Archive | September, 2012

Composting Your Story Idea Before You Start Writing

How do you develop your idea for your novel in the earliest stages when it’s horribly unfocused and vague? Are there any steps you can take to speed up the “composting” phase?

Sarah posted this question on my “Ask A Question For My Blog” page:

I am planning my first ever writing project – a fiction novel for teens/young adults. I stumbled across your snowflake article which has been an excellent starting point, and having read that article, I can see that my idea is still “composting “. I have ideas for characters and mental glimpses of scenes, and a theme that will underpin the whole story.

As keen as I am to get started on my snowflake, I am not ready yet, and I am wondering if you have any tips to help with composting? Any tips on character development or the story pre-snowflake stage? If so, I would love to hear them.

Randy sez: A little background first on what I’ve been up to lately: I was at the ACFW conference in Dallas last week where I had a chance to hang out with about 700 novelists, editors, and agents. It was great fun and some friends of mine even cajoled me into going swing dancing with them. I also had a chance to reconnect with one of my college roommates whom I hadn’t seen in 32 years. That was really cool.

One thing that I was reminded of at the conference is this: Every writer has a different process for developing story ideas. Sarah’s question is about what to do before starting my widely used Snowflake method of designing a novel.

I should make it clear here that many writers don’t Snowflake. If you’re a seat-of-the-pants writer, you just sit down and start writing, without doing any planning, any composting. That’s OK if that’s the way your brain is wired.

I’m a slow starter, so I take forever to get started on a project. Here’s the way I do it when I’m working on a novel without any coauthors. When I think of an idea for a novel, I write down the basic idea on a pad of paper and put it in my filing cabinet under “Ideas for Novels”. Then I let it sit for years. Whenever I get more ideas for the book, I’ll take out the pad and write them down. I may discuss the idea with friends and write down their suggestions. But I don’t have a very orderly process for this phase of the project, which I call “composting.” It’s what happens in the cracks while I’m working on other projects.

Composting this way is really just slow-motion brainstorming. Sarah, if you’re not as slow as I am, you might prefer to just make time to do real brainstorming. You can do this with a group or alone.

To brainstorm in a group, get a bunch of writer friends together and tell them your basic idea for your story. Then ask them for ideas. Let them talk. You just write it all down as fast as you can scribble. You’ll get all sorts of crazy ideas. You won’t be able to use most of them. That’s OK. The idea here is to jiggle your neurons. It may be that NONE of the things your friends suggest are usable — and yet hearing them all will get your own creative juices rolling. That’s the goal.

To brainstorm by yourself, open up a document in your favorite word processor tool and give yourself a fixed amount of time — say five minutes or fifteen minutes or whatever. Then just start “freewriting”. The rule is that you have to type as fast as you can, typing whatever comes into your head without censoring. Don’t fix spelling errors. Don’t delete anything. Write like a demon, whether it makes sense or not. Fast, fast, fast, no stopping. Again, a lot of it will be completely useless. But the goal is to pick out the golden nuggets. You can do this every day or every week until you’ve got enough nuggets in place that you think you’re ready to move on to the next stage.

I’ve coauthored two novels with John Olson, and the composting we did was in a series of very intense conversations we had, either on the phone or while walking around the lake near his house. John usually set the stage by framing a question about the story that we needed to answer. I’m pretty good at generating all sorts of random and crazy and useless thoughts, most of them incoherent. John is good at synthesizing all that random nonsense into an actual idea. This usually takes quite a while. It’s not uncommon for us to talk for an hour or two and come up with only a few good ideas.

Compost is wherever you find it, Sarah. Don’t be afraid to come up with bad ideas. They’re often stepping stones to good ideas. You can compost ideas slowly, as they come to you over months or years. Or you can compost them quickly, by setting aside time specifically to compost.

As a little side note, John and I recently came up with an idea for a software tool that will help novelists compost their ideas more effectively. We’re going to build it for ourselves and then if it works well we’ll make it available to the world on our web site at a reasonable cost. This tool is still in the planning stage so I don’t have any information yet on when it might be available. But it’s something I desperately need for myself, because I’m awfully slow at composting and this tool would speed things up massively.

If you’ve got a question you’d like me to answer in public on this blog, hop on over to my “Ask A Question For My Blog” page and submit your question. I’ll answer them in the order they come in.

How Do You Make A Living As A Novelist?

How do you earn a decent living as a novelist? How do you get started? Who pays you and when does it happen?

Brennan posted this question on my “Ask A Question For My Blog” page:

You’ve probably already answered this question, but here it goes.
I’m in my second year of High School, and love writing fanfiction, so much so that I plan on making writing my career.
I’m wondering, how can I begin doing such a thing? Do I start as a freelancer and write blog posts and such, or write a series of short stories into one large collection, or move straight ahead onto the path of writing a novel (my big goal).
Also, while I’m in the process of writing this novel, how will I make income? I’m not entirely sure how all of this works; if a publisher will pay you as you’re writing, or if they only pay you when copies start selling, or what.
I know if you won’t be able to answer this, I understand.

Randy sez: These are good questions, Brennan, and plenty of older writers don’t think about them soon enough.

Your question came in while I was in New Zealand teaching at the delightful Romance Writers of New Zealand annual conference. My wife and I had a great time at the conference and also touring New Zealand both before and after the conference. I got to see Hobbiton! My wife conned me into taking a mud bath in the sulfur springs at a place called Hell’s Gate in Rotorua. We went sea-kayaking in Motoeka. We were out of the country for 15 days and it’s taken me almost that many days to get caught up on things.

