His tweet says, "Had justice peas again tonight. So. Awesome."
Why Aren't You Linking Yet?
It is 2011. The internet as we know it is old. It's older than the Matrix and Star Wars Special Edition. It was born in a time when Michael Keaton was still Batman, Joe Montana was a 49er, and people freaked out because Mortal Kombat was too bloody.
So why are people still writing comments like they've never seen a link before?
Look, I know HTML is ugly and non-intuitive, but it's not hard either, and it'll make your comments a lot less ugly than that URL up there. Here's how it works.
We'll start with bold and italics, cuz they're easy. Whatever you want formatted gets stuck between a start tag and an end tag. For example: "I <b>love</b> cookie dough!" becomes "I love cookie dough!" Tags always look the same: angle brackets around the tag name (b for bold, i for italics, etc), and an extra '/' in the end tag.
I see your eyes glazing over. Stop it! This isn't hard, and you'll look smarter and get more clicks to your blog. Keep going!
Links work the same way: their tag pair is <a></a>, but you have to add an attribute to tell it where the link goes. That's what the ugly 'href' thing is about.*
Let's fix the comment above. In the comment box, I type this:
There, was that so hard? Nearly every comment system allows these basic HTML tags. And look! One person actually clicked on the link. Now you can get that warm fuzzy feeling that comes every time your visitor stats go up.
Oh, you...you don't know how to check those either? Well, poop.
* If it helps, 'a' is short for anchor and 'href' stands for hyperlink reference. I'm sure it made lots of sense at the time.
So why are people still writing comments like they've never seen a link before?
Great post! And did you hear they're casting white actors for Akira? I know, right! I blogged about it here: http://www.adamheine.com/2011/03/dear-hollywood-asians-are-cool.htmlHow many people, do you think, will select that link, copy it, and paste it into their address bar so they can read your post? I'll give you a hint: the nearest integer rhymes with 'hero.'
Look, I know HTML is ugly and non-intuitive, but it's not hard either, and it'll make your comments a lot less ugly than that URL up there. Here's how it works.
We'll start with bold and italics, cuz they're easy. Whatever you want formatted gets stuck between a start tag and an end tag. For example: "I <b>love</b> cookie dough!" becomes "I love cookie dough!" Tags always look the same: angle brackets around the tag name (b for bold, i for italics, etc), and an extra '/' in the end tag.
I see your eyes glazing over. Stop it! This isn't hard, and you'll look smarter and get more clicks to your blog. Keep going!
Links work the same way: their tag pair is <a></a>, but you have to add an attribute to tell it where the link goes. That's what the ugly 'href' thing is about.*
Let's fix the comment above. In the comment box, I type this:
Great post! And did you hear <a href="http://www.adamheine.com/2011/03/dear-hollywood-asians-are-cool.html">they're casting white actors for Akira</a>? I know, right!It looks just as ugly as the first one, right? Except when the comment is posted, it'll look like this:
Great post! And did you hear they're casting white actors for Akira? I know, right!
There, was that so hard? Nearly every comment system allows these basic HTML tags. And look! One person actually clicked on the link. Now you can get that warm fuzzy feeling that comes every time your visitor stats go up.
Oh, you...you don't know how to check those either? Well, poop.
* If it helps, 'a' is short for anchor and 'href' stands for hyperlink reference. I'm sure it made lots of sense at the time.
Patching e-books
Apparently, Amazon has been wirelessly updating error-ridden books, and it raises the obvious question: Should e-book patching even be a thing?
I'm torn. I mean, technology-wise, I think this is great, though I can see the potential abuses all too clearly.
Patching is not a new thing. Computer games have been doing it even longer than George Lucas.* Even print books get the occasional story-tweaking revision. So let's not pretend this is some new, infuriating thing that Big Publishing is doing to us. The difference now, though, is that eBooks can be patched immediately -- even automatically without the user's consent.
I'm going to say auto-patching is a Bad Idea because of Potential Abuse #1: Tweaking the story. Imagine a writer with Lucas Syndrome, endlessly fiddling with his masterpiece. You're halfway through his novel when a character references something that never happened -- except it did happen, in the revised version that got pushed to your device after you started reading.
Even without auto-patching, I fear this abuse. We'd all be arguing over whether Han or Greedo shot first, only to find out we were reading different versions.
Computer games show us Potential Abuse #2: Publishing the novel before it's done. In November, 1999, me and my fellow game developers were working 80+ hours/week to get our game finished before Christmas. We were close, but it was buggy -- critical cutscenes didn't play, others crashed the game, memory leaks made the game unplayable after an hour or so, important characters would kill the player for no reason, etc.
It sounds unplayable, and for some people it was, but they released it anyway. If we brought up a bug at status meetings, we were invariably told, "We'll fix that in the patch."
