Rachel Aaron's Blog, page 35
June 8, 2011
How I Went From Writing 2,000 Words a Day to 10,000 Words a Day
When I started writing The Spirit War (Eli novel #4), I had a bit of a problem. I had a brand new baby and my life (like every new mother's life) was constantly on the verge of shambles. I paid for a sitter four times a week so I could get some writing time, and I guarded these hours like a mama bear guards her cubs - with ferocity and hiker-mauling violence. To keep my schedule and make my deadlines, I needed to write 4000 words during each of these carefully arranged sessions. I thought this would be simple. After all, before I quit my job to write full time I'd been writing 2k a day in the three hours before work. Surely with 6 hours of baby free writing time, 4k a day would be nothing....
But (of course), things didn't work out like that. Every day I'd sit down to add 4000 words to my new manuscript. I was determined, I was experienced, I knew my world. There was no reason I couldn't get 4k down. But every night when I hauled myself away, my word count had only increased by 2k, the same number of words I'd been getting before I quit my day job.
Needless to say, I felt like a failure. Here I was, a professional writer with three books about to come out, and I couldn't even beat the writing I'd done before I went pro. At first I made excuses, this novel was the most complicated of all the Eli books I'd written, I was tired because my son thinks 4am is an awesome time to play, etc. etc. But the truth was there was no excuse. I had to find a way to boost my word count, and with months of 2k a day dragging me down, I had to do it fast. So I got scientific. I gathered data and tried experiments, and ultimately ended up boosting my word count to heights far beyond what I'd thought was possible, and I did it while making my writing better than ever before.
When I told people at ConCarolinas that I'd gone from writing 2k to 10k per day, I got a huge response. Everyone wanted to know how I'd done it, and I finally got so sick of telling the same story over and over again that I decided to write it down here.
So, once and for all, here's the story of how I went from writing 500 words an hour to over 1500, and (hopefully) how you can too:
A quick note: There are many fine, successful writers out there who equate writing quickly with being a hack. I firmly disagree. My methods remove the dross, the time spent tooling around lost in your daily writing, not the time spent making plot decisions or word choices. This is not a choice between ruminating on art or churning out the novels for gross commercialism (though I happen to like commercial novels), it's about not wasting your time for whatever sort of novels you want to write.
Drastically increasing your words per day is actually pretty easy, all it takes is a shift in perspective and the ability to be honest with yourself (which is the hardest part). Because I'm a giant nerd, I ended up creating a metric, a triangle with three core requirements: Knowledge, Time, and Enthusiasm. Any one of these can noticeably boost your daily output, but all three together can turn you into a word machine. I never start writing these days unless I can hit all three.
Side 1: Knowledge, or Know What You're Writing Before You Write ItThe first big boost to my daily wordcount happened almost by accident. Used to be I would just pop open the laptop and start writing. Now, I wasn't a total make-it-up-as-you-go writer. I had a general plot outline, but my scene notes were things like "Miranda and Banage argue" or "Eli steals the king." Not very useful, but I knew generally what direction I was writing in, and I liked to let the characters decide how the scene would go. Unfortunately, this meant I wasted a lot of time rewriting and backtracking when the scene veered off course.
This was how I had always written, it felt natural to me. But then one day I got mired in a real mess. I had spent three days knee deep in the same horrible scene. I was drastically behind on my wordcount, and I was facing the real possibility of missing my deadline... again. It was the perfect storm of all my insecurities, the thought of letting people down mixed with the fear that I really didn't know what I was doing, that I wasn't a real writer at all, just an amateur pretending to be one. But as I got angrier and angrier with myself, I looked down at my novel and suddenly realized that I was being an absolute idiot. Here I was, desperate for time, floundering in a scene, and yet I was doing the hardest work of writing (figuring out exactly what needs to happen to move the scene forward in the most dramatic and exciting way) in the most time consuming way possible (ie, in the middle of the writing itself).
As soon as I realized this, I stopped. I closed my laptop and got out my pad of paper. Then, instead of trying to write the scene in the novel as I had been, I started scribbling a very short hand, truncated version the scene on the paper. I didn't describe anything, I didn't do transitions. I wasn't writing, I was simply noting down what I would write when the time came. It took me about five minutes and three pages of notebook paper to untangle my seemingly unfixable scene, the one that had just eaten three days of my life before I tried this new approach. Better still, after I'd worked everything out in shorthand I was able to dive back into the scene and finish it in record time. The words flew onto the screen, and at the end of that session I'd written 3000 words rather than 2000, most of them in that last hour and a half.
Looking back, it was so simple I feel stupid for not thinking of it sooner. If you want to write faster, the first step is to know what you're writing before you write it. I'm not even talking about macro plot stuff, I mean working out the back and forth exchanges of an argument between characters, blocking out fights, writing up fast descriptions. Writing this stuff out in words you actually want other people to read, especially if you're making everything up as you go along, takes FOREVER. It's horribly inefficient and when you get yourself in a dead end, you end up trashing hundreds, sometimes thousands of words to get out. But jotting it down on a pad? Takes no time at all. If the scene you're sketching out starts to go the wrong way, you see it immedeatly, and all you have to do is cross out the parts that went sour and start again at the beginning. That's it. No words lost, no time wasted. It was god damn beautiful.
Every writing session after this realization, I dedicated five minutes (sometimes more, never less) and wrote out a quick description of what I was going to write. Sometimes it wasn't even a paragraph, just a list of this happens then this then this. This simple change, these five stupid minutes, boosted my wordcount enormously. I went from writing 2k a day to writing 5k a day within a week without increasing my 5 hour writing block. Some days I even finished early.
Of the three sides of the triangle, I consider knowledge to be the most important. This step alone more than doubled my word count. If you only want to try one change at a time, this is the one I recommend the most.
Side 2: TimeNow that I'd had such a huge boost from one minor change, I started to wonder what else I could do to jack my numbers up even higher. But as I looked for other things I could tweak, I quickly realized that I knew embarrassingly little about how I actually wrote my novels. I'd kept no records of my progress, I couldn't even tell you how long it took me to write any of my last three novels beyond broad guesstimations, celebratory blog posts, and vague memories of past word counts. It was like I started every book by throwing myself at the keyboard and praying for a novel to shoot out of my fingers before the deadline. And keep in mind this is my business. Can you imagine a bakery or a freelance designer working this way? Never tracking hours or keeping a record of how long it took me to actually produce the thing I was selling? Yeah, pretty stupid way to work.
If I was going to boost my output (or know how long it took me to actually write a freaking novel), I had to know what I was outputting in the first place. So, I started keeping records. Every day I had a writing session I would note the time I started, the time I stopped, how many words I wrote, and where I was writing on a spreadsheet. I did this for two months, and then I looked for patterns.
Several things were immediately clear. First, my productivity was at its highest when I was in a place other than my home. That is to say, a place without internet. The afternoons I wrote at the coffee shop with no wireless were twice as productive as the mornings I wrote at home. I also saw that, while butt in chair time is the root of all writing, not all butt in chair time is equal. For example, those days where I only got one hour to write I never managed more than five hundred words in that hour. By contrast, those days I got five hours of solid writing I was clearing close to 1500 words an hour. The numbers were clear: the longer I wrote, the faster I wrote (and I believe the better I wrote, certainly the writing got easier the longer I went). This corresponding rise of wordcount and writing hours only worked up to a point, though. There was a definite words per hour drop off around hour 7 when I was simply too brain fried to go on.
But these numbers are very personal, the point I'm trying to make is that by recording my progress every day I had the data I needed to start optimizing my daily writing. Once I had my data in hand, I rearranged my schedule to make sure my writing time was always in the afternoon (my most prolific time according to my sheet, which was a real discovery. I would have bet money I was better in the morning.), always at my coffee shop with no internet, and always at least 4 hours long. Once I set my time, I guarded it viciously, and low and behold my words per day shot up again. This time to an average of 6k-7k per writing day, and all without adding any extra hours. All I had to do was discover what made good writing time for me and then make sure the good writing time was the time I fought hardest to get.
