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Going Indie

Mar09

A nice post on one author’s journey toward Indie Publishing.

My experience in 2009 was a lot worse than I originally expected. From what I can tell, a literary agent is a great job for a person who lacks social skills. If you’re an agent who’s any good (good enough that people have heard of you) then you get way more queries than you can handle. Most of them you probably wish would just go away. Some of them, certainly, break the rules. And there are lots of rules. Don’t send anything unsolicited. Don’t send an attachment. Don’t send me anything in the mail. Don’t call me. If I do decide to represent you, I will do it how I want and when I want. And my personal favorite: Don’t waste my time.

Find the full original article here.

Or posts by me on writing and publishing.

By: agavin
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Posted in: Writing

Tagged as: Business, Literary agent, New York, Publishing, Publishing and Printing, Query letter, Writer

This is one of those eternal writer questions, getting into the heart of the creative process. For those of you who don’t know, a “plotter” is someone who plots out (outlines) their entire story before writing it and a “pantser” is at the opposite extreme, starting with an idea or a character and just going for it, like a daydream. Of course, everything between exists as well, it’s an analog space. And for what it’s worth, writers, including myself, love to talk about this.

Given that I’m more hard core, workaholic, and over-organized than nearly everyone I know (and having gone to MIT that includes a lot of anal folks) I would have assumed I was a plotter.

But when I got into it a couple years ago by starting to write The Darkening Dream, I found I totally prefer to just go with it. I do need to plot a chapter or two ahead as I can’t write the scenes until I see in my head what’s going to happen, but after I finished revising my first novel (and there was a lot of revision) I decided to try to plot the whole second. This resulted in about two months of fairly unproductive head banging. Then, with only a lame first act plotted, I started writing and it veered onto a different course anyway. The characters and the situation seem to dictate what happens. Often you can’t tell in plotting which secondary characters will be the coolest, etc.

The Pantser

But certainly the pantser approach requires plenty of revision. I always have to go back and examine the motivations of the characters after the first draft and map more of the formal dramatic arc onto the story in the second and third drafts. Pantsing also leads to Second Act Problems (what doesn’t?). I think that’s just the way it goes. It would be very difficult in the first draft to do the kind of “setup and payoff” that good stories have. A great example of this is the film Back to the Future which undoubtedly had umpteen drafts and where every little reference at the start of the film is a setup that tests and then pays off for one of the characters. Case in point where George McFly gives in to Biff about the car. Then back in 1955 he does it as young George, but by the end of the film, with Marty‘s help he has the backbone to be in charge in the revised 1985. This is formulaic but satisfying and artfully crafted in a way that takes multiple passes. Still, I think you can start any which way that works for you. Sometimes getting the draft finished is the most important thing. Then you can step back and look at what needs changing.

Personally I find the two different modes: plotting vs. just writing, to use different sides of the brain, and therefore useful to stagger. I can only handle a few days of plotting before I need the release of getting it out there. There really isn’t any rush in writing as good as just pounding out a great scene that’s already gelled in your head, and it’s even better when the scene and characters take on a life of their own and bring something novel to the process. Looking back on it, I realize that as a computer programmer I took this same exact alternating approach (between designing the algorithm and just coding) and that the rush and rhythm were nearly identical.

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By: agavin
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Posted in: Writing

Tagged as: Arts, Fiction, Online Writing, Pantser, plot, Plotter, Writer, Writers Resources, Writing

Introducing the Writing Index

Aug20

In my continued effort to improve site navigation I’ve introduced a new page to index all my writing posts, sorted by topic. You can also find it in the “Writing” menu at the top of the site or by clicking on the gold “Writing” icon on the righthand sidebar.

As an added bonus, the page includes a blurb of my new novel, Untimed, check it out.

By: agavin
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Posted in: Writing

Tagged as: Book Writing, Creative Writing, Novel, Untimed, Writer, Writing

Call For Feedback

Apr08

As a writer, feedback can be essential to the process. You don’t necessarily want to spend months writing the whole novel draft to find out the voice sucks, or that your plot is boring. I’m a frantic high energy writer (I work 8+ hours a day and usually churn out 2,000 pretty good words), and one of my biggest problems is getting enough feedback fast enough. I want to find out how a chapter works NOW, or hash out what’s going to happen tomorrow. My plots are intricate and I have two people (one I’m married to) who ALWAYS read chapters in a few hours and are willing to spend an hour brutally arguing about how well they work.

Still, it’s not enough. I also use a number of professionals who provide awesome advice, but not only do the cost money, but they’re busy and often take a few weeks to turn stuff around. I’d give a nut for another conspirator who’s great at plot construction. Relatively few people are willing to say, “No, no, this whole branch of the action is boring, the villain and the hero need to be face to face.” Then actually provide suggestions to mull over or shut down. Most amateur critics nitpick on sentences or little inconsistencies. Those are useful, but the big picture criticisms — and more importantly suggestions for fixes — are harder to come by.

I’m looking for something analogous to a TV writers room where people know the story and characters to every last detail and can really yell and hash out ways to interject more power into the story at the plot and character level. This is the hardest part for me to do alone. I can take any basic sequence of events and turn it into a great scene, but building the perfect twisty-turny plot with engaging characters is hard. There’s a reason why you see this most often in great TV shows where they have a room full of brilliant people.

A good argument over the story fuels my creative fire. I suspect if I had more of it I could write even faster.

And I’m willing to pay for said criticism with highly responsive reciprocal reading and response on how your stuff could be better! 🙂

Seriously. I’m extremely fast and sleep very little. There’s no give it to me and have to check back a couple weeks later. I tend to turn stuff around in hours. I’m willing to talk at odd ball times. I can do everything from plot to line editing.

So if you’re another writer, interested, fast, dedicated, good at plots, like the fantastic (my stories always involve some supernatural/speculative element), and willing to dedicate a couple hours a week, shoot me a note and we’ll see if there’s any synergy.

or blog

Also, peek at my novel in progress: The Darkening Dream

By: agavin
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Posted in: Darkening Dream

Tagged as: Arts, Fiction, Novel, plot, Plot (narrative), Speculative Fiction, Television, The Darkening Dream, Writer, Writers Resources, Writing, Writing process

On Writing: Yet Another Draft

Nov18

The good news is that the comments from my Nov 13 draft came back Tuesday and they were very positive, and a lot less extensive than the previous three batches. So hot off an intense 8 day mega redraft, followed by one day of toddler party, followed by a full read in one day, followed by a half day of fixing the things I found in my own read… I did another 2 day mini full draft. v4.60.

I think it’s finally getting pretty close to just needing line editing (polish and smaller scale fixes). One thing about the process, however, is that a bit like a video game before you’ve had the testers pound on it, one is not entirely sure what one has. Sure, I know the book so well I can name every one of my 300 scenes in consecutive order, quote passages, or tell you to the day and version how a scene has evolved. Still, it’s hard to judge the work as a whole without a full read — and I just did one on Monday (plus two full drafting passes since then).

This is why one needs a ready supply of beta readers. Too bad it’s illegal to lock friends in a room with the book and tell them no food until they slide notes back out under the door.

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