Twitter: a free social networking/micro-blogging service, that allows its users to send and read other users' updates of up to 140 characters in length.
Thaumatrope: A sci-fi/fantasy/horror online fiction magazine that uses Twitter to accept and publish speculative fiction of 140 characters or less.
What a crazy, great idea. They pay authors $1.20 per story. That's almost two plates of Pad Thai. I just might get in on this.
UPDATE: I forgot to mention, you can read Thaumatrope for free. Either on their website or, for instant gratification, via Twitter. And because it's Twitter, you can get these stories sent to your cell phone if you want.
Ship Names and the Definite Article
The other day, I was trying to figure out if it was grammatically correct to use, or not use, the definite article "the" in front of a ship's name. This is something that never occurred to me until I saw Firefly. In one episode, Inara corrects an Alliance officer on the use of the definite article with regards to their ship - "Serenity," not "the Serenity." Grammatically, I found no consensus, but here's what I found out.
The only really useful sites I found were style guides. The US Navy Style Guide says don't use it, ever. But that's a relatively recent decision and is meant primarily for formal use, and fiction is not necessarily formal. According to Wikipedia's naming conventions, "the" is not needed, but neither is it wrong.
Ironically, the most useful discussion I found was in a forum of Wookieepedia* editors. Ironic because it's the least official of the three, but it's the most useful to me because it's the one most closely related to fiction.
Their final decision is not really relevant, but the discussion raised some interesting points. In particular, they could not decide to "always" or "never" use the definite article, for primarily two reasons: the Millenium Falcon and Slave I.** Try to use the definite article with Boba Fett's ship, or remove it from Han Solo's, and you will understand.
So for now, I'm going to make the decision on a case by case basis and keep track of what I decide in (yet another) document to help me stay consistent. Basically, I'm going to pick the one that feels right, or sounds the least stupid, and stick with it.
* Wikipedia for the Star Wars universe.
** Those weren't the only reasons, but they suffice to summarize the point.
The only really useful sites I found were style guides. The US Navy Style Guide says don't use it, ever. But that's a relatively recent decision and is meant primarily for formal use, and fiction is not necessarily formal. According to Wikipedia's naming conventions, "the" is not needed, but neither is it wrong.
Ironically, the most useful discussion I found was in a forum of Wookieepedia* editors. Ironic because it's the least official of the three, but it's the most useful to me because it's the one most closely related to fiction.
Their final decision is not really relevant, but the discussion raised some interesting points. In particular, they could not decide to "always" or "never" use the definite article, for primarily two reasons: the Millenium Falcon and Slave I.** Try to use the definite article with Boba Fett's ship, or remove it from Han Solo's, and you will understand.
So for now, I'm going to make the decision on a case by case basis and keep track of what I decide in (yet another) document to help me stay consistent. Basically, I'm going to pick the one that feels right, or sounds the least stupid, and stick with it.
* Wikipedia for the Star Wars universe.
** Those weren't the only reasons, but they suffice to summarize the point.
Travelers Postmortem: What Went Wrong
On Saturday I talked about what went right while writing Travelers. Today I have some things that went wrong.
Not Enough Planning
This is controversial. Some writers prefer to just write and see what happens, fixing it later. I'm not one of them. My goal is to streamline my writing process until there are 5 steps: plan, write, revise, peer review, sell - each performed but once. Unrealistic? Perhaps. I won't beat myself over the head if I have to revise more than once, but I will figure out what went wrong to avoid it in the future.
That said, I didn't plan Travelers well enough. Characters popped up from nowhere. Necessity dictated their existence, but when I started thinking about their backgrounds I began to like them better than my protagonists.
That's part of the fun of writing, I know. But it only served to highlight how little I developed my protagonists. I just didn't care about them. In the beginning they weren't even characters, they were just points of view, giving me an excuse to explain this strange, decrepit future to the reader. I tried to fix it in revision, but I think the problem still shows. That could've been prevented if I had planned the characters and the plot out in more detail before I started writing.
