Category Archives: Self-publishing

Battle is Lost!

A sad day for grammar purists: The Washington Post will allow “singular they”!

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Which is Most Important: Character, Conflict, or Crisis?

Book with heart for writersAs I’ve been reading around in the Indie-verse, I’ve found a couple of books I’ve decided not to finish. As both a writer and a reader, I’ve thought about what triggers me to abandon a book.

One feature that has stuck as a cause for my reaction can be summed up in advice Brian Klems of Writer’s Digest provided at the Writing Day Workshop I attended in Indianapolis in October:

Begin with conflict, not crisis.

Typewriter with questions marks

In other words, writers I’m deciding sadly to give up on often begin with their characters in crisis. But Klems’s advice reminds me of a cruel but vital truth:

If I don’t know your character, I don’t care about her. If I don’t care about her, I honestly don’t care if she gets her brains blown out.

Sorry, but there it is.

Gangster with gun

When these writers begin their books, they have three Cs to deal with: Crisis, Character, and Conflict. It may sound counter-intuitive to state that, of the three, Crisis is the least important!

I know, I know: begin in medias res. But not when the folks in medias are just names on a page.

Can you pile on character, conflict, and crisis in opening scenes? I thought I’d try an experiment to find out.

Consider:

Sally found herself staring down the barrel of a gun. She stumbled backwards. He fired. The shot narrowly missed.

Crisis, big time. And a couple of what Paula Munier calls “micro-story questions,” the elements that help to deliver what she calls “narrative thrust.” Who’s shooting at her? Why? Will she escape the next shot?

cartoonguns.jpg

Okay, I’d read on to the next bit. But if the following three pages consisted of her efforts to flee his escape, I’d be flipping ahead to see whether things got more interesting than an abstract flight-and-pursue.

What if, instead, you read:

Of course Mark was going to pull the trigger. When he threatened, he always delivered. Sally flung her hands up, stupidly, since they wouldn’t stop a bullet, and sprawled on her butt on the wedding dress jumbled on the tack room floor behind her. The gun went off in a brain-numbing explosion, the bullet slamming into the row of bridles hanging just above her head.

Beautiful sexy girl with gun

Take that, Mark, you scum!

We still get to the crisis pretty fast, but now we have many more micro-story questions. First, we’ve got conflict: these people have a history. It’s not just a question of why he’s shooting at her, but what between them has happened before to trigger her recognition that this isn’t a joke. “Why and who?” becomes “How does she know this about him? What has he done to make her think this now?” There’s a whole history of people in those queries.

More importantly, that wedding dress. Wedding dress? How in the world did a wedding dress get in the floor of that tackroom? And why a tackroom? We now know that these people somehow connect with horses, and that someone (Mark? Sally?) has just been through (or approached) a wedding. And he’s the determined sort who shoots first and asks questions later, while she’s (at present) a bit reactive and self-derogatory (calling herself “stupid”). Conflict and character as well as crisis—leading to a cornucopia of story questions! And all in the same number of sentences, four.

Some of my writing group colleagues are absolute minimalists and would opt for the first austere and abstract version. But to me, pure action is not nearly as engaging as action involving people I know or people I’ve been made deeply curious about.

An experiment like this leads to me be suggest that if you must demote one of the three Cs, let it be crisis! What? Start flat, with just characters in conflict? Well, yes.

Torn up drafts

As Stephen King argues, narrative tension arises not from wild, boisterous action but from people in “situations,” where they must react to each other and to the problems their situation presents.

True, you can’t spend pages on this development. It has to happen in that medias res moment, through careful pacing and selection of details.

As an illustration of how little we need a doomsday crisis, consider these opening lines from Suzanne Rindell’s The Other Typist:

They said the typewriter would unsex us.

One look at the device itself and you might understand how they—the self-appointed keepers of female virtue and morality, that is—might have reached such a conclusion. Your average typewriter, be it Underwood, Royal, Remington, or Corona, is a stern thing, full of gravity, its boxy angles coming straight to the point, with no trace of curvaceous tomfoolery or feminine whimsy. Add to that the sheer violence of its iron arms, thwacking away at the page with unforgiving force. Unforgiving. Yes; forgiving is not the typewriter’s duty.

Typewriter publish

We’ve got character, even though we haven’t met the speaker. We’ve got conflict: That nameless “they” is already on trial! I haven’t yet read this book Will I? If it lives up to this crisis-deprived opening, you bet.

