A Classical Education: 10 (or more) Sci-Fi Books You Should Read

A while ago, Nathan Bransford asked, "What book are you embarrassed not to have read?" A lot of classics were mentioned (and a lot of people haven't read Lord of the Rings, which astounds me), but it made me think: What books should a science fiction author(/critic/fan) have read?

Some caveats: (1) this is not a top 10 sci-fi novels of all time, nor is it my favorite 10 sci-fi novels; (2) I haven't read all of these (in particular, I haven't read #7, and #5 is waiting on my shelf); (3) I totally cheated because I couldn't pick just 10, so I'm giving you some options.

Without further ado, here's my list of 10 (or more) novels any sci-fi fan should read:

1. Journey to the Center of the Earth, From the Earth to the Moon, 20,000 Leagues Under the Sea, or Around the World in Eighty Days by Jules Verne. The first father of science fiction, Verne thought of things that didn't happen for 100 years, but they happened. That's like the heart of science fiction.
2. The War of the Worlds, The Invisible Man, or The Time Machine by H. G. Wells. The second father of science fiction. Apparently also the father of table top war games.
3. 1984 by George Orwell or Brave New World by Aldous Huxley. Classics in dystopian fiction. Really, you ought to read both.
4. Dune by Frank Herbert. I consider Dune to be the Lord of the Rings of science fiction, largely for its scope and themes. Unlike the other novels above, Dune is more about the characters and the story than the science. It's one of the best examples of what character-driven, epic sci-fi can be.
5. The Foundation trilogy by Isaac Asimov. As mentioned, I haven't read these yet, but they're on my shelf. I have read very little Asimov, and I know this series is a must from a great science fiction author.
6. The Martian Chronicles by Ray Bradbury or Red Planet by Robert Heinlein. If Wells and Verne are fathers of sci-fi, Bradbury and Heinlein are like their sons, or grandsons or something. These two classics explore the colonization of Mars before we realized there was nothing on it. (Alternatively, try Heinlein's Stranger in a Strange Land).
7. Neuromancer by William Gibson or Snow Crash by Neal Stephenson. I haven't read either, but I've heard so much about them that I want to read both. Both books deal with the idea of cyberspace before "cyberspace" was a word my mom used. A lot of ideas seen in sci-fi since have come out of these stories.
8. Ender's Game by Orson Scott Card. I couldn't make a list of sci-fi books without mentioning my very favorite. Like Dune, Ender's Game is more about the characters and psychology than it is about science, but that doesn't make it any less scientific. I don't care if you're a sci-fi fan or not, you have to read this book.
9. The Giver by Lois Lowry. More dystopian fiction, but more contemporary and accessible than either Orwell or Huxley. Plus, I have a soft spot in my heart for young adult fiction. It's a good book. Try it out.
   
10. Hitchhiker's Guide to the Galaxy by Douglas Adams. One thing about science fiction is that it's often really, really serious. Adams takes care of that, and I think any fan of sci-fi ought to be exposed to the funnier side of the genre.

So I guess that's over 20 books. That's fine, they're all worth reading. But hey, this is just my opinion, and any top 10 list is going to be missing something. So what do you think? What books would make your list?

Self-Promotion

I hate the idea of self-promotion. Who doesn't? Who wants to be that kid who says, "Hey, everybody! Look at me!!" Okay, fine, well I never wanted to be that kid. Now I find myself on the outskirts of an industry that requires it.

So I've been researching self-promotion a little. One thing I've discovered is that I've already been doing it. I mean, the missionary "industry" revolves around self-promotion just as much as the publishing one does. Perhaps more so.

(Speaking of which, those of you reading this from Facebook might like to know that this is being imported from my other blog - my writing one. I'm still importing the missionary blog such that it appears on my wall, but not into my notes anymore. I hope that's okay.)

How you promote yourself depends, apparently, on how much money, time, and morals you have. If you have a lot of money, hire a publicist. If you have a lot of time, build a website, make profiles on social networking sites, and spend time on other people's blogs, the social net, forums, etc. - all the while linking back to your website. If you're low on morals, this time can also be spent comment spamming and writing fake reviews.

It's like this. Let's measure the amount of time and money invested in self-promotion with what we'll call your Publicity Quotient. The more you invest in self-promotion, the higher your PQ (low morals increase your PQ slightly, with an increased risk of drastically lowering it when you're found out; high morals, sadly, do nothing). With that in mind, take a look at this completely unscientific, made-up chart:

Not terribly mathematical, I know. But beyond the general guideline that the more you put in, the more you'll get out, publicity is largely luck and magic - becoming a breakout bestseller even more so.

Also, anyone who tells you how to promote yourself, without mentioning in the same breath that you need a product worth promoting, is taking you in. If your book sucks, you can sell copies with publicity but it won't do you much good in the long run (see low morals).

That's my take on the whole thing, anyway. I plan on doing self-promotion the same way I've been doing it. I'll provide places for people to get hooked in, I'll get the word out with a non-spamming announcement, and most importantly I'll try to be genuine. That means leaving comments because I have something to say, not because I have something to link to. It means making profiles on social networks that I'm actually a part of (sorry, MySpace, guess that means you're out).

And it means trusting others to do the reviewing and word-of-mouth advertising for me. If it doesn't happen, it just means I need to write a better book next time.

And when that doesn't work, I'll upgrade my spambot.

No More Crichton

This is kind of out of the blue for me. I didn't even know he had cancer, but apparently Michael Crichton has passed away.

Michael Crichton is one of my early, and still present, influences in writing. It started with Jurassic Park which I read as a teenager, after which I went on to read practically everything he wrote. Though I didn't mention him before, Michael Crichton taught me that a novel should read like a movie. Ironically, I learned that from reading Sphere, which is a great book but a terrible movie - sorry, Michael, it was.

Premise and Adam's 3 WIPs

Under extreme duress, I've added the followers widget to my sidebar. Two of you have already noticed it. Feel free to make use of it, and know that seeing little boxes up there makes me happy.

At the end of my first mission trip, we spent a few days preparing for reassimilation back to the States. One thing our leaders told us was that everybody would ask the question "How was your trip?" but not everybody wanted to know everything. We had to be prepared to answer that question, lest we just say "Good" or else ramble on until we noticed that our listener had walked away some time ago.

The leaders suggested we have three answers to the question: a 5 second answer, a 1 minute answer, and a 5 minute answer. Each answer was meant to be concise and informative, giving the listener the information they really wanted (you can usually tell who wants a 5 second answer vs. 5 minutes), yet hopefully causing them to ask questions and start a discussion.

Your novel is the discussion you want to have with someone. Your synopsis is your 5 minute answer. Your hook is the 1 minute, and your 5 second answer is your premise.

The premise is everything the story is about in one sentence, less than 25 words or so. It's the one-line blurbs TV Guide uses to describe the movies in their listings, the tagline at the top of Amazon items, the first answer to "What's your book about?" It sucks to write because you have to cut out everything, but it's a great place to start before writing a query.

Today I'm going to elaborate on the status of my works in progress, and give you a 20-word premise of each.

TRAVELERS
Premise: A father and son must rescue an extraordinary girl from an immortal tyrant in a post-apocalyptic future to save humanity. I've put the first chapter online.

Status: I've sent out 50 queries, and received 33 form rejections. Fun, huh?

Plans: I have another 8-14 agents to query. After that, I'll try revising the query at AQConnect and Evil Editor some more before querying big publishers directly. If that doesn't work, small press.

AIR PIRATES (working title)
Premise: A future-telling stone makes a young man join an air pirate crew on a quest to find his long-dead mother.

Status: Tentatively titled "The Curse of Samhain." I have just finished chapter 14, putting the manuscript at 50,000 words.

