My answer to the last part? All of the above. But let me dig deeper.
- the first act turn
- the midpoint
- the second act turn/climax
- the end!
Vivien took our topic of the week and compared it to gardening. I totally dig her explanation. You should check it out.
But today is Thursday which means I’m supposed to provide some insight. Which is difficult for me to believe that I can offer up anything useful, a side effect of struggling mentally, though I’m going to give it a go.
Once upon a time I was invited to write a novella for an anthology. At that time I’d only written one novel and was working on my second and I thought sure, I can write something creepy and short! Reader: I can’t write anything short. My first stab at a novella ended up exploding into the opening for what could’ve been a 95,000 word novel!
Whoa! Let’s deconstruct that sentence because it packs a lot.
First, my novella attempt exploded meaning I failed to keep the story and pace compact enough and it ended up reading like the first few chapters of a novel. Second, this novella draft was for a thriller anthology. 95,000 words is too long for a short and it’s too long for a thriller novel!
-No Writing Is Wasted-
You know the saying “no writing is wasted”? Well, I guess it’s actually true because from this failed attempt I did learn a few things. Yep, you’ve got that right: I can’t write anything short. I love building; building the world, building the characters and their growth slowly, building the plot. So I know if I’m ever to really write a novella I’m going to have to practice a new kind of writing craft.
I also learned how to plan out the length of my WIP (work in progress). The first novel I wrote I penciled into a 5 subject notebook. Bad idea on so many levels, but for today’s topic—soooo bad in regards to knowing how long the book would be. And since I was in the process of drafting my second novel I decided to change my process and write each scene to match its genre: sci-fi thriller.
Plotter (n): someone who plans things out in advance
I’m a plotter, so I already had a synopsis and an outline and knew what would happen in each chapter. But I had long first and second chapters and a short third chapter. How in the world was I supposed to predict the length of my completed manuscript at this rate and how long should it be?!
Problem! How long is the typical scene for a thriller?!
My solution was to read. I picked up countless science fiction, thriller, and sci-fi thriller books. I made a spreadsheet. *tip my hat to Jeffe* And after all that I determined I wanted my book to end up at 75,000 words (about a 300 page book because that was the average length for thrillers). On top of knowing how long I wanted the complete project to be I also knew I needed to keep the action tight for this genre and my goal was to have each chapter be in the 6-8 page range.
to calculate book length from word count ÷ by 250
On average there are 250 words per page.
Armed with this knowledge I set out to work each scene to fit my page goal which led to me to reaching THE END at 76,000 words! Granted, that was the first draft and it went through a lot of revisions resulting in additional scenes. Curious about how it all turned out? Well, the WIP I’m talking about is THE MARS STRAIN which will release in audiobook on April 27th!
Next week I’ll share a preview of the cover. Until then, let me know how you plan for the length of your WIP! If you’re a pantser how do you make it work? If you’re a plotter as well, do you outline each scene so you can control the chapter lengths?
Maybe I'm getting old or turning into my mom or something, but I've recently been gardening a lot. (Too much?) It's relaxing, low pressure, and nobody cares really if I succeed or fail. The patch of green stuff is in my back yard anyway, so who would know if every plant in it just dried up and turned to dust? Nobody. Which is what makes gardening perfect for folks who fight anxiety.
One thing I've discovered about gardening is that the phrase "you're comparing apples and oranges" is not trite. It's absolutely true. Every plant in the garden is different, requires different handling, different planning. Some want more water, some get testy when they're over-watered, some need constant sun drenching them, and others prefer a bit more shade. I tend them all every day, but I don't tend them in the same way.
Stories are kind of like that.
Over the years, I've written stories of every length: flash fiction, short stories, novelettes, novellas, and novels. I've adored each process and am not quite sure I have a favorite. They all bloom differently and brilliantly, but where they're most like plants is in the planning and expectation. I have never planted a short story and unexpectedly gotten a novel. I don't even know how that happens.
I did once start to write a novella for a submission call and about 10k words in realized that I was in fact writing a novel. The pacing is different, the feel, the ... I don't even know how to describe it. Each kind of story is unique, and you can't transmorgify one into another by simply adding or deleting words. That's not how grown things work.
