The Non-Fiction Novelist

Helping at-work writers to become novelists

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Why an Established Author is Going Indie

By Larry Kahaner

Sheri McInnis has enjoyed success with big publishing houses, but is now going indie with her new books.

sheri mcinnis

Sheri McInnis

Why not go with the big houses if they’ve published you before? Sheri explains it in the following blog entry in ways that make sense for many professional authors. She may be on the cutting edge of book publishing these days with phrases like “multi-published author” making the rounds. A multi-published author is someone who publishes both with traditional publishers as well as independently. (I know; some use the phrase to mean something different.) We’ve witnessed an increasing amount of crossover lately especially from authors who publish an e-book on their own, which is then bought by a legacy publisher. (Witness the self-published book The Martian, later bought by Crown and now a movie blockbuster.) Or, in some cases, traditionally-published authors who, for their own reasons, want to publish a particular work independently – like Sheri. The lines are blurring.

I often voice a low opinion of indie books. Just like anyone with a smartphone seems to think they’re a photographer, anyone with a computer and an internet connection reckons that they’re an author. Yeah, they’re an author, technically speaking, but their stuff often stinks because there is no filter, a role that agents, editors and legacy publishers filled. This sieve kept a lot of poor writing from reaching the bookshelves. Not always, but often. On the other hand, nothing gives me a greater surprise than to read an indie author who has penned a book to make a publisher wish they had paid closer attention to their slush pile. Here’s a recent find: Dream Brother: A Novel by Brian Marggraf. And another: Mintwood Place by Bob Gilbert. One more: The Test of Time by Allen Appel (Allen is a colleague who was also published by large houses).

Thanks to Gordon A. Wilson, on whose website this first appeared, and to Sheri for permission to publish her post.

 

 

The Top 5 Reasons I’m Self-Publishing – Instead of Going Back to the Big Guys

by Sheri McInnis @SLMcInnis

1) CONTROL

I’ve worked with some of the most successful editors in the business – and I was especially fond of my first one at Atria. But that didn’t make the revision process any easier.

Because as much as publishers hail creative freedom, unless you deliver an ‘approved manuscript’ your book won’t even be published. That means there’s subtle pressure on you to take your editor’s notes – whether you agree with them or not.

The editor isn’t the only one who requests changes either. Notes will come from your agent, the editorial assistant, even the publisher. And their input can range anywhere from the helpful to the heartbreaking.

Even the marketing department gets in on things. For instance, the marketing people didn’t like the original title of my first book, so the publisher changed it to Devil May Care. Bad luck for me because at around the same time another ‘devil’ book came out. But you probably heard of that one.devilmaycare

The Devil Wears Prada was so popular, people didn’t just confuse the titles – they actually thought I was Lauren Weisberger! One bookstore manager was so excited to meet because my book was “just flying off the shelves!”

You can’t imagine how disappointed we both were when I got to the store and he had a huge stack of Prada waiting for me to sign.

Remember, there are lots of people who get involved in publishing your book,  and as the author you aren’t the one with the most control.

 

2) TIMING

Even if I signed a contract tomorrow, the book wouldn’t hit the shelves for at least eighteen months – probably more. I simply don’t want to wait that long.

For one thing, I’m not getting any younger. But most importantly, the main part of the book takes place in 2021. There are technological advances and environmental disasters that only make sense with a believable padding of time.

I also have a specific release date in mind – November 11. The book – a supernatural thriller called The Hunter’s Moon – is about witches and this date is pivotal to the main character’s story arc.

But unless I’m Stephen King or Sophia Kinsella, it would be crazy to request a particular release date from a publisher. They have hundreds – if not thousands – of titles carefully staggered over many seasons.

Even then, a publisher has the right to change the release date – which happened on my second book, By Invitation Only. A more popular writer bumped the release by a month. That writer was Sophie Kinsella.

 

3) MONEY

Just a handful of years ago, even a mediocre book advance was in the fifty thousand dollar range (that’s what mine were; though I shared the second with my co-writer).

Unfortunately, publishers didn’t fare well after the 2008 recession. My (former) agent told me most advances were down to about 10% what they were – and the business is still recovering.

The downturn also resulted in less money for promotion. Book tours, launch parties and flashy displays are for only a lucky few writers. So whether you self-publish or not, you still have a huge job of promoting the book yourself – both in terms of time and money.

There are still great book advances out there. Romance writer Jasinda Wilder recently signed a 7-figure book deal with Berkley. Of course she had quite a bit of success already. She’d sold two million e-books as an indie author.

