Learn Writing with Uncle Jim, Volume 1

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James D. Macdonald

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From my own Circle of Magic, a scene begins: Randal dreamed, and knew that he was dreaming....

=========

Other unusual dream sequences: Alice in Wonderland is one long dream sequence.

One of the reasons that Wes Craven had a hard time selling Nightmare on Elm Street was that it started with a dream sequence (dream sequences in general were out of fashion at the time). As that movie progresses, the dream sequences become more frequent, and more seamlessly intertwined with the real-world action (particularly after the main character realizes what's going on and tries to keep from sleeping at all, then starts having hypnagogic hallucinations) until at the end the dream world and the waking world become one.

Really, A Nightmare on Elm Street (the first one) is a masterful use of dream sequences.
 

euclid

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My mother, who read, I think, every book that was ever published until she lost her sight, once said to me: "Whatever you write, never include a dream sequence."
 

euclid

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Child 44 by Tom Rob Smith has no information anywhere about the author. No photo, no biographical information, nothing. I thought that very strange.
 

James D. Macdonald

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Speaking only from my personal experience, I was contractually-required to provide an author photo (taken at my own expense) for the book. Maybe my agent could have gotten that struck from the contract, but it wasn't a fight I wanted to have.

For me, I've only had the contractural requirement for an author photo a couple of times, and the photo wasn't always used.

Also, I had my first signing this past weekend at San Diego Comic-Con (actually, I had two). I suspect it was very different from the usual signing experience, since I was told where to be and when, and I had no other responsibilities besides bringing a pen I liked.

Being told where to be, at what time, and only bringing a pen, has been my usual experience.

Since the early days (and some notable disasters) I've taken to doing a little bit more: I send press releases with cover flats to local newspapers a month before the signings are scheduled, because I have no faith in bookstores' ability to do any publicity at all.


It was nice to meet people who were about to read the book (not fans, since I was signing ARCs and no one had a chance to read it yet but the bookstore staff) but I wasn't prepared for the number of people who asked for advice breaking in to publishing.

That's pretty common. The second most-asked question (after "Where are the bathrooms?") is "How can I be a writer?" (and the ever popular "How much did you pay to get published?")

If I'd had my wits about me, I'd have directed them here.

There's always next time.
 

HConn

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I'm never comfortable having my picture taken or meeting people one-on-one. It's not so bad speaking to a large group, but when it's just me and a stranger, I'm a bit of a fumblemouth.

I met my editor at the con, and she told me I should get used to the idea of going out and meeting readers. I tried not to turn green.
 

euclid

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I stumbled across Ken Follett's web site. He has some guidance for first-timers. He spends a lot of time building his outline and getting other people to read and comment on his outline. He produces two draft outlines before starting to write the book. He says, for a thriller, the story should turn every 4-6 pages. A story turn can be large or small, but should increase tension.

I thought that very interesting, and went through my ms to see. My story does turn every 4 -6 pages ! I found two turns that were too close together and moved one of them. It was easy enough to do, I just had to adjust a date.

www.ken-follett.com
 

James D. Macdonald

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No photo, no biographical information, nothing. I thought that very strange.


Not that strange.

Perhaps in non-fiction it's true that "to sell the book first you have to sell the author," but over here in the world of novels that advice is, in a word, bullshit.
 

Salis

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In my opinion, jacket photos in fantasy novels should be photos of the author's disembodied brain.

"Oh, look at this book! Such a shapely cortex. I must have this novel."
 

Berry

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Being told where to be, at what time, and only bringing a pen, has been my usual experience.

Mine too, but being a bit OCD about this kind of thing, I usually take two pens, just in case.

Terry Pratchet brings (or, used to, when I had my books signed) an "Unseen University Library" rubber stamp.
 

IceCreamEmpress

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Child 44 by Tom Rob Smith has no information anywhere about the author. No photo, no biographical information, nothing.

On the book, you mean? Because his photo and biographical info appeared on the reviews.

It is odd that there isn't a dust-jacket photo of him, because he seems to be quite handsome.
 

Alphabeter

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Not that strange.