Even if you don't have the luxury of 4 uninterrupted hours at your prime time of day, I highly suggest measuring your writing in the times you do have to write. Even if you only have 1 free hour a day, trying that hour in the morning some days and the evening on others and tracking the results can make sure you aren't wasting your precious writing time on avoidable inefficiencies. Time really does matter.
Side 3: EnthusiasmI was flying high on my new discoveries. Over the course of two months I'd jacked my daily writing from 2k per day to 7k with just a few simple changes and was now actually running ahead of schedule for the first time in my writing career. But I wasn't done yet. I was absolutely determined I was going to break the 10k a day barrier.
I'd actually broken it before. Using Knowledge and Time, I'd already managed a few 10k+ days, including one where I wrote 12,689 words, or two chapters, in 7 hours. To be fair, I had been writing outside of my usual writing window in addition to my normal writing on those days, so it wasn't a total words-per-hour efficiency jump. But that's the great thing about going this fast, the novel starts to eat you and you find yourself writing any time you can just for the pure joy of it. Even better, on the days where I broke 10k, I was also pulling fantastic words-per-hour numbers, 1600 - 2000 words per hour as opposed to my usual 1500. It was clear these days were special, but I didn't know how. I did know that I wanted those days to become the norm rather than the exception, so I went back to my records (which I now kept meticulously) to find out what made the 10k days different.
The answer was head-slappingly obvious. Those days I broke 10k were the days I was writing scenes I'd been dying to write since I planned the book. They were the candy bar scenes, the scenes I wrote all that other stuff to get to. By contrast, my slow days (days where I was struggling to break 5k) corresponded to the scenes I wasn't that crazy about.
This was a duh moment for me, but it also brought up a troubling new problem. If I had scenes that were boring enough that I didn't want to write them, then there was no way in hell anyone would want to read them. This was my novel, after all. If I didn't love it, no one would.
Fortunately, the solution turned out to be, yet again, stupidly simple. Every day, while I was writing out my little description of what I was going to write for the knowledge component of the triangle, I would play the scene through in my mind and try to get excited about it. I'd look for all the cool little hooks, the parts that interested me most, and focus on those since they were obviously what made the scene cool. If I couldn't find anything to get excited over, then I would change the scene, or get rid of it entirely. I decided then and there that, no matter how useful a scene might be for my plot, boring scenes had no place in my novels.
This discovery turned out to be a fantastic one for my writing. I trashed and rewrote several otherwise perfectly good scenes, and the effect on the novel was amazing. Plus, my daily wordcount numbers shot up again because I was always excited about my work. Double bonus!
Life On 10k A DayWith all three sides of my triangle now in place, I was routinely pulling 10-12k per day by the time I finished Spirits' End, the fifth Eli novel. I was almost 2 months ahead of where I'd thought I'd be, and the novel had only taken me 3 months to write rather than the 7 months I'd burned on the Spirit War (facts I knew now that I was keeping records). I was ahead of schedule with plenty of time to do revisions before I needed to hand the novel in to my editor, and I was happier with my writing than ever before. There were several days toward the end when I'd close my laptop and stumble out of the coffee shop feeling almost drunk on writing. I felt like I was on top of the world, utterly invincible and happier than I've ever been. Writing that much that quickly was like taking some kind of weird success opiate, and I was thoroughly addicted. Once you've hit 10k a day for a week straight, anything less feels like your story is crawling.
Now, again, 10k a day is my high point as a professional author whose child is now in daycare (PRICELESS). I write 6 - 7 hours a day, usually 2 in the morning and 4-5 in the afternoon, five days a week. Honestly, I don't see how anyone other than a full time novelist could pull those kind of hours, but that doesn't mean you have to be a pro to drastically increase your daily word count.
So 10k might be the high end of the spectrum, but of the people I've told about this (a lot) who've gotten back to me (not nearly as many), most have doubled their word counts by striving to hit all three sides of the triangle every time they write. This means some have gone from 1k a day to 2k, or 2k to 4k. Some of my great success with increasing my wordcount is undoubtedly a product of experience, as I also hit my million word mark somewhere in the fifth Eli novel. Even so, I believe most of the big leaps in efficiency came from changing the way I approached my writing. Just as changing your lifestyle can help you lose a hundred pounds, changing they way you sit down to write can boost your words per hour in astonishing ways.
If you're looking to get more out of your writing time, I really hope you try my triangle. If you do, please write me (or comment below) and let me know. Even if it doesn't work (especially if it doesn't work) I'd love to hear about it. Also, if you find another efficiency hack for writing, let me know about that too! There's no reason our triangle can't be a square, and I'm always looking for a way to hit 15k a day :D.
Again, I really hope this helps you hit your goals. Good luck with your writing!
- Rachel Aaron
But (of course), things didn't work out like that. Every day I'd sit down to add 4000 words to my new manuscript. I was determined, I was experienced, I knew my world. There was no reason I couldn't get 4k down. But every night when I hauled myself away, my word count had only increased by 2k, the same number of words I'd been getting before I quit my day job.
Needless to say, I felt like a failure. Here I was, a professional writer with three books about to come out, and I couldn't even beat the writing I'd done before I went pro. At first I made excuses, this novel was the most complicated of all the Eli books I'd written, I was tired because my son thinks 4am is an awesome time to play, etc. etc. But the truth was there was no excuse. I had to find a way to boost my word count, and with months of 2k a day dragging me down, I had to do it fast. So I got scientific. I gathered data and tried experiments, and ultimately ended up boosting my word count to heights far beyond what I'd thought was possible, and I did it while making my writing better than ever before.
When I told people at ConCarolinas that I'd gone from writing 2k to 10k per day, I got a huge response. Everyone wanted to know how I'd done it, and I finally got so sick of telling the same story over and over again that I decided to write it down here.
So, once and for all, here's the story of how I went from writing 500 words an hour to over 1500, and (hopefully) how you can too:
A quick note: There are many fine, successful writers out there who equate writing quickly with being a hack. I firmly disagree. My methods remove the dross, the time spent tooling around lost in your daily writing, not the time spent making plot decisions or word choices. This is not a choice between ruminating on art or churning out the novels for gross commercialism (though I happen to like commercial novels), it's about not wasting your time for whatever sort of novels you want to write.
Drastically increasing your words per day is actually pretty easy, all it takes is a shift in perspective and the ability to be honest with yourself (which is the hardest part). Because I'm a giant nerd, I ended up creating a metric, a triangle with three core requirements: Knowledge, Time, and Enthusiasm. Any one of these can noticeably boost your daily output, but all three together can turn you into a word machine. I never start writing these days unless I can hit all three.
Side 1: Knowledge, or Know What You're Writing Before You Write ItThe first big boost to my daily wordcount happened almost by accident. Used to be I would just pop open the laptop and start writing. Now, I wasn't a total make-it-up-as-you-go writer. I had a general plot outline, but my scene notes were things like "Miranda and Banage argue" or "Eli steals the king." Not very useful, but I knew generally what direction I was writing in, and I liked to let the characters decide how the scene would go. Unfortunately, this meant I wasted a lot of time rewriting and backtracking when the scene veered off course.
This was how I had always written, it felt natural to me. But then one day I got mired in a real mess. I had spent three days knee deep in the same horrible scene. I was drastically behind on my wordcount, and I was facing the real possibility of missing my deadline... again. It was the perfect storm of all my insecurities, the thought of letting people down mixed with the fear that I really didn't know what I was doing, that I wasn't a real writer at all, just an amateur pretending to be one. But as I got angrier and angrier with myself, I looked down at my novel and suddenly realized that I was being an absolute idiot. Here I was, desperate for time, floundering in a scene, and yet I was doing the hardest work of writing (figuring out exactly what needs to happen to move the scene forward in the most dramatic and exciting way) in the most time consuming way possible (ie, in the middle of the writing itself).
As soon as I realized this, I stopped. I closed my laptop and got out my pad of paper. Then, instead of trying to write the scene in the novel as I had been, I started scribbling a very short hand, truncated version the scene on the paper. I didn't describe anything, I didn't do transitions. I wasn't writing, I was simply noting down what I would write when the time came. It took me about five minutes and three pages of notebook paper to untangle my seemingly unfixable scene, the one that had just eaten three days of my life before I tried this new approach. Better still, after I'd worked everything out in shorthand I was able to dive back into the scene and finish it in record time. The words flew onto the screen, and at the end of that session I'd written 3000 words rather than 2000, most of them in that last hour and a half.
