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The average American reads 17 books per year

Americans and Reading

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:

  1. Americans 18 and older read on average 17 books each year. 19% say they don’t read any books at all. Only 5% say they read more than 50.
  2. Fewer Americans are reading books now than in 1978.
  3. 64% of respondents said they find the books they read from recommendations from family members, friends, or co-workers.
  4. The average reader of e-books read 24 books (the mean number) in the past 12 months; the average non-e-book consumer read an average of 15.

Building an Audience

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.

My thoughts?

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.

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    Radiolab’s “Parasites”

    Radio and TV have incredible power. But until the last decade they were always constrained by time and signal power. You had to listen when the station broadcast it, and you had to listen where you could pick up the signal. 

    Living out in the boonies we don’t get good radio or TV reception (no I don’t subscribe to satellite). Which is why the internet is so wonderful.

    You can listen and watch almost anything when you want from almost any location–yes, even in Laketown, UT, Boonie Central. Millions listen to music, conservative talk, or libral talk (NPR) via the internet. I enjoy all three depending on my mood. But there’s so much more out there than music and blah blah blah, as much as I love it. For example, you can listen to the British BBC. You can listen to the Dutch. See what’s going on in Australia. Doesn’t matter that they are a number time zones away and all asleep when I’m working. I love the internet.  

    One of the best programs I’ve heard in the last six months is the three-part “Parasites” presented by Radiolab. In a fascinating hour they address the following questions:

    • Parasites: are they evil, or are they awesome?
    • Should you get infected with hookworms?
    • Can parasites exercise mind control over their hosts?

    Along the way they tell a number of amazing stories. Listen now. You won’t be able to stop.

    Get zinged, Baby!

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    Iron Man, Military Insect Spies

    Iron Man was wonderful, every bit of what the trailers promised–adventure, humor, and a huge dose of gosh-wow. Of course, the idea of military exoskeletons are not new. It’s been in science fiction for a long time. More recently, Dan Brown used the idea in his thriller Act of War. In fact, if you think about it, it becomes clear that airplanes, ships, and tanks are all exoskeletons. So this is all old hat. But when did we ever need a brand-spanking new idea to have a wonderful and new story? What’s important is what the do with the idea–the characters, problem, plot, and setting. And Iron Man does a wonderful job of imagining new twists on all these parts of story.

    *

    In other news, it appears the future is not so far away. The military is going to be using robot bugs for recon.

    British defence giant BAE Systems is creating a series of tiny electronic spiders, insects and snakes that could become the eyes and ears of soldiers on the battlefield, helping to save thousands of lives.

    Prototypes could be on the front line by the end of the year, scuttling into potential danger areas such as booby-trapped buildings or enemy hideouts to relay images back to troops safely positioned nearby.

    Soldiers will carry the robots into combat and use a small tracked vehicle to transport them closer to their targets.

    Then they would swarm into the building and relay images back to the soldiers’ hand-held or wrist-mounted computers, warning them of any threats inside.

    I’m all for saving lives and projecting power while we’re doing it. And robo spies are just cool. Except, of course, when they’re used against you…

    Humm, zing!

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  • Murder, Courts, and Bart D. Ehrman

    I’m going to talk a bit about some murderers in Detroit, Jesus, and a couple of books I recently read that I think are just awesome.

    MURDER

    Highers BrothersSo, the murderers.

    Let me start by asking this question: can you establish the truth in a court of law?

    Is that what the judge and jury are deciding? The Truth, with a capital T?

    Think about Tommy and Ray Highers, brothers from Detroit. They were convicted of murder. Open and shut case. No parole. They were two nasty buggers who shot a man down over some dope.

    But then twenty-five years later (last year, in fact) they were back in court because new evidence had come to light that undermined the original conviction. For the curious, this fascinating Dateline episode reveals the amazing way the evidence came to light and what happened because of it: http://www.nbcnews.com/dateline/full-episode-graduation-night-n72666. Watch it. You’ll be happy you did.

