Word Count frustration

C.J. Rockwell

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I've been following this thread for awhile. From my experience, in respect to the writing process, shorter word counts don't always mean nothing's wrong.

For example, in my novel Gabriel, which many who've commented are fairly familiar with, was actually fairly short in the first couple of drafts, somewhere between 25,000 and 30,000 words. But it needed a lot of help in other areas.
In my case, I was trying to tell too long a story within in that short word count.

My current version is slightly over 29,000, but I suspect once the changes I make are done, I'll be a bit over 30,000, but my pacing has improved by leaps on bounds. Before, the word count was shorter, but it still was meandering too much because I wasn't getting to my points quick enough.

When I was trying to get my query letter better last year, some felt Gabriel at 29,000 was too short for MG, but after hearing what JSK and Toothpaste said, I don't think so.

That said, I'm a firm believer that a story is as long or as short as it needs to be.

JSK, while I understand that really long books can be a hindrance to some readers, and of course the obvious costs of printing, you know as well as I do that we can't satisfy everyone.

Some books are just long, and they're still good reads, and the pacing doesn't suffer at all, even past the 30,000 mark. Just how there are different books for different people, there also books for one time in our lives versus another. That's also something to consider. I didn’t read Harry Potter at first because the length and heft of the books looked overwhelming. So your concerns are meritable. But I did eventually read a few and I was well rewarded.

I think it's important to remember that just that athletes improve and evolve at different rates, so do readers, whether or not they have severe learning disabilities.

The things I read now are considerably different than six or seven years ago. The major difference is that I take more chances, I'm not afraid to open certain doors that at one time would've felt like torture. Not necessarily because it was too hard technically, and rarely because it's poorly written, but emotionally I couldn't take it, even if it had the best prose and pacing on Earth.

At the end of the day, it comes down to personal preference just as much as reading ability. Many wouldn't like my books if they can't get past my subject matter, even it was at the shortest possible word count and was paced well. But you and others help to remind me that I'd still find a readership, so long as my story holds up. That's why I've spent the past few months especially trying to make sure of just that.

I'll say this though, there are some stories that are the right length, but aimed at the wrong audience.
Last year, I tried to make a really long story into a chapter book, and it didn't go over so well…

It was an appropriate length at around 5,000 words, but it read too clunky and was too complicated. I have severe problems varying the way I write from one audience to the next.

After putting it away for over seventh months, I've been fiddling with it since the start of this year, and while I better see where I went wrong, fixing it without ruining the MC's voice is proving to be hard.

Just making it readable to ANYONE other than me is tough. For me, the younger I try to write, the more it just suffers. Working with simpler sentence structures and vocabulary makes it tough to write anything simple to understand, without sounding generic, which is never a good idea.

That's probably why some of my novels don't work, because the subject matter may be better suited to chapter books, or even picture books, but even though I read them, trying to adjust my stories into shorter, more limiting forms is proving to be a job all by itself. A full time job at that!

My advice, if you don't belong to a critique group, online or in-person, get as many betas as possible to read the book in question when you're done with the changes. Different people spot different things, and it's a great way to cross-examine your work.

Also, don't feel alone in this. Everyone who's commented knows what you're going through, and believe me, as long as you believe in your story, you'll eventually find ways to fix it for the better.

In the five years I worked on Gabriel, you wouldn't believe all the sleepless nights of revision, countless conflicting advice, and seemingly impossible changes I had to make.

The beginning alone changed over 15 times, and I basically now went through 4 versions of the same story. Thankfully, the version I have now seems to work well. I'm still waiting to hear the final word from some of my trusted readers, but

You won't ALWAYS have to start over like that, but sometimes it's the only way to move forward, especially if you don't want to put the story away in eternal storage, if you get my meaning. I don't shelve anything unless I feel I've done everything in my power and nothing short of a miracle I can't attain will make it work.

Above all else, just remember, you are not alone. Many times just knowing that both gives you the comfort you need, and the strength to move forward

I can't tell you how many times that alone saved me from giving up or just loosing hope.
.
C.J.

