(Spidey) Sense of Structure

Writing can get easier. I won’t say that it does, because every writer has a different journey, but it can.

The good news, I’ve recently developed a strong sense of novel structure. The bad news, it’s still almost entirely intuitive rather than conscious. The worse news, it took 10 books. The better news, it seems to be shifting into a conscious process as I’m writing number 11.

I’ve had a pretty good handle on how to plot since my fourth book—the first three are decently-plotted, but it was a messy organic process. But I didn’t fully develop this structural sense until writing number 10, The Black School, + 30 or more outlines. I got inklings of it with number 8, Chalice, but it mostly blinked out for 9, Cybermancy. And now I’m occasionally managing to consciously invoke it for 11, MythOS.

This is a pretty typical development process for me in terms of learning how to do something in writing:

1. Consciously set out to learn how to do X
2. Beat my head against the wall on X
3. Lose track of the fact that I’m trying to learn X
4. Get compliments about how well I’m handling X
5. Notice that X makes sense to me intuitively—it tastes right*
6. Think about how I’m doing X
7. Bafflement
8. Forget that I’m thinking about how I’m doing X
9. Answer someone’s question about X and realize I now get it
2013 Updated to add:
10. Forget that I ever didn’t know how to do X
11. Forget how to explain X
12. Grrrrr

*Tastes right. I’ll talk about this in some depth with my next post.

(Originally published on the Wyrdsmiths blog March 15 2007, and original comments may be found there. Reposted and reedited as part of the reblogging project. In and effort to elicit comment at the old site, I wrote the bit that follows at the end. No response. This is one of the many reasons I have not enabled comments here at kellymccullough.com)

Thoughts? Arguments? Digressions? Large purple groundhogs?

Writing Order /= Publishing Order

Update up front: I originally wrote this in 2007 when I had just finished my 10th novel and started my 11th. My 1st, which was also my 4th came out last year, and my 9th was going be my 2nd.

You with me so far? My 11th may well be my 3rd, but I’m hoping that my 12th won’t be my 4th, because there are several earlier books that I’d like to see sell and go to print before that and I might try to slip a 12th in before I write the 4th that’s currently sold.

It’s moderately complex now, and likely to get crazy over the next couple years, and that’s ignoring that some of the books were written concurrently. When you add in proposals and partials (which could be characterized as quantum manuscripts) it gets really loopy. So I thought I’d put it all down here as a memory aid and to illustrate an earlier discussion about why you can’t tell anything about writing speed from publishing speed.

Currently complete and projected novels in writing order (updated through 2013):

01. 1990 Uriel
02. 1991 The Swine Prince
03. 1992/1993 The Assassin Mage
04. 1998/1999 WebMage
05. 2001 Winter of Discontent
06. 2002 Numismancer
07. 2003 The Urbana
08. 2005 Chalice book 1
09. 2006 Cybermancy
10. 2006 The Black School
11. 2007 CodeSpell
12. 2008 MythOS
13. 2008 The Eye of Horus
14. 2009 SpellCrash
15. 2010 Broken Blade
16 2011 Bared Blade
17. 2011 Crossed Blades
18. 2012 Blade Reforged
19. 2013 School For Sidekicks: The Totally Secret Origin of Foxman Jr.
20. 2013 Drawn Blades
21. 2014 Darkened Blade
22. 2014 ?????

Currently complete or projected novels in tentative publishing order:
01. 2006 WebMage
02. 2007 Cybermancy
03. 2008 CodeSpell
04. 2009 MythOS
05. 2010 SpellCrash
06. 2011 Broken Blade
07. 2012 Bared Blade
08 2012 Crossed Blades
09. 2013 Blade Reforged
10. 2014 School For Sidekicks: The Totally Secret Origin of Foxman Jr.
11. 2014 Drawn Blades
12. 2015 Darkened Blade

But any of the following could end up in print between #2 and #4 (2013 update: That was the 2007 order and projection—now Uriel is out of the lineup, though some of the others might get slotted in somewhere after Blade Reforged but before Darkened Blade)

Uriel
Numismancer
Winter of Discontent
The Urbana
Chalice
The Black School (goes to my agent in March)