Plans: The current outline calls for 29 chapters, maybe 110,000 words. I can't yet estimate when it will be done though. During the first six months, I wrote at 2,700 words/month, but in the last six I've more than doubled that. If I can keep it up, the draft might be finished in another 9-10 months. But take that with a bunch of salt, because (a) I'm getting faster all the time, (b) life gets in the way a lot, and (c) my wife and I are still trying to balance my writing with my life/job, and the net effect of this balancing on my writing speed is unknown.

I have a three-book story arc planned for Air Pirates.

JOEY STONE (working title)
Premise: A girl who controls fire with her mind joins an academy for her kind and learns about trust and sacrifice. (Give me a break, I haven't even figured out a plot yet!)

Status: Still brainstorming. Whenever I have ideas, I jot them down in a Word document set aside for that purpose. Otherwise, I leave it alone.

Plans (such as they are): The powers in the story are largely psionic in nature, but I may decide to refer to them as mutant or witchly.* The powers are based on a PBeM world I created in another life.** I was going to set the story in that world too, but now I'm thinking about leaving it on Earth, maybe modern day or near future. Heck, if I can figure out a way to place it in Thailand, I will. You can see how nebulous this story still is.

I very, very loosely have three books planned for this story. I don't know if I will start it after finishing Book 1 or Book 3 of Air Pirates though. Right now, Joey's just a seed that I'm interested in, but not a story. That seed has to bounce around my head for a while before it really sprouts.


* And you thought that other post was theoretical. Ha!

** In the world before 9/11.

The Imaginary Line

There is an imaginary line dividing science fiction and fantasy. Science fiction is space and aliens and the future. Fantasy is magic and elves and dwarves. Right? As a reader, I'm glad it's not that simple, but as a writer, trying to find where I fit, I wish it would be a little easier. We categorize books so that readers can find what they like, and so publishers can find the right folks to sell to, but so so many books defy categorization.

Example: Heinlein's Stranger in a Strange Land. The book is no doubt science fiction what with Martians, space travel, a sole survivor of a defunct colony on Mars, etc. But halfway through, and most peculiarly at the end, there are characters both major and minor that have become angels in Heaven. That's not science, is it?

How about McCaffrey's Dragonriders of Pern? It has dragons, telepathy, medieval societies... but if you've read farther you know that Pern is a colony of Earth, and dragons the result of genetic engineering. The series appeals to fantasy fans, but the author insists it's sci-fi. If there's a line between science fiction and fantasy, then Anne McCaffrey is sitting right on top of it.

Now try this. I'll give you the premise of a story, and you tell me if it's sci-fi or fantasy: "New students arrive at a private academy for witches whose highly-trained agents must oppose a powerful terrorist witch organization."

Fantasy, right? Maybe urban fantasy (the words "agents" and "terrorist" suggest modern-day). What if I told you the sentence originally said "mutants" instead of "witches" and is, in fact, the premise of X-Men?

X-Men is science fiction, but merely by changing the perceived source of their powers - not changing their powers or the story or even their costumes one bit - the genre of the movie suddenly slides towards fantasy. (In fact, Marvel 1602 does just that, calling them "witchbreed" rather than mutants, leaving their powers unchanged).

Granted, if we altered X-Men by calling them witches, the story should change, at least a little. But it doesn't have to change a lot for it to suddenly become urban fantasy. It's all in perception.

What's my point? I don't know if I have one. Just that with every story I write, I find myself sitting on top of that imaginary line and wondering how to sell the story. I wish we could call it all speculative fiction and be done with it, but it's not to be. I know.

Anyway, here's to steampunk and science fantasy. My favorite blended subgenres that will never see their own sections in a bookstore.

Hook Examples from Television

A few weeks ago, I talked about 7 things that need to be present in the hook (the mini-synopsis, the query... whatever you call it, it's the thing you send to agents and editors in the hopes that they will want to read your book). I had a hard time finding real-world examples of query letters, but I did find some examples from good, old-fashioned television. That's what we're talking about today.

One thing most television shows do is resell themselves with every single episode. You never know when a new viewer is going to tune in, and you don't want them to tune out just because they don't get it. You need to hook them from the beginning. Sometimes, that hook comes in the form of a voice over that explains the show's premise in a cool, interesting way. See if you can find the 7 things in each of these examples.

In 1972, a crack commando unit was sent to prison by a military court for a crime they didn't commit. These men promptly escaped from a maximum security stockade to the Los Angeles underground. Today, still wanted by the government, they survive as soldiers of fortune. If you have a problem, if no one else can help, and if you can find them, maybe you can hire... The A-Team.

This example is 50% setup, but all the elements are there, and the setup goes a long way towards establishing the characters - not individually of course, but as a team, which is really what the show was about. After this voice over, the visuals that played during the theme song would give you a sense of the characters. In a query letter, you've still got a whole paragraph or two to do the same thing.

Knight Rider: a shadowy flight into the dangerous world of a man, who does not exist. Michael Knight, a young loner on a crusade to champion the cause of the innocent, the helpless, the powerless, in a world of criminals who operate above the law.

This is not a good example of specificity (what the heck is "a shadowy flight"?), but it is concise. All the elements, except for maybe setting, are presented in only 45 words. Of course this hook omits the coolest thing about the show, namely Kitt. That's what needs to go in the rest of the query (and, again, Kitt is everywhere during the rest of the theme).

The alien world of Myrrh is being devoured by dark water. Only Ren, a young prince, can stop it by finding the lost 13 treasures of Ruul. At his side is an unlikely, but loyal crew of misfits. At his back - the evil pirate lord Bloth, who will stop at nothing to get the treasures for himself. It's high adventure with the pirates of dark water!

This is from a short-lived Saturday morning cartoon I used to watch. It's crammed pack with cliche (hey, it was a cartoon!), but every element is there and it tells you what to expect: adventure, pirates, a quest, treasures, and even a little fantasy. All in only 67 words.

Water, earth, fire, air - long ago, the four nations lived in harmony, then everything changed when the Fire Nation attacked. Only the Avatar, master of all four elements, could stop them, but when the world needed him most, he vanished. A hundred years later, my brother and I discovered the new Avatar - an airbender named Aang, but though his airbending skills are great, he's got a lot to learn before he's ready to save anyone. But I believe Aang can save the world.

Last example. This lacks a little in that it's unclear how one can be a "master of all four elements" or what "airbending" is without being able to see the accompanying visuals. The other thing about this one is that first person in a query is a no-no, unless it's a memoir. Both of those things can be tweaked to make this appropriate for a query letter. Even so, I think the first person works really well here. Mainly because that last sentence gives you a sense, not only of Aang's character, but of the narrator's character as well.

These examples aren't perfect. I present them to show how the 7 things - protagonist, antagonist, goals, stakes, conflict, setting, and theme - can be presented in an interesting way in a short space. None of these examples is longer than 100 words. That leaves you with another 150-250 words to clarify the 7 elements, talk about your credentials, and mention why you chose that particular agent. If you can do all that concisely, you will have gone a long way towards your goal.

Last tips for today:
(1) Read your query out loud to yourself. You can catch a lot more errors that way.
(2) Imagine your query being read by the guy who does movie trailers. I'm not joking. It helps.

Why Do I Want To Be Published?

Bit of a God post. You've been warned.

In the last couple of weeks, I've repeatedly come against the question:* why do you want to get published? It's forced me to think, especially in light of the fact that writing is not, and can never be (at least for the foreseeable future) my main priority.

It's a hard question, because I won't deny that I like the feeling of being mini-famous,** but that's hardly a Christian attitude and certainly not a good thing to prioritize over my family.

* See Tip #88
** That is, famous only within small circles.

