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Nothing is original? False. The "Hunger Games" idea was original when first conceived for BATTLE ROYALE. It ceased any claim to originality once recycled into "The Hunger Games," but prior to that it was original. All story ideas currently extant were once original at one time in the past. Classic examples? [MORE INFO]

That said, I agree with Joe that this video might do more harm than good when it comes to giving writers advice. It sounds like Hank is (as we've been hammering on so hard here) a pantser. From the way he described his process, it sounds like he sort of wanders through the story and sees where his interest (and the characters) take him. [MORE BELOW]

Introduction to Pre-event Assignments The below seven assignments are vital to reaching an understanding of specific and critical core elements that go into the creation of a commercially viable genre novel or narrative non-fiction. Of course, there is more to it than this, as you will see, but here we have a good primer that assures we're literally all on the same page before the event begins. You may return here as many times as you need to edit your topic post (login and click "edit"). Pay special attention to antagonists, setting, conflict and core wound hooks. And btw, quiet novels do not sell. Keep that in mind. Be aggressive with your work. Michael Neff Algonkian Conference Director ____________ After you've registered and logged in, create your reply to this topic (button top right). Please utilize only one reply for all of your responses so the forum topic will not become cluttered. Also, strongly suggest typing up your "reply" in a separate file then copying it over to your post before submitting. Not a good idea to lose what you've done! __________________________________________________________ THE ACT OF STORY STATEMENT Before you begin to consider or rewrite your story premise, you must develop a simple "story statement." In other words, what's the mission of your protagonist? The goal? What must be done? What must this person create? Save? Restore? Accomplish? Defeat?... Defy the dictator of the city and her bury brother’s body (ANTIGONE)? Struggle for control over the asylum (ONE FLEW OVER THE CUCKOO’S NEST)? Do whatever it takes to recover lost love (THE GREAT GATSBY)? Save the farm and live to tell the story (COLD MOUNTAIN)? Find the wizard and a way home to Kansas (WIZARD OF OZ)? Note that all of these are books with strong antagonists who drive the plot line (see also "Core Wounds and Conflict Lines" below). FIRST ASSIGNMENT: write your story statement. ___________________________________________________ THE ANTAGONIST PLOTS THE POINT (Photo : Javert from "Les Misérables") What are the odds of you having your manuscript published if the overall story and narrative fail to meet publisher demands for sufficient suspense, character concern, and conflict? Answer: none. You might therefore ask, what major factor makes for a quiet and dull manuscript brimming with insipid characters and a story that cascades from chapter to chapter with tens of thousands of words, all of them combining irresistibly to produce an audible thudding sound in the mind like a mallet hitting a side of cold beef? Answer: the unwillingness or inability of the writer to create a suitable antagonist who stirs and spices the plot hash. Let's make it clear what we're talking about. By "antagonist" we specifically refer to an actual fictional character, an embodiment of certain traits and motivations who plays a significant role in catalyzing and energizing plot line(s), or at bare minimum, in assisting to evolve the protagonist's character arc (and by default the story itself) by igniting complication(s) the protagonist, and possibly other characters, must face and solve (or fail to solve). CONTINUE READING ENTIRE ARTICLE AT NWOE THEN RETURN HERE. SECOND ASSIGNMENT: in 200 words or less, sketch the antagonist or antagonistic force in your story. Keep in mind their goals, their background, and the ways they react to the world about them. ___________________________________________________ CONJURING YOUR BREAKOUT TITLE What is your breakout title? How important is a great title before you even become published? Very important! Quite often, agents and editors will get a feel for a work and even sense the marketing potential just from a title. A title has the ability to attract and condition the reader's attention. It can be magical or thud like a bag of wet chalk, so choose carefully. A poor title sends the clear message that what comes after will also be of poor quality. Go to Amazon.Com and research a good share of titles in your genre, come up with options, write them down and let them simmer for at least 24 hours. Consider character or place names, settings, or a "label" that describes a major character, like THE ENGLISH PATIENT or THE ACCIDENTAL TOURIST. Consider also images, objects, or metaphors in the novel that might help create a title, or perhaps a quotation from another source (poetry, the Bible, etc.) that thematically represents your story. Or how about a title that summarizes the whole story: THE MARTIAN CHRONICLES, HARRY POTTER AND THE CHAMBER OF SECRETS, THE WORLD ACCORDING TO GARP, etc. Keep in mind that the difference between a mediocre title and a great title is the difference between THE DEAD GIRL'S SKELETON and THE LOVELY BONES, between TIME TO LOVE THAT CHOLERA and LOVE IN THE TIME OF CHOLERA between STRANGERS FROM WITHIN (Golding's original title) and LORD OF THE FLIES, between BEING LIGHT AND UNBEARABLE and THE UNBEARABLE LIGHTNESS OF BEING. THIRD ASSIGNMENT: create a breakout title (list several options, not more than three, and revisit to edit as needed). ___________________________________________________ DECIDING YOUR GENRE AND APPROACHING COMPARABLES Did you know that a high percentage of new novel writers don't fully understand their genre, much less comprehend comparables? When informing professionals about the nuances of your novel, whether by query letter or oral pitch, you must know your genre first, and provide smart comparables second. In other words, you need to transcend just a simple statement of genre (literary, mystery, thriller, romance, science fiction, etc.) by identifying and relating your novel more specifically to each publisher's or agent's area of expertise, and you accomplish this by wisely comparing your novel to contemporary published novels they will most likely recognize and appreciate--and it usually doesn't take more than two good comps to make your point. Agents and publishing house editors always want to know the comps. There is more than one reason for this. First, it helps them understand your readership, and thus how to position your work for the market. Secondly, it demonstrates up front that you are a professional who understands your contemporary market, not just the classics. Very important! And finally, it serves as a tool to enable them to pitch your novel to the decision-makers in the business. Most likely you will need to research your comps. If you're not sure how to begin, go to Amazon.Com, type in the title of a novel you believe very similar to yours, choose it, then scroll down the page to see Amazon's list of "Readers Also Bought This" and begin your search that way. Keep in mind that before you begin, you should know enough about your own novel to make the comparison in the first place! By the way, beware of using comparables by overly popular and classic authors. If you compare your work to classic authors like H.G. Wells and Gabriel Marquez in the same breath you will risk being declared insane. If you compare your work to huge contemporary authors like Nick Hornby or Jodi Picoult or Nora Ephron or Dan Brown or J.K. Rowling, and so forth, you will not be laughed at, but you will also not be taken seriously since thousands of others compare their work to the same writers. Best to use two rising stars in your genre. If you can't do this, use only one classic or popular author and combine with a rising star. Choose carefully! FOURTH ASSIGNMENT: - Read this NWOE article on comparables then return here. - Develop two smart comparables for your novel. This is a good opportunity to immerse yourself in your chosen genre. Who compares to you? And why? ____________________________________________________ CORE WOUND AND THE PRIMARY CONFLICT Conflict, tension, complication, drama--all basically related, and all going a long way to keeping the reader's eyes fixated on your story. These days, serving up a big manuscript of quiet is a sure path to damnation. You need tension on the page at all times, and the best way to accomplish this is to create conflict and complications in the plot and narrative. Consider "conflict" divided into three parts, all of which you MUST have present in the novel. First part, the primary dramatic conflict which drives through the work from beginning to end, from first major plot point to final reversal, and finally resolving with an important climax. Next, secondary conflicts or complications that take various social forms - anything from a vigorous love subplot to family issues to turmoil with fellow characters. Finally, those various inner conflicts and core wounds all important characters must endure and resolve as the story moves forward. But now, back to the PRIMARY DRAMATIC CONFLICT. If you've taken care to consider your story description and your hook line, you should be able to identify your main conflict(s). Let's look at some basic information regarding the history of conflict in storytelling. Conflict was first described in ancient Greek literature as the agon, or central contest in tragedy. According to Aristotle, in order to hold the interest, the hero must have a single conflict. The agon, or act of conflict, involves the protagonist (the "first fighter" or "hero") and the antagonist corresponding to the villain (whatever form that takes). The outcome of the contest cannot be known in advance, and, according to later drama critics such as Plutarch, the hero's struggle should be ennobling. Is that always true these days? Not always, but let's move on. Even in contemporary, non-dramatic literature, critics have observed that the agon is the central unit of the plot. The easier it is for the protagonist to triumph, the less value there is in the drama. In internal and external conflict alike, the antagonist must act upon the protagonist and must seem at first to overmatch him or her. The above defines classic drama that creates conflict with real stakes. You see it everywhere, to one degree or another, from classic contemporary westerns like THE SAVAGE BREED to a time-tested novel as literary as THE GREAT GATSBY. And of course, you need to have conflict or complications in nonfiction also, in some form, or you have a story that is too quiet. For examples let's return to the story descriptions and create some HOOK LINES. Let's don't forget to consider the "core wound" of the protagonist. Please read this article at NWOE then return here. The Hand of Fatima by Ildefonso Falcones A young Moor torn between Islam and Christianity, scorned and tormented by both, struggles to bridge the two faiths by seeking common ground in the very nature of God. Summer's Sisters by Judy Blume After sharing a magical summer with a friend, a young woman must confront her friend's betrayal of her with the man she loved. The Bartimaeus Trilogy by Jonathan Stroud As an apprentice mage seeks revenge on an elder magician who humiliated him, he unleashes a powerful Djinn who joins the mage to confront a danger that threatens their entire world. Note that it is fairly easy to ascertain the stakes in each case above: a young woman's love and friendship, the entire world, and harmony between opposed religions. If you cannot make the stakes clear, the odds are you don't have any. Also, is the core wound obvious or implied? FIFTH ASSIGNMENT: write your own hook line (logline) with conflict and core wound following the format above. Though you may not have one now, keep in mind this is a great developmental tool. In other words, you best begin focusing on this if you're serious about commercial publication. ______________________________________________________ OTHER MATTERS OF CONFLICT: TWO MORE LEVELS As noted above, consider "conflict" divided into three parts, all of which you should ideally have present. First, the primary conflict which drives through the core of the work from beginning to end and which zeniths with an important climax (falling action and denouement to follow). Next, secondary conflicts or complications which can take various social forms (anything from a vigorous love subplot to family issues to turmoil with fellow characters). Finally, those inner conflicts the major characters must endure and resolve. You must note the inner personal conflicts elsewhere in this profile, but make certain to note any important interpersonal conflicts within this particular category." SIXTH ASSIGNMENT: sketch out the conditions for the inner conflict your protagonist will have. Why will they feel in turmoil? Conflicted? Anxious? Sketch out one hypothetical scenario in the story wherein this would be the case--consider the trigger and the reaction. Next, likewise sketch a hypothetical scenario for the "secondary conflict" involving the social environment. Will this involve family? Friends? Associates? What is the nature of it? ______________________________________________________ THE INCREDIBLE IMPORTANCE OF SETTING When considering your novel, whether taking place in a contemporary urban world or on a distant magical planet in Andromeda, you must first sketch the best overall setting and sub-settings for your story. Consider: the more unique and intriguing (or quirky) your setting, the more easily you're able to create energetic scenes, narrative, and overall story. A great setting maximizes opportunities for interesting characters, circumstances, and complications, and therefore makes your writing life so much easier. Imagination is truly your best friend when it comes to writing competitive fiction, and nothing provides a stronger foundation than a great setting. One of the best selling contemporary novels, THE HUNGER GAMES, is driven by the circumstances of the setting, and the characters are a product of that unique environment, the plot also. But even if you're not writing SF/F, the choice of setting is just as important, perhaps even more so. If you must place your upmarket story in a sleepy little town in Maine winter, then choose a setting within that town that maximizes opportunities for verve and conflict, for example, a bed and breakfast stocked to the ceiling with odd characters who combine to create comical, suspenseful, dangerous or difficult complications or subplot reversals that the bewildered and sympathetic protagonist must endure and resolve while he or she is perhaps engaged in a bigger plot line: restarting an old love affair, reuniting with a family member, starting a new business, etc. And don't forget that non-gratuitous sex goes a long way, especially for American readers. CONTINUE TO READ THIS ARTICLE THEN RETURN. FINAL ASSIGNMENT: sketch out your setting in detail. What makes it interesting enough, scene by scene, to allow for uniqueness and cinema in your narrative and story? Please don't simply repeat what you already have which may well be too quiet. You can change it. That's why you're here! Start now. Imagination is your best friend, and be aggressive with it. ________________________ Below are several links to part of an article or whole articles that we feel are the most valuable for memoir writers. We have reviewed these and agree 110%. MEMOIR WRITING - CHOOSE A SPECIFIC EVENT (good general primer) How to Write a Memoir That People Care About | NY Book Editors NYBOOKEDITORS.COM Are you thinking of writing a memoir but you're stuck? We've got the remedy. Check out our beginner's guide on writing an epic and engaging memoir. MEMOIR MUST INCLUDE TRANSCENDENCE Writing Memoir? Include Transcendence - Memoir coach and author Marion Roach MARIONROACH.COM MEMOIR REQUIRES TRANSCENDENCE. Something has to happen. Or shift. Someone has to change a little. Or grow. It’s the bare hack minimum of memoir. WRITE IT LIKE A NOVEL How to Write a Powerful Memoir in 5 Simple Steps JERRYJENKINS.COM When it comes to writing a memoir, there are 5 things you need to focus on. If you do, your powerful story will have the best chance of impacting others. MEMOIR ANECDOTES - HOW TO MAKE THEM SHINE How to Write an Anecdote That Makes Your Nonfiction Come Alive JERRYJENKINS.COM Knowing how to write an anecdote lets you utilize the power of story with your nonfiction and engage your reader from the first page. ________________________