The lack of planning also reared its head in certain climactic moments. I'd throw characters into a crisis and, in the outline, I'd write the ever-helpful "They escape" or "They fight and protag wins" without ever thinking about how they win. It wrote me into a corner a couple of times, and I don't like corners. When I write, I wanna run.
No Thought for Theme Until the End
This has happened to me more times than I'd like to admit. I get to the end of a story (short or long) and find myself asking, "How do I end this? What's this story about anyway?" I was just writing a bunch of cool stuff that happens, like an action movie. But like an action movie, it lacked any punch or purpose.
I never really understood theme back in highschool. I'm only starting to get it now, and realizing that it's something I should think about before I outline the plot, and then again everytime I write anything.
Useless Statistics
When I started Travelers, I didn't know what would be important. I chose to keep track of word count, # of pages, # of scenes, and dates of drafted chapters and revised chapters. The word count and dates were good, like I said, but # of pages was meaningless (being based on my personal writing format, which is very different from manuscript format) as was # of scenes.
Another problem was that I counted words only at the end of every chapter, and my chapters were really long. It would've been better to keep track of word count per week or month, in addition to chapter dates and word counts.
No Deadlines for Beta Readers
I had two beta readers. One finished reading the manuscript in 3 weeks, the other took 9 months. At the time, it honestly didn't bother me. The feedback was more important to me, and I figured it didn't cost me any time because I just worked on my next book while I waited.
In retrospect, with 35 rejections and no requests of any kind, it didn't cost me anything to wait, and it taught me a valuable lesson. Next time the beta readers are getting a deadline, and I'm moving on without them if I have to.
Not Enough Planning
This is controversial. Some writers prefer to just write and see what happens, fixing it later. I'm not one of them. My goal is to streamline my writing process until there are 5 steps: plan, write, revise, peer review, sell - each performed but once. Unrealistic? Perhaps. I won't beat myself over the head if I have to revise more than once, but I will figure out what went wrong to avoid it in the future.
That said, I didn't plan Travelers well enough. Characters popped up from nowhere. Necessity dictated their existence, but when I started thinking about their backgrounds I began to like them better than my protagonists.
That's part of the fun of writing, I know. But it only served to highlight how little I developed my protagonists. I just didn't care about them. In the beginning they weren't even characters, they were just points of view, giving me an excuse to explain this strange, decrepit future to the reader. I tried to fix it in revision, but I think the problem still shows. That could've been prevented if I had planned the characters and the plot out in more detail before I started writing.
The lack of planning also reared its head in certain climactic moments. I'd throw characters into a crisis and, in the outline, I'd write the ever-helpful "They escape" or "They fight and protag wins" without ever thinking about how they win. It wrote me into a corner a couple of times, and I don't like corners. When I write, I wanna run.
No Thought for Theme Until the End
This has happened to me more times than I'd like to admit. I get to the end of a story (short or long) and find myself asking, "How do I end this? What's this story about anyway?" I was just writing a bunch of cool stuff that happens, like an action movie. But like an action movie, it lacked any punch or purpose.
I never really understood theme back in highschool. I'm only starting to get it now, and realizing that it's something I should think about before I outline the plot, and then again everytime I write anything.
Useless Statistics
When I started Travelers, I didn't know what would be important. I chose to keep track of word count, # of pages, # of scenes, and dates of drafted chapters and revised chapters. The word count and dates were good, like I said, but # of pages was meaningless (being based on my personal writing format, which is very different from manuscript format) as was # of scenes.
Another problem was that I counted words only at the end of every chapter, and my chapters were really long. It would've been better to keep track of word count per week or month, in addition to chapter dates and word counts.
No Deadlines for Beta Readers
I had two beta readers. One finished reading the manuscript in 3 weeks, the other took 9 months. At the time, it honestly didn't bother me. The feedback was more important to me, and I figured it didn't cost me any time because I just worked on my next book while I waited.