So I did what I always do when I'm in doubt. I went to the balcony and prayed. God didn't talk to me, but he opened my eyes. Or maybe by opening my heart and being quiet, I was able to see. I looked at our lawn - the lawn that only a couple months ago was a barren wasteland - and a bunch of birds flew onto the lawn, hopping around looking for bugs, and I thought, "That's cool. They couldn't do that before. Those birds are enjoying the lawn we made."

That's what hit me. I liked that the birds were enjoying something I made. I felt satisfied in my work. That's why I want to be published.

See, I already know that I love to - no, I have to - create. Writing is just my current outlet for that. And I'm completely convinced it's because I was made in the image of a creative God.*** And even God wasn't content with creating for himself. He needed someone who would get his Creation. Someone who could enjoy it.

I realized I create so that I and others can enjoy what I've created. Even though I do want to be mini-famous and make some money, my writing ultimately isn't about me. I could make it so pretty easily (and I'm sure I do in my mind all the time), but it's liberating to know the basic drive is much more pure than that.

*** That's essentially what "Author's Echo" means. We are echoes of the Author, images of him, children trying almost pathetically, yet purposefully, to emulate our Father in the things we do.

Christian Science Fiction, Revisited

A few months ago, I mused aloud on whether Travelers was too secular for the Christian market. Last weekend I found some interesting information on that very thing (if you follow the link, we'll be talking about Tips #16-18).

Back up first. There's this guy, Jeff Gerke, who looks like exactly the blend of Christian and geek such that we could be good friends, if we ever met. He writes Christian speculative fiction and is making a decided effort to try and get similar stories published (more on that later).

He has 95 writing tips (5 more to come, I guess), some of which are on the business of publishing, some on the business of Christian publishing, and some on writing as a Godly calling. Anyway, in answer to the question, "Is Travelers too secular for the Christian market?" it seems the answer is it's too speculative for the Christian market. Why? Because, says Jeff, "the main readers of Christian fiction are... white, conservative, evangelical, American women of child-raising to empty nest years," and "97% of all Christian fiction titles [are] romance, chick-lit, female-oriented Biblical/historical fiction, female-oriented thrillers, and women's fiction."

Apparently Frank Peretti, Ted Dekker, and LeHaye/Jenkins are the exceptions, and nowhere near the rule. A new author trying out a male-oriented, Christian speculative fiction novel is likely to get shut down.

So where does that leave Travelers? All it really does is close the door to major Christian publishing houses, and it tells me that I shouldn't use the word "Christian" when I'm querying agents. However, should I run out of agents to query, and should none of the big sci-fi publishers be interested, it turns out Jeff also has his own small press alternative that I will definitely look into.

No Examples

I've been looking at the Query Shark and the query project for good examples of what I was talking about the other day, and though I did find some, I discovered something else. While all of these queries are good enough to get a request for pages or representation, all of them are very different. Many of them break the rules, a number of them are too long, and a bunch could easily be written better.

What does that tell me? The should-be-obvious, I suppose - that writing a good query letter helps, but the story is what matters. So I guess the advice you can get from this post is: think about whether the concept of your story is a good one - one that others will want to pay to read. If it isn't, fix it.

This is not what I did with Travelers. When I first started sending out queries, my thought was that they would just have to read the book and they'd buy it. That's why my first query letter sucked - I thought it was just a formality. It's much more than that, and I'm starting to suspect that the long string of rejections is because the concept is... not bad, necessarily, but not very marketable the way I've written it.

Here's for trying one more time. This example is mine:

Trapped in a post-apocalyptic future, Dr. Alex Gaines must rescue an extraordinary girl from an immortal tyrant to save not only the future, but all humanity.

Protagonist: Dr. Alex Gaines, Antagonist: an immortal tyrant, Goal: rescue extraordinary girl, Stakes: save the future, save humanity, Conflict: (implied) tyrant has the girl, Setting: post-apocalyptic future, Theme: *crickets chirping*

Yeah, so I'm kinda low on themes here. For all my thinking about it, I still don't know how to shove the theme in there without being all obvious/cheesy about it (e.g. "Travelers asks the question, is there more to being human than we've been told?"). But this is only one sentence. All the parts that are implied or weak or that leave the questions "What? How?" can be padded out in the rest of the query.

And this isn't perfect. I haven't gotten representation or anything. As with everything on this blog, these are just my thoughts and I hope that they can help others on the same road.

Hook, Crook, or Aduncity

The hook is the first part of the query letter. It's what you say when your friends ask, "So what's your book about?" It is the fundamental concept behind the plot of your story, written in such a way as to make the reader say, "Cool, tell me more."

But how the heck do you distill 100,000 words into 2 sentences of cool? It's not easy. The internet has some good tips already, but I'm going to throw my own version into the mix because with something as subjective as a novel hook, I don't think you can have too many ways to think about it.

There are 7 things the hook should have:

1. Protagonist. Who is the story about?
2. Antagonist. Who or what is against the protagonist?
3. Goal. What does the protagonist want to accomplish?
4. Stakes. What will happen if the protagonist does not accomplish their goal?
5. Conflict. What is keeping the protagonist from accomplish their goal?
6. Setting. Where/when does the story take place?
7. Theme. What is the story's main subject or idea?

Figure out that information, then write it in a sentence or two. That's your core. The entire rest of the query, synopsis, and even the novel is focused around that. That means that your query (hook + mini-synopsis) has all of that information and, more importantly, does not have anything that confuses or detracts from that information.

The more I learn, the more I think that the best way to do this is to write the hook before I outline or draft the novel. It would help keep the novel more focused and make writing the query/pitch/synopsis much easier later on. Unfortunately, Travelers was an attempt to prove something to myself, so it got away from me long before I knew what a query was, and now I find myself having to wrangle it back in. I have more hope for Air Pirates, but that was also outlined before I figured this stuff out.

I'll start talking examples in the next post or two. And if I finish my other plans for the month, I might try writing a hook for Air Pirates using this method, and I'll show you that too. Finding a hook is like a Sudoku puzzle: it totally sucks until you figure it out, and then it's the most awesome thing in the world and you want to do it again.

Still Alive

Just got back from our visit to the States. Got 2 more rejections on Travelers queries. In October I plan to send out another transport of 10 queries,* maybe submit a short story, and actually write something for Air Pirates (I've got 0 words logged for this month - yay, vacation!).

I've also picked up about 13 books to read - sci-fi and fantasy all - so I'm looking forward to that too. It's a nice mix of true classics, modern classics, and modern midlist.** Though unfortunately I couldn't find the books I was really looking for. I guess I'll have to inspire my own airshipping.

In all other wise I'm just trying to get my house back in order after others have been caring for our kids for 3 weeks, and in less than 5 minutes I hope to pass out. I hope to wake up approximately 14 hours later.

* With draft #7 of the query letter.

** That could be classic any day now.

Travelers Plans

I apologize for the lack of posts. We've been visiting the States, and I've gotten very little writing done, let alone blogging. It's been a good trip, though. In particular, I got to talk to a friend of mine about my plans for Travelers, and I more or less pitched Air Pirates for the first time, which went well.

I've sent out 40 queries so far for Travelers, of which 29 are negative - they didn't get past the query - and the others haven't responded yet. So it doesn't look good, but I'm learning a lot about writing as an industry, and I intend to put that knowledge to good use when Air Pirates is finished. Until then, I'll finish the list of agents I have. When that's through, I'll try publishers that accept unsolicited submissions, and then I might look at small presses. I don't think I'll go the self-publishing route, mainly because I don't have the time for it.

The thing is, Travelers was always a novel I wrote just to prove to myself it could be done. At the time, I had two ideas I thought could be made into novels, and I chose to start with the one I liked the least (so that the one I cared more about would be that much better when I got to it).