Right now, I'm sitting on a novella that I wrote specifically to be a novella, but I'm told it raises some juicy worldbuilding questions and concepts, and a couple of early readers have expressed interest in knowing more. (A good thing! I think!) My first instinct was to expand on what I've already written, but the more I ponder it, the less I want to dig up and replant this guy. Better to write an actual novel in the same world to accompany the novella. Maybe?
No idea, honestly, if that's the right decision, but it feels right. And like any other organic process, writing kind of has to go on feel.
I absolutely have to know the target length before I begin to consider the first nugget of the story, the characters, the settings, or any part at all. For me, length determines the type of story I'm going to tell. The shorter the work, the shorter the time span covered in the story, the faster you have to get to your point, the simpler your point must be.
As Jeffe mentioned on Sunday, shorter works like a short story (~5k-10k words) don't leave room for Scooby-Gangs and elaborate world-building. The protagonist has mere minutes to maybe an hour to accomplish their goal. It's 15 min of a TV episode. Half of a pilot ep. Masters of this format can provoke emotional connections with minimal words and concise actions.
Novellas (~15k-40k words), maybe cover a day or a long weekend. Protag gets a wingman, world-building is richer but contained and limited. Plot is a straight line, no subplots (unless it's part of a series). Think of a novella as a full TV episode. Maybe two eps if you're aiming for 40k. I don't tend to write novellas because I like to spend time in the worlds I'm creating while molding my characters. That's not a knock on the authors who do write them. There are many great novellas out there. Check out the 2021 HUGO nominated novellas (and novels) here.
Novels, their optimal length is highly dependent on the genre. While there are always exceptions, the readers of the genre have certain expectations. Traditional publishers have established and posted word-count limits that reinforce those reader expectations. Writers guilds and associations are much more generous in what lengths they consider novels. However, there is nothing that infuriates a reader more than paying full market price for a novel in a genre where the average length is ~90k and the book they've purchased is half that long yet marketed as a novel. Something to keep in mind when deciding if your story should be a novel or novella.
That said, novels are my thing. The time span covered in a single novel can be as short as a day or longer than a decade. Single protagonist or multiple. A small cast of characters or cast of thousands. The world-building had better be rich if you're writing SFF. While there is a primary plot driving the story, the subplots abound. Yes, I plot (see previous posts for the bad things that happen when I don't). Yes, I absolutely know if the novel is a standalone or part of a series. I prefer writing series, and I do determine how long that series will be before I write Book 1. (Four books in the Fire Born High Fantasy series. Seven in the Immortal Spy Urban Fantasy series. Unnamed trilogy currently in concept.)
So, the short answer to the week's question is: Yes, I identify the target length of the work so I know the constraints before I begin plotting the story.
The topic of the week is story length and how to prepare for it.
Guys, I'm a pantser, but I'm also a sensible enough fellow. I really just start writing with a basic idea of what want to say, and edit from there. I just finished a story for Weird Tales that is supposed to cap at 7,500 words and my first draft came in at 7,532 words. I have to chop 32 words before ai send it in. Pretty sure I can do that.
I have trained myself over the years to write at various lengths. That's mostly because a lot of my earlier work was articles and essays written for magazines as well as different pieces that had to be specific lengths for role-playing games. When you get paid by the word you earn to make certain you stick to the appropriate form and length.
Short stories and novels give you a bit more leeway, and novellas are just exactly the right length for some works. It all depends on what the project is and what the requirements of my editors and publisher are. As w3ith so many parts of writing I think a lot of it just comes with practice, but I have to say as I reached the end of this particular tale I found myself wondering if I'd reach the finish line with an extra thousand words in the way. There was a lot more i could have said, really, if I'd been given extra space.
I always want to make the editors happy but I also always want to make myself happy with the tale I'm telling. I am the first audience I have to deal with, and if I fail to entertain myself, I have serious doub=ts about entertaining anyone else.
first readers, critics, all of them have to be put aside on the first draft, and if necessary, I will pull out the scalpels and go at a fin9shed tale like a plastic surgeon aiming to make it prettier.
