Category Archives: Guest Blogger

Titles

by Jaleta Clegg

Titles are very important to writers. They are what grab attention and coax readers into opening the cover. My favorite title comes from a science fiction novel by Julie Czerneda – A Thousand Words for Stranger (https://www.czerneda.com/sf/thousand.html). My imagination went wild. I had to read that book. I’m glad I did. It’s a great story.

I hate finding a title. Sometimes it takes almost as much time and effort as writing the book. Titles need to capture the essence of the story, and still be pithy, short, and memorable. It’s an art form I struggle to implement.

I usually leave the title to last. I’ll come up with a working title, something I hate, and use that until I have time to figure out something better. Which may or may not happen.

My first novel was originally titled “Dace”, short and sweet and captures the book. Except it didn’t capture audiences. A good friend of mine, who’s also an author, pointed out that my title said everything to me, but nothing to anyone who hadn’t read the book. So I tossed the title and dug deeper, coming up with Nexus Point. A nexus is a point of origin or a zero point. It’s the place where something starts. I thought it was a great title for the first book in a series. The events of that book set in motion the rest of the series. It worked, mostly, because I landed a publisher. One reader commented that she didn’t understand the title. And there are three science fiction books with the same title that came out in the same decade. It’s not unique enough.

Book two was a little easier. Priestess of the Eggstone. Simple, easy, sums up the book. Except most people think it’s Princess of the Eggstone. Close enough. Googling eggstone still finds the book. No one else has used the title.

Book three, the one releasing mid-April, had a working title I despised. I couldn’t find anything better, though. I knew the release was coming so I turned to my internet friends. They came up with some great suggestions, but since most of them had never read the book, the titles didn’t fit. I spent several days digging through ideas, looking for that perfect title. And then it hit me, why not use a chess strategy? The book references the situation as a game with very high stakes. Queen’s Gambit has been overused as a title, though. It didn’t quite fit the story. I dug deeper. And then I found the perfect strategy.

Poisoned Pawn.

It’s obscure and unless you’re a chess buff, you probably have never heard of it. But the title still works for those who have no clue it’s a chess move. Dace, the main character, is a pawn, set out as bait and seemingly unprotected. The bad guys should find her irresistable. But she’s poison, taking her will cause them all sorts of grief. The name suggests a story with intrigue and danger and someone being used. It only took me six years to find the perfect title for the book.

Do you struggle coming up with titles for your work? What titles have grabbed you and never let go?

For those who’ve been nice enough to read this whole post, I’m offering a free ebook of Nexus Point. Just go here https://www.smashwords.com/books/view/10672 and enter the code: AA47G (expires 5/31/13)

Links to all three books, in print and ebook, can be found at www.altairanempire.com

 

 

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Creature Creation

by Anne E. Johnson

One of joys of reading science fiction and fantasy is its challenge to our imagination. We are offered new worlds and beings and expected to accept them as real.

But before a reader gets a chance to wrap her mind around fantastical inventions, a writer must invent them. That can be harder than it sounds. The trick is not the inventiveness; most authors who choose to write speculative fiction have imagination in spades. The trick is viability and consistency.

Consider a fantasy creature we’re all familiar with: a dragon. As the author describes this dragon, there are a lot of factors to consider: What color is it? Is it the same color all over? Does its color change as it moves? What texture is its skin (scaly? spiky in some parts?)? How large is it, compared to other characters or objects around it? Is it a young, spritely dragon, or an old, lumbering one? How wide must its wingspan be for it to reasonably be expected to fly?

And then there is its effects on its surroundings: What happens to the ground when it lands or takes off? How do the trees move when it flies through or over them? What gets scorched when it breathes fire? If someone rides on its back (as seems to happen with remarkable frequency), how does that person hang on? How does the dragon react to having a rider?

