Thoughts on Self-Publishing

Traditional publishing has always looked down on people who self-publish (unless they are wildly successful, and then the big houses woo them). Because of that bias, people who self-publish often try to hide that fact. They make up a name for their “small press” and pretend it’s not just them. They avoid using the term “self-publishing,” instead talking about “e-books.” (E-books are one format for self-publishing, but not the only one, and obviously not all e-books are self-published.)

Self-publishing has a negative connotation, and frankly, it’s well-deserved. The vast majority of self-published books were and are bad. Badly written, poorly edited (or simply not edited at all), and clumsily designed. A couple of years back I went to a talk by librarians who had judged The New Mexico Book Awards, which is open to both traditional and self-published books. The librarians talked about why many books didn’t make it to the finals. Problems included spelling and grammar errors and using clip art that had nothing to do with the text. These books weren’t just not good, they were bad.

If that weren’t enough, self-published authors got a reputation for being aggressive. They were the ones at book fairs who would grab you and talk about their books until you bought one just to escape.

And yet these days the big buzz in the writing world is about self-publishing—often including success stories and predictions for a beautiful future. Now when I bring up the topic, most people are at least curious about the possibilities, whether they are beginning writers or well-published professionals.

I’m not exactly an outsider to traditional publishing. I’ve sold 12 books to publishers. My first novel, The Well of Sacrifice, is still in print after 12 years. But in recent months I’ve followed discussions about self-publishing and found the possibilities tempting. Joe Konrath, who writes thrillers, is one loud voice in favor of self-publishing. He started with traditional publishing, moved into self-publishing, and has been so successful that he now insists no serious author should accept a contract from a publisher.

Other voices are more moderate, and a number offer warnings, such as the often quoted statement that more self-published books will sell fewer than 100 copies than will sell more than 10,000 copies.

Still, I’ve weighed the pros and cons and decided to explore self-publishing myself. I’ll have two books out by the end of this month—a middle grade mystery set in ancient Egypt, The Eyes of Pharaoh, and an adult romantic suspense, Rattled. I’ll post about the experience here on Wednesdays—challenges and frustrations, surprises and (hopefully) successes.

Let me know your questions and I’ll try to address them. It’s a brave new world, and we can explore it together.

The Great Critique, Plus Self-Publishing in the Future

Let's gear up for The Great Critique. Here's how you play:

To participate, become a follower of the blog, if you aren't already. (If for some reason you find it impossible to "follow" or subscribe to blogs, include a note to that effect with your submission.)

Post the opening of your novel, short story or picture book  in the comments -- up to 300 words.

Everyone who posts will get a brief critique. That's right, everyone!

One out of every 10 submissions will get a more thorough critique. That means the more people who play, the more critiques you'll see. So bring your friends and spread the word!

By posting your excerpt here, you agree to a public online critique. (Don't worry, I'll be nice as well as helpful.)

Please post only one excerpt per person.

I'll keep gathering submissions through the end of the month and start on critiques over the following month.

In other news, after publishing 12 books with traditional publishers, I'm exploring the brave new world of self-publishing through e-books and print on demand. If you follow publishing news at all, you'll hear lots of hype and almost as much panic about the self-publishing revolution. So I'm adding a new element to this blog: on Wednesdays, I'll cover the elements of self-publishing. I'll discuss why so many people, including professional writers, are turning to self-publishing; when you should -- and shouldn't -- consider self-publishing; the time, money, and skills involved in doing it right; and notes from my own journey, both the successes and failures.

Keep stopping by on Fridays for articles on the craft of writing, but swing by on Wednesdays as well, to learn more about new publishing options.

Resources for Revision

To follow up on my series on novel revision, here are a few other great resources.

Doug Eboch, Sweet Home Alabama writer, has lots of great posts on his screenwriting blog and many of the techniques he covers apply to novels as well. Spend some time exploring and you’ll find lots of gems. In terms of revision, I especially like this one on how to make romantic scenes (or any quiet scene where characters are getting along) tense. Check out his posts on structure as well. (You can view every post by clicking on the first link here, and then scrolling through the list of topics down in the right-hand column.)