    So the Truth. Capital T. Can you establish that in a court of law?

    No.

    What the justice system does is try to determine which story about the evidence available is the most convincing.

    It’s about telling and judging stories.

    There are many types of evidence folks use when telling their stories. Some of it is very strong. Some is so unreliable, like hunches and hearsay, that the court won’t even allow it to be presented.

    Whatever the evidence, the fundamental nature of this is that you can often tell a number of different stories using the same set of data, the same evidence. Sometimes the stories are variations with minor differences. Sometimes the stories are radically different.

    It’s like having only some of the pieces of a 100 piece puzzle. You look at the four, twenty, or thirty pieces you have and imagine what the rest of the puzzle looks like. And then you invent something that seems reasonable.

    You invent it.

    And if that story meets certain standards of proof, then our system allows the authorities to take certain actions. If the standard of a “reasonable suspicion” is met, it allows a police officer to stop someone. If the standard of “probable cause” is met, a higher standard than reasonable suspicion, an officer can arrest you. If a jury in a criminal case decides the defendant is guilty “beyond a reasonable doubt,” an even higher standard of proof, then the justice system authorizes the authorities to sentence the defendant.

    But at no time does the system seek to establish the absolute truth, the truth with a capital T. It only seeks to establish some level of probability that the story being told about the evidence is true.

    All of this is made more complex because what’s “reasonable” is based on other people’s opinion. We have guidelines and rules to help folks be “reasonable.” But reasonableness is still affected by culture, background, history, etc.

    It’s still opinion.

    OTHER PUZZLES

    What other realm of knowledge works like the justice system and consists of inventing stories about missing parts of the puzzle?

    Well, history does.

    In fact, if you think about it, history is what courts do. The processes and principles of our justice system guide everyone involved in how they go about telling the stories that make up that specific type of history.

    And all historians (lawyers, judges, and juries included) have no means of establishing the absolute truth.

    They can’t use science. Science requires you conduct experiments and reproduce results. But how is a historian going to reproduce the same events? What, they’re going to get Lincoln shot all over again and let the rest of us watch it? Dang, John Wilkes Booth did shoot the man. We all saw it happen down in the lab.

    Sure, they can use science to date a manuscript, or determine what something is made of, or establish some other fact. But all science is doing is providing facts about the pieces of the puzzle you have. About the claims the evidence makes.

    But science can’t fill in the missing pieces of the puzzle. It can’t tell the story. The historian has to invent the story that makes the pieces all make sense.

    And then the rest of us determine if that story, that sketch of the full puzzle, is reasonable.

    But that isn’t all there is to it.

    STANDARDS OF PROOF

    Think about conspiracy theories like the ones that claim that the US government perpetrated the 9/11 bombings. Conspiracy theorists are practicing history. They are inventing a story that seems to fit the evidence available to them.

    But what happens when you have only five or ten pieces of a 1,000 piece puzzle? What happens when you don’t thoroughly vet the evidence? What happens when someone screws around with the evidence? And I’m not just talking about tampering or invalidating it by thoughtless handling (contaminating DNA, for example). Folks with the best intentions have biases. In fact, we all have biases that lead us to include and exclude various pieces of evidence based on whether they support or oppose the ideas we want to believe.

    Jonathan Haidt explains these biases in his excellent book The Righteous Mind. He explains that with things we want to believe, we often use the standard of “Can I Believe It”?  We look for anything at all that would allow us to believe our position. If we find it, even if it’s flimsy, we discount all the other evidence that may point another way and conclude we have met the burden of proof for our view.

    For things that we don’t want to believe, we often use the standard of “Must I Believe It”? When falling prey to this bias, we look for anything at all that would undermine the thing we don’t want to believe, even if that evidence is flimsy. If we find it, we ignore all the other evidence, even if there’s a mountain of it pointing another way, and claim we have met the necessary burden of proof.

