I am still in the long process of editing my first novel. I began editing on my computer, which saves a lot of time when doing searches for certain words or doing mass substitutions. I also followed the standard advice about reading the story out loud - I read the book to my wife and kids, and this did allow me to find other obvious mistakes.
However, I have found a far more useful way of doing the editing, and I have not seen anyone mention doing this before (though I admit I have certainly not read everyone’s blogs). I 'published' my book on LuLu.com. I did it only for myself and did not reserve an ISBN number. What I found is that holding what appears to be an actual book in my hand allowed me to find so many more problems than I have ever found while reading the text on the computer. Somehow, just seeing the story as a book is both satisfying in some odd way (odd since it is not a truly published book) and also gives me a deeper view of the material as I read it, thus letting me fix things better. I highly recommend this method!
Friday, October 23, 2009
Wednesday, October 14, 2009
First Paragraphs
Nathan Bransford put up a contest to see who can write the best first paragraph - http://blog.nathanbransford.com/2009/10/3rd-sort-of-annual-stupendously.html. Of course it is subjective, but there are so many good entries already that it will be interesting to see what he picks. I know mine won't be chosen, because fantasy is not one of Nathan's areas of interest, but I posted anyway.
I had to cheat a little. First, the paragraph that used to be my first paragraph is a little too short, so I combined it with the second to add a little meat to it. Second, well, it isn't truly my first paragraph; I have a prologue. However, so many people hate prologues that I don't mind simply not counting it in this case.
I guess I should go ahead and post my first chapter here: (Hmm, I tried to put indentations on the paragraphs, but they didn't take upon publishing)
*****
Midas had never heard of elves killing men before. He slumped in his saddle, staring at the bodies scattered near the forest edge. Crows hopped about just out of kicking range, cawing at the interruption of their meal. The horses stamped their hooves and flicked their tails at flies. The smell of corruption was still mild.
“I don’t recognize any of these men,” Midas murmured. He should recognize them; he knew the people on his lands. These men hadn’t just been passing through. Three axes lay near the corpses, and two of the trees showed chop marks. Red sap flowed over the silver bark from the cuts, making the trees look as if they bled.
Laithtaris -- called the Elf Wood by men -- bordered the tiny province of Welby. It was home to the elven folk -- their only remaining home since the race of man had come to the Known Lands more than two thousand years ago. A treaty was signed at the time promising these woods to the elves, to be untouched by man for all time. Midas had rarely heard of any encroachment of the forest; if it happened it was usually an accident and elven rangers would politely but firmly let the offenders know that they must leave immediately.
Three bodies were near the trees and two more lay in the brown grass and weeds a few yards away. Each of them had a single silver-fletched arrow jutting from their chest or back. They were elven arrows. No man could make arrows so perfect.
Midas shifted his gaze to the woods. Silverbark trees towered into the sky, their canopies forming a ceiling over the tangled shrubs and dead leaves below. The edge of the forest was thin and the summer light shone down in beams to the forest floor, but there was no sign of elves. That was nothing unusual; Midas had never seen an elf in all of his thirty-eight years. There could be dozens of them staring at us right now and we’d never see them.
He twisted in the saddle to speak to Fridrik. “Bring a wagon from the village. Post a guard on these bodies until they can be loaded up and brought to Welby. Something's happening and I want to find out what it is.”
“Yes, milord,” the squire said. He detailed two men to guard the bodies, picked out two more as escorts, and rode off toward the hamlet they’d passed on the way here.
Midas sighed and glanced at Sir Brindor, who was gazing blankly into space as usual. Amidst the stubble of his gray hair, the crater in Brindor’s head was clearly visible. A few years ago, Sir Brindor had taken part in a tournament melee, during which his helm had been knocked from his head and a mace had bashed in the side of his skull. Healers had given him up for dead, but Brindor slumbered in a coma for three weeks and then woke up. He wasn’t the same man -- his speech was slurred and he had little memory of his previous life -- but he remained a ferocious fighter and devoted to his liege lord.
“Brin!” Midas said. Sir Brindor swayed on his mare, but then his eyes focused and he turned to Midas. “Brin,” Midas repeated. “That dwarf merchant who sold you the elven dagger, where can I find him?”
Brindor’s mouth worked silently for a bit and his face took on the confused look it always did when he was required to remember how to speak. “Iskimir,” he finally managed. “Sh- shhhop in Iskimir.”
