Panning for Idea Gold

"Your first three ideas are wrong."

This was a piece of advice that came from the production designer I worked with the most in my theatre days, which he got from one of college professors.  While I don't think it's completely accurate, I do think it's coming from a fundamentally correct place.  A lot of the time, the initial idea is flawed, and it takes some work and thought before you get to the thing that's actually going to work.

Now, he was talking about design work-- how you build something that will look and function the way you want it to on stage-- but the principle is the same as with writing.

Around that same time, we both worked with another playwright, and one of the comments made of that playwright was, "He has some really fantastic ideas.  And some truly terrible ones.  And absolutely no skill at differentiating them."

And that's the challenge in writing, isn't it?  Looking at the ideas you have, and trying to crack which ones will work and pay off, and which ones are not worth developing.  I think it's still something I'm working on, myself.  Now, part of my process is a long germination period, where I go from a vague idea to building the roots of it, and then growing it out in outlines and finally writing the story. I know my output speed would seem to belie this idea, but you're seeing the end result of the process which started many years ago and is now bearing fruit.  In many ways, the two trunked novels were a necessary part of the process of the planning and plotting of all the Maradaine novels.  And my space opera project (that is currently shopping) went through so many changes that the only things surviving from the original concept are A. the name of the ship (and the ship focused on is completely different) and B. one character (who in original concept was a stand-out secondary character that evolved into the actual lead).  

Now, I could have stuck to my guns and insisted that the original space-opera concept or the now-trunked novels were how I had to go forward... then I'd probably still be languishing as a writer.  

That doesn't mean every idea is gold, or I've mastered figuring out which are or aren't worth my time.  Just slow, steady improvement on that front.  Always learning.  Any writer who thinks there's nothing left to learn is just stagnating.

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A reminder that I'll be at ComicPalooza this weekend.  My schedule is here.  If you're in or near Houston, come say hello!

Spotting a Good Idea

Wanna know the secret?

A story that appeals to your emotions, promises conflict/drama/action, and --come the end-- says something that sticks with you in a good way.

That's my belief.

But take that with a grain of salt. What appeals to my emotions may not evoke yours and vice-versa. What I consider conflict/drama/action may not align completely with what you consider the same. Further, what sticks with me afterward may not be a message that resonates with you. Hence, not every book is for every reader. Those choices may steer your work into a small, niche market. Or it might hurl it right into mainstream because the overall appeal as well as the scope of the message is quite broad.

My latest novel, Jovienne, is available either now or next week. I say this because while the publisher's release date was May 9th, the on-line sellers are {as I write this on the 9th} showing as unavailable, so perhaps their stock has not yet arrived or been checked into stock and ok-ed for sale??? Gotta love the business side of the business...hee hee. Regardless, please check out the trailer, below, and tell me, Do you think it has got 1.) that emotional appeal, 2.) the promise of conflict/drama/action, and 3.) indications of a something that will stick with you come the end?

Also, the music in that trailer is a shortened arrangement of the track Immanence I wrote as part of the score for this novel. To hear snippets each track from the CD, visit my website's buy page:

http://www.authorlindarobertson.com/buy.html 

3 Steps for Deciding Which Great Idea To Write Next

I have an idea! I have many ideas. I have enough to keep me writing well into my 90s when AI will suck the wavelengths out of my brain and feed it to the matrix. The ideas, they multiply like tribbles. In all fairness, I've yet to meet an author who lacks ideas. Time is usually the mitigating factor, followed by contractual commitments, and the pursuit of a guaranteed income stream.

Obligations to third-parties aside, how do I decide which idea to work on first/next? Three steps:


1. Can I easily and clearly envision the Goal, Motivation, Internal Conflict, and External Conflict?

 If "yes" proceed to next step...

I proceed 96% of the time

2. Can I easily and clearly envision the summaries of the 3 Arcs, their respective Gotchas, and are they sufficiently unique?

If "yes" proceed to next step...

I proceed 43% of the time

3. Can I write it in 90 days?

 If "yes" prioritize and place in the queue to be written.