 

 

 

 

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Quick Tip: Build Character with Stage Business

Typewriter publishIn my recent exploration of indie novels about horses, I’ve noticed a way that some of these authors could enliven their stories considerably: by making smarter use of stage business.

By stage business, I mean the interactions between characters and their environments, usually involving elements of setting and, in particular, props—the things they handle as they respond to each other.

Most of the authors I’m reading quite rightly use stage business to give readers a sense of setting, to give us a sense of “being there” in the scene, and to punctuate dialogue—for example, to break up a long speech. But this element can work a lot harder than it often does.

Coffee mug for writers

Make that cup of coffee talk!

For example, let’s look at the possibilities offered by a fairly common scene: people sitting around a table drinking coffee. To frame the dialogue, we’re told, “He took a sip of his coffee.”

I guess he would, if he’s got a cup and it’s likely to get cold. So there’s really no information here.

But what if:

He waved the nearly full cup around so violently she was afraid he’d sling the contents onto the spotless white table cloth.

Or

In his huge, clumsy hands, the mug looked as fragile as bone china.

Or

He lifted the cup with both hands clutched around it, as if grateful for its feeble warmth.

Suddenly, “taking a sip” tells us something about the character and the situation he finds himself in.Happy editing!

Here’s another example.

She put on her cowboy hat. “Let’s go see what’s up in the corral.”

There’s a big difference between that bit of info and:

She snatched up a dusty cowboy hat stained and dinged with long use and smashed it onto her short black curls. “Let’s go see what’s up in the corral.”

Lady 2 promises a lot more action once we reach the corral than Lady 1. Now that hat talks!

True, it’s important to practice this strategy in moderation. Pacing a scene requires an author to balance forward momentum with information, no matter how exquisitely revealing that information seems to be. I once got slapped down pretty good over a character fidgeting with a paper clip through a long scene. As I recall it, my reader’s marginal comment was, “That paper clip is really getting on my nerves.”Typewriter and flowers

In drafting, as is usually the best move, over-generate. Come up with stacks of double-duty stage-business gems. Then glean for the one best one, the one that really delivers the “telling detail.”

What are some of your best “stage business” lines? I’d love to hear!Book with heart for writers

 

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Indie Writers: Do you WANT two-star reviews?

Recently, as part of my education in self-publishing, I’ve expanded my reading to include indie books about horses, as my own republished novels feature racing backdrops. My selections have mostly been prompted by mentions in Goodreads groups and the “customers also bought” list at Amazon.

In the past, I’ve tended to stick with books off “year’s best” lists, like those at NPR or the New York Times, so this new reading has taken me into new territory. It has also led me to do a lot of thinking about what works for me and what doesn’t—and whether I’m managing to purge my own writing of a pile of sins.

And it has created a dilemma I’ve read that others face: whether or not to review a book when I can’t give it at least a three-star rating.

As a teacher, I’ve seen enough students’ faces fall to know what a strong critique can do to the kind of relationships I’ve been enjoying through social media, even when the comments are intended in the most constructive of spirits and embedded in the most voluminous praise I can conjure. Do I really want to hurt people whose conversations I’ve enjoyed? And as the recipient of more than one one-star review (in places that, sadly, mattered to a budding career), I know how it feels.

But as I read this new-to-me category of book, I found myself thinking about what’s potentially lost when readers hold back from honest, thoughtful reviews because they’re negative. And I began to wonder:

Do authors of indie books WANT to know what turns readers off?

Should they?

I’ve increasingly subscribed to the view that we don’t know what we’ve written until a reader tells us. We’re too close to our work. Even if we know what to do, what not to do, it’s often only when a sharp reader points out the pitfalls we’ve stumbled into that we realize that we’re in them up to our necks.

Of course, we all know that some one- or two-star reviews offer nothing constructive. The reader didn’t like sci-fi, but reviewed a sci-fi novel and gave it one star because of the sci-fi conventions the reviewer hates! I admit that I am less likely to give even well-done category romances more than three stars, because of the predictability of the plots and conventions I find problematic.

But I’ve given five stars to a very good romance, one in which the circumstances of the predictable elements are so unique and intriguing that I forgot I was technically reading a romance.

So would an aspiring indie romance writer want to know what kept her book from rising in my ranks?