Midas nodded to Brin and bent to examine the closest corpse. The man was filthy and wore ragged clothing. He looked like the beggars or thieves one might find in any of the big cities.
“How could they think to get away with this, Voor? Even desperate men…”
“I don’t know, milord,” Voor said.
“Someone paid them to do this.”
Voor nodded.
“Have Dalthis and two guards ride to Iskimir. I want them to find the dwarf merchant who sells elven goods. I want to know how he gets his goods; how he makes contact with the elves. Make sure Dalthis takes enough coin to persuade the dwarf. If he won’t speak to Dalthis, see if he’ll come to Welby and talk to me.”
“Yes, milord.”
Dust rose in clouds as the group cantered over the dry field. Even in the light of day the small red moon was visible just above the horizon -- an evil omen if there ever was one. Why would someone want to provoke the elves?
I had to cheat a little. First, the paragraph that used to be my first paragraph is a little too short, so I combined it with the second to add a little meat to it. Second, well, it isn't truly my first paragraph; I have a prologue. However, so many people hate prologues that I don't mind simply not counting it in this case.
I guess I should go ahead and post my first chapter here: (Hmm, I tried to put indentations on the paragraphs, but they didn't take upon publishing)
*****
Midas had never heard of elves killing men before. He slumped in his saddle, staring at the bodies scattered near the forest edge. Crows hopped about just out of kicking range, cawing at the interruption of their meal. The horses stamped their hooves and flicked their tails at flies. The smell of corruption was still mild.
“I don’t recognize any of these men,” Midas murmured. He should recognize them; he knew the people on his lands. These men hadn’t just been passing through. Three axes lay near the corpses, and two of the trees showed chop marks. Red sap flowed over the silver bark from the cuts, making the trees look as if they bled.
Laithtaris -- called the Elf Wood by men -- bordered the tiny province of Welby. It was home to the elven folk -- their only remaining home since the race of man had come to the Known Lands more than two thousand years ago. A treaty was signed at the time promising these woods to the elves, to be untouched by man for all time. Midas had rarely heard of any encroachment of the forest; if it happened it was usually an accident and elven rangers would politely but firmly let the offenders know that they must leave immediately.
Three bodies were near the trees and two more lay in the brown grass and weeds a few yards away. Each of them had a single silver-fletched arrow jutting from their chest or back. They were elven arrows. No man could make arrows so perfect.
Midas shifted his gaze to the woods. Silverbark trees towered into the sky, their canopies forming a ceiling over the tangled shrubs and dead leaves below. The edge of the forest was thin and the summer light shone down in beams to the forest floor, but there was no sign of elves. That was nothing unusual; Midas had never seen an elf in all of his thirty-eight years. There could be dozens of them staring at us right now and we’d never see them.
He twisted in the saddle to speak to Fridrik. “Bring a wagon from the village. Post a guard on these bodies until they can be loaded up and brought to Welby. Something's happening and I want to find out what it is.”
“Yes, milord,” the squire said. He detailed two men to guard the bodies, picked out two more as escorts, and rode off toward the hamlet they’d passed on the way here.
Midas sighed and glanced at Sir Brindor, who was gazing blankly into space as usual. Amidst the stubble of his gray hair, the crater in Brindor’s head was clearly visible. A few years ago, Sir Brindor had taken part in a tournament melee, during which his helm had been knocked from his head and a mace had bashed in the side of his skull. Healers had given him up for dead, but Brindor slumbered in a coma for three weeks and then woke up. He wasn’t the same man -- his speech was slurred and he had little memory of his previous life -- but he remained a ferocious fighter and devoted to his liege lord.
“Brin!” Midas said. Sir Brindor swayed on his mare, but then his eyes focused and he turned to Midas. “Brin,” Midas repeated. “That dwarf merchant who sold you the elven dagger, where can I find him?”
Brindor’s mouth worked silently for a bit and his face took on the confused look it always did when he was required to remember how to speak. “Iskimir,” he finally managed. “Sh- shhhop in Iskimir.”
Midas nodded to Brin and bent to examine the closest corpse. The man was filthy and wore ragged clothing. He looked like the beggars or thieves one might find in any of the big cities.
“How could they think to get away with this, Voor? Even desperate men…”
“I don’t know, milord,” Voor said.