Writers Digest has an online article on 4 Techniques to Fire Up Your Fiction. It includes prompts from literary agent Donald Maass on how to dig deeper into your scenes and pump up the intensity.

Cheryl B. Klein, senior editor at the Arthur A. Levine imprint of Scholastic, is known for giving great writing workshops. She's now collected many of her talks together in Second Sight: An Editor’s Talks on Writing, Revising, and Publishing Books for Children and Young Adults. She discusses both picture books and novels, with in-depth analyses of the Harry Potter series, The Hunger Games, and a couple of humorous novels by Lisa Yee. It's like looking over her shoulder while she works! Along with advice on everything from opening lines to finding the emotional heart of your story, she addresses the business side of publishing by sharing an example of The Annotated Query Letter from Hell and an Annotated Query Letter That Does It Right.

Because these essays started with different talks Klein gave, the material is sometimes repetitive. That becomes interesting in itself, however, showing how ideas can develop and become refined over time, an example of editing. It's worth taking your time over each essay, letting it sink in and trying some of her techniques. This is one of the few writing books that seems to target intermediate and advanced writers far more than beginners. You'll return to this one again and again.

I've also combined many of my own articles on writing, plus expanded workshop notes, plus essays from other professional writers, into a 106 page book called Advanced Plotting, available as a $9.99 paperback or a $4.99 e-book. If you like the writing advice you get here, please check it out.

Happy editing.
Chris

Finishing the Novel Revision Exercises

Whew, the end is finally in sight! Working with the plot arc concept I introduced several weeks ago takes some time. Today, we have the last of our questions. That doesn't mean the editing is over, of course -- but hopefully you have a good idea of the trouble spots in your manuscript. I'll be offering more suggestions on revision in the weeks ahead, including tips focused on beginnings and endings. I'll also be doing a series delving into theme. But for the moment, let's assume you have some idea of your theme for your current work in progress -- or else take some time now to work it out -- and ask these questions based on your plot arc.

Analyze Your Plot Arc for Theme:

• Do you touch on your theme throughout the manuscript? Are there places where you can add references, perhaps oblique, to set it up better? 

• Look at your character arc. Does the MC experience an epiphany? Does she see herself differently at the end? How will she behave differently now?

And finally, one last step (or series of steps, really):

Analyze Your Plot Arc for Smaller Details:

• Look at cause and effect. Does each scene lead logically to the next? Are they in the proper order? Are any redundant? If you cut the scene, would you lose anything? 

• Do you include all the clues your readers need for the story to make sense and feel believable? 

• How long are your chapters? Any unusual ones? Should you make changes?

• Go back through the manuscript and mark cliffhanger moments (note the page numbers on your inventory). Do they match chapter breaks? Can you add more cliffhangers? (See my series of posts on cliffhangers -- you'll find the topic labels in the right-hand column.)

• Can you expand your strongest scenes for more drama?

Going through these lists can feel overwhelming if you try to do everything in one day. Make sure you take your time over each step, so you get the most out of these questions. You may want to only address one or two of them in an editing session. And remember, at this point, you don't necessarily want to start fixing things. Rather, focus on making notes on your plot arc (that's why you left blank lines after each scene description) so you know how to handle the work on your revision.

Coming Soon -- A Free Critique

I'm taking the week off from my usual posting, because a back injury makes it hard to sit at the computer for long. But I thought I'd give a heads up about something I'm planning. Given the popularity of free critiques of queries, first pages, and so forth on other blogs, I thought I'd join in, after I finish my series on novel revision. So let me know what you would like to see offered as a free critique -- query, synopsis, first page... ? You'll have to be willing to have the material and critique posted here, though it can be anonymous.

What's your vote?

Analyze Your Plot Arc for Subplots and Secondary Characters:

We are still working with that plot arc from several weeks ago. You know the drill by now -- use your outline to go over your plot and see what's missing and what's overdone.

• Look at your subplots. Are they woven evenly throughout the manuscript? Do you need to give more attention to some, or space them out more evenly? 

• Can any secondary characters be combined or eliminated?