What I find most interesting is that even with a big contract, Jasinda is going to continue to self-publish some titles. According to the Guardian, the most financially successful –  and happy – writers are ones with a foot in both camps.

 

4) PRACTICALITY

In all honesty, it would probably take years – if ever – for me to get another book deal. Neither of my novels were disasters but they didn’t perform as well as expected. What’s worse, I turned into an emotional wreck after the books flopped and actually gave up writing fiction (twice), meaning I wasn’t able to quickly write another book to bounce back.

So why would a publisher take a chance on me when there are so many great first-timers out there? Or thousands of bestselling indie authors who already have a loyal following?

Over and above the performance of my books, I’m launching into a genre that I have no experience in. There’d have to be a lot of changes in the publishing world before someone signed me simply because ‘this idea came to me in a dream.’

If I want to continue writing, I really don’t have a choice but to go indie. Which brings me to  …

 

5) BECAUSE I CAN

Since the beginning of the printing press, books have been expensive and complicated to produce, which is why authors have always been dependent on publishers to print and distribute their work.

However, in just a few short years, indie writers have changed the game completely. Today every writer on the planet has the opportunity to reach millions of readers, and there isn’t the same stigma to self-publishing that there once was. That’s not just a change in the publishing world. It’s a revolution in the way stories are told.

Whether you decide to follow the holy grail, choose to self-publish – or try some combination of the two – it’s an exciting time to be a writer. Telling stories is what really counts, no matter how we get it done.

 

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Don’t Hate Me Because I Write Fast

By Larry Kahaner

I write fast.

I write fast because that’s just how I learned to write, lo those many years ago, when I was a newspaper reporter. You wrote fast because the job demanded it. You had your notes in front of you, the clock was ticking, editors were waiting for copy, and you hit the keys and didn’t pick your head up until the story was done. You read it over quickly, made your changes, made sure you didn’t say something dumb or wrong, and handed it in. You didn’t use fancy words or clever turns if it meant that you slowed down the process. If you weren’t sure of something you either left it out or used some weasel words to make it accurate and beyond the reach of libel lawyers. The key was to do the best you could in the time you had.

I write fast. What of it?

I write fast. What of it?

It was the finest training for any writer, and I’m grateful to have had that experience.

Even now, when I don’t have to write fast, I still do.

There are benefits. For one thing, you get done with your work sooner. Who doesn’t want that?

Second, there’s no time for self-censorship which is the bane of many writers. Sure, you make mistakes, don’t use exactly the word you want but you can fix it later in the editing process, which is a slower and more thoughtful activity. I have a buddy who’s working on a thriller and he stopped in mid-sentence and asked me about which firearm his hero should be using in a specific situation. (I’m the author of a book about the AK-47 so I know some stuff about guns.) Anyway, I gave him the answer off the top of my head but then told him that it didn’t matter right now. I told him to just write the word “rifle” and fix it later. By stopping to think about the perfect rifle, he not only lost his train of narrative thought, but slowed his writing momentum. Writing is physical exercise, like walking or running, and when you stop, it’s sometimes difficult to get moving again.

Third, you don’t suffer writer’s block. How can you if you never stop moving?  As I’ve said many times before, there’s really no such thing as writer’s block even though some writers insist on believing that it exists.

Over the years, people have asked me how long it takes to write a particular story, article or book. When I answer, I often have to endure the usual comments about how can I write well if I do it so fast. If I’m even inclined to answer, which sometimes I’m not, I point to other writers who’ve written quickly. (Thanks to Kristen Lamb’s blog for this list.)

To wit:

  • William Faulkner wrote As I Lay Dying in six weeks.
  • Ernest Hemingway wrote The Sun Also Rises in six weeks.
  • After being mocked by a fellow writer that writing so fast created junk, John D. MacDonald wrote The Executioners in a month. Simon & Schuster published it in hardback. It was also serialized in a magazine, selected by a book club, and turned into the movie Cape Fear 
  • Ray Bradbury wrote Fahrenheit 451 in nine days on a rented typewriter.
  • Isaac Asimov was the author/editor of over 700 books during the course of his career.
  • Stephen King writes 1,500 words a day every day of the year except his birthday. He’s published over fifty novels, and I don’t even know how many short stories and novellas. Let’s just say he’s written a LOT. Could he have done this writing a book every three years? Every five?

