Our protagonist flees from twisted, corrupted evil spirits that drive him from his home. He is hounded day and night by shadows on the road behind him, and uncertainty on the road ahead. Nor are his friends safe, one is attacked by a malevolent spirit possessing an old, rotten tree. Others are taken into the tombs of the damned, tormented and brought to the very brink of death. When it seems our hero may have escaped the grasp of his pursuers, they strike, and wound him in such a way that he is corrupted, damaged, and slowly, inexorably, becoming like them: a tortured soul enslaved to dark powers.
A horror story? Of course, most readers will recognize the plot summary of the first half of the Fellowship of the Ring, book one in Tolkien's Lord of the Rings trilogy. The Nazgul are some of the creepiest, spookiest, and scariest villains in literature, but despite this, they don't push LoTR cross genre into horror. Later, Tolkien's characters will be hounded through a black cavern by a demon, stumble through bogs filled with the faces of the dead, and force an undead army to serve them. And then there's the giant spiders, man-flesh eating orcs, and the soul corrupting ring, but at no point would this novel be considered horror. It doesn't feel like horror or read like horror.
Why not? I don't really know. The overt elements are there, but for some reason, I've never read a fantasy novel that crossed into the horror genre. I think it would be a very interesting read if someone wrote one, and there may be one out there I've missed, but in general, fantasy seems to kill the scary part.
I think it's the needed juxtaposition of the world we recognize with the terrible that is needed to produce horror. Lift a Nazgul up from Middle Earth and drop him in the midst of modern day New York, and I think you have a horror novel. Place the Dead Marshes in South Georgia, or the Paths of the Dead in Colorado, and you have the workings of a scary story.
I'm still thinking on it though. Maybe there's more to it than just that. I'm just not sure.
Tuesday, December 11, 2007
Thursday, November 22, 2007
The process
After explaining the process of publication, at least as I understand it, for the dozenth time, I decided to write up a short description. That way I can just direct someone here, and say: read.
So you've finished your novel and want the whole world to see it, what do you do first? Edit. Proofread. Edit. Proofread. Then edit some more. Seriously. Go edit now.
Once you're done editing, to publishable satisfaction, you can start looking at the idea of publication. All of the following summarizes the wisdom of many months worth of vicarious understanding, coupled with some actual research, and a tidbit or two of real experience. Of course, bear in mind that IANAPA* so all should be taken with a grain of salt.
1) Option the First: Vanity Publishing. Doubtless a well-meaning family member has recommended that you pay-to-publish based on some ad they saw in a Spam Email. Self-publishing does exactly as it sounds: you pay money, you get a few bound copies of your work. If you've written a family history, or a local interest story, or perhaps a cookbook for friends, then Vanity Publishing is not a problem. You will get what you paid for, decently bound copies of your work. On the other hand, if you've written a novel, and have hopes that someone will read it without it coming as a gift from you on Christmas, then consider against Self-Publication. It won't be listed in industry publications and catologues, bookstores will only order it if YOU convince them to personally, and no one will write a scathing (blessedly free advertisement) review of your book. In short, no one will see it unless you first purchase it and stick it under their nose. On the plus side, no matter how awful your book is, no matter how bad your editing, style, characters, plot, and writing, you're guaranteed to see it in print. Vanity Presses are paid by you to print the book, whatever book you hand them.
2) Option the Second: Co-operative and Print-on-demand. This is a step-up. First, many of these publishers have editorial standards, which is a HUGE leap up. They do occassionally reject books so bad as to not be possibly worth their time. This might make it easier for you to convince a bookstore to carry the title, but that all depends on YOUR connections within the publishing industry. If the head of distribution of Amazon is your brother-in-law, then by all means, this is probably an excellent choice. Likewise if you are a skilled advertisor and marketer willing and able to pitch your work to the communities that may show interest in it. On the whole though, don't expect it to be on the Bestseller lists anytime soon, nor for their to be motion picture studios banging on the door, nor, sadly, for you to ever get a paycheck for your hard work. Certainly, exceptions can and do exist.
3) Sell your work via the Slush File. Don't worry, it's a lot worse than it sounds. You can always try direct submitting your work to for-real publishing houses. I think three of them look at unsolicited, unagented queries. Actually, I made that up. So far, I've found only two that do so, but I'm certain at least one more will, I just haven't found them yet. This way, you will control everything on your side. Once you've submitted, you can rest assured that your work will be read, just as soon as the other 9000 works in the Slush File are read. It's sort of like winning the lottery, only with worse odds, and less pay-off. If your brother's cousin is an assistant editor at a major house, then you will undoubtedly have an inside track. Otherwise, polish your query letters, and prepare to learn humility. Rejection letters build character.
