May You Write Interesting Books — 9

Waiter, There’s Soup In My Novel

Yes, it is possible to write an interesting – even riveting – book and make it feel boring or at least “blah” when you reach the end.

The most difficult of these to cure is when you turn your book into soup.

What do I mean by soup?  I mean you throw everything in but the kitchen sink and that only because it’s attached and you can’t find the crow bar.  It starts out to be a book about gnomes, but by the time you’re done you’ve got the entire fairy kingdom in there, and dragons, and spaceships, and aliens, and perhaps a three-legged hedgehog.  I’d call it stew, except that this “adding on” effect actually dilutes the result, so it’s more like soup.

This is a bad tendency of mine.  It started, I think, from my being young and an idiot and wanting to make books “real” by throwing in elements that weren’t directly related to the plot.  I learned the folly of that, but I’ve never lost the tendency to overcomplicate things.  It might be innate.  Look, I used to fail the easy tests because I thought “It can’t be that simple” and then credited my teachers with far more cunning than they ever had.

So I have trouble keeping books simple.  In fact, the longer I spend working at a novel, the more complex it becomes.  If I do more than three revisions, you can guarantee it will be soup.

How do you fix that?

The way I use most often is the “run to the finish.”  If I leave myself very little time, I can’t throw in everything.  The faster my books are written, the cleaner they feel.

But you already wrote the book, and there’s ham and beets and a bit of radish floating in it, and none of it works together.  Well, you’re in luck.  A book is only like soup to a point.  If you haven’t put it out yet, it’s not “cooked” and you can remove elements the readers will NEVER know about.

My suggestion is that you start by deciding what the dish – er – novel is.  If you have time, set it aside and let it rest, then come back at it in a month or three.  You’ll be amazed how the original plan stands out clear and the rest as accretions.  It’s then very easy to prune.

Failing that, decide what the novel will be about.  You’re either writing beets or radishes.  Make a decision and stick to it, then carefully and rationally remove everything that sticks out.  The result won’t be heart’s blood, but it will coherent.

The more difficult part of this is “How To Finish With A Bang” which I’ll do tomorrow, because it requires more concentration than I can muster on the last day of vacation.

I’m going to write a bit, put up a few stories, then go for a walk.  Hopefully I finish this series tomorrow and can then edit it, convert it, and put it somewhere for ya’ll to download.

I Can’t Figure Out How To Post A New Year’s Card Here

New Year, same technological ineptitude.  And here, I was hoping changing the calendar fixed it!  (And what a calendar it is, this year’s calendar is this)

So, you’ll have to do the work.  Click here for your New Year’s Card from me.

Update:  For those who missed this.  Any Sony readers out there, go to smashwords and look for books published by Goldport Press (or myself and Sylvia Haute)  Pick one, and I’ll take the one with most votes free for a week, since I can’t give you Neptune’s Orphans free for New Year’s gift (It’s Amazon only.)

Happy New Year

2011 has been more fun than a barrel of frisky monkeys.  And I mean that in both the ironic and the straightforward sense, which right away tells you what kind of year this has been.

You keep hearing of people saying things like “This has been unbelievable” or “before now I could never have believed.”

For publishing, why don’t we call 2011 the year the world turned upside down?

Let’s leave alone the fact that this year I won the Prometheus Award.  It’s long been a joke in my house that I’ll win awards when hell freezes over.  Well, I hope the little demons have earmuffs.  And of course, of all awards, this is the one I most wanted.  I don’t fully believe it, still, but I’m very happy.  It’s particularly gratifying that I won it for a novel I couldn’t sell for THIRTEEN years.

Then there’s the economic side of this career.

When this year started, I thought my career was nearing its end.  Not that I was as anguished as when this happened before, because it didn’t seem to be my fault, and really there wasn’t much I could do about it.  The publishing industry just seemed to be winding down.  There were articles saying in the future every book would be free and everyone would starve, and I was fighting that idea as hard as I could but afraid it would be like that for a few years.   Also, fewer of my books were selling (to publishers) and at that I was one of the lucky ones who was still working.

And then… And then things changed.  The world turned upside down.  For me.  At some point I realized that the security of traditional publishing wasn’t worth the aggravation most publishers seem to have built in, or the …  Let’s just say in the coming year there will be talk of statements and what relation they bear to reality leave it at that.

