The Long and Short of Striving for Simple

It should come as a surprise to no one that my brain is a messy, disorganized place. I do my damnedest to tidy up. It just does not take. File cabinets explode. Accoutrements pile up in a heap. Yes, this photo really did happen and not just in my brain. All the alphabetized things in my best intentions get flung all over in a mental tornado of "Ooo! Look at all the cool stuff!" Complication and intricacy intrigue me. I suffer from the conviction that everything is related and intertwined. This makes me an everything plus the kitchen sink writer.

This is the long way of saying Ye Gods, please don't make me write short.

There's a reason I have only two short stories and one novella to my name. While I have 5 novels - 4 of which belong in series that are 5 or more books long. Long arcs come more naturally to me. I die a little inside each time flash fiction comes around on our topic calendar. Which isn't to say it's not worth doing - it is. Because while I strongly favor long form (novels), I think there's value in getting kicked out of my synaptic rut. Challenge the status quo and step outside the comfort zone. You know. All those pretty sunrise photo inspirational quote memes you scroll past on Facebook. Fact remains, writing short does not come at all naturally and I dread it every. Single. Time.

There is no plot so simple that I cannot complicate it past all reason. My favorite word while plotting is 'AND'.  It is for that reason that it's worth forcing myself into short form from time to time. You bet it pinches. But the practice of reining in my woeful tendency to run off at the computer keyboard and pruning ideas waaaaaaaay back is a good (if ouchie) reminder that sometimes it really is best to keep it simple, stupid. Even if I have to force it.

Perils of the Writer: The Length that Fits Your Story

So, I'm primarily a novelist.  That's the length of stories I write on the whole, that's the length that feels right in what I conceive a story to be.  I'm not a big fan of writing short stories, in that I rarely have a short story idea, and I do have so many long-form ideas, so I feel like trying to conceive short stories for the sake of "short story" in and of itself is wasting my time.

Note: I'm not saying short stories are a waste of time.  I'm saying me trying to force myself into a short story box out of the idea it's something I "should" do is a waste of time.  Everyone's mileage varies.  I have plenty of friends who are short story masters, and novels make them want to tear their hair out.

That said, having just come off the ArmadilloCon workshop, I feel like the teaching-writing environment, from the large workshops to smaller ones to critique groups-- tends to be shorter-work focused.  This makes sense-- a teacher will have an easier time reading and critiquing something that's 5000 words as opposed to 100,000 words.

The challenge then is this: there are very few resources out there, especially for the genre writer, to learn how to novel.  At best, people are taught how to short story, and then told, "You know, do that, but longer" and thrown out into the woods. I know in the workshop this year, most of the students described "novel writing" as an intended goal, but most of them came in with a short story (as opposed to chapter one of a novel, which was allowed but somewhat discouraged).  If we ("we" as a genre-writing community as a whole) are going to engage in teaching writing, we need to create more resources for the novel-writing student. 

I have some ideas of how to do this, but they need time to ferment.  That, and I have plenty of other work to do right now as well.

The Long and Short of StoryTelling

First, a breakdown of what I have written and if published, by who:

SHORT STORIES:
Two went into publications of the Mansfield OSU Campus, one of which won me the 2006 OSU Florence B. Allen Creative Writing Award.

My first professionally published short was a Seph prequel featuring Nana, was first published in a witch-themed anthology (available HERE ) and was then available via KDP. (It will be again in a day or so; they made me rename it because the Marlboro part of the Marlboros & Magic title isn't allowed though the original publication had no issue, and despite the fact that I found a few other titles using the name which were still available. ??? It has been re-uploaded and re-covered as Smokes & Magic. I'll publicize when it is confirmed as available.)








My second, Comeuppance, was published in Blackguards: Blacklist. (available HERE )



Another short story is going in an anthology my writing group is soon releasing. A half dozen others wait patiently in my 'submit these when they fit' file. I have notes for about a dozen more I want to write...eventually.




NOVELS:

Persephone Alcmedi series #1

Currently, I have six novels published by Simon & Schuster's imprint Pocket Books ( available HERE ), plus one coming in May 2017 from Ragnarok Publications, and another (Seph #7) late this year or early next. I also have four others written and yet unpublished, plus notes for about a ten more to write, plus 2 more Seph novels.









NOVELLAS:
While I have not written any novellas, I have plans for 6-10 tie-ins (see KAK's post yesterday; she mentions such tie-ins) with the Seph universe because I can't see wrapping up all my threads in the novels because the novels need to be about the novel, not wrapping up loose ends...but there are those of you out there who ask about those threads and I cannot leave you hanging. Plus, I'm kicking around a few prequel things because, yanno. They are good stories. Perhaps I shall release a Seph anthology...

When it comes to stories...I love novels. Short stories don't often make it off the TBR pile. Alas, this is an admitted failure of mine and I should not allow this to happen anymore, but then I should read more in general.

