The Next Big Thing

I was tagged by Luke Walker in his The Next Big Thing blog post chain. It's taken me a little while to respond, because well, I wasn't sure I was interested in writing about stuff I was writing. I don't post a lot of what I do, because I don't feel it's right for me to do it. If it's not edited and published, it's probably not my best work, and I don't want to present it until then. This is a bit different, with more of an interview style to it, so I decided to play along. Here goes:

1) What is the working title of your next book?

The Chiaroscuro Portrait. And I so hope that title sticks. They say titles are changed 60% of the time in publishing, which is a pretty decent amount of the time. I have stories whose titles I know will be changed, and that's perfectly acceptable. This one I hope sticks, because it's a really cool title, and it fits the story so very well.

2) Where did the idea come from for the book?

Heh! It came from a doxycycline-fueled nightmare in Afghanistan a number of years ago. Doxy is an antimalarial medicine and was required for us there at the time. It's said to cause stomach unrest and weird dreams. I got none of the stomach unrest and all of the weird dreams, all the time. Lots of folks get their stories from dreams. That's not really earth-shattering. This dream was so wickedly weird that I awoke in a cold sweat, powered on the laptop and pounded a 500-word summary before I forgot what I dreamed. And then I got ready and went out to grind out a long workday just like always.  I wrote the rest of the story during that deployment.

3) What genre does your book fall under?

Young Adult horror. I originally wrote it as adult fiction, but the characters' ages, coupled with the issues they faced in the story, really suit it better for young adult. And with the move to darker YA titles nowadays, it seems like perfect timing.

4) What actors would you choose to play the part of your characters in a movie version?

You know, a lot of people describe their books as making great movies, or being perfect for the silver screen, but I don't think this one would. While it could probably be adapted to a decent movie script, I think unlike some of the other stuff I've written, this story is better told in printed form. If pushed, I'd have to say I'd like to see brand new actors take on the roles for it. I believe a story in film is a little cleaner if the audience isn't watching the performance of their favorite actors and actresses, but rather concentrating on the story itself.

5) What is the one-sentence synopsis of your book?

After his childhood crush comes back to life, Toby must learn how Julie can escape the hellish memories of death, and what it will cost.

6) Will your book be self-published or represented by an agency?

I am currently seeking representation for it.  While the lure of higher royalties in self-publishing is tempting, and while it would be edited and proofed professionally in either case, I feel it's still a better option to go the traditional route with this novel, especially at this point in my career.  I don't think I'd be doing the story justice otherwise.  I don't tend to view literary agents as "gatekeepers" as some authors do, but rather as those who offer ladders in the difficult climb to the top of publishing.  Sure, you can climb the cliff on your own, and a few have made it just fine on their own.  But most don't, and even though there are only so many ladders to go around, they provide a huge advantage.  Besides, if you're doing what it takes to impress an agent to accept your manuscript, you've already taken the first steps to enticing editors and publishers, and by proxy, future readers.

7) How long did it take you to write the first draft of the manuscript?

The first draft went rather quickly.  Three months, I think.  Of course, with adequate time to write, and a story that practically wrote itself, it wasn't that hard to do.  Since then, I've edited it a number of times, and it's gained and lost a considerable amount from the original.

8 ) What other books would you compare this story to within your genre?

I'm a little ashamed to say that's a tough call.  I'm not by nature an aficionado of young adult literature, although I am reading more in the category now that the girl prodigy is reading it profusely.  The fact that this story is young adult is rather coincidental, really.  I like horror, and in that respect, it reminds me a little of Stephen King's Carrie, but without the "documentary" feel.  Some of the themes are the same, with young protagonists in social environs that they're not really all that equipped to handle yet.  It also has some darker parts that deal with certain taboo subjects like death, religion, and the like.  It's quite a different story, of course, and ostracism isn't key to the plot, but there are similarities in how it feels.  I would be lucky to have it see a fraction of Carrie's success!

9) Who or what inspired you to write this book?

The dream I had was the only real inspiration I had or needed.  The title was a bit trickier.  The story didn't actually have a title for the longest while.  I had inspiration, an image of what I wanted, but no title.  I wanted to convey the concept of following eyes, of a portrait painting being almost alive in its detail and realism.  And then I came across the chiaroscuro method of painting, the use of strong contrasts of light and dark to give a picture a three-dimensional feel and pop it off the canvas.  That concept plays rather well into the story.

10) What else about the book might pique the reader’s interest?