Looking back, it was so simple I feel stupid for not thinking of it sooner. If you want to write faster, the first step is to know what you're writing before you write it. I'm not even talking about macro plot stuff, I mean working out the back and forth exchanges of an argument between characters, blocking out fights, writing up fast descriptions. Writing this stuff out in words you actually want other people to read, especially if you're making everything up as you go along, takes FOREVER. It's horribly inefficient and when you get yourself in a dead end, you end up trashing hundreds, sometimes thousands of words to get out. But jotting it down on a pad? Takes no time at all. If the scene you're sketching out starts to go the wrong way, you see it immedeatly, and all you have to do is cross out the parts that went sour and start again at the beginning. That's it. No words lost, no time wasted. It was god damn beautiful.
Every writing session after this realization, I dedicated five minutes (sometimes more, never less) and wrote out a quick description of what I was going to write. Sometimes it wasn't even a paragraph, just a list of this happens then this then this. This simple change, these five stupid minutes, boosted my wordcount enormously. I went from writing 2k a day to writing 5k a day within a week without increasing my 5 hour writing block. Some days I even finished early.
Of the three sides of the triangle, I consider knowledge to be the most important. This step alone more than doubled my word count. If you only want to try one change at a time, this is the one I recommend the most.
Side 2: TimeNow that I'd had such a huge boost from one minor change, I started to wonder what else I could do to jack my numbers up even higher. But as I looked for other things I could tweak, I quickly realized that I knew embarrassingly little about how I actually wrote my novels. I'd kept no records of my progress, I couldn't even tell you how long it took me to write any of my last three novels beyond broad guesstimations, celebratory blog posts, and vague memories of past word counts. It was like I started every book by throwing myself at the keyboard and praying for a novel to shoot out of my fingers before the deadline. And keep in mind this is my business. Can you imagine a bakery or a freelance designer working this way? Never tracking hours or keeping a record of how long it took me to actually produce the thing I was selling? Yeah, pretty stupid way to work.
If I was going to boost my output (or know how long it took me to actually write a freaking novel), I had to know what I was outputting in the first place. So, I started keeping records. Every day I had a writing session I would note the time I started, the time I stopped, how many words I wrote, and where I was writing on a spreadsheet. I did this for two months, and then I looked for patterns.
Several things were immediately clear. First, my productivity was at its highest when I was in a place other than my home. That is to say, a place without internet. The afternoons I wrote at the coffee shop with no wireless were twice as productive as the mornings I wrote at home. I also saw that, while butt in chair time is the root of all writing, not all butt in chair time is equal. For example, those days where I only got one hour to write I never managed more than five hundred words in that hour. By contrast, those days I got five hours of solid writing I was clearing close to 1500 words an hour. The numbers were clear: the longer I wrote, the faster I wrote (and I believe the better I wrote, certainly the writing got easier the longer I went). This corresponding rise of wordcount and writing hours only worked up to a point, though. There was a definite words per hour drop off around hour 7 when I was simply too brain fried to go on.
But these numbers are very personal, the point I'm trying to make is that by recording my progress every day I had the data I needed to start optimizing my daily writing. Once I had my data in hand, I rearranged my schedule to make sure my writing time was always in the afternoon (my most prolific time according to my sheet, which was a real discovery. I would have bet money I was better in the morning.), always at my coffee shop with no internet, and always at least 4 hours long. Once I set my time, I guarded it viciously, and low and behold my words per day shot up again. This time to an average of 6k-7k per writing day, and all without adding any extra hours. All I had to do was discover what made good writing time for me and then make sure the good writing time was the time I fought hardest to get.
Even if you don't have the luxury of 4 uninterrupted hours at your prime time of day, I highly suggest measuring your writing in the times you do have to write. Even if you only have 1 free hour a day, trying that hour in the morning some days and the evening on others and tracking the results can make sure you aren't wasting your precious writing time on avoidable inefficiencies. Time really does matter.
Side 3: EnthusiasmI was flying high on my new discoveries. Over the course of two months I'd jacked my daily writing from 2k per day to 7k with just a few simple changes and was now actually running ahead of schedule for the first time in my writing career. But I wasn't done yet. I was absolutely determined I was going to break the 10k a day barrier.
I'd actually broken it before. Using Knowledge and Time, I'd already managed a few 10k+ days, including one where I wrote 12,689 words, or two chapters, in 7 hours. To be fair, I had been writing outside of my usual writing window in addition to my normal writing on those days, so it wasn't a total words-per-hour efficiency jump. But that's the great thing about going this fast, the novel starts to eat you and you find yourself writing any time you can just for the pure joy of it. Even better, on the days where I broke 10k, I was also pulling fantastic words-per-hour numbers, 1600 - 2000 words per hour as opposed to my usual 1500. It was clear these days were special, but I didn't know how. I did know that I wanted those days to become the norm rather than the exception, so I went back to my records (which I now kept meticulously) to find out what made the 10k days different.
The answer was head-slappingly obvious. Those days I broke 10k were the days I was writing scenes I'd been dying to write since I planned the book. They were the candy bar scenes, the scenes I wrote all that other stuff to get to. By contrast, my slow days (days where I was struggling to break 5k) corresponded to the scenes I wasn't that crazy about.
This was a duh moment for me, but it also brought up a troubling new problem. If I had scenes that were boring enough that I didn't want to write them, then there was no way in hell anyone would want to read them. This was my novel, after all. If I didn't love it, no one would.
Fortunately, the solution turned out to be, yet again, stupidly simple. Every day, while I was writing out my little description of what I was going to write for the knowledge component of the triangle, I would play the scene through in my mind and try to get excited about it. I'd look for all the cool little hooks, the parts that interested me most, and focus on those since they were obviously what made the scene cool. If I couldn't find anything to get excited over, then I would change the scene, or get rid of it entirely. I decided then and there that, no matter how useful a scene might be for my plot, boring scenes had no place in my novels.
This discovery turned out to be a fantastic one for my writing. I trashed and rewrote several otherwise perfectly good scenes, and the effect on the novel was amazing. Plus, my daily wordcount numbers shot up again because I was always excited about my work. Double bonus!
Life On 10k A DayWith all three sides of my triangle now in place, I was routinely pulling 10-12k per day by the time I finished Spirits' End, the fifth Eli novel. I was almost 2 months ahead of where I'd thought I'd be, and the novel had only taken me 3 months to write rather than the 7 months I'd burned on the Spirit War (facts I knew now that I was keeping records). I was ahead of schedule with plenty of time to do revisions before I needed to hand the novel in to my editor, and I was happier with my writing than ever before. There were several days toward the end when I'd close my laptop and stumble out of the coffee shop feeling almost drunk on writing. I felt like I was on top of the world, utterly invincible and happier than I've ever been. Writing that much that quickly was like taking some kind of weird success opiate, and I was thoroughly addicted. Once you've hit 10k a day for a week straight, anything less feels like your story is crawling.
Now, again, 10k a day is my high point as a professional author whose child is now in daycare (PRICELESS). I write 6 - 7 hours a day, usually 2 in the morning and 4-5 in the afternoon, five days a week. Honestly, I don't see how anyone other than a full time novelist could pull those kind of hours, but that doesn't mean you have to be a pro to drastically increase your daily word count.
So 10k might be the high end of the spectrum, but of the people I've told about this (a lot) who've gotten back to me (not nearly as many), most have doubled their word counts by striving to hit all three sides of the triangle every time they write. This means some have gone from 1k a day to 2k, or 2k to 4k. Some of my great success with increasing my wordcount is undoubtedly a product of experience, as I also hit my million word mark somewhere in the fifth Eli novel. Even so, I believe most of the big leaps in efficiency came from changing the way I approached my writing. Just as changing your lifestyle can help you lose a hundred pounds, changing they way you sit down to write can boost your words per hour in astonishing ways.
