Oh, come on, you fantasized about the glamour, didn't you? When you first harbored those secret desires to be a writer, you pictured yourself in a little villa in the south of France, maybe? A woodsy cabin by a New England lake? At least an oh-so-romantically seedy flat in a major metropolitan area?
And there were the afternoons in Paris cafes. Jetting off to tropical climes to do a little deep sea fishing or big game hunting. Or maybe you'd get to solve crimes like TV's Jessica Fletcher or Richard Castle.
Thing is—have you ever seen those TV and film novelists actually writing books? Of course not. For the same reason they don't have TV shows about watching paint dry.
As Ruth Harris shows us this week, a lot of real writers' lives are pretty boring. And living with us can be kind of a pain. But she's found a few who have some exciting tales to tell...
DANGER: Writer at Work
by Ruth Harris
Anyone who has ever lived with a writer knows it ain’t easy.
Moody? Check.
Preoccupied? Check.
Cranky, quirky, obsessive, prone to long silences and short bursts of typing? Ditto.
And those are only the subclinical descriptions.
We kill people, make them miserable, give them impossible challenges, break their hearts, subject them to rainy days and stormy nights, vicious enemies, terrible wardrobe choices and soul-shriveling bad hair days not to mention fires, floods, avalanches and tornadoes. We do nothing but cause trouble and then pile on more. We’re dangerous for sure.
But what goes on behind the scenes? Are our own lives as dramatic and crisis-ridden as our characters? Do we live on the wild side? Do we battle zombies and assassins? Are our love lives as passionate as the characters we write about? I asked a few writers to confess their quirks, their routines, their oddball habits.
Some of us (Michael and me definitely included) are—there’s no other way to put it—b-for-boring. We stick to a regular routine, sit at our computers and beaver away. We’re soooo boring we’re not even competitive about it although Vanessa Kelly, bestselling author of Regency romance, claims she and her DH, Randy—they write romantic suspense as VKSykes—are THE most boring writers on the planet.
“We both write in our offices on our computers, and I sometimes write on my Alpha Smart. The only thing I’ll sometimes do is take notes or write when we’re driving in the car somewhere – Randy is doing the driving! We will brainstorm together when we go for a walk, but that’s about it. All the quirkiness seems to go on in our heads!”
Anne R Allen says: “I’m at the keyboard at 8:30 every morning, seven days a week, with a big cup of English Breakfast tea with almond milk and Stevia. If I'm writing something with an urgent deadline, I ignore the Internet entirely. Sometimes I ignore the entire world. For long periods. I remember one time going outside after a long intense writing session and wondering what weird weather pattern was going on now--all the trees were blossoming, and here it was November. Then I realized no: my book was set in November. In the real world, it was April.”
Mark Chisnell, thriller writer extraordinaire, is much more adventuresome. He races yachts and climbed halfway up Mount Everest in sneakers(!). “I work normal hours and I have a grown-up office with a desk, book shelves, filing cabinets but I wasn't always so organized. I wrote and rewrote my first novel,THE DEFECTOR, in a multitude of strange places, but the early draft was done in the South of France. It sounds idyllic and very Graham Greene, but I had gone down there to work for a magazine that went bust. So I was trapped in a rental agreement I couldn't escape, with no job and very little money in the bank.
"I wrote the novel to make the best use of a very bad situation, but circumstances had a lot in common with the freezing garret of legend. There was no desk in the room, so I improvised by using a chest of drawers—awkward as there was no gap for the knees. It was winter and the building was designed for summer residence, with thick brickwork to keep it cool, and no heating; every hour or so I would have to go outside to warm up enough to keep my fingers mobile and typing. I remember that the only time I was truly warm in that place was in the bath. I finished the novel just as I escaped the lease and fled back to England.”
DDScott, bestselling rom-com author and founder of WG2E, doesn’t fool around with English Breakfast tea: “I do luuuvvv to write in cocktail lounges while I'm enjoying Happy Hour. I actually fill my cocktail napkins with tons of ideas then take 'em home and slip 'em into a special box just for that very thing. Then, when I need an off-the-wall, over-the-top idea, I know just where to look. :-) Martinis and other such fabulous glasses full of liquid courage make for killer muse therapy!!!”