So I decided — with trepidation — to do what Dave Drake had advised me, oh…  seven years ago?  Never work for publishers you don’t personally like and respect.  Which, as most of you know, leaves me with Baen.

Baen is not enough — at least not YET — to support me, and besides, you guys know I like to write tons of things that don’t fit the Baen mold.  SO I was pushed kicking and screaming into indie publishing.

It’s been…  Three months? since Goldport Press has existed, and so far I have out two dozen short stories and two collections.  So, how is that going, Sarah?  Well, no, I can’t live from it.  But if I had up all the short stories whose rights have reverted and they earned at the same rate as the ones I do have up, I would be making a book advance from those — from OLD stories, already written and half of them already paid for.  More interesting, the earnings grow week to week, even when I don’t put up new stuff.

And I hear from friends doing this the real money is in novels.

Of which I have about 20 in various stages of completion, which either agent (quite a few) or publishers rejected.  These run the gamut from paranormal romance to mystery to (even) a couple of science fiction that I feel squirmy about sending to Baen, for various reasons.  Some of these novels, really, just need a thorough revision.

So, here’s where I stand at the end of 2011 — I’m if not confident very hopeful I can make a living from Indie publishing and Baen.  I’ve also discovered — thanks to the possibility of Indie publishing and having written a novel I’m still not sure Baen will take because I knew I could publish it myself — that I write BETTER, enjoy it more, and really, can write faster (I know, but it’s true) on spec than under contract.  It’s something psychological.  I’d guess when work is due it becomes “homework”.

My first order of business, therefore, is to crawl out from under the three contracts extant.  Then I’ll start going through the shelved books.  I’d like to bring out one of those a month, starting in February.  Also, of course, I’ll continue bringing out the short stories.

For those who enjoyed my shorts in the urban fantasy series, I intend to write a few more, and publish a volume of Nephilim Kentucky III Investigates.  There will also, I’m so sorry, be more nuns in space.

In the meantime, I’ve got New Year’s preparations to make.  Everyone have a happy one, and may your future be so bright you have to wear shades.

And as a sort of New Year’s Gift (yes, I’m feeling very Russian…  It’s the accent) I took Neptune’s Orphans free on Amazon.

Don’t count on a free short story a week, but I figured you guys could use amusement your last week of holidays…

Free Novel — Witchfinder Chapter 15

*This is the Fantasy novel I’m posting here for free, one chapter every Friday.   If your conscience troubles you getting something for free, do hit the donate button on the right side and down.  Anyone donating more than $6 will get a non-drm electronic copy of Witchfinder in its final version, when it’s published.
There is a compilation of previous chapters here and I will compile each new chapter there, a week after I post.  When the novel is completed and about to be edited the compilation page will probably be deleted.

Oh, this is in pre-arc format, meaning you’ll find the occasional spelling mistake and sentence that makes no sense.  It’s not exactly first draft, but it’s not at the level I’d send to a publisher, yet*

For previous chapters, look here:  https://accordingtohoyt.com/witchfinder/

The Fear Of Darkness

Nell looked at Gabriel as he proclaimed his willingness to take down fairyland if that was what it took to bring his youngest half brother back.  For a moment, for a brief breath, she caught a look in Seraphim Ainsling, Duke of Darkwater’s face, as he looked at his half-elven sibling, nominally his valet.  She didn’t know what that look was.  It might be surprise or awe or fear.

Nell knew, however, with absolute certainty, in that moment, that Seraphim hadn’t known the details of Gabriel’s ancestry.  He might have known Gabriel was half-elf but not that he was what could be termed a prince of fairyland, nor why he’d left fairyland.  And he definitely hadn’t known how strongly Gabriel felt about elves and the king of fairyland.

It was just a moment, and then Seraphim looked away, his eyes half-lidded, hiding his expression, and is face went back to the impassive, reserved look she’d seen on it before.

Training, she thought, as though it were a novel idea.  The man had been trained to hide his feelings.  He’d been trained to behave impeccably in public.  He’d been brought up to fulfill his role and his role required that he follow a protocol in public and show nothing of his inner thoughts or feelings and, particularly, show no doubt no fear and no pain.