P.S. If you'd like, PM me and maybe we can talk it out further.
 

abctriplets

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I have had some agent feedback in general, not specific to this book, that over 30K is easier to sell these days. But I do feel that the story is solid as is, so I'm querying with it. We'll see what happens!

I also think word count is one area that follows market trends. Books published before Harry Potter tended to be much shorter:
Ramona The Pest: 27K
The Black Cauldron: 47K
Mrs. Frisby and the Rats of NIMH: 57K
Sarah, Plain and Tall: 8K
The Whipping Boy: 13K

(imagine these days winning the Newbery with a book under 20K! Not gonna happen.)

It's only recently that you see MG books inching up near the 100K mark.

But I predict that the economy, mixed with the uncertainty of the future of books and bookstores in the age of Kindle and the iPad, will push word counts back down again, at least for unknown authors. It just makes more sense financially for publishers to hedge their bets when they have so little control over so many other pieces of the puzzle. A shorter book is cheaper to publish and easier to sell.

I think all this attention on word count stems from the prominence we give it in our query. If a potential agent has 30 seconds to glance at our letter, it seems that in that time one of the first things they'll look at is genre and word count. To that end, if there is less of a chance of a debut novel getting picked up at 25-30k than 35-40k, it would be in our best interest to see if our novel works better at that length.

If our novels aren't that long, padding it to 40k would probably do more harm than good. If that's the case, it might mean that you'll have to work a bit harder to sell your book, or that it might have to be shelved for a different debut novel.

That being said, Jud does make a good point about the fluctuations in the market. If, thanks to Harry Potter and other larger-book series, the MG genre was slowly increasing in length, will this trend reverse in the current and future market?

Again, though, I feel that word count is just a number, and one that is far less important than the quality of your writing and story itself. But if we only do get one chance, every little bit helps.
 

Smish

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That's one question I had...

If the books you have in mind as inspiration/role models are all YA, are you sure you don't have a YA novel? If it's possible, that gives you room to do two kinds of revisions--tighten things up as much as possible, while upping the tension and intensity.

From what I've read of the book, I don't see any reason why it wouldn't work to target an older audience.

I agree with Judy that your novel may work for the YA market, from my limited reading of it. I thought I said that in this thread somewhere, but now I'm not seeing it. Maybe I sent it in an email. Or maybe I'm losing my mind! :D

Hope you've had a productive writing weekend!

:)Smish
 

timp67

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Maybe the mention of genre and word count in a query is just meant to let the agent know the author is aware of the general ballpark associated with each?
 

Barber

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I also think word count is one area that follows market trends.

Man, I totally agree!!! It's pretty rare to find a MG fantasy novel that's under 400 pages.

If you feel the agent didn't get into the book, Sheila, it could just be that one person. Think of the amount of books an agent reads. You can't fault your story for one pass. IMO, the word count is a bit high, but if the opening was strong, I wouldn't notice.

My agent, after signing me, asked what the word count was. It was included in the query, but I don't think she was thinking about it when she was reading the book. However, if it were in the 90Ks, that number might've stuck out.

You can always cut, ALWAYS. I can still cut about 500 words from my MS every time I give it a read through and I've cut more than 5K over the last couple months. I found cutting stupid bit-characters really got my count down back in the early stages of editing. Do you have any of those?
 

SheilaJG

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Thanks, C.J., it's good to know we've all struggled with this. I think I'm on the 6th beginning now, so I have some catching up to do with you : )

Smish - I doubt you're losing your mind, it's just really crammed full at the moment and maybe some things are spilling out? Thanks, as always, for the encouragement.

timp67 - good point, I sort of botched that test - ha!

And thanks for your input, Barber. I am working on starting the book later, which would cut it down to low 70Ks, I think. And, now that you mention it, there are a few bit-characters I could cut out. But they are the ones I had the most fun with, so that's going to hurt.

I guess that's part of the journey, though.
 