Such issues become magnified when an author has invented a completely new and unfamiliar creature. My favorite example is the trinity Odeen, Dua, and Tritt in Isaac Asimov’s The Gods Themselves. Asimov seemed determined to make beings that were as far from human experience as he could imagine, so their very physical presence is foreign and is intermixed with unique psychological features. These creatures are rather ghostlike, feed on moonlight, and to show emotion and experience they alter their width and density. And, rather than two sexes in this species, there are three sets of emotional function. It’s complicated and fascinating, and completely believable.

No surprise that the great and powerful Asimov set himself such a hurdle. For most of us ordinary mortal writers, however, it’s the physical nature of invented creatures that’s the primary challenge. For example, one of my main characters in The Webrid Chronicles is named Zatell. Her body is a single round section surrounded by about thirty small limbs that serve as both hands and feet. When she “walks” (and I try not to use that word too much with her), she’s really rolling or cartwheeling.

Every time Zatell performs any physical act, I have to think very hard how she could actually accomplish it. Getting up onto a chair is different for her than it is for a biped species. On the other hand, she can do many things that others can’t, like hold several things at once while also eating and writing! The biggest issue in such cases is consistency. Notes like “Can she actually do that?” from sharp beta readers and editors are invaluable and always make me slap my forehead.

It can be slow, detailed work to rein in the imagination to make it viable to a reader. But the chance to captivate the reader is what a writer lives for, so it’s absolutely worth the effort.

*   *   *

Green Light Delivery, Book 1 of The Webrid Chronicles, is a humorous, noir-inspired science fiction adventure. Read the first 24 pages of for free here.

Book 2, Blue Diamond Delivery, is scheduled for release by Candlemark & Gleam in June of 2013.

Purchase Green Light Delivery from the publisher, on Amazon, on BN.com, and elsewhere.

You can learn more about Anne E. Johnson at her website.

For updates on Anne’s publications and appearances, like her Facebook author page.

Follow her on Twitter @AnneEJohnson

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So You Want to be a Hero?

By M.A. Donovan

Heroes aren’t born, they are made. Society, relationships, and the way we live dictate whether or not we can become a hero to someone. In ancient times, you didn’t have to be completely honorable, loyal, or an upright citizen to become legendary. You just had to do something remarkable that people would talk about (and maybe write an epic) for years to come. For instance, Achilles, the Greeks’ greatest hero, tried to get out of fighting for his country and when that didn’t work, he sulked in his tent while his comrades were killed. But yet to die old and unsung would never do, so he stepped up and was remembered.

Today, heroes are defined by their values. Just doing something heroic isn’t enough; one must also live honorably, be healthy and strong within, learn humility, and have some redeeming qualities that someone will look up to.

Heroes can be almost anything – the shy kid living next door, the 89-year-old veteran in a wheelchair, or your accountant. Animals have been known to carry out great feats in stories as well as real life news events. When writing a hero into a tale, they can wear many hats and have varying dispositions, but they all have one thing in common: the need to aid someone who is in trouble. They needn’t be superheroes with special powers or physically strong; anyone can be a hero and sometimes, you’ll find them hiding in the last place you would look.  Do you have it in you to be a hero to someone?

In The Golden Horn, my wayward hero, Galen, is a combination of the ancient legends and the modern day hero. He is humble and refuses to title himself, but yet, his heart breaks at the thought of all the struggles the common villager has to suffer. Galen is no stranger to pain, coming from a broken home filled with evil, but he finds a way to survive and decides to do something important with his life. With his sword and companion mage, Olstek, they travel the land, doing good whenever possible. He becomes the Hero of Shandor, even though he feels he’s not worthy to be called that.

The Golden Horn is available at amazon.com or createspace.com. Want to win a free signed copy along with a special gift from me? Enter my “Letter to a Hero” contest. Simply craft a genius letter to your special hero (can be a fictional character or a real person) and send to me at kariah@donovanfantasyauthor.com with “Letter to a Hero” in the subject. I’ll select a winner at the end of my virtual book tour, on or around March 1, 2013. Please make sure to include your name, mailing address, and email in your letter.