If you're looking to get more out of your writing time, I really hope you try my triangle. If you do, please write me (or comment below) and let me know. Even if it doesn't work (especially if it doesn't work) I'd love to hear about it. Also, if you find another efficiency hack for writing, let me know about that too! There's no reason our triangle can't be a square, and I'm always looking for a way to hit 15k a day :D.
Again, I really hope this helps you hit your goals. Good luck with your writing!
- Rachel Aaron
June 6, 2011
ConCarolinas was awesome!
I am SO TIRED and I lost my voice completely, a sure sign that I had a fantastic weekend! Thank you very much to the con organizers and to all the authors who let me hang out with them at the con and put up with my big mouth on panels. :D
At the con, lots of people seemed excited about the system I worked out for upping my daily word count from 2000 to 10000 words a day. Seeing the interest, I'm working on a blog post write up of what I said about it in the panel with examples of my spreadsheets. So keep your eyes peeled for epic writer nerdery in the next day or so.
Also, don't forget Orbit should be debuting my new omnibus cover on Wednesday, and I am so excited to show you guys after months of having to sit on the art. Seriously, it looks lovely.
And if I saw you at ConCarolinas, thank you so much for coming up. Nothing makes me happier than to meet fellow geeks.
<3 R
At the con, lots of people seemed excited about the system I worked out for upping my daily word count from 2000 to 10000 words a day. Seeing the interest, I'm working on a blog post write up of what I said about it in the panel with examples of my spreadsheets. So keep your eyes peeled for epic writer nerdery in the next day or so.
Also, don't forget Orbit should be debuting my new omnibus cover on Wednesday, and I am so excited to show you guys after months of having to sit on the art. Seriously, it looks lovely.
And if I saw you at ConCarolinas, thank you so much for coming up. Nothing makes me happier than to meet fellow geeks.
<3 R
May 31, 2011
ConCarolinas and new covers!
First up: This weekend (June 3 - 5) I will be at ConCarolinas along with tons of other people way more awesome than I am. Hooray! If you're in or around Charlotte, NC, tickets are cheap and the guests are awesome. Plus I will talk at you until you're sick of me :D. So stop by if you're in the area!! (To see what panels were gullible enough to let me behind the table, click here and select my name from the "Guests" drop down!)
Second, the wonderful Orbit art team will be debuting the cover for my new omnibus on the 8th! Hooray!! I've seen the final already, and I gotta say I can't wait to show you guys. Arrrgh, all this not talking makes me crazy. I'll post the cover as soon as Orbit puts it up. Eli looks very yummy, I must say!
And speaking of not talking, have I mentioned I finished book 5? Well I did! And just today I've finished the first round of edits. Now it's off to my first round readers so we can see where I dropped the ball... or if the ball even left the floor in some places... ahem, moving on. I tend to edit in many rounds, turning the story over until all the bumps are polished off. This book is definitely the most complicated I've ever written, and there are several sections that need some work, but I'm confident that anyone whose read the first three books and liked them is going to love the last two, especially the ending. Arrrgh x 2, can not wait!
Anyway, hope to see some of you at the convention, and definitely keep your eyes peeled for a sexy cover next week!
- R
Second, the wonderful Orbit art team will be debuting the cover for my new omnibus on the 8th! Hooray!! I've seen the final already, and I gotta say I can't wait to show you guys. Arrrgh, all this not talking makes me crazy. I'll post the cover as soon as Orbit puts it up. Eli looks very yummy, I must say!
And speaking of not talking, have I mentioned I finished book 5? Well I did! And just today I've finished the first round of edits. Now it's off to my first round readers so we can see where I dropped the ball... or if the ball even left the floor in some places... ahem, moving on. I tend to edit in many rounds, turning the story over until all the bumps are polished off. This book is definitely the most complicated I've ever written, and there are several sections that need some work, but I'm confident that anyone whose read the first three books and liked them is going to love the last two, especially the ending. Arrrgh x 2, can not wait!
Anyway, hope to see some of you at the convention, and definitely keep your eyes peeled for a sexy cover next week!
- R
May 10, 2011
I emerge from the shadows and...
... answer kindly questions at The Civilian Reader! It was a really fun interview and I drop a lot of information about the last 2 Eli books (as well as why I'm an awful blogger). So if that's your thing, go on over!
But there was 1 question I didn't get a chance to put in the interview, so I wanted to address it here. Namely, why do I continually refer to the last 2 Eli books as "Book 4" and "Book 5" rather than, I don't know, by their freaking titles? The answer, gentle reader, leads us deep into the wild and wooly world of publishing.
It all started when Orbit, my beloved publisher, decided that rather than releasing the last two books like they did the first two - as mass market paper backs with color coded face covers in 2011, they were going to instead wait until 2012 and then do a an omnibus edition of my first 3 books quickly followed by books 4 and 5. This decision was made for a lot of reasons - sales, the fact that book 4 is freaking huge and book 5 is probably going to be just as big (ie. WAY too large for a mass market paperback), wanting a new look for the series, etc. etc. All of these reasons were explained to me, and I'm totally behind the rebranding. I've already seen the omnibus cover art and I like it a LOT. I'll post it all over the web the moment I get permission.
But wait, we were talking about TITLES. Ahem.
Back when I was first signing contracts, the last 2 books of the Eli Monpress Series were titled "The Spirit War" and "Spirit's End" to go along with the Spirit naming structure. These were not my original titles, but then, none of the books have their original titles except for The Spirit Thief. But hey, part of being an author is being flexible with your titles.
(For those who are curious, the series was always going to be 5 books and the titles were as follows:
Book 1 - "The Spirit Thief" was always "The Spirit Thief"
Book 2 - "The Spirit Rebellion" used to be "The Real Monpress"
Book 3 - "The Spirit Eater" used to be "Daughter of the Dead Mountain"
Book 4 - "The Spirit War" used to be "Josef's War"
Book 5 - "Spirit's End" used to be "The Other Side of the Sky")
But with the rebranding, we're not so sure about the titles anymore. After all, since book 1 is now going to be "The Legend of Eli Monpress Vol. I, II, and III", the whole Spirit nomenclature isn't as important anymore. We'll probably keep the names we've already chosen, as The Spirit War and Spirit's End are perfectly fine, fitting names that match the rest of the series, but since I don't know 100% for sure that's what the books will be called, I'm just sticking to what I know, Book 4 and Book 5.
Now that I'm days away from finishing book 5, one thing is certain: Both of these final books are about as dark as The Spirit Eater. That said, Eli only gets mouthier the deeper into trouble he gets, so you can put any fears to rest about this turning into some sort of grim fantasy slog. It's hard to get too dark when one of your main characters is a talking ball of water. I'm very, VERY happy with how book 4 came out, and book 5 is shaping up nicely. I can't wait for 2012 when everything will be done and I finally get to share them with you!
I hope this clears up some questions, and thank you all as always for reading!
- Rachel
But there was 1 question I didn't get a chance to put in the interview, so I wanted to address it here. Namely, why do I continually refer to the last 2 Eli books as "Book 4" and "Book 5" rather than, I don't know, by their freaking titles? The answer, gentle reader, leads us deep into the wild and wooly world of publishing.
It all started when Orbit, my beloved publisher, decided that rather than releasing the last two books like they did the first two - as mass market paper backs with color coded face covers in 2011, they were going to instead wait until 2012 and then do a an omnibus edition of my first 3 books quickly followed by books 4 and 5. This decision was made for a lot of reasons - sales, the fact that book 4 is freaking huge and book 5 is probably going to be just as big (ie. WAY too large for a mass market paperback), wanting a new look for the series, etc. etc. All of these reasons were explained to me, and I'm totally behind the rebranding. I've already seen the omnibus cover art and I like it a LOT. I'll post it all over the web the moment I get permission.
But wait, we were talking about TITLES. Ahem.
Back when I was first signing contracts, the last 2 books of the Eli Monpress Series were titled "The Spirit War" and "Spirit's End" to go along with the Spirit naming structure. These were not my original titles, but then, none of the books have their original titles except for The Spirit Thief. But hey, part of being an author is being flexible with your titles.