The answer to this one is usually manic cackling and a lot of "oh, hell no." Not because I'm a slow writer and so far my "best" time is 18 months. No, no, that piece of reality doesn't factor in. It's my belief that I could write it in 90 days. That belief stems from the notion that I am so familiar with the plot, all the characters, and each setting that I know how 27 of the 30 chapters are going go before I start Chapter 1.

That...that doesn't happen often, which makes it a great filter. 

What I don't ask myself is "will anybody buy this," for the simple reason that I can't control what people will buy or when they'll buy it. I can control my little speck of the universe...sometimes.

Picking the good ideas

It's an interesting subject.

Picking the good ideas and how you know they're good ideas.

I wish I had a pat answer for that one that actually worked.

here's the thing: You never know. I've got forty plus novels under my belt. I've got three or four unfinished works that I will, eventually, get back to, and I've got several proposals that have never gone past chapter three or four.
]Every one of them seemed like a good idea at the time and believe me, I intend to finish full novels in the pitches that never went anywhere, because O consider them very good ideas that have simply not met the right publishers as yet. Worst case scenarios, I'll publish them myself.

Once upon a time I wrote a book called POSSESSIONS and followed up with the sequel, RABID GROWTH, There are people who say they are among my best work and others who thing they suck wind. The publisher never wanted the third book in the series.

Same thing with my Young Adult set: SUBJECT SEVEN and the sequel RUN, were supposed to be an ongoing series the sales did not agree and the publisher decided to stop. Sooner or later I'm going to get the rights back and finish the series. because the story is not finished.

What makes one story work when another doesn't?

Not a freaking clue. I can't say it's the writing, because it's the same writer.  MAYBE the storyline in one is better. Maybe the publishers did a better job of marketing. Maybe they cover art is just that much better (Yes, cover art makes  a difference. a HUGE difference in some cases.) Is it timing? Did one book sound too much like another or not enough like the flavor of the week?


My answer to this is simple: You know when it's done. Every idea seems incredible to me when I'm thinking about it. the possibilities are endless. It's the passion for the ideas that inspires me to write them in the first place. I almost never outline. I hate coming up with series proposals. I'd rather sit and write than consider how it should be written. The ideas are there.

Actually I know one certain way to know the difference. If someone comes up tome and wants me to write the novel based on their idea so we can split the profits 50/50 I can basically guarantee you that the idea they're thinking is so great is not something that would ever work for me. Twenty-five years of doing this and inevitably someone will come along and think that's the best idea ever. My usual suggestion is that they sit down and write their own stories. I phrase that just as politely as I can.

Picking the Good Ideas for a Novel - How Do You Know?

I just got back from the RT Booklovers Convention in Atlanta. Here's Sonali Dev and Grace Draven, after accepting their awards for best Contemporary Romance and Best Fantasy Romance, respectively. Two of my favorite people, among so many wonderful people at that convention. I had a wonderful time!

“Where do you get your ideas?”

This is a question authors get all the time. And we have a pretty stock answer for it, which is absolutely true, that getting ideas isn’t the hard part. Most authors have tons of ideas stockpiled. While writing one book, we get ideas for something totally different. Sometimes lots of other ideas. The hard part, we say, is in the execution, in actually preserving to write the entire book and do it well.

That’s all true.

But there is another level to it.

What author has not read a book and thought, “Damn, I wish I’d thought of that!” We often look at books our friends and heroes write and wish we’d had that idea. For myself, I have five or six series that I sincerely wish I’d written. A lot of that is in the execution, but they’re also ideas that never occurred to me.

The other piece is that, when we go to those long lists of ideas – on spreadsheets for me, naturally! – it’s not always easy to choose the GOOD ideas.

Ideas are everywhere. GOOD ideas? Maybe not so much.

That’s our topic this week: how do we know which are the GOOD ideas.

Recently I gave my new agent Sarah a long list of possible projects. I think about a dozen, in various stages – most just twinkles in my eyes – of ideas for books and series I could work on. She went through and ranked them in terms of which she thought were the best for me to work on.

That’s part of her job. In this case, “GOOD idea” meant what she thought would be most likely to sell right now. She also filtered in terms of genre, bookshelf placement, future directions of publishing and reading, and her own intuition.

What she ranked #1 was not my personal favorite.

