Writer's Digest Webinar Event

Authors, you're invited to attend my Writer's Digest webinar, Abandon Your Outline and Elevate Your Novel, on Tuesday, December 16th, at 1pm. Those who register for the live event will receive an ebook version of my book Story Trumps Structure. I hope you can join us.


ABOUT THIS WEBINAR:

In this eye-opening live webinar, both aspiring and accomplished authors will learn the advantages of ditching their outlines, why they should stop trying to plot out their stories, how to trust the writing process, and how to develop their fiction organically rather than mechanically.

This is far different than “seat-of-the-pants” writing. It's all about delving into a deeper understanding of the essence of story, embracing the expectations of your readers, and asking the right questions to help shape the story.

Formulas and templates can only take you so far and, all too often, they end up straightjacketing stories. But how can you really write a powerful, cohesive, emotionally-gripping story without plotting it out first? Is it even possible? Yes it is. And this webinar will teach you how.

WHAT YOU’LL LEARN:

• 3 questions that will solve every “plot problem” you'll ever have 

• How vital, underlying narrative forces work together to drive your story forward 

• Why context determines content and how it shapes every scene you write

• 5 easy-to-implement steps to organizing scene ideas without using an outline 

• Practical steps to adding a twist to your story 

• Specific ways to listen to and respond to your story as it unfolds 

• The core ingredients that will improve every story

WHO SHOULD ATTEND?

• Writers tired of following formulas and plot templates 

• Writers looking for a fresh approach to understanding what makes a story work 

• Aspiring novelists intimidated by the idea of outlining an entire novel

• Accomplished novelists who would like to expand their storytelling depth

• Novelists with great ideas but no direction 

• “Seat-of-the-pants” writers looking for practical tips 

• Writers who would rather spend time writing a story than plotting one out

• Writers who've written themselves into a corner 

• Writers trying to reconnect with the joy of creativity 

• Writers who want to add twists to their stories

Troubleshooting Your Novel

Troubleshooting Your Novel  

a full-day writing seminar

with the critically-acclaimed author of the

Patrick Bowers thriller series,

Steven James 

Also featuring New York Times bestselling author, Eric Wilson; award-winning author and freelance editor, Jodie Renner; and literary agent with the Wheelhouse Literary Group, Jonathan Clements 

  

Saturday, January 17, 2015

8:30 a.m. - 6:00 p.m.

Radisson Airport Hotel

Nashville, TN

This one-day conference will be filled with practical insights,

dozens of ways to fix plot flaws, time-tested writing secrets,

and easy-to-implement ideas that will help you improve your novel right now, no matter how far along you are in writing it. From the broad aspects of building the framework of your novel to the fine brush-strokes of line-by-line editing, this day will transform your writing forever.

Visit troubleshootingyournovel.com to register.

In keeping with your contract of entertaining the reader: How best do I design scenes? What should every scene consist of in your opinion? Can you have a scene that simply shows more character development, or simply hints/builds towards things to come later in the story? Does every scene have to have conflict? Since this is my first draft, should I simply write the story out and go back and add/drop scenes as needed?

People often ask me what a scene is, what a scene includes, how long a scene should be, and if scenes are included simply to reveal character traits. Since all of these are related topics, I decided to tackle them together. Let’s see how much we can cover in this one blog post.

First of all, a scene is the account of a character, rooted in time and space, working toward an objective that he wishes to accomplish.

The scene begins when a decision on his own, or an obligation thrust on him by another, places him in this situation where he must accomplish a certain task. It might be buying a bag of Cheetos or negotiating to get a good deal on a new car, or seducing a lover, or saving a child who fell into the lake. There is a task that is related to a goal. The scene shows what happens when the character attempts to accomplish this task or reach this goal.

Scenes are made stronger when there is tension, conflict, unmet desire. Look for that; bring it out.

Regardless of which draft you're in, you will want to work your scenes around objectives—on the part of the characters. I’m not a fan of bland scenes in which nothing is sought or altered, but the actions are just there “to show characterization.” This might be a scene of internal reflection or dialogue or exposition in which nothing is sought and the reader is left in the dark about what the characters really want.

The best way to show characterization is when a character is accepting to overcome something or rise to an occasion, so the scenes that best reveal characterization are those that do more than show action, they show action with intention.

Identify the goal. Let the characters seek it, fail to get it, process what just happened, and then make a decision that leads them on to the next scene.

Seek. Fail. Process. Proceed. This is what well-crafted scenes will do for you. This is the pathway your character will move through, scene by escalating scene, toward the climax.

How long does the first draft of a manuscript typically take you to get onto paper? With thinking, research, and writing how long does it usually take for you to finish your manuscript?

This question comes up quite often in one form or another. I can’t tell you how many times at a writers conference someone has asked me how long it takes me to write a book, or finish a first draft, or how many words I write each day.