The truth is that just because you write quickly does not indicate that your writing is either good or bad, which brings me to National Novel Writing Month. It’s going on now. For those of you unfamiliar with it, every November participants aim to write 50,000 words during the month. NaNoWriMo, as it’s called, is voluntary and you can keep track on line. If you accomplish the goal, you receive bragging rights and some words that you can rewrite at a more measured pace.

One of the main objectives of this exercise is to keep would-be writers as well as experienced authors from slogging along in misery whilst trying to write their novels. By moving so quickly, you don’t have time for self-flagellation, malingering or complaining about how difficult writing can be (boo-hoo).

Does NaNoWriMo produce some solid books? Yes, it does. Some great books. It also produces some awful crap, because speed has nothing to do with quality.

I’m not ashamed of being a fast writer. Still, this is one of those times that I’m not going to tell you how long it took me to write this blog post. Just reread the author list above, okay?

What if the US were run like a corporation and a madman was in charge? Check out my latest thriller “USA, Inc.” now available in eBook and paperback. All my books have a money back guarantee.

Can I Write Novels Even if I Haven’t Had an Interesting Life?

Can I Write Novels Even if I Haven’t Had an Interesting Life?

By Larry Kahaner

I came across a blog from Guy Portman titled “10 Famous Authors’ Day Jobs” in which he lists… well… you get it.exciting life

What struck me most from reading Guy’s blog post is how many famous authors eventually gave up their day jobs (Natch. They’re famous.) and how many used what they knew from their day jobs and incorporated it into their writings.

Item: Joseph Conrad – (1857 – 1924) – Many of Joseph Conrad’s works have a nautical theme. This is not surprising considering that the author had a 19 year career in the merchant-marine, which began when he left his native Poland as a teenager in 1874.

Item: Arthur Conan Doyle – (1859 – 1930) – The creator of Sherlock Holmes was an important figure in the field of crime fiction. Doyle was also a practicing doctor, whose field of expertise was ophthalmology. He quit medicine to concentrate on writing full time.

Item: Agatha Christie – (1890 -1976) – It was during World War I that prolific author Agatha Christie began writing detective stories. At the time she was employed as an apothecary’s assistant. Her knowledge of poisons was to come in useful in her detective stories.

These authors used what they learned on the job and in life as a springboard for their stories.

But what if you don’t have an interesting job, career or life to draw upon?

There’s no such thing as a boring life.

There’s always something in your past and present that you can look to for ideas and stories. There’s always odd, interesting and compelling people in your life upon which to fashion your characters and stories. You just have to be open.

I have a writing buddy who is working on a memoir and some of the folks he talks about make for fascinating character fodder. At the time, they may not have seemed so interesting, especially to a kid, but when we get older we see their bizarreness and they become highly writeable.

But even if they don’t seem so interesting now. It’s okay.

Think of a person that you know and make him or her weirder, odder, funnier or sadder. Look for the peculiar detail that others have missed. Embellish the small but compelling parts. Expand their quirk. Exaggerate a tic.

One last thought. Here’s the entry for Bram Stoker: “Stoker is best remembered for his seminal work Dracula, but he also wrote 11 other novels and 3 collections of short stories. The author spent 27 years working as an acting manager and business manager for Irving’s Lyceum Theatre in London.”

I haven’t read his other 11 novels but I can bet his job figured into these works. As for Dracula, Stoker’s inspiration reportedly came from a visit to Slains Castle in Aberdeenshire and a visit to the crypts of St. Michan’s Church in Dublin. My guess is that these creepy places produced a strong emotional reaction in Stoker which then formed the basis for his vampire novel. Another person, though, maybe not so much.

That’s the crux of it. What produces a strong emotion in you – a person, place or thing – is what you should be writing about.

Drugs: The Author’s Other Drug of Choice – Part 2

Drugs: The Author’s Other Drug of Choice – Part 2

This guest blog from former workmate Gerry Karey, who blogs at Unhinged, grew out of a blog I wrote about alcohol and authors titled Don’t Drink and Write.

When I posted the blog on my Facebook page, Gerry commented:

“What about pot?”

To which I answered: “What about it?”

He took the challenge and looked at famous authors and their drug proclivities.

We had two bags of grass, seventy-five pellets of mescaline, five sheets of high powered blotter acid, a salt shaker half full of cocaine, and a whole galaxy of multi-colored uppers, downers, screamers, laughers… and also a quart of tequila, a quart of rum, a case of Budweiser, a pint of raw ether and two dozen amyls.  — Hunter S. Thompson, Fear and Loathing in Las Vegas

thomspons

“I hate to advocate drugs, alcohol, violence, or insanity to anyone, but they’ve always worked for me. – Hunter S. Thompson

That’s quite a picnic hamper. Mescaline, acid, cocaine, uppers, downers, screamers and laughers, oh, my.  If you can remember the 60s, you weren’t there.