In retrospect, with 35 rejections and no requests of any kind, it didn't cost me anything to wait, and it taught me a valuable lesson. Next time the beta readers are getting a deadline, and I'm moving on without them if I have to.
Travelers Postmortem: What Went Right
In the gaming and business worlds (two of my past lives), we would do postmortems at the end of a project to determine what went right, what went wrong, and how we could improve our process. I've unofficially done that on my own with Travelers, but "unofficially" means "not very well," so I'll do it more officially here now. It'll help me to think about my writing process, and I hope it can help others too.
I'll start with what went right. This isn't so much about the specifics of the story as it is about my writing process in general.
Developed Character Backgrounds Beforehand
For every major character, I made a chart like the one below. The information in these charts is out-of-date, poorly thought-out, and mostly never used, but if I didn't do it then every character would have been much flatter than they are. Knowing who the character is supposed to be, and used to be, helps when I'm writing and thinking to myself, "What would they do here?"
Random Passages
Before I started officially writing the manuscript, there were a number of scenes that seemed clear in my head. Often they were the ones that excited me most (my candy bar scenes), though sometimes they were scenes from a character's past, or scenes from a future book that may never be written.
Whenever I got stuck in my outline, or I got bored of the story or some character, I'd go write one of these scenes in a file called "Random Passages," prefixed with some note about the context of the scene. For Travelers, I wrote 9 such scenes over the course of the novel. Six of them ended up in the novel. Four of those were rewritten to the point of being unrecognizable (and one of the remaining 2 "scenes" was just a line of dialogue, three sentences long).
Even though they were almost never used as-is, writing these scenes kept me interested in the story and gave me a place to play with the characters before they were "committed" in the story. I read the scenes now and groan because they're bad and make no sense to the story anymore, but I also read them with fondness because I remember how much I enjoyed writing them.
Microsoft Word's Document Map Feature
I learned this during my life at Black Isle. Here's a quick run-down of the feature.
I didn't use the document map for an outline, though. The top-level headings were my chapters, and the sub-headings were the first lines of my scenes. It worked amazingly well to keep me organized and to remember where everything was.
Word Count Statistics
Most authors I've heard of keep word count statistics. I love statistics anyway, so for me, seeing my word count increase and dates of how long it took me to write a chapter kept me going. One of the things that motivated me to finish chapters was that I knew I got to update my stats file when it was done. It's geeky, but it worked.
Alpha and Beta Readers
Beta readers are the folks who read your manuscript before it gets sent out. For some authors, they read it when the draft is finished, for others they read it as each chapter is done. I have both, and call the former my beta readers and the latter, alpha.
For me, I had one alpha reader - my wife. She was both my encouragement and my insurance that I was on the right track. My beta readers were immeasurably helpful as well (in particular because my wife is not a sci-fi reader), but I don't think I would've gotten to the beta stage at all if I didn't have an alpha reader to push me through.
I'll start with what went right. This isn't so much about the specifics of the story as it is about my writing process in general.
Developed Character Backgrounds Beforehand
For every major character, I made a chart like the one below. The information in these charts is out-of-date, poorly thought-out, and mostly never used, but if I didn't do it then every character would have been much flatter than they are. Knowing who the character is supposed to be, and used to be, helps when I'm writing and thinking to myself, "What would they do here?"
Random Passages
Before I started officially writing the manuscript, there were a number of scenes that seemed clear in my head. Often they were the ones that excited me most (my candy bar scenes), though sometimes they were scenes from a character's past, or scenes from a future book that may never be written.
Whenever I got stuck in my outline, or I got bored of the story or some character, I'd go write one of these scenes in a file called "Random Passages," prefixed with some note about the context of the scene. For Travelers, I wrote 9 such scenes over the course of the novel. Six of them ended up in the novel. Four of those were rewritten to the point of being unrecognizable (and one of the remaining 2 "scenes" was just a line of dialogue, three sentences long).