I like the relationship between the two main protagonists in the story, and how things are much different in retrospect than they were at face value before.  There's more honesty after the events that form the basis of the story, something not really probable with teenagers facing normal social situations.  The self-consciousness and inexperience Toby has as a teen facing his lifelong crush is rather poignant at times, and lends well to the story.  I also set the story in a small town outside Spokane, Washington, near where I grew up.  It's a fictional town, but anyone who grew up in the Palouse country wheat fields of Eastern Washington would recognize it as any number of the small towns there.

No one else comes to mind when thinking of who to tag for follow-on posts of their own, so if you've got something burning, feel free to take this and run with it.  Let me know and I'll edit this with a link.

Writing Advice from the Masters

So there's a lot of writing advice out there.  A lot of it's great.  Some of it stinks.  I've even thrown my two amateur cents into the ring from time to time, whether good, bad or otherwise.  It all has some merit, though, when weighed with a grain of salt or two.  After all, many great authors differ greatly with the advice they give on writing.  And one can still learn from mistakes and bad advice, just as they can from the good.

On that note, I thought it fitting to compile some advice clips from the masters of the craft, those to whom we look to as the ultimate experts of the trade.  Here are ten authors talking about various aspects of storytelling.  Enjoy and learn as I did.

Ray Bradbury on writing persistently:

The most interesting part of this is how he would send short story after short story out, and wait for the rejections.  This is something I've done countless times, and at about the same ages.  Always the rejections.  I looked forward to them, to each one, hopefully with some tidbit of personal advice upon which to learn and grow.  I have close to 300 of them from short stories alone, most collected during my teens and early twenties, tucked away as mementos to perseverance and to giving my heart and soul to writing.  Most of the time between then and now has been spent writing, honing, perfecting; not trying to get published.  I've been too often in parts of the world where it was just not conducive to querying.  It's always been on my mind, even in places as foreign as Afghanistan, as quite a few rejections will testify to.

Elmore Leonard on hard work, characters, descriptions, and rhythm in writing:

"I made myself get up at five o'clock every morning to write fiction.  I had a rule that I had to begin writing, get into whatever the scene was, before I could put the coffee on.  If I hadn't done that, I don't think I'd be sitting here today."  That is a pretty powerful impetus for sitting down on your ass and cranking the words out.  Probably makes most of us, even the more successful ones, a little chagrined, more eager to jump back into a story again.  He's absolutely dead on - at least in my case - about writing four pages for every one quality page.  Writing is rewriting.  The one thing I can't agree with is writing longhand.  I've done it before, and just can't stand it.  Give me a good ol' word processor every day of the week.  That way I can go back and change a word mid-stroke when I realize it wasn't the best choice to use.

Stephen King on writing short stories:

So interesting his view on why people don't read short stories as much anymore.  He attributes it to laziness, which is probably a large percentage of the truth.  The other percentage, I think, is the way stories are promulgated to the public.  We aren't satisfied with a single peek at something.  We have to have more.  Even a movie or a single book isn't enough.  We have to have trilogies and series and goddamn sagas!  Let it never end!  And yet a short story does just that.  It's like the one night stand of literature, that fleeting kiss in the night, never to be continued, but only remembered for its fiery brevity.  I absolutely love short stories.  And in today's world of short attention span theater, and fear of commitment, I don't know how the short story isn't more popular than it is.

Kurt Vonnegut on writing short stories:

Short, sweet advice, just like a short story.  But it's some of the best advice I've ever heard.  And the thing is, all these words of wisdom are just as applicable to writing novels as they are to shorter works.  We see professionals in the literary business talking about how stories just don't start fast enough, that there's too much pre-story or world building, or character development happening before the actual story starts.  Vonnegut's advice on starting the story as close to the end as possible is just as good in these cases as it is for a piece of flash fiction.  Start with the action, make your characters want something, and then take it away from them.

Neil Gaiman with advice for new writers:

His advice, apart from going out and actually living and seeing the world is spot on. If you want to write, you have to write. The elves aren't going to magic your book into finished form. You're not going to get a sudden epiphany one day and churn out a book, slavering over an old fashioned typewriter like the classics. You're not friggin' Snoopy, sitting on your doghouse, pecking out that great work of literature without a flaw. You're going to make mistakes. You're going to write absolute crap. God knows I have. And you'll learn from it. You'll edit like there's no tomorrow, and when you're done, the finished product will look nothing like what you started with. And it's all because you wrote, and wrote, and wrote. And wrote some more.

