of profit, when Amazon covers the land, it will probably eventually charge readers more. In fact, it may charge them a lot more. It can’t avoid it; it’s a business.
So Amazon is taking over more and more book territory. When it’s taken over enough territory to be unassailable, it will then proceed to ruin our culture because its model of book selling will suppress quality non-fiction and fiction alike. And then it will gouge readers.
Sounds depressing.
Sounds like Orwell’s 1984 or global warming.
The only problem is that there is a big honking flaw in all of that.
Like BIG and HONKING.
And I’m not talking about the issues like the idea that publisher advances are the only way non-fiction writers can be funded, or that publishers are the only way the vast majority of fiction writers can obtain quality book covers, marketing, and editing. Or that one internet site has the power to put a choke hold on ideas.
No, it’s about something else.
You need to know I’m not an Amazon groupie. Nor am I a hater of publishers. I am a businessman. I’m looking for good partners. And I recently wrote a post pointing out that it’s delusional for authors to think Amazon is their BFF with pinky rings. They are just, at the moment, a great indie partner. But their interests and mine are not perfectly aligned. Our love is definitely not written in the stars.
So I’m not here to stand up for Amazon. I’m here to say that the scenario Foer-Turow paint is fantasy.
Why?
Because they’ve set up a chess board and assumed that Amazon is the only player.
Monopoly
How does a monopoly stay a monopoly?
The government either legislates it. Or the company maintains their position by force. Or they own something that nobody else can get. Or the barriers to entering that market are so high nobody can get in to play. In all these scenarios, if people want the goods, they are forced to interact with the monopolies.
But has the government given Amazon a legal monopoly?
Um, nope. No charters here to be the only fur trappers in the West.
Does Amazon have an army of thugs who are going to beat people up and make them join Amazon Prime?
No. Well, maybe that’s what the drones are for, but they haven’t rolled them out yet.
Do they own something nobody else can get, like a piece of land? Are they sitting on the world’s largest reserves of cheap book oil?
Nope. They’ve got a great website and excellent logistics. But websites really aren’t that hard. And if we’re talking ebooks, you don’t need logistics.
What about the barriers to entry?
The big advantage Amazon has is that they usually have the lowest book prices around, the biggest selection (you can find almost any book you want there in any format it’s available in), and are incredibly convenient, providing samples, reviews, recommendations, and easy checkout. And they have the crowds.
It’s hard to get crowds. It’s hard to get all that content. It’s hard to beat their prices. Those are some dang good barriers that keep new guys out.
And Foer-Turow figured that’s all set. In stone.
Human Beings
But what happens if publishers have brains and are actually headed up by, like, real humans who aren’t just going to roll over and play dead? What would such folks do should Amazon keep killing off more and more of them and stealing their pie?
Amazon doesn’t own the rights to their books. As soon as any contract ends, publishers could simply say, we’re done. Our books will no longer appear in your store. If you’re faced with extinction or something else, what do humans normally do?
Amazon’s advantage is being the everything store. You can find every book imaginable there. So what happens when shoppers go there and can’t find the most popular books of our time? How long do they stick with Amazon when the shelves are empty? Anyone think about why Amazon kept selling Hachette books even when they were having contract disputes?
What happens if indie authors have brains and are real humans who aren’t going to roll over and play dead either? What would such folks do should Amazon keep squeezing more and more profits out of them? Could such folks pull their books (like many bestselling indies have from Kindle Unlimited), form a co-op, and create their own site?
What if everyone was talking about this awesome book that was all the rage, but it wasn’t stocked by Amazon? It was stocked on the indie site, and Apple, and all the others. How would that affect shoppers?
What happens if there are real human entrepreneurs out there or real humans leading other businesses, and they were all wanting to make a buck, and they see Amazon charging readers a ton and swimming in easy dollars? What happens when they see those tempting profits?
Do you think they might offer disgruntled publishers and authors better terms? Do you think they might give better deals to price-gouged readers?
So is Amazon going to kill publishers? Only if the humans have left the building.
Will they kill authors? Only if authors let them.
Will they gouge readers? Not when other folks see there’s money to be made by undercutting them.
Amazon is playing in a global market with the likes of Alibaba, Google, Apple, Walmart, etc. Amazon is playing in an internet economy where college students can come up with an idea and become billionaires. Equally important, Amazon owns nothing that somebody else can’t recreate. They have no legal monopoly. They have no army of thugs. What they have is a lot of content, a well-known URL, logistics for the hard copies, and good prices.
But what they do not have is a marketplace where everyone else involved is absent a brain.
Teachers (and writers)! Free Class Next Monday on How to Teach Narrative for the Common Core
If you feel a bit lost or anxious about how to teach narrative for the new core, especially stories, I think I can help.
I’m an educator in the private sector and an award-winning novelist and short story writer. I’ve been teaching authors in various venues how to write for the last five years. I’ve been on writing podcasts with thousands of listeners, taught at a number of writers conventions, and had a series of articles published by the national Science Fiction and Fantasy Writers of America organization, an organization for professional authors. I’ve also been helping Nellie, my wonderful wife, teach her 7th and 8th grade language arts students the unit on short stories during that same period. We’ve taught it to twenty different classes and picked up a number of important insights along the way.
This last year I couldn’t help but examine all the materials Nellie brought home during the district’s writing program adoption investigations. Some programs looked very promising; others not so much. Some got some things about writing flat out wrong. Most of the programs had gaps.