Even though they were almost never used as-is, writing these scenes kept me interested in the story and gave me a place to play with the characters before they were "committed" in the story. I read the scenes now and groan because they're bad and make no sense to the story anymore, but I also read them with fondness because I remember how much I enjoyed writing them.
Microsoft Word's Document Map Feature
I learned this during my life at Black Isle. Here's a quick run-down of the feature.
I didn't use the document map for an outline, though. The top-level headings were my chapters, and the sub-headings were the first lines of my scenes. It worked amazingly well to keep me organized and to remember where everything was.
Word Count Statistics
Most authors I've heard of keep word count statistics. I love statistics anyway, so for me, seeing my word count increase and dates of how long it took me to write a chapter kept me going. One of the things that motivated me to finish chapters was that I knew I got to update my stats file when it was done. It's geeky, but it worked.
Alpha and Beta Readers
Beta readers are the folks who read your manuscript before it gets sent out. For some authors, they read it when the draft is finished, for others they read it as each chapter is done. I have both, and call the former my beta readers and the latter, alpha.
For me, I had one alpha reader - my wife. She was both my encouragement and my insurance that I was on the right track. My beta readers were immeasurably helpful as well (in particular because my wife is not a sci-fi reader), but I don't think I would've gotten to the beta stage at all if I didn't have an alpha reader to push me through.
What's the Point of Writing Queries?
By and large, authors hate the query process. It's like you just spent years crafting "the perfect novel," only to be rejected by someone who never read it, who only read your short letter that you wrote in a day.
When I started this, I honestly thought query letters were just a formality. It was only after I realized that agents judge authors by the quality of their query that I started to hate the process. "Just read my stuff!" I cried at my computer screen. "I'm good for it!"
But no matter how we feel about them, query letters are a necessary evil. Agents get hundreds of these things a week. They can't read hundreds of manuscripts, or even sample pages, in a week and expect to get anything else done (like, I don't know, sell novels). They have no choice but to make snap judgments based on a 1-page pitch.
But more than that, I'm learning that the agents are right. They already know this, so I guess I'm speaking to the authors (besides, what agents spend their time on this blog? Pah!). If you can't write a solid, gripping, concise query letter, then chances are you can't write a good novel either.
Don't hang me yet! Hear me out!
We tend to think that writing a query and a novel are two separate skills, but they're not. They aren't the same skill, but they do overlap considerably. Sentence structure, word choice, clarity, word economy, etc. are just as important in a novel as in a query.
In learning how to write query letters, my novel writing has improved as well. I find myself being more concise, choosing words more intentionally, focusing on clarity and logic flow. I've also found that in focusing on what's important to the story for the query, it keeps me focused in the novel.
The biggest mistake writers make in queries is trying to tell everything that happens, losing focus on what's important. If can't stay focused in the query chances are you'll lose focus in the novel too, though it will be more difficult to see.
Finally, before you decide to execute me, remember that I said "chances are." It's still possible to write terrible queries and amazing novels, just as it's possible to write amazing queries and terrible novels. But by and large, the agents have a point; our query writing skills say a lot about our writing skills in general.
And in the end, if I, as an author, dismiss any aspect of writing as unimportant - if I am unwilling to learn how to write a query letter well because it "has nothing to do with writing good novels" - how good of a writer can I really be anyway?
When I started this, I honestly thought query letters were just a formality. It was only after I realized that agents judge authors by the quality of their query that I started to hate the process. "Just read my stuff!" I cried at my computer screen. "I'm good for it!"
But no matter how we feel about them, query letters are a necessary evil. Agents get hundreds of these things a week. They can't read hundreds of manuscripts, or even sample pages, in a week and expect to get anything else done (like, I don't know, sell novels). They have no choice but to make snap judgments based on a 1-page pitch.
But more than that, I'm learning that the agents are right. They already know this, so I guess I'm speaking to the authors (besides, what agents spend their time on this blog? Pah!). If you can't write a solid, gripping, concise query letter, then chances are you can't write a good novel either.
