Wherein I promise the advice every writer wants and fail to deliver…
Especially because I don’t give advice. I don’t have the credibility, but I can read, and I am constantly working to become a better writer. I have started my latest project three or four times (I honestly can’t remember), and every time there was a problem. The most recent problem was “too much, too soon.” I had a great beginning to introduce the character and some special qualities of his–he’s a musician and poet, and he has the ability to speak to goddesses, something that is rare to say the least–and an interesting situation. But once I started writing, I realized that a lot of stuff was happening and that we actually hadn’t gotten to know the main character. I wrote about twenty thousand words before I realized that readers actually hadn’t connected with the main character, despite an interesting first chapter.
And I realized that a lot of my favorite books, books where I am totally hooked from beginning to end, actually don’t do a lot in the beginning. The Eye of the World by Robert Jordan, for instance, begins with a bizarre and exciting prologue with a guy blowing himself up, but after that, Chapter 1 is people walking into town, getting ready for a party. Plenty of books do start with a bang, but those that do usually settle into the fairly regular rhythm of daily life for the main character. But at the same time they don’t seem mundane. Continue reading “As it was in the beginning: how does an author hook a reader?”→
This is a classic storytelling manual, and it certainly adds something unique to the storytelling world, but I had a lot of trouble telling what that was. If you are the sort of writer who devours writing books and collects advice, able to weigh it against everything else you’ve read, then this is a good book. Based on my reading of it, however, it is not a panacea. Not that it has to be, but I would advise against having expectations as high as the jacket copy suggests.
Dr. Martha Stout’s The Sociopath Next Door (2005) answers a lot of questions writers ask about villains. Again and again, the question comes up of what villains want, why they bother, and what motivates them. A related question is whether a writer should portray villains as doing the right thing from their own perspective. We need villains to make heroes act heroic, but villains themselves are often interesting, sometimes even more, and it’s their perspective that’s so interesting. Most readers and writers are not villains: they care more about cats and puppies than seeing people suffer, and writers and readers tend to be people who like to delve deep into the psyche and experiences of people who are not like them. In this vein, I decided to do some research on sociopathy, antisocial personality disorder, and criminality to get at these questions in a more thoroughly psychological way (i.e. not just through great works of fiction). Continue reading “Do sociopaths make good villains? In defense of villains, Part II”→
Life and our ability to assess our own knowledge goes in phases. There are many summaries of this, but since this is a writing blog, I wanted to point out that attitudes about story structure can change over the course of a life, or over the course of writing a novel or story. I am working my way through a new novel during NaNoWriMo, and I’ve noticed that although I’m a great fan of story structure (for reasons I’ll go into below), I don’t really follow the structure religiously, and yet things seem to work. Continue reading “Back to Back to Basics: Phases of Life and Story Structure”→
A Facebook discussion earlier this week led to a request to describe my method for coming up with fantasy (i.e. invented) language. My reply was that I don’t come up with a whole language, although I try to invent a method that produces a consistent-sounding set of words. I improvise and then edit, after using a model language that’s consistent with the setting. Since it really ought to be heard, I decided video was the best way to get this across.
Western literature’s oldest critic tells us why critique partners help us avoid the idiot plot… .
I finished revising The Last Omen last week, and have moved on to trying a new approach to short story writing. The novel came up in conversation with my wife two nights ago and I discovered, yet again, that telling the events of the story does wonders for ironing out the plot.
My wife is not a fantasy reader, in fact, she reads very little fiction, and since discovering audiobooks has gotten most of her “literature” from Audible. She does love a good supernatural story, but mostly in contemporary form, and on TV or a movie. I think fantasy readers are especially forgiving when it comes to certain elements of plot as long as there is cool stuff going on. As an example of this attitude, Brandon Sanderson’s most important law of magic is “err on the side of awesome.” We write and read fantasy because it’s fun, and because it satisfies our craving for the stupendous, but someone really into that side of things is not the best critic when it comes to plot. Continue reading “Aristotle Says “Pitch Your Book””→
An exploration of what makes a book readable and hooks readers, in which I alienate beer drinkers… .
Readability is not a joke. Of course, this is how I treated it a few weeks ago when I first noticed the readability of Peter V. Brett’s debut novel The Warded Man. The speed at which I read the first book of Brett’s Demon Cycle series and the way I kept going back to reading it–and actually enjoying it–left me thinking it was just really easy to read. This was funny because a book should be easy to read, and if it’s a pain to read, and you have to drag yourself into reading it, then why are you reading it? It reminded me of a billboard for Bud Light that hung over the entrance to the O’Neill Tunnel in Boston: “Superior Drinkability.” If you’re selling a drink it really ought to be drinkable, or else something is wrong. Continue reading “Superior Readability”→
I saw The Last Jedi yesterday, and here are my thoughts:
Plenty of interesting stuff, lots of surprising moments
I still prefer the swashbuckling pulpy adventure of the first movie to the overstated drama of the newer films
As much as it was a good movie, I would still rather see a totally new story.
I have three young boys who love Star Wars (thanks to me), and I am getting a little tired of it. “Star Wars” movie is now a phrase that gets used all the time, and it emphasizes the feeling I had while watching The Last Jedi that these films are more like TV shows in the way they tell a never-ending story. Each time the characters face basically the same obstacles and spend their time solving a fairly explicit puzzle. This was understated in the first trilogy, but now it’s almost like watching Law and Order. Continue reading ““Just write””→
I signed up for National Novel Writing Month this year for a few reasons, but chief among them was that I had resisted doing it in previous years. NaNoWriMo seems set up for people who have a different set of problems with novel writing than I do, and I used that as a reason to not participate. My problem is not that I don’t add words every day or that I procrastinate or that I have “writer’s block.” My problem is that I have a bunch of animals in my house that will starve or (more likely) eat each other if I don’t stop writing for a few minutes a day. Four thousand words a day would be no problem for me if I didn’t have anything else to do, so NaNoWriMo didn’t seem like something for me. Continue reading “Nah, NoWriMo”→