All Entries in the "Non-ISBW" Category
Strong words of advice from K. Tempest Bradford
K. Tempest Bradford is guest blogging at Jeff Vandermeer’s blog, which is where I found this gem of a blog post. I love it when someone puts into words stuff that I feel but never bothered to write down. #1 is a particular sore point - you don’t need rape to cause your protag to change/get stronger/break down.
Consider this: if a man was intimidated by another man and decided to strike out and somehow de-empower his rival, he wouldn’t think “I’ll get him drunk and take advantage of him!” If a man found out a secret about another man and wanted to use that to his advantage, he wouldn’t say, “Have sex with me or I’ll tell your secret to the world.” If a man gets pissed off at another man, he doesn’t beat him up and rape him, he just beats him up.
As she says, it does happen in the real world, and it can have a place in stories - but it has to be done right. If it’s just a “let’s shock the reader” or “what is the worst thing I can do to my character?” then it’s bull and needs to be edited.
Clarion Foundation Announces 2009 Faculty
The Clarion Foundation has announced the faculty for the 2008 Clarion Writers Workshop: Holly Black, Larissa Lai, Robert Crais, and Kim Stanley Robinson with Elizabeth Hand and Paul Park team teaching the final two weeks. Now in its third year at the University of California, San Diego, the Workshop will run for six weeks from June 28 to August 8. To read about Clarion’s 2009 faculty, visit http://clarion.ucsd.edu
“Last year we set an all time record for applications and we expect that this year’s faculty will also prove to be a strong draw,” said Clarion Foundation Chair Karen Joy Fowler. “We have a mix of best-selling and award-winning writers, experienced Clarion teachers and writers who we have been trying attract to Clarion for years.
Founded in 1968, the Clarion Workshop is the one of the most highly regarded writing workshops in the county. Participants are selected from a pool of applicants who demonstrate the potential for successful writing careers. The Clarion Foundation will accept applications from January 2 to March 1, 2009.
Clarion is administered by the not-for-profit Clarion Foundation. The Board of Directors of The Clarion Foundation is made up of past Clarion teachers, alumni and friends and includes Chair Karen Joy Fowler, Vice Chair James Patrick Kelly, Treasurer Nancy Etchemendy, Secretary Leslie What as well as Walter Jon Williams, Kate Wilhelm, Kim Stanley Robinson, Nancy Holder, Kelly Link, James Shea, and Cory Doctorow.
Book Review: The Marshall Plan for Novel Writing by Evan Marshall
[J. Scott Milford asked me if I'd be interested in posting a book review, and I jumped at the chance. If you ever want to contribute to the ISBW feed, just email me and let me know and we can talk. This is released under a Creative Commons license. - mur]
A Book Review by J. Scott Milford
For all you people out there who want to write a novel but don’t know where to start, listen up. For all of you who have a story idea that you want to make into a novel but aren’t sure exactly how to weave the plot or bring in subplots, supporting characters and conflicts, there is hope. I would like to introduce you to a book written by a man with a plan. The book is, “The Marshall Plan for Novel Writing.” This book was written by Evan Marshall who is an agent who knows the most common mistakes writers make when writing novels. His plan is a 16-step program that will guide your from your initial story idea to having a completed manuscript.
I know many writers would love to have a book that explains the overall structure of a novel; a book that explains when to bring in characters, when to start subplots, when to throw in plot twists and how best to end a novel. I’ve been searching for just such a book. And when I read ‘The Marshall Plan…’ I finally hit pay dirt. This book has it all and more. Let me give you a few examples.
We all know that a book has a beginning, middle and end. But did you know that the “beginning” will take up about the first quarter of your book, the middle constitutes about half of your book, and the end is the last quarter? Did you know that if you have a romantic involvement in your novel, this character is always viewpoint character #2? Did you know that the number of viewpoint characters you should include in your novel will depend on the length of your novel?
“The Marshall Plan…” helps you determine how many characters you’ll need, and exactly when to bring them in. It suggests when the story should be told by through your main character’s viewpoint and when to switch to another character’s viewpoint. It tells you when to throw in conflicts or plot twists, and what type of action is needed in each section. It helps you keep track of what should be going on at any point in your story and helps you keep track of character details so you can avoid making mistakes regarding character description or history details. This book helps you to know how to develop subplots, when they should be introduced and when they should be revisited. If you follow the instructions in this plan, you will end up with your entire story completely plotted and you’ll have everything in its right place—just what you’ll need to produce a well-crafted story.
I have to admit, if this was all the book offered, that would be enough. You simply cannot follow the plan and not understand where you are going and exactly how to finish your novel. But that’s not all. I found that some of the most vital information in this book was when Marshall addressed things like mastering action, dialogue, thoughts, and background. His guidance here is essential.