Some, like Claude Nougat, founder of a Goodreads group devoted to Baby Boomer fiction, even break the law. “I had a light bulb placed over the bath tub, thus going against every law in Italy (apparently it's unsafe to place a bulb there!!) because I used to love to read in the tub! I did try to take notes while I was in my bathtub but I had no pen and had to get out, dripping wet and cold, to get it. I slipped on the mat coming back into the tub. I slid into the (by now tepid) water but managed to splash some water drops on the paper, making half of it unusable. I tried to write but having forgotten to take along a slate or something hard, I couldn't do it. Just a couple of miserable squiggles. So I had to hold it up against the wall to try and write. More water seeped into the paper, leaving me no place to write anything beyond three or four words.
“By then, exasperated, I got out having thoroughly forgotten what I wanted to write. Yes, I hate bathtubs!”
In addition to Claude, the law-breaker, DD, the lounge lizard, and Mark, the broke and freezing writer who had better experiences in the bathtub than Claude, Roy Street, who writes Daphne du Maurier-award winning romance, mystery/suspense and paranormal genres with his wife Alicia, also lives—and writes—dangerously.
“Alicia and I like to keep physically active while we write, taking frequent breaks for things like push-ups or jogging in place. Having been a pro dancer, Alicia keeps a portable barre in the study where she works.
“I prefer shadow boxing. When we were working on a novel that featured a boxer I decided to up the ante to deepen the ‘show-don’t-tell’ aspects. I asked my friend Aubrey, who was an ex-pro boxer, to come over and spar with me. Not only did he graciously oblige, but he knocked me out. Fortunately, it took only a handful of minutes for me to revive and, yes, return to my keyboard. Loaded with inspiration . . . and a sore jaw.”
So, Scriveners it's YOU TELL US time: What are your writing quirks? Have you ever broken the law, gotten knocked out, or frozen in the South of France? Or are you just…sorry, but I don’t know how else to say this…the b word like Vanessa, Randy, Anne and Ruth?
We have 5 Opportunity Alerts this week:
#1 Tech-Savvy Author Workshop: If you live on the Central Coast of California and you’re interested in learning about blogging, building platform and everything a 21st Century author needs to know, Anne will be teaching at a seminar called THE TECH SAVVY AUTHOR with Catherine Ryan Hyde, screenwriter and radio personality Dave Congalton and a whole crew of smart techie folks on March 2nd.
#2 Interested in having your short fiction recorded for a weekly podcast?There’s no pay, but it’s fantastic publicity if your story is accepted by SMOKE AND MIRRORS. They broadcast about three stories a week. Spooky, dark tales preferred. No previous publication necessary. They judge on the story alone.
#3 Cash prizes for flash fiction. The San Luis Obispo NIGHTWRITERSare holding their annual 500-word story contest. Anybody from anywhere in the world is welcome to enter. Prizes are $200, $150 and $75. This is a fantastic organization that boasts a number of bestselling authors among their members, including Jay Asher, Jeff Carlson, and moi. (Well, some sell better than others :-) ) Deadline is March 31st.
#4 $3500 Grand Prize for literary short fiction. NO entry fee. The deadline for the Chicago Tribune's Nelson Algren Contest for short fiction is February 1st.
#5 $2000 Grand Prize. NO entry fee. Call for Entries—The Flying Elephants Short Story Prize, sponsored by "Ashes & Snow" artist Gregory Colbert. ::: AndWeWereHungry, a new online literary magazine, seeks literary short stories for its debut issue fiction contest. THEME: "And We Were Hungry....," or "Hunger." For isn't it, to quote Ray Bradbury, hunger or "lack that gives us inspiration?" Prize: One grand prize ($2000) + three finalists (each $1,000) + eight runner-ups. Deadline: March 31, 2013.
