Thursday, June 18, 2015

Don’t Look Back Now...

            Okay, I’m still trying to get caught up on things after a whirlwind of publicity stuff for The Fold.  And to be honest, the storm flags are still blowing a bit.  So I just wanted to offer some quick advice on drafts.  Specifically, how to approach my first draft.
            As I’ve mentioned here a few times before, I tend to treat my first draft as the "just finish it" part of writing.  I just want to get it done with a beginning, an end, and the majority of points in between.  I also don't hold back.  I let dialogue, descriptions, and action scenes run on a bit longer than they probably should.  A lot of it’s not perfect, but I know I'll start cutting in the next draft or two, so there's no reason to worry about length now.  The most important thing is to get the overall framework done.  Personally, I find it's a lot easier to deal with the small things when the big things aren't looming over me.
            A lot of folks I’ve talked to try to do this, but they get caught in early-editing mode.  Ten pages in and they’re going back to edit, or rethink a character, or to tweak the structure.  Forward motion crashes to a halt because the writer’s spending all their time looking back.
            Now, in all fairness, a few people can do this and it works fine for them.  It’s how Kevin Smith writes.  He goes in blocks of ten or twelve pages, writing, rewriting, and polishing until they’re done.  Then he moves on to the next ten. 
            If you’re one of the folks who can do this, power to you.  But in my experience, with all the writers I’ve talked to over the years, those folks are a rarity.  Most of us, alas, have to go through the whole thing, then go through it again.  And again.
            So, if you’re one of us, too, here’s my quick piece of advice.
            Don’t look back.
            When working on a first draft, I can read the page I left off on.  That’s it. If I stop halfway through the page, I can look at the top half before I start writing again.  That’s it.  If I ended at the top of a page, too bad.
            If I close the document, I’ll make a note somewhere else of what page I was on.  When I reopen it, I go right to the page I left off on.  No slow paging through the document.  Get back to where I left off and start writing again.
            Under no circumstances while writing will I hit the up arrow or page up or push the scroll bar.  None of that.  Not even to go up to the last paragraph.  No corrections, no re-reading, no going back to adjust. I don’t go back to fix typos or formatting or anything.  This draft moves in one direction and it doesn’t stop moving in that direction.
            I do not stop.  Ever.  Until it is done.
            This is an adjustment, yes.  And a very tough one.  It might not work for everyone.  But I’ve tried it twice now and found it helps. There’s a lot of stuff to clean up, yeah, but I’m getting to the clean up stage a lot faster than I would normally.
            Y’see, Timmy, forcing myself to only go forward means I’m forcing myself to write.  I don’t get to rethink yesterday’s work or tweak that first encounter or even double check if I usedthe right spelling of prophesy (I didn’t, but it doesn’t matter in a first draft).  I just write until the first draft is done.
            So try going forward.  Only forward. Never back.  Not one line.
            Next time, by popular demand from my fan page, we’re going to talk a bit about screenwriting, clan wars, and hunting.
            Until then, go write.

Friday, June 12, 2015

Another Chapter Comes to a Close...

            Many thanks for your patience. The past week has been an amazing ride for me, traveling up and down the west coast, meeting a few hundred people, and signing a few hundred books.  And losing a few hundred strands of hair...
            Also, if you took part in the pre-order promo for The Fold, word on the web is that galley copies are starting to land.  Hopefully you got one and can now use it as the teaching example it was always intended to be.
            But enough about me and my book.  Let’s talk about you and your book...
            A few weeks back I opened the floor for suggestions (it’s always open, but I just pointed out all the space on the dancefloor) and a good double-handful of ideas came in.  This week’s little rant comes from one of them.  And it’s a good topic I wish I’d thought of before.
            The question was about endings.  More specifically, chapter endings.  How do I find the right moment to end a chapter without it feeling either dragged out or cut off in mid thought?
            Clive Cussler (author of Raise the Titanic and many, many others) commented years back that chapters should be like potato chips.  Each one should be easy to digest and leave you wanting another one.  That was a great rule that stuck with me early on, and I’ve tried very hard to follow it ever since.
            So, here are a half dozen places in a story  I’d usually pick to end a chapter on.

A question—These moments make great chapter endings.  Sometimes the question’s asked out loud, sometimes it’s implied.  When a what/how/why moment comes up in my story, it’s going to make people want to turn the page in the hopes of learning the answer.  So that’s a great place to end a chapter.
            Keep in mind, though, this only works if there’s a real question and the reader doesn’t know the answer.  Whether or not the characters know is irrelevant (I’m the writer, I can make them go to the next chapter with very little effort).  If this question is already answered or the answer is painfully obvious, it’s not a great place to end.  If I’m writing the novelization of Jurassic World. “Wait, there are dinosaurs on this island?” isn’t a great stopping point.

