NEWS: Cover Artist Selected for SERVANT and CURSE

After reviewing almost 100 applications, we have selected an artist to do the covers for SERVANT and CURSE. His name is Giorgio Grecu Shards, and he lives in the UK. You can see his gallery here: http://shards.cghub.com/images/.

Some of my favorite pieces of his include these. 

BatGirl by Shards

BatGirl by Shards

 And this

Dancer by Shards

Dancer by Shards

There were quite a number of others who we gave serious consideration, including Shen FeiThuyNgan, Nusha Amini, and Nick Greenwood. In the end, we felt Giorgio could pull off the feel the best. We’re very excited to have made the selection and come to the agreement. Right now we’re targeting October-November for the release of both books. I’ll keep you posted as the cover art shapes up.

Teachers (and writers)! Free Class Next Monday on How to Teach Narrative for the Common Core

If you feel a bit lost or anxious about how to teach narrative for the new core, especially stories, I think I can help.

I’m an educator in the private sector and an award-winning novelist and short story writer. I’ve been teaching authors in various venues how to write for the last five years. I’ve been on writing podcasts with thousands of listeners, taught at a number of writers conventions, and had a series of articles published by the national Science Fiction and Fantasy Writers of America organization, an organization for professional authors. I’ve also been helping Nellie, my wonderful wife, teach her 7th and 8th grade language arts students the unit on short stories during that same period. We’ve taught it to twenty different classes and picked up a number of important insights along the way.

This last year I couldn’t help but examine all the materials Nellie brought home during the district’s writing program adoption investigations. Some programs looked very promising; others not so much. Some got some things about writing flat out wrong. Most of the programs had gaps.

Furthermore, because I work with so many people wanting to write, I know that it’s difficult to teach if you really don’t understand what stories really are and how they work. For lots of people, the subject matter can seem impenetrable. And yet writing stories is such a wonderful way to teach writing, especially because so many kids love it. You won’t find a kid who will spend extra hours writing a business letter or poem analysis, but you will find quite a few who will go crazy writing stories. And the whole time they’re practicing their writing skills.

The question is how DO you write a story?

What is a story?

How can you tell if it’s good?

How do you come up with ideas?

Where do you start?

And what the heck is this chart? Do writers really use this? (Not many that I know.)

Story Diagram plot-mountain-pic

And does anyone think changing the diagram to look like Aspen, Colorado actually helps?

Story Diagram Aspen 

Hey, students—please make your story look like Aspen, Colorado!  (Yeah, that’s going to be effective.)

And yet it’s not as difficult as it appears. Nellie and I have seen a lot of kids really get into writing stories. We’ve seen kids WILLINGLY going way beyond the assignment to write stories that are eight, twelve, twenty-five plus pages. And as they’re writing, they’re practicing grammar, spelling, structure, vocabulary, etc. without knowing it and having a great time. I know that if you enable your students, many of them will write, write, write. Especially in grade school. But also in the higher grades.

Stories can be a blast. The assignments can connect to many students. And the results can be wonderful. I’ve laughed out loud at some of the stories coming out of Nellie’s class. Others have been enjoyable on other levels.

But for this to work in your class, you need to know some key things. You need to understand the core of story and the story development process. You need a lesson plan that details everything step-by-step so your students don’t flounder. And you need to know some fundamental tips (secrets?) about teaching this content.

So I’m going to hold this day-long class for you. A full eight hours. And share everything Nellie and I have learned. This class will be for teachers at ALL levels (I’ll show you some ways to scale the complexity of what you’re doing). There will be NO cost. The only thing you have to bring is a pencil, paper, whatever program materials you have, and a willingness to have a good time.

When we finish, you will know how to write a simple story like the ones your students will write because, ta-dum, you will write one! AND you’ll have a step-by-step lesson plan that builds on whatever materials you have—an official program or one of your own. AND you’ll understand story better than 99% of the population. AND you’ll have a bundle of techniques to help your students. AND you’ll solve both world peace and maybe the lost sock conundrum.

Truly, I think that instead of feeling stress, you’ll actually be looking forward to teaching and writing stories with your students. If not, you may bring tomatoes and huck them at me, but please be aware that I will not stand still; to find satisfaction, you will have to be able to hit a moving target.

If you’re interested, just click the Contact John link under my photo in the left sidebar and send me an email letting me know.

Hope to see you in class!

GET READY FOR A FUN DAY OF LEARNING!