Showing posts with label WG2E. Show all posts
Showing posts with label WG2E. Show all posts
Update: I'm so pleased this post has had thousands of hits over the last year and is energizing so many writers to take up short fiction. But I fear a number of readers don't read the whole piece and assume I'm telling newbie writers to self-publish their first efforts at story-writing.
Please don't do this.
Here's what I say further down in the piece. "I’m NOT advocating that new writers self-publish your fledgling short fiction. A few self-pubbed singles by a brand new writer won’t get anybody’s attention. (And they may embarrass your future self.) To succeed in publishing—whether self- or traditional, you really need to put in your 10,000 Malcolm Gladwell hours."
Seriously. Reviewers can be brutal. Don't put yourself through that. Learn to write first. It's way harder than it looks. Take classes. Get critiques. Fail miserably and try again. It's what we all do.
You don't expect to play in a major tournament the first time you pick up a golf club and you don't drive in a NASCAR race the day you get your learner's permit. Give yourself some time to fail in private. Failure is how we learn, but we don't need to do it in the public marketplace.
What—short stories? Aren’t they just for writing classes? Why would I waste time on stuff that doesn’t pay?
Because it does. And this isn’t an April Fool joke.
Last week Amazon announced it has sold over two million “Singles” ebooks since the launch of their Singles program a little over a year ago. Yeah. 2 MILLION.
The short stories sell for between $. 99 and $1.99 and the authors keep a 70% royalty. Many of the top sellers are by name authors, like Lee Child, Stephen King, and Jodi Picoult, but others are by unknowns, according to Kindle Singles editor David Blum. (The 70% royalty is only for official Kindle Singles. If you self-pub, anything sold under $2.99 gets a 35% royalty.)
But this is where you should be doing a happy dance and shouting from the rooftops: THE SHORT STORY IS BACK! This is nothing but good news for authors no matter where you are in your career.
After three or four decades of evaporating markets, the short story has found a new home in the ebook.
OK, we’re not reliving the halcyon days of the mid-20th century when short fiction in weeklies like The Saturday Evening Post paid more than the average book advance does today. But short fiction fits the ADD-attention-span lifestyle of the E-age, and people are willing to pay for it. (Which is yet another reason NOT to give away your fiction on your blog.)
I think it’s time for all fiction writers to start re-thinking the short form. Personally, I know I haven’t spent enough time on it. During the decade I spent writing and re-writing my “practice novel” I could have been building an inventory of short pieces that would be a gold mine now.
Unfortunately, most novice writers I know are still doing the same stuff I did. They’re putting all their energy into book-length fiction or memoir and not bothering with short pieces, except maybe for a flash fiction contest or special event.
In fact, I visited a critique group not long ago where one writer complimented another with the misguided advice that he shouldn’t “waste” his crisp little story—he should turn it into a novel.
In other words, she was telling the writer that instead of sending a 10,000 word short story to Amazon to sell for 99 cents, he should spend two years turning it into a 100,000 word novel, which he could sell on Amazon for…um, 99 cents. (OK, not all self-pubbed ebooks are priced that low, but even at $4.99, the bottom line news isn’t good for the author. Especially if he puts money into editing and design.)
Of course, back in the Jurassic days when I started writing, that critiquer’s advice would have been perfectly sound. In the 1990s, most magazines had stopped publishing fiction and short stories had all but disappeared from the publishing world. Mega bookstores were in their heyday: book-length fiction was happening.
So aspiring authors were told to keep our eyes on the big prize and put our energy into churning out novels in the popular genres like chick lit, cozy mysteries, and family sagas.
I’ve amassed quite a collection of half-finished books in those genres—all sadly out of fashion now. But if I had been writing short stories instead, I could be raking in the dough. (Not that any time spent writing is wasted. Everything we write improves our craft.)
But I didn’t feel drawn to writing short stories. I write genre fiction. Back then, short stories were expected to be literary. Yes, there were still some paying gigs for genre stories in super-competitive markets like Women's World, Asimov’s and Ellery Queen.