    In court there are all sorts of procedures and standards that need to be followed to help us avoid invalidating evidence or falling prey to our biases. Those procedures and standards don’t remove all risk. But they do remove a lot.

    Which court system would you want to be processed through? The current American justice system or the medieval witch trials?

    Oh, for sure I’d want to be someone accused of witchcraft back when a claim of “I saw her as a witch in my dream” was admissible, as was the test of poking a mole on the accused’s body with a needle to see if said witch flinched enough. I’d be so happy to go back to the days when a confession obtained by torture was incontrovertible evidence.

    So when practicing history, it’s important to have some guidelines, some rules to establish which bits of evidence are more likely (not guaranteed, but more likely) to be reliable. And it’s important that when folks tell their story, they not only share the evidence, but also all the assumptions they’re making.

    JESUS

    Where does Jesus of Nazareth come into all of this?

    Misquoting Jesus by Bart D Ehrman

    Well, Jesus has affected the world more than any other person who has lived on it. The stories we tell about him (the history we have practiced about him for the last 2,000+ years) have changed the world. And those stories will continue to affect us, especially folks in Western cultures, on everything from foreign policy to which clothes think are fit to be worn in public.

    Who was Jesus? Did he really exist? Was he a god? What did he really teach? Have his teachings been changed?

    These are all fundamental questions. And for the last two-hundred years historians have been re-examining the pieces of the puzzle, finding new pieces, and telling new stories to explain it all.

    Some of these historians believe in Jesus as a god. Some don’t. Either way, the conversation is fascinating.

    Jesus Interrupted  Bart D Ehrman

    I just read three historical books about Jesus that were awesome. AWESOME. Not because I agreed with all of the author’s conclusions, i.e. his stories. I don’t. But because of the way he practiced his history. The way he told his stories. And because what he shared gave me new insights to my stories about Jesus.

    The three books, all by Bart D. Ehrman, a professor of religious studies at the University of North Carolina, Chapel Hill, are:

    1. Misquoting Jesus: The Story Behind Who Changed the Bible and Why
    2. Jesus Interrupted: Revealing the Hidden Contradictions in the Bible (And Why We Don’t Know About Them)
    3. Did Jesus Exist? The Historical Argument for Jesus of Nazareth

    I’ve read the Bible many times, and I’m a believer. Of course, the question is a believer in which story?

    Did Jesus Exist Bart D Ehrman

    What Ehrman so engagingly makes clear is that there have indeed been many stories about Jesus. In fact, the gospels (Matthew, Mark, Luke, and John) and the writings of Paul (most of the rest of the New Testament) seem to all portray a different man and message. Not only do they say things that flat out contradict each other on some details, but if you look at each book separately, each author seems to have a slightly different take on Jesus.

    Furthermore, it appears that what we now have has changed over time. For example, it seems the last twelve verses of Mark were not in the oldest manuscripts. There have been other changes. One of the more notable ones occurs in John 5:7-8.

    Our earliest texts say:

    “For there are three that bear record, the spirit, and the water, and the blood: and these three agree in one.”

    But later texts say:

    “For there are three that bear record in heaven, the Father, the Word, and the Holy Ghost: and these three are one. And there are three that bear witness in earth, the spirit, and the water, and the blood: and these three agree in one.”

    Nowhere else in the New Testament do we have anything that states that creedal doctrine so explicitly. Did John write that? Or was the extra material added to make the idea of the trinity scriptural?

    And what do we make of the fact that we have no manuscript that dates to anywhere close to when Jesus lived? We have some small fragments of manuscripts with a few verses of John, Revelation, and Matthew dated around 150 AD. But the oldest manuscripts we have that contain the majority of any of the gospels are for the gospels of Luke and John, and these are dated around 200 AD. The oldest manuscripts with the full New Testament are dated around 350 AD.

    That’s more than 300 years after Jesus died!

    Have you played the game of telephone? Are we sure that the oral traditions that were written down weren’t changed? What happened to the books mentioned in the Bible that we don’t have now? For example, Jude mentions a prophecy of Enoch that we don’t have in our current Bible. Are we sure that the copyists didn’t add to the text like it seems some did to John?