In fact, my personal favorite idea didn’t make her top five.

Does that mean it’s not a GOOD idea? Not necessarily, but it does mean something. When I finding myself wishing that I wish I’d thought of Hunger Games (and what author hasn’t??), I also know that I never would have. It’s not my thing. But, among the stuff that IS my thing, I’m aware that my favorite ideas aren’t always ready for the world. Don’t worry – I keep them! But I put them pretty far back on the shelf in the larder to ferment a little longer.

Every author, no matter where in their career, has to choose among their many ideas. When I was a newbie, aspiring author, this often came down to gut. Sometimes it still does. Nothing wrong with choosing that way. But as we progress in our careers, other factors come into play. I have a couple of series concepts that I might not yet have the chops to pull off. Also, working as a career writer, recognizing what will sell becomes much more important. Things like groceries and electricity need to be paid for.

So, through this lens, a GOOD idea has many parameters. How we recognize those is a combination of intuition, experience, and professional expertise – both our own and from the people we work with.

There’s also that magic something, that just knowing. I’ve had it a few times. Suzanne Collins says she knew about Hunger Games.

I’m looking forward to hearing my fellow authors in the SFF Seven weigh in on how they recognize the GOOD ideas. 

What Was On My Butterfly Mind?

DepositPhoto

We’re supposed to write about one thing that’s been on our mind this week. Well, mine is pretty much occupied with the adorable new grandbaby. Sorry I have no photos to share but his parents are trying to keep his social media footprint as tiny as his real footprint, at least for now. You’ll just have to take my unbiased, totally impartial word for it that he’s the cutest baby EVER. Or at least since his mother was a baby.

Jake the Cat

I have a butterfly mind, flower to flower, thought to thought. Or stream of consciousness perhaps. I don’t brood over any one thing to the exclusion of pondering other stuff. Well, maybe when Jake the Cat is yowling at me to FEED HIM. That’s pretty hard to ignore. But I’m not getting up at 4AM because he has a craving for smelly fishy catfood from the can. Never mind he has dry food in the bowl at all times and is thoroughly spoiled. By who, you ask? (Looks around guiltily.) Couldn’t be me!

So of course there was stuff this week that I thought about – the current state of world and national affairs, medical insurance, local freeway construction delays, author drama (there is so much of this but that’s kind of a constant, only the names and the central issues change, beware the flying monkeys), fasting for my blood test today, the novel I’m writing, many MANY plot bunnies for other books I don’t have time to write…

Well, ok, how about this one? I don’t know the person myself but there’s an author whose first book sold like hotcakes AND got made into a movie that did fairly well…and five YEARS later they are back with the sequel…and oh, surprise, not only have the readers not been waiting with bated breath, the entire industry has changed a LOT. What worked then does not work now. (Except when it does, of course, in the confounding manner of publishing.) I keep visualizing this poor person being like Rip Van Winkle in a way, emerging from the writer cave, book in hand, shouting “Here it is!” to the waiting crowds…only there aren’t any.

Never mind five years, seems like the publishing industry changes every six months or even more often, or so it seems.  I’m grateful for the various author groups I’m in online, where people compare notes and share generously as to what still works, what quit working, what’s new to try…

I’ve kind of had to unwind my view of myself as an author from my view of myself as the small business-publisher-of-myself, to keep my writing sanity. I write what I write and enjoy telling the stories and don’t let myself worry if this particular book I’m in the middle of now will pay the bills in June. Paying the bills in June is a whole other issue than whether my hero and heroine will defeat the Big Bad and get to that HEA. I'll handle the bills issues when I'm in business-mind mode! Too much pressure on the creativity kills the whole thing for me. I can’t “write to market”, nor do I want to, nor do I want to fret over it.

My market is people who happen to enjoy the same kinds of stories I do, and buy books that I write.

I do my promo activities and my networking and I certainly don’t let myself slack off on any of that because there are so many other good books and so many other good authors out there, and I don’t want readers to forget that they enjoy my books too. Reminding people that Veronica Scott exists and oh-by-the-way she has a new release (see below) plus a growing backlist is just good business sense.  I love scifi romance and I enjoy talking about the entire genre and other authors I admire on various platforms. I’m honored and have fun doing that!