Visit M.A. Donovan online at https://www.donovanfantasyauthor.com or check out her blog at https://www.freethewriterinside.com.

Read an excerpt at https://getshorturl.com/17  .

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Fantasy Worldbuilding 101, Or How To Make Your Setting More Like Middle Earth, And Less Like A Ren Faire

by Jennifer Allis Provost

The term worldbuilding gets used with some frequency when discussing fantasy, and, to be fair, if your worldbuilding isn’t up to par, your story will fall flat. What’s the point of investing all those long hours at the keyboard, crafting finely nuanced plots and flawed yet lovable characters, if the place they live in – whether it’s a castle, wattle and daub cottage, or even an igloo – rings about as true as the set from a high school production of Camelot?

Before you send that manuscript off into the abyss of querydom, compare your world against the following checklist. While adhering to these points won’t ensure that your setting is perfect, they will go a long way toward keeping your world consistent.

Food: What do your characters eat? If the story takes place in a medieval setting, I would expect to see more joints of meat and loaves of dark bread than chicken nuggets and side salads. Also, how is the food served? On metal platters, in wooden bowls, or on trenchers of bread? Are the bones thrown to the dogs, or saved by a thrifty kitchen maid for tomorrow’s stew?

Clothing: Pre-industrial societies tended toward two broad categories of clothing: spare and utilitarian for the working class, ornate and cumbersome for the nobility. Also, due to the labor involved with spinning and weaving, only the very wealthy owned several sets of clothing. If your peasant keeps showing up in pristinely clean shirts without any mention of Ye Olde Laundress, your readers will smell something fishy.

Even if your fantasy has a modern setting, you should still consider clothing carefully. If the character’s on the run, they’re going to get dirty. Also, what are they wearing while avoiding the Feds/evil vampires/rabid bunnies? Good clothes for going on the lam: jeans, t-shirts, flat soled boots or sneakers. Not so practical choices include flimsy dresses or blouses, spiked heels, and lacy lingerie.

Locomotion: How are your characters getting around? In a modern setting this isn’t as much of an issue, since we have all the requisite planes, trains, and automobiles. But, in those pesky pre-industrial societies, your characters are pretty much limited to animal-based transportation (horses, elephants, camels), boats, or some sort of magical device, such as a portal. Boats are, well, boats. If your characters have access to portals or time dust or whatever, please make it a grounded, working magic system.

If your characters rely on the animal-based transportation, please keep one thing in mind: remember to feed the animal! A quick Google search can give you valuable information about how much a horse needs to eat, how often it needs to rest, etc. While this might not be such a big deal for one or two characters on a short jaunt about the countryside, traveling for a significant distance requires either packing feed, or stopping at a stable for the night.

How do you worldbuild? What do you consider to be the vital details?

 

Bio:

Jennifer Allis Provost is the author of the fantasy series Chronicles of Parthalan, available now, and an urban fantasy series, Copper Legacy. The first installment, Copper Girl, will be released June 2013 by Spence City.

https://jenniferallisprovost.blogspot.com/
https://www.facebook.com/copperraven
https://twitter.com/#!/parthalans/view/19702
https://spencecity.com/
https://www.cafepress.com/Parthalan

Jennifer Allis Provost is a native New Englander who lives in a sprawling colonial along with her beautiful and precocious twins, a dog, two birds, three cats, and a wonderful husband who never forgets to buy ice cream. As a child, she read anything and everything she could get her hands on, including a set of encyclopedias, but fantasy was always her favorite. She spends her days drinking vast amounts of coffee, arguing with her computer, and avoiding any and all domestic behavior.

 

Blurb for Copper Girl:

 

Sara had always been careful.

She never spoke of magic, never associated with those suspected of handling magic, never thought of magic, and never, ever, let anyone see her mark.  After all, the last thing she wanted was to end up missing, like her father and brother.

Then, a silver elf pushed his way into Sara’s dream, and her life became anything but ordinary.