True, she’d have to come in knowing that accepting potential one-star reviews does lay the task of sorting the gold from the pique at the author’s door. Personally, I learned from my negative reviews (although I couldn’t help wishing that my editor and I had been a little more in sync so that we could have headed them off). While I didn’t completely rewrite the book in question, when the chance came to revise for self-publication, I did spot things that had flown completely under my radar the first time around. And I got put on notice about my most persistent pitfall as a writer: the tendency to complicate my plots way too much.

The author of a book I’m reading now commits so many of those writerly sins we all hear about so often that I wonder whether I actually might have something useful to say to him/her. Far too many characters; characters whose relationships with each other and the plot, let alone their goals, are unclear; way too much classic “telling”: in short, can a review serve as a mini-beta reading? Or is it better to hold off on that kind of reading until the author asks?

So—one- and two-star reviews:

Should we as readers write them?

Should we as fellow authors risk writing them?

Should we as authors WANT them?

What qualities make a bad review worth the pain?

What do you think?

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Great Advice on Building Conflict!

Check out this pieceletter scatter novel on strategies for creating conflict from PubCrawl.

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Note to Self: Four Editing Rules to Follow THIS TIME!

Do you have rules for your own self-editing sessions? Can you suggest some I ought to apply?

Editing a manuscript that I wrote some time ago has actually turned out to be quite a bit of fun. The story’s there, almost solid; now it’s time to make sure nothing in my style, my pacing, my voice, keeps it from getting across. Line-editing this novel is a lot like cleaning out a closet and finding out which of my old treasures really are treasures and which ones are junk.letter scatter novel

And the thing that’s great about cleaning up the text of your novel: it’s not quite as likely as a closet to get cluttered again.

Actually, “self-editing” is a little bit of a misnomer. A lot of what I’m doing as I revisit the manuscript of my long-shelved “Sarah” novel is responding to the comments and suggestions of my wonderful Green River Writers critique group (see here, for example, to learn more about how and why they’re wonderful). But at the same time, coming back to my writing after a hiatus changes the way I see and hear it. Distance makes the heart grow smarter? Or am I just hearing myself through other people’s ears now?

Since those of us who want to be read (and published) need more than anything to know what we sound like outside of the wind cave of our own brilliance, I hope I’ve assimilated the collective wisdom of my writing group, in which people just plain tell me when I’ve made them start checking the number of pages to see how much more of my brilliance they have to take.

Typewriter and flowersHere are four editing moves that give me consummate pleasure. Who would have thought that slashing a big X across half a page or a black line through a sentence could be so fun? Continue reading

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Great Post from Writers in the Storm: 7 Mistakes on the Way to a Publishing Contract

Couldn’t reblog this from Colleen M. Story on Writers in the Storm (no button), but I wish I could. It’s a great post that really resonated with me and might with you.

(Can anybody tell me why some WordPress sites have reblog buttons and others don’t? Is thiis a choice the blogger makes? I HATE seeing good posts I can’t share in their entirety.)

In any case, this could so be me! I’m just now trying to decide whether to self-publish my way-outside-the-conventional-genres novel or to go on submitting to agents. I haven’t gone the small press route because I found myself thinking that if I have to do all the marketing, why share the net? But this post makes me realize that I’m probably thinking too short-term. Having a new novel picked up by a press (I published five with big presses before going back to school) would letter scatter novelbe a gateway to new contacts and new opportunities.

Story’s thoughts on feedback also resonated. Having gone the beta-reader route as well as working with my writing group, I’ve decided not to tear up my work unless it’s for someone who has made a commitment to the book, for the very reasons Story states: six reviews, six different ideas as to what just has to be done. In my excellent writing group, I listen for consensus and a good argument that the advice is well-grounded. I often receive the kind of feedback Story praises, the kind that strikes me instinctively as valuable, sometimes pinpointing a problem I knew at heart needed attention but which I hadn’t quite identified.

Check out the post for her seven inspirational messages. They were a call to action for me, and might be for you.

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Which Grammar Rules Do You Ignore?

Typewriter publishAs I noted a few posts ago, in his article “The Phenomenology of Error,” Joseph Williams categorized errors by type. Among his more interesting categories, in my view, were those errors that the experts make even as telling us not to (and nobody notices). He also had a category of grammatically correct constructions that sound so odd when we use them that we generally prefer the error.

These categories change with time, since language and usage do, of course. But his discussion of them made me think about the kinds of errors we can and maybe should ignore and, in fact, the kinds of rules we should ignore.