So in some ways, Travelers is a story I don't care about. In some ways. I mean, I like the story. I care about what's being said in it. If an agent or editor thought it had potential, I would work hard on it for sure. But if nobody else is interested, I may not care enough to redo the whole thing myself just to maybe sell it later. In the far future, perhaps, but as long as I've got other stories tugging at my imagination, Travelers would be put on a backburner.

But it's not over yet. I've still got a couple transports-worth of agents to query, and each batch gets a revised query letter which (in theory) increases its chances. Speaking of which, sometime next summer (about a year after I sent out the first transport), I might resend to the first batch of agents. Some of those agents were the most likely to be interested, but they got the crappiest query letter. I don't think it'd hurt my chances to send them the best revision of the letter over a year after they rejected the first one.

Anyway, we'll see. Hopefully before it comes to any of that Air Pirates will be done and I can focus on that. I'd rather get an agent for Air Pirates and then see what they think about Travelers and its chances.

On Writing About Airships

I love airships. I'm not sure why, but they've always captured my imagination. From the first one I can remember in Final Fantasy to my koala pilot in Mutants Down Under. Those were the hooks, but it became an obsession when I saw Laputa for the first time. I've gotten other hits since, but mainstream media seems to be lacking in strong airship-based entertainment. I've been itching to create something with airships for a long time, and it's exciting to finally be doing so.

The other day, I got to the first airship combat scene in Air Pirates. I thought writing it would be a breeze. Like chase scenes. I hardly ever have to plan a chase scene ahead of time. So long as I have a mental picture of the location, the action just happens and all I do is record it. Imagine my surprise when I realized that airships are slow, ponderous vehicles, and combat between them isn't inherently exciting at all.

It worried me at first, but I though about similar vehicles - seagoing ships and submarines, for example. Sea and undersea battles are also slow, boring affairs, but that didn't keep me from enjoying Pirates! or The Ancient Art of War at Sea. Nor did it keep Pirates of the Carribean, Master & Commander, or Hunt for Red October from their exciting action sequences. It's just a different kind of action.

One I need to learn to write.

Why I Do Write

Everyone has their influences and teachers. These are some of mine:

From J. R. R. Tolkien, I learned about sub-creation.

From Orson Scott Card, I learned that a world is only as good as its characters.

From George R. R. Martin, I learned that every character should have a name. From Masashi Kishimoto, I learned that every character should have a story.

From Chris Avellone, I learned that a well-designed character, no matter how complex, is definable in one interesting sentence.

Also from Orson, I learned that cliche is not a bad place to start, but a terrible place to stop.

From Chris Baron, I learned that revision can make anything better. From George Lucas, I learned that it is possible to revise too much.

From David Mack, I learned that writing is like exercise - the hard part is sitting down to do it. On my own I figured out that, most of the time, I don't actually want to write; I just want to have written.

I'm still working on that last one.

Why I Don't Write

David Mack wrote, "It's not the writing that's hard. What's hard is sitting down to write." I've been thinking a lot on what keeps me from writing, and recently I made a major change to help me work better.

The list of what keeps me from writing is huge. I'm married, have a toddler, homeschool, parent 5 kids, teach programming, blog, fix computers, write newsletters, fix the house, and on and on. But all of those are Things I Have To Do or Things I Should Do. There's an equally large list of Things I Don't Need To Do (or Things I Shouldn't Do Instead of Writing): e-mail, pointless research, blog reading, chicken counting*, books, Sudoku, and more.

I've always been aware that most of what distracts me is on the internet. I sit down at the computer out of habit, and the first thing I do is check my e-mail. I check my feed reader for any updated blogs. If I'm being particularly distracted, I'll do some research I don't need to do or check recent hits on my blogs. Only when I'm sure I've exhausted my interest in the internet, do I start to write. Needless to say, getting my head into writing after repeating this cycle a few times is difficult**.

So in the interest of Getting Things Done, I have made a change. As of yesterday, I check the internet once in the morning and once at night after the kids go to bed. The rest of the day Firefox stays closed. It's not easy, but I think I'll get used to it after a while, and I think it will help.

Mindy Klasky at SFNovelists mentioned a similar self-discipline technique, though she allows Firefox for research, et al. Unfortunately I can't do that. I know myself too well. Instead, I write blog posts offline to be uploaded later. If I need to research something, I make a note of it and look it up that night. If I need a dictionary or thesaurus, I *gasp* use a real paper one. I'm still working out where to get random names, as I make heavy use of online generators for minor characters. Yesterday I used my wife's highschool yearbook.

Mindy also talked about making daily goals for herself. It's a good idea I'm going to try and keep in mind. Today I need to write a blog post (done) and start a short story***.


* A reference to the fable whose moral is "Don't count your chickens before they're hatched." Also known as daydreaming. I waste much more time than I'd like to admit thinking about what things will be like after I get published.

** Everytime I get up, the cycle repeats when I sit back down, and with homeschooling and parenting a little one, the times I need to get up are many. Right now, for example, the Little One is quiet, which means he's doing something he shouldn't be.

*** I know. "Start a short story" is too small and vague to be a good goal. But I can't say "finish it" because I don't think I will, and I can't give a word count because I don't yet know what's reasonable for me, given the aforementioned homeschooling and Little One****.

**** Now that the day is done, I managed to write almost 1,600 words, or about 40% of the story. Not bad.

Better Words

If you didn't already know: in writing, use strong verbs. A common amateur mistake is to toss adjectives and adverbs into a sentence to describe what the character is doing, but strong verbs are so much better. For example:

BAD	GOOD
“I want you to leave,” she said angrily.	“Get out!” she shouted.
He jerkily got into his sporty little car.	He stumbled into his Corvette.

Can you see the difference? If you can't, then trust me. The sentences on the right are much stronger because of the verbs "shouted" and "stumbled" (also because of the more self-explanatory dialogue and the more specific "Corvette").

I've found a thesaurus to be helpful for this, but not helpful enough. Instead, I keep three text files in my writing directory: said.txt, looked.txt, and walked.txt, filled with words to use instead of these common verbs. Today I'm sharing them online.

This is by no means comprehensive, and I welcome suggestions for addition. I'm sure most of you will enjoy suggesting, actually.

said	looked	walked
barked begged bellowed blared bleated blurted cackled chortled coaxed cooed coughed declared demanded echoed exclaimed expounded gasped goaded groaned hacked haggled harped hissed hooted hummed jabbered jeered jested joked moaned mused noted panted pleaded pondered posited pronounced protested purred queried questioned rasped repeated sang screamed shouted sneered sneezed snickered sniffed soothed spat spewed spumed stammered stated stuttered threatened tried trilled trumpeted uttered waffled wailed wavered whined whimpered whispered worried yelled	admired analyzed attended beheld considered contemplated examined eyed eyeballed flashed focused gaped gawked gazed glanced glowered goggled heeded inspected lamped marked minded noted noticed observed ogled peeked peeped peered pored over read regarded scanned scouted scrutinized saw spotted spied stared studied surveyed tended turned viewed watched examined	advanced ambled ambulated ankled cantered dove filed footed it frolicked went hiked hoofed it locomoted lumbered lurched marched meandered paced padded paraded patroled perambulated pitter-pattered plodded pranced promenaded raced roamed roved ran sauntered scuffed shambled shuffled slogged stalked stepped strided strolled strutted stumbled stumped toddled toured traipsed tramped traversed treaded trekked tromped trooped trudged wandered

Pixar Sci-Fi

It's to the point now where my wife and I will see a movie just because Pixar made it. Finding Nemo and The Incredibles are two of my favorite movies of all time. Today, Wall-E didn't move me as much as those two did, but I think that's only because the family and father/son themes resonate much more strongly with me. Which is to say that Wall-E is a good movie, and it's not Pixar's fault that I wasn't moved to tears this time. (MINOR SPOILERS MAY FOLLOW).