Thompson was one of several mid-twentieth century writers who celebrated the use of drugs, particularly hallucinogens, and inspired and influenced a cultural movement.

Thompson is credited as the father of Gonzo journalism, a blend of fact and fiction. He may have captured the gestalt of the era as well as any writer. You just couldn’t believe everything you read, but it was an exhilarating, crazy ride.

A 2005 biography is entitled, Hunter S. Thompson: An Insider’s View of Deranged, Depraved, Drugged Out Brilliance. Thomas somehow managed to live until he was 68 when he committed suicide.

“I hate to advocate drugs, alcohol, violence, or insanity to anyone, but they’ve always worked for me,” Thompson once said. Until it didn’t.

Jack Kerouac was the key figure in the “Beat Movement.” A draft of his seminal, stream-of-consciousness novel, On The Road, was written in just three weeks and typed on a continuous, one hundred and twenty-foot scroll of tracing paper sheets that Kerouac cut to size and taped together.

It is a fascinating read. But great literature? Maybe not so much.

Kerouac continued to writes books and poetry, but nothing he wrote equaled the impact of On The Road.  How could it?

Drugs were very much part of the scene in On the Road, but Kerouac’s personal drug was alcohol. He died in 1969 at the age of 47, as a result of an internal hemorrhage caused by cirrhosis.

boroughs

“Whether you sniff it smoke it eat it or shove it up your ass the result is the same: addiction.” – William S. Burroughs

Major writers of the Beat era, all close friends of Kerouac, were Allen Ginsberg (LSD), Ken Kesey (psychedelics), William Boroughs, who was addicted to heroin, and Neal Cassady, who died of a drug overdose. “Whether you sniff it smoke it eat it or shove it up your ass the result is the same: addiction,” Burroughs said.

Other 20th Century writers who experimented with or used drugs: W.H. Auden, Jean Paul Sartre and Philip Dick (amphetamines). “Drug misuse is not a disease, it’s a decision…an error in judgment,” said Dick, who also used marijuana, mescaline, LSD, sodium pentothal. Hubert Selby, was addicted to pain killers and heroin that were first administered after surgery; Stephen King, who managed to kick his addiction to cocaine and other drugs; and Aldous Huxley, mescaline (see Huxley’s The Doors of Perception).

Would Dick have created his fantastic fictional worlds without drugs?  Would Hunter Thompson have been Hunter Thompson? Would any of those writers have achieved what they did?

Neurobiologist R. Douglas Fields asks: “Can the creative product—a song, painting, poem, or book—justify the sacrifice and harm that will accompany conducting the creative pursuit under the influence of drugs? If we accept the use of marijuana, cocaine, methamphetamine, LSD, and alcohol by rock musicians to achieve creative breakthroughs and delight us with their performance, what does that say about us in being willing to accept the destruction of another human being for our entertainment?”

“Drugs are a waste of time. They destroy your memory and your self- respect and everything that goes along with your self esteem,” songwriter/musician Kurt Cobain said.  Cobain struggled with heroin addiction and depression. He committed suicide in 1994, at age 27.

I do not know if this survey will persuade anyone not to use drugs (with the exception, perhaps of marijuana as a reward after a long day of writing). That’s not my intent. But I will reiterate Larry Kahaner’s advice to aspiring writers – all writers, for that matter:  “Write a lot and read a lot. Those are the only habits that work all the time and every time.”

There are no short cuts.

Don’t Drink and Write

Don’t Drink and Write

By Larry Kahaner

This blog is aimed at new writers. If you’re an experienced writer, or an alcoholic, or both, don’t bother reading any further. Well, okay, you can. But what follows probably won’t  resonate with you. You’ll most likely sniff in defiance and pronounce it nonsense. Or, you’ve already handled the situation.

http://moreintelligentlife.com/

image from: Intelligent Life magazine

Many new writers try to emulate  their favorite authors. They somehow think that by using the same pen, the same notebook, following the same schedule and oddball habits (I only write in my pajamas with the cuddly bear on the front) that this will bring them the same success as those they admire. As I’ve said many times, the only habit that aspiring writers should copy from those before them is to sit down and write. Write a lot and read a lot. Those are the only habits that work all the time and every time.