What makes for good drama is a constant. To begin, we combine Siegal's "nine act structure - two goal" screenplay (very much like the Syd Field three act except that the "reversal" from Field's structure joins "Act 5" in Siegal's version) with the Field classic three act. The Two-Goal Structure, Siegal maintains, creates more dynamic plot tension due to the insertion of PLOT REVERSAL later in the story. We concur. NOTE: "Plot Point" is defined here as a major occurrence that emphatically changes the course of the story. In the genre novel as a whole, we see three to five major plot points depending on various factors: a first PP that begins the rising action, second PP defined by the first major reversal, a third PP defined by a possible second major reversal, a climax PP, and a theoretical PP residing in the denouement, i.e., we think the story is going to resolve a certain way after climax, but a surprise happens that resolves it in a way not expected. Algonkian Writer Conferences developed the Six Act Two-Goal novel planning outline for all writers of novel-length dramatic fiction, regardless of genre, as well as narrative non-fiction. The point is to utilize a tightly plotted act structure, similar to that used by screenplay writers, to effectively brainstorm and produce competitive, suspenseful plots for the genre novel (fantasy, SF, YA/MG, mystery, thriller, crime, historical, women's fiction, etc.). Upmarket or literary fiction utilizing strong plot lines also benefit (see examples below). We do not dismiss other forms of novel outlining out of hand, simply recommend this one as being a strong and tested framework not only for breaking into mainstream publishing, but for later translating the novel into a film as efficiently as possible. In the opening of a story ignited directly or indirectly by the antagonist, the protagonist(s) are focused to embark on their primary task, challenge, journey, or struggle (first major plot point), and thus follows a "first major goal" to win that struggle, thereby initiating the second act of the story (Syd Field model); however, by the middle of the second act or later, the protagonist(s) realize they have pursued the wrong goal. A second goal is now needed. The protagonist(s) are therefore forced to alter their course and struggle to accomplish a new and presumably more productive means-to-an-end. To put it simply, storming the walls didn't work and now the Trojan Horse solution is needed. Finding the wizard wasn't sufficient, now the little band of heroes must steal the Wicked Witch's broom. Acquiring a reasonably priced rest home for her mentally unstable father failed, now the impoverished daughter must prepare a room in her basement. Attempting to flee got his knees pulped by a sledge hammer, now the captive author must connive a more subtle and deceptive means of escape. The fusion of the Siegal and Field models we outline below thus becomes a tighter six act model for the novel or narrative nonfiction. However, before you begin using the SATG, take note that your most important elements to sketch and produce from the onset are your: High Concept Story Protagonist Hook and Core Wound Defined (+ General "P" Definition ) Antagonist The Novel "Agon" Rich and Potent Setting BTW, keep in mind that you construct your novel in units of scene, and every scene drives the plot line(s) forward. NOTE: we use examples of novels, stories and films below that will likely be familiar to the widest range of readers. These include ANTIGONE, TO KILL A MOCKINGBIRD, THE HUNGER GAMES, HUCKLEBERRY FINN, ONE FLEW OVER THE CUCKOO'S NEST, GLADIATOR, THE GREAT GATSBY, WAR OF THE WORLDS, CATCHER IN THE RYE, CITIZEN KANE, HARRY POTTER, DA VINCI CODE, THE MALTESE FALCON, THE SUN ALSO RISES, COLD MOUNTAIN, THE WIZARD OF OZ, and MISERY. But make no mistake, the rules governing the art of fiction, or good storytelling, remain steady regardless of genre, and have pretty much been fixed since Apollonius of Rhodes wrote about the Argonauts. And if you happen to be one of those writers who believes that writing a novel "your way" or simply "from the heart" or "only with my character's direction" means avoiding or denying the critical elements of commercial fiction and good storytelling found below, it‘s best to move on quickly from this page and seek the Elysium of your desire. All best wishes to you. ACT ZERO Backstory to Set Up the Tale You must carefully forge your backstory before you begin. Understand the issues below. This does not directly appear in the story except by use of flashback and via other methods to DELIVER EXPOSITION: Writers set up the disaster that is coming in the story. Forces need to already be in motion in order to create conflict for the characters. Usually the emphasis for the backstory will be on the antagonist, but even protagonists carry baggage into the story. Years and years of planning might have gone into the collision course. ACT ONE (Page 1 - 30+) Issues of The Hook: Protagonist Intro - Antagonist First? - Inciting Incident - Extreme Importance of Setting - Establishment of Characters - The MacGuffin - In Media Res - Crucial Sympathy Factors - Something Bad Happens - Exposition - Theme? What needs to be done from the start? Why is the hook of Act I critical to this novel and to being taken seriously as a writer? The author showcases their BEST PROSE AND NARRATIVE SKILLS. Opening scenes clearly use show-don't-tell effects to render the protagonist and major characters as necessary. Scenes themselves have clear beginnings, middles, and ends. Point of view is rendered masterfully on both a distant and close level. Narrative and story progression don't feel overly derivative, but rather fresh and suspenseful, definitely engaging. And btw, Algonkian Writer Conferences recommend you consider utilizing the SCENE STORYBOARD GUIDE at this point to sketch important scenes ahead of time (crucial). Act I foreshadows the primary external conflict or complication (related to the protagonist goal in ACT II) to come. SYMPATHY FACTORS in the first 20 pages, or fewer, are critical for connecting the reader with your protagonist. We must see the character playing out their role in active scenes. We learn about them, their strengths and weaknesses, idiosyncrasies and flaws, and we learn these things by virtue of their actions, various internal concerns and conflict, and in the way other characters react to them in real time (vital--set up SECONDARY CHARACTERS whose role, at least in part, it is to reveal the traits and inclinations of the protagonist). Conflict begins on one or two of three levels (primary story conflict, inner conflict(s), and interpersonal conflict). THREE LEVELS OF CONFLICT. Setting is established (and it must be one that works TO CREATE VERVE AND OPPORTUNITIES). IN MEDIA RES may be employed here ("beginning in the middle"), ie, beginning where it most benefits the story, at a point of action, turmoil, or during a lively or curious event, etc. Something bad, irritating or tension-causing usually happens (Chief Bromden gets electro-shocked in the CUCKOO'S NEST or Jake debates his impotency with his ex-girlfriend in THE SUN ALSO RISES) or has just happened (murder victim found in the mayor's plum tree). An INCITING INCIDENT may take place that sets in motion events leading to the FIRST MAJOR PLOT POINT (see Act II below). In the movie, GLADIATOR, Commodus murders his Emperor father (Inciting Incident) which inevitably leads to the Emperor's general, Maximus, realizing the murder. He defies Commodus and faces execution (Plot Point) as a result. In King's MISERY, the author protagonist gets in a car accident and is rendered helpless (Inciting Incident). Kathy Bates finds him and imprisons him in her house (Plot Point). In ONE FLEW OVER THE CUCKOO'S NEST, McMurphy is sent to the asylum as a result of a fight (Inciting Incident) and later bets the inmates that he can shake up the Big Nurse and not get sent to the shock shop (Plot Point). The author cleverly PARCELS IN EXPOSITION in a variety of ways, via narrative, dialogue, characters, flashbacks, etc. NOTE that all major exposition must be delivered before or during the scene wherein the FIRST MAJOR PLOT POINT takes place. All information necessary to understand the story going forward must be known. Pardon the cliche, but exposition horse before the plot point cart at all times. In THE SUN ALSO RISES, Jake delivers the final round of exposition about his love, Brett Ashley, to his rival, Robert Cohn, just as Robert is making it known he wants Brett for himself. Jake reveals Brett's background and future plans (Exposition), and Robert indicates his plans for pursuing her (Plot Point). THE MACGUFFIN, if any, might well be introduced or foreshadowed as an object (or even goal) which catalyzes the plot line, or at least assists creates a source of mystery or tension (THE MALTESE FALCON or the mysterious head scar on HARRY POTTER). Something called THEME might well get a foothold here. Does the author have a message or a bigger point she or he wishes to portray in the plot, or by means of the character struggles, their conflicts and arcs, or perhaps by means of the setting itself? All the above? And theme doesn't have to be the exclusive province of literary or upmarket literature. Regardless, here are some great examples of theme from the dark classics. Please read and consider writing a "theme statement" for your own novel. It can't help but inform your work and make it richer and more relevant to the reader. The ANTAGONIST AND HIS OR HER MINIONS (if any), are introduced to a meaningful degree, along with more characters as necessary, or sidekicks of the protagonist. Note to Writer: don't create a minor or major character who doesn't somehow play a role in the development of the plot(s) and/or the protagonist arc. And they must create a presence on the stage of the page, either by virtue of their personality, position, attitude of the moment, or all of the above. You must consider and weigh and sketch each character carefully. Imagine they are all in a film. Will they seem gratuitous or vital to you? Sufficiently energetic or too quiet? The PRIMARY ANTAGONIST might remain a mystery (Lord Voldemort in HARRY POTTER), or be introduced first (the Big Nurse in CUCKOO'S NEST or the Opus Dei albino in DA VINCI CODE or the Wicked Witch in WIZARD OF OZ) to produce dramatic concern once protagonist accepts the goal. NOTE: The above is a very important dramatic effect. If you understand to a meaningful degree the power of the antagonist, whoever she or he may be, then instinctive concern for the protagonist enters the reader's mind as soon as she or he accepts the goal in ACT TWO (see below). ACT TWO (Page 10+ - 50+) More Hook: Write the Story Statement - Establishment of Major Goal - Primary External Conflict or Complication Begins - First Major Plot Point and Plot Line - Protagonist Psychology - Rising Action What's the mission? The goal? What must be done? Created? Accomplished? Defeated? Defy the dictator of the city and bury brother's body (ANTIGONE)? Place a bet that will shake up the asylum (ONE FLEW OVER THE CUCKOO'S NEST)? Do whatever it takes to recover lost love (THE GREAT GATSBY)? Save the farm and live to tell the story (COLD MOUNTAIN)? Find the wizard and a way home to Kansas (WIZARD OF OZ)? Note that all of these are books with strong antagonists who drive or catalyze the plot line going forward. Note to Writer: If you can't write a simple story statement like above (which builds into your hook/log line) then you don't have a work of commercial fiction. Keep in mind that the PLOT LINE is an elaboration of the statement, of the primary complication. Also, look over the brief summaries of films and novels in the SAMPLE LOG LINES PDF. These contain the simple statement, but more elaborated into a short hook. Necessary Preparation Steps for the Author: (members utilize the AAS technique guides) Write the story statement. Make it clear. Brainstorm necessary complications, reversals, and conflicts on all levels. Write a short synopsis to reveal the major elements and clarify. Sketch the plot line(s) with notes on the proper settings. Write the hook/log line and listen to how it sounds. The FIRST MAJOR PLOT POINT therefore takes place that establishes your protagonist‘s overall goal. In other words, the course of the action or plot changes, often drastically, and usually with a change of setting. Success seems possible. The RISING ACTION of the story truly begins with the launch of the primary external conflict or complication. A means to achieve the goal is decided. The work begins, the war begins, the feet hit the bricks, the plan to reunite the lovers is initiated. The graph has begun to rise and it won't stop until after the CLIMAX. In other words, the protagonist commits to the goal(s). But why? What is the motivation? What are the internal and external issues involved? She or he may go willingly into the situation because the alternative is worse, or to help an apparent victim. She or he may undertake the task not realizing the true dangers or complications ahead, out of ignorance. Another character might trick or push the protagonist into situation. ACT THREE (Page 50+ - 250+) Plot Line Evolution: Minor Reversals - Complications - Thee Levels of Conflict - Major Reversal Time - Plot Points - The Martians are Winning The dramatic pursuit of the goal evolves. The FIRST GOAL (the means to the end) within the master goal (the final desired result) is pursued (see STORY STATEMENT above), but this will eventually lead your protagonist to a firewall or dead end, or what is known as the MAJOR REVERSAL in the parlance of our times (Dorothy gets to Oz, but no Kansas until the broomstick is fetched). Members should utilize the AAS craft and technique guide modules. NOTE: This act pulls out all the stops to create tension, angst, conflict, and issues for the protagonist and appropriate characters to resolve: MINOR REVERSALS TAKE PLACE: protagonist(s) struggle, perhaps score small victories of one sort or another, but these are almost always reversed. For example, McMurphy organizes the inmates and theatrically pretends to watch the World Series in defiance of the Big Nurse, but she makes her will known later and punishes him (ONE FLEW OVER THE CUCKOO'S NEST). The Wicked witch makes Dorothy and company take a poppy snooze right on the verge of OZ, and later, the Guard at OZ tells them no one gets in, no way, no how! MINOR COMPLICATIONS TAKE PLACE: in other words, things happen that have a notable negative physical or emotional impact on the protagonist or those he/she cares about. These are not as strong as minor reversals, but action must be taken to overcome them. McMurphy takes the inmates out for a boat ride, but conflict at the dock with the boat captain and a need to make a quick escape takes place (ONE FLEW OVER). Meanwhile, Scarecrow hassles with crows, Tin Man is rusted, Lion overcompensates for cowardice, and Witch throws fireball. And know that "minor complications" can be fairly serious. In WAR OF THE WORLDS the major character had to bludgeon an insane curate to prevent him from giving away their hiding place to the Martians. You get the picture. But how many of them? Good question. Assignment: open up and read three of the best novels in your genre that you can find. Analyze the scenes and pick out the reversals and complications. Make a list. Report back. Whether upmarket or genre, MINOR COMPLICATIONS combine with MINOR REVERSALS to continually spike the narrative and story. It can't be easy for the protagonist and/or her companions. If too easy, you inevitably build to classic mid-novel sag. Tension runs out, wheels spin, and an inexperienced writer pads the middle with lumps of dull narrative and quiet situation. Ugh. "Best Wishes" rejection letter on the way. Off to a minor eBook publisher who will publish you if you have more than 100 Facebook members. Note: as a bonus, complications and reversals also assist greatly in maintaining all three levels of conflict (see above). Also, prior to climax, we may have a smart and strong reversal or complication which serves to introduce a twist or an unexpected event in the story (sometimes called a MIDPOINT CLIMAX).o Pinch Points Reveal and Reinforce the Antagonist Aims Pinch Points: an example or reminder of the nature and implications of the antagonistic force that is not filtered by the hero's experience. We see it for ourselves in a direct way as a scene that provides a glimpse into the villain's mind. The antagonist reaffirms his or her goal to delay, injure, stop, crush, or kill the protagonist. The intent is manifest and the concern for the protagonist is elevated. There should be two and situated near the 3/8 mark and the 3/5 mark in the manuscript. In ONE FLEW OVER THE CUCKOO'S NEST a pinch point takes place at the 3/5 mark when the Big Nurse informs the assembled hospital staff just what kind of cruel fate is in store for McMurphy. Crisis Point or MAJOR REVERSAL = Second Major Plot Point We've already noted what happened to Dorothy. In Stephen King's MISERY, after the captive author protagonist has his knees sledge-hammered by Kathy Bates (God, that hurt!) to prevent him from trying to escape again, he knows he's been using the wrong means to pursue the master goal (ie, to escape). He must now reboot and choose another path, a second goal to achieve the master goal (escape). To accomplish, the author conceives a new plan of theatrical cooperation with his captor, the new goal within the master goal being to trick her into passivity and lure her into a trap whereupon he can knock her senseless. In general, at this point, backstory issues, mysterious strangers, twists and turns and events all point out that your protagonist is on the wrong track, and the antagonist graph is rising. The Martians are conquering Earth and the Big Nurse is slowly tightening a noose around McMurphy's neck. Once more, success seems possible. INTERNAL CONFLICT IS ON THE INCREASE ALSO. Of course, and so is interpersonal conflict. All three levels of conflict are rising! But back to the protagonist for a moment ... Why should she or he turn back now? Why doesn't he/she? What's at stake? Is there a DILEMMA? What makes your protagonist realize the unavoidable importance of her/his original goal? What gives it new meaning? Does someone die? Do the stakes raise? Does reputation suffer or threaten to diminish? We must have a answer. This is true drama. Storytelling at its finest. ACT FOUR (Page 200+ - 375+) Second Major Plot Point - New Rising Action and Suspense - Conflict Levels - Climax - Victory at a Cost Opens with the SECOND MAJOR PLOT POINT as protagonist pursues the new and truly productive goal (the author of MISERY decides to write the novel Kathy wants in order to enact his new scheme to escape). The characters get that final clue, the missing piece to the puzzle, which allows them to make the necessary changes to successfully complete the plot line. Success seems more possible than ever despite MINOR REVERSALS OR COMPLICATIONS which may continue to take place. The final clue or missing piece to the puzzle is found. Possible surprise or twist takes place (the traitor is revealed--or this is reserved for CLIMAX or DENOUEMENT) All three conflict levels continue to build, however, some interpersonal conflicts may be resolved by this point. This builds to CLIMAX, and the protagonist will usually win out over the antagonist, but victory or success must come at a price (such as the death of a favorite character: the sheriff in MISERY is killed by Kathy just before climax). Climax should be the most intense plot point in the story, but the intensity and nature of that intensity depends on the needs of the genre and the nature of the story. While the climax is the moment when the decisive event occurs, plot development is a process that occurs throughout your novel (see above). As we've noted, the reader must see how main character behaves at the start of the novel, and understand how her/his nature is challenged by the main goal. In HUCKLEBERRY FINN, Huck thinks about going against morality of the day and writing Miss Watson where the Phelps family is holding Jim. Instead, he follows his conscience and he and Tom free Jim, and Tom is shot in the leg in the attempt (victory at a cost). You can also have a double climax. For example, in HARRY POTTER, when the heroes find and escape with a magical hoarcrux, that's a climax, but a climax is when Harry finally defeats the chief antagonist, Lord Voldemort. After the climax, you must show the reader the outcome, and how it is good or bad for the main character. Important! ACT FIVE (Page 300+ - 400+) Denouement - Loose Ends Wrapped - Theme Wrap - Conclusions - Resolutions - A Final Surprise? Denouement wherein all loose ends resolved, a final surprise perhaps, hint of the sequel perhaps, but readers on their way with the emotions the writer wants them to feel (Fitzgerald actually saved final exposition regarding Gatsby for the denouement following Gatsby's death). Internal Resolution and With Theme or No What does the protagonist and possibly other characters learn as a result of climax? How does this manifest itself going forward? How are things different? How are they changed, especially the protagonist? In CATCHER IN THE RYE, Holden leaves it ambiguous as to whether he's "better" or not, and many would say there is no "better" anyway; he just has to grow up, painfully and with a lot of depression thrown in for good measure. On the other hand, we look to the last line of the novel for another take on the conclusion: "Don't ever tell anybody anything. If you do, you start missing everybody." Perhaps then, the conclusion to Holden's initial conflict (the tension between wanting to connect but hating everyone) is that he did in fact connect – in one way or another – with everyone he met. The new question isn't whether or not one should connect, but whether or not the pain of inevitable loss is worth the initial gain. From SPARKNOTES, we have a slice of theme from TO KILL A MOCKINGBIRD: The most important theme of this novel is the book's exploration of the moral nature of human beings--that is, whether people are essentially good or essentially evil. The novel approaches this question by dramatizing Scout and Jem's transition from a perspective of childhood innocence, in which they assume that people are good because they have never seen evil, to a more adult perspective, in which they have confronted evil and must incorporate it into their understanding of the world. As a result of this portrayal of the transition from innocence to experience, one of the book's important subthemes involves the threat that hatred, prejudice, and ignorance pose to the innocent: people such as Tom Robinson and Boo Radley are not prepared for the evil that they encounter, and, as a result, they are destroyed. Even Jem is victimized to an extent by his discovery of the evil of racism during and after the trial. Whereas Scout is able to maintain her basic faith in human nature despite Tom's conviction, Jem's faith in justice and in humanity is badly damaged, and he retreats into a state of disillusionment. So we beat on, boats against the current, borne back ceaselessly into the past. _______________ ________________________________ [url={url}]View the full article[/url]