Don't hang me yet! Hear me out!
We tend to think that writing a query and a novel are two separate skills, but they're not. They aren't the same skill, but they do overlap considerably. Sentence structure, word choice, clarity, word economy, etc. are just as important in a novel as in a query.
In learning how to write query letters, my novel writing has improved as well. I find myself being more concise, choosing words more intentionally, focusing on clarity and logic flow. I've also found that in focusing on what's important to the story for the query, it keeps me focused in the novel.
The biggest mistake writers make in queries is trying to tell everything that happens, losing focus on what's important. If can't stay focused in the query chances are you'll lose focus in the novel too, though it will be more difficult to see.
Finally, before you decide to execute me, remember that I said "chances are." It's still possible to write terrible queries and amazing novels, just as it's possible to write amazing queries and terrible novels. But by and large, the agents have a point; our query writing skills say a lot about our writing skills in general.
And in the end, if I, as an author, dismiss any aspect of writing as unimportant - if I am unwilling to learn how to write a query letter well because it "has nothing to do with writing good novels" - how good of a writer can I really be anyway?
Workspace
When I was writing Travelers, I usually only had a couple of documents open: the manuscript and an outline. I'd open other files as needed, like if I needed to find some old notes or update my word count statistics, but it was rare.*
The other day, I was working on Air Pirates, and one of my kids came up and said (as teenagers will), "Wow! You've got a lot of stuff open!" I have the taskbar expanded to double, and at any given time it's packed with manuscripts, world docs, outlines, brainstorming notes... Well, let me just show you an example:
I mean, just in that screenshot, I've got 2 time management docs (TODO and Writing Statistics), 4 story docs (manuscript, timeline, outline, character bible), 6 world docs and notes, plus the directory they're contained in and Firefox. That's normal. Sometimes I'll also open "Details to Remember,"** "Random Passages," or any of 100*** other files containing various notes on different story-related topics.
I don't feel disorganized yet, but I can sense that I'm getting close. If I have to write three books in this world, I may have to find a better way to manage all of this stuff.
* For example, at the time I only kept track of word count each time I finished a chapter. Travelers only has 11 chapters and an epilogue, and it took me three years to write. So I only got to open this file about once every 3 months.
** An increasingly obsolete document in which I attempt to keep track of little details, like how much money the protagonist has on him, and which leg was broken of a particular minor character.
*** One hundred twenty three, at the moment. Character notes, maps, old dead stories in the same world, old drafts, early outlines... I even have a flash animation of the world, its 3 moons, and 2 suns.
The other day, I was working on Air Pirates, and one of my kids came up and said (as teenagers will), "Wow! You've got a lot of stuff open!" I have the taskbar expanded to double, and at any given time it's packed with manuscripts, world docs, outlines, brainstorming notes... Well, let me just show you an example:
I mean, just in that screenshot, I've got 2 time management docs (TODO and Writing Statistics), 4 story docs (manuscript, timeline, outline, character bible), 6 world docs and notes, plus the directory they're contained in and Firefox. That's normal. Sometimes I'll also open "Details to Remember,"** "Random Passages," or any of 100*** other files containing various notes on different story-related topics.
I don't feel disorganized yet, but I can sense that I'm getting close. If I have to write three books in this world, I may have to find a better way to manage all of this stuff.
* For example, at the time I only kept track of word count each time I finished a chapter. Travelers only has 11 chapters and an epilogue, and it took me three years to write. So I only got to open this file about once every 3 months.
** An increasingly obsolete document in which I attempt to keep track of little details, like how much money the protagonist has on him, and which leg was broken of a particular minor character.
*** One hundred twenty three, at the moment. Character notes, maps, old dead stories in the same world, old drafts, early outlines... I even have a flash animation of the world, its 3 moons, and 2 suns.
Elements of Fiction: Why?