Here are three of my “rules I can ignore” (if I want to). Do you agree with me on these? What are yours?

Three question marks printed on a typewriter

The “that/which” distinction.

Okay, I don’t ignore it, but from what I’ve seen, a whole lot of people do. It’s the one Jacques Barzun didn’t catch himself ignoring, as Williams documents. It depends on knowing the difference between a restrictive and nonrestrictive (or an essential versus nonessential) adjective clause (which you can read about here), and yes, I’m using “which” correctly here:

The house, which had just been painted and re-roofed, sat on a cozy cul-de-sac. (Nice info but you could lift if out and not miss it.)

The house that had the new paint and new roof was the best deal of the three. (Allows you to distinguish the best deal from the others; take it out and see how much is lost.)

The point is, only a very few termagants (like me) would even notice if you replaced the “that” in the second sentence with “which.”Typewriter and flowers

The “whom” challenge.

I call this a challenge because the error is a lot less noticeable when people commit it than when they try to get it right and get it wrong. Simply speaking, only the above referenced termagant will rage if you just use ‘who” ninety-nine percent of the time.

After all, doesn’t it sound more natural to say, “Who did you give that to?” than “Whom did you give that to?” The “whom” in the second is correct because it’s the object of the preposition “to” and objects have to be in the objective case (like “him,” “her,” “us,” and “me”). But our minds these days just aren’t trained to worry about all such distinctions.

A sign of our downfall? Actually, putting that “m” on “who” is an “inflection,” and English has been discarding inflections when they don’t really add any information for centuries.

Actually, the only time most people will want the “whom” form is when it directly follows its preposition, and that usually happens in a question that’s been re-ordered: “To whom did you give it?” “With whom were you going?” “For whom did you buy that hat?” Do you have to write these particular sentences? In my view, not unless you feel compelled.Happy editing

The problem arises when people assume that because “whom” sounds so much more formal, it is compelled whenever one wants to sound formal. So I’ve actually encountered sentences like “Whom is going with us?” Ouch, that really grates.

The messier­—and understandably more confusing—situation occurs when the who/whom pair has to be sorted out at the beginning of a dependent clause acting as an object. The handbook rule is that you choose “who” or “whom” depending on what it’s doing in its own clause, not in the larger sentence.

“Did you say who is going with us?” (correct) and “Did you say whom the hat is for?” (again correct–note that little preposition “for” controlling the choice). But “hypercorrectness”—going gaga over sounding upmarket—leads to “Did you say whom is going with us?” As a sort of sub-termagant, I submit that more than a few of the erudite people writers hope to impress WILL notice that one (though I’m willing to be corrected).

In my view, you should go ahead and make the “mistake” of the perfectly natural-sounding “Did you say who the hat is for?” and just kick “whom” out of your vocabulary rather than sticking it where it doesn’t belong (here’s a wise soul who agrees!).pile of letters

Singular “they.”

This one is a lost cause. It’s been a lost cause, according to Dennis Baron of the Web of Language, just about forever. English simply has no singular, gender-neutral pronoun—except “it,” of course; just try choosing “it” in this sentence: “Everybody should bring his/her/its lunch to the meeting.”

The conundrum, of course, is that “everybody” wants so badly to be singular; we say “everybody is,” not “everybody are.” Certain people who shall not be named think there’s really no problem. Just pick “his,” and who’ll care? After all, everybody is a “he,” n’est-ce pas?

For quite a while, “he” and “his” were the preferred options among those who got to do the published writing. Because more kinds of people get to do published writing now, the masculine singular won’t do. As Baron points out, efforts to creatively solve this problem of a singular “antecedent” with no acceptable gender-neutral singular pronoun have gone nowhere.

And “his or her” (or “her or his”), the only option that is even remotely close to acceptable, gets old in a hurry (“Everybody should open his or her notebook and take out his or her homework. . . .”). Baron writes that Vanderbilt University has actually declared singular “they” perfectly acceptable in its formal documents. So ignore this baby at will.

letter scatter novel

Those are a few of the rules I think we should ignore a) because people notice them less and less and often never; and b) trying to follow them results in sentences that will offend even people with certified tin ears.

So what are your rules to ignore?Woman writing

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How Do You Keep Up Your Writing Productivity?

After a year and a half of blogging and working on a non-fiction project for the future, this summer I’m getting back into a fiction routine. I’m remembering how writing an 80- or 90-thousand word novel differs from blogging or posting Facebook updates. It takes some pretty effective strategies to ward off boredom, burnout, and the temptation to clean house instead.