What I noticed in writing this post is that I have files/notes for projects that I intend for a certain length. This made me ask myself, HOW DO I KNOW? That's a good question considering that three of the novels I have started out as shorter works. One was intended as a novella and stuff just kept happening to expand the story. Two were short stories (One of which is the novel I have coming out next May) and I needed to know more about the characters.

For me, the answer is, if I'm honest, I DON'T KNOW. But the placement of the file/notes seems to be based on a mix of 1.) what I anticipate it will take to portray the standard three acts, and 2.) my intention/commitment to the piece. Yet once the process commences, all bets are off and I become the messenger (read as: slave) to the story/character.

Long vs Short Stories: Size Totally Matters

I'm all about the length and the width, baby. The longer the better. Oh, and when they're nice and thick too?

Books, folks, I'm talking about books.

I write novels. Not shorts, not novellas, not that gray area of a short novel/long novella. I'm lucky if I can keep 'em to a mere 100,000 words. LARCOUT rings in at 145,000 words. My CP challenged me to write an Urban Fantasy with a mere 70k. I failed. I kept it light at 85k, but added another 7k after the first round of professional edits. It's in the throes of second-round edits now that'll probably tack on another 3k minimum.

Hey, I tried.

Thing is, as a writer and a reader, I like to spend quality time in a world. More than a drive-by or a quick cuppa. I want to escape and exult in the refuge of imagination. In spending my creative capital, if you will, short stories don't provide the necessary ROI.

Sadly, in the world of self-publishing where I own all the costs, the longer the novel the more expensive it is to produce. Plus, longer novels take longer to write, so there's risk of falling off the reader's radar if you don't release a book a "timely" manner. What is "timely" is up for debate, but it's definitely more than once a year. Think more along the lines of quarterly.

Yes, I fail miserably at the "ideal release schedule" too. 

Stop snickering.

Novellas are commonly used as a marketing tactic among series indie-writers. Releasing two to four novellas a year, the authors buy themselves time in-between novel drops. The theory is the novellas maintain a spot in the reader's awareness, provide a sales boost, and can be discounted for promotions without hurting the net revenue of the series. That puts the minimum production of a barely successful indie author at four novels a year, plus two novellas, and at least one anthology contribution.

My head explodes at the notion.  

Now, when we here at the SFF Seven take our turns at writing flash fiction for you all, that's the only time I write short. And, people, I'mma tell ya, it's HARD. I have to keep repeating, "Focus on the moment. This only about the moment."  My creative brain is all, "Yeah, but, the world we could build around this..."  "FOCUS ON THE MOMENT, DAMN IT."

~clears throat~

Words, I has them in abundance. Sometimes, they're even the right words.

How long to go?

Here's the thing. the subject for this week's topic is "Why I prefer to write Long/Short fiction.” 

I prefer both.

What it comes down to for me, what it has always come down to for me, is that some stories insist on being longer and some decide they should be sorter.  Most of mine tend to go long, so I guess that's technically me answer. I write long stories because I have so much I want to say. Just yesterday I finished a short story for the New England Horror Writers that tops off just a little over 7,000 words.  For me that’s kind of short. I like to add a little backstory, I want to get to know the characters and I want to make absolutely sure that the readers get all that they came looking for when it comes to the story.

An editor once asked me if I could write a promotional story for a novel coming out and I said sure. The first time I was asked, I did around 5,000 words because the editor didn’t want to go any longer. There were space considerations as this was a promotional piece for my novel BLOOD RED that had not come out at that point. It was printed in a print run of only 250 copies. After I did that I was asked by another publisher to write a short story revolving around my character Jonathan Crowley, a supernatural hunter of all things that go bump in the night.  The story I came up with was called “Little Boy Blue,” and it’ clocks in around 15,000 words. Enough that the publisher decided to do a heavy print run, gave away copies at a couple of conventions and then sold the remainders as chapbooks for a decent amount. He probably broke even, as the books had lovely production values.

My point is, I could have made Little Boy Blue shorter, but it didn’t work for what I was doing. It needed to be longer, so I let it go where it needed to go.

I have written stories for several anthologies that had a cap—a maximum amount they can pay. As an example the editor might say I can pay you x cents per word up to 5,000 words and anything over that gets no extra money—and almost universally I have exceeded that cap without hesitation. The words want to be written.

I recently turned in a 90,000 word manuscript and the editor looked it over and asked how I’d feel about adding a but more to the story here and there, in areas he felt were a little sparing in detail. All in all, somewhere between 15,000 and 20,000 additional words. I was delighted. I felt those areas could use a little fleshing out myself, but I wanted to at least try to trim back to the agreed upon length.

I like to go long. It’s just the way I’m designed, I guess.

On Trying to Write Short(er) Again

I'm on my way to New York City today, to read at Lady Jane's Salon, hang with Ron Hogan and Megan Hart, and have lunch with my editor.

As one does.

All of this means that my post is going up a little late. Airplanes and blogging don't always play nicely together.