I've been reading this book, Blue Like Jazz, where Donald Miller talks about his Christian journey in decidedly non-religious terms. It's refreshing, and I highly recommend it, whatever your beliefs.
At one point, he talks about a lecture he went to on the elements of literature - setting, character, conflict, climax, and resolution - and he (and I) began to wonder why? Why do stories have to have these elements? Nobody invented them. Nobody said, "This is how it shall be done," and so we all do it that way. These elements are in the core of our being. Humans of all cultures identify with stories that contain these elements and have trouble with stories that do not (literary fiction, I'm looking at you).
The real reason (and this isn't my idea, but Miller's) is that these elements speak to things inherent in the human condition. Let's take a look at them.
Setting. This one is obvious. The fact that we exist means we exist somewhere. We cannot experience life without a setting in which to experience it.
Character. Likewise, there is no life but it has characters in it. Even the most secluded hermit has himself in his own story.
Conflict. Life sucks; it has hard things in it from the beginning. Pain. Loss. We want something, but there are always obstacles. There is no life without conflict.
Climax. As we face more conflict and more obstacles, eventually things come to a make-or-break point. Will I ask her out? Will I try out for the team? Will I propose? Will I win the contest? Will I have a baby? We must make a choice, we must act out that choice, and the experiences and decisions we've made up to that point all play a part in determining how each climax plays out.
Resolution. Whether the climax was a success or failure, the resolution is what happens as a result. Questions are answered. Loose ends are closed. Cliffs are left hanging towards the next climax.
The fact that these are inherent to life suggests some things too. Perhaps our lives build towards a climax and have resolution - maybe death is not an abrupt end to the story, but some kind of climax itself. Perhaps also there is something after death, with conflict and climax of its own (though of what kind, I cannot possibly imagine).
Because if there is one thing that is true about all stories, it's that they never end. After one scene reaches its climax, the conflict-climax-resolution cycle starts again in the next one. A few such scenes, and you've got a chapter. Many chapters, each with their own climax, make a book. Many books make a saga. Sagas make life.
And then it all starts again.
At one point, he talks about a lecture he went to on the elements of literature - setting, character, conflict, climax, and resolution - and he (and I) began to wonder why? Why do stories have to have these elements? Nobody invented them. Nobody said, "This is how it shall be done," and so we all do it that way. These elements are in the core of our being. Humans of all cultures identify with stories that contain these elements and have trouble with stories that do not (literary fiction, I'm looking at you).
The real reason (and this isn't my idea, but Miller's) is that these elements speak to things inherent in the human condition. Let's take a look at them.
Setting. This one is obvious. The fact that we exist means we exist somewhere. We cannot experience life without a setting in which to experience it.
Character. Likewise, there is no life but it has characters in it. Even the most secluded hermit has himself in his own story.
Conflict. Life sucks; it has hard things in it from the beginning. Pain. Loss. We want something, but there are always obstacles. There is no life without conflict.
Climax. As we face more conflict and more obstacles, eventually things come to a make-or-break point. Will I ask her out? Will I try out for the team? Will I propose? Will I win the contest? Will I have a baby? We must make a choice, we must act out that choice, and the experiences and decisions we've made up to that point all play a part in determining how each climax plays out.
Resolution. Whether the climax was a success or failure, the resolution is what happens as a result. Questions are answered. Loose ends are closed. Cliffs are left hanging towards the next climax.
The fact that these are inherent to life suggests some things too. Perhaps our lives build towards a climax and have resolution - maybe death is not an abrupt end to the story, but some kind of climax itself. Perhaps also there is something after death, with conflict and climax of its own (though of what kind, I cannot possibly imagine).
Because if there is one thing that is true about all stories, it's that they never end. After one scene reaches its climax, the conflict-climax-resolution cycle starts again in the next one. A few such scenes, and you've got a chapter. Many chapters, each with their own climax, make a book. Many books make a saga. Sagas make life.
And then it all starts again.
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