Margaret Weiss talks with R.A. Salvatore on collaboration and how gaming affects fantasy books:

The most interesting part of this interview for me is hearing about collaboration. A story of any size is very personal; it's probably one of the most intimately personal pieces of creativity there is, and sharing that with anyone can create some complex and often problematic issues. It appears that one of the reasons why Margaret Weiss and Tracy Hickman have been so successful writing fantasy together is the way they have worked together. Each person has specific tasks and goals, each a certain chunk of the story they are responsible for. With less overlap, there is less a chance that the artistic vision of one author will clash with that of the other.

Louis L'Amour talks about historical accuracy and research in writing:

One thing he mentions later in this interview is his trademark lack of profanity. While he grew up in among a very rough crowd, he never saw the need for it. He didn't feel it was appropriate to use profanity, and that using it was often a crutch for a "lack of real skill". While I'll sprinkle my stories with profanity where necessary, L'Amour has a very good point - one shouldn't have to use it at all to get the point across. In the end, I'd opine that it's fine if used as a part of one's style; not if used as a crutch.

Chuck Palahniuk with a succinct analogy on writer's block:

Slightly crude or not, his point is made. And that's really the thing. Many writers advise one to write every day, to write nonstop. But Palahniuk's advice is simpler: if you don't have anything to write, there's no sense trying to force it out. But I think it goes deeper than that, and is something that is nuanced in what he says here. Many writers have tons of great ideas, filling their heads and overflowing onto the written page, whether they like it or not. But they don't have those ideas without living, without gaining experiences, because those experiences are what feed the ideas necessary to write.

Garrison Keillor with some advice to writers:

"Get out of the house," he says, and he's right, because writing isn't just about the author. In fact, I'd argue it's exactly the opposite. Writing has almost nothing to do with the writer, and everything to do with the reader. It's the reader's experience that brings a book to life, not the writer's. If you don't go out and experience life, relate to others, stay tuned to what's happening in the world, you'll end up writing a bunch of self-absorbed pretentious crap that nobody wants to read.

John Irving with encouragement to new writers:

It's tougher today than ever before to break through in this industry. The competition is not only an increasingly larger number of writers, but it's also tougher. The talent pool is larger. But that shouldn't mean discouragement. Rather it should be incentive to work all that much harder. It takes a lot to really produce a quality work of art, no matter the medium, and the higher the competition level, the better the best work is going to be.

Watching these videos, we get rather common themes from them. Write often. Read a lot. Get out there and live. Persevere. Write a variety of genres and lengths. Experiment. But over all, write, write, write. And then write some more.

Cooking up a Good Story

*** Warning: the following post contains a lot of gratuitous food porn! ***

The other day I was perusing Twitter, trying valiantly not to get sucked in for too long while taking a break from editing, when I saw a few tweets by literary agent Victoria Marini ‏ (@LitAgentMarini), comparing book revisions to baking cookies.  She's one of many literary agents I follow, and often has great advice.  This is what she said:

"Revision is not just addressing some comments in the margin. It's a lengthy, pensive process in which you look at your WHOLE work again.  If you baked cookies and I said 'they're too light,' you wouldn't just add flour to the same left over dough. You'd make a new batch!  Most of the recipe would stay the same, but you'd need to revisit the whole process to get the new batch right."

Great advice!

Magic Marshmallow Crescent Puffs (with wholesome nutritious filberts). © Ryan Schierling

And it got me thinking, which is rarely a good idea.  It also got me hungry, which is never a good idea, but we'll get to that later on.  Anyway, so many parallels between cooking and writing raced through my mind at reading that, I decided to share them here.  Enjoy.  And wipe that drool from your bottom lip.

Sweet potato fries w/ gravy and over-easy egg. © Julie Munroe

Don't leave it in the oven too long.  Nobody likes that hunk of meat that's been baking for an hour too long, and they certainly won't like your overcooked novel.  It's overdone, dry, and nasty.  If it drags on and on, it's going to bog down, and your readers will put it down at some point.  And if it's dragged on long enough, they're not going to pick it back up because it isn't interesting anymore.  It doesn't matter if you have complex, flawed, and interesting characters, or if your plot is wildly unpredictable and original, if it drags on too long, readers will lose interest.  Cut it, trim it, season it, and pull it out of the oven at precisely the right time.  Do it right, and you have a mouthwatering dish that readers won't be able to put down until they scrape the last crumbs and morsels from the plate.

