Because it’s sort of ingrained in us (whether we like it or not), that fall is the beginning of a new school year, I think fall is a good time for making resolutions. Like, if you're an author, about that new book you’re going to be writing for the next year or so!
sure practically everyone here is aware that November is Nanowrimo –
National Novel Writing Month. As explained at the official site here, and here and here, the goal of Nanowrimo is to bash through 50,000 words of a novel in a single month.
could not be more supportive of this idea – it gives focus and a nice
juicy competitive edge to an endeavor that can seem completely
overwhelming when you’re facing it all on your own. Through peer
pressure and the truly national focus on the event, Nanowrimo forces
people to commit. It’s easy to get caught up in and carried along by
the writing frenzy of tens of thousands – or maybe by now hundreds of
thousands - of “Wrimos”. And I’ve met and heard of lots of novelists,
like Carrie Ryan (The Forest of Hands and Teeth) Sara Gruen (Water For
Elephants), and Lisa Daily (The Dreamgirl Academy) who started novels
during Nanowrimo that went on to sell, sometimes sell big.
as everyone who reads this blog knows, I’m not a big fan of sitting
down and typing Chapter One at the top of a blank screen and seeing what
comes out from there. It may be fine – but it may be a disaster, or
something even worse than a disaster – an unfinished book. And it
doesn’t have to be.
I’m always asked to do Nanowrimo “pep talks”. These are always in the month of November.
That makes no sense to me.
mean, I’m happy to do it, but mid-November is way too late for that
kind of thing. What people should be asking me, and other authors that
they ask to do Nano support, is Nano PREP talks.
you’re going to put a month aside to write 50,000 words, doesn’t it make
a little more sense to have worked out the outline, or at least an
overall roadmap, before November 1? I am pretty positive that in most
cases far more writing, and far more professional writing, would get
done in November if Wrimos took the month of October – at LEAST - to
really think out some things about their story and characters, and where
the whole book is going. It wouldn’t have to be the
full-tilt-every-day frenzy that November will be, but even a half hour
per day in October, even fifteen minutes a day, thinking about what you
really want to be writing would do your potential novel worlds of good.
Because even if you never look at that prep work again, your
brilliant subconscious mind will have been working on it for you for a
whole month. Let’s face it – we don’t do this mystical thing
called writing all by ourselves, now, do we?
again, I'm going to do a Nano prep series and hopefully get some people not just to commit to
Nano this year, but to give them a chance to really make something of
Here's the first thing to consider:
How do you choose the next book you write? (Or the first, if it's your first?)
know, I know, it chooses you. That’s a good answer, and sometimes it
IS the answer, but it’s not the only answer. And let’s face it – just
like with, well, men, sometimes the one who chooses you is NOT the one
YOU should be choosing. What makes anyone think it’s any different with
It’s a huge commitment, to decide on a book to
write. That’s a minimum of six months of your life just getting it
written, not even factoring in revisions and promotion. You live in that
world for a long, long time. Not only that, but if you're a
professional writer, you're pretty much always going to be having to
work on more than one book at a time. You're writing a minimum of one
book while you're editing another and always doing promotion for a
So the book you choose to write is not just
going to have to hold your attention for six to twelve months or longer with its
world and characters, but it's going to have to hold your attention
while you're working just as hard on another or two or three other
completely different projects at the same time. You're going to have
to want to come back to that book after being on the road touring a
completely different book and doing something that is both exhausting
and almost antithetical to writing (promotion).
That's a lot to ask of a story.
So how does that decision process happen?
on panels or at events, I have been asked, “How do you decide what book
you should write?” I have not so facetiously answered: “I write the
book that someone writes me a check for.”
That’s maybe a screenwriter thing to say, and I don’t mean that in a good way, but it’s true, isn’t it?
that you aren’t getting a check for, you’re going to have to scramble to
write, steal time for – it’s just harder. That doesn’t mean it’s not
worth doing, or that it doesn’t produce great work, but it’s harder.
a professional writer, you’re also constricted to a certain degree by
your genre, and even more so by your brand. I’m not allowed to turn in a
chick lit story, or a flat-out gruesome horrorfest, or probably a spy
story, either. Once you’ve published you are a certain commodity. Even
now that I'm e publishing, too, and am not so constrained by my
publishers' expectations, I have to take my readers into account.
you are writing a series, you're even more restricted. You have a
certain amount of freedom about your situation and plot but – you’re
going to have to write the same characters, and if your characters live
in a certain place, you’re also constricted by place. Now that I’m
doing my Huntress series, I am learning that every decision I make about the books
is easier in a way, because so many elements are already defined, but
it’s also way more limiting than my standalones and I could see how it
would get frustrating.
If you have an agent, then input from her or him is key, of
course - you are a team and you are shaping your career together. Your
agent will steer you away from projects that are in a genre that is
glutted, saving you years of work over the years, and s/he will help you
make all kinds of big-pitcure decisions.
But what I’m
really interested in right now is not the restrictions but the limitless
possibilities. I'll get more specific next post.
For now let's just think about it, and discuss if you feel like it:
- How DO you decide what to write? Do commercial concerns factor into it?
- And, do you know what you're working on for Nano?
Happy Fall, everyone...
And if you'd like some in-depth help with your prep, the writing workbooks based on this blog, Screenwriting Tricks for Authors and Writing Love, Screenwriting Tricks for Authors, II, are available for just $2.99.
- Amazon UK
- Amaxon DE (Eur. 2.40)
- Smashwords (includes online viewing and pdf file)
- Barnes & Noble/Nook
- Amazon UK
- Amazon DE