Plus there are proposals which could get written at any time
Chalice books 2-4
The Eye of Horus (proposal—now complete)
The Shadow in the Blood (proposal)
2013 update adding a few more books in pontentia:
The Hand of Light (Black School III)
Aqua Vitae (series proposal)
Mirror Duel (series proposal)
Nightmare Academy
The Uncrowned Prince (series proposal)

And partials which may or may not ever get written (still true)
Uprising
Outside In
Ave Caesar (mystery)

(Originally published on the Wyrdsmiths blog March 12 2007, and original comments may be found there. Reposted and reedited as part of the reblogging project)

Jade Dragon: A Tragedy in Doggerel

In the year of the Falling Yeti in the century of Eviscerated Yak, the only jade dragon that has ever graced our world died, taking a perilous beauty with her. Due to the heresies of the Staggering Sloth cult five centuries later, all known pictures of the early dragons were destroyed.

Fortunately, the great poet Vash Tilborn was alive in the days of the dragon’s youth—a witness to her early glory, and the perfect man to describe her draconic magnificence.

Unfortunately, before he had the chance, he saw the transcendent dancer Aishen Bira dance her Portrait of a Jade Dragon. Whereupon, he put aside his quill and said that no mere words could paint the dragon as well the dance of Bira, and that he would not write of her.

Only one other poet was willing to venture onto the ground that Vash feared to tread. Some thirty years after the death of of Vash, Sjel Seastrand—known as The Incomparable for his ability to find exactly the wrong rhyme—laid down his own verses on the jade dragon.

The only contemporary art we have that references the most beautiful of all the dragons who have ever lived is this:

Jade Dragon:
She is big she is awesome.
Better than pig, better than possum.

Workshops Vs. Writers Groups

Jay Lake has a post up about workshops here and some of the things they do or don’t do. I agree with a good bit of what he has to say in terms of structure and how they function and that whether they are good or bad for you is situational. For example, I get a good deal out of the critiques of my work. Perhaps less now than ten years ago, but still quite a bit because my investment in my stories is structured a little bit differently from many folks.

On the other hand, I think he missed completely some of the things that I find most important about a writers group, the things that aren’t critique at all. And this may be a distinction between an ongoing writing workshop and a writers group, which seem to me to be two different animals.

So, here are some things besides critique that a good group can do for you:

Brainstorming, both on stories and career.
Mutual promotion.
Share industry gossip.
Writerly support and cheerleading.
Cross introductions to agents, editors, and con folk.
Listening to complaints and brags.
And, most important of all, peer friendships.

(Originally published on the Wyrdsmiths blog March 6 2007, and original comments may be found there. Reposted and reedited as part of the reblogging project)

http://wyrdsmiths.blogspot.com/2007/03/workshops-vs-writers-groups.html

Friday Cat Blogging

This cat bed is too big!

This cat bed is too small.

This cat bed is just right. But the catering service leaves something to be desired.

Bring me a cat bed thumb-monkey!

Who needs a cat bed when you can haz sweater?

Cats have beds, we goddesses have our own chairs.

Loving the Craft

About once a month I run across the idea that you must suffer for your art. There are a number of variations on the theme, but one of the more common one for writers is of the sweating blood variety—writing is easy, I just stare at the blank page until the blood I’m sweating spills all over it. This drives me crazy. So does the oft quoted Everybody hates to write. Everybody loves to have written which is usually attributed to Hemingway.

If it hurts that much to do something, it’s probably not a good idea. (Okay, there are subset of writers who can’t not write and who hurt themselves in the process. This has always struck me as terribly unhealthy, but everyone’s got their kinks.) However, excluding the compulsive writing masochists, if writing doesn’t make you happy, why are you doing it?

The monetary rewards are low, arbitrary, and rare, so you really need to find the process emotionally rewarding if you’re going to do it. I write because there’s nothing in the world I’d rather do. I love every minute of it, from the conception of an idea to fussing with final drafts. Yes, I love having written, but I love writing more. It brings me joy. That’s why I do it. It’s actually quite simple.