Once having realized that, she could detect things in his expression: pain mostly, and tiredness.  Though he looked alert and aware, she realized there were fine lines at the corner of his mouth, as from holding his features unnaturally serene against suffering.  And his shoulders were held too square and straight, as if he were afraid they’d sag under tiredness.  And his hands held the head of the walking stick far too tightly.

She looked at him until she caught him giving her a long side glance, and then she looked at her feet.  She hadn’t yet decided what to tell him.  What could she let the Darkwater’s know about her origins, her work, her involvement with Antoine, let alone her involvement with Sidell?  What and how much did they need to know?  And how much would endanger them?  She didn’t know enough to know what she could tell and to whom before they became targets for the secret service.

Now that Antoine was dead – something that didn’t seem quite real, yet – she didn’t even know how much of what she thought had happened since she’d landed in Avalon was true, and how much had been a lie perpetrated on her.  The idea that Antoine would try to kill Darkwater made no sense.  Certainly not when Antoine was supposed to be in a dungeon, his life dependent on her good behavior.

Once more, she caught the Duke of Darkside’s glance on her, and she looked down at her feet.  The Darkwaters talked around her.  It seemed as though they had little more thought than she did on how to rescue someone from the clutches of elves, and on this she had very little to hide from them.  She’d had some idea that elves were real here, and their magic here, as opposed to being – as on Earth – mere legends and rumors.  But she knew nothing else.  She’d heard of treaties between the two realms, but had never sought to inform herself of the details.  Her assignments had been among humans.

It seemed as though the conversation was winding down when Gabriel said, “I will speak to my mother.”  From the way he set his jaw after saying it, the quick, concerned glance Seraphim shot him, and the more openly concerned and pitying look given him by Caroline, it was obvious that this was neither an easy nor a safe task, but no one said anything to dissuade him.  The Dowager Duchess said in a tone of someone who relieves her mind, more than someone who says something that needs saying, “We must get Michael back as soon as may be.”

And Gabriel said, automatically, as though he’d been asked whether he intended to wear clothes outside, “Yes, Your Grace, of course.”

Then Darkwater’s voice rose, composed, forceful, “Miss Felix?”

She looked up at him.  She remembered the charade the two brothers had played for the benefit of Darkwater’s mother, and now she wondered if the Dowager Duchess had yet realized there was more to the two of them than they’d been letting on?  Or if she’d known it all along?  Or if she just now noticed that Seraphim’s wastrel ways, his dissolute living were, at most, a mask upon his real activities?  Or perhaps not, Nell thought.  Seraphim wouldn’t be the first man to be both heroic and a libertine.  The two were so far from being opposed character traits that it wouldn’t even be that unusual.  She must remember that when dealing with the two brothers, no matter how much she admired their courage and mutual loyalty.  Until she could find a way to make it back to her native world, she must play by Avalon rules, and by Avalon rules her reputation was both valuable and easily lost, so she must keep undeserving males at bay.  “Your Grace?” she said a trace of reserve in her nature.

Darkwater’s glance slid sideways at the Dowager Duchess.  So, she either didn’t know of the two brothers’ full adventures or Darkwater thought she didn’t know and wished to protect her.  She watched as he frowned slightly, then shook his head as though to himself.  “There is absolutely no reason for me to ask you questions tonight, he said, though I will have to ask you.  I beg you to hold yourself at our disposal.  It’s been a very long… few hours for me, since I woke up, and I don’t believe I can stay awake and speak with any semblance of rationality for much longer.  I would enjoin you not to teleport anywhere.  We would prefer not to fish you out of the trout pond again.”  He glanced at his sister.  “Caroline, if you would take Miss Felix to the blue room, on your floor, and arrange for it to be made up for her use.  Miss Felix, I shall see you at breakfast.”

Nell understood it as what it was: dismissal.  She didn’t try to argue it.  She knew enough of this world to know that Dukes weren’t argued with.  She guessed even that she was being got rid of so they could speak privately, which was probably the point, too, of having Caroline leave with her.  As the youngest female, she would be protected by her older brothers, though Nell guessed that not much escaped Miss Ainsling’s shrewd eyes.

The girl opened her mouth and said, “But Michael–” and must have read something in Darkwater’s look, because she stopped her protest and said, “Yes, Seraphim,” and bobbed a curtsey, then waited while Nell did likewise.