One of my sins is bluntness but I can’t help it. Many times I’m asked during interviews about when I write, how I get my inspiration, where I get my ideas and I try to be polite… I really try… but sometimes I just can’t pull it off. I usually blurt out that these things don’t matter. As gently as I can I note that we all walk differently, we eat differently, we talk differently. It stands to reason that we all write differently so why copy anyone else? I’m usually marked as a nasty individual who offers no help to the nascent scribe. It’s not how I want be remembered.

Which brings us to alcohol.

So many brilliant authors drink too much. Many are functioning alcoholics and this penchant for drinking has led many newbies to believe that drinking is a prerequisite for perfect prose. How can you blame them when well respected authors boast of their alcoholic intake in quotes that we love to put up on our walls?

“Too much champagne is just right.” – F. Scott Fitzgerald

“I began to think vodka was my drink at last. It didn’t taste like anything, but it went straight down into my stomach like a sword swallowers’ sword and made me feel powerful and godlike.” – Sylvia Plath, The Bell Jar

“After the first glass, you see things as you wish they were. After the second, you see things as they are not. Finally, you see things as they really are, and that is the most horrible thing in the world.” – Oscar Wilde

Goodreads has 442 quotes about drinking. There’s even a top ten list of 15 great alcoholic writers.

Why do writers drink? That same reason that anyone else drinks. “Boredom, loneliness, habit, hedonism, lack of self-confidence; as stress relief or a short-cut to euphoria; to bury the past, obliterate the present or escape the future,” notes Blake Morrison, writing in the Guardian.  Morrison also points out that in Olivia Laing’s book The Trip to Echo Spring, about six famous alcoholic writers, that there may not be a simple answer as to why many famous writers drink but I believe the above short list takes a strong cut at it.

I’ve been a writer, journalist and published author for many years and I know many writers. Some of them drink a bit more than most, but that may be because they’re my friends. Self-selection and all that. But to a man and woman, they report that alcohol doesn’t help their writing. In fact, it hinders it.

Here’s one comment from a dear friend and prolific book author:

“I feel free and creative when I write in the company of wine. But the next day, usually, my grammar, syntax and coherence of prose look like crap.”

From another, whose non-fiction books are terrific, well-written and well-received. I asked him whether drinking helps his writing and he responded:

“I hate to sound like a prude, but I feel most free and creative when I’ve done a thorough job of reporting and know what the fuck I’m talking about.”

Does alcohol have a place in an author’s arsenal? Certainly, as a relaxer, a way to unwind after a day of hard writing and as social lubrication. It also can offer a short-term creativity kick. Another author friend who writes a blog under the moniker Thriller Guy offers this:

“… say you’ve got a problem that you can’t figure out – your character has been captured by an evil CEO and Our Hero is imprisoned in a laboratory where the resident mad scientist and his minions are threatening to suck the very essence out of his body. (Think Neo in The Matrix) How is Our Hero going to escape? TG can tell you from long experience, if you don’t know how to get your man (or woman) out of this pickle when you head into this scene, the answer is probably not going to just jump into your head. Trying to hammer out a solution to a problem like this can drive you nuts. What you need to do is to stop trying to figure out the answer, and let your subconscious come up with a solution. To do this you need to stop your brain from working so hard, to let the well fill up, by itself. Send the kiddies off to bed (if there are any kiddies) kiss the wife goodnight, (if there is a wife) pour yourself a stiff drink and settle into your chair. Then have a couple of more drinks. You can noodle away at the problem while you’re sitting there, but only in a general way. Drink too much, stagger off to bed, and go to sleep. And if you’re lucky, the next morning, when you go back to work, the answer will pop into your head. Almost unbidden. Ditto if you’re trying to come up with a title, solve a plot problem, searching for a “voice” to tell your story, a structure on which to build your novel. You need to stop trying to solve the problem, and let your writer’s brain solve the conundrum on its own. This is actually one of the few thrilling moments when being a writer seems almost like magic.”

He’s right.

Believe me, I like a martini in the evening. Occasionally, a few more, but I must tell you that of all the professional writers I know, the ones who write drunk do so in spite of their drinking and not because of it. They are functioning alcoholics, or close to the edge of it, who, if they weren’t writers would trudge off to the office every day, slightly hungover and put in a day’s work despite their condition. Think Mad Men. They drink because their body requires it, not because it makes them more creative. In fact, I often wonder how much better the words from Hemingway, Cheever, Poe or London would have been without their booze. We’ll never know.