Available in print and e-book June 25, 2013
ISBN: 978-1-939392-02-2

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Keeping Fantasy Fresh: Going Different Directions

by Sue Bolich

You know, it’s hard to be different when writing fantasy sometimes, which is why I am always amazed to look around and see the sheer imagination pouring out of new releases every day. Yet to many people, “fantasy” is still all about evil overlords, quests to save the world, magic McGuffins that must be collected and used, and magicians, swords, and all forms of sorcery. As a fantasy reader I love those things; as a fantasy writer, I want to go beyond them.

Firedancer and its sequels in my Masters of the Elements series are about as big a departure as I could make from the usual S&S tropes. I really, really wanted to leave the usual villains and plots behind and focus on something different. Hopefully, I achieved it in making my antagonist completely non-human: living fire. The elementals, Wind, Water, and Fire, are the children of the Earth Mother, but have long since grown beyond her direct control. Thus, she created the talented clans to hold them in check: Firedancers, Windriders, Water Clans, and Delvers–but the elementals are challenging that ancient magic, and no one knows why. Will it hold? Will the world end in fire or flood or destruction by the mad, uncontrollable Hag blowing all to ruin before her?

It is immensely fun doing something so different, trying to invent a world with none of the usual drivers of human conflict. There is no war here except against the elements. No swords, no armies, no ambitious dukes and kings. There are people trying to save their world and their loved ones, who differ greatly in the approach they think should be taken. Isn’t that like real life when crisis strikes? Everybody thinks they know the way to take control and get things back to normal, but how many times do they trip over each other, start fights, go down dead ends that make things worse, and generally end up worse off than before? I think people are the most fascinating things on earth, and when you throw in magic to complicate their relationships…! Ai yi yi, you get all sorts of interesting twists!

Still, despite their differences, the common desire among most people is to do good. In fantasy as in real life, somehow that thread becomes a lifeline, despite the fact that each one of the clans has the power to do massive damage (even unintentionally) to the rest. Imagine if a Windrider should make a mistake calling Wind in the presence of Fire. Nasty surprise for the Firedancer trying to control it! Yet there is room for love even across clans, equally unexpected, equally surprising, and very fun to explore, from passing quarrels to midnight passion.

Writing fantasy is the art of making the impossible real. Why not a fire creature that badly wants out of its prison, and why not folk trying to assimilate the fact that this time…it just might win? Who needs a cackling evil overlord when fire can eat your whole world?? Different villain, different battle, different magic…pure fantasy. And pure fun to write!

Read the first five chapters of Firedancer free at my website, https://www.sabolichbooks.com/Firedancer1-5.pdf. You can also buy it at Amazon, B&N, Smashwords, and nearly everywhere else books are sold, in ebook and print.

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Five Tips for Aspiring Authors

by Sandra Saidak

When I asked my Creative Writing professor how to become a successful author, I was told: “Apply seat of pants to seat of chair”.  While I now agree that he was right to say it, it didn’t seem very helpful at the time.  So today I will share advice that I hope will be more helpful to readers of this post.  At the very least, I can honestly say all of it has worked for me.