Nell followed her down a series of broad passageways and down two grand staircases, before Miss Ainsling opened her mouth to say, “I despite my older brother.  My older brothers I should say, since it’s no use their pretending Gabriel isn’t one, as his story made perfectly clear.”

“Despise?” Nell said.

“Oh, yes.  They are so stuffy and full of their own consequence.  And the way they try to keep me from doing anything, simply because I’m a girl and young is not to be borne.  Do you have any brothers, Miss Felix?”

“No,” Nell said.  Then sighed.  “That is, I don’t know.  I was adopted, you see.”  And then she thought in terms this world would understand.  “I was a foundling, I mean.  Abandoned.  I don’t know my true parentage.”

Caroline Ainsling sighed.  “Oh, that’s lucky.”

Nell must have made some sound – some gasp – in reply.  She wasn’t aware of it, but Caroline Ainsling laughed, a brief burble.  “I mean, you must understand, that growing up as the Duke of Darkwater’s daughter, and then sister, I was forever being judged by what they did and how they behaved.  I understand papa was terribly shocking, and Seraphim is in a good way to being so.  And then when Papa…  That is, after Papa died, everyone looked at us with pity and wonder, and you know, we were the center of attention, and we could not shed it.  I often wished to just go somewhere and hide, but of course, there was nowhere where I wasn’t known.  Michael is lucky because he can hide out wiht his machines, as it were, and abstract himself from the real world, but I…”  She shrugged.  “I shouldn’t be speaking of these things.  I am conscious of my good fortune in having a family and a position in society.  And I should worry only about recovering Michael, safe and sound.  I am a wretch.  But so I’ve always been.”  And she sighed again, though there was a theatrical element to her chagrin.

But wretch or not, despite her young age, Caroline Ainsling was competent at mustering the staff to make the room assigned Nell very comfortable indeed.  It wasn’t – of course – by any means a room such as she’d have had on Earth.  There was no bathroom attached.  The watercloset – Caroline said, lushing slightly as she pointed – was down the hallway.  There was a basin and a hewer of water from which it could be filled, the hewer perpetually renewing, Caroline said, with warm water.  And the bed was made with clean freshly aired sheets, and the bedspread was velvet and soft.

Nell suspected that were it seen by daylight and not soft magelight, the room would look shabby.  She remembered stories of Darkwater financial difficulties, and she remembered shabby fabric and worn furniture.  But by magelight this room looked luxurious.

When all was ready and the servants retreated, Caroline said, “And Seraphim will want to talk to you, of course, which is a great bore.  But I’ll have the maid wake you with tea in time to get you down for breakfast in the morning.”  And then, as though realizing for the first time that Nell remained in her wet clothes and wrapped in a blanket.  “What fools men are.  No one gave you time to change.”  A self-conscious smile.  “But then, neither have I.”  She gestured towards the closet.  “There is a night dress and robe in there which should fit you.  And there are many dresses from which you can choose, come morning.  Mama used to keep many in different sizes in all the rooms assigned to ladies.  I understand when Papa was alive, we had many house parties, and ladies would slip into the pond or tear their flounces or… there you have it.  One of them should fit you.  If not, ring the bell and tell the maid what you need and it shall be found.  A maid will be sent to dress your hair for breakfast.”

Nell started suspecting the Darkwater house was far more formal than she was prepared to endure.  Then she thought that, perforce, it must be.  After all the man was a duke.

A moment later Caroline was gone, saying, “I shall have hot chocolate brought to you.  You must be very uncomfortable in those soaked clothes.  Do you need a maid to help you undress?”

Nell assured the girl she didn’t, and as soon as Caroline was gone, undressed herself quickly and laid out her clothes by the fire, to dry.  They were, of course, ruined, but she could wear them to return to London, she supposed.

She had just dressed in a nightgown and dressing gown, both of which smelled faintly of mothball, when there was a scratching at the door.  The hot chocolate, Nell thought, and called out, “Come in.”

The door opened, but what came in had never been a maid.  She saw him first in the mirror, very pale, his eyes half-lidded a lingering smile in his pale lips.  She turned around and said, “Antoine!”

May You Write Interesting Books — Part 8

Junk Food For The Soul

We’ve gone through boring at the beginning and boring in the middle, so you know it would come to boring at the end.  (Wake up.  This will be interesting.  Even if I used the dreaded b word three times.)