I know that part of it is natural curiosity, but there’s also that practical side of things—If he can write 2,000 words a day, how many should I be able to write?

I have friends who actually write precisely a thousand words a day. They can tell you that their book will be done in 100 days and will be 100,000 words long, just like that. Boom. It’s crazy.

Honestly, I just don’t understand that. First of all, I’m not sure how you would even know the length of the book until it’s finished. Secondly, that’s not at all how I’m wired.

Ideas don’t start on a certain date and they don’t have an expiration date. Making a career as a novelist means that, in the real world, you’ll be working on a new project while one of your previous works is being edited, proofread, etc.

So, in essence, there are always two or more pots on the stove and your life is often made up of moving them around to keep the most important one at the moment boiling.

I’m always coming up with ideas that don’t quite fit into the current project I’m working on. I set them aside, let them percolate, and then pull them out when I’m ready to move on to another book.

Obviously, novels vary greatly in length, complexity, number of point-of-view characters, and so on, so the amount of time it takes to write one will vary as well. Most of my Patrick Bowers novels are between 105,000 and 140,000 words. My young adult thrillers, Blur and Fury, are both less than 80,000 words.

I’ve managed to write some of my novels in less than six months, others have taken nearly a year and a half—but remember, that’s writing nearly every day of the year. It’s my day job. It’s what I do to pay the bills.

Recently, there have been several self-published books about writing extraordinarily fast (for example: 2,000 to 10,000, in which the author purports to be able to write 10,000 words in a day. No. I’m not kidding. Nor am I endorsing the book by mentioning it. Quite the opposite, frankly.)

It’s simply not possible for the vast majority of authors to write that fast and write well, and it does a serious disservice to people to imply that they can learn to do it.

Yes, there will always be prodigies who can pull off amazing feats, but on my best, most productive days of writing, I average maybe 120 words an hour, and that’s after doing this for more than a decade, utilizing every trick and time-saving secret I can think of.

Can some people pull off amazing quality and breathtaking quantity? Yes. But most of us have to choose between the two. Even though it ends up taking me about a month of work for every hour it takes a reader to go through my books, it’s just who I am. I’ll never be able to pump out books every couple months.

And I guess, now that I think about it, I’m glad I don’t even try.

Since this is my first draft, should I simply write the story out and go back and add/drop scenes as needed?

People often ask me questions regarding my writing style, process, etc. Whenever we talk about writing, there is process and there are principles. While the principles for storytelling are relatively universal, the process will vary from person to person and also, at least in my experience, from book to book.

Some people outline and “plot out” their stories and others listen to the story as they write each day, feeling out the direction of the story organically. Since I’ve described the organic writing process in other posts, let’s not go there for now. You can go back and read those posts later. But no matter your process, I think it is important to write the ideas you have when they are fresh in your mind—even if they are not specifically chronological.

When I’m working on a story, I might know that in a certain place in my book my detective will visit a crime scene and notice what no one else notices, but it might take me weeks or months to figure out exactly what that is. So in the meantime, while I wait for just the right inspiration, I write obligatory scenes that the story and the genre dictate.

For example, in the book I’m currently writing, I’m about 80 or 90% done, but I have no clear idea about how the climax will play out. As I’ve written, I’ve worked on scenes that I knew I was going to include, and some transitions or interludes between the scenes themselves. In some cases I know that something must be altered—or tilt as I sometimes think of it—but I’m not sure exactly what that is. But it will come if I continue to look at context and press the right questions against the fabric of the story. So, as I now add those scenes and transitions, I can look at the story as a whole and that will lead me to just the right climax and ending.

To summarize, I believe it’s best to pursue your ideas where they take you. Write yourself into a corner as much as you can and then find a way out your readers would never expect. Keep moving through the story, sometimes that will mean moving ahead without figuring exactly what will happen in a scene and then dropping the scenes in later, sometimes it’ll mean you figure them out as you move along. Be flexible. Be open. And keep an ear out for what the story is trying to tell you.

Story Trumps Structure Is Now Available

I am pleased to announce that my book 

on the craft of novel writing

Story Trumps Structure 

is now available. 

For more information, please visit 

storytrumpsstructure.com.

Don't Limit Your Fiction—Liberate It

All too often, following the “rules” of writing can constrict rather than inspire you. With Story Trumps Structure, you can shed those rules—about three-act structure, rising action, outlining, and more—to craft your most powerful, emotional, and gripping stories.

Award-winning novelist Steven James explains how to trust the narrative process to make your story believable, compelling, and engaging, and debunks the common myths that hold writers back from creating their best work.

• Ditch your outline and learn to write organically.

• Set up promises for readers—and deliver on them.

• Discover how to craft a satisfying climax.

• Master the subtleties of characterization.