Sauerbraten, with semmelknodel and rotkohl. © Ryan Schierling

Know the proper measurements.  A dash is not a tablespoon.  A pinch will not suffice when the recipe calls for a cup.  There are limits, but you can get away with adding more or less of something, or using a suitable substitute.  To a point.  Similarly, an author can usually get away with an extra 20,000 words in an epic fantasy or science fiction story because of the world building, but when writing young adult, there is a much shorter word-count constraint to work with.  There are general word count boundaries that are accepted by most in the industry, and they vary by genre.  Words are not like bacon; they're like onions.  There is a limit on the amount you can add to a story and still keep it palatable.  Know the boundaries for the genre you're writing, and the lengths a literary agency or publishing house accepts; they're not always the same.

Root vegetable-creamed linguini with bacon and parsley. © Ryan Schierling

Use the right ingredients.  There have been many great pieces of advice on creating realistic, believable characters, such as this helpful blog post by literary agent Vickie Motter (@Vickie_Motter).  Thing is, you have to put in the ingredients best suited to the dish (or character) you're creating.  If you're making steak in an upscale New York restaurant, you're not going to use a low grade chuck or round cut.  Conversely, if you're going for the flavors and textures of a greasy soup kitchen meal, you're not going to use cuts of Filet Mignon or Châteaubriand.  It doesn't matter what you're making, but you have to use the ingredients that give it exactly the flavor, smell, and texture you're looking for.  The ingredients for tacos come in a wide variety of shapes and tastes, but in the end, they still make tacos.

Crock pot chicken tinga tacos. © Ryan Schierling

Create a brand and cater to that specific consumer base.  In a similar thought to the one above, a customer must be able to associate a specific product with a producer.  People go to In-N-Out Burger, expecting delicious, no-frills burgers 'n fries, and that's what they find there.  People buy a William Gibson novel expecting edgy, futuristic science fiction, and that's what he delivers.  We want to get what we expect.  If we don't know what to expect from something, we're more hesitant, especially if obtaining it costs us our hard-earned money.  Creating a brand, and sticking to it, allows readers to readily identify whether or not they'll be interested in the book.  And a brand can't be a smorgasbord.  Trying to please all of the people all of the time never really works, especially with readers.  It's possible to write in several genres, especially if they're closely related, but many authors who switch genres, or write in more than one, do so under a different pseudonym for a reason.

Now I give you everything. © Ryan Schierling

Understand and cater to known tastes.  There's a reason why certain foods are paired with specific beers and wines: the flavors work well together, complement each other.  The same principle applies to books.  There is a reason why things fall into categories like genres and sub-genres, and why those genres are standard lengths, with standard elements in them.  A strong female main character works well in women's fiction.  A larger-than-life hero works well in fantasy and stories with heavily action-oriented plots.  For the same reasons lemon and rosemary go well with baked salmon, ornery dwarfs and mysterious elves go well with high fantasy.  It just works.  You don't always have to stick with the tried and true, as you'll see below, but stereotypes and standards exist for a reason.  Understanding that will help you create an original story that still falls with the bounds of consumer taste.

Cedar-planked Alaskan King salmon, ready for some heat. © Ryan Schierling

Stick with a recipe.  People also want to know what they're getting when they buy something.  If people are in the mood for prawns or crayfish, they're not going to look in the steak section of the menu to find it, and if they're in the mood for science fiction, they're not going to browse through romance books looking for it.  Understanding elements common to the genre you're writing and sticking with them will create an identifiable, quantifiable work, something that can easily find its proper place on a bookshelf.  If you identify your story as "more of a literary science fiction mystery, but with elements of romance and chick lit", a publisher is going to have a devil of a time finding a place on a bookshelf for it.  And guess what - if they can't find a place for it on the shelf, readers won't find it there either.

Crawdads, no. Crayfish, no. Crawfish, yes. Pot pie. © Ryan Schierling

Experiment, but do so correctly.  Although I'm quite the adventurous foodie, I'm not an especially good cook.  I experiment far too much, and usually my creations (using that term loosely here) end up mangled and often garbage-bound.  Luckily I don't have to be.  The wife is a supremely talented cook, and we eat quite well in the House of Dalar.  It's good to push the envelope, though, try things a little outside the box.  That's what gives us those new, exciting, discoveries that suddenly become the next big trend everyone tries frantically to copy before it becomes old.  That's a great thing in both writing and food.  But you gotta do it right.  You can't just add ingredients without knowing what they'll do to a dish, and you can't play around with story elements, grammar, and perspective without knowing what you're doing either.  A little tweak, a dash of daring, and suddenly your creation is refreshingly new and original.  You can play around with a baked potato, but the main ingredient is still going to be a potato.