Furthermore, because I work with so many people wanting to write, I know that it’s difficult to teach if you really don’t understand what stories really are and how they work. For lots of people, the subject matter can seem impenetrable. And yet writing stories is such a wonderful way to teach writing, especially because so many kids love it. You won’t find a kid who will spend extra hours writing a business letter or poem analysis, but you will find quite a few who will go crazy writing stories. And the whole time they’re practicing their writing skills.
The question is how DO you write a story?
What is a story?
How can you tell if it’s good?
How do you come up with ideas?
Where do you start?
And what the heck is this chart? Do writers really use this? (Not many that I know.)
And does anyone think changing the diagram to look like Aspen, Colorado actually helps?
Hey, students—please make your story look like Aspen, Colorado! (Yeah, that’s going to be effective.)
And yet it’s not as difficult as it appears. Nellie and I have seen a lot of kids really get into writing stories. We’ve seen kids WILLINGLY going way beyond the assignment to write stories that are eight, twelve, twenty-five plus pages. And as they’re writing, they’re practicing grammar, spelling, structure, vocabulary, etc. without knowing it and having a great time. I know that if you enable your students, many of them will write, write, write. Especially in grade school. But also in the higher grades.
Stories can be a blast. The assignments can connect to many students. And the results can be wonderful. I’ve laughed out loud at some of the stories coming out of Nellie’s class. Others have been enjoyable on other levels.
But for this to work in your class, you need to know some key things. You need to understand the core of story and the story development process. You need a lesson plan that details everything step-by-step so your students don’t flounder. And you need to know some fundamental tips (secrets?) about teaching this content.
So I’m going to hold this day-long class for you. A full eight hours. And share everything Nellie and I have learned. This class will be for teachers at ALL levels (I’ll show you some ways to scale the complexity of what you’re doing). There will be NO cost. The only thing you have to bring is a pencil, paper, whatever program materials you have, and a willingness to have a good time.
When we finish, you will know how to write a simple story like the ones your students will write because, ta-dum, you will write one! AND you’ll have a step-by-step lesson plan that builds on whatever materials you have—an official program or one of your own. AND you’ll understand story better than 99% of the population. AND you’ll have a bundle of techniques to help your students. AND you’ll solve both world peace and maybe the lost sock conundrum.
Truly, I think that instead of feeling stress, you’ll actually be looking forward to teaching and writing stories with your students. If not, you may bring tomatoes and huck them at me, but please be aware that I will not stand still; to find satisfaction, you will have to be able to hit a moving target.
If you’re interested, just click the Contact John link under my photo in the left sidebar and send me an email letting me know.
Hope to see you in class!
GET READY FOR A FUN DAY OF LEARNING!
Topic: Teaching writing (narrative & the common core)
Who: Teachers (and writers at least 18 years old), seats are limited
When: Monday, July 29th, 8:15 AM – 5:00 PM
Where: Rich Middle School, 54 E 100 S Laketown, UT 84038
Materials you need to bring:
- Pencil
- Paper
- The writing program you’ll be using this year
- Kooky socks, for those who cannot resist the urge
- A lunch or a way to get one
AGENDA
8:15 AM Arrive
8:30 AM – 9:20 AM
- Can you create a redneck crapper?
- The 1st secret to teaching writing: Attributes & techniques
- The 5 parts of story
- Thieves prosper – using existing patterns
- A car, a beggar, and an idiot — basic pattern 1
9:30 AM – 10:20 AM
- The 2nd secret to teaching writing: Do it with them
- Technique: Sketch then draft
- Workshop 1: Zombies and kisses
- Technique: Zing hunting
- Workshop 2: Hunt zing
10:30 – 11:20
- What makes a story big or small
- Workshop 3: Select a right-sized THOM and character
- Workshop 4: Select a Goal
- Workshop 5: Make character sympathetic
- Workshop 6: 3 tries
- Workshop 7: Resolution
LUNCH
12:00 – 12:50
- The 3rd secret to teaching writing: Cognitive modeling and the 6-step process
- The 4th secret to teaching writing: Our tiny brains
- Writing is telling: Narrative & description
- Technique: Yes, SiR
- Technique: Broad-brush + 1
- Technique: The Pause
1:00 – 1:50
- The 5th secret to teaching writing: Have fun
- Workshop 8: Write your story
2:00 – 2:50
- How the pros revise—concept, line, & copy
- Workshop 9: Content edit
- The 6th secret to teaching writing: Our brains are still tiny
- Workshop 10: Line edit
3:00 – 3:50
- The 7th secret to teaching writing: The 3 grunts (responding to a story and grading)
- Share stories
- What the heck did we just do?
4:00 – 4:50
- How to adjust for grade level
- Common core
- Your program and lesson plan
- Identify black holes
- Wrap up & next steps
Slush I Read by Jim C. Hines
Laughs are lovely. I just came across this wonderful parody by novelist Jim C. Hines which will give you a few for free. Enjoy!
Slush I Read
by Jim C. Hines(Apologies to Seuss)
I read slush.
Slush I read.That slush I read.
That slush I read!
I do not like that slush I read.Do you like fanfic with vamps?
I do not like them Mary Sue.
Why do these vamps all worship you?Here’s a tale from D & D!
I do not want your D & D.
I do not like your elf PC.
I can not stand your purple prose.
I want to punch you in the nose!Would you like a hot sex scene?
I wrote it for my online ‘zine!