I also thought it was interesting from a sci-fi point of view. I've already noticed in my own stories a recurring theme of world-destruction. It's what Travelers is about, and it lies waiting deep in the history of Air Pirates. So I immediately enjoyed seeing another take on what could happen to Earth and to all those colonists who fled and forgot where they came from.

Unfortunately, my brain can't help finding flaws. Part of that is because S.C. Butler wrote a post about Wall-E at SF Novelists. I couldn't get the plant-in-space thing out of my head the entire time, and I found myself watching for other logical absurdities as well.

There were a number of questions that were left unanswered, like how does reproduction work on the Axiom, and why did the Axiom fly so far away from the Earth if they always intended to return, and (perhaps most pressing) why didn't they just shoot the trash into space? Questions that could have been answered, but weren't quite.

One big flaw that bugged me was that the humans who (as far as I could tell) had never walked in their lives, could walk when the plot needed them to. After generations of sedentariness, I don't think their bodies would be able to support their own massive weight. I could've let it go if the movie hadn't specifically mentioned the possibility of "bone loss" (in a video that was meant for colonists returning after 5 years, not 700, but whatever, another unanswered question). It could be explained away by low gravity, but when they got to Earth they had no problems there either.

Like Butler's plant flaw, it didn't ruin the movie for me, but I won't be able to get it out of my head. I don't accept the excuse that "it's a kid's movie" either. The folks who write kid's movies should care about what they do (esp. at Pixar) just as much as those of us who write for adults. After all, when our kids watch a movie over and over again, we have to as well. And the movies that do really well are the ones that both kids and adults enjoy.

Writing Algorithm

There are two kinds of writers*: planners and non-planners.** Planners think, brainstorm, outline, and do all of the other stuff that your writing teachers taught you to do in elementary school. Non-planners just write. Both methods are valid, but if you know me at all then you can guess that I'm an obsessive-compulsive planner.

I have to plan.

Mainly, this is because I don't like major revisions. I know, I know, revision is part of writing - the most important part even, but to me it still feels like wasted work. The idea of writing half of a novel only to then figure out what the story's really about, and consequently throw away that whole first draft, is too painful.

That doesn't mean that everything goes according to plan. It hardly ever does, and no matter how much planning I do, the beginning bits often get heavily reworked by the end of the novel. And so far, in both novels, I didn't really know how the ending would work until I got there.

I've never been good with endings.

Anyway, once the writing begins, I have a pretty established process - so much so, I refer to it as an algorithm:

0. Given: A chapter-by-chapter outline in which each chapter has a 1-2 sentence summary.
   
1. Brainstorm events/scenes that must happen in this chapter.
   
2. Create an event outline of the chapter. The event outline is what actually happens, whether behind the scenes or not.
   
3. Convert the event outline to a plot outline. The plot outline is how I choose to reveal the event outline to the reader - it's what I actually write.
   
4. Write the chapter.
   
5. Read the chapter once and revise it.
   
6. Give the chapter to my wife, Cindy.
   
7. When Cindy finishes reading it (this could be in four days or four months, but I'm writing while I'm waiting), go over it with her.
   
8. Revise the chapter again based on Cindy's critiques.
   

As you can see, I revise as I go. If I make a major plot change, that ends up being wasted time, but most of the time it makes the draft mostly usable by the time I get to the end. It also helps me to feel like I'm accomplishing something; when I say I'm done with X chapters, I mean I'm really done. Basically.


*Actually that's not true. There are as many kinds of writers as there are writers. But stereotyping people with convenient labels is what separates us from the animals.

**I've often seen non-planners referred to as "pantsers", a reference to writing by the seat of one's pants, but since for me this word only conjures images of junior high school bullies, I won't be using it.

Travelers, First Chapter Online

UPDATE (Feb 23, 2010): The first chapter of Travelers is no longer available online as it no longer represents my best work (far from it, in fact). If you really, really, really, really want to read it, you can try and e-mail me for it. But no promises.

For other samples of my work, see "Published Works" in the sidebar, or try the writing samples tag.

On Transports (and Why I'm Glad I'm Doing Them)

In Agent Query's advice on submitting to agents, they suggest pacing yourself, querying batches of no more than 10 agents or so. This is really good advice, I've discovered. Through the evolution of language, my batches have become known as transports. Here are some reasons I'm glad I'm doing transports, and a couple of pieces of advice that I'd wish I'd known:

1. Querying agents is hard. Every single agent has unique requirements about what to send. Even in the query letter (which they all want to see), each agent is looking for something different. What that means is that each query is a unique package, and must be treated as such. I could send a form letter to a hundred agents, but well over 90% of them wouldn't even read it because I didn't follow their rules.
2. Querying is a skill. The query letter and synopsis go through revisions just like the novel, and the more I revise and learn about it, the better I get. If I had queried every agent with my initial query letter, my chances would've been a lot worse than after using what I'd learned.
3. Querying takes time. I probably could've put a whole lot of time into revising the query letter to perfection and personalizing a hundred packages before sending any out, but it would've taken me forever (and some things I wouldn't have learned until I actually did it). And if I had done that, I wouldn't have gotten on to writing the next novel.
4. Waiting takes forever. Every agent takes 1-90 days to get back to me. That's a long time. Emotionally, sending them out in transports is better because I get a more-or-less steady stream of responses to appease my curiosity.
5. ADVICE: When selecting potential agents, there will always be agents that look perfect (A list) and agents that could work (B list). Each batch should have a mix of A-list and B-list agents, so that when you get around to your fourth and fifth batch (if it goes that far), and your query letter and synopsis have been polished even more, you still have A-list agents to query. I wish I had done that.
6. ADVICE: As exciting as it is to query, it really is better to spend a lot of time polishing and researching good query letters beforehand. I did a lot of polishing and research, but not enough. Obviously, I wish I could've sent my current query version out to my first batch of agents, but watcha gonna do?

Of course, I still have yet to receive a positive response from any query, and that's kind of depressing. I'm trying to come to terms with the fact that most authors didn't become published on their first novel. What keeps me going is that Air Pirates is already better than Travelers, and I'm much more well-equipped to query for it when the time comes.

Follow Up Thought on Selling Out

For all my worrying about it, it just occurred to me that by the time I get to the story after Air Pirates, YA could easily be as saturated as male-focused sci-fi is now.

Sigh. Probably better to just tell the story I want to tell, I guess.

Genre Popularity and Selling Out

I was talking with my friend Matt the other day about this post on query effectiveness. It's about what kind of responses you should be seeing based on how hot your genre is right now. Here are a couple of bottom lines that interested me.

What's hot:

So what's a hot genre these days? YA and middle grade, but especially middle grade. Romance and mysteries are always hot, but their respective subgenres go in and out of favor). Graphic novels are "in" right now. High-concept commercial fiction (this never goes out of favor). And we've heard a lot of murmurs about serious women's fiction; agents are on the lookout.

What's not:

The market for traditional genre fiction has been saturated, especially for the type of fiction that was popular a decade ago. Also, genre fiction geared towards a male audience is a harder sell because women are the readers nowadays. That's why there's been an explosion of fantasy and science fiction with female "kick-butt" heroines, and thrillers and mysteries with female lead detectives.

So if you're writing traditional genre fiction geared towards men, then you're going to have a harder time.

Because I tend to write what I enjoy reading, I fall into the latter category. That kinda blows. Mysteries and commercial fiction aren't really my thing. I'd love to write a graphic novel, but I have very little experience in that area (and reading Civil War now is showing me just how different the writing style has to be). I'm not even gonna touch romance.