Don't get me wrong, we made a dang good game, but if you play it without that patch, I pity you. And I fear a world where authors release rough drafts of a novel for quick sales, knowing they can always "fix it in a patch."
That said, I think abuse would be the exception. I think most authors, if they updated their novels at all, would only make small changes. I say that because most film directors don't make controversial changes every time a new video format is released. Most game developers release playable games, using patches for bugs they couldn't have foreseen.
If it actually works that way, it could give e-books more value. We all know the things e-books can't do (can't loan, can't resell, DRM, etc), but print books can't be updated to make themselves better. You'd have to buy another copy for that. Mostly, I think this would be a good thing.
What do you think?
* Apparently, the term 'patching' is from the old punch-card days of computers, when a bug fix had to be literally patched onto the cards.
I'm torn. I mean, technology-wise, I think this is great, though I can see the potential abuses all too clearly.
Patching is not a new thing. Computer games have been doing it even longer than George Lucas.* Even print books get the occasional story-tweaking revision. So let's not pretend this is some new, infuriating thing that Big Publishing is doing to us. The difference now, though, is that eBooks can be patched immediately -- even automatically without the user's consent.
I'm going to say auto-patching is a Bad Idea because of Potential Abuse #1: Tweaking the story. Imagine a writer with Lucas Syndrome, endlessly fiddling with his masterpiece. You're halfway through his novel when a character references something that never happened -- except it did happen, in the revised version that got pushed to your device after you started reading.
Even without auto-patching, I fear this abuse. We'd all be arguing over whether Han or Greedo shot first, only to find out we were reading different versions.
Computer games show us Potential Abuse #2: Publishing the novel before it's done. In November, 1999, me and my fellow game developers were working 80+ hours/week to get our game finished before Christmas. We were close, but it was buggy -- critical cutscenes didn't play, others crashed the game, memory leaks made the game unplayable after an hour or so, important characters would kill the player for no reason, etc.
It sounds unplayable, and for some people it was, but they released it anyway. If we brought up a bug at status meetings, we were invariably told, "We'll fix that in the patch."
Don't get me wrong, we made a dang good game, but if you play it without that patch, I pity you. And I fear a world where authors release rough drafts of a novel for quick sales, knowing they can always "fix it in a patch."
That said, I think abuse would be the exception. I think most authors, if they updated their novels at all, would only make small changes. I say that because most film directors don't make controversial changes every time a new video format is released. Most game developers release playable games, using patches for bugs they couldn't have foreseen.
If it actually works that way, it could give e-books more value. We all know the things e-books can't do (can't loan, can't resell, DRM, etc), but print books can't be updated to make themselves better. You'd have to buy another copy for that. Mostly, I think this would be a good thing.
What do you think?
* Apparently, the term 'patching' is from the old punch-card days of computers, when a bug fix had to be literally patched onto the cards.
Why Do You Write in Your Genre?
And I think the reason is my own faith. Part of my assembly code includes a belief that there's more to this world than we can see or understand. I feel like there must be.
So even when I write a story about a forgotten colony of Earth, something creeps in that is bigger than we are and beyond our understanding. Even when I try to set a story in modern-day Thailand, people start fires with their mind or something.
I'm not sure I could write a non-speculative, contemporary story even if I wanted to. Eventually, some character would discover unusual powers or receive visions of the future or at the very least witness something that may or may not be a miracle.
I can't help it.
What's your genre? And why do you write it?
Is Good Subjective?
(Remixed from a post I did a couple of years ago).
The Lost Symbol is formulaic. Twilight is simplistic, both in plot and writing. Eragon is ridden with cliches (Warning: TV Tropes link). The Shack reads like it was self-published (oh, wait).
And yet every one of these books sold millions of copies.
Millions.
For those of us who have devoted a significant portion of our lives to the written word, this can drive us nuts. It's unfair, we say. If people knew anything about quality literature, they wouldn't buy this cotton candy nonsense.
But that's just it. People don't know about quality literature. They don't know you're not supposed to start a novel with the weather. They don't know that the farm-boy-as-chosen-one plot is old. They don't know that adverbs are a Bad Thing.
But people know what they like. They know these books are thrilling, engrossing, uplifting. "But they're not!" we cry. "They don't even follow the rules!"
Okay, so here's the thing. I know this is going to be hard to hear, but...all those rules that agents and editors and critique partners keep telling us we should follow? None of them make a story good.
For those of us trying to break into the business, it's easy to convince ourselves that "good" is objective -- that all we have to do is figure out the rules and follow them. While the rules certainly increase our chances, nothing in this business is a sure thing. Nothing.
