If you haven’t yet, check out my interview with fellow author and MWA member M. J. Patrick! Many thanks M. J. for this opportunity!
My latest guest appearance on the blog of the amazing author Sharon Ledwith, where I discuss the importance of self-confidence for writers, and dealing with self-doubt:
Many thanks to Sharon for this opportunity! I highly recommend her blog for all you writers and readers out there.
One has a story in mind, and wants to tell it well. It then becomes a question of how you want to tell it. I’ve learned there’s more than one way to write a novel. In fact there are many, and like all details run the risk of being overthought or overdone. Sometimes one can get so worried about them it leads to writer’s block and one cannot move forward, sort of like when when choosing a book title or character name. These are among the first details to choose at the beginning. Yet at other times, they seem to manifest themselves and/or change in the process.
One of the first questions that comes to mind is whether to write in first person or third. I find it often depends on the type of story being told. When writing Mystical Greenwood, I chose to write in third person as I felt it was the right way to tell a fantasy story set in an imaginary world no reader would have personally lived in, but could still observe and imagine. But there are many subdivisions of third person, and that was not so easily defined for me.
I flirted between third person limited and subjective. Subjective is trying to convey more than one characters’ thoughts and feelings at the same time, whereas limited focuses on chiefly one character. After sending Mystical Greenwood to Mockingbird Lane Press, at my editor’s request I made it third person limited throughout because there were originally some scenes with slight POV shifts that caused confusion. While some chapters and scenes are told from the perspective of characters other than Dermot, and there are scene breaks and a change to another character’s POV in others, I still tried to limit it to one character at a time.
I could’ve written in third person objective, but that would’ve left out every character’s feelings and thoughts, which I felt could detach readers from the narrative. Third person omniscient is often used for high and epic fantasy, where all character’s thoughts and feelings are presented. That can sometimes make it hard for readers to attach themselves to the story, as there would be too many characters to choose from to bond with while reading. But that certainly doesn’t mean it can’t work.
I’m presently trying I-narrative with the neglected pets story. I feel first person works best with realistic fiction (as it’s a setting readers and writers live in and understand), mysteries, and thrillers. I would like to try an epistolary format (telling a story in the form of diary entries and letters), perhaps for historical fiction. Some authors have alternated between third and first within the same book (using the latter for their protagonist), which I might also try. News articles could also be used in epistolary stories, and be another way to alternate. Other writers have changed narrative within a series, like the late Stephen J. Cannell did with the Shane Scully books.
With first person, one can also make it plural or use an unreliable narrator. Some novels try to replicate the thought-process, or stream of conscious – third or first could work, but I personally find it hard to follow. Some classic books have had chapters or scenes written in the format of plays; another thing I could try.
I should also mention second person narrative – “You”. It’s rarer in literature, as is writing in future tense. Most stories are in past tense, but some have been written in present, just like plays and screenplays. But there have been some well-told stories written using one or both, most famously perhaps Oh, the Places You’ll Go! by Dr. Seuss. It’s always good to experiment and try new things with writing. Writer should use whatever they feel is best for your story.
- Writing in Third Person Omniscient vs Third Person Limited.
- Aldridge, Ally. Point of View.
- Wolf, Kalesjha H. First Person vs. Third Person.
As a friendly reminder, you can reserve the paperback through Amazon and Barnes & Noble. If you’re in Britain, it’s also available through Amazon.co.uk and Foyles Bookstore. Additional outlets can be found for both versions via Goodreads.
You can also try ordering directly at your local bookstore. That can help get it on shelves for other readers to find. If you belong to a book club, I hope you’ll recommend it to your fellow members! Your reviews will help me and this book immensely. Spread the word!
And don’t forget, if you become a fan you can order merchandise with the cover art at Deviant Art!
They range from misspellings and repetitions to grammar and formatting errors. Some are more noticeable than others. I see Facebook posts all the time about how “errorists” win when there are typos like an unmatched parenthesis. Writers and editors try to catch all of them before publication, but they’ve been slipping past for centuries, even with famous works, to the point where they’ve become the fascination that they are.
Mystical Greenwood it turns out is no exception. I spotted some after going through a copy from my first order. I’ve notified Mockingbird Lane Press and we are working on making corrections for future copies. Certainly there is a benefit of second and third editions and so on: typos can be caught and fixed in between, although the initial copies remain as they are.
Certainly for any writer, it’s a frustrating feeling to see your work in print with errors. But good friends have given me encouragement, feeling typos won’t be a big deal, and the overall story will outweigh them. Well, certainly classics, even modern classics, are still around and people continue to read and enjoy them. To you reading this right now, if you’ve bought one of the early prints of Mystical Greenwood, let me express my hope that you will still enjoy the story.