But here's the silver lining. The YA (young adult) genre is pretty danged freeform. Essentially, all a book needs to be YA is to have a teen protagonist, and beyond that whatever you do with genre doesn't matter. In fact, what with the tendency of my stories to mix sci-fi and fantasy, YA seems perfect.

So now I'm thinking of selling out, but not really. I mean, in order to sell out, I would have to hate YA but write it anyway. Thing is, I like YA. That's how, on the drive from Pattaya to Bangkok the other day, I found myself thinking about the next story - the one after Air Pirates that I've already planned a little - and wondering how it might change if the protagonist were one of the teenagers instead of an adult near one of the teenagers.

And what if that teenager were a female "kick-butt" heroine...

Query Tips

I've spent most of the weekend at a writer's discussion forum at AQ Connect and reading every single post of the Query Shark. After much agony, I'm starting to get a sense of how to write a query. Here's some of what I've learned a query should be:

Focused. The most common mistake I see (and make myself) is to try to tell everything that happens. To the author, everything is important, but not to the agent. Your novel is like a five course meal, but in the query the agent only wants to know about the main dish. If the main dish is liver and onions, the agent's not going to care that they get their favorite soup, salad, and dessert with it.

A good guideline I discovered is to limit your query to two or three named characters. Any more than that and your characters tend to get distilled down to stereotypes, which is Bad. Also, focusing on two or three characters - what happens to them and what they do - helps to focus on what's really important in the story.

Logical. Every sentence should lead to the next, and every sentence should have a reason for being there. If there's a sentence that doesn't fit, try taking it out - sometimes you'll find that it didn't need to be there in the first place (even if that character or event was important in the novel, see above).

Terse. Likewise, look at each, individual word in the query and decide if it really needs to be there. A lot of words writers use in queries ("that", "when", "as", "just", etc.) can be cut easily and the sentence will still mean the same thing. Other sentences can be trimmed by moving things around or combining sentences. In either case, every word you can cut will make your query better.

But knowing what to do is not always enough. Like most things, it takes practice to get good at this stuff. For that, I recommend the following: (1) read critiques of others' queries, (2) critique queries for others, and (3) get your query critiqued by others.

I don't know if my query is good enough or not yet, but it's definitely better. I also learned this weekend that an effective query should be getting about a 30% request rate or better. Meaning 3 out of every 10 queries sent out should be getting a letter back asking for more.

So for I'm at 0%. I'll let you know how that changes. The third transport is on its way out, and I'm due to send a fourth one in the next week or two.

How did they know?

Taken yesterday:


Yes. Yes they are.

Seriously Overreaching

Microsoft Word is a lesson in feature creep. To be fair, I still use the version they made in 2002, but I've never known a company to remove features in later versions. Which is part of the problem.

One feature that should never have been added, probably never even attempted, is the AutoSummarize feature. A few seconds after selecting this option, Word boldly states that it "has examined the document and picked the sentences most relevant to the main theme." It then offers to highlight the key points for you, create a new document of the summary, or "insert an executive summary or abstract at the top of the document."

Seriously, has anyone ever used this thing to write an abstract for them? They probably don't have a job anymore if they did. Now, I've been having trouble writing my own mini-synopsis, so for fun (and procrastination!) I thought I'd let Word have a shot. Here's what it came up with in 100 words or less:

Alex groaned. Tom replied. Tom. Tom nodded. Alex laughed. Alex froze. “Arad’s soldiers. Doce nodded. Alex nodded. “Doce! “Doce! Doce!”

Alex nodded. Tom nodded.

Tom’s dad shrugged. Tom nodded. “Dad! “Doce? Alex.”

“Alex.”

“Alex. “Alex. Alex yelled.

Alex yelled. Alex nodded. Tom thought. Alex chuckled. Alex sighed. Alex responded. Tom’s dad asked.

Alex exclaimed. “Dad! Arad stopped. “Doce!” “Doce!” “Doce!” Alex hesitated. Doce waited. Doce stopped running. “Dad?”

* * * * *

“Dad,” Tom started.

Dad screamed, “Tom!” Alex blinked. “Dad?”

Alex gestured.

Alex thought. Alex shouted.

Alex pressed. Alex screamed. Doce!”

Alex shrugged.

Alex waited.

Alex thought aloud. Arad pointed.

Just beautiful.

It's sad that it couldn't even get basic punctuation right. Nested quoting should be a basic, especially for a company that also makes grammar checkers and compilers. For the heck of it, let's see what Word can do in 10 sentences:

Tom. “Doce! “Doce! Doce!”

“Doce? Alex.”

“Alex.”

“Alex. “Alex. “Doce!”

Dear Microsoft,

Thank you very much for your query, but unfortunately this doesn't sound right for our agency. We encourage you to keep submitting, however, as the right agent may be just around the corner. Thank you again for thinking of us.

Sincerely,

Every Agency Out There

The War of Art, VI

From David Mack's Kabuki: The Alchemy. (Read Parts I, II, III, IV, and V). This is an idea I'm not sure I understand completely yet. Maybe I'm not a true artist, but when I get in the zone it's usually because I already know what needs to happen. Sometimes ideas just come to me, but it's rare. More often than not, even when in the zone, I'll have to stop at some point where I don't know what happens next, or the protagonist is seeing an airship for the first time and I don't know what it looks like, or he is escaping out of a window ledge and I need to figure out what's there and how (or whether) he can possibly escape.

Usually I brainstorm at this point, and one or two of the things I end up thinking of will be kind of good. Maybe I'm defining "in the zone" differently. Or maybe I get distracted too easily (that's not hard - I'm usually writing in a room with 2-3 other kids that are sometimes vying for my attention in ways ranging from respectful to naughty).

Part VI of VI:

Pressfield cites
the other secret true
artists know that
wannabe writers don't:
"When we sit down each
day and do our work,
power concentrates
around us".

What Pressfield
calls professionalism
others may call the
Artist's Code,
or the Warrior's Way.
It is an attitude of
egolessness and
service.

When you get
in the zone, don't
second guess it. Your
ideas are smarter
than you are.

A natural principle
of organization channels
through you, even if you
cannot initially comprehend
its larger implications.
Connections
are made.

Dedication and
concentration put
us in touch with our
natural talent.
Our genius.

The Romans
used the Latin
word genius to
mean an inner
spirit...

...Which
guides us to
our calling.

The Pain of Querying

Writing a query letter is a skill. It's one I don't have yet, and I'm not as committed to acquiring that skill as I am to the skill of writing. Probably because somewhere in the back of my mind I think that if I can get past the query just once, then the book will sell itself, and then I won't have to write queries anymore. Wouldn't that be nice?

Part of the difficulty is that nobody agrees on what a good query is. Everyone agrees that they are short and to the point, professional and not annoying, but beyond that it seems like there's no consensus. Some suggest the body should be a mini-synopsis, others say it should be a pitch selling the book. One agency says they want to know your influences, another website says to include nothing of the sort as it might sound arrogant. A number of examples have rhetorical questions as their opening tagline, and a number of agents are sick to death of them.

So? I just keep on revising the letter and sending it out. I take some solace in the fact that I have yet to hear from any of the agents who asked for 40-50 pages with the query. Maybe it means they're considering it?

You've seen my original mini-synopsis. That was my first trial, where I was trying to explain what the book was about rather than sell it. It's okay, but not terribly clear and, in most places, not very exciting. It really is a synopsis, in that it tells what the story is about just without giving away the ending.

Below is my second attempt. One of the agents in the batch this was sent to asked for "sales material" along with the query - a promo sentence, back cover summary, etc. It got me thinking about the query in a different way and this was the result.

How can you stop a tyrant older than the oceans and faster than time?