• Add mind-blowing twists to your fiction.

When you focus on what lies at the heart of story—tension, desire, crisis, escalation, struggle, discovery—rather than plot templates and formulas, you’ll begin to break out of the box and write fiction that resonates with your readers. Story Trumps Structure will transform the way you think about stories and the way you write them, forever.

-----------------------------------------------------------------------------------------

“Steven James is the best teacher I’ve ever worked with. I’ve been keenly awaiting Story Trumps Structure since I first heard it was coming out. Like Steven’s lectures, the book is an invaluable resource for aspiring authors and published novelists alike.”

—Robert Dugoni, New York Times best-selling author of The Jury Master

I have heard from multiple publishers the same line: They enjoyed my submission, but it isn't marketable. I recently had a smaller publisher say that I wrote an entertaining story but it isn't worthy of critical acclaim and that more or less makes me a “B List Author” and they are unable to publish my work. My question is, when is it time to hang up the hat? Do I stop trying to submit my work (it's a sci-fi and there are not many sci-fi publishers)? Do I try to self publish? Is self publishing ever a good idea? Do I give up on writing altogether? (I am not a fan of being labeled a "B List Author," but I digress.)

First of all, I wouldn’t be a fan of being called a “B List Author” either. It seems like an outrageous thing for a publisher to tell anyone. But keep in mind, it’s just one obviously jaded editor on one day.

Remember that publishers only make money when they purchase manuscripts that they think they can sell. Period. They aren’t going to take on a project they personally like but they don’t think can make money. So, their feedback is helpful for you.

That said, I would follow up with a letter to the editor thanking them for the time and input and asking what would have made the book more marketable? Tell them you are looking to rework the manuscript and would appreciate any feedback they can offer. Some won’t reply, but some likely will. Take their comments to heart and as a gift to you to help improve your story.

Years ago, I had a book proposal that was rejected by about 20 publishers. I reworked it, taking their comments and reasons for rejection into account to make the book better, and then finally sold it.

As far as “hanging up your hat,” I really can’t say. However, remember that if the book isn’t marketable to a traditional publisher who has a marketing team that knows your market, it won’t likely be any more marketable if it’s self-published.

And, it’ll only be more difficult to sell to consumers since (1) you don’t have the marketing experience that a publisher has, (2) you don’t have the contacts they have in bookstores, (3) you may not know the market as well as they do.

For all authors—traditionally published or self-published—the key is producing stories that entertain readers, and then connecting with those readers so that they discover you. If you’re convinced you have done the first and that you can do the second all on your own, then perhaps self-publishing will work. Otherwise, rework your story so that it’s marketable, or move on to another project or career.

International Thriller Writers On-line Craft School

I am honored that I was asked to be one of the teachers for the International Thriller Writers On-line Craft School. This is a great opportunity for any writer, especially a thriller writer, to take advantage of...without having to go all the way to New York City for Thrillerfest.

Check it out: International Thriller Writers On-line Craft School

Ask the Author, 2014

Hello Fellow Authors,

Just a note to let you know I've submitted my current manuscript for Checkmate to my editor, so I'm ready to return to Ask the Author to answer your questions about the craft of writing.

I do have questions on the back burner, but I will eventually get to any new ones I receive. You can click on the "email me" link in the right column to submit your questions.

And please, especially if you're new to this site, read the previous questions and answers. You may already have your question answered before you even ask.

I look forward to hearing from you.

--Steven James

See You Next Year

Just a note to tell you that I need to put the Ask the Author posts on hold for a few months. It’s crunch time for my next book, Checkmate, so I’m going to concentrate on it for now and get back to blogging early next year.

To keep you enlightened until I return, here are several books on writing I recommend:

·      On Writing by Stephen King

·      Scene & Structure by Jack Bickham

·      Writing the Breakout Novel by Donald Maass

And my own writing book, Story Trumps Structure, will be released next spring.

I wish you all the best in your writing endeavors.

To Blog or Not to Blog

A few of us were invited by The Big Thrill to comment on whether or not it's beneficial as an author to spend time blogging.

Check out what we have to say and, please, respond with your own thoughts.

"Does blogging provide discipline and organization--or is it a distraction?"

Novel Writing Intensive Retreat 2013

Many people ask me what to do after they’ve finished a manuscript and think it’s at a point where they can’t improve it any more, but know it’s not quite ready to send to an agent or acquisitions editor. If that’s you, the Novel Writing Intensive Retreat in October might be just what you need. This will be my third time leading this retreat, but this year I’ll be teaching with nationally-known writing instructor and accomplished novelist Robert Dugoni. In addition to detailed individualized manuscript critiques, during the four day intensive, you’ll receive 8 hours of classroom instruction, 10 hours of interactive small group instruction, an extensive handbook on writing, a 100-point novel writing checklist, all meals, lodging, and much more. Visit the website to find out the details and specifics. This event is first-come, first-served, and because of the individual attention, we can only accept ten attendees. I hope to see you there.