So how do you break in? Well, not having broken in myself yet, I'm going to go with the stock answer: Write lots. Write well. Get lucky.
Usually in that order.
The Lost Symbol is formulaic. Twilight is simplistic, both in plot and writing. Eragon is ridden with cliches (Warning: TV Tropes link). The Shack reads like it was self-published (oh, wait).
And yet every one of these books sold millions of copies.
Millions.
For those of us who have devoted a significant portion of our lives to the written word, this can drive us nuts. It's unfair, we say. If people knew anything about quality literature, they wouldn't buy this cotton candy nonsense.
But that's just it. People don't know about quality literature. They don't know you're not supposed to start a novel with the weather. They don't know that the farm-boy-as-chosen-one plot is old. They don't know that adverbs are a Bad Thing.
But people know what they like. They know these books are thrilling, engrossing, uplifting. "But they're not!" we cry. "They don't even follow the rules!"
Okay, so here's the thing. I know this is going to be hard to hear, but...all those rules that agents and editors and critique partners keep telling us we should follow? None of them make a story good.
For those of us trying to break into the business, it's easy to convince ourselves that "good" is objective -- that all we have to do is figure out the rules and follow them. While the rules certainly increase our chances, nothing in this business is a sure thing. Nothing.
So how do you break in? Well, not having broken in myself yet, I'm going to go with the stock answer: Write lots. Write well. Get lucky.
Usually in that order.
Breaking the Rules
If you've been learning the craft for a while, you've heard the rules. Don't start with a character waking up. Don't start with dialog or the weather. Don't use a mirror as a device to describe the narrator. Et cetera.
Lies.
There's a book you might have heard about called THE HUNGER GAMES. You know what it starts with? Katniss waking up.
You may have heard of Natalie Whipple, whose X-Men-meets-Godfather debut comes out next Summer. (If you haven't, you're welcome). About her novel, she tweets, "TRANSPARENT opens with a flashback, then moves on to a mirror scene while she is getting ready for school."
I love that. You may argue that means Transparent isn't good, but then you haven't read Natalie's stuff and you would be dead wrong. I can't wait to read Transparent, and I love that it breaks the rules.
My own novel AIR PIRATES starts with dialog. While it hasn't gotten me an agent yet, it has generated a lot of requests which, if nothing else, tells me the beginning doesn't totally suck.
Listen, the rules are good things. You should know them. But don't be afraid of breaking them. Just know why you're doing it. Are you breaking the rule because you couldn't think of anything better, or is it because that's the best way to do what you want to do?
If it's the latter, I say go for it! What do you think?
(Hm. I just realized Post-Apoc Ninjas starts with the weather. Maybe I have authority issues?)
Lies.
There's a book you might have heard about called THE HUNGER GAMES. You know what it starts with? Katniss waking up.
You may have heard of Natalie Whipple, whose X-Men-meets-Godfather debut comes out next Summer. (If you haven't, you're welcome). About her novel, she tweets, "TRANSPARENT opens with a flashback, then moves on to a mirror scene while she is getting ready for school."
I love that. You may argue that means Transparent isn't good, but then you haven't read Natalie's stuff and you would be dead wrong. I can't wait to read Transparent, and I love that it breaks the rules.
My own novel AIR PIRATES starts with dialog. While it hasn't gotten me an agent yet, it has generated a lot of requests which, if nothing else, tells me the beginning doesn't totally suck.
Listen, the rules are good things. You should know them. But don't be afraid of breaking them. Just know why you're doing it. Are you breaking the rule because you couldn't think of anything better, or is it because that's the best way to do what you want to do?
If it's the latter, I say go for it! What do you think?
(Hm. I just realized Post-Apoc Ninjas starts with the weather. Maybe I have authority issues?)
So You Think You're Ready to Query...
When I wrote my first novel, I just wanted to prove to myself that I could finish a whole novel. After 4.5 years, I did, and when my one of my two beta readers said, "I can't believe you wrote a novel! And it's good!" I thought maybe I could actually publish it.
It took me 8 months, 52 queries, and 0 requests to realize I wasn't ready. This is the post I wish I had read back then (though I probably would've ignored it and queried anyway).
HOW MUCH HAVE YOU REVISED?
Is the story basically the same as it was in the first draft? I don't mean prose and grammar. I mean big things: motivations, characters that need to be cut or added, scenes that need to be rearranged. Have you deleted/rewritten entire scenes and chapters? I barely scraped the sentence structure with my first novel, and it showed in my rejections.
Of course, it's possible you wrote something good enough the first time, but it's unlikely. I'm the most obsessive planner I know, but even I have yet to write something where I didn't delete whole scenes and rewrite entire chapters.
WHAT DO YOUR BETA READERS SAY?