“Someone paid them to do this.”
Voor nodded.
“Have Dalthis and two guards ride to Iskimir. I want them to find the dwarf merchant who sells elven goods. I want to know how he gets his goods; how he makes contact with the elves. Make sure Dalthis takes enough coin to persuade the dwarf. If he won’t speak to Dalthis, see if he’ll come to Welby and talk to me.”
“Yes, milord.”
Dust rose in clouds as the group cantered over the dry field. Even in the light of day the small red moon was visible just above the horizon -- an evil omen if there ever was one. Why would someone want to provoke the elves?
Friday, October 9, 2009
Publisher Decisions
My favorite agent blogger, Nathan Bransford, had an interesting post today about the pointlessness of complaining that such and such a classic would never have been published in today's writing world. It reminded me of one of my own complaints that is similar but a little different.
I see over and over again books by established authors that sell by the tons, yet if an unpublished author attempted such a book, no publisher or agent would even look at it. One obvious example is the Song of Ice and Fire series by George R.R. Martin. It has so many main characters that even Mr. Martin could not possibly write a synopsis that would pass muster with any agent if Martin were a first-time author. If I had as many major characters as Mr. Martin in my story, no agent would bother to read past my query letter.
Yet, it is from such authors that new writers like myself draw inspiration. I thought up my story long ago due to my love of Tolkien, but it was reading Martin's stories that made me actually decide to sit down and type out the first chapter. I would have preferred to have a larger cast of main characters than the three I used, but I knew that even my three main characters would be a tough enough sell for a first-time author.
I guess what bothers me about it is that the publishers don't appear to me to be looking at what actually sells so well and allowing new authors the leeway to mimic such bestsellers in the structuring of our books. Martin's books are too long by newbie standards and have too many main characters, yet they sell fantastically well. Perhaps it is not just due to his great writing. Perhaps there are a ton of fantasy readers out here who love long, involved stories. That is what I think, and that is why it perplexes me that publishers and agents won't allow a new author to have a long, involved story.
I see over and over again books by established authors that sell by the tons, yet if an unpublished author attempted such a book, no publisher or agent would even look at it. One obvious example is the Song of Ice and Fire series by George R.R. Martin. It has so many main characters that even Mr. Martin could not possibly write a synopsis that would pass muster with any agent if Martin were a first-time author. If I had as many major characters as Mr. Martin in my story, no agent would bother to read past my query letter.
Yet, it is from such authors that new writers like myself draw inspiration. I thought up my story long ago due to my love of Tolkien, but it was reading Martin's stories that made me actually decide to sit down and type out the first chapter. I would have preferred to have a larger cast of main characters than the three I used, but I knew that even my three main characters would be a tough enough sell for a first-time author.
I guess what bothers me about it is that the publishers don't appear to me to be looking at what actually sells so well and allowing new authors the leeway to mimic such bestsellers in the structuring of our books. Martin's books are too long by newbie standards and have too many main characters, yet they sell fantastically well. Perhaps it is not just due to his great writing. Perhaps there are a ton of fantasy readers out here who love long, involved stories. That is what I think, and that is why it perplexes me that publishers and agents won't allow a new author to have a long, involved story.
Saturday, September 26, 2009
Reconciling Story vs. History
When writing any kind of story, publishers and agents expect a tight plot where every word counts and every plot point has a reason. My book doesn't quite do this, and the reason is that in my novel I am writing not just a fantasy story but also a history. Sure, it is fantasy, so I should just be able to change any detail I like, because I created it, right? Not really. This story existed in my head for so long - more than twenty years- that it has essentially become historical fact within my created world.
This is a problem, because history doesn't tie things up nicely the way publishers and agents want stories to be. I have an almost war between the races of elf and man, halted due to the threat of a far more dangerous invasion from out of the East. I imagine many agents would tell me to ditch the whole approach to a war that never takes place. It's boring, because there is only a threat of action, no true action. To me, the threatened war between elf and man is something that actually happened, so I can't just cut it out. I imagine my created world as a real place with a real history, and history muddies up tight stories. I like it that way; it feels more realistic to me. Life doesn't work in neat, logical plot points.