    And what about the term “Christ”? It’s actually the Greek word for “messiah” which just means one anointed with oil to perform a special service for god. Christ wasn’t Jesus’s last name. It was a title: Jesus the anointed one.

    The anointed ones in those days were kings and prophets and priests. It appears most of the historical sources suggest that a “messiah” to the Jews of that time was someone who would throw off foreign rule and establish the kingdom of Israel as David had. In fact, there were a whole bunch of people who claimed to be messiahs. Here’s a nice list: http://en.wikipedia.org/wiki/Jewish_Messiah_claimants.

    Judas Maccabeus was considered a messiah because he threw off Greek rule in 164 BC. But then around 63 BC Israel was taken over by Rome. And Rome wasn’t too keen on revolts, so around 4 BC they crucified Judas the Galilean for claiming to be the messiah, the king of the Jews. Crucifixion, it seems, was the punishment reserved for seditionists. They crucified Jesus and a whole bunch of other guys claiming to be the king of the Jews. And their crimes were written on a board above them, which is why they hung the words “King of the Jews” over Jesus’s head on the cross. Here’s the criminal, and here’s his crime. These other messiahs were not claiming to be a god that came to earth to atone for sins, but anointed by God to throw off foreign rule and establish his earthly kingdom again.

    Jesus talks a lot about the kingdom of God. Was Jesus just another one of the seditionists?

    Ehrman examines these and many other questions as a historian, providing all sorts of insights.

    But the fabulous thing is that he doesn’t just tell his story. He gives his evidence. Exposes his assumptions. And in all three books he explains the guidelines or “rules” historians use to when trying to determine which stories are more likely and which evidence is more reliable.

    I was enlightened, challenged, and delighted. I learned things about Jesus’s life and times that have helped me understand what I read in the Bible better.

    LIMITS

    Of course, the historical method has its limits.

    Historians, because they are looking for explanations (stories) that are more probable, automatically select against things that are improbable. They exclude miracles. They exclude any story that says Christ was actually resurrected.  They may establish that a lot of folks thought he was resurrected, but they don’t have any methods to establish something like a resurrection actually occurred. And so they ignore it. Historians exclude modern revelation. If someone today were to have a visitation from Jesus as Paul did, the historians would exclude that.

    But we all know that truth is sometimes stranger than fiction. We all know that sometimes the less likely thing is exactly what occurred.

    Historians are looking for what is most probable. Not what actually happened. Because they can’t go back and time and verify their story.

    Excluding “improbable” things changes the types of stories the pieces of the puzzle support. For many of us, me included, we do accept evidences many historians don’t as pieces of the puzzle. And because we have these pieces, we’re able to tell different types of stories.

    The cool thing about Ehrman is that he explains this. He’s not trying to hide anything. Instead, he’s explaining how to approach the Bible from a historical point of view, and where the principles of the historical method lead him.

    And I have found that those methods in his hands have a lot to offer.

    If you’re someone who is interested in religion–as a believer, agonistic, or atheist–you will love these books. Ehrman himself was once an ardent believer, but is now agnostic. However, his respect for believers, including other scholars in his field who believe in the divine Jesus, comes through loud and clear. Ehrman has no axe to grind. He is simply sharing the stories of Jesus that make sense to him and many other historians. And he does it in a very interesting and easy-to-read style.

    If these books sound like something you want to try, I’d start with Misquoting Jesus, move to Jesus Interrupted, and then finish with Did Jesus Exist? And if you enjoy those, let me recommend two more of Ehrman’s books. The first is The Lost Gospel of Judas Iscariot: A New Look at Betrayer and Betrayed, which looks at the discovery and content of a very ancient manuscript that calls itself The Gospel of Judas. The second is Lost Christianities: The Battles for Scripture and the Faiths We Never Knew, which explores the variety of Christian faiths that existed in the few hundred years after Jesus’s death.