But for me, the section on polishing your manuscript is critical! Now, I know what you’re thinking….you’re not a big fan of editing. Right? I admit, editing is tedious and nowhere near as fun as writing the story in the first place. But it’s especially tedious when you don’t know what to look for and why. This section, alone, is worth the price of the book. When I began reading this part of the book, I started marking the points that really jumped out at me and I’m not kidding when I say I ended up marking the entire section! Here’s an example where Marshall talks about describing action:
Use adverbs sparingly. Delete unnecessary ones, and certainly delete strings of them. Often an adverb is trying to strengthen a weak verb: “Carla went quickly down the aisle.” Instead choose the perfect verb that needs no strengtheners: “Carla hurried down the aisle.”
Here’s another example in which Marshall is talking about simplicity and economy:
Delete redundancies. Past history. The sky above. Continued on. Hung down. The ceiling/roof overhead. A cold chill. He stood/climbed/rose up. He sat/slowed down. Join together. A little baby. A brief glance. She whispered softly. Tall skyscrapers. The end result. To find them you must closely scrutinize your writing. Better yet, choose your words so carefully that you don’t use redundancies in the first place.
The impact of these concepts, alone, could save good ideas that are poorly written or send well-written material into a new level of professionalism. If you are spending most of your time writing and very little time editing, you’re missing out on one of the strongest and best ways to improve your writing. The better you can recognize elements of weak writing when you’re editing your own work, the stronger all your future writing will become.
Editors can spot poor writing or editing after reading a single paragraph. Think about if you were an editor and you read the first page of some novel or short fiction and it was filled with weak adverbs and redundancies. Would there be much hope for the rest of the story? It would go from the slush pile and into the rejected pile before the editor has taken a single breath. At this stage, editors aren’t looking for good stories, they’re looking for reasons to reject a manuscript so they can quickly move through their mountain of manuscripts. Without a plan, or an understanding of how to edit, the process can be painful and confusing. Who wouldn’t want to avoid that? But because of Marshall’s tips on editing and polishing your manuscript, editing will be easier and it will take less time because you have a definite plan. You will be more focused and will have the confidence of knowing that your editing will most definitely improve your story. Think about how many times you’ve heard a story and said, “That got accepted? I could write a better story than that!” If you don’t know how to edit, the editor who reads your story will never discover how brilliant a writer you are.
“The Marshall Plan for Novel Writing” is a step-by-step guide with clear instruction on how to plot your entire story. But what if your method of writing doesn’t typically involve plotting? Well, I have to admit, this plan is very thorough. You will have a lot of work to do on the front end even before you begin to write the actual novel. If you want to finish writing your book in a month (such as for NaNoWriMo), following “The Marshall Plan…” will help to keep you going at full speed because you’ve already invented and plotted your story. All you’ll have to do is fill in the empty spaces with your imagination. But if you like a more free-flowing method of writing with little or no plotting, this book will still help you. At the least, you will learn what your targets and objectives should be as you write each section of your book. This plan, if followed, will help you complete your novel.
And as if all of that that isn’t enough, there’s even more. Marshall includes a section that guides you through the process of submitting your novel to agents and editors. Since Marshall is a literary agent, he knows exactly what to do and what not to do when submitting a novel. And he explains what you need to know.
I strongly urge you to get this book. Even if you don’t fully use Marshall’s plotting method, I’m sure you will be able to shape his method to fit your needs, whether you like to plot or just let it flow. The transformative potential that “The Marshall Plan for Novel Writing” could have on a finished novel in need of polishing up or a new idea waiting to become a novel is incalculable. If you want to write a novel, get this book! In fact, if you want any of your writing to improve, get this book!
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J. Scott Milford’s blog is at http://illuminodyssey.com — adventures in thinking.
illuminodyssey@gmail.com -or- jsmilford@gmail.com
If you use this book review on your blog, website or Podcast, please drop me an email so I can track its use. Thank you.
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ADDENDUM
“The Marshall Plan for Novel Writing – A 16-step program guaranteed to take you from idea to completed manuscript.” by Evan Marshall (ISBN 1-58297-062-9)
For writer’s needing story ideas, I suggest also picking up “The Book of Great Books – A Guide to 100 World Classics” by W. John Campbell, Ph.D. (ISBN 1-58663-204-3) What’s the saying, “Good writers borrow, great writers steal”? Well, anyone can develop excellent story ideas by adapting an old, classic story with new characters and set in a different time or on a different planet. For 100 classic books, this book provides “historical background to the works, narrative summaries, discussions of major themes and characters, and much more.” It’s a great companion to “The Marshall Plan for Novel Writing.”
Tons of Fantasy Links!
Listener Sara wrote in to tell me of an awesome Livejournal blog. Thanks, Sara!