4) Find an agent. Well, finding an agent is as simple as checking PublishersMarketplace or the Association of Artists' Representatives websites. Now, convincing an agent to look at your work...that's a bit trickier. Finding an agent interested in representing you, ah, beyond my experience. I haven't found one yet. However, I'm building character through rejection letters. If you're Tom Clancy is your neighbor, invite him over to a BBQ and bribe him with good food until he agrees to give you an recommendation to HIS agent. If your Great-Uncle Joe writes abusrdly boring narrative history for college textbooks, beg him for a nod to his agent. It sounds desperate, but after a few months of rej...character building, you'll be that desperate. If you live in a large city, or can fly to one with regularity, you may find some success meeting agents or helpful publishing industry types at writers' conventions. Neither of the aforementioned apply to me, so I have no experience in the way of conventions. I'm stuck with the old query letter route. Once you've found an agent, they will (theoretically) use their contacts in the industry to find you a publisher. At the very least, they know who the publishers are. And they know what contracts mean. This is two steps ahead of me, so I'm keen on the whole agent handling the legal side of things idea.
All I need is enough accumulated character via rejection. If anyone is actually reading this Blog, and knows more about The Process than I do, please, feel free to post a correction, addition, or mocking comment.
Happy Thanksgiving to my American family! I miss you all. (Yes, even YOU).
*I Am Not A Published Author
So you've finished your novel and want the whole world to see it, what do you do first? Edit. Proofread. Edit. Proofread. Then edit some more. Seriously. Go edit now.
Once you're done editing, to publishable satisfaction, you can start looking at the idea of publication. All of the following summarizes the wisdom of many months worth of vicarious understanding, coupled with some actual research, and a tidbit or two of real experience. Of course, bear in mind that IANAPA* so all should be taken with a grain of salt.
1) Option the First: Vanity Publishing. Doubtless a well-meaning family member has recommended that you pay-to-publish based on some ad they saw in a Spam Email. Self-publishing does exactly as it sounds: you pay money, you get a few bound copies of your work. If you've written a family history, or a local interest story, or perhaps a cookbook for friends, then Vanity Publishing is not a problem. You will get what you paid for, decently bound copies of your work. On the other hand, if you've written a novel, and have hopes that someone will read it without it coming as a gift from you on Christmas, then consider against Self-Publication. It won't be listed in industry publications and catologues, bookstores will only order it if YOU convince them to personally, and no one will write a scathing (blessedly free advertisement) review of your book. In short, no one will see it unless you first purchase it and stick it under their nose. On the plus side, no matter how awful your book is, no matter how bad your editing, style, characters, plot, and writing, you're guaranteed to see it in print. Vanity Presses are paid by you to print the book, whatever book you hand them.
2) Option the Second: Co-operative and Print-on-demand. This is a step-up. First, many of these publishers have editorial standards, which is a HUGE leap up. They do occassionally reject books so bad as to not be possibly worth their time. This might make it easier for you to convince a bookstore to carry the title, but that all depends on YOUR connections within the publishing industry. If the head of distribution of Amazon is your brother-in-law, then by all means, this is probably an excellent choice. Likewise if you are a skilled advertisor and marketer willing and able to pitch your work to the communities that may show interest in it. On the whole though, don't expect it to be on the Bestseller lists anytime soon, nor for their to be motion picture studios banging on the door, nor, sadly, for you to ever get a paycheck for your hard work. Certainly, exceptions can and do exist.
3) Sell your work via the Slush File. Don't worry, it's a lot worse than it sounds. You can always try direct submitting your work to for-real publishing houses. I think three of them look at unsolicited, unagented queries. Actually, I made that up. So far, I've found only two that do so, but I'm certain at least one more will, I just haven't found them yet. This way, you will control everything on your side. Once you've submitted, you can rest assured that your work will be read, just as soon as the other 9000 works in the Slush File are read. It's sort of like winning the lottery, only with worse odds, and less pay-off. If your brother's cousin is an assistant editor at a major house, then you will undoubtedly have an inside track. Otherwise, polish your query letters, and prepare to learn humility. Rejection letters build character.