Boring at the end is a different type of boring.  If you got to the end, the book, by definition held your interest that long.  But I’m probably not the only one that gets to the end of a book sometimes and goes “well, that was painless” but can’t remember a single thing about what she just read.

This is not always bad.  In times of high stress I read a lot of popcorn or “chewing gum” books.  In fact for someone like me, who – to allude to Heinlein – is a print addict and who needs a certain amount of reading per day, and who will read old personal ads off the back of fishwrap after brushing off the scales, most of what I read is by definition popcorn.

But there is a difference between popcorn and tofu.  (And for my vegetarian readers, by this I mean unadorned, uncooked, un-seasoned tofu, which by definition has almost anti-taste and takes a lot of seasoning to taste like ANYTHING.)  By definition at the end of popcorn you go “um, that was kind of nice.  I think I’ll have some more.”  (Keep on crunching, we’ll write more.) BUT after a slice of raw tofu most human beings go “uh… that didn’t taste like anything.  I can live without it.”

Boring at the end are the type of books I read and when they’re done, I remember neither author nor title.  In fact – and this is really tough as I tend to remember 99.9% of what I’ve read – I sometimes will re-buy or re-pick-up the same book and only realize I’ve read it halfway through.

Now, you want to make more of an impression than that!  And don’t ask me “why?” because the answer is obvious.  You want to make more of an impression than that because otherwise people won’t pick up your next book, except by accident.

This is still better than having the reader throw the book against the wall and say “I will never, not in a thousand years, read another book by this XYZ>@}|*” but only marginally so.  Because while it won’t burn you, it means ALL of your books will be first books, forever.

So, how do you imbue the book with deep meaning and make it stick in the memory.

The first cure for this is really simple and it’s something I can only in good conscience tell people now.  Even two years ago I’d have told you that you couldn’t do this, because it would be mentor malpractice to advise it.

Because the first cause of doing this is “writing to market.”  Now, I’ve never done this fully, partly because I have a sad dysfunction of the stereotype gene.  Whatever I take on, no matter how much I attempt to make it a cliche tends to get a twist usually in direction “Weird”.  This is the way my mind works, and it’s unlikely I’ll be able to make it work any other way.  So…  Live with it.

However, all of us, from beginner to bestseller, to some extent “wrote to market” in the past.  This is for the very simple reason that there was absolutely no point NOT doing it.  When the powers that were who controlled access to bookstore shelves and therefore to the public made a decision from the top – say (and yes, all these are decisions they made, solely from the top, at some point ) “cozies aren’t real mysteries” or “Space opera isn’t real science fiction” or “Regency isn’t real romance” – you might be able to buck it if you already had a name, but you could NEVER make a good living off bucking it.  Because they wouldn’t take you seriously, and therefore they wouldn’t put you on the shelves.

To what extent did that influence us?  Well, we all read the bestsellers (I wonder how much of a bump they got from that?) even if it wasn’t our subgenre, because we had to know what had impressed a publisher so much they’d pushed it.  We read books on how to write bestsellers, too.  And we would pay attention to what was “hot” right then.  When I started paying attention to the field this was quest fantasy.  Then there was a brief “historical” hotness, which I loved because it was something I could do, but that went away really quickly and we were told it didn’t sell.  Which might be true, or it might be that the minds at the top – the same minds who know their Three Musketeers from the Disney movie – couldn’t keep up and hated to feel like idiots and not be able to tell when they were being spun.  (Yes, I’m uncharitable.  What of it?) So, the next “hot” was something that New York Junior Editors definitely know.  First there was chick lit because, well, duh, Sex And The City did well, so of course books about shoes and sex will do well.  Only they didn’t, which is interesting since at one point that was ALL you could find in all genres in book stores.  Maybe the public has a spine after all (who’d have thunk it?) So, that was brief too, and then there was just sex mostly in the form/excuse of undead porn (thank you Kate for the moniquer) which did well enough because it’s sex & violence and some of it is even competently written.  The last fad I’ve become aware of is steampunk which is one of those that seems to me misguided, since by definition it’s more of a costuming than a writing trend.  It’s a very visual subgenre which doesn’t work well in print.  But it might not matter, anyway, since I don’t think that trends can or will hold on as they have before the onslaught of indie fiction and surprise sellers.  I think the time for trends from the top has passed.

