As an author (and also as a book coach), I get asked this question a lot. How long does it take to write a book? It's an interesting question. One that I think is driven by both curiosity and, when it is an aspiring author doing...
When teaching or talking about creative writing and/or coaching fiction writers, I talk a lot about the subconscious act of writing and how the churn of thoughts and ideas takes place even when we are not sitting in front of the blank screen or fresh...
The past two weeks have been a whirlwind of activity. Here is a quick recent author appearances recap. First, I attended the Cirque du Livre Writers Conference in Mesa, where I presented on with Alan Black, Deena Remiel, and Tom Leveen on topics that included creating antagonists readers love to hate, the best path forward on your publishing journey, and my process for developing a strong reader pitch. I also co-presented a first page read panel with Tom Leveen, where we gave on the spot critiques to writers. Of course, I also attended some great sessions on dialogue (Tom Leveen and Bruce Davis) and marketing (Deena Remiel and Alan Black) to name a few.
Plot points, crisis, and climax, oh my! I have been reading up on plotting, taking a deep dive into process and techniques, attempting to distill the information that others have provided in books like The Plot Whisperer by Martha Alderson, Plot and Structure by James Scott Bell, Building Better Plots by Robert Kernen, and The Plot Thickens by Noah Lukeman into something that I can easily absorb and make part of my ingrained writing process and inform my teaching process, as well.
This is not the first time I have delved into plot at this level. A couple of years ago, I published an essay about plot called “Plot Isn’t Just a Four-Letter Word,” You can find it on line here for free.
Like many authors, in addition to my writing and book related activities and appearances, I have a day job. Luckily, it’s a job I really enjoy and I work with good people. It is, however, a job that requires me to do a lot of writing and editing, which surprises many people. I often get asked, “How can you write all day and then go home and write?”
It may seem counterintuitive, since we work so hard at choosing just the right words when writing fiction, but one of my main goals during the editing phase is to make the words disappear on the page. I do this in such a way that the reader will forget she is reading, instead “seeing” the action in her head. While it sounds like a magic trick, it is in fact a fairly natural state for me. As a visual writer, I see the action as I write it. In fact, as I tell the people who ask me about my writing process, I often feel more like a journalist than a fiction writer, because I simply follow my characters around inside my head and write down what they do and say.
As a writer, one of the best things I can hear from a reader (aside from how much they loved the story and how much they want more) is that I made them late for work, or caused sleep deprivation because they stayed up all night finishing my book. The last thing I want to give them is the opportunity to set the book down to go do something else.
“Good writing is supposed to evoke sensation in the reader – not the fact that it’s raining, but the feel of being rained upon.” –E. L. Doctorow
Humans use five main senses, which are our key physiological capacities for data perception. However, in most early writing, there is a tendency to focus on only two of these, sight and sound and leaves a lot of opportunity to add sensory details.