Potato pavé w/ bison Texas red chili and smoked cheddar. © Ryan Schierling

Phew, that's a lot of food porn.  You had forewarning.  And now you're hungry; I know I am.  I'm going to saunter down to the kitchen to wrangle up something to eat.  And you can saunter on over to Foie Gras Hot Dog and find the recipes where all these wonderful photos came from.  It's run by my friends Julie and Ryan, a couple of great cooks, and adventurous foodies themselves.  You can also follow them on Twitter (@FoieGrasHotDog).

Papaquiles (the imaginary friend of chilaquiles). © Ryan Schierling

By the way, one of their uniquely crafted recipes - Papaquiles - is being served by the Today Food crew's food truck at this year's SXSW Music Festival in Austin, Texas, which starts today and runs through March 18th.  If you're in the area, be sure to check it out!

Grilled peach cobbler. © Ryan Schierling

Oh, and dessert.  Can't forget dessert.

Why do I even have a blog?

As you can see from snooping around this blog even a little, I'm not yet published.  I mean, I'm an author, but only because I say so.  You can't yet buy my stories, and I haven't yet made any money from them.  So why does a guy like me have an author's blog?

Well, to be fair, the foremost reason is because that's what the industry experts suggest.  They say to get your voice out there even before you're published, and that's what I'm doing.  So why would they advise this?  Why would an author with nothing to sell be advised to have an online presence?

First, establishing myself, however obscure, as a presence on the Internet before I'm published means I'm already ahead of the game when I do eventually publish.  I'm already ahead of the author who starts to blog, tweet, and otherwise connect at the same time his or her book is published.

Second, it shows that I'm already willing to work on publicity myself, to do what I need to do to get my stories visible, away from the dark claws of obscurity.  If I'm willing to work on things on my own, they know I'll work with them however they need in order to promote my books.  It's the sign of a good investment, and with the risks agents and publishers take with new authors, that's a good thing.

And third, it gives everyone - readers, agents, editors, publishers - a taste of my writing.  Sure, it's not the same as fiction, but it gives them a snapshot of the quality, style, and attention to detail that I likely (assuredly, actually) give my stories.  They can see my typos, or hopefully lack thereof, my grammar, my style and my voice.  Anything that allows a preview into what someone is getting makes it more enticing.

Aside from that, it allows anyone at a glance to see what type of stories I write.  It's right up there at the top: science fiction, horror, and fantasy.  You know instantly if you like the genres I write, and you know what to expect when you pick up one of my stories.

If you've been following my blog for any amount of time, you probably realize I intend to self-publish two novellas.  And you realize I'm behind my targeted schedule.  There are a couple reasons for this.  The first, and probably biggest reason is that a fractured ankle in the household has left me playing caregiver rather than maniacal wordslinger for much of the last couple of months.  I haven't been able to work nearly as much as I'd expected, but priorities being what they are, I'm fine with that.

Also, in talking with my amazingly cool editor, Karin Cox, I came to the conclusion my first story had a thread or two that needed more fleshing out to make it a much better story.  Every piece of quality advice I've found out there for self-publishers tells me the two things I had better get right are the cover and the editing process. Both are absolutely vital in producing a quality product, worthy of your hard-earned money.  And an author can't do that alone and be completely successful.  If my editor says my book would be better a certain way, then I'd damn well better listen.

Both these things, coupled with the normal family-centric holiday season, have left me woefully behind schedule.  It grates on me, knowing that schedules and deadlines are absolutely necessary in this business.  I'm still learning the ropes, but I should be able to function within the parameters I do know.

Whether I call these excuses or reasons, it all amounts to the same thing.  I'm working on it, I promise.  In fact, I've wrapped up the editing process and have begun the formatting.  Correctly formatting an e-book is a bit complicated, and involves a bit of HTML and other types of magical computer tomfoolery.  Sure, any idiot can zap a word document into the right format and have it uploaded and ready in an hour.  The problem with that is not every type of e-reader works well with formatting it the easy way, making it a very unprofessional looking product.