However, we had to be aware of these so we could spin our writing that way.  Put in a sex scene, drop in a werewolf, whatever.  If it was the choice between not being accepted and being accepted you did what you had to do.

Does this mean everything written was pap?  No.  Look, given my ideal career path, when I first came into the field, I’d probably never have written fantasy, or perhaps have written one or two stand-alones in fantasy amid a sea of space opera.  But I got my spirit broken on that before I ever sold novels.  My space opera short stories didn’t sell at all, no matter what the level of competency and in self defense I started writing “significant” sf and a lot of fantasy.  Which sold.  So I was prepared to write fantasy novels.

Now, most of the time the mind that does SF can do fantasy, because it’s the explanations that are different.  However, I made the fantasy mine.  Some would argue too much so, as I’m one of the very few fantasy writers that makes her fantasy feel non-supernatural.  This is partly because my first love was SF.

But there are people – perhaps more lacking in self-confidence, or perhaps just saner – who go “the other way” on that fork in the road.  Having read what’s selling, or having decided to write what’s selling, they go full “pattern” and write such a stereotypical book that it should be sold in a white cover with a bar code.

Those tend to fall under the “tofu book” category.  And those will condemn you to a lifetime of first books.

So, my first advice on beating the bland is easy.  Don’t write books to pattern without making them yours.  Look, in the present day it won’t even help you that much.  Yeah, you might sell to the big houses – maybe – but what are they going to offer you?  Shelf space?  Don’t be silly.  They no longer have command over that.  So, what else?  Cover?  Sister, let me tell you about covers…

I’m not saying here that there aren’t reasons for a dual traditional and indie career.  That would be rich, coming from me, since I’m doing both.  I’m saying that there aren’t reasons compelling enough to justify writing a generic book and suppressing your own individuality (there’s a question if the reasons were ever compelling enough for THAT.)

So, stop playing to the house.  Just write what you want to write.  Some of it you’ll have to publish Indie.  Big deal.  You’ll live.

The other causes for this are more difficult to cure, and we’ll deal with them Monday.  Why Monday you ask?  Well, tomorrow I’ll mostly be running errands, shopping and taking down holiday decor (Witchfinder will PROBABLY be posted late as tonight I’m also dealing with a bunch of minor housekeeping stuff.) and then new year’s intervenes, including the infamous tradition of at least one meal at Pete’s on New Year’s Eve to see off the year in style.  And I’ll have to molest dinosaurs (i.e. visit the natural history museum, whatever they call it these days) either the eve or the day, because that’s what I do (Yeah, like you’re not all geeks.  Pull the other one, it plays jingle bells.)  So posting will likely be irregular.  I’ll still try to post everyday, but won’t make any promises as to theme and promptness of post.  So, class dismissed, see you Monday, drink a glass of champagne for me and don’t forget your writing resolutions.

May You Write Interesting Books — part 7

Plot Can Never Dull Her Infinite Variety

Okay.  So, you’ve got all your ducks in a row. Unless your plot is about misaligned ducks.  You’ve sent the pope for a swim.  You’ve Heinleined your info.  You’ve let go of what you can’t control.  Your plot starts with action.  You throw us in head first.  Your middle sequence is a rising series of battles.

And yet, your first readers, or, worse, your reviewers, read your book and say “It’s so boring.”  So you scratch your head and you say “Uh, but I did it all right.”

And you might have done.  But what you might be looking at is a failure of foreshadowing technique.

Foreshadowing is one of those things no one tells you are essential and which, when it fails, mimics several other issues.  So you might get told you don’t have a plot.  Or that your timing is wrong.  Or that the plot is too predictable or not predictable enough.

If you’re getting told stuff like that, and you’re absolutely sure you have a plot and that the plot is long enough for your needs and that it does in fact have some surprises in the structure, you might have a foreshadow failure.

How can that be a foreshadow failure?  Well… To explain, let me give you an overview of a situation in which foreshadowing – what we make sure readers know ahead of a scene and which they need to know for the scene to work – is essential.

Okay, here’s the situation, not unusual for a woman-in-peril or a thriller.  Your female character comes home to her apartment.  She’s showering, undressing, putting make up on.  And while she’s doing all this, there’s a serial killer hidden in the closet, watching her, waiting to strike.

