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Book Review: 90-Days To Your Novel

 

 

written by Nichole Canniff

Can you be a novelist in just 90 days? Many well-known authors write their novels in just weeks according to 90 Days to Your Novel – A Day-to-Day Plan for Outlining & Writing Your Book by Sarah Donet.

 

Can it be you? It all depends on your commitment to your project. 90 Days to Your Novel will require you to push yourself to invest two to three hours per day for the twelve weeks. At the end of the twelve weeks you will have a first draft of your novel but be warned, this book does not guarantee a great end product, only that you will have your draft finished.

 

Can reading a self-help book really create a bestselling book? Not a chance. What this book will do is breakdown how to create your outline as well as give you different techniques for writing. Do you know the difference between the Note-Card Technique vs. the Signpost technique? If you are new to writing novels, probably not and in the end, it really isn’t that important to know the difference. The most important thing you will take from this book’s Part I is figuring out how you want to start your writing process. What you are comfortable doing. What it’s called really doesn’t matter.

 

Part II is the “90-Day Writing Challenge”. The book advises you to not start reading the rest of the book until you can commit to the scheduled two to three hours a day for writing. When starting this book, your first three weeks are mixed with assignments that don’t necessarily pertain to your novel on the surface but if you really think about what you are writing, eventually you could incorporate those events, people or places into a scene of your story. An example of this is assignment #1, which is to brainstorm as many memories as you can on people, places and things from earlier moments in your life.

 

It’s important to remember in your first three weeks you are in the brainstorming, chart making and outline designing time period. If this wasn’t your first novel, you could probably skip over the first three weeks but really if you have already gone through the novel-writing process, you don’t need this book. It isn’t until week four that you start getting into your novel so you will need to have the patience to stick to your schedule.

 

Do you really need an assignment based, step-by-step guide to write your novel? Maybe, maybe not. It’s all about your commitment to your project. Your success of writing your novel has nothing to do with the how-to book you read. It has everything to do with the fact that you have committed yourself to sticking to the two to three hours per day of writing. If you can do that, why do you need a book to tell you what to write and when to write it? Well for those you are aspiring novelists who just don’t know where to begin, this book will help you organize each writing process to completing your novel.

Read Stuff: Huldredrom – Dream of the Hid-Folk

Huldredrom – Dream of the Hid-Folk by Christopher R. Knutson

 

written by Eric Staggs

Review by Eric Staggs

 

This unique piece of literature came to my attention through pure chance. Since I have found that the best pieces of literature often do arrive via unforeseen channels, I agreed to read and review it.

 

I’m glad I did. The style of writing at first seemed simple, unsophisticated, but as I progressed, I found I was drawn into the unfamiliarity of the culture, the complexity of Norwegian proper nouns seemed to help heft the weight of their folklore and a new found Christianity.

 

The story takes place in a picaresque rural village; imagine fens and glens and heathers, buffered on all sides by brooding mountains whose caps are white year round. These snow caps help to anthropomorphize the mountains, giving them an ancient and wise presence. Within these mountains and valleys lives the Hid-Folk. Fey and spritely, these trolls, changelings and their kin live out long and mischievous lives just under the nose of the villagers. The Hid-folk have a habit of stealing human babies and raising them as their own.  The author opens with a classic I-told-you-so moment and the tragic disappearance of a baby.

 

The plot is at once simple and convoluted – the rules that govern the interaction of mortals and hid-folk are complex and not always logical, but offer a vivid peek into one of Europe’s oldest mythologies. Hid-folk live a semi-parasitic life, stealing lovers and food and cows and whatever else strikes their fancy from mortal villagers, who in turn have developed a whole array of protections against such incursions.

 

At times almost comical, these cultural clashes between the Hid-Folk and the Villagers carry with them a deeper sub-text. The old ways are under siege by the new Christ-God whose representatives have banned the worship of the Old Norse Gods. Yet, for our characters, the reality remains: Hid-Folk could be any stranger you meet while tending the sheep and elemental spirits might easily burst forth and offer you knowledge or simply wish for company. The only evidence of the truth of Christianity is the agony the cross and tolling bells causes the Hid-Folk.

 

Vivid imagery and thorough understanding of the culture push this story forward at a comfortable pace. Descriptions of place and time help bring to the reader’s mind concrete imagery and paint each scene in fluid detail – allowing for just enough personalization to make each reader’s experience unique.