Our topic this week is why we prefer to write long or short.

I actually like both, which should come as a surprise to no one, since I'm always the fence-sitter in all things. I started out writing short - essays and short stories  - and these days I write long. Sometimes I write *really* long. The Talon of the Hawk came in at over 130,000 words. All of my Twelve Kingdoms and Uncharted Realms books are at least 110,000 words.

Writing short was great for me, especially to begin with. I'm not capable of pre-plotting, so writing short let me write and entire story in one sitting, while I held it and all its threads in my head. I also had little time to fit in writing back in those days, so shorter was better.

***INTERRUPTION***

So, as I sat typing this in the Dallas airport, I got the announcement that my flight to La Guardia was cancelled. Worse, they can't get me there for two days, so I'm just going home again. Nothing like a day jaunt to Dallas for lunch!

What was to be a long trip has become a short one. Sometimes it works out that way.

At any rate, in writing those fantasy novels, I discovered the great joy of writing long. I even think of it as VERY long, because it's a long wending tale across the series at this point.

Conversely, with my new Sorcerous Moons series, I've been trying to write shorter again. The first book, Lonen's War, is about 65,000 words and it's looking like the next two in the series will come out about the same. The thing is, part of why I wanted those to be shorter is that I really wanted to write a long-term, slow-burn romance. In some ways that series of three will be like one 200K book.

Or longer. I might not be able to tell it in three books. We'll see.

I try to be flexible.

I Had One Writing Ritual and I Gave It Up

I'm not a ritual type person. Pretty much I sit down and I write. The words flow and I'm happy. Or not, if it's a difficult scene!

Starting in junior high school, I did have one ritual. I'd read somewhere that creativity could be enhanced if one listened to music, which I thought sounded like s great idea. (I wish music could enhance math capabilities too, but that's another topic.) I made a lot of mix tape cd's of my favorite songs and whenever I wanted to write I'd put those on and go for it. There was no attempt by me to tailor the song selection to the theme or pace of the story, just music was enough. Typically what happened for me was I'd hear the first song and then I wouldn't hear the music at all as I became immersed in the flow of writing.

I kept that up for many years, with the variation that sometimes the sound of a specific song would seem to help me write and I'd put that song on endless replay. A lot of one of my novels was written to "The Russian Dervish" music from Riverdance, although nothing in the book remotely related to that music. Thank goodness for head phones or my family would probably have wanted me to move out!


Gary Puckett and the Union Gap had a few songs that seemed to work for one book, as did The Little River Band, and Nelson's "Can't Live Without Your Love and Affection" was killer for a certain set of scenes.


Nowadays I don't need or use music as a background for writing. I started to find it distracting and do better without any. I sit down and I write.

I DO use music sometimes to inspire creativity when I'm thinking about plots or characters, especially if I'm out cruising the freeways...So, there you have it!

My Ritual to Create Rituals

I don't know what it is about publishing a book, but every single time I do, some crisis descends, and the rituals, schedules, and discipline that got the book done and published get blown to hell. I have to reinvent my process all over again, accommodating whatever crisis has arisen this time. Can I have a ritual I'd *like* to leave behind? I nominate this one.

 

Usually rituals are lovely things designed to signal our brains that we're shifting out of our everyday world and into something other. I'm all for them. My office, when I had one, was filled with ritual items. Seriously. There's an altar in the southern window. A waterfall fountain. A salt lamp. Something to bring every element into my work space. Also - cat beds. Let's be realistic. I have long been expected to write whilst holding cat. That's more an imperative than a ritual. Book one was written in this office.

 

 I miss having a dedicated desk and office chair. That much is true. I miss all of the accoutrement that went with the great luxury of space. What I do NOT miss is the heating bill that went with this particular space and the fact that it was hell and gone from everywhere ever. So rituals of all kinds have fallen by the wayside. Desks gave way to the ergonomically egregious salon table, or to writing with my laptop in my lap. Book 2 was written with the laptop in my lap while I sat in the cockpit. Took weeks to unkink my neck and back.

 

Then I had to establish a new ritual, preferably a healthier one - that of riding in to the tea shop every day to write. Books three and five were written there while sipping various murky brews. Book four was written at the boat and while I waited during a long string of vet appointments when the eldest boy took ill. (He's now fine for a 17.5 year old with liver disease.)

 

But, on the heels of publishing book five and in the midst of writing book six, the tea shop can no longer be my go-to. I 100% regret the loss of that ritual, but it can't be helped. So here I am. Gritting my teeth in the center of the ritual that requires me to find a new ritual. Quite by accident, I may have found it earlier today. While waiting for the laundry in the Laundromat, I pounded out 800 words in an hour. Hush. For me, that's incredible. My point is that if this bears out, I may wear every last stitch of clothing out by washing them. Not sure how a Laundromat is germane to a historical fantasy, but what ever. Writing, man. The glamor never ends.