In the mid-22nd century, the Earth is all but destroyed. The survivors live under the heel of a man named Arad who, if the rumors are true, is something more than a man. They say he can dodge bullets, turn invisible, and kill with a prayer. Some believe he is the savior prophesied before the war began, but others call him the devil.

Only a small group of rebels remains to oppose him, and they are quickly losing hope. There is a young girl that can save them, but they are as afraid of her as they are of Arad. And when the girl is hurt and hopeless herself there is no one to believe in her, except for a father and son who are strangers themselves – travelers from the past, trapped in a time that is not their own. Can Alex and his son convince the rebels they should help this girl? Will the girl’s powers be enough to stop Arad?

And when Alex’ son betrays the rebellion, who is left to save them?

Better, but it still doesn't get directly to the point. Part of that is that I don't know what the point is. That attempt was closer to the original seed of an idea I had for Travelers, but that seed has evolved so much since then, I can't say that it's the same story anymore.

Below is my current draft. A couple of days ago I found agents saying they hate rhetorical questions, so I tossed it. The pitch didn't need it anyway - not if I got to the point fast enough. This is the version that will go out with the third batch. Will it make any difference? I don't know. This whole thing is just a learning process for me anyway:

Arad rules the future with a mixture of persuasion and fear. He is not a man; he dodges bullets, turns invisible, and kills with a prayer – if the rumors are true. There is one who might be able to stop him: a young girl with equally strange powers, but because she cannot control them, the people are as afraid of her as they are of Arad.

Enter Alex and Thomas Gaines – father and son, accidental travelers from our time trapped in this post-apocalyptic struggle. They want to help the girl, but can they help her gain control of her powers before it’s too late? Will it be enough to stop Arad?

And when Thomas betrays them so he can go home, is there any hope left at all?

Looking at it again, the middle paragraph needs work. Or maybe that entire aspect of the plot needs work, but I can't toss out Alex and Thomas anymore. The last sentence, which I really like, is the main reason why.

The War of Art, V

From David Mack's Kabuki: The Alchemy. (Read Parts I, II, III, and IV). Here the conversation between Kabuki and her mentor ends, and she acts on what she's learned. That quote from Ghandi is just... the most universally applicable truism I can think of.

Part V of VI:

I turn Pro.

You imagine what you want to be
and you act as if you are that.
Ghandi said, "Be the change you
want to see in the world".
If I want to create, I must
treat it with the respect and
dedication that a pro would.
Do it every day the best I can.
I don't know if it is any good
or not right now. I don't
have perspective for that
at this time.
All I know is that for
this day, I have overcome
the worst parts of me.
I have overcome
resistance.

Now I understand
The War of Art.

The Quiet

Just moved everything. Still no internet at the house. Not much time for writing yet. Got two more rejections, though the quality of them seems to be getting nicer (maybe it's the new query letter?).

And as soon as I get internet at home I'll start working on the third transport. Ever hopeful.

The War of Art, IV

From David Mack's Kabuki: The Alchemy. (Read Parts I, II, and III).

When I first read this, I thought I knew what it meant to "consider yourself a pro." I thought it meant that I needed to have the self-discipline to just write, even when I didn't feel like it.

While that's true, I've learned going pro is even more than that. Ever since I sent out my first queries, I've been doing tons of research into the publishing world, and I've been reading the blogs of other authors - especially SF/F authors. In a sense, I've been living in the world of the pros, and I've discovered that I want it.

I think that sudden, unexpected desire is part of why I've written more in the last two weeks than in any given month previously. That desire is what has helped me go pro, at least for now.

Part IV of VI:

The pro knows that if you do the work, the muse will show up. You don't wait for the muse to show up first.

"Someone asked Somerset Maugham if he wrote on a schedule or only when struck by inspiration. "I write only when inspiration strikes," he replied. "fortunately it strikes every morning at 9:00 sharp."

That's a pro.

There is a secret that real writers know that wannabe writers don't, and the secret is this: It's not the writing that is hard. What's hard is sitting down to write".

Read part V.

Calculating Speed

I can type over 100 words per minute. That means, in theory, I should be able to write 6,000 words per hour and 48,000 words in an 8-hour work day.

While that's technically true, it's completely impractical. In order to write that many words in a day I'd have to think as fast as I type or plagiarize word for word. And to handle 8 hours a day, I'd also need superhuman finger strength and the sitting endurance of a tree sloth.

Physical typing speed is not what slows me down. In real life, I can write 500-1000 words per hour on a good day. That should mean I can write a full draft of a novel (80-120,000 words) in less than 3 weeks, but the problem is that most days I'm unable to write for even one hour. The rest of the time, I'm plotting, outlining, parenting, revising, teaching, parenting, brainstorming, playing Sudoku, blogging, decompressing, parenting, and parenting.

That's still just a theoretical rate anyway. In real life, it took me about 3 years to write the first draft of Travelers at 76,000 words*, a rate of about 100 words/day.** I started the first draft of Air Pirates last September and in 6 months wrote 16,000 words (130 words/day). The crazy thing is, after taking a break to do a bunch of querying for Travelers, I wrote another 7,000 words in the last two weeks, which is like 700 words/day!

Shoot, if I could keep that rate up, I could write a draft in 5-10 months. If only life were that simple. If you'll excuse me, I have to move the worldly possessions of eight people from one house to another, while simultaneously ensuring that the kids get to school and back, do their homework, obey Mom and Dad, go to sleep on time, and (in some cases) have a clean diaper and learn to classify a direct object.

* When I say word count, I mean only words left in the final draft. I don't count revisions, notes, outlines, brainstorms, or previous drafts. When the draft is done, I just ask MS Word what my word count is and record it. It's the simplest, most honest way to count, but it's not the most useful statistic if your question is, "When will the book be done?"

** Assuming 5 work days per week, 50 work weeks per year.

The War of Art, III

From David Mack's Kabuki: The Alchemy. In parts I and II, Kabuki is expressing her thoughts to a friend. In this part and the next, the friend responds. The War of Art, mentioned here, is an actual book that I nearly bought once, but I think everything I want to get out of it is already in these excerpts from Kabuki.

The Art of War is also a real book. My brother and I used to read it as kids. I think everybody should read it, even if you only use it to excel at Settlers.

Part III of VI:

Have you read The War of Art?

You mean The Art of War by Sun Tzu.

No. The War of Art by a writer named Pressfield. It names that force that distracts you from your calling, "Resistance".

"Most of us have 2 lives. The life we live and the unlived life within us. Between the 2 stands resistance".

Pressfield explains that the only way to combat resistance of something you must do is to put in the time & due diligence daily. Consider yourself a pro beforehand.

Read part IV.

Christian Science Fiction

I often wonder, if Travelers ever gets picked up, what genre will it be sold as? It's essentially science fiction, obviously, but there's a fair amount of God and faith themes in the story too, and I honestly don't know how they would come across to a non-Christian reader.

Alex is an atheist. His wife was Christian before she passed away, and their son is kind of caught in between and attending a Christian school. In the future, many of the characters pray to God and believe the prophets are speaking for him. And then towards the end there's a Heaven-like scene and even an ambiguous image of a man, beaten and bleeding, hanging in the air with arms stretched out.

Is it too much Christianity for the secular SF market? I guess only an agent or an editor could tell me for sure. But is it also too secular for the Christian market? This book probably isn't, but other book ideas I have just might be.

Because of that, I'd rather not be categorized as a Christian author. Maybe I've heard wrong, but I understand it's difficult to shift genres, and I don't know if the Christian market is the right place for what I (usually) like to write. I've seen the books on Christian bookstore shelves, and most of them just aren't the kind of thing I enjoy writing.