  1. Write what you love.  It doesn’t matter what’s popular today, or what’s think week’s  #1 Best Seller.  If you don’t like paranormal romance or YA dystopia, then don’t write it!  And people will tell you to write it because that’s what sells.  As crazy as it sounds, you’ll have better luck writing something you’re passionate about, even if it’s in a genre that currently has no market, than attempting a paint-by-number version of the next Hunger Games.  In today’s world, you can carve out a new niche on the internet—even create an interest in something no one’s ever heard of—more easily than you can compete with 50,000 other authors trying to write the next Harry Potter.
  2. Join a writers group.  Writing can be a solitary art from.  And while many of us choose it for just that reason, support and feedback from other authors are good things to have.  Regular meetings with your very own group of writers—even just once a month—is a way to hone your skills both in writing and editing. These groups are free, and unlike many of the services that ask for money, are fueled by dedication to the craft. As for where to find them: Google is your friend.
  3. Attend Conventions.  Unless you’re working at them, these cost money, so be very selective.  Given the location of this guest post, I’m guessing most readers are sf/fantasy/horror fans.  Science Fiction conventions are great places to network with other writers, get information from people in all aspects of the field (authors, agents, editors, publishers and publicists) and even meet your favorite authors.  Most conventions have a writing track, which will consist of panels and presentations on a wide range of topics.  Many will have a writer’s workshop, where professional authors will read your short story or novel excerpt, and give you feedback in a closed session at the convention.  These workshops are usually free with the cost of admission.
  4. Go to Writers’ Conferences.  These can be really expensive, and are therefore the biggest gamble.  But they have the potential for the biggest pay-off.  Conferences attract big name authors, agents and publishers, and are targeted at many more genres than just sf/fantasy/horror.  You will usually have the opportunity to pitch your novel to several agents and editors.  Conferences are also good places to learn how to write a pitch, cover letter or synopsis (plus, you can find out what all of those terms mean if you don’t already know.)
  5. Apply Seat of Pants to Seat of Chair.  My old teacher was right.  The best way to make it as a writer is to write.  Even when you’re tired, frustrated, sick of the rejections, wondering if there’s any point to any of it—just keep on writing anyway.  And don’t stop.

______________

Sandra Saidak graduated San Francisco State University in 1985 with a B.A. in English.  She is a high school English teacher by day, author by night.  Her hobbies include reading, dancing, attending science fiction conventions, researching prehistory, and maintaining an active fantasy life (but she warns that this last one could lead to dangerous habits such as writing).  Sandra lives in San Jose with her husband Tom, daughters Heather and Melissa, and two cats.   Her first novel, “Daughter of the Goddess Lands”, an epic set in the late Neolithic Age, was published in November, 2011 by Uffington Horse Press.  Learn more at https://sandrasaidak.com/

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Where fact & fantasy meet: Remote viewing

By T.W. Fendley

I love to read stories that explore possibilities, which is why speculative fiction is my favorite genre. I get a kick out of following someone’s journey to a place only their imagination could take them. I’m also fascinated by the scientific and metaphysical underpinnings–that’s what makes these tales “snap” for me. What I’ve discovered is that reality is often stranger than we think.

The thrill of walking the narrow and sometimes muddied path between reality and imagination is what keeps me writing speculative fiction. I wrote most of my historical fantasy novel, ZERO TIME, in 2007, after I took early retirement. With more time to do things that interested me, I also took a more hands-on approach to studying metaphysical concepts.That included becoming more involved with an Edgar Cayce book study group I had joined a couple of years earlier. If you’re not familiar with him, the “sleeping prophet” was America’s most documented psychic. My mother had told me about Cayce when I was a teen, but this was my first chance to talk with people who studied his work. In my book, I patterned much of Omeyocan culture on the metaphysical concepts I was learning from them and the books we read.

My first attempts at remote viewing were during an online course offered by the Association for Research & Enlightenment (Cayce’s organization) in November 2007. Which brings me back to my comment that reality is often stranger than we think. Remote viewing (RV) provides a perfect example.To give you a non-technical definition, RV is a scientific protocol developed by the military during the Cold War. Viewers learn how to enhance communication between the conscious and subconscious mind, and develop their skill at describing places and events across time and space. It’s an ability most people have, but some are more talented than others. Here’s what remote viewing looks like when someone really good does it: Pam Coronado

Remote viewing inspired parts of ZERO TIME. For instance, early in the book, the expedition leader Xmucane is trying to find her mate, Xpiyacoc, by teaching others how to use crystals to enhance telepathic communication.

“You can’t just think it, you have to feel it. Communication flows through dimensions that don’t follow linear time or geographic limits that we perceive … Now focus on the [crystal] orb you just created and clear your mind of all thoughts … It’s hard to receive messages that don’t make sense to you. You have to overcome the doubts expressed by your own inner voice to get to the true guidance of your higher self.”
‘But a rainbow-colored serpent?’ Starry Skirt asked.
‘Even that,’ Xmucane said.”

