My final year of grad school started this past week, and it's looking to be a doozy. Between a full-time job, one heck of a workload in one of my courses, and the looming specter of building my portfolio next spring (not to mention maid-of-honor duties in a wedding, panel moderation at a literary festival, eventually--eek!--job-hunting, and maybe starting to actually do that query thing), I'm having a hard time figuring out where I'm going to find the time or mental energy for writing. Or a personal life. But mostly the writing. I plan to revise some novels and short stories, maybe write a few more short stories, and outline a few novels next, so that will probably fill up a few months, but I definitely don't want to let myself wait until May to start another first draft. That would be terrible!
Thoughts of revisions led me to thoughts of query letters, which led me to thoughts of comp titles. I know they aren't the most important part of a query, but it's still impressive if you can relate your book to several other titles to show you've considered your potential audience and so agents and editors can gauge how well your book might sell. But man, do I overthink it. I analyze every little portion to death, thinking, "Well, this story element is kind of similar, but all of these other things aren't" or "Hmm, my use of this device is similar to this other author's, but the stories have nothing in common!" or whatnot. In the end, even if I can identify tropes that have been used in 800 other novels, I have a hard time saying my book is similar enough to another because of any differences. And then you have to worry about appearances of delusion or inflated ego if you think your book would appeal to fans of something very successful and popular! I should probably stop taking it so seriously. Is an agent really going to request my manuscript, love it and think it will sell a million copies, but then shoot me down as a phony because they didn't think it was in the same vein as whatever comp title I chose? That'd be pretty silly.
Another issue is that I am more often inspired by graphic novels, movies, anime, etc., than other novels. I won't claim my ideas are 100% ORIGINAL NOBODY'S EVER DONE THIS BEFORE, but if I read a cool idea in a novel, I don't usually want to spin off of it for my own. If I see it in some other medium, especially a visual one, it makes my brain hash it out more, wanting to warp it beyond recognition and see it in text, totally separate. But listing some obscure manga as a comp title defeats the purpose. Not only might the agent not recognize it, but it doesn't help with that sales figure problem since the audiences aren't the same. Comparing a book to a major movie might be OK in certain circumstances (to give a sense of the plot or tone, or to cash in on a big trend that crosses media), but even that's stretching it.
I have a few strategies. Obviously, I browse my bookcases, as well as bookstores or Amazon for books I've heard are similar but with which I might be less familiar. If I am inspired by some manga or movie or whatever, I try to research any novels the author/writer listed as inspiration, to see if there's some basis for comparison there. I browse the TV Tropes website, which is addicting but pretty useful if you can identify your major story elements that would be marketed. What do you do?
(Speaking of, my next Sequelitis review will probably be a book I just read that falls squarely into that hmm-there's-some-similarity-in-the-basic-underlying-premise-but-nothing-else area.)
Tuesday, August 30, 2011
Tuesday, August 23, 2011
Revisions!
I am one of those writers who likes having written and loves revising. Nevertheless, despite having been through this process a few times, the second draft of this novel is posing lots of new challenges as I reach its conclusion! Ahh well, it's all for the good (as one of my characters would say), because we can't grow if we just do the same things over again.
I had to add in a few pieces of information and worldbuilding, and still do need to find a place to insert one or two more tiny things. Overall I feel like this is one of the strongest first drafts of anything I've written, and I'm hoping my beta(s) will help figure out what needs to be patched now that I've rent so much of it. Should be finished with this second draft in a day or two!
In other news, my final (fingers crossed) year of grad school starts tomorrow, and I am lamenting my lack of vacation. I hope this semester won't be too crazy, because I know spring will be.
Do you like revising? What's your favorite part?
- Despite my outline, I changed course halfway through the novel in terms of how much of the Big Secret my main character knows. I decided he really did know one of the key pieces of information much earlier in the story, and had to edit out all his cranky responses to being left in the dark in later portions of the manuscript. Fun with continuity! This dilemma hasn't quite presented itself in this way before (it's always been more like mixed-up dates or similar), and now I'm paranoid that some motivation won't make sense where I missed a spot. This is where outside eyes are going to be helpful!
- Dropped a tiny subplot. It would have been interesting, but there were already a couple Big Ideas in the story and this wasn't adding too much. Had to untangle all the sections where I'd started to weave that thread.
- Although it was too long, it wasn't as long as previous manuscripts, and cutting spare words hasn't been too hard! It's still long-ish, but not epic fantasy long, and I am so grateful SF and fantasy can get away with longer word counts. I don't know how I could do anything in 80,000 words.