Topic: Teaching writing (narrative & the common core)

Who: Teachers (and writers at least 18 years old), seats are limited

When: Monday, July 29th, 8:15 AM – 5:00 PM

Where: Rich Middle School, 54 E 100 S  Laketown, UT 84038

Materials you need to bring:

  • Pencil
  • Paper
  • The writing program you’ll be using this year
  • Kooky socks, for those who cannot resist the urge
  • A lunch or a way to get one

AGENDA

8:15 AM Arrive

8:30 AM – 9:20 AM

  • Can you create a redneck crapper?
  • The 1st secret to teaching writing: Attributes & techniques
  • The 5 parts of story
  • Thieves prosper – using existing patterns
  • A car, a beggar, and an idiot — basic pattern 1

9:30 AM – 10:20 AM

  • The 2nd secret to teaching writing: Do it with them
  • Technique: Sketch then draft
  • Workshop 1: Zombies and kisses
  • Technique: Zing hunting
  • Workshop 2: Hunt zing

10:30 – 11:20

  • What makes a story big or small
  • Workshop 3: Select a right-sized THOM and character
  • Workshop 4: Select a Goal
  • Workshop 5: Make character sympathetic
  • Workshop 6: 3 tries
  • Workshop 7: Resolution

LUNCH

12:00 – 12:50

  • The 3rd secret to teaching writing: Cognitive modeling and the 6-step process
  • The 4th secret to teaching writing: Our tiny brains
  • Writing is telling: Narrative & description
  • Technique: Yes, SiR
  • Technique: Broad-brush + 1
  • Technique: The Pause

1:00 – 1:50

  • The 5th secret to teaching writing: Have fun
  • Workshop 8: Write your story

2:00  – 2:50

  • How the pros revise—concept, line, & copy
  • Workshop 9: Content edit
  • The 6th secret to teaching writing: Our brains are still tiny
  • Workshop 10: Line edit

3:00 – 3:50

  • The 7th secret to teaching writing: The 3 grunts (responding to a story and grading)
  • Share stories
  • What the heck did we just do?

4:00 – 4:50

  • How to adjust for grade level
  • Common core
  • Your program and lesson plan
  • Identify black holes
  • Wrap up & next steps

The Last Apprentice, Path Finder

The Last Apprentice

Revenge of the Witch by Joseph DelaneyMy wife is always telling me I need to write a young adult or middle grade adventure series. One that’s directed at boys.

Not because we have something against girls. We have four daughters, and my wife is adamantly pro-woman. But she finds very few books for her sixth-, seventh-, and eighth- grade male readers. I haven’t done a count, but I’m pretty sure that most YA is targeted at females. And this isn’t just me. I remember visiting a Barnes & Noble in Arizona with my voracious-reader nieces a few years ago and riding the escalator to the YA section. They told me that they called it the “girl-book section” because they figured that basically 90% of it was indeed for girls.

Anyway, I think writing such an adventure would be a blast. I can already think of a number of near future or fantasy settings that would rock. But the time constraints I have right now just won’t allow me to start another series. Nevertheless, we sat down the other day and listed out all of the authors and books we knew that had a more male focus.

For about the twentieth time she told me about Joseph Delaney’s The Last Apprentice series. It’s about a boy who apprenticed to the county Spook who is someone that takes care of witches, ghasts, ghosts, etc.  Her students love the stories. She loves them. She has bought the first ten volumes for her classroom. Why the heck wasn’t I reading them?

Well, for starters, I just don’t like books about witches. And the first book in the series is called Revenge of the Witch. I don’t know what it is. Witches aren’t as bad a zombies–I am SO bored with zombies; I just don’t get the appeal. But even if they’re better than creatures that make no sense at all to me, I just don’t like spooky horror all that much. I loved to be scared, startled, and filled with dread. But not with witches.

Witches? The gals with pointy hats?

No.

But this was, as I said, like the twentieth time she’d brought it up. We were driving over to Logan (that’s the big city for us), and stopped at the library, and we went over to the YA section. Unfortunately, they didn’t have volume one. But I did see many other volumes on the shelf and figured I needed to see what the competition was doing. So I perused. A few night later we went to her classroom, and there was volume one. The one about the witch.

I sighed and opened it and began to read. And when I finished chapter one, I realized I kind of liked it. It was like the old Life cereal commercials—hey, Mikey!—and I wanted to read more. And so I took it home, read the whole book, and was delighted with the story. I liked it so much I promptly borrowed volume two, Curse of the Bane, from my wife’s classroom and read it as well. And I liked that one so much I checked out the third.

The story is about Thomas Ward, the aforementioned apprentice. In book one, he is forced to face down some witches. But it’s Alice, the girl with pointy shoes, who made the story for me. Adding her as a character transformed it from a run-of-the-mill booger man story, into something special. No, I’m not going to give you a peek at the plot. Just know that this is the book where Thomas starts his apprentice, has to deal with that new life (and I thought Delaney captured that so well), and makes some apprentice mistakes that he then has to fix.