This week at the SFF Seven, we're examining the differences between writing a short story, novella, novel, series. We're asking each other: Do you prepare for length beforehand or edit down (or add new stuff) afterward?
So, I have Strong Opinions about this. Something that may come as a surprise to exactly none of you.
I am primarily a novelist now and the shortest works I write are novellas that are typically no less than 25K words. (My novels range from 90K-120K.) When I first started writing, I wrote essays and short stories. My first book - Wyoming Trucks, True Love, and the Weather Channel - was an essay collection. Writing those shorter lengths came naturally to me from work in school.
When I transitioned to writing novels, it was MUCH more difficult than I expected. I had this idea that it would be like writing a really long essay.
Reader: it was not.
I had to learn the rhythm and pacing of a novel, which feels like an entirely different art form than writing novellas or shorts. Because... it is. It's a common error for an author to attempt to stretch a short story concept into a novel. Readers notice that the story feels "thin," stretched out for too long, and filled with stuff that's boring because it's unnecessary. Or, sometimes, a story that's novel-length gets wedged into a shorter format. Then it feels rushed, over too soon, and never fully explored.
So, my answer is that I *always* prepare for length beforehand. The story concept MUST fit the planned length. It's a matter of choosing a story with the correct scope for that length. Shorter works have fewer secondary characters and more straightforward conflicts. Very short works should explore a single idea. One surefire way to confine a story to a shorter length is to have it take place over a much shorter span of time. For example, my novella, THE LONG NIGHT OF THE CRYSTALLINE MOON, which is the prequel to Heirs of Magic, takes place over the course of a single night. This helps to make up for the fact that I have a lot of secondary characters - more than any other novella I've written. It wasn't ideal, but I made that choice because I was introducing a new series.
Naturally, there are no actual rules. Or, if there are, they're made to be broken. But I do think that adding or deleting to winnow a novel into a short, or fattening up a short to make it a novel, almost never works.
Occasionally, in keeping with the philosophy that nothing is ever wasted, I take my shovel into the damp night and rob a grave. Metaphorically, of course, because really, it's just a question of searching some computer files. The thing is, I almost never resurrect a corpse, dress it up, and then teach it to sing 'Putting on the Ritz'. Instead, I slice the heart, guts, or brain out of the poor dead thing and transplant the organ(s) into whichever patient is on my table at the time.
Situations. Snippets of dialogue. Whatever suits the more viable subject being stitched together. Mad scientists and evil geniuses should only ever plagiarize themselves, in my view. And then, only once. One heart cannot be sliced in half and shared between two patients if you expect either to live.
Thining back across the stories in my files, the only time I resurrected the dead, the story was only mostly dead. With a little magic called 'a competent editor', that story didn't just walk, it grew wings. Maybe it is all dressed up and singing 'Putting on the Ritz'.
To my mind, stories are live things: growing, maturing, twisting, warming hearts, and chilling spines. Sometimes, sadly, they die young. Sometimes they die young for a reason. And sometimes necromancer writers try to bring them back.
I did that once: there was a submission call for an anthology of short stories that should be both high fantasy and erotica. I thought, well, I used to write a whole bunch of salacious Tolkien fanfiction, so I got this, right. I promptly dug up a fic that never quite worked and started re-jiggering it. And jiggered some more. And ditched the beginning. And the ending. Changed the protag. Changed the magic system. Rewrote the whole thing so that the brand new magic system was the central pivot. Redid the ending because of some notes from the antho editor. By that point, my story was more a Frankenstein monster of fresh bits of flesh than it was a whole zombie of that dead fic. Now when I look at the thing, I can't even see traces of the original.
I've never tried to resurrect a dead story since then, though I've wanted to many times. I think little bits -- the good bits, I hope! -- sneak into current projects, and of course no writing is ever wasted because it is all good practice. Fail fast, as they say in corporatelandia.
But yeah, I'm not the person you want to talk to when you're thinking about re-imagining that book you gave up on years ago, 'cause I kind of failed at that.