    Happy reading!

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  • Read and report for effect, not rule compliance

    At a recent writer’s conference I was on a panel and someone asked what the pros and cons of writing groups were.  Writing groups can save AND kill your writing. So beware.

    Workshop Benefits

    Writing groups are great for:

    • Encouragement
    • Deadline motivation
    • Having fun with other authors
    • Getting a chance to think about and discuss craft
    • Testing your work

    The benefits listed above can all be huge helps to a writer. However, there are two traps that many individuals fall into. You want to avoid both of these because they are plagues that can not only infect, but kill your writing.

    Workshop Plague 1: submitting for fixes instead of effect

    The first problem occurs when a writer forgets that the purpose of sharing your work with the group is NOT to have them tell you what to do. It’s to test your product on readers who are likely to be in the audience for that particular type of story (please note the last part of that sentence as well).

    But in many groups this isn’t what happens. The writer submits his work and then hopes it does well. If it does, he purrs and goes his way rejoicing. If it doesn’t, he figures the group will tell him what to do to fix it. In such groups the readers often arrive with a list of “you shoulds” or “I woulds.”

    • The dialogue here is clunky, you should…
    • These characters are stereotypes, I would…
    • You have infodumps here, here, and here: you should…

    This all sounds great, right?

    Wrong.

    This tells a writer very little that’s worthwhile. What was the problem all these shoulds and woulds are trying to fix? You can’t tell. And not knowing the problem, you don’t know if the fix is really going to work. In fact, the suggested fix might be completely wrong for the story. You are the story designer. YOU have to figure out what’s really wrong and then select the right fix.

    Case in point: at this conference another author told of a time her editors came back and said the novel needed to be shorter. It was too slow. In reality, the novel was too short. The real fix was to make it longer. She was skimming the surface of the story in summary and needed to go deeper. She made it longer, and the story worked. But if she had been looking for fixes instead of symptoms she would have done the exact wrong thing for her story.

    The most productive thing a writer can hear is what effect the text was having on the reader. Was the reader bored, lost, or feeling it was made up? Or was the reader surprised, intrigued, fascinated, freaked out? In short, did it do what the story was supposed to do to the reader?  An accurate report of the reader experience is invaluable. But a list of shoulds and woulds by the Fixits is not. You want symptoms, not diagnoses and presecriptions.

    Of course, when you understand the symptoms, you can very easily open it up to the group for suggestions on ways to fix it. Sometimes brilliant solutions arise from such discussions. Sometimes they don’t. Othertimes, they simply provide a way for the writer to work it out in his own mind. But in the end, YOU as writer have to do what’s right for the story you feel in your gut.

    One time to be especially careful of this is when you submit revisions of a story to the same group. Here’s why: when someone says a revision lacks blood and vitamins, it may be this is actually the case. But it also might simply be a case of diminishing returns, e.g. the first ice cream cone you eat is great, the second okay, the fourth begins to make you sick. Would the movie you just saw on Friday night be just as powerful if you saw it again on Saturday? And then again on Monday? I know it’s not exactly what’s happening, but it’s similar. After reading a manuscript multiple times, a reader sometimes can see nothing but the stitching.

    Furthermore, a reader will often get revision ideas that jazz them about the story only to find the author was jazzed about some other revision idea. And that can often disappoint. And if this multiple revision reading goes through multiple cycles, I’ve found it becomes harder and harder for the reader to avoid becoming a director of sorts, the author trying to perform to their taste. I done this far too often to people feeding me multiple revisions. 

    There’s an easy way around this one: simply avoid submitting any individual story to the same set of readers more than once.  However, I don’t want to suggest you should NEVER submit revisions to the same set of readers. Orson Card submits all his work, originals and revisions, to his wife Kristine. I submit mine to my wife and editors. Many writers have trusted readers. Just be aware that submitting multiple revisions can very easily lead to our chasing someone else’s opinion instead of writing the story we feel in our guts.  Tread with caution.