(For those who are curious, the series was always going to be 5 books and the titles were as follows:
Book 1 - "The Spirit Thief" was always "The Spirit Thief"
Book 2 - "The Spirit Rebellion" used to be "The Real Monpress"
Book 3 - "The Spirit Eater" used to be "Daughter of the Dead Mountain"
Book 4 - "The Spirit War" used to be "Josef's War"
Book 5 - "Spirit's End" used to be "The Other Side of the Sky")
But with the rebranding, we're not so sure about the titles anymore. After all, since book 1 is now going to be "The Legend of Eli Monpress Vol. I, II, and III", the whole Spirit nomenclature isn't as important anymore. We'll probably keep the names we've already chosen, as The Spirit War and Spirit's End are perfectly fine, fitting names that match the rest of the series, but since I don't know 100% for sure that's what the books will be called, I'm just sticking to what I know, Book 4 and Book 5.
Now that I'm days away from finishing book 5, one thing is certain: Both of these final books are about as dark as The Spirit Eater. That said, Eli only gets mouthier the deeper into trouble he gets, so you can put any fears to rest about this turning into some sort of grim fantasy slog. It's hard to get too dark when one of your main characters is a talking ball of water. I'm very, VERY happy with how book 4 came out, and book 5 is shaping up nicely. I can't wait for 2012 when everything will be done and I finally get to share them with you!
I hope this clears up some questions, and thank you all as always for reading!
- Rachel
April 11, 2011
Made my day
Don't know how I missed this one, but since it's short, I'm going to post it in full because it makes my day.
*Starred Review* Aaron's outstanding fantasy debut is the first in a trilogy about unrepentant thief Eli Monpress, whose goal in life is to amass $1 million in gold. Hoping to accomplish his mission in a hurry, Eli decides to raise the stakes and kidnap a king. He doesn't realize, however, that snatching the king of Mellinor (an entirely unmagical and rather boring kingdom) will set off a chain of events that will put him in peril from multiple sources, including the powerful Miranda, who is determined to catch Eli. But that's no easy trick, as Eli is also a powerful magic-user himself; his swordsman-partner Josef carries the legendary Heart of War sword; and their female associate is a demonseed whose powers are terrifying. Fast and fun, Spirit Thief introduces a fascinating new world and a complex magical system based on cooperation with the spirits who reside in all living objects. Aaron's characters are fully fleshed and possess complex personalities, motivations, and backstories that are only gradually revealed. Fans of Scott Lynch's Lies of Locke Lamora (2006) will be thrilled with Eli Monpress. Highly recommended for all fantasy readers. --Jessica Moyer, Booklist
Thank you, Booklist!
*Starred Review* Aaron's outstanding fantasy debut is the first in a trilogy about unrepentant thief Eli Monpress, whose goal in life is to amass $1 million in gold. Hoping to accomplish his mission in a hurry, Eli decides to raise the stakes and kidnap a king. He doesn't realize, however, that snatching the king of Mellinor (an entirely unmagical and rather boring kingdom) will set off a chain of events that will put him in peril from multiple sources, including the powerful Miranda, who is determined to catch Eli. But that's no easy trick, as Eli is also a powerful magic-user himself; his swordsman-partner Josef carries the legendary Heart of War sword; and their female associate is a demonseed whose powers are terrifying. Fast and fun, Spirit Thief introduces a fascinating new world and a complex magical system based on cooperation with the spirits who reside in all living objects. Aaron's characters are fully fleshed and possess complex personalities, motivations, and backstories that are only gradually revealed. Fans of Scott Lynch's Lies of Locke Lamora (2006) will be thrilled with Eli Monpress. Highly recommended for all fantasy readers. --Jessica Moyer, Booklist
Thank you, Booklist!
April 6, 2011
So picky!
So I have a post I can not get right. I have tried and tried and tried to say what I mean to say, but it just refuses to cooperate, and so I have cast it away until we can come to some accord. In the meanwhile, you'll just have to bear with the following tangent:
I've been on a reading kick the last week or so (amazing what quitting Warcraft can do for your life!), and as a result I've spent a great deal of time in my local library, browsing through the fantasy section. Now, my local library is wonderful and amazing, but it is also a pain and a half to get to, so whenever I go I make sure to read at least the first chapter of any book I'm considering taking home because I refuse to make that annoying drive for anything less than a known quantity of awesome. But this enforced extreme care in my book selections has revealed a fault of my character I never recognized before, namely that I am truly, phenomenally picky about what I read.
Time was that I would give anything that sounded cool at least a general glance over. Not any more. Now, faced with a huge shelf of books, my selection process goes like this:
1) Scan shelf for stand out titles/covers.
2) Read the back to check out the plot, get VERY ANNOYED if the back is nothing but quotes. Quotes tell me nothing. I want PLOT! Scrounge around inside to see if the story catches my interest or has any of my pet peeves (and let me tell you, I didn't even know I had these pet peeves until I started doing this. But after careful evaluation, I've discovered I always put down books containing boy heroes, young, initially powerless females caught up in situations beyond their control, too many made up names, shy people, the list goes ON AND ON. It's horrifying.)
3) If the book still has my interest, I will then open to the first page of story and start to read. If the first sentence doesn't catch me, I'm done. If the first sentence does catch my interest, but nothing's happening (landscape description without cool landscape, etc.), I'll give it one paragraph. If nothing cool happens, I'm out. Even then, if the first character isn't interesting, I'm done.
Now, while I'm doing this, the writer part of my mind is quivering in horror. How can I be so cruel? Don't I know these are stories authors worked on and loved every bit as much as I did for my books? My reader self (since apparently I've got n people in my head at any given moment) just gives the writer a dirty look and points out that we've only got an hour a day to read, not to mention the awful drive over here, and do you want to spend those limited resources on something we won't like?
Spending this sort of quality time with my reader mind has taught me many things over the last few weeks, namely the enormous importance of opening lines. But, picky as the bitch is, you can't argue with results. Every book I've brought home so far I have loved, some past the extent of reason. There's something to be said for knowing what you like, and after nearly 20 years of literacy I ought to know what I'm after. But sometimes, as I skip over book after book after book, I start to get the creeping dread that I am cutting myself off from a world of reading by being so damn rigid in my book choosing process. The truth is, I'm probably missing a lot of really good books, but then everyone does. No one on earth has the time to read every good book, not even every good book in one genre. It simply can't be done. I know that, and still...
When I was young and had tons of time, I read everything. I'd read books I only sort of liked just to see how they'd end. I read widely and developed what I now think of as my taste for books. These days, though, time is short, and so I try to only read good books, books that will delight me. Fortunately there are several resources to help me along that end: reviewers, book bloggers, author reccs, all that sort of thing. I'm amazingly lucky, I have a library with a large SFF section, I live in the age of the kindle, where I can read the first two chapters of pretty much any recent book at the press of a button. But still I worry that, because of the sheer volume of books I have to choose from, that I am being forced to stick to what I know I'll enjoy rather than branching out. That said, I'd take a surfeit of choice over a lack any day. The key, I think, is to keep my mind open. I can decide I don't want to read something, but I have to at least look first. Sort of like tasting new foods. Eventually, even the pickiest eaters branch out if they keep trying new things.
One of the bits of advice I always see for writers is to read widely, but I think it is also important to read well. Read the books that move and inspire you, even if other people look down on them. The joy you take in reading is your own, and it is one of the richest experiences on the planet. Never let anyone spoil it for you, and if you have to be very picky to get there, then be picky. So long as you're still having fun, I don't think it matters at all, and there are certainly enough books to support even the pickiest of readers. You know, like me. :D
I've been on a reading kick the last week or so (amazing what quitting Warcraft can do for your life!), and as a result I've spent a great deal of time in my local library, browsing through the fantasy section. Now, my local library is wonderful and amazing, but it is also a pain and a half to get to, so whenever I go I make sure to read at least the first chapter of any book I'm considering taking home because I refuse to make that annoying drive for anything less than a known quantity of awesome. But this enforced extreme care in my book selections has revealed a fault of my character I never recognized before, namely that I am truly, phenomenally picky about what I read.