Funny you should ask. As I'm wrapping up my current WiP, I'm eyeing an old WiP whose conceit works, characters hold up, plot...not so much. When I wrote this WiP fifteen years ago, I wasn't a plotter. I was a pantser, and the meandering of the story reflects why I no longer write without a plan. Dear reader, it is bad, so bad. While writing this WiP, I distinctly remember wondering how the big-time authors of SFF knew what scenes to leave in and what to exclude (it's called a plot, dummy). Needless to say, I wouldn't dream of publishing the WiP as-is. Currently, it's a 275k high fantasy elemental assassin story that goes too far in some aspects and not far enough in others while leaving lots of "uh, what?" moments.
Fortunately, the more I write, the better I get (at least I like to believe that). I've published seven books (soon to be eight) since then. Theoretically, I might maybe be able to salvage the settings, the magic system, the characters, and the GMC of the protagonist. The story itself? Total rewrite.
~shushes the other unpublished books locked in the trunk
and buried in the yard, never to be seen again~
This week's subject is Resurrecting Old Projects: Do you start from scratch or work what you have?
The answer for me is: It depends on what I have. If it's a sentence or two, and it often is, I'm basically stat=rting from scratch and springboarding off of what I stat=rted with. if it's half a novel, I'm going to save as much as I can, u less it truly, epically sucks wind.
I've done both.
I once lost 40,000 words of a novel project to a computer crash. The entire file just vanished, never to be found again. Yeah, that particular story has stayed dead, but parts of it have been cannibalized for other projects.
There are always challenges. the catch is deciding whether or n9t that moldering corpse in the corner of y9urmind is bugging you because you need to bring it back to life, or just because you let it die in the first place. Does it really haunt you Or is that just guilt?
Mostly I pick the meat from the bones and start from scratch.
Your mileage may vary.
Did you ever spend the night with a friend when you were a kid and that friend's family went to church services every Sunday when yours didn't? Your friend's family just automatically assumed you'd go to church with them. Why not? You got to hang with your bestie a little longer.
And then you walked into the alien landscape of someone else's beliefs and rituals. This worked, too, if your family went to a Baptist church and your friend was Catholic. The two traditions are vaguely similar, but the details will really catch you unaware.
Religion is such a great way to convey stranger in a strange land in a story. I love playing with it for that reason. With a single religious scene or reference, my characters can show you that they are wholly invested in a culture, utterly alienated from that culture, or wondering what the heck is up with the culture. In science fiction, there's even more fun to be had. Religions can (and do when left to me) reflect a broad range of sentient beings - not all of which are humanoids. Humans want to look into the face of a human-looking god. Why wouldn't a species of sentient spiders want to focus all of their eyes upon the face of a spider god? I get to bend morality, too. We humans speak of morality as if it's absolute - when it's probably relative based on how your species evolved. Take food, for example. Humans are omnivores. We can, and do, eat just about anything. We attach some morality to food - animals we eat shouldn't suffer. But what if your species evolved from cats? The hunt might be a religious experience. An obligate carnivore eating a kill would probably be a high holy event. How long you could toy with your prey without killing it might be a form of prayer. Yet if your species base evolved from herbivores, predators would be demonized and plants would probably figure in the liturgy.
For most of my books, religion is a backdrop, a way of reinforcing that we're not in Kansas anymore. Most of my characters are only interested in religion from the standpoint that they use a lot of blasphemy when swearing. Edie's from a fundamentalist religious settlement (Enemy Storm) and she offers hints of cultural differences, but the religion doesn't drive the story. It does heighten conflict in that I used it in that book to draw a comparison between who Edie had been and who Edie has become.
In book four, religion becomes a bigger thing. A much bigger thing. The heroine, Ildri Bynovan is a once in a century religious leader - think of the Pope or the Dali Lama. And while she's lost some of her personal faith, she strongly believes that religion is mostly benign, sometimes a bane, and in rare shining moments, a balm. She's in it to bring more of the balm to the members of the various churches under her care. Of course, the hero wants to use her to assassinate someone, so I'm sure they'll get along well.