But I have had to give myself a few stern lectures fairly recently on not getting spun up over the latest twist some large ebook seller has thrown into the business mix, or that alien planet barbarian dragon shifters with secret babies are now the rage in my genre when I write books like the adventures of Ripley and Hicks in “Aliens” but with more romance, less gore and less dripping ick and an HEA. Or any number of other wrinkles, permutations and new stumbling blocks in the indie author biz.

I’ll never be a statistical whiz, analyzing all the clicks per bid or whatever it may be, and I needed help with the complexities of creating a MailChimp newsletter…so I do the things I can, make myself learn the ones I totally require to survive as an author nowadays, and I keep it all FAR AWAY from my creative process of writing the next scifi romance.

This excellent article by Kristine Kathryn Rusch comparing the indie author phenomenon to a gold rush, an investment bubble and a business cycle was extremely clarifying and helpful to me and I highly recommend it.

New Release! Ta da!

The blurb:

I’m really excited to release three Sectors stories that have only been available previously in anthologies, none of which are available currently. (I know many of you purchased the Pets In Space anthology, which first contained STAR CRUISE STOWAWAY and thank you so much!) Along with STOWAWAY, I’ve really been wanting to get the other two stories out there for you, especially THE GOLDEN TOKEN, which was only in the  limited edition paperback we handed out at last year’s RT Booklovers Conference. So I’ve bundled them ALL into one book with the lengthy title STAR CRUISE A NOVELLA: STOWAWAY WITH RESCUE AND GOLDEN TOKEN SHORT STORIES.

Here are the story descriptions:

Star Cruise: Stowaway: A novella of 22K words, previously in the award winning ‘Pets In Space’ anthology.
Cargo Master Owen Embersson is shocked when the Nebula Zephyr’s ship’s cat and her alien sidekick, Midorri, alert him to the presence of a stowaway. He has no idea of the dangerous complications to come nor does he anticipate falling hard for the woman whose life he now holds in his hands. Life aboard the Nebula Zephyr has just become more interesting – and deadly.

Star Cruise: Rescue: A short story of 9K words, previously in the ‘Romancing the Stars’ anthology.
When a shore leave excursion goes terribly wrong for Mira Gage, a member of the Nebula Zephyr’s crew, Security Officer Clint Miltan races the clock to find her before the ship leaves orbit and abandons Mira to her fate. Clint’s got more than a professional interest in Mira, but will he be able to save her from the aliens holding her prisoner?

The Golden Token: A short story of 13K words, previously in the limited edition ‘Dealer’s Choice’ paperback anthology put together by Linnea Sinclair and handed out at the 2016 RT Booklovers Convention Interstellar Bar & Grille event.
Sectors Special Forces operator Charlie McBrire had a few days to kill on a layover at Space Station 47. He never expected to find himself in the middle of a miners’ rebellion, fighting to save the life of a casino dancer he just met but can’t imagine living without.

Amazon    iBooks    B&N     Kobo

Plotting Obsession

Plotting. Plotting is what brings us together today.

If you did not read that in the voice of the Impressive Clergyman from The Princess Bride, we can no longer be friends. Sorry. You can redeem yourself by reciting the first two Classic Blunders.

Anyway. Plotting.

Remember me complaining about needing a mentor of my own last week? Well, my friends, that's what craft books are for. If I haven't mentioned the book before, The Fantasy Fiction Formula is my latest foray into learning. This book is by Deborah Chester. It came recommended by a critic group member. I'd picked it up out of curiosity - that and I'm a sucker for trying out new ways of approaching what I do. Yes, I have a process. One that works, mostly. But you know me. I'm always open to better ways of doing things. If there is such a thing as a better way. So I read this book.

And eventually texted my fellow crit group member that I'd finished the damned book and I hated her now. She laughed at me.

I did disagree with some of the points in The Fantasy Fiction Formula (One example: There's an assertion that every scene until the climax must end in failure for your protagonist - I disagree. The protag can absolutely win scenes - but when that happens, the win has to turn out nothing like the protagonist imagined. But eh. Minor detail and some people would say that's an aggregate loss anyway.) I learned far more than I disagreed with, though.