When you were first starting out, did you ever have any self-doubt in your writing ability? If you did, how did you deal with it?

I’m not sure if the self-doubts that have lurked around the edges of my consciousness since the very beginning of my career will ever fully disappear. Despite how many books I write, I still approach every project with a trembling hand.
Will it be any good?
Will people like it?
Will I ever actually finish it?
Will it be better than the last one?
Over the years I’ve written more than three dozen books and hundreds of articles, but still I don’t have the confidence in my ability that you’d think would come naturally at this point.
Maybe that’s encouraging to aspiring writers, and maybe it’s disheartening. Depends on how you look at it—on the one hand, the apprehension might never go away, but on the other hand, you won’t be alone in feeling that way.
However, there’s a paradox to all of this. Intermingled in with all that hesitancy there has to be a certain sense of confidence in the process, or we wouldn’t know where to begin each day. And also, there has to be a certain degree of ego.
After all, every writing project is in a certain sense an exercise in egotism. When I write a novel that will take someone ten hours to read, and I encourage that person to buy it, I’m basically telling her that there’s no better way for her to spend ten hours of her all-too-short time on this planet than reading my story. If there was something better, I wouldn’t feel right trying to get her to read my story than to do that other thing.
If that’s not egotism, I’m not sure what is.
The truth is, if you like long hours in solitude, emotional turmoil, constant self-criticism and bouts of heart-wrenching disappointment, you’ll make a good writer. And if you can actually tell an engaging story, you might just make a great one.

How much time does the process take between the first ideas for a story and writing the first word of the actual novel on paper? How much time do you spend working on the idea before you start writing the book?

Artist Robert Motherwell once said, “When I'm thinking I'm working.”

Honestly, that’s the way it is for me. I have a hard time mentally shutting off my projects. I carry a notepad of some type (paper or computerized) with me nearly everywhere I go, and I jot ideas down as they come to me. It’s both a curse and a blessing. I couldn’t do what I do without the ideas, but sometimes I wish I wouldn’t have any more until I can use up the ones that are already overwhelming me.

Every idea is the genesis for another story or another scene. It’s really not possible to say when those seeds of stories actually become stories themselves. Every idea that I write down is, in essence, a work in progress.

I should note that not every idea is a good one. It’s important that writers acknowledge that and realize that most of the ideas they come up with will never be used. One of my biggest problems is differentiating between the ideas that are workable and the ones that really aren’t worth pursuing.

Every idea is a doorway and they all lead to something—usually more doorways. But sometimes you’ll find a doorway that opens to a room that becomes part of your eventual story. Every idea is, at the very least, a doorway to the next.

When you write a suspense novel, how do you develop your story without moving too quickly, yet also not moving so slowly that readers lose interest?

Building suspense is really a process of making and then keeping promises.

Suspense isn’t so much about “making things happen” as it is about promising that they will. It’s more about creating worry, apprehension, and anticipation than it is about adding more action. When readers are bored with a book or when they complain that “nothing’s happening,” they don’t usually mean that nothing is occurring but rather that things aren’t escalating. We solve this problem not by adding more action but by making more promises.

In a mystery you might have someone beheaded before the book begins and the detective (or team of detectives) must work to solve the crime. In a horror story you might show the beheading in all of its grisly detail. In suspense, readers learn that someone is going to be beheaded and the protagonist must try to stop the crime before it occurs. See the difference? The first (mystery) appeals more to intellect—it’s a puzzle that needs to be solved. The second (horror) deals with a more raw, visceral gut-wrenching reaction. We’re not kept in suspense, we see the horrific detail. It’s almost like we’re afraid to look because of what we are being shown.

Suspense, however, deals more with the emotions. It appeals to the concern of the reader for the wellbeing of the character/s. So instead of being afraid to look, readers are afraid to look away because they’re afraid they might miss what is going on.

When readers care about a character and that character is put in peril, suspense is born.

Now, how do we make sure that we don’t lose the interest of readers? How do we make sure that we don’t move too slowly? I have a maxim that directs all of my writing endeavors—always give readers what they want or something better.

So, as I work on my story, I make promises of things that will go wrong (a killer might threaten or abduct someone; terrorists might develop a weapon, hack into a computer, leave a ticking bomb, etc…) then, as I write, I continually ask what the readers want, and I give it to them—or try to surprise them with something better than they ever imagined.

The keys to pacing include making and keeping promises when readers expect them, relentlessly escalating the tension of the story, raising the stakes, and balancing the amount of exposition so that it occurs after climactic scenes when readers wants a break and need a chance to reorient themselves for the next scene.