This is a problem, because history doesn't tie things up nicely the way publishers and agents want stories to be. I have an almost war between the races of elf and man, halted due to the threat of a far more dangerous invasion from out of the East. I imagine many agents would tell me to ditch the whole approach to a war that never takes place. It's boring, because there is only a threat of action, no true action. To me, the threatened war between elf and man is something that actually happened, so I can't just cut it out. I imagine my created world as a real place with a real history, and history muddies up tight stories. I like it that way; it feels more realistic to me. Life doesn't work in neat, logical plot points.
Friday, September 25, 2009
My First Novel
I am torn by wanting to post some examples from my first novel, but not wanting to run into any future issues should I be lucky enough to get an agent and try to publish the book.
I really love my book, though the more I read on the internet, the more I continue to edit it. I keep wondering if I am actually making it worse rather than better! Correcting punctuation mistakes is one thing, but rewriting chapters because I worry they are not exciting enough or have pretty enough prose is another.
My book is fantasy and stands alone as traditional epic fantasy, yet it is planned as part of an arc that is mostly science fiction. That makes me concerned about whether I need more hints within this fantasy novel about the origins of certain characters, or if I should just not worry about it and let the future novels deal with that issue. I worry about this because some readers might question why my fantasy world has earth-like flora and fauna. I actually have an explanation for this, but I don't deal with it at all within the novel, because there is really no way to address it. Only one character in the book knows what has happened previously, and the issues are so complex that he doesn't wish to speak about them to other characters because it would open a Pandora's Box of further questions.
Anyway, I need to make a decision on whether to continue editing on this first novel, or begin writing the next. I am torn between the two so much that I am doing neither. I have a legitimate excuse in some ways, having just moved from Iceland to Azerbaijan, but this excuse goes only so far once I get settled into the new residence.
I've noticed that I don't really have any readers on this blog, and I suppose that is fine for now. I haven't tried to advertise it, and it may be better to build up a body of decent posts before I worry about readership. I'll try to think of a good chapter or snippet to post soon...
I really love my book, though the more I read on the internet, the more I continue to edit it. I keep wondering if I am actually making it worse rather than better! Correcting punctuation mistakes is one thing, but rewriting chapters because I worry they are not exciting enough or have pretty enough prose is another.
My book is fantasy and stands alone as traditional epic fantasy, yet it is planned as part of an arc that is mostly science fiction. That makes me concerned about whether I need more hints within this fantasy novel about the origins of certain characters, or if I should just not worry about it and let the future novels deal with that issue. I worry about this because some readers might question why my fantasy world has earth-like flora and fauna. I actually have an explanation for this, but I don't deal with it at all within the novel, because there is really no way to address it. Only one character in the book knows what has happened previously, and the issues are so complex that he doesn't wish to speak about them to other characters because it would open a Pandora's Box of further questions.
Anyway, I need to make a decision on whether to continue editing on this first novel, or begin writing the next. I am torn between the two so much that I am doing neither. I have a legitimate excuse in some ways, having just moved from Iceland to Azerbaijan, but this excuse goes only so far once I get settled into the new residence.
I've noticed that I don't really have any readers on this blog, and I suppose that is fine for now. I haven't tried to advertise it, and it may be better to build up a body of decent posts before I worry about readership. I'll try to think of a good chapter or snippet to post soon...
Friday, September 18, 2009
Fantasy Cover Art
Like most writers, I dream of one day being published by one of the major houses. However, there is one point about publishing that truly bothers me and makes me at least consider the possibility of self-publishing someday. I don't like it one bit that the author is given little or no input regarding the cover art.
I have very strong feelings about what I want on my cover, enough that I could see saying 'no' to a publishing contract if they wouldn't back down over a cover that didn't do what I need it to do. Regardless of whether it is wrong or right, I believe many books are judged by their covers. Covers sell books. I have even bought books solely based upon fantastic cover art.
The part that worries me most is that the majority of art done for fantasy novels is terrible, in my opinion. They are generally far too colorful and splashy. I like realistic and gritty. When I see covers for, say, the Wheel of Time series it makes me want to shove the book back on the shelf immediately. The kind of cover art that really speaks to me is the darker, grittier stuff such as the Frazetta work seen on some of the Conan books, or even better, the Alan Lee work you can see on the Iron Tower trilogy by McKiernan. I loved the covers of the McKiernan books so much I bought them just because of the covers; it was an added bonus that I loved the stories, too.