The simple truth is perfection is impossible, but we still try to get as close as we can. It’s fair to say that future books I will write will no doubt have some typos in their first printing. Lesson learned.
- Ellis-Petersen, Hannah. Go Set a Watchman books missing text from final pages after printing error.
- Heffernan, Virgnia. The Price of Typos.
- Van Huygen, Meg. 15 Famous Typos in First Editions.
Yes! I’m very happy to announce that the paperback version of Mystical Greenwood is now available on Amazon!
Mockingbird Lane Press will also soon be offering an e-book version (which can be downloaded to Kindle and Nook)! It should be available in a couple weeks.
Mystical Greenwood will also soon be offered on Barnes & Noble.
I hope you enjoy it! Please read, review (be honest), and help spread the word!
The cover art is also available on Deviant Art! If you’re a fan, you can now buy merchandise!
Often when works of fiction are discussed, word and/or page count comes up. When you see books on a shelf, one of the first things you’ll notice, apart from the author’s name and book title on the spine, is how thick or thin they are compared to each other. Some people like J. R. R. Tolkien enjoy reading long stories. Others prefer shorter works. What is it about length? Does it matter?
Often when you look at a book’s title page, there will often be a subtitle saying “A Novel” or something similar. “A Novella” and “A Novelette” appear to be less common. Instead perhaps you might see “A Short Novel”. Furthermore, when it comes to defining types of writers we have novelist, poet, essayist, playwright, short story writer, and screenwriter. There are no set terms that I’m aware of for writers of novellas or novelettes. I sometimes feel novel is an umbrella term under which any fictional work longer than a short story can be labeled. Often, it seems word count is what it really comes down to, as I’ve seen so many sets of word count ranges that are used to define these works. Or is it?
In my senior year at St. Mary’s College, I took a high level creative writing class called “The Novella”. Some of the books we read felt like novels or long short stories. We each had to write a novella, and I started writing that story about neglected pets. It fit into a novella word count range. However, my classmates and the professor felt it should be expanded into a novel. I admit before that class, I’d first imagined it as a novel. Perhaps a work of fiction is what the author believes it to be, and subsequently calls it.
Writing for the stage and screen can be more restrictive, though it’s by page count rather than words. Once at a meeting of the MWA Annapolis chapter it was stated a page of a screenplay equals a minute of screen time. Thus an ideal film script should be 100-120 pages. A TV episode script would be 50-60 pages. Plays too it seems have page count limits these days. Audiences I can understand would rather not sit in a theater all day.
Some classic plays and films are long. Hamlet is usually abridged when staged or filmed. The 1996 unabridged film version lasted over four hours. Sometimes I wonder what Hamlet’s stage and screen history would’ve been like had Shakespeare written it as two plays, as he did with Henry IV (which has appeared onscreen only as TV films). I also wonder what the movie Gettysburg would’ve been like had it been a TV miniseries as initially planned.
Charles Dickens’s works were first published as a serial (like novelettes or novellas) before being printed as complete books. The serial versions were cheaper, making his novels available to the masses, whom, with a cliffhanger, would be enticed to buy the next installment. The novels of the Brontë sisters were published in “volumes” – but like Dickens’s books they’re are only published as complete works nowadays. Some people feel novellas and novelettes have difficulty getting published these days, and if they do they are usually combined with similar works.
In the end, it all comes down to the writer. It’s up to the author whether they want to define their work as novels, novellas, novelettes, short novels, or short stories. Length is applied in the public consciousness, but maybe it doesn’t have to. Does length and its description on the title page affect the customers decision to purchase or pass? What do you think?
- Meer, Syed Hunbbel. Differences Between a Short Story, Novelette, Novella, & a Novel.
- Playwriting 101. Chapter 1: The Play’s the Thing.
Any writer who takes their craft seriously will have edited their work many times over. I can pretty much guarantee that any bestselling novel or literary classic you take off the shelf is not in its first draft. Novels go through several drafts before they are published. It can be said of any form of creative writing too, really. It can even feel at times while you write that you are editing too, and the editing takes over the writing process. Some say to not edit at all with the first draft, to just write it and get it done. Also, others will say that you eventually have to stop editing and move on, otherwise you never will. Both of those sentiments make total sense, but editing is still a vital stage of the writing process.
Perhaps you remember from writing school papers the concept of rough drafts and final copies. Editing enables you to polish a rough draft so that you have a final copy. It is the same with novels. So what chance does a work have without being edited, or without at least one other pair of eyes not your own offering critical feedback? Taking feedback is never easy, but it should be constructive, so you can see it as a way to ask yourself what can be done better.