Time was that I would give anything that sounded cool at least a general glance over. Not any more. Now, faced with a huge shelf of books, my selection process goes like this:
1) Scan shelf for stand out titles/covers.
2) Read the back to check out the plot, get VERY ANNOYED if the back is nothing but quotes. Quotes tell me nothing. I want PLOT! Scrounge around inside to see if the story catches my interest or has any of my pet peeves (and let me tell you, I didn't even know I had these pet peeves until I started doing this. But after careful evaluation, I've discovered I always put down books containing boy heroes, young, initially powerless females caught up in situations beyond their control, too many made up names, shy people, the list goes ON AND ON. It's horrifying.)
3) If the book still has my interest, I will then open to the first page of story and start to read. If the first sentence doesn't catch me, I'm done. If the first sentence does catch my interest, but nothing's happening (landscape description without cool landscape, etc.), I'll give it one paragraph. If nothing cool happens, I'm out. Even then, if the first character isn't interesting, I'm done.
Now, while I'm doing this, the writer part of my mind is quivering in horror. How can I be so cruel? Don't I know these are stories authors worked on and loved every bit as much as I did for my books? My reader self (since apparently I've got n people in my head at any given moment) just gives the writer a dirty look and points out that we've only got an hour a day to read, not to mention the awful drive over here, and do you want to spend those limited resources on something we won't like?
Spending this sort of quality time with my reader mind has taught me many things over the last few weeks, namely the enormous importance of opening lines. But, picky as the bitch is, you can't argue with results. Every book I've brought home so far I have loved, some past the extent of reason. There's something to be said for knowing what you like, and after nearly 20 years of literacy I ought to know what I'm after. But sometimes, as I skip over book after book after book, I start to get the creeping dread that I am cutting myself off from a world of reading by being so damn rigid in my book choosing process. The truth is, I'm probably missing a lot of really good books, but then everyone does. No one on earth has the time to read every good book, not even every good book in one genre. It simply can't be done. I know that, and still...
When I was young and had tons of time, I read everything. I'd read books I only sort of liked just to see how they'd end. I read widely and developed what I now think of as my taste for books. These days, though, time is short, and so I try to only read good books, books that will delight me. Fortunately there are several resources to help me along that end: reviewers, book bloggers, author reccs, all that sort of thing. I'm amazingly lucky, I have a library with a large SFF section, I live in the age of the kindle, where I can read the first two chapters of pretty much any recent book at the press of a button. But still I worry that, because of the sheer volume of books I have to choose from, that I am being forced to stick to what I know I'll enjoy rather than branching out. That said, I'd take a surfeit of choice over a lack any day. The key, I think, is to keep my mind open. I can decide I don't want to read something, but I have to at least look first. Sort of like tasting new foods. Eventually, even the pickiest eaters branch out if they keep trying new things.
One of the bits of advice I always see for writers is to read widely, but I think it is also important to read well. Read the books that move and inspire you, even if other people look down on them. The joy you take in reading is your own, and it is one of the richest experiences on the planet. Never let anyone spoil it for you, and if you have to be very picky to get there, then be picky. So long as you're still having fun, I don't think it matters at all, and there are certainly enough books to support even the pickiest of readers. You know, like me. :D
March 25, 2011
News and thoughts
First, I have an interview with the wonderful Mihir of Fantasy Book Critic. There are mild spoilers, but nothing huge, especially if you've already read book 3.
Second, I got my first look at the new cover for the Eli Omnibus (that's book 1-3 combined for your pleasure, due out next year). I gotta say, that is a fine looking cover. As soon as Orbit posts it, I'll be linking it everywhere.
Third, the writing on book 5 is going well, though, as always when I'm writing a first draft, it feels like I'm crawling through the story. I always tell myself "I'm going to write all day today" but I never do. Five hours of writing is about all I have in me for any one day. Still, it's a pleasure to be almost done with the story. Not because I'll have to leave the characters, let me tell you how I weep at the thought of no more Eli. No, I'm happy because the story is finally reaching the big, big meta plot goodness I've been toiling over for 5 years now.
When I look back at the Eli books, I have a strange mix of pride and shame. I love the books, I love the characters and the world, but I'm ashamed of the mistakes I made. Sometimes, I wish I could go back and redo them. I wish I could write all the mistakes down so other writers could learn from them, but they're all so personal, so specific, no one would learn anything useful. With every book I write, I make more mistakes, some new, some new versions of mistakes I've been making since I started writing. I don't think I'll ever be done making mistakes, or doing things that couldn't be done better if only I'd know more, tried harder. Sometimes I think I've failed all together and there is no way I will ever be clever enough or eloquent enough to tell the stories. But I can't not tell the stories, can I? Even if I wasn't writing them down, I'd be telling them to myself. Since I've never been able to keep my mouth shut, I guess I've got no choice but to keep writing and, though I fail, at least try to fail better.
If I keep writing at my current pace of two books a year and live to 80, I'll have written 108 books by the time I die. That number fills me with such hope. Every time I finish editing a book I think, "that's the best book I've written." But by the time I write the next book, I'm sure I screwed the last one up. But all I can do is keep writing and hope that the next book will always be better than the one before it. By the time I hit book 50, book 100, surely I'll finally be the writer I want to be.
But then again, when I see the emails people send me, the reviews that say "I had such a good time reading this book," I think maybe I'm already there. The greatest pride in my life is knowing my stories made people excited, made them happy. What greater vocation can there be than making people happy? To be a source of joy in the world, even if it's only a joy brought on by snarky wizard stories full of mistakes. Every book gets better, and with every book, I'm building my way up, and I hope you'll come along with me.
Second, I got my first look at the new cover for the Eli Omnibus (that's book 1-3 combined for your pleasure, due out next year). I gotta say, that is a fine looking cover. As soon as Orbit posts it, I'll be linking it everywhere.
Third, the writing on book 5 is going well, though, as always when I'm writing a first draft, it feels like I'm crawling through the story. I always tell myself "I'm going to write all day today" but I never do. Five hours of writing is about all I have in me for any one day. Still, it's a pleasure to be almost done with the story. Not because I'll have to leave the characters, let me tell you how I weep at the thought of no more Eli. No, I'm happy because the story is finally reaching the big, big meta plot goodness I've been toiling over for 5 years now.
When I look back at the Eli books, I have a strange mix of pride and shame. I love the books, I love the characters and the world, but I'm ashamed of the mistakes I made. Sometimes, I wish I could go back and redo them. I wish I could write all the mistakes down so other writers could learn from them, but they're all so personal, so specific, no one would learn anything useful. With every book I write, I make more mistakes, some new, some new versions of mistakes I've been making since I started writing. I don't think I'll ever be done making mistakes, or doing things that couldn't be done better if only I'd know more, tried harder. Sometimes I think I've failed all together and there is no way I will ever be clever enough or eloquent enough to tell the stories. But I can't not tell the stories, can I? Even if I wasn't writing them down, I'd be telling them to myself. Since I've never been able to keep my mouth shut, I guess I've got no choice but to keep writing and, though I fail, at least try to fail better.
If I keep writing at my current pace of two books a year and live to 80, I'll have written 108 books by the time I die. That number fills me with such hope. Every time I finish editing a book I think, "that's the best book I've written." But by the time I write the next book, I'm sure I screwed the last one up. But all I can do is keep writing and hope that the next book will always be better than the one before it. By the time I hit book 50, book 100, surely I'll finally be the writer I want to be.
But then again, when I see the emails people send me, the reviews that say "I had such a good time reading this book," I think maybe I'm already there. The greatest pride in my life is knowing my stories made people excited, made them happy. What greater vocation can there be than making people happy? To be a source of joy in the world, even if it's only a joy brought on by snarky wizard stories full of mistakes. Every book gets better, and with every book, I'm building my way up, and I hope you'll come along with me.