There's something else too. I don't know how to say it exactly, so here's an example. I was reading a plot summary of The Oath the other day. It's got dragons, conspiracies, murder... everything a good urban fantasy needs. I thought it sounded like a cool story right up until the protagonist is told that he "must have Jesus on his side" to defeat the dragon.

Now this is sad (and worthy of its own blog post): why does the mention of Jesus automatically make the story feel cheesy to me? It says more about me than it does about the story, I know. Travelers borders on this, but I wasn't willing to go all the way and say, "You need Jesus to defeat Arad." I think because I wanted to sell, maybe even speak to, the secular market.

Besides which (and maybe this is why I find it so cheesy), I think a Christian reading Travelers would put two and two together without me ever having to be obvious about it, and I fear being obvious about it would automatically turn off a non-Christian reader. I'm not trying to evangelize with the book. If anything, I want both Christian and non-Christian readers to think - maybe for the first time - that there might be more to this life than we think there is.

I don't know if the story does that, but is it already too late anyway? Is the book already too religious for the secular market? I guess I'll find out, if it sells.

Status Report

For what few readers I have, this is probably what you actually want to know.

Following the excellent advice on Agent Query, I have been sending queries out in batches: no more than 10 agents every 2-3 weeks.

My first batch went out on May 14th. So far I have gotten a form rejection from 4 of these agents.

My second batch went out today. This batch is different in that some of these agents asked for a synopsis and/or as many as 50 sample pages (the most I sent out to an agent in the first batch was 5). I also have a revised query letter that I'm happier with. We'll see if any of that makes any difference.

I'll keep reporting here when there are things to report. In the meantime, I've finished outlining the air pirates story (which has a working title, but for the purposes of this blog I'll continue tagging it as Air Pirates) and am currently at 20,037 words on the draft.

The War of Art, II

From David Mack's Kabuki: The Alchemy. (Read Part I).

Part II of VI:

I come to realize that writing is
like physical exercise. What counts
is how much you can do after you
think you are done.
Then the real challenge begins.
If you push through the barriers
of your comfort zone, you hit
a second wind.

It is mostly just showing up
and doing it that counts.

Sometimes it is painful.
You may want to do something else.
And you can think of infinite
reasons to stop.

I discover "The Power
of Positive Doing".
Positive thinking is great.
It is a nice first step.
But if you don't do the
"Positive Doing",
it only takes you so far.

Read part III.

Purposes

I'm finding myself going through some of the same motions with this blog as I did when I first began Itsara. The original purpose was because I had a lot to say on religion or writing. For both blogs, there was a second purpose to keep people updated on the progress of moving to Thailand or getting published.

And with both, I wanted people to read it. Not just people I knew, but people I didn't as well - lots of people. So I find myself on other, similar sites, wanting to comment for the link exposure (but knowing enough not to comment just for that), and trying to find people who will link to me.

And both times, I find myself wondering who I'm writing to and why. Who cares about my thoughts on Heaven or blogging?* With this blog it's even worse because a small part of me started this as a place to promote books that I haven't published yet, and may never publish. How presumptuous is that? (Though maybe in a few years I'll look back and claim it was just good planning).

What's the answer? Take a deep breath, I guess, and just write. Like Itsara, I just need to write posts at a steady rate - not too fast and not to slow. If I have nothing to write about, just talk about what's going on. Eventually my writing will stabilize itself and find its own purpose. And maybe when I start my third blog (which will either be a web comic or a bid for the presidency), I'll know what to expect in terms of starting things up.

* Watch out for that link. It's recursive.

The War of Art, I

A couple of years ago, my brother bought me issue #7 of David Mack's Kabuki: the Alchemy. Among other things, the main character deals with the struggles of writing. I identified with this part so strongly that I printed out excerpts of it and taped it to the walls around my desk. It keeps me going when I'd rather check my e-mail one more time or play Sudoku.

Part I of VI:

I realize that I am in a kind of war
with the worst parts of myself every
time I sit down to write.

Concentration vs. resistance.
An idea, a creative urge, and then a
reactive force that second guesses it.
What words are worthy to exist?

The problem isn't a search for ideas.
It is the struggle, the discipline,
to make myself do it.

I force myself to write it before
I second guess, censor, or edit it
out of existence even before it gets
to the page. I just start.
I decide that I can cut it and edit
it afterwards if I feel the urge to.
Second guess myself after
instead of before.

Read part II.

Travelers: Mini-Synopsis

Only a handful of people actually know what Travelers is about, although a number of people have asked me over the years. I've always had a hard time summarizing it. After I finished it, I discovered that (obviously) you have to summarize it for agents and editors (and sometimes a slightly longer synopsis as well).

As it turns out, I don't know what my own book is about. That is, I had a hard time boiling it down to a single theme or even plot point. There's just so much that happens, and it's all important to me! Some of this is due to inexperience writing query letters, and the rest of it is inexperience writing period. When I wrote Travelers, I just wrote what needed to happen. I didn't have a theme in mind necessarily until I looked back at it and saw what it was about. And even then...

Anyway, here's the mini-synopsis in its current state. I had an idea this morning that I might use to change it, but this is a start for those of you who want to know what I wrote about.

Dr. Alex Gaines considers himself a man of reason – after all, it’s reason that helps him create a time machine – but when he meets an old man claimed as a prophet, has to save his son from a self-appointed dictator, and comes to care for a lonely girl with powers beyond her control, he finds that reason may not have all the answers he needs.

Alex and his son travel more than 100 years into the future, where Southern California has become a wasteland after a devastating war. A small group of survivors live together for protection under the control of a man named Arad, but if the rumors about him are true, Arad is something more than a man; some believe he is the savior prophesied before the war began, others call him the devil. Those who speak against him mysteriously disappear, and now only a small group of rebels remains.

It seems nothing can stop him, until one day a strange girl arrives in the rebel camp in a most frightening way – exploding through a cave wall, unintentionally killing innocent people. The leader of the rebellion wants her dead, but many believe she is their only hope against Arad. As it turns out, Arad has plans for her as well, and while she struggles to understand who she is, Alex discovers that he and his son may be her only hope.

The First Transport is Away!

The real catalyst for beginning to write here is that I recently (just yesterday) sent out the first batch of queries to agents for my novel, Travelers. About five years ago, I decided that if I really wanted to write a novel, then I needed to do it - if only to prove to myself that I could. I had two story ideas at the time: one about air pirates and the other about time travelers. I liked the air pirates idea better, so I figured I'd learn to write with the one I liked less.

Writing is freaking hard. I'm sure that will be its own post later. About a year ago I finished a draft of Travelers, and sent it to a couple of friends to read. A couple of months ago I began revising based on their input and now, though the novel is not perfect (they never are, just as George Lucas), I figured I needed to just start sending it out and seeing what happened.

And hurray! I already have my first two for-real rejection letters! Now, I'm not dumb. I've researched this business as best as I could from my desk, and I know the reality of rejections. What I didn't know is that, no matter how ready you think you are for it, it still bugs. It's like a mosquito bite. I know it's better to ignore it, but I can't stop thinking about them!

But if I don't stop thinking about them, then I'll never be able to get back to work on the air pirates story, which (as anyone will tell you) is the only productive thing to do after sending out queries.

A New Blog

I'm starting here because I wanted a place to write about writing, without having to clog up our other blog, Itsara. After all, not everybody over there cares about ancient dreams and modern struggles that have nothing to do with parenting children in Thailand.

I'm starting at Blogger because I have enough to do - what with parenting six, homeschooling one, providing tech support to many, and trying to write hundreds of thousands of words - that I didn't think it was a good idea to construct a whole new website. Even though I love to do that sort of thing.

I have no idea how often I will write here yet. I have a lot to write about at the moment, but that's normal with new blogs. We'll see what happens in the future.