    Workshop Plague 2: reading for rule compliance instead of effect

     The second problem occurs when you have readers who have forgotten that the ONLY thing that matters is effect. Many times writers will build a list of writing rules as they learn the craft. And they will forget that the rules are, by themselves, meaningless. Please see my post on Rules vs. Objectives. These well-meaning folks come, not with an accurate report of their reading experience, but with a list of your rule violations.

    So instead of hearing that the story immediately pulled the reader in but that by page four the reader’s mind was wandering, the reader points out that you started the story with dialogue and you shouldn’t do that. Or that you used said-bookisms, which was a very flabby and naughty thing to do. Or that you had more than one point-of-view in the chapter. Or that you chapters were too short or too long. Or whatever it is that that particular reader has in their rule book.

    This kind of feedback is worthless. I don’t care if my story started with dialogue. What I want to know is if it pulled the reader in. And when I say “reader” I mean  one who is looking for a story, not for rule infractions. What you want is an accurate report of the reading experience. That’s it. Both the good and the bad.

    Here’s an example of what I try to do when I read and report. It’s not the only way, but it illustrates what I’m talking about.

    1. I read the story as a normal reader. No pencil or pen in hand. I’m just thinking: okay, I hope this is good.
    2. I read until I’m bored, lost, or (hopefully) turn the last page in delight. Some folks may wonder why I wouldn’t read to the end of everything I’d agreed to report on. Simple. If I’m bored or lost I’m OUT of the story and cannot judge the effect of what follows as a reader. Maybe I’m bored because of the craft. Maybe I’m bored because I’m not in the audience for that kind of story. If this is the case, my experience doesn’t matter. You wouldn’t give a romance to a thriller reader and then expect them to love it, would you? Well, authors are no different. Just because we write doesn’t mean we automatically love everything (please see my blog Is 90% of Everything Crap). 
    3. I write up my experience, making sure I accurately report who and what I was interested in, what delighted me, what bored me, where I was lost, or didn’t believe etc. I’m also very particular to clearly separate  the things that had a big effect on my experience versus those that had a small one. For example, some confusion in an exchange of dialogue might be a small thing. Confusion in a whole chapter is a big thing. As a writer I don’t want a laundry list. I want to get a sense of proportion. And I want to know if the reader generally enjoyed the story or not. It’s one thing to know the story is busted. It’s another to know that it works, but has a few paint spots.  
    4. If I did not read through to the end, I do so now. Or maybe I skim. Just to get an idea of the whole story.
    5. Then I ask myself what I think this story was trying to do. What kind of an experience, what kind of delights was it offering up to the reader? Suspense, delightful characters, romance, wonder, cool textual pyrotechnics, etc.
    6. Having an idea of what the story was trying to do, I see if I can’t diagnose the problems and think of some ways to fix them.
    7. Finally, I give my report to the writer. I include #3. Then I add #5 and #6, stating that here’s “what I think the root of my issues were and some ideas that might help.”

    You might do it differently. Just make sure you focus on accurately reporting your experience reading for effect, not rule compliance. Once you have a number of reports you can see what’s working and what isn’t. If one out of ten people has an issue with a certain part, I may or may not ignore it, depending on my own judgment. However, if four to seven of them have an issue, I’m probably going to fix it.

    So writing groups can be wonderful. Just be careful to avoid these two plauges as if they were, well, plagues.

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    I need your insight!

    R-moviesLast year I posted about a service I’m working on to get ratings on books for sex, violence, and language. I posted similar thought about YA books in “Since When Did Young Adult Become The Cure For Cancer?“.

    I’m back.

    I did lots of customer discovery last August in an effort to see if book ratings is a problem worth solving, i.e., are there lots of avid readers who would love content ratings and sign up? All my interviews were very positive, but I didn’t finish validating our ideas because I had to stop to get books out and because we discovered some things that made us change some of our assumptions. I started up again a few weeks ago, this time with a team.