But mostly we were urged to write enigmatic tales of suburban angst and send them off to collect rejection slips from literary journals with a circulation of 26 and names like Wine-Dark Snowflakes of the Soul, or The Southeastern Idaho Pocatello Community Colleges North Campus Literary Review. All with the hopes we’d finally be rewarded with publication and payment of one free copy.
But ebooks have changed all that. Not just because of Kindle Singles. Short story anthologies are springing up all over. They don’t all pay, but if you can get a story into an anthology with some well-known authors in your genre, you’ll be paid in publicity that would be hard to buy at any price.
I’ve been offered a number of opportunities to publish fiction in anthologies this year that have really paid off. The Saffina Desforges Coffee Collection reached #1 on the anthology bestseller list as soon as it was released last December, and the Indie Chicks Anthology (which sent its profits to charity) has been a steady seller for six months—and now that it’s free it’s topping a whole lot of lists. Plus I look forward to having a story in the rom-com Martini Madness anthology coming next winter with the fabulous ladies from WG2E .
I’m not advising anybody to ditch that magnum opus—most novel writers get frustrated when forced to write exclusively in the short form. But I’m saying it makes sense to put an equal amount of energy into shorter pieces.
Instead of putting every idea that illuminates your brain into your novel, give a few of them a spin in short stories first.
A few months ago on this blog, legendary mystery author Lawrence Block wrote about his success with self-publishing his inventory of short stories, and a few months before, Sci-Fi bestseller Jeff Carlson wrote about his success self-publishing a novella. It shot to number one in SciFi with no help from his agent or Big Six publisher.
Instead of putting every idea that illuminates your brain into your novel, give a few of them a spin in short stories first.
A few months ago on this blog, legendary mystery author Lawrence Block wrote about his success with self-publishing his inventory of short stories, and a few months before, Sci-Fi bestseller Jeff Carlson wrote about his success self-publishing a novella. It shot to number one in SciFi with no help from his agent or Big Six publisher.
But you don’t have to be accepted at Kindle Singles or have a famous name to benefit from publishing short-form ebooks. Consider the following things I heard this week:
1) A bestselling author decided to put some of her old stories on Amazon. As an experiment, she didn’t use her famous name. She told me she made about $500 on them last month. These were works she was told “had absolutely no commercial value.” But she put them out there, “in case someone was interested.” It seems they were—because “in spite of absolutely no promo...people are finding them and buying them.”
2) An indie writer wrote me with this advice: “unless you have a break-out success with a novel, [the short story] is probably more lucrative as a return on time invested. I can make as much per sale on a ten page short story as on a 120,000 word novel.” And I know many indies who use a short piece as a free download to introduce readers to their work.
3) My editor wrote that one of his authors recently self-published a short piece she wrote on a plane and “writing, formatting, cover, etc. took less than a day.” It got 6500 downloads in the first week.
So the magic formula for writers right now might be “less is more.”
I do want to stress that the above writers are all successful, published novelists with hard-earned expertise in their craft.
So I’m NOT advocating that new writers self-publish your fledgling short fiction. A few self-pubbed singles by a brand new writer won’t get anybody’s attention. (And they may embarrass your future self.)
To succeed in publishing—whether self- or traditional, you really need to put in your 10,000 Malcolm Gladwell hours.
But you can maximize your efforts by putting more of those hours writing short fiction. When it’s time to make your professional debut, you’re going to have some serious inventory.
If you’re still unconvinced, consider that short fiction is much easier to adapt for the screen than novels. The following films began as short stories: A View to a Kill; The Birds; Breakfast at Tiffany's; Brokeback Mountain; Children of the Corn; The Curious Case of Benjamin Button; The Dead; Don Juan DeMarco; Don't Look Now; Double Indemnity. (And that’s just from the A-D list on Wikipedia.)
The best thing is that while you're getting yourself established, you don’t have to keep those stories in a drawer. One of the great things about short fiction is that it’s re-usable. Most zines and journals only ask for first rights (And be very careful with the ones who want more.)