You can make several mistakes with this kind of situation.

1 – killer from the ceiling, a variant of elephant from the ceiling.  This is page 120, the killer has never been mentioned yet, and suddenly he springs out of the closet and tries to knife your character.  This almost kills your reader with shock, as until now he thought this was a book about mutant chickens.  Don’t do this.  If your mutant-chicken stalking serial killer is needed now, but you didn’t plan on him, go backward and make sure that he’s mentioned, hinted at or somehow suspected from the beginning.

2 – The killer has been talked about so much that when he shows up people go “Oh, it’s just the killer.  This is so boring.  We’ve expected him all along!”  Master the art of foreshadowing without making it so obvious that people are going “Oh, the killer.  DUH.”  One way to do this is – to paraphrase Heinlein, misdirection, indirection and razzle dazzle.  Mention of the killer is in a talk about mutant chicken eggs.  Alternately he’s mentioned, but your character laughs at the idea. When it happens it’s not out of the blue, but you also don’t expect it all along.

3 – We don’t know killer is in the closet.  Let me put it this way – your character showering, putting on her best clothes and applying make up is NOT riveting.  However, if we know killer in the closet might jump out at her at any minute, it becomes fascinating.  We watch and wait for the killer to attack.  Good suspense.

Unless…

4- You tell us everything about the killer ahead of time.  We know he won’t jump out till midnight.  This takes all the interest out of the dressing scene.  This is a failure of TOO much foreshadowing.

Now you’re sitting there, holding your breath and threatening to turn blue if I don’t tell you how to do this foreshadowing thing just right.

I can’t.  This is something you learn by doing.  One small thing you can do is make yourself aware of it.  Take two of your favorite books re-read and mark or compile all instances of foreshadowing.  And then practice, practice, practice.

You wouldn’t expect to dance the ballet without practicing, and I guarantee you Mona Lisa was not DaVinci’s first picture.  So, to learn foreshadowing, if at first you don’t succeed, try and try again.

May You Write Interesting Books — 6

Round Round, You Get Around

One of the common syndromes of the middle of the book is the loop-de-loop syndrome, or the “why are we going around in circles, again?”

One common reason for this is that the author ran out of plot and decided he needed more wordage and tried to add “something happens here” in a way it wouldn’t affect the plot before or since, which is fine, as far as the writer is concerned.  So the author added three or four incidents that are solved and add nothing to character development.

These might be entertaining enough, but people are not stupid and they do realize that they’re being led in a merry go round.

Look, even when I was a kid and was taken on those little airplanes attached to the center of the ride, after a while I realized I couldn’t fly out into the wild blue yonder.

So… if you have loop-de-loop syndrome, what can you do?

First, you can take it out, and you can figure out how to make it honest plotting complications, and revise the rest of your book, backward and forward to make it integral to the plotting.

But… but… you’re not willing to do that – well, tough.  Seriously, kids, the readers are definitely not stupid, an you need to give them honest plot for honest money.

The second thing you an do is take it out and make the story shorter.

But Sarah – you whine – what if I didn’t do that to pad the story?  It is part of what I wrote, and I just realized in revision that it has loop-de-loop syndrome?  Doesn’t the character have to go through trials and tribulations?  What do I do?

Well, then.  If you weren’t padding the story and you still ended up with loop-de-loop, here are some things to consider

1 – Do you have rising action or is it all at the same level?
Loop-de-loop is caused by same-level, same old same old syndrome.  To correct it make sure that something bigger is at stake or something more is needed each try-fail sequence.  So, the first time your character had to bend to go through the passage and the fate of her family was at stake. Next time make her crawl on her knees and the fate of her city is at stake.  Next time, you have her crawl on her belly and the fate of the country is at stake.  You get what I mean?  Raise stakes AND effort required and you won’t get the feeling of going around and seeing the same landscape again.

2 – Are the confrontations happening between the same two people in the same old place?
Sometimes you get the feeling that it’s all going in circles because of staging.  So, if your characters keep arguing in a diner, have one of the scenes happen in the bedroom and/or in the car.  Think of the complications this can add, too, like a character demanding to be let out of the car.  Same thing with stage business.  I think I’ve told you before one of my books RIGHT after I discovered stage business my characters drank so much coffee they’d have spent their life in the bathroom in real life.  One of the good ways to break this, have a character do something that’s his job or hobby, while the argument takes place.