    To continue the project, we need to interview 20-40 avid cleaner romance readers. Folks who probably read just such a book last month.

    Why?

    The biggest problem startups like this have is assuming they know what the customer values, being wrong, and building something nobody wants. So before we build anything, we need to first understand exactly what readers are doing today to solve this problem and where (and if) they are struggling. If we can validate the need, I think a lot of folks will be very happy having popular clean reads delivered to their email every week.

    If you know someone who fits the bill, please send this post to them. They can shoot me an email by clicking the contact link in the menu bar.

    If you fit the bill, please contact me.

    It would be incredibly helpful to me to hear about how you approach this and ask you a few questions. It won’t take more than 20 minutes, and there’s no need to prepare in advance.

    Hope you had a great 4th!

     

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  • |

    Writing update: brainstorming the ending of Curse

    I’ve had a number of people ask me where I am with the second book. I have the progress bars on the side, but they don’t give any details. So I thought I’d start up a semi-regular post that would be something like a writer’s journal. We’ll see how it goes.

    Right now I’m working on the climax of CURSE OF A DARK GOD. For the last two weeks I’ve been struggling trying to figure out the flow. I knew in general what I wanted to have happen. I had some images and the general feel–spectacle, revelation, battle at the fortress–knew I had to fulfill some expectations I’d raised with four characters. But I didn’t know the exact steps of the scene, the back and forth. I also hadn’t figured out the exact details of some of the magic that would be used.

    I outlined the objectives and plans of the two opposing warlords and then the steps of the scene. I listed my objectives for the scene. I do this sketching, sometimes exploratory drafts, to help bring the scene to life in my mind. I find that until a scene is alive in my mind, it’s impossible for me to write. Anyway, over the course of two weeks I went through six takes of the scene, and it still didn’t feel right. I won’t give the details and spoil the ending, but it just wasn’t there and I was getting frustrated. I’m behind on my deadlines and a book’s ending it critical. I talked a few things over with Nellie and made some headway, but it just wasn’t there.

    So I called a brainstorm meeting. I’ve never done this before for my writing work. I mean, I’ve bounced things off individuals (mostly Nellie) many times and found good resolutions, but I’ve never had a group. However, I felt I needed some extra input to get my mind going down new paths. Lenn Johnson, Amy and Alex Lamborn, and Miles and Becky Pinter came over. I borrowed a white board and easel from my church and made gingersnaps. When they arrived, I sat them around our kitchen table with Nellie and had them riff on one question while I captured their answers and ideas on the white board.

    It was incredibly productive. Partly because they came up with some great ideas I’m going to use. But also because it got me thinking in a new way which allowed me to come up with an idea that resolved the main issue I was dealing with. That was last Thursday. The next day I sat down and outlined a scene that did everything I wanted it to, including giving me the “oh, baby” feeling. It feels right. I have the spectacle, the revelation, the fulfillment to the expectations for the characters. I’m excited to write it. Which means I can now move forward. This week and next I hope to finish. After that there are a few small things I need to insert and clean up. Then it’s off to my editor.

    BTW, I did some calculations. For those interested, in this draft, the third, I ripped out 50% of the draft two and completely rewrote it. New problem and situation for two of my three points of view, major changes, etc. I heavily revised above 20% of the remaining 50%. I’ve put in a little over 500 hours working on this draft over the last six months.

    500 hours  (remember, I still have a day job).

    I am a slower writer than many. But it still would have been a huge task even if I could write twice as fast as I do. I think this is a perfect illustration of three things. First, if you don’t fix some things you feel are off when you find them, you might find you have a massive amount of rework later. Second, sometimes you don’t recognize you have those issues until you’re well into it. Third, writing requires the author to make time. I think this is the most important one. And the one that probably kills most aspiring writers. The fact is that if you can’t make time, you ain’t going to write 🙂

    Speaking of making time as a new artist, watch this interesting interview with author Scott Turow.

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