Gone are the days when those obscure college literary journals were the only game in town. New zines are springing up all the time, and there are contests everywhere online—some even have cash prizes. (I suggest subscribing to C. Hope Clark’s newsletter, Funds for Writers for vetted info on contests.)
Contest wins and credits for a few stories published in some good online zines look very nice in a query letter or bio, too.
So forget the so-last-millennium advice to concentrate on novels. Polish those short pieces and prepare yourself for a 21st century audience.
Even if you’re unpublished and have a long way to go before you publish your first novel, I suggest taking time to work on some stories and build your inventory. And I recommend you enter a few contests and submit to those zines. You might just win something.
2) An indie writer wrote me with this advice: “unless you have a break-out success with a novel, [the short story] is probably more lucrative as a return on time invested. I can make as much per sale on a ten page short story as on a 120,000 word novel.” And I know many indies who use a short piece as a free download to introduce readers to their work.
3) My editor wrote that one of his authors recently self-published a short piece she wrote on a plane and “writing, formatting, cover, etc. took less than a day.” It got 6500 downloads in the first week.
So the magic formula for writers right now might be “less is more.”
I do want to stress that the above writers are all successful, published novelists with hard-earned expertise in their craft.
So I’m NOT advocating that new writers self-publish your fledgling short fiction. A few self-pubbed singles by a brand new writer won’t get anybody’s attention. (And they may embarrass your future self.)
To succeed in publishing—whether self- or traditional, you really need to put in your 10,000 Malcolm Gladwell hours.
But you can maximize your efforts by putting more of those hours writing short fiction. When it’s time to make your professional debut, you’re going to have some serious inventory.
If you’re still unconvinced, consider that short fiction is much easier to adapt for the screen than novels. The following films began as short stories: A View to a Kill; The Birds; Breakfast at Tiffany's; Brokeback Mountain; Children of the Corn; The Curious Case of Benjamin Button; The Dead; Don Juan DeMarco; Don't Look Now; Double Indemnity. (And that’s just from the A-D list on Wikipedia.)
The best thing is that while you're getting yourself established, you don’t have to keep those stories in a drawer. One of the great things about short fiction is that it’s re-usable. Most zines and journals only ask for first rights (And be very careful with the ones who want more.)
Gone are the days when those obscure college literary journals were the only game in town. New zines are springing up all the time, and there are contests everywhere online—some even have cash prizes. (I suggest subscribing to C. Hope Clark’s newsletter, Funds for Writers for vetted info on contests.)
Contest wins and credits for a few stories published in some good online zines look very nice in a query letter or bio, too.
So forget the so-last-millennium advice to concentrate on novels. Polish those short pieces and prepare yourself for a 21st century audience.
If, like me, you can’t kick your book-writing habit, try writing a short piece about a secondary character in your WIP. It’s a great exercise for exploring your character’s backstory, and once your novel is published, it can benefit you in lots of ways:
- It could make you a nice chunk of change as an e-single.
- It might go into an anthology where it could get you new readers.
- You can offer it as a free download for some inexpensive publicity.
- Hollywood might come calling. (Hey, you never know...)
Even if you’re unpublished and have a long way to go before you publish your first novel, I suggest taking time to work on some stories and build your inventory. And I recommend you enter a few contests and submit to those zines. You might just win something.
“Award-winning writer” has a nicer sound than “unpublished novelist,” doesn’t it?
********
What about you, scriveners? Do you write short fiction? Have any of you had success with singles? We’d love to hear about it.
INDIE CHICK FANS: The Indie Chicks Anthology is now FREE and topping the freebie charts in memoir and fiction anthologies. And Indie Chicks are going places! Lizzy Ford just gota great review in USA Today , and Shea McLeod just signed a three book deal with Amazon’s new romance imprint, Montlake. You can read this week’s inspirational piece from YA author Julia Crane is here.
Ruth Harris is guesting at Romance University this week. Check out her great post on what makes a hero sexy .
Ruth Harris is guesting at Romance University this week. Check out her great post on what makes a hero sexy .