My studies of remote viewing continued in 2009 with a weekend workshop at the Monroe Institute on “intuitive investing” using a technique called Associative Remote Viewing (ARV). I’d also been looking into quantum entanglement and wondering what it would look like in practice. ARV gave me the chance to experience some of those connections across time and space, ones I’d only imagined in ZERO TIME. Since 2009, I’ve documented more than 700 viewing sessions with statistically significant results showing a higher than random rate of success. Some sessions by me and others are shown on a blog I host, www.ARV4fun.com.

I’d love to hear about situations you’ve encountered that defy conventional explanations. Do you write about them?

Thanks, Gail, for being a Party Host in my Virtual Book Tour Party!

The ZERO TIME 2012 Virtual Book Tour Party is here!

To celebrate, T.W. Fendley is giving away a Maya-Aztec astrology report, a Mayan Winds CD, ZERO TIME tote bag and fun 13.0.0.0.0. buttons. Check out the prizes and other posts on the Party Page.

3 ways to enter  (multiple entries are great!)

1) Leave a comment here or on any of the other PARTY POSTS listed on the Party Page.

2) Tweet about the Virtual Party or any of the PARTY POSTS (with tag #ZEROTIME2012)

Example: Join the Virtual Party for historical #fantasy novel ZERO TIME by @twfendley for a chance to win prizes! #ZEROTIME2012 https://bit.ly/x91NgP

3) Facebook (tag @T.W. Fendley) about the Virtual Party. (NOTE: tag must have periods to work)

Example: Join the Virtual Party for historical fantasy novel ZERO TIME by @T.W. Fendley for a chance to win prizes! https://twfendley.com/?page_id=510

 

You can find ZERO TIME at:

Ebook $4.99

Paperback $16.95

 

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In Defense of the Unhappy Ending

by Jennifer Pelland
www.jenniferpelland.com

I was recently on a panel at the Boskone science fiction convention titled “Optimism vs Darkness in Science Fiction” where I came down squarely on the side of darkness. Much to one audience member’s dismay, I declared that there could be no suspense unless there was a real possibility that things might not work out in the end. She felt there was suspense enough in seeing specifically how the happy ending came about. Good for her, but frankly, that’s not enough for me. From time to time, I need to read about people crashing and burning and not getting back up again at the end.

What this really boils down to is this: are you an escapist reader, or a catharsis reader? Neither is better than the other, neither is deeper or more meaningful, but it’s difficult for a catharsis reader to really understand an escapist reader and vice versa. I, not surprisingly, am a catharsis reader. I don’t pick up a book to escape to another world, I pick up a book to help make more sense of the world I’m in. Yes, the book can do this even if it’s set in another world or another time. It can make me laugh, make me ponder something I’d never thought of before, or put me through an emotional wringer, but if I don’t come out the other side feeling changed, then I feel cheated.

At this point, I imagine the escapist readers are all scratching their heads and saying, “Yeah, but you can do that with a happy ending.” True, you can. But life isn’t all happy endings, and I sometimes desperately need to read about other people whose stories end badly. To give a concrete example, my father died a year ago after a brief battle with cancer. None of the treatments worked, and his death was so horrible that I wouldn’t wish it on any but the most monstrous of people. So when I read stories about people bouncing back from cancer and going on to a full recovery, or read news pieces on wonderful new cancer treatments that are in the pipeline, I don’t feel uplifted — I feel cheated. And yes, an unhappy ending to a cancer story absolutely guts me, but when I read it, I don’t feel so damned alone. And that helps me make sense of the fatherless world that I currently live in.