In book two, we get to meet Alice and Thomas again, but this time they have to face down a different creature. And again, while the adventure is all cool, it’s the interactions with Alice that put it over the top.

Having praised the books, I will say that I think Delaney has something against priests and religion in general because he paints it all with a negative broad brush. It’s too bad. Not only is such a view inaccurate, but showing the good and bad could add so many delicious dimensions to the tale. Maybe we’ll see that in later books. But even if we don’t, book two was still a great read.

I’m looking forward to book three. If you’re in the mood to try something new, something about a young man and young girl that doesn’t revolve around romantic smoldering, something that a guy would like to read, let me recommend you join me in reading the volumes of The Last Apprentice.

Pathfinder

Pathfinder by Orson Scott CardI was once in a discussion about religion with a friend who happens to be an atheist and fellow science fiction and fantasy writer. He’s a great guy. The blog posts he wrote about the passing of the woman he loved who was lost to cancer were poignant and wonderful–full of beauty. I read them and wanted to be a better man. Still, he and I disagree about God.

I remember telling him that science fiction is the one genre that makes God more plausible than any other. At least, it makes my view of God more plausible.  Now, I do not want to talk religion in this essay. But it’s just hard for science fiction to leave the idea of creation and Adam and Eve alone. Witness the many stories over the years about these very things.

Heck, even the recent movie Oblivion has references—are not Jack and Victoria much like Adam and Eve? Just think about it. Their paradise together as a team, the knowledge, the fall. The echoes are simply marvelous.

Well, I just read another science fiction tale that provided a wonderful opportunity to think about these things. It’s Orson Scott Card’s novel Pathfinder. Now, the story isn’t about God. It’s not a biblical allegory. It’s not dressed-up doctrine. It’s a tale about a boy named Rigg with special abilities on a quest to find his real family and who he is. Along the way we meet some interesting people, especially one character named Loaf who leavened the whole tale. So there’s an interesting adventure and speculations about faster-than-light travel. But one of the chief delights for me was the questions and ideas this story raised in my mind about the creation of our own world—“Garden,” the name of the world, just begged for it.

For example, a long-time staple of science fiction is the idea of terraforming—changing face of the flora, fauna, atmosphere, and climate of the planet to be hospitable to your species. If you believe in a God that is more a being of advanced technology than one of unknowable fantasy, doesn’t that present a new and interesting way of viewing the creation story? It does for me, and Pathfinder sparked ideas about this.

The book also led me to think about life. First, Card has these characters called “Expendables.” They’re robots, but not really. They’re artificial intelligence. But not really. The way Card presents the expendables, you don’t think of silicon and steel and gears. You think of biology.

You think of mosquitoes.

You think about the fact that if we humans use intelligent machines, surely God must use intelligent machinery. So what kind of intelligent machinery does God employ? (Dude, that idea is just pregnant with stories!)

Are viruses and bacteria machines? Are mosquitoes and beetles (please, let there be no mosquitoes in heaven)?

The book prompts me to wonder. It prompts me to look at the life about me on our wonderful world with new eyes. It prompts me to think differently about some of my core definitions. In fact, there are some exchanges between a character and an expendable where they talk about the difference between humans and expendables and the definition of what it means to be human, especially given evolution.

This is a book about an adventure, but also a book about ideas, which is as it should be. Science fiction is the one genre, more than any other, that marries character and plot with exploration of ideas. If you’re looking for an interesting tale that will make you think about our world differently, give Pathfinder a try.

NEWS: Finished line edit of Servant

It took me 33 hours, but I just finished reading through SERVANT and marking the manuscript up with the line edits I need to make.

Holy smokes, folks, but it’s going to be a bigger edit than I originally thought. I knew I wanted to resequence chapters 1-8 back to the way I originally intended them. I knew there were some typos. And I knew I needed to add some content surrounding Purity’s story. But as I read I found that I was making line edits on almost every page.  For those unfamiliar with the term, you have basically four edits.

  • Content or story edit
  • Line edit
  • Copy edit
  • Proof edit

The story edit is just what it says: you’re looking at plot and character. In this edit, you might add or cut whole chapters or story lines.

Once the story is good, you do a line edit. In this edit you’re looking for how well the actual words on the page flow. You’re looking for parts where what you’re trying to say isn’t clear, where sentences or paragraphs are awkward, or where you haven’t been consistent. In this edit, you rewrite sentences and paragraphs. 