Writing and editing a first novel of any kind is a long, hard slog even when armed with the right information and guidance. But if you're immersed in an atmosphere of foolish and erroneous advice, as most struggling novel writers are, the task becomes impossible. - Michael Neff __________________________ It's like acid rain. It never ceases to scar, harm the environment, and ruin vacations. We're talking about bad writer advice, of course (btw, see our first article on this subject). While perusing several collections of "Worst Writer Advice" found sprouting like toxic tulips after a simple Google search (most of it authored by insufferable rank amateurs working for the ad-driven content industry, and who wisely appear between ages 12 and 17), I found the various fallacies and idiocies about novel writing contained therein to be worth pointing out. Much of it was reminiscent of childish Twitter rumor, and therefore, potentially harmful to aborning novelists. Should one even bother though to set this straight? It makes you feel a little like the baffled ex-astronaut prodded into revealing Earth really is a globe when addressing a convention of flat earth fanatics, i.e., "I can't believe I'm even talking about this." And btw, I also visited the kingdom of Reedsy, one of the more popular writer advice hangouts. I was investigating their article on writing for NaNoWriMo, aka National Writing Month, but I found the surge of cheerleading blather concerning this competition to be a grand welcome mat for bad advice scuffery. No surprise there (not *everything* was bad advice, though most points required far more elaboration, and enough dark neoplasms did exist to cripple a writer's ability to succeed, e.g., "Follow whatever crazy character shows up and leads you down the rabbit hole, and let yourself be surprised!”). Yes, yes, leave the plot behind, just follow that crazy down the hole, and once you've reached the bottom, sitting with your crazy on a toilet in a squalid gas station bathroom just south of Pismo Beach, look up and squint to see that small crack of light high above you. Overall, I felt as if I were being lectured by children who had just discovered how to type, and it made me think... Could I now toss aside decades of experience and acquired knowledge regarding the topic of novel writing, and quite simply, like them, sally forth and tap out a new "epic novel" in a month? We are awash in wunderkind. Where do they come from? What do they want? Not long ago, a Reedsy-like writer in a Zoom workshop enthusiastically erupted, "The best thing about writer groups is that no one is necessarily right. Writers are free to approach novel writing in any number of ways, even if they have to INVENT IT AS THEY GO." I informed her that was actually the worst thing about writer groups (btw, was the inverse "necessarily wrong" also true?), and the "invent it as they go" was itself an invention of ignorant narcissism on the "go" only to rejection. Next, I asked her if she knew the definition of a plot point, whereupon she evaporated into electronic memory. I never saw her again, but apparently, "no right way to write a novel" was an important standard for her, one she clung to tenaciously. And btw, she's not alone. Such "writers" don't wish their "creativity" to be "controlled" or "diluted" with rules meant for "some." In all fairness, it's likely she'd absorbed such foolish and ruinous maxims after ingesting the literary advice equivalent of cyanide, the kind one inevitably discovers puddling around the web (see Google search above). Where else?... Oh right, I forgot. She could have learned it from her writer group? Where is the nearest cliff? Maybe this act of investigatory literary journalism will rescue your dream from ruination, or not. As one of the wise sages we'll review points out, "don't listen to experts if it makes you feel bad.. just follow your instincts." Again, I repeat, where is the nearest cliff? Regardless, more favorites below, from mind boggling to laughable. WE will not provide them with free publicity by naming or linking to them. As follows: "Some people, however, will say that no book will ever succeed without an outline. This is terrible writing advice. If you don't want to use an outline and want to go straight to writing then go ahead - don't allow anyone to tell you otherwise." (Some people? In two decades I've never heard anyone make this sweeping statement; however, I do belong to the non-pantsing school. I adamantly advocate for productive planning and/or outlining in advance, especially for aspiring genre-specific authors relatively new to the field. WE article on this issue here.) Some people are fortunate and they don’t have a lot of time commitments on their hands. These writers might get their book written, edited, and on their way to publishing in just a few weeks. This in no way means it’s not good! It just means they were able to spend a lot of consecutive time on it. (Some writer people known to this writer person are able to conceive, write, edit, and publish their novel in a few weeks... Tell me who. Show me the novel. This reminds me of the ancient Jack Kerouac novel-typing-in-one-sitting stunt, but not quite as extreme. Nevertheless, preposterous no matter how you look at it.) Join a writing group either in person or virtually and give them extracts of your work. (We've debunked that solution here.) Write in your own voice, with your natural grammar. Let copyeditors and proofreaders worry about your grammar later. (Your "natural grammar"? As both a line and developmental editor, this green light to ignore reasonable grammar can result in eye popping hybrids. Consistent and obvious bad grammar is a red flag to professionals. There are irritating nuances to grammar, yes, but advising writers to ignore grammar rules in general is wrong.) Most of the writing and publishing industry is shockingly elitist, and most of what they teach is bad advice that doesn’t work. (The portion of the industry that might present itself to some as elitist is not that portion of the industry currently engaged in freelance editorial work, i.e., unless the editor in question happens to be a former publishing house editor or literary agent. In that case, they are feverishly searching for jobs and will not be inclined to act snotty. The broad brush allegation that "most of what they teach is bad advice" is plain ridiculous, if for no other reason than the allegation is too sweeping. Most? Really? No examples given here. No names. Who provides unproductive advice and who does not varies widely.) (FYI, the statement above, and below, was made by an instructional-and-self-publication website) Nothing about reading books about writing—or subscribing to blogs about writing—is going to help you do that... But I have yet to find a book about writing that’s a better use of your time than actually writing. (I'm still bandaging my jaw. Well said, I must say. The writer has yet "to find a book about writing" that's any good? Waste of time? For example, "Screenwriter's Problem Solver" by Syd Field teaches nothing worthwhile? "Art of Fiction" by John Gardner? And so forth? We addressed this issue quite well on WE. It's hard to believe this issue has to be debated. I've only ever heard one person say this in twenty years, and that was an MFA prof attempting to sell his program to a writer workshop. And I'll maintain that if you cannot communicate writing advice using the written word, then you cannot communicate it verbally either. ) Read as much writing as you can in your genre (the kind of books you want to write)?... I actually tell people not to do this... Instead, read only the minimum amount necessary to know what the general consensus is in that field. (Huh? This fellow actually finds harm in immersing in one's chosen genre? Read the minimum amount? What does that mean? How does he define? We never find out. It's just overall ridiculous.) Do you find it hard to believe that a portion of the above isn't just an invention? I'd prefer it that way actually. Far more disturbing to see fellow writers (or alleged writers) passing this pap around as if valid. God bless Novel Writing on Edge. ________________________________ [url={url}]View the full article[/url]

You will discover below a series of scholarly, researchable, frank and indispensable guides to conceiving and writing the commercial genre novel, as well as the plot-driven literary novel - all derived from our sister site, Novel Writing on Edge. However, the nature of the developmental peels and prods as presented makes an initial big assumption, namely, that you are honestly desirous of true publication either by a classic publisher or traditional literary press, and therefore, willing to birth the most dynamic and can't-put-it-down novel you possibly can. Further, you are also naturally desirous of great sets, mind-altering theme, unforgettable characters, and cinematic scenes, among other things. Does that go without saying? Perhaps, but you must know, it won't be easy. First of all, the method-based assertions and information we've gathered and elevated before your eyes below will shiver many of you like a 6.5 on the literary Richter scale because it will contradict some or much of what you've been told about novel writing elsewhere - at writer conferences, for example, by your writer's group, or by various content-marketing websites operated by amateurs (75%+) playing to their demographic. Second of all, we don't cut corners or hold back to simplify matters for off-track or rank beginners who might be driven away (starting right about now) by the realization of just how much needs to be learned and applied. And though more of you might be driven away immediately following the forthcoming assertion, it is nonetheless true: there are no "SEVEN EASY STEPS" or other shortcut gimmicks that will catapult you into becoming the author of an authentically fine novel. Anyone who believes otherwise is sadly ignorant. Nonetheless, if you are astute and mature enough to know there are many things about novel writing you don't know, but must learn, you've come to the right place. And yes, there is a whole mass of matter to absorb. We make no apologies. Our mission is to take you from A to Z. You should consider all that follows to be a kind of master primer, i.e., whatever is necessary to sufficiently comprehend the novel writing universe. We divide the exploration into three sections, each with their own rubrics. Just know, it makes no sense to begin writing a novel you plan on selling to publishers or even smaller presses without first having a relatively good idea whether they'll want to buy it in the first place. This concept is radical to many beginners, but it shouldn't be. And the concept that you can't balance an artistic approach with pragmatic story considerations is not only indefensible but contradictory. The first category approaches the reality of novel writing vs. the myths and the source of those myths. For many of you, it will create emotional responses up and down the spectrum from humor to melancholy and back, depending of course on your mood and experience thus far with the aforementioned universe. Regardless, the overall point is to make a valiant attempt to filter out the many falsehoods and misperceptions with extreme prejudice in order to begin the journey of novel writing with a clear head and a view towards realistic expectation. The second two categories are relatively self-explanatory. Just know, it makes no sense to begin writing a novel you plan on selling to publishers or even smaller presses without first having a relatively good idea whether they'll want to buy it in the first place. This concept is radical to many beginners, but it shouldn't be. And the concept that you can't balance an artistic approach with pragmatic story considerations is not only indefensible but contradictory. Btw, you might wonder if it's advisable to pass on any of the articles below, but it isn't. Everything we've included is considered vital. Even if you believe you have a certain element pretty well covered, don't believe you know it all. Most likely, you don't. Also, the potential exists that you've read or received advice that is counter productive. The advice featured here, however, is based on decades of experience in the business (e.g., hundreds of sessions at the New York Pitch Conference and many more hundreds in writer workshops across the U.S.), as well as lessons learned from great novel authors, playwrights, and screenplay writers - more about this model-and-context methodology found here (feel free to leave comments on any of the items that follow). Before we begin, a favorite quote from one of America's greatest authors, Truman Capote: As certain young people practice the piano or the violin four and five hours a day, so I played with my papers and pens... My literary tasks kept me fully occupied; my apprenticeship at the altar of technique, craft; the devilish intricacies of paragraphing, punctuation, dialogue placement. Not to mention the grand overall design, the great demanding arc of middle-beginning-end. One had to learn so much, and from so many sources. NOVEL WRITING TRIP WIRES, CHECKLISTS, EGO, AND VITAL FIRST STEPS The Author Dawn - Rise and Blink (tell us why) https://www.novelwritingonedge.com/2020/11/the-author-dawn-rise-and-blink.html Ten Carefully Chosen First Steps For Starting the Novel (immerse, prep, reflect) https://www.novelwritingonedge.com/2020/11/best-10-steps-for-starting-novel-all.html The Epiphany Light You Must Enter (major vision adjustment) https://www.novelwritingonedge.com/2020/11/aspiring-authors-must-cross-epiphany.html Top Ten Worst Pieces of Writing Advice (and it gets worse) https://www.novelwritingonedge.com/2015/04/top-ten-worst-pieces-of-writing-advice.html Top Worst "Worst Writer Advice" - Outrageous and Mind Boggling https://www.novelwritingonedge.com/2020/11/top-worst-worst-writer-advice-advice.html Avoid Bad Writing by Name Authors! https://www.novelwritingonedge.com/2008/10/new-writers-must-be-careful-of.html Bullet Point Reasons Why Editors Reject https://www.novelwritingonedge.com/2017/02/timeless-and-valuable-editors-rejection.html Writer Groups - More Harm Than Good? https://www.novelwritingonedge.com/2020/10/problems-with-writer-groups-where-to.html Seven Critical Novel Rejection Sins https://www.novelwritingonedge.com/2020/10/seven-narrative-rejection-sins-bad.html Novel-Into-Film Checklist https://www.novelwritingonedge.com/2019/07/check-points-to-turn-novel-into-film.html Important: Coverage Checklist for Aspiring Authors https://www.novelwritingonedge.com/2020/11/important-coverage-checklist-for.html Top Seven Reasons Passionate Writers Fail https://www.novelwritingonedge.com/2015/05/top-seven-reasons-why-aspiring-authors.html Writer Ego and the Imaginary Bob (Could this be you?) https://www.novelwritingonedge.com/2020/11/writer-ego-and-imaginary-bob.html DEVELOPMENT REALITY - MAJOR POINTS OF PLOT AND MUCH MORE We endeavor to list the points below in the order they should be read, however, it isn't a perfect arrangement due to overlapping. Ideally, the high-concept premise must come first in any case. What is Your High-Concept Premise? https://www.novelwritingonedge.com/2020/12/high-concept-sufficiently-unique-what.html The Need For Human Drama in the Novel https://www.novelwritingonedge.com/2020/11/theme-plot-strong-character.html Loglines and Core Wounds as Development Tool https://www.novelwritingonedge.com/2020/10/hook-lines-with-core-wounds.html The Novel's "Agon" - Vital Core Conflict https://www.novelwritingonedge.com/2020/11/the-novels-agon-primary-conflict.html A Statement of Theme From the Dark Classics https://www.novelwritingonedge.com/2020/10/cuckoos-rhinoceri-and-miss-l-i-admit.html Can You Choose a Great Title? Will You? https://www.novelwritingonedge.com/2020/10/choosing-great-title-before-publication.html Setting is 60% - Maximizing Opportunities For Verve https://www.novelwritingonedge.com/2020/11/great-settings-maximize-opportunity.html A Clever Dose of Antagonistic Force https://www.novelwritingonedge.com/2020/10/antagonists-in-novel-most-important.html The Six Act Two-Goal Novel (premise, reversals, complications, major points) https://www.novelwritingonedge.com/2020/11/the-six-act-two-goal-novel.html Classics Deliver the Key to Exposition https://www.novelwritingonedge.com/2020/11/learning-exposition-from-classics.html Sympathy Factors in the Hook (protagonist or major character) https://www.novelwritingonedge.com/2020/11/protagonist-sympathy-factors-in-hook.html Deep and Fresh Traits for Secondary Characters https://www.novelwritingonedge.com/2020/10/deep-and-fresh-traits-for-majors.html ADVANCED NARRATIVE TECHNIQUE, SCENES, AND PROSE STYLE Dialogue - Never a Gratuitous or Boring Word https://www.novelwritingonedge.com/2020/10/dialogue-never-gratuitous-word-or.html Writing Novel Scenes - Drama, Sex, and Sass https://www.novelwritingonedge.com/2020/12/scenes-to-z-glue-drama-sex-sass.html Storyboard Considerations for Producing Effective Scenes https://www.novelwritingonedge.com/2013/02/algonkian-writer-conferences-michael.html Four Levels of Third Person Point of View https://novelwritingonedge.com/2020/08/four-levels-of-third-person-pov.html Experiments in High Impact Narrative https://www.novelwritingonedge.com/2020/12/experiments-in-high-impact-narrative.html A Great Damp Loaf of Description https://www.novelwritingonedge.com/2020/12/a-great-damp-loaf-of-description.html Prose Narrative Enhancement https://www.novelwritingonedge.com/2020/09/the-prose-description-questionnaire.html Brilliant Fiction Narrative in Four Stages https://www.novelwritingonedge.com/2020/11/writing-brilliant-fiction-narrative-in.html Narrative Enhancement Via Nabokov https://www.novelwritingonedge.com/2020/09/narrative-enhancement-via-nabokov.html "To Be" or Not? Too Much "Was" Will Hurt Your MS https://www.novelwritingonedge.com/2020/10/boot-was-for-more-verve.html The Sublime Inner Voice of Godwin https://www.novelwritingonedge.com/2020/10/interior-monologue-by-gail-godwin.html ________________________________