March 15, 2011
Tension
Ok, so I was going to post this at Orbit, but after much hemming and hawing, I decided it was too nuts and bolts of writing oriented. I'm going to write something a little more reader oriented for Orbit later, but for now, have a post about developing tension. I hope someone finds it helpful, or at least entertaining! - R
Have you ever read a book so quickly you had trouble remembering everything that happened? I'm not talking about rushing through books for school (though we've all been there), I'm talking about turning pages like a desperate animal because you simply CAN NOT WAIT to get to the end and see how it all turns out. (I read the Harry Potter this way, attacking anyone who came near me. Limbs might have been lost, I couldn't tell you. I was reading.) Now, have you ever wondered what the author did to make you so desperate to get to the end?
Well, probably not. You were reading, after all. But let me ask you a second question: have you ever been reading a book and liking it ok, and then suddenly you finish a chapter, put the book down, and feel absolutely no urge to pick it up again? Like, it wasn't a bad book, you were just... done, even though the book wasn't.
At their simplest level, these phenomena are two manifestations of the same book construction principle: Tension, one done right, one done not-so-right. I'll let you guess which is which.
Tension is one of those things critics and agents and editors and book reviewers and pretty much anyone who reads critically is always commenting on. It's the tug of the novel, the gravity that pulls the reader toward the end. It's the force that makes you turn a page, and it's every bit as important to good fiction as plot and character. (Don't believe me? Try reading a novel that has no tension and see how far you get.) But while it's easy to talk about tension like it's some mystical force, it's not very helpful to someone looking to actually put tension into their work. As someone who struggled a lot with tension as I learned how to write a novel, I offer you the simple writer's definition I finally came up with for myself.
Tension is making the reader ask a question, and then not answering it.
At least, not immediately. To give an example, let me turn back to that old stand by, Harry Potter. Why HP? Well, not only is it one of those few things I can expect everyone to have read, but also because Rowling is the freaking ninja master of tension. In the very first paragraph of Sorcerer's Stone , JKR spends her first sentence talking about how the Dursley's are perfectly normal. The second sentence reiterates this, adding that, of course, these are the very last people you'd ever expect to be involved in something magical.
And right there, the tension's locked in. Already you're asking the question: what magical doom is going to befall these stringently normal people? JKR spins this answer out over the course of a chapter, by which point more questions have been posed and you can't help it, you have to keep reading to learn those answers. Some hooks are big, some are small, some are long term, some are short, but they all add their pull. Before you know it midnight has come and passed you're still up, snarling at anyone who dares try to pry that book from your clenched fingers. You, dear reader, are hooked.
Speaking of hooked, the above example could also be called a hook, which is another thing critical readers, especially agents, are always going on about. But all of that violent language - hooking a reader, grabbing a reader, pulling a reader in, has to do with tension. They all force questions: Will she get out alive? Where is her husband? How did that wizard end up in evaporating most of central park? Can a zombie find love?
Of course, part of a satisfying read is having all your questions answered eventually. Dangling threads make for pissed off readers. But, and here's the most important thing I've learned about tension, you have to be very, very careful doling out your answers. If questions are the engines that drive a reader forward, answers are the destination. Once all pertinent questions are answered in a book, the tension is gone.
Let's jump back to paragraph 2 and the book you put down. For sake of argument we'll assume you didn't put it down for obvious reasons (characters were too stupid to live, something horrible happens that makes you throw the book across the room, the story completely jumped the shark, etc). So we have a decent book, maybe even a book you were enjoying, which you just stopped reading and have no real urge to start again. Why? What made you stop? All other things in the book being decent, I will bet you money that it was because the tension fizzled.
Several years ago this happened to me with a romance novel. Things were rolling along initially - broody hero, snappy heroine, money problems in high society, all good and going along fine. And then, a little over half way through, the couple confessed their love for each other and got married.
I put the book down shortly after. Now, I had another five chapters at least of the couple solving the mystery of whatever, but as you see, I didn't care. At least not enough to keep going.
In Romance, the tension question is always "will they get together?" Once this question and all its requisite "How? Where? Why? Is there sex?" facets are answered, that's it. Unless the framing plot is AMAZINGLY compelling and has plenty of tension of its own, once the couple is happily together, the question is answered and the tension is over. Most of the time, that also means the story is over, even if the writer's not done writing.
All that said, though, the final point I'd like to make is that there's no greater tension builder than reader investment. You can hook people with questions all day long, but unless you give the reader a reason to care about the characters and world you're trying to hook them into, they're not going to stay. Initial curiosity will get someone to turn the first page, but not the second. However, if you can create a character the reader cares deeply about, if you can force them to worry for that character, to make them ask "what's going to happen?" and really mean it on a deep, emotional level, you've achieved the highest pinnacle of fiction. But the only way to get to this lofty peak is good tension right from the beginning.
And that's what I've learned about tension so far. Any advice you see here is purely my own and should, as with any single opinion, be taken with a grain of salt. I hope you found it helpful, or at least interesting. I'm always interested in how other people approach tension, or any part of story telling, so if you have a comment, please chime in. I'm all ears (well, all eyeballs, since this is the internet).
Have you ever read a book so quickly you had trouble remembering everything that happened? I'm not talking about rushing through books for school (though we've all been there), I'm talking about turning pages like a desperate animal because you simply CAN NOT WAIT to get to the end and see how it all turns out. (I read the Harry Potter this way, attacking anyone who came near me. Limbs might have been lost, I couldn't tell you. I was reading.) Now, have you ever wondered what the author did to make you so desperate to get to the end?
Well, probably not. You were reading, after all. But let me ask you a second question: have you ever been reading a book and liking it ok, and then suddenly you finish a chapter, put the book down, and feel absolutely no urge to pick it up again? Like, it wasn't a bad book, you were just... done, even though the book wasn't.
At their simplest level, these phenomena are two manifestations of the same book construction principle: Tension, one done right, one done not-so-right. I'll let you guess which is which.
Tension is one of those things critics and agents and editors and book reviewers and pretty much anyone who reads critically is always commenting on. It's the tug of the novel, the gravity that pulls the reader toward the end. It's the force that makes you turn a page, and it's every bit as important to good fiction as plot and character. (Don't believe me? Try reading a novel that has no tension and see how far you get.) But while it's easy to talk about tension like it's some mystical force, it's not very helpful to someone looking to actually put tension into their work. As someone who struggled a lot with tension as I learned how to write a novel, I offer you the simple writer's definition I finally came up with for myself.
Tension is making the reader ask a question, and then not answering it.
At least, not immediately. To give an example, let me turn back to that old stand by, Harry Potter. Why HP? Well, not only is it one of those few things I can expect everyone to have read, but also because Rowling is the freaking ninja master of tension. In the very first paragraph of Sorcerer's Stone , JKR spends her first sentence talking about how the Dursley's are perfectly normal. The second sentence reiterates this, adding that, of course, these are the very last people you'd ever expect to be involved in something magical.
And right there, the tension's locked in. Already you're asking the question: what magical doom is going to befall these stringently normal people? JKR spins this answer out over the course of a chapter, by which point more questions have been posed and you can't help it, you have to keep reading to learn those answers. Some hooks are big, some are small, some are long term, some are short, but they all add their pull. Before you know it midnight has come and passed you're still up, snarling at anyone who dares try to pry that book from your clenched fingers. You, dear reader, are hooked.
Speaking of hooked, the above example could also be called a hook, which is another thing critical readers, especially agents, are always going on about. But all of that violent language - hooking a reader, grabbing a reader, pulling a reader in, has to do with tension. They all force questions: Will she get out alive? Where is her husband? How did that wizard end up in evaporating most of central park? Can a zombie find love?
Of course, part of a satisfying read is having all your questions answered eventually. Dangling threads make for pissed off readers. But, and here's the most important thing I've learned about tension, you have to be very, very careful doling out your answers. If questions are the engines that drive a reader forward, answers are the destination. Once all pertinent questions are answered in a book, the tension is gone.
Let's jump back to paragraph 2 and the book you put down. For sake of argument we'll assume you didn't put it down for obvious reasons (characters were too stupid to live, something horrible happens that makes you throw the book across the room, the story completely jumped the shark, etc). So we have a decent book, maybe even a book you were enjoying, which you just stopped reading and have no real urge to start again. Why? What made you stop? All other things in the book being decent, I will bet you money that it was because the tension fizzled.