 

Not quite a love story and not quite a fairy-tale laden with moral and metaphor, Huldredrom: Dream of the Hid-Folk­ by Christopher R. Knutson is an entertaining read for all ages and serves as a powerful reminder that there are beliefs in the world far older than those we commonly cling to.

Don’t Hide From Your Story!

It wakes you up in the middle of the night. It nudges you on the drive to work. Inside of you, somewhere in the dusty recesses of your mind, an idea is itching to be brought to life. You have a story waiting to be told, a story the world needs to hear.

So why are you sitting here reading this post? In the time you’ve been Tweeting, updating Facebook statuses and surfing the internet, you could have written the first paragraph of your next best-selling novel.

This is the problem all writers face at one time in their lives. Having the chutzpah to write every day come rain, snow, sunshine or zombie invasion is no small order. When it comes down to it, you’ve got to learn how to psyche yourself up to write. Here are a few ways you can do that:

1.) You will never have the time to write. Make the time. Pencil it in your calendar. Set an alarm. Stick a post-it note to your bathroom mirror. Do whatever it takes to get it done.

2.) It’s okay to write crap. That’s what first drafts are for. Even Stephen King writes first drafts. Say what you need to say and get it out. You can clean it up on the rewrite.

3.) Reward yourself. Writing is hard work. Recognize your accomplishments and use that as motivation to move forward.

4.) One day at a time. You will not write the best American novel in a day. Break down the project into smaller, bite-sized bits that you can achieve a day at a time. Don’t try to swallow an elephant.

5.) Build community. Stay in regular communication with writers and other creatives that motivate and inspire you. Feed off of each other’s energy. Spur each other on to greatness. (But remember, spending five hours chatting and zero time writing does not count. That, my friends, can be filed under procrastination.)

The Zombie Thing

Since it’s the season for horror writing (though I think true Zombie aficionados are always alert and wary for the possibility of an undead uprising, regardless of the time of year) I thought it’d be a good time to talk about a tidal wave of a trend in fiction. I’m guessing if you’re any sort of Zombie fan, you’ve read The Zombie Survival Guide and World War Z by Max Brooks. These two books, so well researched and cleverly assembled helped to make the concept of a species-ending epidemic or plague, very real, bringing them close to home at the same time, viewing such terrific events from a cool and clinical perspective. This perspective added a level of plausibility that the genre had lacked before. Max Brooks two books are clear, concise, informative and not the blood-spattered, hysterical screaming gore fests many of us have come to associate with the genre.

 

But if we jump back a little further, I want to say 2002, there’s a film written by Alex Garland and directed by Danny Boyle that I think not only revitalized the genre, but sent it spiraling off into new directions in both literature and cinema. 28 Days Later is the tale of a virus outbreak that spreads rapidly from person to person, causing not cannibalistic hunger as we’ve come to expect from zombies, but simple, unchecked rage. This infection forces a loss of reason and freewill upon its victims, essentially turning them into mindless killers (zombies.)So far, we’re not seeing major differences in the plot; same disease vector, same results, panicked civilization, trains are no longer on time, et cetera. Then it hits you right in the face: these zombies can run. Now only can they run, but they’re fast!

This simple change in an otherwise clichéd monster’s behavior not only made them actually frightening again, but increased the plausibility of the whole event, not to mention revitalizing a dead (heh) sub-genre of horror. Zombies create the perfect union of post-apocalyptic settings.

 

Opportunities for characters are limitless. For example, how would survivors behave knowing there were no consequences for their actions? Without law and order, who decides right and wrong? Perhaps more to the point, who is stop those who choose to do wrong? This setting provides for limitless exploration of ethics and morality plays. As long as your internal cosmology is consistent, your plausibility remains high and the fictional elements are not even doubted.

 

AMC’s The Walking Dead is a good example of this. The situation is internally consistent – the laws of physics and the cause-effect pattern of the zombie infection is consistent. In situations where there is doubt, the writers take special care to place just enough exposition dialogue to allow the audience to follow along – this is done in what that seems internally consistent with the logic process of the character. So, when the lines are spoken, it’s more like they’re thinking aloud or mumbling to themselves. Very nice technique.

 

If a writer took some of these processes, these techniques and incorporate them into their own work, the results could be amazing. Something trite and dusty becomes at once fresh and new.  I read a short story in an anthology called Season of Rot, there were a few zombies with glowing green eyes. This signified that they were intelligent hunters, almost like a leader-caste among the undead; an uncommon variation, if not entirely original. This twist nonetheless made the story different. Sometimes that’s all it takes.