A WATERSHED EVENT FOR SERIOUS WRITERS Whatever the stage of your project or writing life, know that all writers, if they desire to become commercially published, must see and enter the Epiphany Light. First of all, what is the "Epiphany Light"? The EL is a state of mind crucial to any aspiring author desirous of commercial or serious literary publication, and one which clearly divides the 99% from the 1% of those who've learned the hard way how challenging it is to have their expertise and projects taken seriously by professionals in the publishing business. But are the percentages so drastic as depicted here? Yes, and probably even more so. Consider the very small number of first time authors who emerge with publishing contracts from major houses, imprints, or even well-regarded traditional presses, and then compare these few hundred to the hundreds of thousands of writers in America struggling valiantly yet vainly to accomplish the same feat. Viewed from this perspective, as we near the EL, we eventually come to a knowledge of true writer pathos on a scale unimagined: instances of duress and disappointment inflicted each day on hundreds if not thousands of writers as their manuscripts are routinely rejected by agents or publishers. But how does the EL finally come about, or rather, fail to come about? Before the light can be viewed and entered, before writers can possess a state of mind that enables a forward movement towards success (by any reasonable artistic standard), they must, by one means or another, view their project through the eyes of an editorial professional in their chosen genre. So why doesn't it come easy? It isn't natural, has to be learned, and circumstances of one kind or another arise to prevent this crucial vision. Viewed from this perspective, as we near the EL, we eventually come to a knowledge of true writer pathos on a scale unimagined: instances of duress and disappointment inflicted each day on hundreds if not thousands of writers as their manuscripts are routinely rejected by agents or publishers. Whether it be a failure to properly immerse in the contemporary world of their chosen genre (reading books and interviews, studying deals at Publisher’s Marketplace, talking with publishing house editors at conferences or elsewhere), or an inability to rise above limitations imposed by their current writer’s group (consistently providing encouraging yet unproductive advice), or bad advice from those they believe possess an adequate comprehension of the current book market (e.g., freelance editors of one stripe or another who are removed from current market realities or who fail to differentiate necessary tropes from overused tropes), the writer is deprived of the consciousness necessary to make crucial edits or changes to the story. Put quite simply, if you write mysteries loved by your friends and fellow writers, and perhaps even your paid freelance editor (who most likely has never worked in the New York publishing business), but can’t produce a thing other than pale imitations of Miss Marple, no editor or agent who represents the mystery genre will ever take you or your work seriously. Regardless, the writer naturally grows frustrated and tired of unsuccessful efforts (if they‘re smart), and if determined not to fail, seeks new sources of information and inspiration. Now the question becomes, how do writers transcend life in the 99% and enter the EL to arrive in the one percent promised land? What might lead them to a cognizance of reality? It can happen in various ways, by accident or no, but always preceded by trial and error groping as false signals are received concerning the commercial viability of their writing (see above) thus leading to false confidence. Regardless, the writer naturally grows frustrated and tired of unsuccessful efforts (if they‘re smart), and if determined not to fail, seeks new sources of information and inspiration. Perhaps by happenstance the writer reads an article that clicks with them, or speaks to a professional who waves the red flag regarding what they’re doing wrong or what is specifically missing from their voice or manuscript that results in rejection after rejection--whatever the source of cognizance, the writer, perhaps for the first time, declines to fall back on old sources of corroboration. If you are nearing the Epiphany Light, or you’ve entered it already, much of what we say here will resonate with you. If you have endured months or years of rejections, perhaps you need to point your toe over the line, just to test. And don’t feel down about all this, or discouraged. Learn from it. Understand that all writers make the same mistakes, learn the same lessons, fall down and get up. The neophyte mystery writer holding her Miss Marple close and dear, as she might a mother’s warmth, must one day leave home and apply for a job with a suitable resume. ____________________ ________________________________ [url={url}]View the full article[/url]

OUTSIDE OF NARCISSISM, IMPATIENCE AND BAD ADVICE ARE A WRITER'S WORST ENEMIES. If you ever attend writer events, you will never cease to hear utterances of bad writing advice, the popular kind that circulate like ruinous viral memes through the nervous systems of America's aborning novel writers. And each time you are exposed, you either chuckle or swear, depending on your mood and the circumstance. You might make a daring attempt to kill the meme in its tracks before it can infect someone else, or you might just stare at the writer with a dumbfounded look and ask, "Where the hell did you hear that?" Yes, the primal question: WHERE THE HELL DID YOU HEAR THAT? Inevitably, many will point to their writer's group. Ahhhh, of course, you think. Why just recently at an Algonkian event, one of my faculty (a former senior editor at Random House) and I were faced with an individual who adamantly asserted to us both that using only one point of view to write a novel was mandatory. No exceptions! I'm not kidding or exaggerating. I asked, "Where the hell did you hear that?" She'd learned it from her writer's group. It must therefore be true. No doubt because they had told her this for seven years, and her workshop leader affirmed it, and as further proof the preposterous assertion was correct, a member of her group held an MA from Johns Hopkins! So in the face of this onslaught we displayed the typical dumbfounded reaction, and to our further astonishment, the writer just dug in and continued to resist our many proofs to the absolute contrary. As a matter of fact, one of the novels the writer was supposed to have read before the retreat was HOUSE OF SAND AND FOG. Of course, she didn't read it, but she did at least admit it contained more than one point of view. Uh oh! Moments later though, to bolster the writer group firewall of defensive ignorance, she said, "Well even F. Scott Fitzgerald screwed up once in Gatsby and shifted to a different point of view... So it just goes to show, anyone can screw up like that and use more than one point of view." Stunned yet again following this mind-blowing comment, the two of us finally recovered to note several more novels that contained multiple POV, from WUTHERING HEIGHTS to THE POISONWOOD BIBLE to THE MARTIAN CHRONICLES to various thrillers and even to Rowling's later Harry Potter books. We figured that somewhere between Emily and J.K. this extremely stubborn person might actually stop and realize that perhaps her writer group had been steering her wrong. Sadly though, I don't believe she ever learned. Perhaps the bond with the group was too strong and the consensus delusion regarding single POV helped maintain their social cohesion. Perhaps her own narcissism disallowed her? Both? Who knows? I just know that the writer never once admitted she was wrong. No sign of epiphany was ever forthcoming. Instead, she lapsed into borderline hysteria, though recovered the final two days and went to work on another novel. I sent her at least 20 examples of multiple POV following the retreat and received only a very terse note in return. All in all, it was the most singular and remarkable act of writer ignorance I've ever witnessed, but one cannot blame the writer out of hand. Bad advice was one of her worst enemies, if not her worst. If you go to a writer's group respecting the leader and your peers and they tell you XYZ nonsense year after year, how can you not believe it? Nevertheless, we workshop leaders and teachers tire of being the target of theatrical repercussions at such time the narcissist writer discovers the world is not flat and the sun doesn't revolve around them. On the plus side, the exasperating event above prompted me to finally work towards creating a master list of bad writer advice--something I've wanted to do for years. I searched on Google not only to help with my own recollections but to investigate anything I might have missed, and the first article I came across was in Lit Reactor: "The Ten Worst Pieces of Writing Advice You Will Ever Hear." Lit Reactor seems to be a decent place for newbie writers seeking community and inspiration, but I have to take a few exceptions with the article above. I firmly agree with a lot of it, for example, WRITE WHAT YOU KNOW is really bad advice. How could speculative or historical fiction writers ever pen a page if this were true? But the author goes on to choose other literary adages we've all grown old with and claims that they too are actually very bad advice. One of them is SHOW DON'T TELL. So that's one of the worst pieces of writer advice? Huh? Now, let's pull in the reins for a second. As a writer I've never seen SHOW DON'T TELL as a hard and fast rule that covers all conditions and circumstances. Obviously, one may need to "tell" at such time a certain type of exposition needs to be artfully delivered and dialogue isn't sufficient. Like most writers I've known, I see SHOW DON'T TELL as a helpful guideline, especially for newbies who tend to lump pages of exposition in their opening chapter, or otherwise drone on and on about an important event in the story when they should be depicting in a live-action scene. As in other instances in the Lit Reactor article above, the author isn't necessarily wrong when she counterpoints the age-old literary adage, as I did above, but the difference between us is that she posits SHOW DON'T TELL as an unbreakable rule, and when exceptions are offered up they stand as proof that the adage is actually bad advice. Logic dictates, however, that one can find several conditions to counterpoint the negative examples and then we're even. My point is that the unfortunate act of singling out the SHOW DON'T TELL guideline as bad advice is, in itself, bad advice--my apologies to the author of the article, and she is welcome to debate this here, but seriously, how the heck would you apply the anti-SDT logic to screenplay writers or playwrights when so much more is SHOW DON'T TELL? Let's recap. We now have three slings of really bad writing advice to list. We'll build the list as we go: Only one point of view per novel Write what you know "Show don't tell" is bad advice Next. At every Algonkian event, I hear a writer state this to me sooner or later: "Writer's shouldn't use flashbacks in their novels." Yes. Another, Where the hell did you hear that? Of course flashbacks are acceptable, if used artfully. They are just one technique in the fiction writing toolkit, and the types of flashbacks vary from a brief memory to a full chapter, or more. Novels that use a framing device of looking back into the past after having first established a contemporary setting (e.g., A Separate Peace or I Claudius) are themselves one immense act of flashback. But like the first example in the beginning of this post, the writer's group can sometimes be at fault for spreading this unproductive advice, but in all fairness, is the writer group the true source? When questioned about origin, the writer spreading the viral meme regarding flashbacks more often than not says, "I heard it at a writer conference." And then I ask, from whom? And they answer, "Uhh, someone, an agent, um... on a panel." Trauma time! The soul-searing memories return to haunt me. Years ago, I sat on a panel with five other agents at the San Francisco Writer's Conference listening to a new and incredibly ignorant agent drone on and on about the craft of writing (though she wasn't a writer and had never been an editor--in fact, like so many young agents, her only past experience involved reading query letters and wading the slush-pile), and every other utterance from this person's mouth about fiction writing was just plain wrong. I sat biting my tongue as long as I could, and then attempted to qualify and gently negate her assertions, and succeeded to some degree, but despite this calamity, I learned something. Here before me sat over 200 people, writers in their early stages, looking for good advice. And were they getting it? No, a hundred times NO. Past memories began to gel and I realized that the single biggest source of bad advice for writers might well be the typical American writer conference--and of course, these writers return to their hometown groups to repeat what they've heard, e.g., no flashbacks, show don't tell sucks, don't worry about your title... Don't worry about your title? Back to a writer conference. I attended a panel at another large writer conference on the west coast in 2014. It was a panel of writers who had recently been published. There were about 75 people in the room. A poor neophyte stood and asked the assembled writers if he had to worry about his title before he was published, and the consensus answer from the panel? No. You don't... I sat there dumbfounded. So basically, these people told this guy that pitching his novel or nonfiction with a crappy, foolish, or hackneyed title was perfectly fine. Not to worry! Call it whatever you want. Must I spend any more space telling you why this was not only not perfectly fine, but perfectly stupid and self-defeating? A bad title is like a warning siren going out ahead of your pitch, whether it be an oral pitch or query letter. It makes a horrible whining sound of warning, and it seems to be saying to those who read or listen: This is a terrible writer, stop listening, stop reading, run screaming! Now, time to add three more to the list: Avoid flashbacks in your fiction Don't worry about your title Any writer conference is helpful Pitching the MFA Though I don't hear it as much as I used to, I nevertheless hear it from young writers who have been conditioned to falsely believe that they will never write well or be taken seriously as writers unless and until they possess an MFA. My response to this: nothing could be a bigger lie. I'm sorry, I can't mince words or dance around the reality for the sake of anyone. This isn't to say that the right student can't benefit from the right MFA program (e.g., at Florida State)--they can, of course. I'm addressing the members of the Literary Academic Complex (LAC), also known as the Literary Industrial Complex (LIC), who relentlessly promote the marketing myth that the odds are you'll never amount to much as a writer without an MFA. Yes, no fooling. Just click to the article at WE regarding the MFA, and when you arrive, click on the link to an MFA writer poll and you will see Gary Shteyngart quacking forth on this very subject ("You have to get an MFA"). No conflict of interest here? Gary has an MFA, and how could this smiling goofy guy be steering us wrong? Thanks, Gary, for doing your part to convince America's youth to incur millions in debt to obtain MFA degrees of highly dubious worth. However, if we could overhear Gary talking in whispers at one of his terribly boring academic cocktail parties, you would get the real skinny, and it would sound something like this: One of the fatal flaws of MFA programs consists of using a writer group of fellow students (who know as little or less than you) to critique your work for the purpose of improving it, which brings me around to another bit of really bad advice: JOIN A WRITER GROUP. I wrote an article here at WE that pretty much sums up why being in a writer group for critique and guidance can be a train wreck in any number of ways. Again, like the MFA, you're supposing that people who know as little or less than you (otherwise why would they be there?) are capable of providing constructive advice, but since you aren't knowledgeable enough to know one way or another whether or not the advice is good, you should never take it without follow-up investigation--and if you're going to be constantly reality-checking what you hear, why stay in the group at all?... Yes, it's a social fest, it can be fun, or it can be oppressive and even ugly. Did you know, THE ELEMENTS OF WRITING GOOD FICTION CANNOT BE TAUGHT? I didn't know it either until Isabella Allende told me so. She believes, as I do, that great authors are self-made, not baked from a workshop recipe, but she goes on further to say that students of novel writing are only capable of learning a limited subset of craft. Why? I'm not sure. She's not as extreme as the Iowa mantra that states "Writing Cannot be Taught, only talent developed," but she's closing in on it. From the video below (final 30%): Hmmm, why not? We teach it effectively in Algonkian workshops and in online programs--quite effectively I might add. Tension and suspense derive from a number of sources, and all these are knowable, and examples can be displayed. We can't fold on our teaching methods because Isabella Allende believes otherwise. To each his own. Btw, I love her writing. Finally, we come around to our number ten on the list: Don't plan or outline your novel, let the character write the novel, or even more simply, "Just start writing." How many times have I heard that? And guess where? At a writer conference, of course. A certain type of author is asked whether or not they plot or outline ahead of time. They smile and say something like, "I've been asked this question before, and I have to say no, I don't outline. It just all comes to me, the character inhabits me..." or some such drivel. But let's be logical. If you understand the primary foundations for writing a novel you know your plot line must develop certain points as it moves forward, and you know also that you must write separate scenes in the novel to perform certain tasks relevant to the plot line, as well as to the character arcs, etc. It's a complex undertaking, and one that demands a certain amount of planning. If you are some kind of genius and can keep it all in your head, more power to you, but if you are like me, you need to organize and place ideas on paper (or on the computer). Also, logic dictates that if your novel plot lines are a series of circumstances, reversals, and events that tie together, it only makes sense that you better know how point A gets to point M before you will know how point M gets to point Z. Consider, do screenplay writers or playwrights just start writing without any planning? Of course not. So why should the novel be different? And we're not talking about Beckett or Joycean flights of fancy, we're talking about the vast bulk of commercial novels, whether they be upmarket or genre. Btw, here we have a bunch of freelance editors confirming this awful advice. Interesting, yes, but if you look closely you'll see they are trying to sell you their editorial services. Perhaps the less you plan your novel, the more work they'll have to do? Now for the summary. The Writer's Edge top ten worst pieces of writing advice: Only one point of view per novel Write what you know "Show don't tell" is bad advice (OMG!) Avoid flashbacks in your fiction Don't worry about your title (someone else will) Any writer conference is helpful (beware--all events are not created equal) You need to get an MFA (or you wont' be taken seriously) Join a writer group (to improve your writing and get good feedback) The art of fiction can't be taught (and "writing can't be taught") Don't outline or plan your novel (let it happen) ________________________________ [url={url}]View the full article[/url]