And yet, I do still need some happy endings. I was sobbing wreck ten minutes to the end of last year’s Doctor Who Christmas special, and I vowed that if it didn’t have a happy ending, I would fly to the U.K. and personally smack Steven Moffat. But if he hadn’t already had a few episodes earlier that season where things hadn’t turned out well, the Christmas episode wouldn’t have hit me so hard. My inner cynic would have kicked in and told me, “Oh, he’s just pulling your strings — of course everything will turn out fine!” Presto — no waterworks, no catharsis, no point. So because I knew there was a chance that things wouldn’t work out in the end, I was so much more invested in the characters’ struggle than I would have been without that uncertainty.

Am I advocating that everyone run out and start reading stories with unhappy endings? No. I’d never do that. We all read for different reasons, and there’s nothing wrong with that. It would be a boring world if we all had the same brain, and it wouldn’t leave much to write about. All I’m asking is that escapist readers extend a little understanding to those of us who need some stories to end badly, and maybe that they buy a few books by us Debbie Downer authors for their catharsis-reader friends.

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The secret of writing short

by Bud Sparhawk

Several years ago, after I had a few stories published and wrote my first Nebula finalist (Primrose & Thorn), I was invited to dinner by four accomplished novelists. I listened with rapt attention as they spoke knowingly of agents and contracts, of royalties and galleys, and talked with the ease of experience about book launches, autographing, and the other things that seldom impact a short story writer’s life.  This was heady stuff and I reveled in being graced to be among their number.

Yet, as the evening wore on, I began to wonder why I had been invited to sit among this prestigious group since not only had I not written a novel, but the possibility of embarking on the long and arduous task of writing long had not yet crossed my mind.  Were they going to give me the secret of writing huge works?  Were they about to give me the keys to novelist heaven?  Were they going to impart the secrets of the book?  I waited, growing more concerned and anxious as the evening wore on through salad, entree, desert, coffee, and finally drinks.

Finally the leader of this pack of wolves turned to the lamb among them and said: “Bud, how do you manage to sell to Analog?  What’s the secret of writing short?”

I forget what I said, but most likely it was “Huh?”  That was my first glimpse of something that I have debated ever since that night: why can some people produce novels with seemingly little effort while others struggle to produce more than a few thousand words at a time? What quirk of mind causes a novelist to spend fifty pages on an action that a short story writer dismisses in a sentence?  Why does no one go to the bathroom in a shorter work while novel characters detail every aspect of their daily ablutions?  And why in the world does the novelist allow dozens of characters to creep into their story, diverting the plot this way and that, pestering the protagonist with niggling, bothersome trivia that prevents resolution of the central issue chapter after chapter?  Why do they insist on burying the core of the story with excessive detail and descriptions?

Why can’t they just say what they mean and get off the stage?

Short story writers don”t feel the need for glittering ornamentation or writing casts of characters that are not directly related to the central thesis of the story.  A short story’s protagonist is never diverted for long from their path, not with the premise’s tease far behind and the end of the story looming just a few thousand words ahead.  No, the short story writer’s brain focuses on the immediate, the important, and nothing that does not support the central thesis is allowed to intrude on making a clear and utterly unambiguous end.  The short story always has a point, damn it!

Perhaps that is the central difference between the novelist and short story writer: While the novelist cannot resist the call of complexity, the short story writer cannot resist the need for simplicity.

But I fear that is too much of a simplification since many novelists write short stories and some short story writers manage to eke out a novel or two.  The answer might be the simple economic reality that you can’t make money writing short so most novelists chose not to.   That also is a simplification that begs the question I was asked at that long-ago dinner and today, after all those years since, I am left not knowing the answer.  I do know that I write short because I couldn’t do otherwise.  I feel impelled to reach a conclusion quickly, to make my point, tell my tale, and start on the next, and the one after that, and on and on.

And maybe novelists feel the same impulse to expand, expostulate, and discourse because they cannot do otherwise.

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A free preview from James Maxey’s new Greatshadow…

Enjoy the first ever preview of Greatshadow by James Maxey here:

https://dragonprophet.blogspot.com/2011/10/greatshadow-preview-bone-handled-knife.html

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