So bear with me just a while longer, while I wrangle through the correct way to format the book for all the major e-readers.  After all, if I'm taking your hard-earned money in good conscience, I want to make sure I have as professional a product as I can.

National Novel Writing Month

It's that time of the year, when inspiration strikes and authors around the globe begin madly writing.  NaNoWriMo is an interesting and very challenging concept, begun in 1999, designed to help jump start someone into actually finishing a novel, often for the first time.  The goal is to complete 50,000 words in one month.  It's a lofty goal, but one that often works exactly as it's designed to do.  I'm seeing a ton of folks doing it this year, and that's a great thing.  Keep at it, boys and girls!

I'm not participating this year.  Obviously it's not because I don't believe it's a great idea.  It is.  It's just not what I need to be doing at the moment.  I have a stack of finished novels already.  I can crank out another one to add to the pile at any time, and actually have two of them I'm dying to finish.

But priorities being what they are, I'm putting them off for now because I have editing to do.  I'm still working with my editor on Separate Worlds, and will be working on another novella to follow in my foray into the self-publishing world.  As such, they're short term goals, and that is what needs to occupy my mind and my time this month.

And when I'm not working on those projects these days, I'm doing a final edit on the first three books of the Plexus.  That's a much larger project, and one I need to spend some concentrated effort and time on.  It's a whole lot of fun, but it's also a ton of work, something I really shouldn't cut away from to write another book.

I'm tempted to, though.  Boy am I tempted to!  My next two books are very exciting ones, and I'm dying to get into them.  One's a dark murder mystery involving a ghost in Spokane's famous 1909 Looff Carousel.  The other is a chilling tale of horror based on the story I related a couple of posts back, about that terrifying experience on Mount Ellis in Southwestern Montana.  Yes, I want very badly to jump aboard, even a week or two late and throw myself into one of them.

But I can't.  It would be counterproductive, which is the exact opposite of what NaNoWriMo is supposed to accomplish.  NaNoWriMo is supposed to get you off your butt and working on that novel, and working on one of those, while productive in the sense I'd finish up another novel, isn't what I need at the moment.  I need those finished novels edited.  I need to concentrate on getting them perfected and polished further, so they'll be ready for publication.

So, those of you participating this year, know that I'm extremely jealous, but at the same time, I'm perfectly happy editing instead of writing.  The Plexus is a fantastic story, and one I simply must get perfect.  In baseball terms, it's two outs, two strikes, bases loaded in the bottom of the ninth in a tied game.  Sure, I can win the game with a single, but it's a grand slam waiting to happen, and it's up to me to deliver.

And that's why we edit.

Story Length, e-Books, and the Salvation of the Novella

This interesting topic has come up again recently for me, and it's one that has seen quite a lot of heated debate since well, about as long ago as when stories were first published, or even invented.  How long is too long?  How short is too short?  What's the right length for a publishable work?  I feel like Goldilocks and the three bears just thinking about it.

Too short, and your story isn't publishable.  There's just not enough profit to be made over such a small story and it won't cover the costs it incurs.  And while short stories and flash fiction can be combined into anthologies and collections, with some exceptions, even those are not terribly popular and are difficult to sell for all but the most popular authors.

Too long, and your story is again not publishable.  No one will touch it because it will cost too much to put into print.  They won't have the profit margins they need to make the money they need to off the book.  They have strict guidelines in place to maintain profitability, and they need to in order to continue publishing.

But the problem lies in the stories themselves.  A good writer can tweak the story some to control the length of the work he produces, but a story is really exactly the length it needs to be to be told.  If the story is told as it should be in 30,000 words, then so be it.  That's the length it needs to be.

But how to you sell the thing at that length, especially if you don't want to pare it down to a short story magazines will buy, or pump another 20,000 words into it to market it as a novel?  After all, at those lengths, changing the story by that many words is essentially taking half of it away or nearly doubling it in length, and that changes a story to the point where it's essentially a different story altogether.

That's exactly my latest quandary.  I'm still toying with the idea of putting out an e-book, to experiment with the new market, and to gain more experience and a better understanding of the moves the publishing industry may be making in the near future.

I don't really want to put one of my novels out there.  I just don't feel it's the right move to make at the moment.  I thought about bundling 50,000 words of my favorite short stories and putting them out as an anthology, but I don't know about that either.  It might be a good idea, but I'm hesitant to put so many of them together and publish them all at once.  I don't really know why, other than the fact that I'm obsessed with doing things the right way the first time.