(Originally published on the Wyrdsmiths blog March 1 2007, and original comments may be found there. Reposted and reedited as part of the reblogging project)

The Interface

Writers have things that really excite them. Readers have things that really excite them. The trick is connecting the two, because in real terms the two are only intermittently the same. Furinstance, the thing that really makes me want to write is creating a cool new world and bringing people there. Of course, there’s no market for writing travelogues for places that don’t exist. So, I need to make sure that I find some way of connecting my passion to my readers, because no readers means no sales which means having to find something else to do. That means telling a really cool story that’d peopled with characters that my readers want to spend time with. And that’s more or less the order in which a story goes together for me:
World and all the cool stuff.

Story that shows off said world.

Characters that are appropriate to the world.

But that’s only one of 1001 and one ways to do it, all equally correct, and all of which have to have some way of addressing and engaging the reader. So, I’m wondering, how y’all handle that interface. In On Writing Stephen King talks about having his target reader (I think it was Muneraven who brought this up at Marscon, but I’m terrible at remembering that sort of thing, so if was someone else, please leap forward and take credit). I don’t have a specific target reader other than myself. I try to write a story that I would really want to read. Others will have other systems, including (I presume) pretending that there is no audience, because the thought of actual readers is paralyzing for some while they’re working.

(Originally published on the Wyrdsmiths blog March 5 2007, and original comments may be found there. Reposted and reedited as part of the reblogging project)

Locus of Control and Gender in Writing

There’s something I’ve been speculating on after talking about the phenomena with my wife–she’s a physics professor who does educational research on women’s achievement in physics classes. One piece of the literature on research on gender interactions with the classroom has to do with what’s called locus of control, or where the student believes control over things like grades is located.

For example, a female student who does badly on a test will typically internalize the blame I’m a bad student, I didn’t study enough, whereas a male student will typically blame the instructor or the material they wrote a bad test, this is a bad class.

Over the last few years the advent of writers’ blogs has given us an unprecedented window into writerly processes and writers emotional interaction with their art. I’ve seen an awful lot of I’m a bad writer, I’m not good enough, my work is crap, from professional and semi-professional writers talking about how they felt before they sold their first story or novel, but not as much the system sucks, this editor just didn’t get it, etc. and I’ve been wondering about it.

Is it a function of gender and locus of control? My sample set is heavily weighted toward women.

Is it just not wanting to offend the folks who might be buying your next novel?

Is it that these writers are an unusual sample set and have a more female communication style?

Is it that these writers are an unusual sample set in that writer self-esteem is lower than normal?

Something entirely different?

I’ve written a bad post?

I don’t know, and I don’t have a good idea for coming up with a measurable answer, but I thought it was an interesting question.

Oh, and for the record, I tended to blame the system, a position reinforced when stories that had heaps of rejections suddenly started selling after my publishing record improved. I tend to code very male on things like that.

(Originally published on the Wyrdsmiths blog February 27 2007, and original comments may be found there. Reposted and reedited as part of the reblogging project)

Charlotte Appearance Thursday April 13 10am-12pm

Hello Charlotte NC area folks. I’ll be out your way on Thursday morning.

I’ll be at the Rowan-Cabarrus Community College Literary and Fine Arts Festival 2013. The festival is open to the community at large, as well as to Rowan-Cabarrus students and all events are free so come on by.

Science Fiction Author, Kelly McCullough April 11, 2013 double session 10:00 a.m.-10:40 a.m. and
11:00 a.m.-12:05 p.m North Carolina Research Campus, Rm. 115

 

 

Pitching Your Book Part V: Pitch Sheets

Most of what I want to say about how to write a pitch sheet I’ve already said in the previous four parts of this series talking about synopses. The main difference between the two forms is length.

So, what I’m going to do here is post a diverse set of examples. Below you will find a pitch for a novel I’ve never written, one for a novel I’ve written and haven’t yet sold (though it’s out with an editor who would like to buy it), and one for the first novel I sold, WebMage. All of these are exactly as they went out to editors. I will also include the long form synopsis for WebMage for comparison. After each pitch I’ll include a brief note. Oh, and there will obviously be major spoilers.

The rest of this post is beyond the cut to hide the spoilers and because it’s enormous.

Continue reading “Pitching Your Book Part V: Pitch Sheets”