I am looking into the possibility of finding an artist here in Baku to do some cover art for me in the style of Alan Lee. I don't know if I will find one, but it is worth trying. If I like an artist well enough and he/she will be reasonable about prices, I would ideally like to do a series of paintings to put in the book, covering various scenes. I saw this in The Sword of Shannara and I really enjoyed it.
I have very strong feelings about what I want on my cover, enough that I could see saying 'no' to a publishing contract if they wouldn't back down over a cover that didn't do what I need it to do. Regardless of whether it is wrong or right, I believe many books are judged by their covers. Covers sell books. I have even bought books solely based upon fantastic cover art.
The part that worries me most is that the majority of art done for fantasy novels is terrible, in my opinion. They are generally far too colorful and splashy. I like realistic and gritty. When I see covers for, say, the Wheel of Time series it makes me want to shove the book back on the shelf immediately. The kind of cover art that really speaks to me is the darker, grittier stuff such as the Frazetta work seen on some of the Conan books, or even better, the Alan Lee work you can see on the Iron Tower trilogy by McKiernan. I loved the covers of the McKiernan books so much I bought them just because of the covers; it was an added bonus that I loved the stories, too.
I am looking into the possibility of finding an artist here in Baku to do some cover art for me in the style of Alan Lee. I don't know if I will find one, but it is worth trying. If I like an artist well enough and he/she will be reasonable about prices, I would ideally like to do a series of paintings to put in the book, covering various scenes. I saw this in The Sword of Shannara and I really enjoyed it.
Thursday, September 3, 2009
Cliches in Fantasy Writing
I've read many pieces talking about clichés in writing, but it seems to me they generally focused on clichés within the plot. What has long bothered me about fantasy writing has been what I see as a cliché pertaining to the protagonist. Book after book what I see is the author making the protagonist stand out as something special. Perhaps he/she is royalty (whether they know it or not); perhaps they have hidden magical powers that will soon be unleashed. In many cases the author makes the protagonist be 'one of the best' (if not THE best) in their world at something, whether it be wielding a sword or being a sneak-thief. I don't hate such stories - I love the Gray Mouser or Shadowspawn or Conan as much as the next reader - but I do get tired of how each fantasy book I pick up seems to follow this same trend.
I wrote my novel with many plot clichés, because I don't see any problem with this in traditional epic fantasy. Where I chose to make my story different was that I refused to have my protagonists be too special. I hunger for stories that feel realistic. I want protagonists who are normal people thrown into extraordinary circumstances and forced to sink or swim.
I love my story because of this, but it comes at a steep price. When agents read query letters they focus on plot. My book may be fresh and new story-wise due to the way I incorporate true-to-life characters, but all the agents will think about is that some of my plot elements have been seen before ("Elves and dwarves again...a magical item....ugh."). They'll miss the fact that the story itself will have a completely new feel to it due to the characters themselves. Since query letters have to make the sale in around 300 words, it is almost impossible to sell the story to them based around character rather than plot, especially if one uses multiple protagonists like I do.
How does one make the protagonists seem interesting to an agent within a 300 word limit when my whole idea is that my protagonists are NOT special people (or at least that what makes them special are the ordinary heroics that we average people are all capable of)? I want to push average people to the limits and see if they can prevail. I think my story succeeds in this, but I can't figure out how to sell that in 300 words to an agent.
I wrote my novel with many plot clichés, because I don't see any problem with this in traditional epic fantasy. Where I chose to make my story different was that I refused to have my protagonists be too special. I hunger for stories that feel realistic. I want protagonists who are normal people thrown into extraordinary circumstances and forced to sink or swim.
I love my story because of this, but it comes at a steep price. When agents read query letters they focus on plot. My book may be fresh and new story-wise due to the way I incorporate true-to-life characters, but all the agents will think about is that some of my plot elements have been seen before ("Elves and dwarves again...a magical item....ugh."). They'll miss the fact that the story itself will have a completely new feel to it due to the characters themselves. Since query letters have to make the sale in around 300 words, it is almost impossible to sell the story to them based around character rather than plot, especially if one uses multiple protagonists like I do.
How does one make the protagonists seem interesting to an agent within a 300 word limit when my whole idea is that my protagonists are NOT special people (or at least that what makes them special are the ordinary heroics that we average people are all capable of)? I want to push average people to the limits and see if they can prevail. I think my story succeeds in this, but I can't figure out how to sell that in 300 words to an agent.
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