When it comes to rewriting, a writer must make hard choices. Fitzgerald warned us writers about the danger of becoming way too attached to something you’ve written. "Keep an objective eye on the whole piece," he says, "and if something isn’t working get rid of it." In a 1933 Saturday Evening Post article titled “One Hundred False Starts,” he writes: I am alone in the privacy of my faded blue room with my sick cat, the bare February branches waving at the window, an ironic paper weight that says Business is Good, my New England conscience–developed in Minnesota–and my greatest problem: “Shall I run it out? Or shall I turn back?” Shall I say: “I know I had something to prove, and it may develop farther along in the story?” Or: “This is just bullheadedness. Better throw it away and start over.” The latter is one of the most difficult decisions that an author must make. To make it philosophically, before he has exhausted himself in a hundred-hour effort to resuscitate a corpse or disentangle innumerable wet snarls, is a test of whether or not he is really a professional. There are often occasions when such a decision is doubly difficult. In the last stages of a novel, for instance, where there is no question of junking the whole, but when an entire favorite character has to be hauled out by the heels, screeching, and dragging half a dozen good scenes with him. ________________________________ [url={url}]View the full article[/url]

Before the novel, there was drama... Ancient dramatists understood the requirements of a good tale, one in which willful human beings engaged in major conflict, the goal being to possess or achieve something of value. A designated character, by virtue of position and personality, became the antagonist, naturally defying the efforts of the protagonist, or hero, to overcome. This basic conflict scenario resurfaces again and again in a myriad of forms, not only in life, but in novels, short stories, and of course, film and television. What makes true dramatic conflict so universally effective is not only its ability to create tension, suspense, and powerful characters, but its unique method for portraying the need for value in human existence. Below we've created a drama primer with quotes ("European Theories of the Drama") from three important dramatists to illustrate the nature of the drama and it's overwhelming relevancy to novel writing discussion here at WE. It's all pretty simple and brief, actually, but the major points are invaluable to the novel writing mindset. KEY CONCEPTS: calamity, value in human life, universal human desire, dramatic art, essential character of drama, the "discovery," the wound, social conflict, the enlightenment of tragedy, tragic flaw, fear and pity. J. W. Krutch ― Its action [drama] is usually, if not always, calamitous, because it is only in calamity that the human spirit has the opportunity to reveal itself triumphant over the outward universe which fails to conquer it. ― Tragedy reveals value in human life … The death of a loved character, for example, reveals a value, something worth cherishing about life or humanity. ― Art should, at least in part, satisfy the universal human desire to find in the world some justice, some meaning, or at the very least, some recognizable order. ― The highest dramatic art is not achieved by pitting the most gigantic will against the most absolute necessity. The agonized struggle of a weak will, seeking to adjust itself to an inhospitable environment, may contain elements of poignant drama. ― The essential character of drama is social conflict in which the conscious will, exerted for the accomplishment of specific and understandable aims, is sufficiently strong to bring the conflict to a point of crisis. ― Drama should lead up to and away from a central crisis, and this crisis should consist in a discovery by the protagonist which has an indelible effect on his or her thought and emotion and completely alters his or her course of action. Arthur Miller For Arthur Miller, the underlying struggle is that of the individual attempting to gain his or her "rightful" position in society. "Sometimes he is the one who has been displaced from it, sometimes one who seeks to attain it for the first time, but the wound from which the inevitable events spiral is the wound of indignity." It is this "tragic flaw," this unwillingness to remain passive in the face of what she or he conceives to be a challenge to personal dignity, that causes the protagonist to initiate the action of the tale, i.e., the rising drama. If the struggle of the protagonist is just, if she or he contests for a fair evaluation, then those conditions which deny this reveal a wrong, or an evil in the world. Thus, the "enlightenment of tragedy." Pathos is achieved in struggling for a goal that cannot possibly be won, however possible it seemed in the beginning. John Dryden Insofar as the protagonist is concerned, the primary emotional reactions on the part of the reader are fear and pity. Fear during the course of the drama that the protagonist will meet a tragic fate, and pity for the protagonist at such time this occurs. Pity, or sympathy, cannot occur unless the character is respected. Thus, it is true concern for the protagonist that produces the highest emotion. ___________ ________________________________ [url={url}]View the full article[/url]

You begin your first novel with equal parts ignorance and false optimism. Many months, or even years later, you finally learn the enormity of your mistakes. Those popular writer magazines and the sociable little group of amateur writers that looked like a great plan, at first, now appear unreliable and even time wasting. At this juncture, you will either deny reality, quit altogether, or else vow to become a true and humble apprentice to the art of novel writing. Ne confondez jamais une seule défaite avec une défaite finale. - F. Scott The process above is nearly inevitable for the vast majority of aspiring authors, and only the eternal narcissist is incapable of achieving a productive second stage. We've discussed this subject more than once. Of course, such a personality will always disagree and fume like a child, but what about less volatile, less serious forms of counterproductive ego? About a year past, a screenplay writer I knew who lived in Kalamazoo called and asked me to help him convert his screenplay into a novel. I'd known this fellow for years (let's call him BOB) and he'd won various contests, even had a thriller-action screenplay optioned a few times by major studios, including Lions Gate. Nonetheless, he decided one day to convert one of his script creations into a full blown commercial novel, and intended to accomplish this incredible transformation in no less than six months. After all, he needed to make haste in order to attend a writer conference in Seattle where he felt reasonably certain a "smart agent" would sign him. Now, I knew that Bob wasn't a narcissist as such. I'd been present when he accepted critique, and I'd been around him and talked with him enough that I would have seen the N flag raised more than once. Like other writer workshop leaders and teachers, I possess a fairly good sense for narcissist eruptions in the making, even in the early stages. But this wasn't Bob's way, as I've noted. However, upon speaking with him on the phone about his forced novel conversion deadline (keep in mind, he knew zip about novel writing), he reacted with disbelief. He could not grasp that transforming a 96 page screenplay into an 86,000+ word novel could actually take longer, perhaps far longer than six months. Even if he were already a veteran novel writer working under the best of circumstances, it would most likely take eight to 12 months to augment and gilt a sufficiently suitable masterpiece. But as a rank beginner, we must assume that between the clueless planning and actual execution (that would include at least three major revisions), then a final editorial scalding of one kind or another (barring any Oh-Shit-I-Neglected-to-do-XYZ), Bob was looking at a minimum of two years, but perhaps upwards of four or more. If he devoted full-time and worked closely with a professional novel editor, page by page, scene by scene, line by line, perhaps only one year? But the dollar cost would be tremendous. Regardless, Bob avoided me after that phone conversation for a long time. I emailed him, inquired now and then, but he would always sound optimistic without divulging details. Finally, more than four years later, we got together one night for dinner. He was excited to tell me he'd written a new thriller with a major Hollywood producer behind it, and when I inquired about the novel conversion, he just shook his head and said, "I've moved on." Via a few other bits of information reluctantly delivered, I surmised that Bob had finally assembled a creaking shipwreck of a manuscript within a year's time, sent it out to agents, and following 50 or more boilerplate rejections, the ms finally served as cheap tinder for the living room fireplace. The above is one of my stand-out examples, but there are many. These writers in question were not narcissists as such, no, but their egos just couldn't allow them to believe they were wrong in certain crucial circumstances, or accept they did not yet possess the necessary skill-set to accomplish the huge task before them. ________________________________ [url={url}]View the full article[/url]

Have you ever been in writer workshops and reacted to criticism of your writing or story by demanding the other writer defend their decision in such detail that it served your purpose of making certain they never gave you unfavorable critique again? Hell hath no fury like a thin-skinned narcissist with a needy manuscript... But wait! Could you be one of them? In case you're not sure if your skin qualifies, Algonkian psychologists have developed a few skin test questions below. Feel free to respond honestly to yourself as you read each one. Everyone wishes to avoid time-wasting instances of Offended Writer Syndrome (OWS) that often takes place in writer workshops all across America. Even at this very moment! Now, time to take THE THIN SKIN TEST: Has any writer ever prefaced their critique of your work by first saying to you, "Don't hate me, please?" Do you sense that writers who unfavorably critique your work are "loading the gun" and taking aim? Do you rush to defend your work when a reader gives you criticism rather than absorb and weigh it carefully? Do you feel a need to say unkind things about a writer's work if you perceive she or he was unkind to you first? Have you ever chastised any writer for what you consider to be improper or incorrect critique of your work? Have you ever been in writer workshops and reacted to criticism of your writing or story by demanding the other writer defend their decision in such detail that it served your purpose of making certain they never gave you unfavorable critique again? Do you receive critique you oppose in good humor, but routinely seek the negation of it from those you know will agree with your version of reality? Do you feel a bout of OWS coming on after reading the above questions? If you answered yes to three or more of the above questions, writer workshops are definitely not for you. Please discontinue attending such events. They won't help you and you can't help but make them less productive for everyone else. You might even make *yourself* miserable. ___ ________________________________ [url={url}]View the full article[/url]

As you explore the nooks and literary crannies here, you'll find considerable words devoted to warning you away from foolish and terrible advice. But what about professional, tested, and proven advice? Below are ten bullet points for aspiring authors designed to help them overcome any confusion or misdirection when it comes to starting the novel. However, before you investigate, make certain you've already prepared by reading this sensible prologue. Note: the list below makes a base assumption that the writer is a relative novice and currently searching for direction and focus--the same stage we've all endured. For those in the second stage, or higher, the list might well begin further down. Nonetheless, we cannot stress enough how important it is to fully understand your genre. Eat and breathe it. Know the currents in the market, what makes for a "high concept" story in this context. You'll never be published otherwise. KEY CONCEPTS: genre, high concept, Publisher's Marketplace, self-editing, readers, core development strategies, craft and research, story premise, SATG Novel, novel hook, first draft outline, inciting incident, plot point. Choose Your Genre Historical, thriller, women's fiction, mystery cozy, etc. Focus on one that will consume you, one you have passion for. Passionless choice never bodes well (can you guess why?). If on the fence, consider what kind of author do you wish to be known as five years from now? A thriller author? Horror author? Mystery?... Makes a difference, no? So be specific and take a slot (no "slot" shaming). You are attempting to break into a crowded and tough marketplace with a breakout novel. As of this point, you have no real idea how difficult it will really be in a country as big as America. Best to begin wisely. WARNING: failing to locate yourself firmly in one genre will only result in failure. And believe us when we tell you that agents and publishers will be merciless in their demand that you understand and obey the rules of that genre. From the heart, but smart. One last thing--you cannot invent your own genre. Don't try. Don't even ask. For the love of all that is holy! Mercilessly Immerse Read the classics in your genre combined with the latest and hottest. Look up "best book" lists, read reviews on Amazon, dive into review journals dedicated to your genre, and obtain a membership at Publisher's Marketplace. It's never too early to familiarize yourself with who is publishing what in your genre. At PM it's all there. And no, we don't get a kickback. As a bonus, you get to review expertly written hook lines for new novels bought by publishers, thereby also getting a chance to note the type of high concept stories in the works. Invaluable! Truly. Via obsessive immersing, you'll also get an idea which authors and novels might compare favorably with you and your own work. Strongly consider analyzing story progression, character introduction, and scene development in three to five of the best in your genre. Take notes. Compare what you've learned to what you read here at NWOE. Avoid Writer Groups Do not join a local or online writer group, however socially alluring it may be, and regardless of what its apostles tell you. Don't fall for it. We know, it feels like the right thing because so many recommend it, but it's the wrong thing by a mile. You *might* consider it a year or two from now once you've developed enough novel writing savvy to actually know the difference between an amateur group that *might* be somewhat productive and one that could be potentially ruinous or time wasting at a minimum. Review carefully our notes on this crucial and controversial subject. Begin the Reader Hunt Following on above, attempt to engage upwards of five good readers, if humanly possible. It will take time to ID the right ones, so begin the hunt early. Take note, they will not be in a group. They will not meet to discuss your work. If possible, best they do not interact or know each other. This condition will disallow the inevitable evolution of group politics, groupthink, imagined slights, false flattery, etc. Yes, it can happen. Regardless, can your picks be reasonably trusted to provide generally intelligent reaction to your narrative? You might have to jettison a few. Be prepared. Additionally, serving as a reader for them will provide you with a form of editorial experience that might prove invaluable. IMPORTANT: utilize "beta readers" for narrative purposes only (prose style, clarity, imagery, dynamic motion, dialogue quality--that sort of thing), NEVER for novel development, i.e., premise, plot, character roles, important setting details, etc. Engaging in the latter imperiling act will only threaten your progress with those insidious major flaws inherent in 98% of writer groups. Study Self-editing Technique Do it carefully, it's an art form, even if you're not onto your second draft yet. No reason to delay. It takes experimentation and practice. Relying exclusively on your readers or future freelance editors is a mistake. Ultimately, you are responsible for the final product. Faith should not be necessary. Also, keep in mind, the more refined your fiction narrative waxes, the more productive the future editorial professionals engaged to review your work can be, i.e., if you've already ascended to level 8, they can bump you to level 10. Now, what about that contract? Craft Until Your Head Hurts While researching your genre, immerse simultaneously into your core novel development strategy. Don't rush it or fret over it. You will inevitably revise. Meanwhile, utilize NWOE as a staging platform for the illuminating pursuit of obligatory craft technique. This is NOT an option. Devour every single article or essay on development, drama, plotting, prose, and viewpoints. Set aside a space for experimentation. Practice writing scenes, dialogue, complex descriptions for starters. Additionally, consume only the best books on novel writing. You will ALWAYS be an apprentice to your craft. Let Truman Capote be an inspiration. Conceive Primary Premise Given that you've chosen your genre and you're well on your way to possessing a true literary skill set (it's not easy, so don't be impatient), and given you've taken careful note of the quality of new novels coming to life at Publisher's Marketplace (have you?), you may now begin to formulate your own novel premise, the "high concept" story that will form the development, writing, and marketing basis of your genre novel from title to last sentence. Uncertain on how to go about it? One way to initiate a bit of productive pondering is to visit the High Concept page first, followed by the Loglines and Core Wounds page. Read carefully. Note the three "hook line" examples. Consider WHAT WILL BE YOUR CORE CONFLICT, AND WHAT WILL BE THE CORE WOUND? (all caps for emphasis). Play with it. Write down options. Choose wisely. Seek discreet professional advice if necessary. Begin the Planning Process Engage in a careful examination of the Six Act Two-Goal Novel. With your embryonic story concept nearing the birth canal, use the SATG Novel outline to assist with beginning to conceive smaller parts of the bigger picture. At each separate stage, from Act to Act, take a deep breath and sketch ideas, circumstances, characters into your electronic notebook. Be free and easy with the process. Jot down everything that comes to mind. Keep in mind it's all in dynamic flux. It can change. Just as importantly, attempt to finalize insofar as possible your novel's major setting. Extremely important. Organize your thoughts, questions, commentary, and scenarios as needed. Have fun with it. Imagination is truly your best friend (even if you don't like the original Willy Wonka). Sketch a Draft Outline No need to engage in overmuch detail. Make certain your story premise is commercially viable and your chosen setting is simmering. Have on hand sketches of your major and secondary characters. Use the SATG to locate and ruminate over your major plot points. Sketch your inciting incident and first major plot point. Go from there to your first major reversal, pinch point, etc., all the way to climax. Keep in mind this is all a draft, yes, however it should reflect your efforts to date at fleshing out your genre story. Consider also, not just your basic plot but those special points, twists, and turns demanded by your chosen genre, e.g., if writing a cozy mystery you best get that body on the first page (or pretty close). Refer to steps 1 and 2 above. Draft Your Hook Scenes Don't think of the novel in units of chapter. Think of it as units of scene, each scene dedicated to a particular task, and each driving the plot forward (a must) in one way or another. I use the term "hook scenes" to refer to that combination of opening scenes that will lead us through the initial set-up to the inciting incident and from there to the first major plot point that begins the next Act of the novel--30 to 50 pages into the novel, roughly. There are always exceptions. Download the Algonkian Study Guide for necessary additional references and a breakdown of hook scenes up to and beyond the first major plot point in One Flew Over the Cuckoo's Nest (a favorite for the application of classic dramatic technique in the novel). _______________ [url={url}]View the full article[/url]