 

One more thing I want to point out to would be zombie writers – the story is not about zombies. It never has been. The story has always been about the survivors. The human element in a world where the most reliable and basic fact of existence has become incomprehensible. This epic level change in reality is nothing but sheer, raw story potential. In the original Night of the Living Dead, the template for just about every other horror movie made since is established: a band of survivors overcomes internal conflicts in an attempt to simply stay alive. In most cases, they lose what they were desperately trying to protect (their lives, one another, et cetera).  Night of the Living Dead focuses on the people trapped in the farm-house. They slowly reveal their own histories through necessary, not extraneous exposition. This next part should go without saying, but since we’re here and you’re still reading it’s prudent to mention that the back stories of these characters are not the  stories of secret agents or assassins or super-heroes. They’re just people. In most cases, these quite flawed people are struggling to overcome their own inadequacies, their own fears and grief in a very hostile environment. There is no reason for zombie films to be flat or trite. There is no reason not to crank up the drama, the visceral human experience to eleven.

Inspiration

Inspiration comes in many forms to the Writer. The mind of a writer is a cramped place, a barely contained cacophony of images, sights and sounds, ideas and things. But, what happens when the whirlwind stops and the dreams fade to the background and the words… don’t… flow?

 

A professional writer doesn’t have the luxury of writer’s block. That’s something you throw up when you’re a student and would rather go have a beer or six with friends. If you want to be paid to write, you become an adept in self-entertainment and finding inspiration. Every hour you sit and stare at a screen waiting for inspiration to strike you like lightning is an hour you’re not being paid. You might have better luck waiting for the lightning strike. So go make your own inspiration.

 

Literary history is littered with a cast of nefarious writer-types of dubious moral standing, plagued by psychological trauma or just plain weird. Learn about them – that maybe inspiration enough right there. A writer like Hunter S. Thompson might wander off after munching some mescaline and try to find a fountain of whiskey, upon discovery declaring it a fountain of youth. That works for him. I don’t recommend it for everyone. In fact, I don’t recommend it at all. Charles Bukowski (a personal favorite) might suggest a trip to the racetrack and a six-pack of watery American beer. Though it’s somewhat safer than the mighty Hunter S. Thompson’s idea of a good time, it’s still probably not for everyone.

 

I personally like Toy Stores. They’re packed with colors and shapes and sounds, all of it vying for your attention. It’s stuff designed to grab the attention of children with short attention spans. The flood of imagery and marketing and icons and logos will make you wildly agitated and confused. It’s good for you. You can’t help but subconsciously internalize some of the concepts. If a toy store visit doesn’t get your creative juices flowing, you’re not paying attention.

 

There’s always the bookstore… well, one less bookstore option these days, but there are still some out there. The shelves are backed with words and colors, images – all designed to hook you. Wander through your favorite genre section. See what’s being displayed in the end caps.

 

Something I think most fiction/creative writing professors would balk at (or at least deny most vehemently) is that you can get a powerful education in writing by listening to music. Perhaps not Lady Gaga, but tick-tock back a few decades and we see some lyrical brilliance, stuff that’s still sloshing around in the cultural consciousness. Though not a huge fan myself, Bob Dylan can tell a damn story like no one’s business. Sit down and listen to how he paints a picture and sends action and emotion across in very limited spaces. This kind of stuff always inspires me to write; it keeps the poet alive within the prose.

 

Sometimes it’s just the words themselves that get you all blocked up. In that case, I say do like Shakespeare – make up words or assign new meanings to words. When a snow-covered hilltop pouts day in and out while keep watch over a tiny village, you have to ask… how does a hilltop pout? Is that the right word? Does it matter?

2012 – Let the End begin!

We all know it’s not going to happen. We’ve lived through one Rapture, this next supposed Apocalypse might be worthy of opening a bottle of champagne, but not much else. But that doesn’t mean people don’t want to read about it!

“End of The World” stories are making their mark as one of the most popular sub-genres of Science Fiction, Horror and even some other less obvious styles.

That’s why Spectacle Publishing Media Group LLC is assembling top-notch fiction stories for our upcoming anthology Omega.

You got it my friend; this is a flat-out call for submissions! You want to be published! You have a story to tell! We want to publish you! We want to tell your story!