The best way to do this is to use a different color highlighter is for each subplot and secondary character. That gives you a nice visual map of how often a person or plotline appears. For example, I did this exercise at the early outline stage for a book proposal I was developing. The main character was a 12-year-old boy. His slightly older brother, his major rival, held a strong role throughout the plot. Their litter sister had less of a role in the plot, but was still important to both plot and theme. By highlighting the chapters where she appeared in my outline, I noticed that she had little presence throughout the middle of the book. That warned me to find ways to include her in those middle scenes.

You can do this exercise after you have a complete draft as well, to find holes where you may have ignored a subplot or major secondary character for too long. (Note that you don't have to do this with every single person who appears in the manuscript. By secondary characters, I'm talking about those who still have an important role. If someone only appears once in passing -- a taxi driver or shop clerk, perhaps -- you don't need to mention them in your outline.)

For more help developing your secondary characters, see these earlier posts (you can also click on the "Secondary Characters" link to the lower right):

Not All Grandmothers Have White Hair (Making Minor Characters Fresh) 

Is Your Villain Evil Enough? 

Putting Secondary Characters First

Analyze Your Plot Arc for Emotion:

We’ve been working with the Plot Arc Exercise I posted three weeks ago. We looked at our plots for conflict and tension. Now it’s time to check the emotion. I asked you to list the major emotions for each scene, and underline the primary one. If you have little emotion, or only happy emotions, you probably don’t have a dramatic plot. In that case, you want to focus on making things harder for your characters.

Hopefully you have a strong emotion in every scene, probably a negative one—fear or grief or anger, for example. Strong emotions drive the story forward. But any emotion, no matter how strong, seems to flatten out over time. If you have a suspense novel where your character is on the run and constantly terrified, it becomes emotionally exhausting and even tedious, no matter how exciting the action. The emotion flows in a straight line, and straight lines become boring. Instead, you want ups and downs.

In Writing the Breakout Novel, Albert Zuckerman describes a scene from Gone with the Wind, where Scarlett is going to confess her love to Ashley. She’s nervous but excited. She starts out hopeful. He doesn’t respond as she wishes, and she starts to get anxious. She becomes determined and tries harder. He admits that he cares for her. She’s elated! But then he explains why they can’t be together. She flies into a rage. He leaves. She’s devastated. Rhett Butler pops up from where he’s been laying on the couch. She’s humiliated that he overheard. He tells her she’s too good for Ashley. She gets angry at Rhett....

See how many different emotions are in that one scene? And I’m going on memory here, so I may be missing some. Scarlett displays not only a variety of emotions, but strong ups and downs, from devastation to elation. Granted, Scarlett is an unusually emotional character, so your main character may not react with such extremes. You still want to make sure that he or she has a variety of fairly strong emotions. In that suspense novel, you want your character to feel relief, because she escaped. She’s exhausted, she just wants to rest. But she’s worried about will happen next. She tries to puzzle out the clues. She starts to get angry. Wait—what’s that sound? The fear comes back... and then you lead into another action scene. The low allows your hero’s—and your reader’s—adrenaline to drop, so that the next rush is a more powerful experience.

This holds true even if you’re not writing action books. Even a relatively “quiet” story about interpersonal relationships should still have a variety of strong emotions, though they may be expressed in different ways.

I recently finished an adult suspense manuscript. I tend to be a strong plotter, and I started with an extensive outline, so my first draft of a scene would have plenty of action and dialogue. Then I’d go back through and flesh out the emotion. I’d make sure I was giving my main character time to react and express her emotions, if only in her own head. On the surface, it might seem like this would slow down action scenes. But by fully exploring your character’s reactions, you increase the drama and keep your reader invested in the main character’s experience. We’re not just seeing what happens, we’re seeing how it affects our hero or heroine.

That’s a long lead-in to a short (but important) section of the exercise. Go back to your Plot Arc Exercise and analyze your scenes as follows:

•             How many emotions do you have in each chapter/scene? Can you add ups and downs? (For example, your MC feels happy anticipation, then anxiety that things aren’t going as planned, followed by a shock, which causes humiliation, then anger, then despair.)