I had to add in a few pieces of information and worldbuilding, and still do need to find a place to insert one or two more tiny things. Overall I feel like this is one of the strongest first drafts of anything I've written, and I'm hoping my beta(s) will help figure out what needs to be patched now that I've rent so much of it. Should be finished with this second draft in a day or two!
In other news, my final (fingers crossed) year of grad school starts tomorrow, and I am lamenting my lack of vacation. I hope this semester won't be too crazy, because I know spring will be.
Do you like revising? What's your favorite part?
Tuesday, August 16, 2011
Applying fantasy lessons to real life?
This blog post reporting on Richert and Smith's study of whether children can apply lessons from fantasy stories to real life is fascinating, and certainly raises a lot of questions for those of us who write in that genre. Simply put, although kids can recognize the difference between fantasy and reality, and even between different fantasy worlds, they aren't able to transfer solutions from fantasy stories to real-world scenarios. They could transfer solutions from real-world stories to real-world scenarios, but even when the same solution was presented in a fantasy (such as pulling a rope to bring an object closer), they seemed to have a mental barrier to transferring the lessons from fantasy to reality. This inability was more strongly manifested in the children most engaged in fantasy, playing pretend, etc.
I could see these findings discouraging fantasy authors who want to encourage people to stretch their imaginations, and even being used against them by critics. I've heard many speculative fiction authors remark that they are drawn to genre writing because it offers them a unique opportunity to examine real-world problems in an interesting way, and that they hope readers will see real-world parallels and even take action battling some of these issues. In other words, they hope the veneer of fiction will help people see the problems in reality and begin working to apply solutions. Are these authors misguided in their hopes? Is there just no way their work can effect any sort of change, even if it is only change within the mind?
No, of course not! As interesting as these findings are, it's important to remember that this study only looked at three-to-five-year-olds, who are at an early point of their cognitive development. According to Jean Piaget, children at this age are in the preoperational stage, only just beginning to use symbols and haven't quite begun abstract thinking. This would seem to include the ability to see parallels between fantasy and reality and realizing there could be truths in the former. Once they develop more, it's likely they'll be able to connect the two and the goals of the adult fiction authors to whom I allude above will not be in vain. It's also important to realize this study is only looking at practical problems, not moral or ethical ones which are above the heads of most children that age in any context.
It'd be really interesting if the study could be extended to determine when that's likely to happen, though. Sure, there's plenty of cognitive theory to help us make a prediction, but concrete data to back it up sure is nice! Even though I'm aiming to write for adults, it's something interesting to ponder in the meantime. Though the study was looking at simple solutions to physical obstacles, children's authors may want to reconsider the way they impart lessons in their stories, if that's part of their aim in storytelling.
That's my semi-scholarly post for the day. Do you write for a child or adult audience? If you're aiming to teach lessons or offer solutions in your stories, do you think kids are likely to "get" them? And what about those of you, like me, writing for adults?
(Note: If you want to access Richert and Smith's article for yourself, find a library with a subscription to the journal Child Development. It's in volume 82, issue 4. I imagine most universities with an education or similar program will have it in their libraries, and many will allow outside patrons to browse their collections within the library. It's also possible your public library may have it!)
I could see these findings discouraging fantasy authors who want to encourage people to stretch their imaginations, and even being used against them by critics. I've heard many speculative fiction authors remark that they are drawn to genre writing because it offers them a unique opportunity to examine real-world problems in an interesting way, and that they hope readers will see real-world parallels and even take action battling some of these issues. In other words, they hope the veneer of fiction will help people see the problems in reality and begin working to apply solutions. Are these authors misguided in their hopes? Is there just no way their work can effect any sort of change, even if it is only change within the mind?
No, of course not! As interesting as these findings are, it's important to remember that this study only looked at three-to-five-year-olds, who are at an early point of their cognitive development. According to Jean Piaget, children at this age are in the preoperational stage, only just beginning to use symbols and haven't quite begun abstract thinking. This would seem to include the ability to see parallels between fantasy and reality and realizing there could be truths in the former. Once they develop more, it's likely they'll be able to connect the two and the goals of the adult fiction authors to whom I allude above will not be in vain. It's also important to realize this study is only looking at practical problems, not moral or ethical ones which are above the heads of most children that age in any context.