Following a desultory lurch into relevancy on the part of the panel, one poor neophyte stood and asked the assembled if he should worry about his novel title before becoming published. Did it really matter? He'd received way too many opinions and desired a final tiebreaker. And the consensus answer? Don't worry about your title... Huh? Not long ago, I attended a panel at a mega-large writer conference. It consisted of authors who had recently been published (small presses, mainstream imprints, e-presses). There were about 150 people in the room. Following a desultory lurch into relevancy on the part of the panel, one poor neophyte stood and asked the assembled if he should worry about his novel title before becoming published. Did it really matter? He'd received way too many opinions and desired a final tiebreaker. And the consensus answer? No. You don't have to be concerned, and besides, "the publisher will most likely change it anyway." I sat there dumbfounded. So basically, these people told this guy that pitching his novel or nonfiction with a crappy, foolish, or hackneyed title was perfectly fine. Not to worry! Call it whatever you want. How about THE WHINE OF ROMAN DOGS ON CELTIC WINDS? Yeah, that's a good one!... Must I spend any more space telling you why this was not only not perfectly fine advice, but perfectly stupid and self-defeating? A bad title is like a warning siren going out ahead of your pitch, whether it be an oral pitch or query letter. It makes a horrible whining sound of warning, and it seems to be saying to those who read or listen: This is a terrible writer, stop listening, stop reading, run screaming! Regardless, what is your breakout title? How important is a great title before you even become published? Very important! Quite often, agents and editors will get a feel for a work and even sense the marketing potential just from a title. A title has the ability to attract and condition the reader's attention. It can be magical or thud like a bag of wet chalk, so choose carefully. Go to Amazon.Com and research a good share of titles in your genre, come up with options, write them down and let them simmer for at least 24 hours. Consider character or place names, settings, or a "label" that describes a major character, like THE ENGLISH PATIENT or THE ACCIDENTAL TOURIST. Consider also images, objects, or metaphors in the novel that might help create a title, or perhaps a quotation from another source (poetry, the Bible, etc.) that thematically represents your story. Or how about a title that summarizes the whole story: THE MARTIAN CHRONICLES, HARRY POTTER AND THE CHAMBER OF SECRETS, THE WORLD ACCORDING TO GARP, etc. Keep in mind that the difference between a mediocre title and a great title is the difference between THE DEAD GIRL'S SKELETON and THE LOVELY BONES, between TIME TO LOVE THAT CHOLERA and LOVE IN THE TIME OF CHOLERA between STRANGERS FROM WITHIN (Golding's original title) and LORD OF THE FLIES, between BEING LIGHT AND UNBEARABLE and THE UNBEARABLE LIGHTNESS OF BEING. ________________________________ [url={url}]View the full article[/url]

Many years ago I stumbled upon a Sydney Sheldon book on the rack at a local grocery store. I picked it up, read a bit, and said to myself: I can write better with my eyes closed. Well, hyperbole or no, there was some truth in that statement. Most likely, the work was not written by Sheldon at all, but some hack ghost brought in by the publisher to poorly imitate Sheldon. Sound implausible? Not at all. Lots of big names are "hyperbranded" these days, i.e., they don't write their own stuff. They are a brand. Others write for them and the original authors simply wave a hand in approval, or nod their mythic head, or something such as that. And btw, yes, I know this is all old news. Regardless, new writers often make the mistake of emulating established authors who have grown lazy, hyperbranded, or just plain crappy over the years. They ape their characters, plots, and even writing styles, then become astonished or even hostile when agents or editors don't immediately praise them for their wondrous contribution to the American literary scene. God bless 'em, it's not their faults really! After all, the book was on the shelf, yes? People were buying it, yes? So what's the answer? New writers must learn to emulate authors who themselves are fairly new, and yet successful to a reasonable degree. Freshly minted authors are not only a better weather vane for what the market wants in terms of premise, settings, and characters, but also in terms of prose style. Recently I pulled a copy of FANTASY AND SCIENCE FICTION off the rack at Union Station in D.C., just to check on the state-of-the-art in that genre, and was disappointed to see poor writing by name authors. And by poor, I mean very poor. One author, an established SF/F type (who has been chumming around for decades), not only made himself offensive with a hackneyed hook, but bombarded my brain with "was" so relentlessly that I wanted to call him and beg him to attend a basic creative writing class in order to learn how to choose verbs at level somewhere beyond that of a sixth grader. Keep in mind that the old gang of authors can cough on a page and get published. New writers cannot. They must choose their role models wisely! ________________________________ View the full article

Authorial Misdemeanors - Agent Richard Curtis There seems to be a law of nature that the quality of a manuscript declines in inverse proportion to the elaborateness of its package. When I receive a manuscript bound by brass screws with a plastic embossed cover, lovingly wrapped in chamois cloth, set in a velvet-lined cedar box, shrink-wrapped, packed in turn in a fireproof strongbox secured with iron bands, I am prepared to stake my career on the likelihood that this book is one colossal dud. From time to time an author will do something that causes me to scratch my head. I've compiled a list of these foibles and offer it here with a light heart. If you have perpetrated any of these transgressions I'll let you off this time without a fine, but don't let me see you in this courtroom again. I must say right off the bat that among the things authors do that irk me, delivering manuscripts late is not one of them. Lateness is the medium in which agents live. We breathe late manuscripts and eat late checks and drink late contracts. And lateness in a creative person is certainly more understandable and forgivable than it is in a business organization. I have never known an author to be deliberately late with a book, but I have known many a publisher to be deliberately late with a check. What kills me, however, is authors who don't tell me they're going to be late. Publishers schedule books many months in advance, and in most cases are able to pull one out of the schedule if given sufficient notice. In most cases, too, a publisher will grant the author a reasonable extension of delivery date. If, however, out of embarrassment or some other reason (such as a moonlighting gig the agent doesn't know about), an author doesn't level with his agent, he will not only get himself into trouble, but his agent as well. An agent who knows the truth can go to bat for his client, make excuses, concoct a fib. But if an agent sincerely assures an editor that a book will be turned in in June because that's what his client told him, when the client knew all the time that there wasn't a chance in hell that he could make the deadline, the agent's credibility will be damaged. I make very few inflexible rules for my clients, but this is one of them: no matter how embarrassing your reasons may be (one author's dog actually did eat his manuscript), I insist that you tell me the truth so that I can make proper excuses for you. (I, of course, have never lied on behalf of a client. What kind of agent would I be if I lied on behalf of a client?) Lying to your agent is a mortal sin, but authors commit many venial ones as well, and oddly enough, it is the latter variety that drives me absolutely up the wall. Take authors who misspell "Foreword," for instance. I strongly feel that anybody who turns in a manuscript containing a "Forward" deserves automatic shredding of his manuscript plus the first three fingers of his right hand. You would think I would not have to explain to professionals who make their livings with words that a foreword is a fore-word, a word that comes before the main text. But as the Forward-to-Foreword ratio on manuscripts submitted to my agency is about one out of three, I can see that the correct spelling cannot be stressed enough. It should be enough to remind you that "Foreword" is usually the very first word one's eyes fall upon when opening a manuscript. (I hesitate, however, to criticize writers for not knowing the difference between a foreword, a preface, and an introduction, since I don't understand it either.) Like many publishing people I am a fanatical believer in the importance of titles: a good or bad one can significantly affect the fate of a book. The Forward-Foreword offense is part of a larger conspiracy to send agents to early graves. I am referring to authors who don't review their manuscripts before submitting them. An occasional, random typo is one thing, but when I realize that the author never bothered to reread his manuscript, have it vetted by a good speller, or run it through the spell-checker on his computer, a murderous rage comes over me and I am compelled to steal into the night to overturn garbage cans and scratch automobile fenders with my ring. Don't authors understand (I growl at alley cats as I kick them) that today's literary marketplace is so intensely competitive that a poorly spelled manuscript can lose somebody a sale? A subspecies of the above-mentioned type misspells critical words and names, and misspells them consistently, focusing a glaring light on his or her own carelessness. I remember a Biblical novel in which the word "Pharaoh'' was misspelled "Pharoah" throughout, and in a book that long, that's a lot of Pharoahs. I have often wondered why, if the word is pronounced fayro, lexicographers have chosen to place the a before the o. In fact, what is an a doing in the second syllable at all? Such speculations do not mitigate one's intense annoyance at having to correct such errors over and over again in saga-length manuscripts. Speaking of repetitious errors, I'm reminded of those authors who print the title of their book as a header on every page of manuscript. I don't know where this quaint custom arose. I suppose it has its origins in the paranoiac fantasy that part of a manuscript will inadvertently be separated from the rest in a publisher's office. Against this remote possibility must be weighed the not-so-remote one that the title you print on every page of your manuscript will be a lousy one. Like many publishing people I am a fanatical believer in the importance of titles: a good or bad one can significantly affect the fate of a book. All too often I'll get a good book with a bad title, and after kicking alternate titles around the author and I will agree on a new one. I'll then prepare a new title page only to discover that the discarded title appears on every page of the manuscript. Now what? I must now either go out with a badly titled book or have the entire manuscript reprinted just to knock the offending title off every page. Luckily, the advent of word processing makes it easier to run off modified manuscripts. Authors who submit their only copy of a manuscript are, to say the least, an intense source of curiosity to me. They brazenly challenge the immutable law guaranteeing that that manuscript will get lost in the mails. Still, do us both a favor and leave the title off the header of every page. Nowadays manuscripts are submitted as email attachments. But many agents still prefer to read submissions in printed form. The peeve potential here is very high. On occasion an author will send me a manuscript ring-bound like a scientist's notebook. I ask myself what terrible thing I did to this person that he should avenge himself on me so cruelly. Am I supposed to read his manuscript standing up at a lectern, or remove the pages from the binding rings knowing that I will have to reassemble it when I am finished? I think it's time that writers understood something about literary agents: their standard reading posture is supine, head elevated sufficiently to glance at a baseball game or sitcom on television. Now that I've revealed this tightly guarded secret, perhaps you'll be more considerate and submit your manuscript unbound. And is it too much to ask while I'm at it that it be double spaced in 12-point font and printed on one side of the page only? And when you do post it, may I ask you not to have it bound or specially boxed or wrapped? Just a loose manuscript in a typing paper box wrapped and taped securely enough to get safely through the postal system. There seems to be a law of nature that the quality of a manuscript declines in inverse proportion to the elaborateness of its package. When I receive a manuscript bound by brass screws with a plastic embossed cover, lovingly wrapped in chamois cloth, set in a velvet-lined cedar box, shrink-wrapped, packed in turn in a fireproof strongbox secured with iron bands, I am prepared to stake my career on the likelihood that this book is one colossal dud. And in all likelihood it will be sent via Fedex or courier with the expectation of an overnight response. There is a particularly lukewarm place in my heart for foreign authors who are obliged to use typing paper of different dimensions - approximately ½ inch too long and ¼ inch too narrow - from the standard American 8½ by 11 inches. I realize how chauvinistic it must sound to deplore the paper that was probably good enough for Thomas Mann, Jean-Paul Sartre, and Graham Greene, but because agents usually place manuscripts in submission boxes to protect them and present them attractively, it drives us crazy to get a misshapen manuscript from the Continent requiring Procrustean measures to package the submission. Authors who submit their only copy of a manuscript are, to say the least, an intense source of curiosity to me. They brazenly challenge the immutable law guaranteeing that that manuscript will get lost in the mails. The advent of computer document management and cheap photocopy services has stimulated a rise in lost manuscripts, for authors who used to type an original and carbon now type an original only and bring it to a photocopy shop, where another immutable law causes it to get mixed up with somebody's master's thesis. Again, computers make the question of lost manuscripts academic, but computers can crash. So keeping a hard copy is definitely a good idea. Then there are the authors who administer tests to their agents. Some try a cute trick of turning one page in their manuscript upside down. If the agent returns the manuscript with that one page still upside down, it proves he didn't read the manuscript page for page. Plainly, the evil that authors do may be categorized as Class B Misdemeanors, punishable by groans, rolling eyes, sighs of frustration, and indulgent smiles. There are authors who quiz their agents about specific scenes and characters. A typical dialogue might sound like this: AUTHOR: Did you like my book? AGENT: Oh, yes, loved it, loved it. AUTHOR: Great. What did you think of my character Pflonk? AGENT: Pflonk? Terrific character. Nicely developed. AUTHOR: Hah! Gotcha! There was no such character in my book! I assure you that when it comes to an important book your agent reads your manuscript carefully. With so much riding on it, he has to. But most agents I know don't have time to read their clients' work page for page, nor do they need to in order to get a sense of its quality, organization, and pace. In fact, they don't even need to in order to sell it. With certain kinds of material, such as books in a series, a light once-over is enough to satisfy your agent that all is in order and the work follows the original outline. Plainly, the evil that authors do may be categorized as Class B Misdemeanors, punishable by groans, rolling eyes, sighs of frustration, and indulgent smiles. I would like to think that you are as tolerant of your agent's foibles. Agents do have them. (I know this only from talking to authors). There is one extremely successful agent who likes to boast he's never read anything he's sold. And there's another who, every time he makes a big deal for a client, gloats, "That will pay for a new set of radials for my sports car," or, "Now I can put that new wing on my house." I consider myself truly fortunate in not being possessed of any personality traits that irritate others. Well, maybe one or two. All right, maybe a few more than that. Okay, okay, so I'm riddled with them. But at least I know how to spell "Foreword." Copyright © by Richard Curtis. All Rights Reserved. ________________________________ View the full article