Perhaps in non-fiction it's true that "to sell the book first you have to sell the author," but over here in the world of novels that advice is, in a word, bullshit.

Whereas PublishAmerica's motto is "to sell the book first you must sell to the author"!



Umm, not to be pushy, but what is your handling procedure for fanmail Jim? Are you and Debra on the same page or do you handle your own individual mail differently than that which is addressed to both of you--or for books you co-wrote?

Besides writing, publishing, Viable Paradise and hanging around here as well as your SFWA contributions, where do you find the time to be a paramedic as well? I can't remember to thank my aunt for a birthday card because I'm too busy tearing apart the chapter from three months ago!
 

Ken Schneider

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I've started my new WIP, with a clear mind, after my hiking trip last week renewed my spirit. The experience has me longing for another few day of solice.

I read some of my early work, trunked, the other day. I just shook my head and laughed. Much, I'm sure, like UJ and friends when left in the Tor offices to read slush one pale moonless night.

I don't even know who the guy is that has been writing my last and current WIP. Doesn't sound like my writing when I re-read the opening.

I guess what I'm trying to say after six mostly fruitless years of fingerstroking the keyboard, nearing a million typed words, is, don't give up on your writing self too early.

Even for the most dense headed of we writers, after some years of practice, start to get it.

I feel some relief for myself that my work within the last year-and-a-half, doesn't read liike a five-year-old's instuctions on how to cook a Thanksgiving turkey.

So take heart those of you who have taken up writing recently, and reading this thread. You can do it. But, there's no quick route to being a good writer of novels.

My goal is to have one novel published by a reputable, respected, and known publisher.

The hardest part of this whole writing business was to break myself image back down from thinking I could write novels, to learning to write novels.

I'm on the upswing again.

Yes, I know I'm babbling. I'm a writer.
 
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euclid

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With reference to my previous post about Ken Follett's idea that a thriller should have a story turn every 4-6 pages...

My typescript is double-spaced, and so runs to 500 pages (107,000 words). That's 214 words per page, average.

I assume he means 4-6 pages of the book as published. I can't believe that my book will run to more that 300-350 pages when published.

So what does 4-6 pages (of the published book) equate to in the typescript?

If I assume the book will work out at 350 pages (that's 305 words per page) then 500pp typescript = 350pp published. In that case

7 pages published = 10 typescript and
4-6 pages published = 6-9 typescript.

I suppose what I'm asking is how many words per page in the published book?
 
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RJK

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You may as well ask how big is a balloon. Paperback books with small fonts can squeeze 350 words on a page. Hardcover books with larger margins and fonts may have less than 300 WPP. The only constant you have to work from is your manuscript. Stay with that, and don't drive yourself crazy trying to convert to other formats.
 

euclid

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You may as well ask how big is a balloon. Paperback books with small fonts can squeeze 350 words on a page. Hardcover books with larger margins and fonts may have less than 300 WPP. The only constant you have to work from is your manuscript. Stay with that, and don't drive yourself crazy trying to convert to other formats.

Thanks, RJK. I realise there are variations. You seem to be saying 300-350 words per page is a good ballpark. I think what I need to do is get hold of one of Ken Follett's books and do a page-word count. That way I can work out how many words between story turns.

:)

In any event, it has been a useful exercise. I shuffled a few sections around for better pacing, using the basic idea.
 

blacbird

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You may as well ask how big is a balloon. Paperback books with small fonts can squeeze 350 words on a page. Hardcover books with larger margins and fonts may have less than 300 WPP. The only constant you have to work from is your manuscript. Stay with that, and don't drive yourself crazy trying to convert to other formats.

Absolutely correct. In writing there are plenty of other more important things you can use to drive yourself crazy.

caw
 

James D. Macdonald

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Euclid, I have two assignments for you: First, take a Ken Follett novel. Go through it with an orange Hi-liter and high-light each plot turn. Put a yellow Post-It note flag on each of those pages so that it protrudes from the top of the book.

Close the book. Look at the flags. Then read over the high-lighted text.

Also:

Do the 2006 Christmas Challenge.


I hope you like it.