It'd be really interesting if the study could be extended to determine when that's likely to happen, though. Sure, there's plenty of cognitive theory to help us make a prediction, but concrete data to back it up sure is nice! Even though I'm aiming to write for adults, it's something interesting to ponder in the meantime. Though the study was looking at simple solutions to physical obstacles, children's authors may want to reconsider the way they impart lessons in their stories, if that's part of their aim in storytelling.
That's my semi-scholarly post for the day. Do you write for a child or adult audience? If you're aiming to teach lessons or offer solutions in your stories, do you think kids are likely to "get" them? And what about those of you, like me, writing for adults?
(Note: If you want to access Richert and Smith's article for yourself, find a library with a subscription to the journal Child Development. It's in volume 82, issue 4. I imagine most universities with an education or similar program will have it in their libraries, and many will allow outside patrons to browse their collections within the library. It's also possible your public library may have it!)
Tuesday, August 9, 2011
Sequelitis #3: Now it's a trilogy
Sequelitis #3 is dedicated to VORTEX, which completes the trilogy started by one of my favorite novels of all time, SPIN, by Robert Charles Wilson. As always, beware of spoilers, and if you haven't read SPIN, go do it!
Alright, some background. SPIN came out in 2005 and blew me away. It had an amazing high concept premise about a mysterious alien force (the Hypotheticals) that enclosed Earth within a membrane that seemed to slow time down. For every second that passed on Earth, several years passed in the rest of space. The story was told from the perspective of a twelve-year-old boy who witnessed the stars go out (when the membrane went up), and follows him and his two friends over the next forty years of their lives as Earth faces its imminent doom from the expanding Sun. AXIS followed a few years later, and very much felt like a bridge between the first and last books. It featured a new set of primary characters, with an appearance by one of the originals from SPIN, and though good, did not capture me quite the same way.
VORTEX continues with the third-person narrative and alternates between storylines, one on Earth centered around a social worker and a cop investigating a young man who may have channeled a story from the future, and one being that story, featuring one, and then later a second, of the primary characters from AXIS. Both stories were interesting, but seemed more like Slices of Life from the Spin Era. It's clear the two storylines are connected via Orrin, the man channeling the story from the future, but I couldn't be sure how, nor how this is connected to the Hypotheticals. In fact, for a long time, it seems as if Wilson is not going to give us the ultimate answer as to who the Hypotheticals are or why they've done what they've done. He repeats things we knew from the previous books, such as that the Hypotheticals saved mankind, in essence, by allowing humans to expand to other worlds just when they were reaching the point of overwhelming their own, but why? In the end, I was reading this book for the why, and after a while I was scared Wilson would never quite explain it, in a they-don't-know-so-we-don't-know way. No matter how interesting the world-building was, especially of the future world, my attention was a bit dampened by my anticipation.
The last 10% of the book makes up for it, though.
Wilson forges a firm connection between the two storylines with prose that reaches the beautiful heights of SPIN and answers every question the reader could have. We learn the basic history of the Hypotheticals, how they've expanded, their reasoning and goals. Through it all, Wilson does a deft job of presenting the Hypotheticals as they are: mechanical, unfeeling, alien. They do not save us because they love us or want us to join their galactic federation. They're practical and remote, and yet the explanation of their reasoning is satisfying. The science is plausible and well thought-out, which is sure to delight fans of the hard science side of the first book.
But it isn't all apathy. We learn the ultimate fate of the universe in a sequence that is touching and a bit sad, but serene. At the same time, a tragedy that could have befallen several of the characters is dealt with in a way that is emotionally fulfilling without being cloying. It's delicately balanced, Wilson at a high point. I found myself more moved than I expected, especially since I'd spent so much of the book waiting to get to this point. This was what I wanted, and I'm so glad and grateful that Wilson delivered, even if he delayed my gratification until the last possible moment.
This book is a worthy read, although new readers should probably pick up the first two before diving in to this one. SPIN is still the best of the three, and quite possibly the high point of his career thus far, but VORTEX is a fitting end to the saga. Be aware that the answers are a long time in coming, though they will be there, and enjoy the ride.
Alright, some background. SPIN came out in 2005 and blew me away. It had an amazing high concept premise about a mysterious alien force (the Hypotheticals) that enclosed Earth within a membrane that seemed to slow time down. For every second that passed on Earth, several years passed in the rest of space. The story was told from the perspective of a twelve-year-old boy who witnessed the stars go out (when the membrane went up), and follows him and his two friends over the next forty years of their lives as Earth faces its imminent doom from the expanding Sun. AXIS followed a few years later, and very much felt like a bridge between the first and last books. It featured a new set of primary characters, with an appearance by one of the originals from SPIN, and though good, did not capture me quite the same way.