A question that comes up time and time again in workshops and with editorial clients, and it's always difficult to answer. Ultimately, the publication of bad novels, i.e., novels in any given genre deemed poorly written by any reasonable reader of that genre, is certainly not the fault of the reader, but of those involved in the actual publication process, from agent to publisher. How can it not be? Can one blame the gods or the stars in this matter? After working with scores of agents, I've met a few who really don't have a clue what makes for a good story. Ok, so let's just assume that only 20% of active literary agents currently pushing projects in the marketplace are a bit short on taste and knowledge. Well, what of it? That's still a lot of projects being pushed in the face of editors at major houses. Hopefully, editors, who are generally pretty sharp, will see through these loser manuscripts, but what if they are overworked, or too inexperienced, or don't get to read the whole novel? What if they trust the agent too much because they work for a respectable agency? What if their assistant or intern who "reads" the ms is fearful of saying no because he or she detects an atmosphere of optimism for it that will reflect badly on them if the truth gets told? What if the novel has been written by a name author and the reader knows he or she will lose their job if they raise a red flag and point out, for starters, those three glaring grammatical errors on the first two pages? Any number of scenarios are possible. After all, how can one possibly explain the publication of magnificent monstrosities over the years like Fan Tan, The Magicians, and The Emperor's Children, three of the worst novels ever written. What if the novel has been written by a name author and the reader knows he or she will lose their job if they raise a red flag and point out, for starters, those three glaring grammatical errors on the first two pages? If you get a chance, read the one and two star reviews written by real readers, not sock puppets of the publisher. It's a real eye opener. And there are many more, many more novels on the shelves not quite as bad those ancient ones above, but horrible enough that someone, somewhere, should have said something. But they did not, and yet, they were all, all represented by literary agents who are supposed to be the gatekeepers for the industry. Badly designed autos sometimes make it to the dealer floor, and heads roll, but bad novels rise to public attention far more often. Do heads roll? Perhaps the managers and successful agents at major agencies should keep a closer eye on employees who are doing a questionable job. Perhaps they should methodically use an independent reader critique group made up of experienced and unbiased readers, answerable only to top management and forbidden to interact with agency staff. Let's be realistic. How many times can you falsely praise a bad novel before buyers as a whole become fatigued and wary? ________________________________ View the full article

Brilliant portrayal of the classic, ignorant narcissist who one day decides he'll soon write a bestseller despite the obvious fact he knows little or nothing about developing and writing a novel. ________________________________

Consider, do screenplay writers or playwrights just begin writing without planning? Of course not. So why should the novel be different? And we're not talking about Beckett or Joycean flights of fancy, we're talking about the vast bulk of commercial novels, whether they be upmarket or genre. Ever heard this? Don't plan or outline your novel, let the character write the novel, or even more simply, "Just start writing." How many times have I heard that? And guess where? At a writer conference, of course. A certain type of author is asked whether or not they plot or outline ahead of time. They smile and say something like, "I've been asked this question before, and I have to say no, I don't outline. It just all comes to me, the character inhabits me..." or some such drivel. But let's be logical. If you understand the primary foundations for writing a novel you know your plot line must develop certain points as it moves forward, and you know also that you must write separate scenes in the novel to perform certain tasks relevant to the plot line, as well as to the character arcs, etc. It's a complex undertaking, and one that demands a certain amount of planning. If you are some kind of genius and can keep it all in your head, more power to you, but if you are like me, you need to organize and place ideas on paper (or on the computer). Also, logic dictates that if your novel plot lines are a series of circumstances, reversals, and events that tie together (like "Harry Potter"?), it only makes sense that you better know how point A gets to point M before you will know how point M gets to point Z. Consider, do screenplay writers or playwrights just begin writing without planning? Of course not. So why should the novel be different? And we're not talking about Beckett or Joycean flights of fancy, we're talking about the vast bulk of commercial novels, whether they be upmarket or genre. By the way, let me introduce you below to one of J.K. Rowling's outlines for a Harry Potter novel, Order of the Phoenix. Guess it's a little hard to argue that good ole J.K. didn't know what she was doing? Anyone see dollar signs? ________________________________ View the full article

Typical Panel of Dubious Worth Below, we've assembled a list of the best writer conferences currently available. But before choosing one over the other, keep in mind your goals as a writer. Where do you want to be as a commercial author five years from now? And consider asking yourself these questions also: Do I know how to properly pitch a project? Will I settle for self-publishing or no? Do I know precisely what genre I'm writing in, and is the genre found on the shelf, searchable as a category on Amazon? Do I know my comparables and how to best choose them? Have I immersed in my chosen genre well enough to know how it has evolved over the past few years? Will this writer conference be a networking opportunity that puts me in touch with business professionals who will also provide advice on my work? Will this conference be honest with me in terms of reaction and feedback? Will I learn things at this conference I can't learn in a writer magazine 1. AWP Conference The AWP Conference is one of the biggest and most popular conferences in the writing world. By BEA standards, it's small, but more than 12,000 writers and readers attend annually, with up to 650 exhibitors and a large book fair. Tip: don't buy any books until Sunday because by then the frustrated indie booksellers will practically be throwing them at you. Keep in mind this is mostly for literary writers/authors. If money is tight, genre writers should steer clear. 2. Algonkian New York Pitch Conference An event held four times a year in the publishing capital of the U.S. for upmarket, literary, and all genre novel-length fiction except for mainstream romance. Features include extensive pre-event novel foundation assignments; attendees allocated to small-group editorial/pitch workshops; one-on-ones with commercial acquisition editors in an environment without timer buzzers or background noise; and each writer's workshop leader present during all pitch sessions for support and project clarifications as needed. Workshop faculty include successful agent-authors and former acquisition editors at major houses. Programming also includes first-page "hook analysis" and the famous/infamous post-pitch drinking fest on early Saturday evening (all secrets revealed--attendance not mandatory). 3. Santa Barbara Writers Conference The Santa Barbara Writers Conference focuses on writers honing their craft and networking with other authors. Informative, yes, but for commercial genre writers, networking with publishers and/or good agents is a better idea. But it's held during the summer in Santa Barbara, and that is a plus due to the terribly beautiful paradise of SB where the moon rises in the east. 4. San Francisco Writers Conference Of all the conferences that make you feel like your are part of a grand but futile horde, the San Francisco Writers Conference is an event that should not be missed. From the opening gala to over 60 sessions with presenters, as well as 3 minute-timer pitch sessions. If a big conference with lots of agents and panels is what you want, it doesn't get much better (or crazier) than the SFWC. The location on Nob Hill in SF is stunning, and don't miss the parties! 5. Agents and Editors Conference/ Writers League of Texas This conference is a great place to network with industry professionals and other writers, while learning "everything" about publishing. Expect the usual panels, lectures, one-on-one meetings with editors, and opportunities for authors to pitch books to agents. Pretty much the usual fare, similar to SFWC. If in Austin, a bonus, of course. 6. Yale Writers Conference This conference in New Haven, Connecticut has two sessions; session I is an intensive nine-day long conference for those who wish to explore craft. Session II is for writers who are focusing on a more specific genre. If you're looking for an intimate workshop, this is a conference that might well impact your writing career. If you can stick it out for such a long time, and afford it, you deserve a medal. 7. Writers Digest Conference This is a conference for networking and learning about the publishing industry! You have arrived. Seriously though, a good event for newbies looking to lay a foundation. 8. Chicago Writers Conference This is a conference that shows writers how to get published through conferences, workshops and different literary events ... We're not sure what this means. Best to investigate. 9. Women Writers Conference This is the longest running literary festival of women in the nation and has over 1,000 attendees per year. At this conference you can get advice on how to improve your manuscript, speak with editors, and connect with other female writers. 10: ________________________________ View the full article

By Richard Curtis Traduttore, Traditore ("The translator is a traitor") - Italian proverb My client thinks your editor is so incompetent, he couldn't spell "cat" if you spotted him the C and the T! One of the critical roles literary agents play is that of translator. We perform the task on several author. The writer who sells his first book to a publisher and reads his first contract is plunged into a sea of words that may be totally unfamiliar to him, or that are used in a totally unfamiliar way. "Force majeure," "net proceeds," "matching option," "warranty," "discount" - these need to be defined for the novice author. There are many difficult concepts to be grasped, such as "advance sale," "midlist," "fair use," "reserve against returns," "pass-through," and "hard-soft deals." The language has its own slang, too, and our initiate hears bewildering references to who handles the "sub rights," what is the tentative "pub date," and what happens when the book is "o.p.'d." levels. The most obvious and fundamental is explaining the nomenclature of publishing to the uninitiated Agents patiently try to demystify these terms, but it may take many years of experience before our clients are completely at ease with them. It may well be true that what distinguishes professional authors from their amateur brothers and sisters is that the pros have undergone this linguistic rite of passage and are now able to sling around "pre-empts," "first proceeds," and "escalators" with the best of 'em. But there is another, and profoundly more important, job for the agent-translator to perform beyond explaining to his clients the terminology of the book industry. I'm talking about using language to forge and strengthen the bonds between authors and publishers. For, while the goals of both may ultimately be identical, they are usually achievable only after many conflicting viewpoints and interests have been reconciled. Sometimes those conflicts become intense, and if allowed to go unresolved can cause serious if not fatal breakdowns in the relationship. An agent, standing between these potential adversaries, must find common ground for them to stand on, else all - including his commission - is lost. And though their differences may be genuine, sometimes they are semantic, and if an agent can pinpoint and settle the linguistic problems, perhaps the more substantive ones will not seem quite so insuperable. Although it's a stimulating challenge, not all of us enjoy sticking our heads up in this no-man's land. You must not think, however, that editors cannot be seriously wounded. And it is important to know that fact, because a hurt editor (or art director or royalty bookkeeper) may not want to work as hard for an author who has irked him or her as for one who has been supportive, tolerant, and forgiving. This is not to say that editors are so thin-skinned they fold the first time someone criticizes them. But I do know that if an author or agent injures an editor's feelings seriously enough, it can undercut his or her initiative, and that may eventually redound to an author's detriment. Some years ago I phoned a bookkeeper who had been verbally abused by an author a few months earlier. This author was owed another check, and I wanted to know where it was. "Funny thing about that check," she said, deadpan, "it keeps falling to the bottom of my pile. Must be gravity or something." It is therefore vital that editors and their colleagues in other departments of publishing companies be handled with a certain degree of diplomacy, and it is in the language of that diplomacy that most agents are adept. We have learned that "a soft answer turneth away wrath." And most of the time, we are able to rephrase or paraphrase the blunt demands, the raw needs, the hard feelings, the hostile remarks, of our clients into gracious packages of civility that convey everything the author intended without damaging the fragile sensibilities of the person at whom they were directed. I've been keeping some notes about discussions recently conducted with editors and am happy to offer herewith a few examples of this process in action. Some of them are tongue in cheek, others are deliberately exaggerated. Still others will sound stilted, and that is because, unfortunately, that is the way I speak. Let's take one of the commonest problems in our business, that of getting editors to make up their minds about submissions. Editors are burdened with a great many tasks that curtail their reading time. They may be inundated with manuscripts to read. They may be on the fence about a submission and wish to postpone a decision for a while. They may be soliciting opinions or sales estimates from colleagues in their company. They have many legitimate reasons for taking a long time to read submissions. At the same time, some editors seem to have a considerably dimmer sense of the passage of time than people in other fields, such as airline management or television programming. So, one of the first lessons one learns in the agenting profession is how to translate an editor's promises about time. "I'll read it overnight" too often means, "I'll get around to it in a week." "I'll read it in a week" means, "I'll be back to you in a month." And "I'll read it in a month" may well mean that the manuscript is lost. In order to reasonably hold editors to their promised schedules, agents use the elegant phraseology of coercion. "As I'm loath to keep manuscripts out of circulation," I might write, "may I trouble you for a decision?" If this fails to yield a reply, I might escalate to something more pointed, like, "My client is getting restless," or, "I'm under some pressure to determine where we stand." Sometimes a humorous approach is in order. I'm a great believer in the power of teasing to accomplish that which solemnity cannot, and I'm not above a little sarcasm under the appropriate circumstances: "When I submitted that manuscript to you, the oceans were two inches lower." If an editor has sat on a submission for an unconscionably long time, I will invariably get a phone call from my client saying, "You tell that sonofabitch that if we don't have a decision by Friday, I'm personally gonna come down there and rearrange his prefrontal lobes with an ax haft!" Justified though that ultimatum may be, it is couched in language this is terminally infelicitous. By the time I'm through modifying it, it may sound something closer to this: "As you don't seem able to make up your mind, suppose we say that if I haven't heard from you by Friday, I'll put another copy of the manuscript into play elsewhere, and you may take as much time thereafter as you wish." And sometimes I'll put a finer point on my message with this veiled warning: "Do let me know when your work load is down to a more reasonable size so that our agency can resume submitting books to you." I'm certain that you must be saying to yourself, "How is an editor going to get these messages if the agent pussyfoots around that way?" The answer is, editors get these messages loudly and clearly, for unless one is incredibly dense, he or she will have little doubt that a knife has been placed against the throat. Another common problem for agents is, of course, overdue checks. Authors are remarkably articulate when it comes to expressing the discomforts of financial deprivation and to depicting the character and ancestry of those who conspire to keep them in that condition. Unfortunately, most editors would go through the roof if exposed to the authors' invective. Enter the honey-tongued agent, and though that agent might love nothing better than to say, "Pay up or we'll vaporize you," it's more likely he or she will say something a bit more subdued. Perhaps a subtle form of extortion: "It would be to your advantage to remit payment promptly so as to avoid scheduling delays," In plain English, this informs the editor that unless his company ponies up the dough, the agent isn't going to deliver certain manuscripts that the publisher desperately needs to put into production. Because a late manuscript can wreck a production schedule at fearful cost to a publisher, the wise editor will undoubtedly give the check-processing machinery an extra-hard spin when he or she gets a message like that from an agent. I can think of lots of other ways that agents refine the harsh language of their clients without sacrificing effectiveness. For instance, though we may be thinking, "My client just turned in a real turkey," what we are telling an editor is that, "My client thought you might like to see a first draft of his book before he starts polishing it." Or, "My client is going to sue you into Rice Krispie-sized pieces" becomes, "My client is contemplating contacting his attorney, at which point the matter will be out of my control." Or, "My client thinks your editor is so incompetent, he couldn't spell "cat" if you spotted him the C and the T!" becomes, "I'm not certain that the author's and editor's views about the book are entirely compatible." * "My client is so upset he's taking big bites out of his living room sofa" translates into, "My client is finding it hard to understand why . . ." * "You'll use that cover on my client's book over his dead body!" may be altered to, "My client is pretty determined." * Here's a brief glossary of other agently euphemisms commonly employed when tempers start to overheat: You: "I'm thoroughly disgusted with those people." Agent: "My client is somewhat disenchanted." You: "If I had that editor's throat in my hands . . ." Agent: "I'm not sure my client is completely comfortable working with you." You: "They're lying and cheating." Agent: "My client feels he may have detected some discrepancies. You: "What a crummy deal?" Agent: "Some of the terms leave something to be desired." You: "I wouldn't sell another book to that butcher if he were the last editor on earth." Agent: "Let's have lunch." The transmutation of hurtful language works the other way around, too, so that when we have to tell a client that his publishers hate his book so much they want to manure a cornfield with it, we may say something like, "It didn't live up to their expectations," or, "They found it lacking in certain respects." Or an editor's remark to the effect that a certain author couldn't write his way out of a trash can liner becomes, "They don't feel you've reached your potential quite yet." Here are a few others. Editor: "This material is simply lousy." Agent: "Your editor is disappointed." Editor: "What language is your client writing in, anyway?" Agent: "Your editor pointed out some obscure passages." Editor: "Your client is the rudest person I've ever had the misfortune to work with." Agent: "Your editor seems to have overreacted to what he perceives as a slight." Editor: "Is your client crazy, or what?" Agent: "I'm not sure your editor appreciates your sense of humor." Of course, not all agents approach matters as delicately as this. Some of us are in fact quite plainspoken, and even the most tactful among us realizes that there are unavoidable occasions when we must unsheathe a steel fist from the velvet glove. Still, it is gratifying to know that at least when it comes to the language one may still find reminders of the time when publishing was a profession for civilized ladies and gentlemen. ________________________________ View the full article