The book is packed with useful tidbits. Until I read the FFF, I didn't know what an A/R unit was. It's Action/Reaction unit. Turns out, I'd been getting mine wrong from time to time. I knew about scene and sequel, but I'd never really paid much attention because every explanation of them I'd ever had went right over my head. Until Deborah Chester. I *think* I understand them now. And I'd like to believe I comprehend how they need to be put together in order to drive a story. She does a fantastic job of laying out plotting. She says you need three BIG scenes - and by big - she means weighty. Emotional. These three scenes are your twist points in your story. End of Act 1 twist, Act II twist and the Climax. Get those and you can then plot out the other scenes and sequels you need to drive your characters through those twist points. Add in whatever subplot scenes and sequels you want/need and presto. You have a solid start on an outline and on a synopsis.

Straight forward, right? It would be, were I plotting one book. But no. No, no, no. Why would I do the sensible thing? I'm attempting to apply this brand new, untried strategy to a five book arc where the first two books are already written and published. So not only do I need the three BIG scenes for each book, I have to consider each book as a scene/sequel set within the overall arc of the series. But no pressure.

I have this sense that if I can get this down and make it work for me, I'll have a better hold of story craft. I'd like to think it's a worthy pursuit that's worth the risk of upending my usual slowpoke process.

Yes. It is rather like a walk in the Fire Swamp. If the fire spurts and lightning sands don't get me, the ROUSes might.

Illegitimi non carborundum

The writing business is rough.  You put stuff out there, and you kind of have to accept that rejection is the baseline.  That's the thing you have to earn yourself out of.  Success is never a given.  You've got to toughen your skin.  None of this is new information, of course.  If you read any sort of writing advice, this is a front-and-center thing.  

And you've got to allow yourself to be critiqued.  You've got to be able to take your licks and then stand up and say, "All right, what's next?"

But when you're looking for critique, look for critique that is useful.  It isn't good critique just because it tears you down.  (Nor is it just because it fluffs you up, either.)  Choose your critique partners with care, because getting tied in with someone who isn't interested in actually critiquing your work-- or worse, thinks they understand what critique is, but doesn't-- can do so much more harm than good.

Here's my little story: I was on one small, private on-line critique group.  The set-up was pretty casual: upload things to a shared folder, and then critiques are either A. sent via group email or B. also uploaded to the shared folder.  No specific timeline, just put it up and people will get to it or not.  Because of this system, I had some things up there that I wasn't actually seeking critique on anymore.  But I hadn't taken them down, mostly because I wanted the other members of the group to be able to look at the whole body of work/larger plan if they were so inclined.  

And then I got this on one manuscript.

I made it no further than page 5 before nearly chewing my left arm off in the frustration of knowing that a writer with a great imagination, a lot of drive, and most likely a wonderful story to tell hasn't bothered, after all these years of effort, to learn the basics of story crafting. To improve your writing, you need to, at the very least, read some well-crafted books and analyze the plotting, sentence structure, foreshadowing, and subtlety of the writers' works. No one is born knowing how to write or craft a story. Those are skills that take some effort to learn. You could be a great writer. If you don't put in some study time, all your efforts and talents are wasted.

Wow.  That's brutal, no?

That's the sort of critique that could send someone running for the hills.  Heck, that's not even a critique, that's a dressing down.

Fortunately, I just laughed at it, and then promptly deleted myself from that group.

Because the manuscript in question was The Thorn of Dentonhill, which at that point had already netted me an agent and was out on submission.  And it was bought by my publisher just a few weeks after I got this.  I mean, what exactly was this person trying to accomplish with this critique?  I'm not sure.  But I feel like they were trying to just grind me down.

And, like I said, this business is tough, and you do not get handed anything and certainly don't deserve anything you don't earn-- you don't just get handed accolades and awards and film options-- but you need to keep pushing on as they try to grind you down.  Success could be right around the corner, and if you let them beat you-- you let a drubbing like that one up there break you-- you won't get there.

Because there are people who've realized that they aren't going to make it in this business, and then they decide they don't want anyone else to either.  They will try to grind you down.

Illegitimi non carborundum

Don't let the bastards grind you down.