C.J. Rockwell

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Thanks, C.J., it's good to know we've all struggled with this. I think I'm on the 6th beginning now, so I have some catching up to do with you : )

C.J. Thanks, it's nice to feel like an "Upperclassman" once in awhile, as most of members I know here are many levels beyond me in so many ways.

That helps make all the frustration I've endured worth it, not just for my benefit, but for others who've suffered as I have, I know how you feel because I've been there.

Smish - I doubt you're losing your mind, it's just really crammed full at the moment and maybe some things are spilling out? Thanks, as always, for the encouragement.

timp67 - good point, I sort of botched that test - ha!

And thanks for your input, Barber. I am working on starting the book later, which would cut it down to low 70Ks, I think. And, now that you mention it, there are a few bit-characters I could cut out. But they are the ones I had the most fun with, so that's going to hurt.

I guess that's part of the journey, though.

I know it's hard to axe certain characters. After all, we didn't put them there to (particularly) annoy people, we did it because we felt they added something. But sometimes readers don't see in them what we do, and in some cases, the only way to fix the problem is to remove them.

In Gabriel, there were two characters I really liked, but the vast majority of readers I showed my story to found them annoying or pointless, and while I really didn't want to lose them, I also didn't want Gabriel to suffer because of them, so I took them out.

I can honestly say it's better without them, but that doesn't mean I don't miss them sometimes. Again, you're not alone in that.

Maybe you can give those "unwanted characters" a story all their own? That way you can write about them, and make the story where you first thought them up better by leaving them out of it.

Sometimes characters that don't work in one story, may work in another, that's happened to me many times.

The characters I kicked out of Gabriel are still in me, waiting for their chance, and I'm certain I'll write a different story about them, if only so they know that I still like them.
 

Barber

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there are a few bit-characters I could cut out. But they are the ones I had the most fun with, so that's going to hurt.

LOL, I so felt the same way! I even miss some of them a little, but I doubt anyone else would. You may not need to do that. It totally helped me. Sometimes I deleted entire scenes (that didn't advance the plot) that introduced silly background characters who did NOTHING for the story.

Maybe I can resurrect them in another book and make them more integral :D
 

C.J. Rockwell

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LOL, I so felt the same way! I even miss some of them a little, but I doubt anyone else would. You may not need to do that. It totally helped me. Sometimes I deleted entire scenes (that didn't advance the plot) that introduced silly background characters who did NOTHING for the story.

Maybe I can resurrect them in another book and make them more integral :D

Wow, it's sometimes frightening how writers can think alike.

In my case though, the characters I had to remove did play key parts in the story, and that's another reason why taking them out was so hard. I had to restructure the entire book to fill in the gaps left by the characters I took out.

I sincerely hope I don't have to do that too often.
 

Hedgetrimmer

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I had to restructure the entire book to fill in the gaps left by the characters I took out.

I sincerely hope I don't have to do that too often.

Chances are, you will. I recently completed an MG that I thought was ready to go. Just received a revision list from my agent. It ain't ready. The good thing is that the things that need fixing are plot elements, some of which are underdeveloped while others are too strong and venturing into YA territory. But the fact remains: Rewriting often entails moving stuff around, and when that happens chances are other stuff has to either be moved too or totally scratched. If I can't think of a tamer way of handling one of my subplots, I might have to toss it and come up with something new. And doing so will throw so many other things out of whack. Writing a first draft is magic and joy. Rewriting is work.
 

C.J. Rockwell

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Chances are, you will. I recently completed an MG that I thought was ready to go. Just received a revision list from my agent. It ain't ready. The good thing is that the things that need fixing are plot elements, some of which are underdeveloped while others are too strong and venturing into YA territory. But the fact remains: Rewriting often entails moving stuff around, and when that happens chances are other stuff has to either be moved too or totally scratched. If I can't think of a tamer way of handling one of my subplots, I might have to toss it and come up with something new. And doing so will throw so many other things out of whack. Writing a first draft is magic and joy. Rewriting is work.

Man, you sure know how to pull a guy's teeth with words, don't you?:flag:

Note that I didn't say "Never" I just meant that going through that particular kind of reworking every time would get annoying. I'd still do it, if it meant the work getting better, but it'd still be annoying.