Here are the details on what we’re looking for:

  • End of The World, Civilization or Species  stories
  • 2,500 – 10,000 words
  • Strong CHARACTERS
  • Unique Plots (or common plots told in face-melting style)
  • Error FREE, proof read and spell checked submissions
  • For inclusion in this Anthology email submissions@spectaclepmg.com with the subject line “2012 anthology”
  • Short story submissions DO NOT need queries.
  • DO NOT put your story in the body of an email. Attach as a Word doc or RTF file.
  • Deadline for submissions: December 31st, 2011 (however, this date may be changed at our discretion due to scheduling and content needs)

By submitting your fiction to SPMG, you are agreeing to allow us to publish in print and eBook format. As always, if you have a longer piece that fits this genre, prepare a query and send it to queries@spectaclepmg.com.

Got it?

Let’s review:

Why Not Self Publish?

Writing. Editing. Publishing. Marketing.

It’s easy right? It’s easy to put together thousands of words into a coherent and compelling narrative. Easy. Like staring down Nolan Ryan and thwacking a fast-ball right over his head and into the upper deck. That looks easy too. Perhaps my reference is a bit dated or topically irrelevant for my intended audience–sounds like something an editor might comment about. The joke is often something along the lines of a writer spends months bleeding their soul onto the page and an editor comes along and fixes their spelling. Sure. I’ll fix your spelling. I’ll check your facts. I’ll even explain the difference between an em-dash and an en-dash. But, these things are just a part of the process–perhaps even an afterthought. The main task of an editor is to coax out the best possible version of your story all while keeping keeping the whole thing from jumping the rails and smashing into a propane-pipeline.

With self-publishing, vanity-press, a writer is at a fundamental and distinctive disadvantage. Lack of review. In every field, every profession, there is a peer-reviewed vetting process. A scientist’s ideas and conclusions constantly squirm within the crucible of scrutiny from one’s peers. Designers and advertising agencies produce hundreds of marketing ideas before just a single idea makes the cut and gets accepted by other marketers. Think of how athletes are constantly training and conditioning to be better, faster and stronger. The peer-review process, the editorial process, is basically the same as an athlete’s conditioning process. With a publishing company, with an editor, an author has the security of knowing their work is in peak form, and that ol’ aunt Agnes won’t be phoning up in a couple of days to report all manner amateur mistakes.

Why do we buy Cheerios? Nike? Coca-Cola? The reason is simple: marketing. Okay, so you’ve gone the vanity-press method: you have a link to your ebook and you paid a hefty sum of money for several dozen print copies, you have Agnes waiting on hold and now what? You’re already down perhaps thousands of dollars, not to mention the time it took you to write the book, and suddenly no one seems to have any interest. Well, the answer is simple: marketing isn’t as easy as it looks and ought to be left to those with experience. When buying a cut of beef I want the butcher’s opinion–not the cow’s opinion. Your book comes from you. No one is going to listen to you mooing all over the place talking about your tasty beef. That’s the butcher’s job, and it’s the job of professional marketing to spread the word about your delicious book.

Simply put, this is your work–your writing. It really doesn’t matter to me right now how good your book is or whether or not you have the potential to write ten more; it matters to me that your work gets the best treatment. You’re not going to find this treatment with a vanity-press. There are services out there that will edit your book, but for the cost of hundreds if not thousands of dollars. We’re not interested in your money. Only your words and your partnership. Our service is to make your book be its best.

September Fiction Contest!

While our diligent editors devote hour after hour to the completion of On The Brink…Volume 1, working through threat of hurricane and earthquake (literally), we can’t forget about Volume II. We’re taking submissions for OTB Volume II , with the same sweet prize: $100.00

Same rules as before, except with a positive spin this time. Come on, we know you’ve got a warm and fuzzy in your head, somewhere. We’re seeking original fiction or creative non-fiction tales about “life changing events” for the better. The collection is entitled “On The Brink… Volume II”

  • 2,500-5,000 words
  • character driven stories
  • all genres

This contest continues until the 15th of September. There is NO submission fee. Submission fees go against everything we believe in.

 

Send your stories with a brief introduction to Submissions@spectaclepmg.com. Please be aware that by submitting your stories to SPMG you are granting consent for those materials to be published. All stories will be considered for the contest, but only the best ones be published. Click here for more information about publishing with SPMG.

 

Spectacle Publishing is always looking for novels as well. So if you’ve got a winner, send us a query. Remember, short fiction contest submissions to not require a query and can be emailed here. Full manuscripts require a query first. Click here for more info.