I’m sorry to burst your romantic bubble but drinking doesn’t help writing. It hurts, and not  just the writing but your life in general. I leave you with this, an excerpt from the Handbook of Medical Psychiatry, 2nd Edition, edited by David P. Moore and James W. Jefferson. Sadly, it describes many famous drinking writers to a ‘T.’

“When alcoholics do drink, most eventually become intoxicated, and it is this recurrent intoxication that eventually brings their lives down in ruins. Friends are lost, health deteriorates, marriages are broken, children are abused, and jobs terminated. Yet despite these consequences the alcoholic continues to drink. Many undergo a ‘change in personality.’ Previously upstanding individuals may find themselves lying, cheating, stealing, and engaging in all manner of deceit to protect or cover up their drinking. Shame and remorse the morning after may be intense; many alcoholics progressively isolate themselves to drink undisturbed. An alcoholic may hole up in a motel for days or a week, drinking continuously. Most alcoholics become more irritable; they have a heightened sensitivity to anything vaguely critical. Many alcoholics appear quite grandiose, yet on closer inspection one sees that their self-esteem has slipped away from them. Most alcoholics also display an alcohol withdrawal syndrome when they either reduce or temporarily cease consumption. Awakening with the ‘shakes’ and with the strong urge for relief drinking is a common occurrence; many alcoholics eventually succumb to the ‘morning drink’ to reduce their withdrawal symptoms.”

Sound like any writing heroes of yours? Yeah, I thought so.

The Secret to Writing That Nobody Tells You

I am reblogging Jane’s post because it’s something that I’ve been harping on for years. Writing is work. You put your ass in the seat and write. Only when you can do this day in and day out can you call yourself a writer. You write when you feel like it and you write when you don’t feel like it – just like everyone else and their job. There are good days and bad days but you still go to work, right?

WORD SAVANT

When I coach people, there is an ugly truth about writing that I often hold back from them. It’s something you can only learn through gut-wrenching, razor’s edge, shard of broken glass experience.

There is no magic to writing, none at all. It’s nothing but grueling

No magic, no easy formula, no genius algorithm. There is no “secret” that is going to make everybody love your work, buy all your books, tell their friends about you, and get stars in their eyes when they hear your name.

It is simply monotonous, repetitive work.

I recently finished the manuscript for my first novel. For eight years I struggled to finish it. And do you know what finally helped me finish it?

Monotonous, repetitive work.

I did it by sitting down (almost) every day and writing a minimum of 500 words.

Some of those days were pretty good days. I would say…

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5 Reasons Bullying Made Me A Better Writer #1000Speak – Building On Bullying

I am reblogging this post from Sacha Black because of the insight she has about how bullying made her a better writer. I was never bullied, but I understand how being bullied can make someone think and feel differently than others. That’s the part – the thinking and feeling differently than others part – to which I can relate, understand and appreciate, which I believe makes me a better writer. I applaud Sacha for speaking out.

Sacha Black

5 Reasons Bullying Made Me a Better Writer

I had to coax myself into posting this. Not because I didn’t want to do a post for #1000Speak, but because bullying is one of those things that everyone has been affected by, and I am no exception. It’s all a little close to the bone. Bullying is one of those universal topics that touches the lives of almost everyone. But I want to focus on the positive. On why being bullied made me a better writer. Without having been bullied I wouldn’t have focused on writing in my youth, and I probably wouldn’t have realised writing was my dream. So am I compassionate with the bullies? No, probably not, I know that’s the point of 1000speak, but, I am grateful for the experience of bullying.

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I’m Just Trying Not to be a Jerk

I’m Just Trying Not to be a Jerk

By Larry Kahaner

One of the challenges and frustrations of writing is transforming what’s in your brain into words. So it was with great relief that I read a post from Ebonye Gussine Wilkins who writes at The August Rose Press blog. The ARP is a publisher and they’re always looking for well-written books to publish. Natch; they’re book publishers.jerk store 2

Over the past year or so, I’ve read a lot of indie published books, just the first few pages in most cases, because you can tell immediately if they’re crap. And many of them are terrible. On the other hand, one in a thousand is a gem, worthy of a decent advance. I sometimes wish these authors had tried the traditional publishing route and gotten well paid for their efforts. Some of the junk I see stems from the fact that many indie writers believe you need volume to make money. Hence, they push stuff out the door that should have stayed inside.

Other authors just simply should not be published – at least not yet – because they haven’t yet become proficient at their craft. Look at a list of successful, well-read and accomplished authors and you will see people with slews of unpublished books still living in their computers or printed on yellowing papers residing in their closets. Why? Because these books were not worthy of being published. We need more bad, unpublished novels to stay hidden from readers. Is that too much to ask?