3- You’re overmatching the opposition.  If your character is stronger/smarter/better than all opposition and you let the him/her win everything easily, you can get the – yawn – feeling you’ve seen it all before, and what’s the point reading more.
A) consider solution for problem one.  Have rising stakes.
B) consider that even a weak or stupid opponent can get one in by accident and make life difficult even for a superhuman.  So make it so.  Make your character work for it, more and more.

Next up “It’s sooo boring.”

May You Write Interesting Books — 4

The Flabby Middle

So, we’ve covered how to begin a book without making it boring – if there’s anything you need to know about THAT topic, feel free to ask in comments, but for now let’s move on to the next topic.

Does your book suffer from a flabby middle?  Well, then it’s time to take it to the gym.  Make it do some stretches and lose that extra fat – can you tell what my New Year’s resolution is?  Yeah.

Most of the time, the flab in the middle of the book is like the flab in your middle – stuff you don’t need but are storing because your body thinks it should be a certain weight.  If you know you’re contracted to deliver eighty thousand words and you find yourself suffering from premature ending (hey, it happens to the best of us) it might suddenly seem very tempting to just start describing everything ad nauseum and with relish.  You may suddenly feel a need to explain the fashions of your world or give us a lecture on alien textiles.

Do try to resist it.  Unless strictly needed for your story, that kind of intrusion becomes really old really fast.  Again, your readers might find your textiles fascinating, AFTER they read and love the novel, the world and the characters.  If you bore them in the middle of the first novel, this is unlikely.

One cure for this type of flab, of course, is to make your book shorter.  With indie publishing, and if you’re not contracted to anyone, ask yourself if the novel REALLY needs to be eighty thousand words.  Would it be a better novel at fifty thousand words?  The whole point is, after all, to make your readers happy.  It’s better to leave them wanting more than to make them throw their kindle against the wall.

On the other hand, perhaps you are indent– Er… contracted to a traditional publisher already.  And maybe it’s not the kind of publisher you can call up and say “that goat gagger at 229 thousand words just isn’t jelling.  Can it be eighty thousand words instead?”  So, what do you do?  Well, if you have a goat gagger to write, I suggest you leave the country and tell the publisher you died.  At least it’s what I’d do, since I’ve never managed to write one of those.  Okay, I’ve never managed to write a PUBLISHABLE one of those.

But if it’s a matter of going from fifty thousand to eighty thousand words…  That I can advise on, having done it.  Instead of loving descriptions of your character’s socks, consider going back to the beginning and reading it again.  Would a subplot help you tell this story?  Say, if the character’s favorite sister has a romance that parallel’s the main character’s and shows the main character something?  Or if the sister ship to the ship whose captain your space opera is following has a problem and is lost, perhaps it will show us the possibility for disaster of your own trip.

If you can’t add a subplot, then consider what questions your beginning asks.  Do you answer them all?  If you do, then perhaps there is a flaw in your character that you can exaggerate and which has to be fixed before you can go on?

When all else fails, of course, just get your character in real, serious trouble.  Go back to the beginning and introduce another problem.  Make the thing your character fears the most happen.    Go back to the beginning to seed details, of course, and make sure that this is not a mountain you dropped on him, but something plausible and terrible you can make happen to the poor critter.  Say give him a fear of rats, and then have him drop into a rat’s nest in the third chapter.  The panic that will induce can then cause other problems…  You see the point, right?

There are other, more genre-specific cures.  If you have a mystery, introduce another murder.  The murderer things someone knows something, say.  Or, you know, the red-herring character?  Yeah, have him be found dead and introduce two more red-herring characters.  For an adventure story, introduce a complication.  Have your character get lost, or be captured by the aliens.  Or introduce another puzzle that must be solved before you can get to the end.

Beware of loop-de-loop syndrome, though.  And walls falling on character syndrome.  You must go back to the beginning and make sure these proceed from the beginning, otherwise you’re trapping your reader in a roundabout.  Having taken a trip to Europe this summer, let me tel you that while roundabouts might slow down traffic, getting trapped in them isn’t fun.

The cure for that will be explained in tomorrow’s riveting installment.