•             Do the main character’s emotions escalate over time? As events get more serious, and the stakes rise, the emotions should also increase.

 

One caveat here—you want to avoid getting melodramatic. Remember, you want ups and downs, so quieter or less extreme emotions can provide some of those. Unless you’re creating another Scarlett O’Hara, don’t have your main character react excessively to everything. Save the powerful emotions for powerful events.

Novel Revision part 3: Tension

Two weeks ago I started this Novel Revision sequence by posting a Plot Arc Exercise. Last week, I explored how you could start analyzing your outline for conflict. Those questions focused on the overall plot arc, and also looked at the presence or absence of conflict in every section.

This week, go back to your Plot Arc Exercise outline and look at each scene or chapter in more detail. You may have identified some chapters where you had no conflict. But chances are you have some conflict in most chapters. But is it enough? And is it the right conflict?

Perhaps you have chapters where you have conflict in your subplots, but not your main plot. Perhaps your main character is facing a challenge, but it's not directly related to his primary goal or problem. You may choose to keep some of those scenes, but ideally, the story should never lose sight of the main character’s primary goal or problem. Subplots should be tied into the main plot. Extra conflicts should relate to the main conflict. These questions will help you identify trouble spots.

Analyze plot arc for Tension:

• Does each scene fulfill the synopsis goal?

• Does each scene advance plot, reveal character, or ideally both?

• Do your characters have a goal in each scene, such as a shorter term goal that helps lead to the final resolution of the problem?

• Does your MC attempt to make progress toward his/her primary goal in every chapter, or are some chapters only subplot? If you have chapters of only subplot, can you weave them into other chapters with plot, or add plot progression within those chapters?

• Can you make the stakes higher for any scenes?

• Mark plot twists. Do you have several surprises/reversals? If not, can you add some?

• Is the antagonist actively thwarting the hero throughout the book?

• Does the tension rise over time, with the situation worsening? Can you increase the complications, so at each step, more is at stake, there’s greater risk or a better reward?

EXAMPLE: The middle grade boy novel I mentioned last week at one point had an opening chapter where Jesse had an accident in the woods. I was trying to open with an action scene, but unfortunately it didn't relate to the main plot. I ultimately decided it was better to cut that scene and get to the main plot problem more quickly.

Novel Revision part 2: Conflict

Last week I gave an exercise for analyzing your manuscript's plot arc, either from an outline or a finished draft. If you missed that, start with the first Novel Revision post. Then move on to this questionnaire for analyzing conflict. In upcoming weeks, we'll also look at tension, Subplots/secondary characters, theme and more.

Analyze plot arc for Conflict:

• Using your outline, put a check mark by each chapter/scene synopsis if there is conflict in that chapter. For chapters where there is not – can you cut those, interweave with other chapters, or add new conflict?

• What is the main character’s flaw? Do you use this throughout the story to add complications and make challenges more difficult? Should the character make a bad decision or lose hope at one or more points?

• Is the main conflict resolved at the climax, and is the climax at the end of the book?

• Where do we learn the stakes? What are they? Do you have positive stakes (what the MC will get if he succeeds), negative stakes (what the MC will suffer if he fails), or both? Could the penalty for failure be worse? Your MC should not be able to walk away without penalty.

• What’s the timeframe? Can you tighten it? Can you add a “ticking clock,” where the MC has limited time to succeed?

EXAMPLE: This is an excerpt from a pre-revision synopsis of a middle grade boy novel my agent has submitted to editors.

Chapter 1: Jesse's family is getting breakfast, with teasing, nagging and grumbles. Simon read an article in the local weekly about a bank robbery a few towns away. The bank robbers are still on the loose. Jesse heads out for a hike, telling himself he is happier alone, but really missing the times he used to hike with Dad.

Chapter 2: Jesse is hiking, annoyed with his family. He sees tracks – three sets of footprints going up, only one coming down – and follows them curiously. He finds Maria and Rick, struggling to make a fire.

Chapter 3: Jesse helps. Maria is bubbly and wants to learn all about woodcraft, but makes an odd comment about how she's not allowed to have a knife. Rick is fidgety and tries to nudge Jesse on his way. They claim they are they are alone, but Jesse sees signs of a third person, in addition to the footprints. Shaw returns, startling them all.