As an author who has been traditionally published, I had been wanting to say something like this for a long time but didn’t want to sound like a jerk or a spoilsport. Believe me, I have great respect for anyone who can actually finish writing a book, because I know how difficult a job it is. I don’t question the effort or the passion, just the outcome.

Ebonye struck the perfect tone in her blog, saying what I’ve wanted to say for a while. Thanks for writing this so I don’t have to.

Read on…

What Really Makes an Author an “Author?”

POSTED ON FEBRUARY 13, 2015

By: Ebonye Gussine Wilkins

In the face of the perceived ease of indie publishing, many more people are suddenly becoming “authors.” Some people take their time and concentrate of every word they write, how it flows, and what they want to say. They go through multiple drafts with an editor to make sure the manuscript is in the best shape it can  be. They obsess about book cover design and how the typesetting is supposed to look. They pick laminates for covers and assign ISBN numbers. After months or years of intense labor, they produce a beautiful book.

Then there are other authors that push out thirty-five pages on Microsoft Word in Comic Sans in point 16 font. They hit F7 for spell check, run the “manuscript” through an eBook formatting program, buy a pre-designed cover design and BAM instant author-dom.

While I believe that both kinds of writers will consider themselves published authors by this point, there are so many variations between the two scenarios. They are simply worlds apart. Unfortunately, many writers take the latter approach and then proclaim they are real authors to all who will listen. It’s no wonder that traditional publishing houses look down on indie publishing authors: there is a lack of quality in the finished product.

Being an author, especially a published author means that you are dedicated to your craft. You aren’t interested in just putting out a product, you want to put out the best product that you can. Your finished product is a direct reflection of you, and if you don’t get it right, it erodes your credibility. Unfortunately, it’s not just a reflection on you if you’ve published independently. Many others may begin to believe that all indie publishing authors put out shoddy work. Do us all a favor, take your work as an author seriously. Authors support each other by making sure that they produce a polished product, so support your fellow authors by doing the same. It’s the right thing to do.

Why Writers Should Read Crap

Why Writers Should Read Crap

By Larry Kahaner

elsewhere

Thanks to sblazak.wordpress.com for this headline.

All writers get the same advice. Read the great writers; study the great works. Learn how seasoned, professional and successful authors get the job done. All true, but I maintain that it’s also crucial for writers to read crap to learn what not to do.

How do you know what’s crap? It’s not a book that didn’t sell well, although that sometimes may be a clue. It’s not one that received bad reviews either. Some of the world’s greatest books have garnered negative comments from critics. Crappy writing is like the U.S. Supreme Court’s ruling on what constitutes pornography. You know it when you see it. And you know it because you’ve mainly been reading good writing.

More concrete indications of bad prose are sections that make you go ‘huh?’ or that make you laugh because they’re so ridiculous even though the author meant it to be serious. It’s prose that’s boring, even if you can’t articulate why your mind is wandering. Crappy writing just doesn’t sound right to your ear.

Other bad writing signs include no variation in sentence length, too much telling instead of showing, overshowing, no drama, no emotion, backstories that are too long, unnecessary detail, and on and on. I’m not talking about mechanical problems with grammar or lapses in POV or tense but simple, bad freakin’ writing.

Here are some examples from real self-published books. I have changed the wording slightly so as not to embarrass the author.

Sample: “We have to move quickly, pal. We already have an elite team on its way to Nigeria to rescue the pilot. But these paratroopers are going to stand out like chocolate chips in vanilla ice cream without some assistance on the ground. I need someone to be there to meet them or they’ll be minced meat.”

What did you learn? It’s trite and boring because the writing is obvious, full of clichés and the ‘chocolate chips?’ Make it stop. Send the elite team? Why would you send the non-elite team? And yes, we do have to move quickly because moving slowly would… well.. you know.

Sample: “Hi, Bob! Sorry, I’m so late! She awkwardly returned the kiss, her kitbag bumping against her knees and her laptop bag hanging from one shoulder.”

What did you learn? First, cut the exclamation points. You’re allowed only a few per book and they should be reserved for “Look out!” like when a rock is falling on a character’s  head. Show me how she ‘awkwardly returned the kiss;’ don’t tell me. Last, who cares about her kitbag hitting her knee or that her laptop bag hanging from one shoulder? (Can a laptop even hang from two shoulders?) What does that sentence add? Mood, ambience, emotion, anything? Nothing! (I used the exclamation point because I felt that I was in danger.)