4) Find an agent. Well, finding an agent is as simple as checking PublishersMarketplace or the Association of Artists' Representatives websites. Now, convincing an agent to look at your work...that's a bit trickier. Finding an agent interested in representing you, ah, beyond my experience. I haven't found one yet. However, I'm building character through rejection letters. If you're Tom Clancy is your neighbor, invite him over to a BBQ and bribe him with good food until he agrees to give you an recommendation to HIS agent. If your Great-Uncle Joe writes abusrdly boring narrative history for college textbooks, beg him for a nod to his agent. It sounds desperate, but after a few months of rej...character building, you'll be that desperate. If you live in a large city, or can fly to one with regularity, you may find some success meeting agents or helpful publishing industry types at writers' conventions. Neither of the aforementioned apply to me, so I have no experience in the way of conventions. I'm stuck with the old query letter route. Once you've found an agent, they will (theoretically) use their contacts in the industry to find you a publisher. At the very least, they know who the publishers are. And they know what contracts mean. This is two steps ahead of me, so I'm keen on the whole agent handling the legal side of things idea.
All I need is enough accumulated character via rejection. If anyone is actually reading this Blog, and knows more about The Process than I do, please, feel free to post a correction, addition, or mocking comment.
Happy Thanksgiving to my American family! I miss you all. (Yes, even YOU).
*I Am Not A Published Author
Sunday, November 4, 2007
Revisions
In the middle of the night on the day before last, it hit me that a major plot arc in one of my stories need to be completely rewritten. So, all day yesterday I rewrote, deleting an entire character, changing a plot line, and alterng the meaning of one of the PoV characters dramatically. I was surprised at the ease with which I wrote out the character, normally I'm attached to them, but this went smoothly. I think the story benefits a good deal from the changes, not only is now missing an extra, irrelevant character, but the plot line is smoother, with a more coherent purpose. It's taken me a long time to be willing to undergo such major revisions to my work, but I've come to think of it as necessary to tell a better story.
Never be afraid to revise, edit, alter, change, and delete from your stories. I'd recommend saving multiple versions in case the new edit doesn't hold up in the end, with computers that's easy enough, simple to have multiple edits existing all at once. Pick the one that best tells the story, and go with that...unless it needs further revisions, of course.
Never be afraid to revise, edit, alter, change, and delete from your stories. I'd recommend saving multiple versions in case the new edit doesn't hold up in the end, with computers that's easy enough, simple to have multiple edits existing all at once. Pick the one that best tells the story, and go with that...unless it needs further revisions, of course.
Friday, October 26, 2007
New Book
I write stories to answer questions. I have idea, a scene or image, and the story comes from the questions that I ask of that scene. I see a man driving a car, and I think, "Where is he going? Where did he come from?" Stories arise from those answers. And when two scenes meet at the intersection of the answers to those scenes...well, then I know I have to write that story. It was Stephen Donaldson that said first (at least, as far as I know he said it first) that every story is the intersection of two ideas - one common, one strange. For me, those ideas meeting at the crossroads always start with the answers to questions, and usually raise more questions of their own.
So now, I have two scenes, each with a host of questions. I have to write another book to learn the answers, because even I don't know them yet.
So now, I have two scenes, each with a host of questions. I have to write another book to learn the answers, because even I don't know them yet.
Thursday, October 25, 2007
Contradictions
The art of submitting a successful query seems to be balancing contradictions. I've become accustomed to seeing conflicting advice: open with an attention grabbing question versus never open with a question. Also, difficult to reconcile advice: strictly professional and just the facts versus sell yourself and don't be modest. Give a full plot summary versus attention grabbing back of the book jacket details only. I understand that different agents look for different things. That alone makes it important to tailor each query to the agent in question. If they want different things, no one letter can satisfy them all. I get that.
But now and then you find the absolute stark contradictions that make it difficult to even submit at all. On one agent's site, a page directed prospects to email only, as snail mail wasted trees. One click over, on the same site, was the injunction that said agent deleted all email, and queries must arrive by mail with a SASE.
I begin to understand why so many authors are considered insane.
But now and then you find the absolute stark contradictions that make it difficult to even submit at all. On one agent's site, a page directed prospects to email only, as snail mail wasted trees. One click over, on the same site, was the injunction that said agent deleted all email, and queries must arrive by mail with a SASE.
I begin to understand why so many authors are considered insane.
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