My strategies probably differ from most people’s. I don’t have kids, and I’m retired, which is actually the only reason I can work on a novel at all. When I was teaching, first light saw me reading student research and papers; the rest of the day outside of class went to administrative tasks. But finally, now! A new routine!

Woman writing

Wish it worked this way!

I did worry that my new lack of structure would undercut this new chance to write. So I made myself some rules. So far, good prognosis: My new “Sarah” book is coming, words sneaking out onto the page.

I’m wondering whether these are the same kinds of rules that work for you, or whether you have tweaks to make them work even better. Let me know!

Write FIRST.

Some people actually write before daylight. I wish! First I read in the bathtub and then read the newspaper online. But when I begin my self-defined “workday,” Activity No. 1 is WRITING. Not blog posts, not query letters, not emails: no, writing on the book.

Write EVERY DAY.

Even on weekends. Okay, I confess, Saturday I’m going to a horse show, and I won’t write that day. Then there’s doctors’ appointments, taking the car for an oil change. Or the dog to the vet. Or, if you have kids, a thousand reasons to say, “I just can’t today!” But this next strategy is the one that keeps me writing almost every day:

Keep it DOABLE.

I developed this strategy when I was writing seminar papers in grad school and grading reams of student papers. Some colleagues would slog through twenty-five research papers at one sitting. Freed them up the next day, they said. But when you’re writing a novel, ten hours today won’t give you a free day tomorrow. And ten hours saps me, leaving me drained.

Man worrying about his writing

After 25 papers!

Instead, when I taught, I figured out how much I had to do each day to meet my deadlines. I’d do that, and no more. For my novel, I’ve been setting myself an easy, non-intimidating daily quota. Right now it’s one college-ruled notebook page. The secret, of course, is that when you get to the end of that page, you almost always keep going. But there are very few days when there’s not enough time to write just that one.

Find A GOOD PLACE TO WRITE.

In Florida that good place was in my canoe tucked into a quiet elbow on the Hillsborough River. Those live oaks just seemed to drip words. Sure, I would get distracted when a gator cruised down the inky river, or a wood stork slow-walked past. These days, I sit on my back deck with my feet propped on the railing. I admit I got distracted the other day when a bald eagle flew overhead. But there’s something about being outside, enveloped by trees and sky, that gifts me with language. Don’t know yet what I’ll do when the snow comes. I have a nice chair with a nice window. If I can keep the dog and the cats out of my lap, there’s hope.

A good place to write

Hillsborough River outside of Tampa

Find something FUN TO WRITE WITH.

Okay, for those who compose on a computer, this one is moot. But I’ve always done creative first drafts in longhand. I love having margins for ideas, reminders, or metaphors to try out. Transferring text to the screen gives me an amazing edit. When you have to type a sentence, it isn’t all that hard to ask, “Do I really need this?”

For years I preferred Schaeffer cartridge pens, black ink, turning the nib upside down for a finer line. My handwriting is small, and I loved the actual shape of the letters as they flowed onto the page. Those days of near-calligraphy are gone; now it’s all barely decipherable scribbles. Schaeffers became harder to find. I’ve switched to a refillable fountain pen, still turning the nib upside down.

And finally, STOP WHEN YOU KNOW WHAT’S GOING TO HAPPEN NEXT—SORT OF.

If I know, really know—that’s boring. But if I’ve created a situation, like Stephen King suggests, and plopped my characters on the verge of it, I seem to have given myself my own cliffhanger. Okay, Sarah and Nick have reached Enchanted Rock, and she worries he’s about to commit suicide. I know I’ll be back tomorrow to find out what happens next.

Bill, the dog, critiques

A dog in your face is always helpful

But here’s one of my main questions:

I’d progress faster if I wrote for longer stretches. Do you have a strategy for doing that? How do you keep yourself fresh to start again the next day? What other strategies help with your productivity? If you’re juggling family and a job, how do you get those words on the page?

Coffee mug for writers

Coffee helps!

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GREEN RIVER WRITERS CONTEST DEADLINE TOMORROW!

See here for contest details: 17 categories, including a Novel First Chapter category for unpublished and self-published novels (judge: NYT best-selling author Will Lavender!). Still time to get yours postmarked tomorrow. Send yours in!Contest Time!

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