Going beyond grammar and spelling, the book itself goes through many drafts. Plot points are altered. New ones come in. Old ones are eliminated. It’s same with characters, names, and the elements and rules of world-building. Plot holes are identified, along with anything that does not fit. The problem is tackled, usually more than once. It might be necessary to start over from scratch, using the old draft for reference. Format can change too: chapter titles come and go, length can be altered, and the format of chapter numbers (word numbers, Roman numerals, number numbers) can change.
With Mystical Greenwood, I’ve learned the power and importance of editing. It’s always beneficial to have another pair of eyes look at what you wrote, so you might see what potential readers might say. Whether they’re beta readers, critique group members, or professional editors, their opinions will go a long way. At a time when I thought Mystical Greenwood was good and the plot solid, an insightful and encouraging critique from author John DeDakis showed me that more work still needed to be done. To quote Ewan McGregor’s character in The Ghost Writer, I came to think of it as a case where “all the words are there. They’re just in the wrong order.” Some scenes were moved around and rewoven together as a result.
Originally I had around half as many chapters that were twice as long, but then I started to wonder if they were too long. I’ve read books with really long chapters and found it to be frustrating finding a place to stop before bed. So about two thirds through a draft, I split those I had in two (excepting the prologue). I also switched from word numbers to number numbers. I once had chapter titles, but grew to dislike them, and after failing to think of new ones, I discarded them altogether. I felt they had become unnecessary.
The main reason I approached Mockingbird Lane Press was its founder, Regina Riney-Williams, has a great reputation as an editor. Over the course of two rounds of editing, I have found her insights and opinions invaluable. She has been constructive and encouraging, and I’m very grateful for her feedback as much as her willingness to take my book on. I’ve learned not only that so much can change through editing, but as a writer to never stop with one draft. To be a good writer, one must seek and accept feedback, subsequently editing, revising, and often rewriting, which must continue with every novel to come.
My uncle first came up with the concept of the P’s of getting published. He came up with three: patience, politeness, and professionalism. I added a fourth: persistence. One could call them principles, or perhaps even virtues (although that doesn’t begin with P). Each is important when corresponding with agents, editors, and publishers, and ultimately towards becoming published authors.
Everyone knows patience is a virtue. It’s also something I brought up when I discussed rejections and criticism. One writer is a fish in a deep ocean when it comes to editing and publishing. People in this industry have to judge every query and submission carefully, and with great thought. They have to decide whether or not it is an investment worth the risk, which like the publication process itself, takes time. Another saying people know is that good things come to those who wait. It’s especially true for writers. Believe me, I’ve learned the hard way never to rush when it comes to writing or getting published. It’s important to respect publishers and editors for taking quality time to be thorough in their jobs so that a writer’s work reaches its full potential.
I already discussed the importance of persistence over a year ago when I talked about facing rejection and criticism. Writers have heard it said before and I’ll say it again: don’t give up. Now, once a contract has been signed, it isn’t a good idea to press agents, editors, or publishers, or sound pushy. Rather writers should be persistent to a degree that shows they care about their work and accomplishing goals, but are patient and respectful of those with whom they’re working.
A writer must never forget once they have a contract that he or she is not the only writer under contract. Agents, editors, and publishers alike have to work with and help many writers. So writers should always respect their position and what they’re doing for them. They should respect what they say in their critiques, even if they the writer disagree with it. Now, being a little rude is one thing. But I recall one editor’s story of how a client went beyond being merely rude to being outright vile and foulmouthed, calling the editor offensive names. That editor wouldn’t work with that client again. Now this case, as I said, goes beyond mere rudeness. If writers are a little rude such as when defending their vision of their work, publishers and editors can handle that. Sometimes, people can be rude without realizing it. Still, it’s important to remember editors and publishers are people and have feelings, as do writers. Being polite and respectful goes a long way.
A writer should be professional in his or her correspondence, something that’s apparent from the beginning when querying and submitting work. No doubt everyone recalls dressing professional when going for a job interview. One certainly wouldn’t think of dressing too casual then or when hired. It’s a similar situation when approaching and communicating with those who’s job is to edit, publish, and market writers’ creations. Only in this case it’ll usually take the form of words both written and spoken rather than clothing and hairstyle. Acting casually or even sarcastically can give the impression writers aren’t serious about their work being a success, that they don’t care. Publishing is a business. Writers must take it seriously as they would their work, so as to increase the likelihood of getting it and themselves out there.