Next, there’s the copy edit. Back in the old days, you had essentially three versions of the work. You had the original manuscript, which might go through many edits for the story and flow. Once it was good, the manuscript would be given to an editor who created a “copy” that could be used by the typesetters.  Of course, before you handed that over to the folks setting the type, you wanted to make sure it was clean because making changes in type is a pain in the butt. So in this edit, you’d go over it one more time, looking for typos and grammar issues. At this level, you fix words within sentences, although many times this edit will be combined with a line edit.

Finally, there’s the proof edit. A proof was a copy of the work that had been set into type and printed. The typesetters would look at the their typesetters copy and then physically take metal sorts and mount them in a press to match it. To print it, they would ink the sorts and make an impression onto blank paper. That’s how stuff was printed. 

Nowadays, you don’t need to manually set the type–you just print directly from document on your computer.  So you don’t have to worry about errors introduced into the text because of the typesetting. However, as many writers will attest, you simply do not see things on the computer screen that are obvious on the printed page. And so you always want to print out a proof and then edit it one last time for any errors in formatting or for small copy or line edits.

So this last read was more or less a line edit. I did make some content-sized changes. And I did mark it up for typos and grammar stuff. But the bulk of the changes were line-level stuff, and I have to say I’m amazed at how many there are. I guess this simply means I’ve grown as a writer. But it is going to take some time to finish. I’ll then give the manuscript to my wife who is great with copy editing. And do another revision.

I have to say I enjoyed reading the stories of Talen, Sugar, Argoth, and Hunger again. Some of the events had dimmed with time, and I was delighted to read them again. Parts of this book just make me so happy. With a couple of them I was all, dang, this story is awesome!

***

Still working on the cover design for the Dark God books. Hope to finalize the basic structure this week and commission an artist. I’ll post the process and get your feedback as we go.

NEWS: The Man is going all indie for the next little while

After discussions with my agent and a few others, I’ve decided NOT to shop BAD PENNY to New York publishers. In fact, I’ve decided I’m not going to be shopping anything to NY for the next 12 – 18 months.

My agent was certainly willing to take the property out, but given the average expected advance for thrillers ($15-20k per book; maybe up to $100k for three books) and the terms that NY currently wants, I thought that it might be worth it to try to build something on my own.

I do not hold the illusions some do about indie publishing (I probably hold others). For example, I know quite a few authors who have published indie and are selling very low numbers each month–single digits and teens. Of course, I know others, a smaller portion, who are selling just fine.

But then what’s the bar? How many copies do I have to sell on my own over a three to five year period to match what NY can do for me via brick and mortar?

Let’s look at that from a revenue and a unit perspective.

The average advance for a fantasy, according to Tobias Buckell’s survey, is about $7,000 for a new author. $12,000 for an established author. We saw the numbers I gathered for thrillers above.

So lets see how many copies I’d have to sell indie style to earn as much as I’d get in an advance from New York.  Why not select a higher number? Well, my understanding is that most books don’t earn out their advance. That doesn’t mean the publisher doesn’t make money; just that a publisher’s profit isn’t dependent on an author earning out.

So what are the numbers? Well, here are the numbers for NY. Down the first column you’ll see the different formats. Across the rows you’ll see how many units I’d have to sell to make the advance specified at the top. And how many units I’d have to sell if I wanted to spread the total over three years.

IndieNYComparisonNYNumbers

Okay, and here’s what I’d have to sell if I went indie to make the same numbers. I put in the trade paperback format for both 600 and 400 pages because that’s about how big SERVANT and BAD PENNY are going to be.

IndieNYComparisonIndieNumbers

 

What does this tell me?

It tells me I have to sell a heck of a lot more units with NY at a much higher price than I do indie.  It tells me that a $5,000 advance is not even close to being worth the control I lose with NY.  And if it’s true that most books don’t earn out, then it tells me the units that are being sold by NY on the average book.

Back in 2009 I shared this: How Many Copies Do Average Authors Sell? This was from an editor at Tor Books. Seems like my numbers are in the ball park.

It’s true that NY could get me into brick and mortar stores. But if the book gets shelved spine out in the back, how many people will discover it?

It’s true that NY produces some spectacular hits. I looked at the USA Today bestseller list yesterday and it appears only about 10% of the books there this week are indies. But I can’t bank on becoming a NY wonder. The vast majority of NY published books DON’T make the bestseller lists.

Finally, even if I sold BAD PENNY today, it still wouldn’t hit shelves for probably 12-18 months from now. And then it would only stay on the shelves for 12-18 weeks. Going indie, I will have it up by September. And it will stay. For years and years and years.

There’s no guarantee of success either way. But the indie numbers look good to me. We’ll see how it goes.