Which leads me to my novellas.  I have two of them so far that are sweet middle of the road lengths that are too long for almost every magazine and too short for publication as stand-alone books.  But e-books change the dynamic on things.  There's no length restrictions with e-books, because it takes no more resources to crunch a novella to the proper format as it does an epic novel.  Maybe a few more bytes of memory, and maybe a little more time to save the thing, but really, in today's age of gigabytes and terabytes, that's not an issue.

There may be additional editing expenses for longer works, but for a novella that's not the case.  On the surface it seems like the perfect solution.  If I want to push the envelope on my writing a little further and explore the e-book experience, novellas may be the perfect way to do it.  I can put those stories out for people to read in a medium that allows it, while saving shorter and longer work for the more traditional methods already established in the industry.  And if I ever want to go back and put the novellas in print, I might have a better shot at doing that by bundling two or three of them together as an anthology once I get my career off the ground.

I really, sincerely hope the advent of e-books have changed the dynamic of publishing so much that an entire market for novellas and novelettes has been created.  I hope the floodgates open for these mid-length stories and sales prove they're just as viable as works of other length in the marketplace, and just as important for the reader.  It would be nice to see that, because there's something to be said about a story of that length.  They're fun to read.  They let you in a little more than a short story does, and a lot more than flash fiction.  They allow you a little closer than just the quick peek of shorter fiction, but yet don't take the time and emotional commitment of a novel.  After all, when you buy a novel, you're committing both time and emotional energy to something you don't even know you you'll like.  With a novella, you can get pulled into a really great story without investing the time and energy necessary for a novel.  It's a happy medium.  It's not the day trip, nor is it the two-week family vacation, but the weekend getaway of reading, and I think there's a need for that.

We'll see how things turn out, but for now it looks like the evolution of the publishing industry may have taken a turn for the betterment of stories.  After all, if it allows the publication of those stories stuck in the no man's land of "improper" length, that's a win for readers and authors alike.

The Right Format for your Manuscript

First of all, there is no 'right' format for a manuscript.  Everyone says something a little different.  No one wants it exactly the same as anyone else.  Let me say that right up front.

Let me also say that I'm not the expert here.  I'm trying to figure things out just like all the rest of the starving authors.  But I have learned a few things along the way, and I figured I'd share them with you.  For what they're worth.

So while there are no absolutes in what agents and publishers want from an author in the form of a manuscript, there are some basics, some standards, and some general rules of thumb that you'd probably do well to follow.

Author and former literary agent Nathan Bransford wrote a really nice blog entry on the topic, as did Moira Allen in her article on Writing World.  Chuck Rothman, writing for SFWA wrote an excellent article on the subject.  Daily Writing Tips has even more advice - sixteen manuscript formatting tips, to be exact.  And if you read down into the comments of that article, you'll find people divided all over the place on the 'right' way to do things.  And this just scratches the surface of the subject.  A little more research will provide you with additional voices, each with their own advice on how they think it should be done, or what the 'right' way of formatting is.

The agent or publisher wants to be able to read your manuscript easily, make notes where necessary, and not have to work around excess garbage to do it.  It's their job to read manuscripts.  If they read everything in 10-point Lucida Calligraphy, they'd be blind by the end of the week.  Even reading something only slightly difficult to read puts a tremendous strain on a person.  Which is why they have guidelines for the type of formatting they'd like to see.

Font is the first major bone of contention.  Some folks say Times New Roman.  Some say Courier New.  Others are less picky, and include fonts like Arial, which is a sans-serif font.  Advice I've seen says that most editors don't like those fonts.  Generally, the two most preferred fonts are Courier and Times New Roman.  Now you may have some folks who mandate one or the other - and I've seen examples of each - but they're both simple and easy to read.  And you're probably not going to receive a rejection based solely on font choice.  Change the font to whatever the agent's stated preference is and send it to them.  If they don't say, I pick either one of those two and roll with it.

As far as layout goes, almost everyone agrees on some standards here.  Generally they want to see your manuscript double spaced, printed on one side of the paper only, left justified, with one inch margins.  Again, you're going for 'easy to read' here, not 'looks like a published book'.  It's your job to provide content, the actual words written down on the page.  It's the publisher's job to provide style, what they actually look like when it's finished.  You may be adamant in your ideas of how you want it to look, but frankly, they really don't care about that.  It's supposed to look like a manuscript in the manuscript stage - they want something they can work with.  Remember, you're paid for your ideas and how eloquently you put them into words.  They're paid for how the book looks when it's sitting on the shelf in Borders.