Let me be blunt: Earning a living as a novelist is hard. I just sent out the September issue of my Advanced Fiction Writing E-zine this morning (only 9 days late!) and there I talked about the economics of fiction writing. A very few writers do stupendously well, earning millions of dollars per year. The top 1000 novelists make quite a good living at fiction writing. Everyone else struggles. They have a day job or a working spouse or an inheritance or they live in poverty.

There is no way to change that, because the market for fiction is a free market, and free markets reward only the top performers Xtremely well. There are fields where you can earn excellent money for mediocre performance. Fiction writing is not one of them.

All of that is the bad news. The good news is that fiction writing is immensely rewarding to you personally. If writing fiction is in your blood, then it’s in your blood and you won’t be able to stop yourself from writing. If writing fiction is not in your blood, then my comments above may steer you away from it into something safer and more lucrative, such as whipless lion taming or blindfolded skydiving.

OK, so let’s assume writing fiction is in your blood. What’s your career strategy? How do you break in? Who pays you and when?

Brennan, since you’re in high school, you’ve got plenty of time to develop the fundamentals. Fan fiction is not a bad place to start. It normally doesn’t take you anywhere moneywise (with rare exceptions like the Fifty Shades of Grey author). But you can get your feet wet using other people’s storyworlds and characters to learn how to write.

But fan fiction is not real fiction. If you’re going to write fiction, at some point you need to be an original. You can write short stories, but there isn’t a lot of money in them right now. (Short fiction may make a comeback with the rise of self-published e-books, but I’d say the jury is still out on how this is going to work out for short stories. Definitely novellas seem to be on the rise.)

So I’d say that eventually you’ll want to write a novel. A novel is a complex project and it takes a lifetime to master this art form. You won’t get paid until you sell your work to a traditional royalty-paying publisher or until you self-publish it. Either way, you MUST have a strong story before you’re going to get paid a dime. Let’s look at those two avenues for payment:

If you decide to publish with a trad publisher, then you’ll need an agent to help you sell your book. Your agent will expect that your story is strong, fully developed, and well-polished. Some agents have the patience to work with an author who is 90% of the way there, but most agents have hundreds of wannabes submitting stuff that is 90% of the way there. If you get an agent, he or she will try to sell your work to a trad publisher. There is no guarantee this will succeed. If it does, you’ll sign a contract that sets up a payment schedule. You normally get paid in stages: maybe 25% on signing, 25% on delivery of the manuscript, 25% on acceptance of a polished manuscript, and 25% on publication. Right now, publishers play all sorts of games to prolong the payment cycle, so don’t expect these terms. Your agent gets paid 15% of what your earnings, and he doesn’t get paid until you get paid. A trad publisher will pay all the costs of editing, cover art graphic design, marketing, sales, production, and distribution. They also take the lion’s share of the money. High risk, high reward for them. Low risk, low reward for you.

If you decide to self-publish, then you have some upfront costs. You have to pay an artist to design you a cover. You really need an editor. (Every novelist needs an editor. I pay a freelance editor to review my work.) You may need to pay somebody to create the e-book files. Then you just upload those to Amazon, B&N, and the other online retailers and start earning money. If you take this route, all the responsibility is on you. If you have a crappy cover, bad editing, lousy marketing, or anything else goes wrong, it’s your fault. It’s high risk, high reward for you.

One of your questions was how you get paid while you’re writing. The answer is that you don’t. This is one of the horrible truths of writing fiction. Income is backloaded. Nobody is going to pay you during the early years when you’re learning to write. The big rewards, if they ever come at all, will come to you after years and years of unpaid labor. There is no way to make this sound cool. It’s not cool. When everybody wants to be a rock star, it naturally makes it hard to become a rock star. This is one reason why it makes sense to start working hard now while you’re still in high school and still have free room and board.

I hate to be the bearer of bad news, but the fact is that it’s hard to become a novelist. It’s even harder to get rich at it. You need talent–loads of it. You need training (people like me are here to provide that). You need persistence–this is the main ingredient. Keep persisting and in five or ten years, you’ll reach whatever your potential is as a novelist. If that’s good enough to get published by a trad publisher, then you’ll probably sell your work for an advance. If it’s good enough to reach your market, then you could also do pretty well as a self-publisher in the exploding e-book market.

But there are no guarantees. None. It’s quite possible to work for five or ten years and never earn a dime from your writing. I spent ten years writing fiction and in the tenth year, I finally sold a short story to a local magazine for $150. This worked out to $15 per year, or 3 cents per hour of effort. In the eleventh year, I sold my first nonfiction book and then my first novel, and I was launched. But I didn’t know that would happen when I began my eleventh year of writing. I was going on faith that someday I’d sell something.

What it all comes down to is how much you believe in yourself as a writer and whether that belief is well-founded. If you have talent and if you get the training you need, and if you believe in yourself enough to keep at it for years, then you can get published. Tens of thousands of writers have done that. Probably hundreds of thousands. But only a few of them ever become millionaires, so be careful of setting unrealistic expectations.

If you’ve got a question you’d like me to answer in public on this blog, hop on over to my “Ask A Question For My Blog” page and submit your question. I’ll answer them in the order they come in.

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