Several years ago this happened to me with a romance novel. Things were rolling along initially - broody hero, snappy heroine, money problems in high society, all good and going along fine. And then, a little over half way through, the couple confessed their love for each other and got married.
I put the book down shortly after. Now, I had another five chapters at least of the couple solving the mystery of whatever, but as you see, I didn't care. At least not enough to keep going.
In Romance, the tension question is always "will they get together?" Once this question and all its requisite "How? Where? Why? Is there sex?" facets are answered, that's it. Unless the framing plot is AMAZINGLY compelling and has plenty of tension of its own, once the couple is happily together, the question is answered and the tension is over. Most of the time, that also means the story is over, even if the writer's not done writing.
All that said, though, the final point I'd like to make is that there's no greater tension builder than reader investment. You can hook people with questions all day long, but unless you give the reader a reason to care about the characters and world you're trying to hook them into, they're not going to stay. Initial curiosity will get someone to turn the first page, but not the second. However, if you can create a character the reader cares deeply about, if you can force them to worry for that character, to make them ask "what's going to happen?" and really mean it on a deep, emotional level, you've achieved the highest pinnacle of fiction. But the only way to get to this lofty peak is good tension right from the beginning.
And that's what I've learned about tension so far. Any advice you see here is purely my own and should, as with any single opinion, be taken with a grain of salt. I hope you found it helpful, or at least interesting. I'm always interested in how other people approach tension, or any part of story telling, so if you have a comment, please chime in. I'm all ears (well, all eyeballs, since this is the internet).
March 7, 2011
thoughts while writing
Dear Self,
Just a note of reminder, since you seem to need it. Remember, just because it's interesting doesn't mean it has any place in your story. Just because you LIKE it doesn't mean it belongs in the book. If a scene doesn't move the main story forward, no matter how amazing it might be, it's not going to stay int he book.
Because you're nearing 40k words, and frankly you haven't hit the middle hump of the action. I should have to tell you this, self, but this is BAD. You'd think you'd know this after 5 novels, but noooooo. So, remember, darling self, word count does not equal done book. The book is done when the PLOT is done, and at this point that's a long way from here. Stop futzing about with the loose ends and focus on getting your intrepid hero to the END of the story. Once he's comfortably settled in the falling action, THEN you can focus on wrapping up all those little things you threw in because you thought they'd be cool at the time.
But seriously, a 6k chapter focusing on side plot is NOT COOL. In the words of Gold Five: "Stay on target... Stay on target." We'll blow up this Deathstar/novel together, just stop writing BS, okay?
Yours always,
Me
Just a note of reminder, since you seem to need it. Remember, just because it's interesting doesn't mean it has any place in your story. Just because you LIKE it doesn't mean it belongs in the book. If a scene doesn't move the main story forward, no matter how amazing it might be, it's not going to stay int he book.
Because you're nearing 40k words, and frankly you haven't hit the middle hump of the action. I should have to tell you this, self, but this is BAD. You'd think you'd know this after 5 novels, but noooooo. So, remember, darling self, word count does not equal done book. The book is done when the PLOT is done, and at this point that's a long way from here. Stop futzing about with the loose ends and focus on getting your intrepid hero to the END of the story. Once he's comfortably settled in the falling action, THEN you can focus on wrapping up all those little things you threw in because you thought they'd be cool at the time.
But seriously, a 6k chapter focusing on side plot is NOT COOL. In the words of Gold Five: "Stay on target... Stay on target." We'll blow up this Deathstar/novel together, just stop writing BS, okay?
Yours always,
Me
March 4, 2011
A reply to Jezebel's story about Amanda Hocking
I you like the cruise the interwebs, you may have already heard about Amanda Hocking's pretty rocking rise to the top. I'd heard a little about it, but no details until I read the article below from Jezebel.
26-Year-Old Writer Makes Millions On eBooks — But How, And Why?
It's a short write up, but as this is my turf, so to speak, I felt I should comment. However, comments aren't working on Jezebel at the moment, so, perhaps more wisely, I'm posting my comment here. Enjoy and feel free to leave a comment of your own!
Dear Jezebel,
I'm a published fantasy author with 3 books in print, and I gotta tell you, I'm 1/2 overjoyed, 1/2 sobbing about this story.
You can believe me when I say that the industry knows that stupid shit sells. The trouble is no one knows which stupid shit will sell and which won't. Every year sure-fire hits fizzle while unknowns rocket to the top. There are several stories of authors who were rejected by publishing houses and sold millions, Paollini is one, Hocking's another. But then again we have Stephenie Mayer who woke up one day and decided to write a book, wrote it in 6 months, got an agent with her first query letter, and had an enormous publishing deal by the end of the year.
The book market is no more fair or predictable or controllable than any market that makes its living catering to people's imaginations. For every Amanda Hocking out there buying a house with her ebook money, there's millions of authors whose ebooks never clear the friends and family threshold. That's why I'm so happy to hear that Hocking made it. That is a feat, and you better bet she worked her ass off for her success, both for writing books that, whatever faults they may have, must have made a lot of people happy to get sales numbers like that, and for the obvious effort she put into promoting her books online.
The part that makes me sad is how people who will dismiss her obvious achievement, forgetting all the work we don't see, the novels that didn't work, the insane risk of betting your family's future on words, and treat this story as some kind of phony sea change. "She made millions from home, now you can too! Screw New York and Big Publishing, publish your novel on Kindle and retire early!" So while I'm ecstatically happy for and, yes, a little envious of her phenomenal success (I would LOVE to sell 100,000 books, let me tell you), I'm also sad that, no matter how much she says "Even I don't know how I did this," scammers and people who prey on the writing dreams of others are going to be using her rise as a pitch for over priced "publishing services" for years and years to come.
And on another note: To the commenter who pointed out there are books on torrent sites. Chica, I feed my kid off book sales. Please don't support pirates. It's the authors who lose, not the publishing houses, and we're not all millionaires.
- Rachel Aaron
26-Year-Old Writer Makes Millions On eBooks — But How, And Why?
It's a short write up, but as this is my turf, so to speak, I felt I should comment. However, comments aren't working on Jezebel at the moment, so, perhaps more wisely, I'm posting my comment here. Enjoy and feel free to leave a comment of your own!
Dear Jezebel,
I'm a published fantasy author with 3 books in print, and I gotta tell you, I'm 1/2 overjoyed, 1/2 sobbing about this story.
You can believe me when I say that the industry knows that stupid shit sells. The trouble is no one knows which stupid shit will sell and which won't. Every year sure-fire hits fizzle while unknowns rocket to the top. There are several stories of authors who were rejected by publishing houses and sold millions, Paollini is one, Hocking's another. But then again we have Stephenie Mayer who woke up one day and decided to write a book, wrote it in 6 months, got an agent with her first query letter, and had an enormous publishing deal by the end of the year.
The book market is no more fair or predictable or controllable than any market that makes its living catering to people's imaginations. For every Amanda Hocking out there buying a house with her ebook money, there's millions of authors whose ebooks never clear the friends and family threshold. That's why I'm so happy to hear that Hocking made it. That is a feat, and you better bet she worked her ass off for her success, both for writing books that, whatever faults they may have, must have made a lot of people happy to get sales numbers like that, and for the obvious effort she put into promoting her books online.
The part that makes me sad is how people who will dismiss her obvious achievement, forgetting all the work we don't see, the novels that didn't work, the insane risk of betting your family's future on words, and treat this story as some kind of phony sea change. "She made millions from home, now you can too! Screw New York and Big Publishing, publish your novel on Kindle and retire early!" So while I'm ecstatically happy for and, yes, a little envious of her phenomenal success (I would LOVE to sell 100,000 books, let me tell you), I'm also sad that, no matter how much she says "Even I don't know how I did this," scammers and people who prey on the writing dreams of others are going to be using her rise as a pitch for over priced "publishing services" for years and years to come.
And on another note: To the commenter who pointed out there are books on torrent sites. Chica, I feed my kid off book sales. Please don't support pirates. It's the authors who lose, not the publishing houses, and we're not all millionaires.
- Rachel Aaron