I was going to offer one more example, but this exercise made me a little sick to my stomach, so I’ll stop here.

Again, why read crap? So you know what not to do. You’re learning from others’ mistakes without people like me making fun of you in this blog. We are all guilty of lapses in writing judgment. I have made the same mistakes that I detailed here (which I seek and destroy in the rewriting process) especially because I come from the non-fiction side of writing books where some of these transgressions – like telling instead of showing – is not only acceptable but encouraged. In fact, one of the tenets of non-fiction writing is “tell people what you’re going to tell them; tell them; then tell them what you told them.” Do this in fiction and you’re inviting readers to pummel you.

My advice is to read some crap every once in a while but not too much. And don’t pay for it. Please. Read the free samples on Amazon. You only have to read (thankfully) the first few pages to learn their abject lessons.

Why Do So Many People Write at Starbucks?

By Larry Kahaner

Why do so many people write at Starbucks?

The answer has to do with me going to Nevis.

View of St. Kitts from Nevis with rainbow bonus.

View of St. Kitts from Nevis with rainbow bonus.

Let me explain.

Brain researchers don’t quite understand it all, but they’re learning more and more about something called ‘neuroplasticity.’ This is the brain’s ability to change neural pathways and synapses due to changes in behavior, environment, thinking, emotions and, of course, an unfortunate conk on the noggin. These changes in neural pathways and synapses determine, among other things, our creativity.

This means that your brain actually changes its functional structure based on your thoughts, environment and the other items listed above. What does this have to with writing? Simply put, by changing our neural pathways and synapses we can be more creative in our fiction as well as non-fiction writing. One way to do this is through a change in scenery.

I recall many times having trouble figuring out the approach to a feature article I was writing. Getting away from the office, even for a short while, really helped solidify my thoughts. The same went for my non-fiction books. Getting away always worked. A change often led me to ‘aha moments’ and I could see a whole book’s organization and structure in my mind’s eye for the first time.

Dune_Shacks_of_Peaked_Hill_Bars_Historic_District

Dune shack of Cape Cod.

Consider the Dune Shacks of Cape Cod. These ramshackle huts built for washed- up-on-the-shore sailors have offered help to the likes of Jack Kerouac, Norman Mailer, e.e. cummings and Jackson Pollack. Before modern science stepped in we thought the structures’ powers lay in solitude, beauty and the sound and smell of the surf. People used the word inspiration. Sorry. It’s just that it was different – very different – from where the writer/artist usually lived and worked. Not only was the scenery dissimilar to home but the shacks had no running water, electricity or other everyday amenities. How’s that for different? They still don’t offer creature comforts and you can enter into a lottery to try one for yourself.

You’re probably thinking that we writers have always known that a change in environment is good for our writing. Now we know why. The science is solid.

Writers often thrive in artistic and literary retreats. It’s not that the environment is so conducive to writing – although it may have to do with not having to cook your own meals or handling everyday family tasks – but, again, it’s that it’s different. A good pal of mine just returned from such a place where he clocked about 4,000 words a day while in residence. He claims his output was due mainly to being relieved of his daily household chores, but I’m going with the science.

By changing our environment, we change what we see, what we smell, how we feel and what we think. This helps to get us out of our brain ruts which have been worn deep by doing and seeing the same things day in and day out. Scientists now tell us that these ruts are real and not imagined. Leaving these ruts puts us on new paths of thinking and understanding and that’s always good for writers, fiction and non-fiction alike.

I can tell you right now that being on the island of Nevis is helping my ability to churn out new thoughts and ideas, and not just about writing. At the risk of being too obvious, Nevis is very different from where I live outside of Washington, DC. Nevis is lush and warm. It’s a roundish, volcanic island with one extinct cone in the middle, Nevis Peak, which is often shrouded in clouds. Yep; it’s different.

n p[eak

Nevis Peak

But you don’t have to get on an airplane to get the same benefits of being in a different place. It doesn’t take much.

Sometimes I just move my laptop to my dining room table and that helps clear the cobwebs. Other times I sit in Starbucks and enjoy some flashes of writing fervor. It’s not the coffee or the slow internet that wires me for greater word output.  It’s being out of  my everyday office.

Instead of grinding away in the same digs, change your venue. Even small changes in your work environment can move your writing to new places.

What if the US were run like a corporation and a madman was in charge? Check out my latest thriller USA, Inc. now available in eBook and paperback. Money-back guarantee. 

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