ANALYSIS: Reviewing this using the questions above, I realized that while I had some tension and mystery, I didn't have a strong conflict in the first three chapters. I shortened the beginning, getting Jesse out onto the hiking trail by page 3. Then I added some bloodstains to the mysterious tracks, to give a greater sense that something could be wrong, and increased the suspicious behavior of the pair he meets in the woods. I also found other gaps in the outline where I didn't have enough conflict. I made sure the stakes were high enough, and that Jesse's internal flaw was contributing to his situation.

In this case, I had to do most of the work at the beginning of the novel. The middle had plenty of action and my climax was strong. Chances are, you'll discover some weak spots in your outline/ manuscript, but you'll probably also discover that you have strong sections that are working well.

RESOURCES:

Dear Editor has a list of questions to ask after writing a piece, to determine whether you're ready for polishing or need to do more major revising.

Novel Revision

One of the biggest challenges of revision is to keep the whole, overall plot arc and character arc in your mind while you're looking at individual pages. I developed a Plot Arc Exercise for a workshop I taught on novel revision. This is a powerful tool for seeing where you may have holes to fill in your manuscript, where you can cut boring parts, and where you need to make changes.

It's a lengthy process, so I'll be going over it for the next several weeks. If you have a manuscript ready for revision, dive right in! Otherwise, make a note of where to find this for when you are ready to revise. 


Note: this exercise is also great for analyzing an outline before you ever start writing. I believe that by writing a detailed outline of my most recent work in progress, and analyzing it using this exercise, I saved about two drafts worth of revision. Not everyone works from outlines, but if you do, give this a try.

PLOT ARC EXERCISE

• Write a one or two sentence synopsis for your manuscript. 

• Define your goal. For example, you might want to entertain boys who are reluctant readers, write a beautiful literary novel of the kind that wins major awards, explore a social problem and ways to address it, or write a quick, fun beach read.

• Define your theme. It's all right if you aren't sure yet, but start narrowing your focus. Are you trying to say something about family? Romantic relationships? Taking risks? Finding the courage inside yourself? (I'll address theme in more detail in future posts.)

• For every chapter (or scene, if you write long chapters with multiple scenes), write a sentence or two describing what happens. Note the number of pages in that chapter or scene. Leave three or four blank lines in between each chapter, for your notes.

• For each scene/chapter, list the emotions you’ve portrayed. Underline or highlight the major emotion.

• Look at your subplots – use a different color for each one and make a note of what happens in each chapter where they appear.

EXAMPLE: Here's an example from adult novel I recently finished:

Synopsis: When Joanna finds the clue that will lead her to a cave full of treasures lost in the American southwest for over a century, she's pulled into a world of action and danger beyond anything she's imagined in her quiet life.

Goal: to write an action-packed romantic suspense novel full of outdoor adventures in the New Mexico landscape, with a strong thread of romance.

Theme: You don't know what you are capable of -- or what you really want -- until you take chances.

Chapter 1: 10 pages
Joanna has found a clue to the treasure that will prove her historical theories. She calls Camie and makes plans to meet. She's on her bicycle when a black vehicle roars out of a side street and runs her off the road.
Excitement, joy, anxiety, terror.

Chapter 2, scene one: 5 pages
Joanna, semi-conscious, feels hands on her and hears vague voices, then the sound of an engine driving away. When she manages to open her eyes, she's alone.
Pain, confusion, determination.
(No subplots yet.)

It takes a while to write this kind of synopsis, so I'm going to stop here for now. Next week, I'll explore how to analyze your plot synopsis for conflict!

RESOURCES:

Blockbuster Plots for Writers suggests that "Stories can either be character-driven or action-driven…. The goal in writing a compelling story that brings pleasure to the reader or audience is to have a balance between character and action.” You can take their test to determine whether your manuscript is stronger with “Character Emotional Development” or “Dramatic Action.” That gives you guidance into where you need to spend your initial revision time.

See my post “Plotting Questionnaire” from 4/16