I just figured I’d give you some links to Limyaael’s Fantasy Rants for the show. She’s an ex-LJ user who has hundreds of entries about everything from language creation to how to work with viewpoint. While she is focused mainly on fantasy, and these are mostly about her opinion on what shouldn’t be done, I think anyone can learn a lot by what she’s saying throughout her entries.
Links around publishing
- Well, the economy hits everyone, and word is that Houghton Mifflin is putting a freeze -temporarily - on purchasing new books.. All books, even agented ones, as I understand it. Bad news. Apparently they’re not closing to children’s or educational book submissions, though. So that’s good (for those writers, anyway).
- If you’re a writer with a new book and you want to get blurbs from other authors, there’s a fabulous article about the etiquette involved: Blurbs I: Getting.
- Matthew Cheney writes advice to his younger self at The Swivet. Rule #5 is the most powerful one. Read it.
- And lastly, Nathan Bransford has some interesting comments about the state of the publishing world. And puppies.
Why use Creative Commons…
The majority of authors are still looking at giving your work away online as loss of copyright at best, and inviting plagarizing at worst. They either don’t know about or don’t believe in Creative Commons, and flat out deny the benefit of it.
I just got this email from Lora:
Just started listening to the podcast version of PFK and I LOVE IT! Not that you needed affirmation from someone you don’t even know, but hopefully positive feedback is as good for your soul as it is for mine. Thanks for releasing it for free so that even late comers like me can discover it. The printed version will probably make its way into a few stockings this year.
I can’t really say it any better than that.
Holly Lisle Giveaway!
I’ve followed Holly Lisle since my college years when she did a talk in a popular (now burned down) Chapel Hill indie bookstore. Her openess and eagerness to encourage me as a fledgling writer has always stuck with me. I interviewed her on ISBW a while ago, where she was just as friendly and open as before.
Holly doesn’t just write SFF, she writes HOWTO writing ebooks, several of them, and has her own store. Holly joined twitter on 9/29, and by 10/2 she had the most brilliant way to use twitter to get new followers since Death Tweet 08. Holly’s Birthday is in October, and she’s using the celebration to give away ebooks. She’s giving away anywhere from $3000 - $5000 worth of merchandise. How to enter?
Follow her on Twitter. That’s it.
I’m boggled at the simplistic elegance of this. Truly. So if you’re on Twitter (follow me here) you can follow Holly and be entered into the birthday contest!
And Happy Birthday Holly!
New Media From the Mouth of Sigler
In a very fitting interview considering the benefits I’ve received from new media, Scott Sigler had a video discussion with the show Internet Superstars. As most of what I consume is audio, this video was fun to watch. I see Scott once a year at best, so it was cool to watch him interviewed. I highly recommend this if you’re a fan of new media or Sigler himself (and really, you should be a fan of both…)
Playing For Keeps full PDF with bonus story- PARASITE AWAKENS
Thanks to everyone who helped out with this, especially Paul Fischer and Martha Holloway!
This is the full book, including a new short story, Parasite Awakens.
He likes Pallas. He likes who he is when he experiences her life out of her eyes. And now he looks through her eyes at his own sleeping brown face as she peers at him through the crystal porthole in his stasis chamber.
After twenty years, Parasite will wake up.
ISBW Special #33 - AISFP #54 - Kelly Link and Lou Anders
Clarion is currently underway in California, and Shaun Farrell of Adventures in SciFi Publishing is getting interviews with the instructors. (I’m not jealous). But Shaun did allow me to put these amazing interviews in my feed, because I know you’ll get a lot out of it. We’re looking forward to Kelly Link, James Patrick Kelly, Neil Gaiman, and more!
From AISFP
In our first Clarion special show, Kelly Link joins us to discuss workshops, MFA programs, writing short fiction, and more. Then Lou Anders of Pyr SF stops by to analyze the purpose of cover art.
Show Notes
We start this show with Publishing News: Tobias Buckell has been selected to write the next Halo novel for the bestselling series. This spawns Shaun and Sam to discuss media tie-ins. And who wrote those other novels in the Halo series: The Flood, First Strike, The Fall of Reach, and Ghosts of Onyx, all by Eric Nylund, and Contact Harvest, by Joseph Staten.
We are very pleased to bring you weekly episodes for the rest of the year, and we start off with our special Clarion Series, where we go behind the scenes of the Clarion Workshop. Kelly Link joins us to talk about the program, low-residency MFA programs, writing short stories, Creative Commons, and her new story collection, Pretty Monsters. Also, Lou Anders examines the purpose of cover art. Is it meant to accurately portray the book? Should SF books be laden in iconic SF imagery, or is Photoshop the way to go?
Lastly, no feedback this time, and we have some fun with it. Don’t forget to get in on the Keys to Publishing contest, coming soon.
Promo: The Keys to Publishing contest
Promo: I Should Be Writing