Betsy Mitchell at Del Rey, imprint of Random House, was inspired to look at the numbers and reasons she rejected the manuscripts submitted to her. Betsy’s tally starts with March of 2009 and runs to the end of the year. During that time she passed on 133 manuscripts. I found it very interesting. Just remember not to let it get you down. Here is her list of reasons why: Not what Del Rey is looking for (meaning we had enough on our list already of whatever subgenre was on offer): 22 A good manuscript but not right for our list (included a couple of nonfiction SF-related titles more suitable for a small press, the odd children’s book, etc.) 14 Not a genre that’s doing well right now (horror, mostly; some foreign novels being offered for translation, anthologies whose concepts weren’t strong enough) 18 Simply not good enough (a combination of mediocre writing and/or storytelling) 43 Contains major plot flaws (the story was too predictable, or the author made a choice I didn’t agree with which affected the entire manuscript) 5 Main characters not strong or likeable enough 3 Needs too much editorial work (a manuscript has to be 95% of the way to book-ready for me to be willing to take it on) 7 Falls between genres (these were some of the most frustrating ones I had to reject; several were quite beautifully written but would be hard to promote in such a tough marketplace) 14 ________________________________ View the full article

By Chris Stewart As someone who organizes readings and a large literary arts festival with workshops, author appearances, and exhibitors, over the last ten years I have developed a list of writers who I will not work with again. And rest assured, I’m not the only one who does this. Why? Because they didn’t follow directions. It’s that simple. Who's on it? Writers who acted like the organizer/staff were their personal assistant/manager. Take note of the following ways to avoid this blacklist and be a true professional! KNOW YOUR OWN SCHEDULE Double booking is such a big no-no we can’t believe you’re not aware of this already yourself. Whatever you have to do to make sure you know the days you are already booked: DO IT. Back out of our event at the last minute because you “forgot” you already had a gig? You’re on the list. SEND THE REQUIRED INFORMATION It should be no surprise to you that we need your bio and right away—possibly a short one and a long one. We also need a high resolution digital photo of the appropriate size with good lighting, not a selfie taken in the bathroom with your cell phone or with the light behind you. We need ordering information for your book. Possibly your dietary restrictions or lunch/dinner order. Special seating or parking needs. Have that at the ready to send right away. Don’t have them? Get them together and email them to yourself now so you will. Have a publicity team? Great! They are usually more organized than authors. But pick only ONE person for us to work with. SEND THE REQUIRED INFORMATION AS REQUESTED If we ask for your short bio, we mean about 100 words. Not half a page, a full page, or two pages. Put your current, key publications, awards, job in there and include your website so people can find out more. You should not send a link to your website or write back “it’s on my website which is in my signature block.” You will be asked again to send the bio and if you again don’t comply, you won’t have a bio listed. Same with the photo and book order info. If we give you the format in which we want these and you send a link to your book on Amazon, Barnes & Noble, or your publisher’s website you will be asked again, etc. If you're a "famous writer" we will chase you for the info but you'll go on the list. MEET THE DEADLINE When we tell you the deadline by which we need the information we are not picking a random date. We have a deadline for ordering your book and/or getting it to the host so he/she can read it before your reading or interview. We are collecting information to layout and send to the printer for marketing materials: brochures, programs, postcards. For posting on the website and social media. Decided at the last minute you want to change or send your picture now that it’s too late? Yeah, no. Not changing the program which is already at the printer and would incur fees. PUBLICIZE! Organizers count on participants publicizing the event they are part of, which helps extend the organization’s reach and hopefully means high attendance on the day/evening. Post our event on your website, your Facebook/Twitter/Tumblr/wherever pages. Follow our social media pages and share info from them. Let people know about your part, but also share the info about other writers, exhibitors, etc. if it’s a larger event or festival. DON’T EMAIL WITH 101 QUESTIONS We are aware of our own schedule. We know when we want to release final details to authors, etc. Don't stalk us for weeks before asking where you’re parking, what building/room you’re in, or asking if your book has arrived yet. We will send out the logistics email when everything is finalized and in plenty of time. Please don’t “check in.” If we wanted to check in we would have. Basic information is, by now, on the organization’s website: location, day, time, parking. Do your own homework until you hear from us. That’s what websites are for. If it’s a few days before and no email, check your spam folder, then call. How a reading works or an interview or a Q&A is not rocket science. You shouldn’t need a minute by minute breakdown of what is expected. BE ON TIME—NOT EARLY AND NOT LATE On the day of the event, don’t show up two hours before your reading if you’re part of an event that runs for several hours, or a festival, wanting to check in or with questions. Check in at the appointed time—an hour before is best. Wait until the session before yours has started so it’s quieter and we can focus on you. Don’t wander off to other sessions, to lunch, whatever, and not be there on time for the start of your event. Keep track of the time and return at least fifteen minutes before your part starts. CHECK IN Always check in! Otherwise, you are considered a “no show” and we are scrambling to figure out what to do without you, sending people to look for you, spending time calling/texting you when there are ten other things requiring our attention. NO TEXTS/CALLS WITH QUESTIONS ON THE DAY We simply do not have time to take your call. The ringer on our cell is mostly likely turned off. If you want to reach us because you’re going to be late due to traffic or a car breakdown, text us and give us your name and ETA. If there is a host for your session, text them as well. Don’t text us and ask us to tell them. We may not see them in time and guess what? We have ten other things requiring our attention. What? You don’t have their phone number? You know my response to that. DON’T GO ROGUE If we didn’t offer or ask about your tech needs then please don't email asking if you can show a short film the day before the event. Or even weeks before. Tech has already been decided. We’ve had the final walk-though. We would have to hire a tech person at the venue which is not in our budget. You also may not call the venue yourself and ask for them to do this for you. We have a contract with them and you are not part of it. Put whatever you want to show on your website and have people view it on their smartphones during or after the session. STICK TO YOUR TIME LIMITS We probably gave you a time limit for your reading or, if you’re a host of a reading/session at a festival for us, how long your session is. If you’re a writer, choose appropriate material and practice reading it to make sure you are just under your time. So if we said seven minutes that’s what you prepare. Not three minutes. Not nine minutes. Your running under/over screws up the schedule. Minutes add up. If you’re a host, don’t run over. Manage/track your time. If the host of the session before you didn’t do that and their session ran into yours, let us know later (they will go on the list!), but that doesn’t mean you can do the same to the session’s host and authors after you. STAY THE WHOLE TIME – PARTICIPATE! Go to other sessions if you’re at a festival. Stay the whole evening if it’s a larger event/reading. Take pictures. Post on social media using the event hashtag and quote writers/speakers. Tag people. Share other people’s posts. If you just do your part and leave you were not really a participant making a contribution to our event and community. IF SOMETHING GOES WRONG, BE GRACIOUS Organizers are juggling more than you know depending on the size of the event: partners and their expectations, venues, catering, audio/visual recording, marketing, publicity, security, tech, tables, chairs, signage, exhibitors, book orders, the schedule, volunteers, parking, transportation/hotel for visiting writers, walk-throughs, last minute changes. We are horrified that your name was spelled wrong or the parking lot was closed or someone else took your vegan lunchbox. We didn’t do it on purpose and we can’t fix it now. Don’t call/text us asking for restaurant recommendations or the nearest parking lot. These are all accessible to you via your own phone. BOTTOM LINE We are doing our best to make everyone comfortable and happy while dealing with the banner falling off of the front of the building, microphones with dead batteries, a famous writer needing directions over the phone instead of using their GPS, volunteers who didn’t show up, the session room that’s locked so no one can get in, obvious questions from people who could answer them by simply opening and reading the program or checking the map. There are plenty of people ready to criticize every aspect of an event with massive amounts of know-it-all disdain. People who have never organized anything in their life but who think they’d be geniuses at it. Don’t be that person. You have no idea what was discussed, promised by venue/partners/caterers/etc., not allowed or not available, or didn’t work on the day. Be a help, not a hindrance. How? Remember that the event is not about you (unless you’re the headliner, in which case, still be gracious, not a diva). Do your homework. Do your prep. Bring your own water and a granola bar, just in case. Leave early, map out additional parking, check in, tweet about how much fun you’re having, smile. We are excited to have you at our event! We think you’re fantastic! But be responsible for yourself. If you can’t be, hire someone who will be able to handle your needs/details or risk not being invited back and word getting around that you are not a professional or too much work. Your call. Chris Stewart is Editor-in-Chief of Del Sol Press (@DelSolPressBks), which has a First Novel Competition deadline this Friday, May 13th. Judge is Madison Smartt Bell. Prize is $1500, 20 copies. Second and third place winners receive free tuition to the AlgonkianNew York Pitch Conference. Published already but retained the copyright? You’re eligible! Check it out:Del Sol Press First Novel Prize Chris tweets @EditorStewart and provides manuscript editing and critiques. Find tips, tools, information, and inspiration on her website: The Real Writer. ________________________________ View the full article

Are "brutal" reviewers really good for you? So what spurred this question? A friend recently said she had a "brutal critique partner" that could be relied on. It got me to thinking about brutal reviewers in my own experience who were worse than useless and actually destructive. We need to keep in mind that the better an ms becomes, the harder such "brutal" critics are forced to dig for critique at all costs, inevitably focusing on matters of taste, e.g, "I don't like that character's personality..." as opposed to "I think this point could be made clearer by doing XYZ." You could put 10 of these brutal negative types in a room and they would shred an unpublished novel to pieces in their own special way. But if the exact same novel were actually written by a commercial author favorite of theirs, they would not only praise it but compete with each other to deliver the most positive, in-depth insight into the work. Their blurbs would shower Amazon with five stars. Perhaps a "however" now and then, but nothing that would ever approach the brutality of decimating the ms they believed unpublished. Frankly, I've had experience with various coverage types in LA and fought huge battles with them over specific screenplays and manuscripts by writers known to me (two were clients) who they were attempting to annihilate, and I noticed, the more perfect the manuscript, the more vehement and extreme the critique. It was as if the good story and great prose infuriated them and made them all the more determined to find ways to chop at it. Of course, they made their living by using negativity as a substitute for authentic and insightful review, much like certain commercial book reviewers who go viciously negative in order to stand out in a crowd. When looking for feedback on a fantasy manuscript I wrote two years ago, I purposely sought out three writers who I knew would rip me a big one (for various reasons), and all three did, but there were no commonalities. I figured that reasonably intelligent writers straining hard to be negative would find an issue if it really existed. It was weird to watch them strive to be as negative as possible over essentially petty things. I once sent a very polished ms to some editors in Iowa who I trusted to put the final coat of paint on the top floor. Instead, they shredded the opening chapter of the ms in every inconceivable way. They strained to dissect sentences and nitpick "the real meaning" vs. the words actually used, and in a manner nothing short of bizarre. They even hated italics! Determined to be negative at all costs, the Iowa people didn't say one positive thing about any facet of the ms. When not provided their normal diet of necessary edits they simply picked and picked until they created a series of false negatives. The coverage people in LA, as I noted above, imitated this Iowa group. However, I couldn't help but notice the exact same editors, when courting a client for monetary reasons, fell over themselves being complimentary. Hmmmmmm... In conclusion, if you must use reviewers, search for balanced personalities and look for commonalities. ________________________________ View the full article

Though the blurb below was published in The Onion, it is nonetheless a good jumping off point for discussing how creative writing instructors or mentors should approach students whose stories or prose need extra help: "CHARLOTTESVILLE, VA - In an effort to help his students develop inaccurate perceptions of their talents, University of Virginia creative writing professor Alan Erickson told reporters Monday that he takes the time to provide each and every one of them with personalized false hope. "Every student is different, and even though there may be 30 of them per class, I feel it's important that I make enough time to sit down with them individually to let them know they have a unique voice worth pursuing," said Erickson, explaining that he frequently extends his office hours and often stays after class to meet with students one-on-one to ensure they hear individualized, unfounded optimism about their writing and their prospects within the publishing industry. "It certainly adds a bit to my workload, but providing specific feedback and encouragement really has a huge impact on their confidence. Going that extra mile for your students is what inspires them to follow their dreams." The professor added that his efforts have yielded some notable results, asserting that a number of his most deluded former students have gone on to humiliating, short-lived attempts at writing careers." _____________________________________ I have been in the presence of professional fiction-writing workshop leaders who have either falsely praised a writer or else avoided addressing flaws in their work--often leaving said flaws to be hopefully discovered by a member of the workshop instead. In this way, the instructor avoids having to face the writer and discuss the problem directly. He or she lets the group do most of the discovery and problem-solving analysis, thus disallowing the writer in question from focusing potential ire on the workshop leader. Having been a workshop leader, I can tell you, the above approach would be a lot easier on me. However, even groups that are decently moderated (assuming the workshop leader actually understands not only practical creative writing but the commercial and literary publishing business--which is rare) must endure a good amount of poorly considered, amateurish advice issued from the well-meaning heads of the writers present. Godspeed them all! But what is a workshop leader to do in the presence of hit-and-miss advice and analysis flowing freely around the table? Various strategies exist, but by and large, he or she (if honest and knowledgeable) must be put in the position of tactfully contradicting much of what the writer group has said to each other (much of which already contradicts itself). And how is that possible in group dynamic situations that might not be conducive to such frank reality checking? Answer: it isn't possible. One can only hope for a group that is receptive. And falsely praising the work of poor writers only enables them to continue to fail. The workshop leader should note what works, and what does not, then delve into strategies for improvement. Good writers are not born. They are made. ________________________________ View the full article