Avoid the cutesy fancy stuff.  Just open up the word document, set the spacing and margins and font and begin typing.  That's all you need to do as an author as far as formatting goes.  You may think it looks cool to try and give the story a more interesting font, or that it helps with the theme of the story to provide it with an appropriate title font.  You may think it helps with your creativity and ability to get the words down on paper.  Whatever.  If it works for you when writing, knock yourself out.  But when you format it to send to the professionals, it needs to be professional too.  And that means you axe the Comic Sans for Courier, and take out the extra spaces and neat characters that signify the end of chapters.

Oh, and while we're on the subject of neat characters, almost every piece of advice I've heard says to simplify here too.  Lose the 'smart quotes' feature, the 'em' dash, and any other auto-formatting feature, especially when e-mailing your submission.  Characters like that tend to lose something in the translation of documents, and you really want them to see what you wrote, not some squiggly messed up character that converted wrong from ASCII.  This is especially true when sending work via e-mail.

The only formatting an editor generally wants to see is for words you want italicized.  The catch is, they almost never want you to italicize them.  They'd rather you underline them instead.  In the publishing world, underlined text is almost always understood as italicized.

It all boils down to presenting an easy-to-read document that conforms to general industry standards.  It's a simple matter of making their work easier for them, and thus making it more likely they'll want to work with you and publish your novel.  Find out the particular way a particular agent or publisher wants it and give it to them that way.  If they're not specific enough in their submission guidelines, follow as close to a standard format as you can and you should be fine.  The more professional your work is, regardless of how close it looks to a 'real book', the better your chances are to turn it into a real book.

Timing a Manuscript Submission

Much has been said about submitting a manuscript to a literary agent or publisher, but I've seen less written about the timing of a submission.  Obviously the best time to submit is when your manuscript is fully edited and polished to the best of your ability.  That is not what I'm talking about here.  I'm referring to timing a particular genre to a point in time when its chances of being picked up are the highest.

We've seen the incredible boom of zombies and vampires, especially young adult vampires, recently.  The market is teeming with those books now.  Even a few years ago there were far less of this type of book than now.  Agents actively look for certain hot topics because that is what sells at the moment.  It's their job to time a publication to catch the wave of public popularity.  These types of books may or may not interest you, but they're what is selling at the moment.

But when there is a lag time of at least a year, and usually much longer between the submission of a novel and publication, how does one gauge what's going to sell when submitting a manuscript?  When the lag between finding the perfect idea, writing the first draft, editing, editing, editing, submitting it, and finally getting published is far longer than that, it's almost impossible to predict.  An author would have to be precognitive almost a decade into the future to get it absolutely correct.

One of the ways to deal with this is to have a few different titles ready to go.  If you have for example, a horror story, a paranormal love story and a science fiction romp all ready to go, you'll have your bases covered better than if you have only a single novel.  After studying the market and needs of agents, you'd soon realize your horror novel just might have to be shelved while you actively market your paranormal work because that is what is currently selling.  And when, in a few years, horror explodes back into the spotlight, you'll be ready for that too.

The best way to time a manuscript publication however, is to do your research.  Don't settle for the first or second agent that lines up with your genre and call it good.  Study what agents are currently accepting.  Find out what they've been selling.  Find out what genres their client authors are writing and what titles are forthcoming.  Look as far into the future of the industry as you can.  This helps you catch market trends early on and allows you to get in on them while they're booming.

Submitting a novel is tricky business.  There is so much to be put into it in order to find an agent and actually get your book into print.  Obviously delivering a finely tuned query that introduces a polished and well crafted novel helps, but it's important to study all the different factors that influence what works and what doesn't.  I feel it takes almost as much time and effort crafting a query, synopsis and studying the market for a submission as it does to write the first draft.  Authors tend to concentrate more on the writing and less on the marketing aspects of being an author, and thus tend to present a submission which is less appealing than it could be.

Once the novel is written, it's time for the hard part of being an author.  It's time to really sit down and do your research.  You've done the research needed to set a believable and colorful plot.  You've studied how to craft your words to say what you're trying to express.  Now you have to put in an equal amount of work studying how to market your novel and get it onto bookshelves and e-readers around the world.  It's not an easy task, but knowing what is selling and what gives your novel the best shot at success is a great first step.