VORTEX continues with the third-person narrative and alternates between storylines, one on Earth centered around a social worker and a cop investigating a young man who may have channeled a story from the future, and one being that story, featuring one, and then later a second, of the primary characters from AXIS. Both stories were interesting, but seemed more like Slices of Life from the Spin Era. It's clear the two storylines are connected via Orrin, the man channeling the story from the future, but I couldn't be sure how, nor how this is connected to the Hypotheticals. In fact, for a long time, it seems as if Wilson is not going to give us the ultimate answer as to who the Hypotheticals are or why they've done what they've done. He repeats things we knew from the previous books, such as that the Hypotheticals saved mankind, in essence, by allowing humans to expand to other worlds just when they were reaching the point of overwhelming their own, but why? In the end, I was reading this book for the why, and after a while I was scared Wilson would never quite explain it, in a they-don't-know-so-we-don't-know way. No matter how interesting the world-building was, especially of the future world, my attention was a bit dampened by my anticipation.
The last 10% of the book makes up for it, though.
Wilson forges a firm connection between the two storylines with prose that reaches the beautiful heights of SPIN and answers every question the reader could have. We learn the basic history of the Hypotheticals, how they've expanded, their reasoning and goals. Through it all, Wilson does a deft job of presenting the Hypotheticals as they are: mechanical, unfeeling, alien. They do not save us because they love us or want us to join their galactic federation. They're practical and remote, and yet the explanation of their reasoning is satisfying. The science is plausible and well thought-out, which is sure to delight fans of the hard science side of the first book.
But it isn't all apathy. We learn the ultimate fate of the universe in a sequence that is touching and a bit sad, but serene. At the same time, a tragedy that could have befallen several of the characters is dealt with in a way that is emotionally fulfilling without being cloying. It's delicately balanced, Wilson at a high point. I found myself more moved than I expected, especially since I'd spent so much of the book waiting to get to this point. This was what I wanted, and I'm so glad and grateful that Wilson delivered, even if he delayed my gratification until the last possible moment.
This book is a worthy read, although new readers should probably pick up the first two before diving in to this one. SPIN is still the best of the three, and quite possibly the high point of his career thus far, but VORTEX is a fitting end to the saga. Be aware that the answers are a long time in coming, though they will be there, and enjoy the ride.
Thursday, August 4, 2011
Book recs get me high!
Title says it all. Fewer things give me a bigger high than recommending books to people. I'm passionate.
Tuesday, August 2, 2011
Comic-Con = free books from awesome publishers!
Comic-Con is one of the few conventions that still seems to be giving away books by the truckload. Giving away. Free. I stalked by the publisher booths a few times for various signings (most of which provided free books) and picked up all sorts of things I didn't expect. From major publishers! Whereas the vendor booth down the aisle was selling books for list price, I scored a few upcoming releases from the publishers just because they saw me perusing their selections and taking out a pen to write down titles for later. This doesn't happen at every convention, either! Never assume, but if you're a book nerd and get the chance to go to something with lots of publishers, bring a big bag just in case.
In return, I'll try to post at least short reviews once I read these titles, although my to-be-read list is quite long and I'm not sure when I'll get to all of them. I still want to continue my Sequelitis reviews, too, as well as post about WRITING. (Revising the last novel right now, so there's not too much to report on that front just yet.)
Honestly, I can't imagine how much these publishers have to pay to do this every year. Not only are the booths expensive, but they give out boxes of free books as well as book bags, posters, pins, and various other swag. But their goal is ultimately promotion, and that's why most of the books are either first-of-series or upcoming debuts, and I figure a little blog post here and there can't hurt, and might even help someone's career a little bit. It'll be fun!
...I'll miss my Kindle, though. The one negative about big, free books is that I still have to carry them around.
In return, I'll try to post at least short reviews once I read these titles, although my to-be-read list is quite long and I'm not sure when I'll get to all of them. I still want to continue my Sequelitis reviews, too, as well as post about WRITING. (Revising the last novel right now, so there's not too much to report on that front just yet.)
Honestly, I can't imagine how much these publishers have to pay to do this every year. Not only are the booths expensive, but they give out boxes of free books as well as book bags, posters, pins, and various other swag. But their goal is ultimately promotion, and that's why most of the books are either first-of-series or upcoming debuts, and I figure a little blog post here and there can't hurt, and might even help someone's career a little bit. It'll be fun!
...I'll miss my Kindle, though. The one negative about big, free books is that I still have to carry them around.
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