Also, I'm afraid the "Magical joy" you speak of in first drafts, doesn't happen for me that much anymore.

After that magic spark comes to me I just write it, and while there was a time I could blaze through a first draft, those days are gone as I just know too much about composition to just bang it out blind.

Things come out of me much slower.

I know I won't get it all right the first time, but whatever I can do to minimize the rewrite time, I do.

I just wonder how some people can bang out a book a year like they do. Sure, it goes through revision, but how do they do it so fast?

Some of my best stuff now took months and years of editing to make it that good, that's why I know I'm going to have a tough time working under tight deadlines.

I mean, you can't build a career in anything if it takes too long from one job to the next.

Would you hire a car mechanic if you had to wait 6 months, even if he was one of the best?

I know how vital revision is, no need for lectures on that, but there have to be faster ways to doing it.

Now I know not everyone does a book a year, but since making a name for one's self is so vital to increasing sales and whatnot, it seems to me the more you can produce and shape to a professional level, in the shortest amount of time, is helpful.
 
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Hedgetrimmer

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Not to sound flippant, but they're able to do it because they have agents. Don't think for a second the books you read off the shelves were anywhere near that when the writer first knocked out a first, second, even a third draft. Having a vested party reading your stuff and giving you feedback makes all the difference. It took me three years to get Sweetness to the point of landing an agent, and he sent it out without requesting anything else be done with it. In total, I may have spent 6 months on my current project. It's a better first draft than Sweetness (much better), but there are still some plot elements that need reworking. If I didn't have someone to point that out (someone I trust), there's no telling how long it would take to get this up to speed. But I've set myself a deadline (my birthday in June) to complete the next draft. Even then, I may let it sit for a little while and take it through another draft. Maybe having spent a year on it, I'll have gotten it to the point that it can be sent out. With an agent, yeah, I imagine most writers can turn out a book a year. By themselves, not likely.
 

C.J. Rockwell

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No, you don't sound flippant, but you do sound a bit saucy.

I also know what you're saying, but maybe I don't understand it completely because-

A. I don't have an agent yet

B. It just seems to me that with things as competitive as they are, my only chance of representation is to have something ready in every sense of the word.

Even though I've done my best with Gabriel, I'm starting to think the only way I can get over the hump is to have a freelance editor help me go through it. But I certainly don't have thousands of dollars to spend.

If money were no object, I'd do it in a heartbeat because I believe Gabriel that much to do whatever it took to make it the best it can be.

After all, the less work something needs, the less time it takes to getting to the next step, and less reasons to turn it down.

As it stands, I've done the best I could on my own, and with some really good betas. But I still seem to be hitting certain walls I can't get over or plow through.

Maybe I just don't understand the give and take that can occur because even though I read a lot about craft and publishing, I still haven't found that one person who sees my work that way.

That said, I know what you mean about having someone you trust give you the advice you need. That's one of the main reasons I've been able to improve Gabriel as much as I have.

My best betas may not be agents, but they have one of an agent's best qualities, they loved it, and wanted to help me make it better.

In turn, I did my best help them, those kinds of experiences helped keep me going.

If any of them were agents, I would have no regrets making any one of them my advocate.

But as I'm sure you know from your current position, what your peers think, and what professionals think can be a bit different, if not completely opposite. In either case, it can sometimes be hard knowing who to believe, and what to do about it.

I hope I'm not sounding neurotically jealous because I'm not, I really am happy for you because I know how hard you worked, and you certainly struggled like the rest of us, and still do.

That said, I work hard for the day when someone gives me a chance.
 
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profen4

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I had a novel that was 90K words that received several rejections b/c of length. It was written in 3rd person and shifted to a few POV's. I rewrote the whole thing in 1st person, keeping it in one POV and it ended up running 60K words. all of my queries have turned to requests for fulls so far. If lower word counts make agents more inclined to take on my books - then lower word counts it is! once I'm established perhaps it won't matter as much.