A big reveal—The flipside of the above.  Getting a long-sought answer can be powerful, especially if it’s going to affect what happens next in my story.  Even if it’s not an answer, revealing a solid, key bit on information can give a moment a lot of weight and make it a great place to pause.  When I tell you “the dinosaurs have gotten loose,” that’s a big moment that’s going to change everything from here on in.
            Again, though, this one will only work for me if it’s an actual reveal.  Vague responses and fuzzy reasoning don’t make for good answers, in real life or in a novel.  Neither do answers we already know.  If I try to dramatically reveal that California is on the west coast of the U.S., that’s not going to do much for anyone.

A big twist—Similar to the reveal but not the same.  I’ve talked about the difference between mysteries and twists a few times in the past, so I won’t go into that again here.  A twist is a fantastic moment for me to end a chapter because it’s very nature means everything’s going to change.  My readers will go to the next chapter just to see the fallout from a good twist.
            I need to be very clear, though, on what a twist is and how it works in my story.  If I fumble it, either with my reveal or what I’m revealing, it’s not going to have any weight or ramifications. Which means my readers have no reason to turn the page. 
           
A big setback—Any story’s going to have its ups and downs. When my character gets his or her feet kicked out from under them, deliberately or accidentally, the reader wants to know how that character’s going to recover.  Are they going to stay down?  Fight back?  Come at
things from a new angle?  I need to turn to the next chapter and find out!
            The catch for this one (there’s a lot of catches on these, have you noticed?) is that I need to have either a good solid character or a really compelling plot for this to work.  If my reader doesn’t care about the stakes—either internal or external—they’re not going to care when my characters fail.

A big leap forward—The flipside to the setback.  When my characters find the hidden button, manage to make it past the security system, or get the power running to the velociraptor fences again, this is an achievement.  We can all pause for breath, and that’s a good time to roll things over into the next chapter.  There’s a natural break there, and I should take advantage of that existing rhythm.
            Again, though...I need strong characters or plot for this to work.  I also need to be aware of what’s going to be seen as a leap forward.  Sharpening a pencil or avoiding a sleeping guard are not big accomplishments, so my readers won’t feel that need to pause for a breath.

A cliffhanger—The classic.  I just stop right in the middle of things, right as the action is kicking into high gear.  My antagonist pulls the trigger, the T-Rex gets me cornered in the museum, or the zombies spin around when I accidentally step on a branch.  These are moments when the reader must know what happens next.  And if the next chapter is there, the reader will go to it.
            The catch here is that the reader needs to care about my characters.  If not, there’s no tension when I put said character into that dangerous spot.  It’s like me telling you someone’s in danger.  You care in a sort of abstract way, but how often are you going to ask a follow-up question?

            So, there’s six solid ways to end a chapter.  Each one’s got a slightly different flavor and works better in different situations.
            However, going over this list, there’s sort of a glaring issue, isn’t there?  What if my story doesn’t have any of these things?  What am I supposed to do if I’m a hundred or so pages in and I haven’t had a big setback, or a reveal, or asked any questions?
            Well, my first thought would be... why don’t I have any of these things?
            A while back I did a big block of posts about structure.  As I mentioned above, every story’s going to have ups and downs.  There will be unanswered questions, revealed answers, challenges, and successes.  It doesn’t matter if I’m writing a torrid period romance, a sci-fi space epic, or an apocalyptic horror novel.  Every story is going to have these moments. They’ll take different forms, but they will always be there.
            Y’see Timmy, if those moments aren’t there... well, my story has bigger issues than figuring out where chapter breaks should be.  In fact, this probably is part of the reason I can’t figure out where chapter breaks should go.  Without these highs and lows, my story’s just going to be a drab, monotone mess.  And it’s impossible to place breaks in something like that because it’s all the same.  There aren’t any landmarks that stand out.
            So I need to make sure I have something that can be broken up. And then I can break it up.
            Next time, I might offer a few quick tips on drafting.
            Until then, go write.

Thursday, June 4, 2015

Shameless Self-Promotion Post

A quick apology for missing the past few weeks.  Real life intrudes at the most inopportune times.  I had some rewrites that had to get my attention, and then... well, I had a big book release.  With all the before-press and during-press (going on right now) that entails

Speaking of which, if you'll forgive me, I was going to do a quick bit of shameless self-promotion.  My first hardcover came out on Tuesday. It's called The Fold, and it's sort of a sci-fi/mystery/thriller with a strong horror element.  More or less.

It's got a ton of praise from people like Bram Stoker Award winners Joe McKinney (Dead City) and John Dixon (Phoenix Island), Chuck Wendig (Blackbirds), Mira Grant (Feed and Parasite), Wesley Chu (Lives of Tao), DJ Molles (the Remaining series), and Andy Weir who wrote a book called The Martian.  Heck, even the Kirkus Review liked it and I'm told they're really picky when it comes to giving good reviews.

If you happen to live in California, I'm in the middle of doing a bunch of signings (which is why there's no ranty blog this week).  I’ll be scribbling in books at 7:00 tonight (Thursday, June 4th) at Borderlands Books in San Francisco, and then at Dark Delicacies in Burbank on Saturday, June 6th around 2:00 pm.  Plus on Sunday I'll be down at Mysterious Galaxy in San Diego for the Writer's Coffeehouse

And then, back here we I may talk about chapters and cliffhangers, or maybe about...