Meanwhile:

Y'all know the three-point-plot outline:

1.) Get the hero up a tree.
2.) Throw rocks at him.
3.) Get him out of the tree.

And the seven-point plot outline:

1). Introduce the main/viewpoint character
2). Present him with a problem.
3). In a particular setting.
4). The character tries to solve the problem...
5). And fails.
6). The character tries to solve the problem again...
7). And receives validation.

Well, here's a very detailed working-out of those general plot outlines:

http://www.miskatonic.org/dent.html

Y'all can try writing a story based on that plot outline as your Christmas Challenge. As always, the challenge is to actually submit the story you wrote to an appropriate paying market.

The Post Office is closed on Christmas, and the mail is nuts in the days before ... shall we say the deadline for mailing your completed story (in accordance with the market's guidelines) is 26 December?

(If you finish your story early, lay it aside and give it a final read-through-and-polish on Christmas Day.)

I think those two exercises will answer your questions.


(I took the Christmas Challenge myself. The resulting story was published, and will be reprinted here.)

Next assignment for everyone, under the classification of The Unspeakable Horror of the Literary Life: find the story of Ken Follett and Heist of the Century. Think: If this sort of thing can happen to Ken Follett, just imagine what sort of nastiness can happen to me.
 

blacbird

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the three-point-plot outline:

1.) Get the hero up a tree.
2.) Throw rocks at him.
3.) Get him out of the tree.

There's also the Samuel Beckett Existentialist version:

1.) Get the hero up a tree.
2.) Throw rocks at him.
3.) Leave him in the tree.

caw
 

euclid

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Thanks, Jim.

1. I will find a Ken Follett thriller and do as you suggest, when the library opens tomorrow.

2. I've printed out and read Lester Dent's Pulp Paper Master Fiction Plot.

- Can this scheme be applied to a 100,000 word book?
- What exactly is Pulp?

3. I don't have the time resources to complete the second exercise (not right now, anyhow). Besides, I doubt that I could do it.

4. I read Ken Follett's web page on The Heist of the Century. I noticed that the book was not a novel. I assume it was non-fiction.
 

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4. I read Ken Follett's web page on The Heist of the Century. I noticed that the book was not a novel. I assume it was non-fiction.
That's probably a reasonable assumption, since the picture of the book's cover proclaims it to be "the incredible true story" etc.
Sure, sometimes people lie about such things, but my quick perusal of Amazon seems to back up the story's truth.
 

Ken Schneider

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Ken Follett puts me off and always has. Not interested in reading anything he puts out.

Ende!
 

James D. Macdonald

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1. I will find a Ken Follett thriller and do as you suggest, when the library opens tomorrow.

The library won't take kindly to your highlighting the text. I suggest you find a used paperback somewhere.

2. I've printed out and read Lester Dent's Pulp Paper Master Fiction Plot.

- Can this scheme be applied to a 100,000 word book?

If you're doing a plot turn every 4-6 pages, yes.


- What exactly is Pulp?
http://en.wikipedia.org/wiki/Pulp_magazine
3. I don't have the time resources to complete the second exercise (not right now, anyhow). Besides, I doubt that I could do it.
You don't have the time or resources to write a short story? I wrote mine over the course of four days. Longhand. In a notebook. In a moving vehicle. (Which I wasn't driving.)

4. I read Ken Follett's web page on The Heist of the Century. I noticed that the book was not a novel. I assume it was non-fiction.
Yes.

That wasn't the lesson I was attempting to draw.

The last Ken Follett novel I read was Lie Down With Lions Rise Up With Fleas, a book that featured pretty much every fluid a human body can produce. I kept wondering where the light was coming from to allow our hero to see what he's seeing.
 

euclid

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Re: writing short stories. For me, writing takes a lot of effort. I wish I had your talent to be able to write longhand, over 4 days in a moving vehicle. The most I can write (when I'm on top form) is about 1,500 words per day.

Anyway, it's not so much the actual writing, I would have to spend maybe 2 weeks working out a good idea (if I could think of one) beforehand.

PS I can do the Follett book exercise without actually using a higlighter. I would never highlight a book.
 
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