Do they love it yet? If not, it's possible they might be wrong, but chances are they're not. Revise it until most of them can't put it down.
And who are your betas? Are they friends and family, or are they writers who are trying themselves to get published? Friends make fine betas, but nobody knows the business like those who have already gotten their butts kicked by it. Network. Swap critiques with people who aren't predisposed to like your work.
DO YOU KNOW YOUR MARKET?
I thought I did. I'd read books like Left Behind and Randy Ingermanson's Trangression and Oxygen and thought, "Hey! Christian sci-fi is a thing!" I was wrong.
That doesn't mean you can't write what you love, but know what you're getting into. If Christian SF was my one true love, I would've focused my attention on that market and figured out how to become the exception. But I'm easy. I shifted my focus to secular SF/F and ultimately to YA. I'm still writing what I love, but my chances have greatly improved.
HOW'S YOUR QUERY LETTER?
This is assuming you're going the traditional publishing route (although a lot of book bloggers require query letters too -- can't escape, can you?). Have you written one? Have you revised it a bazillion times? Have you read hundreds of examples, both good and bad, and then revised yours again?
Have you had any of your stuff (query, opening pages, etc.) critiqued online by anonymous strangers? It's scary, and you're likely to get conflicting advice and people that don't get it. But this is a good way to see how agents or the general public might respond to your stuff.
If I could do it all over again, I'd join an online critique group and milk it for all it's worth, critiquing and getting critiqued until every beta said, "I can't see anything wrong with this! I love it!" I'd spend hours at Query Shark, Evil Editor, Matt MacNish and JJ Debenedictis' sites reading queries and submitting my own until people were saying, "This looks good! I'd request this!" I'd do it right.
Ah, who am I kidding? I'd do it exactly the way I did. I was so excited. I couldn't help it! I just hope one of you will learn from my mistakes without making them yourself.
Veteran writers, what would you have done differently the first time around? (Assuming you got rejected. If your first novel got published, I'm not sure I want to hear it!)
It took me 8 months, 52 queries, and 0 requests to realize I wasn't ready. This is the post I wish I had read back then (though I probably would've ignored it and queried anyway).
HOW MUCH HAVE YOU REVISED?
Is the story basically the same as it was in the first draft? I don't mean prose and grammar. I mean big things: motivations, characters that need to be cut or added, scenes that need to be rearranged. Have you deleted/rewritten entire scenes and chapters? I barely scraped the sentence structure with my first novel, and it showed in my rejections.
Of course, it's possible you wrote something good enough the first time, but it's unlikely. I'm the most obsessive planner I know, but even I have yet to write something where I didn't delete whole scenes and rewrite entire chapters.
WHAT DO YOUR BETA READERS SAY?
Do they love it yet? If not, it's possible they might be wrong, but chances are they're not. Revise it until most of them can't put it down.
And who are your betas? Are they friends and family, or are they writers who are trying themselves to get published? Friends make fine betas, but nobody knows the business like those who have already gotten their butts kicked by it. Network. Swap critiques with people who aren't predisposed to like your work.
DO YOU KNOW YOUR MARKET?
I thought I did. I'd read books like Left Behind and Randy Ingermanson's Trangression and Oxygen and thought, "Hey! Christian sci-fi is a thing!" I was wrong.
That doesn't mean you can't write what you love, but know what you're getting into. If Christian SF was my one true love, I would've focused my attention on that market and figured out how to become the exception. But I'm easy. I shifted my focus to secular SF/F and ultimately to YA. I'm still writing what I love, but my chances have greatly improved.
HOW'S YOUR QUERY LETTER?
This is assuming you're going the traditional publishing route (although a lot of book bloggers require query letters too -- can't escape, can you?). Have you written one? Have you revised it a bazillion times? Have you read hundreds of examples, both good and bad, and then revised yours again?
Have you had any of your stuff (query, opening pages, etc.) critiqued online by anonymous strangers? It's scary, and you're likely to get conflicting advice and people that don't get it. But this is a good way to see how agents or the general public might respond to your stuff.
If I could do it all over again, I'd join an online critique group and milk it for all it's worth, critiquing and getting critiqued until every beta said, "I can't see anything wrong with this! I love it!" I'd spend hours at Query Shark, Evil Editor, Matt MacNish and JJ Debenedictis' sites reading queries and submitting my own until people were saying, "This looks good! I'd request this!" I'd do it right.
Ah, who am I kidding? I'd do it exactly the way I did. I was so excited. I couldn't help it! I just hope one of you will learn from my mistakes without making them yourself.
Veteran writers, what would you have done differently the first time around? (Assuming you got rejected. If your first novel got published, I'm not sure I want to hear it!)
Subscribe to:
Posts (Atom)