Whether or not we should, we do tend ot judge a book by its cover, which is why any author who is considering self-publishing should make time to watch the video below. The speaker is legendary designer Chip Kidd, who creates covers for books published by Random House.
I think you'll find this interesting even if you're not going to self-publish, because he makes some fascinating points about design in general. Along the way he talks about how he came up with the covers for Jurrasic Park, among others. It lasts about 17 minutes and if you're in a rush you can start at 1:20. If you can't see it fully below, you can also watch it by clicking on this link: http://www.ted.com/talks/view/lang///id/1410
Want to write a detective novel but having problems with the plot? One method is to work backward.
Start with the murder. Who was the victim?
When you have worked out his or her story, including behaviour or personality traits or issues that could cause a lot of conflicts, you’ll also be able to come up with a group of people who all could have done it and their possible motives.
These motives will suggest story strands. For instance, let's say the victim was having an affair. That means his wife and maybe the women (or man) he was having the affair with could both be suspects (especially if he had tried to end the affair).
That means in story terms you will have to think about how he met the person with whom he had the affair, how often they got together, where, what excuses he used to his wife for not being home, etc. You will not reveal all of this information, it will be raw material.
For instance maybe your detective finds out the victim owed money to someone--another motive. In the course of investigating that lead he finds out that the victim used to go to a casino and the detective thinks that means the victim had a gambling problem.
Nobody at the casino recognizes the picture of the victim. One gambler, however, stays at the hotel next door and says, "I’ve seen him at the hotel several times."
That leads the detective to realize that the victim was meeting someone at the hotel.
When you have worked out a good story for each suspect you'll have plenty of raw material and then with half your brain you have to step back and pretend you are the detective and don't know any of this, and with the other half of your brain you remember it all and figure out how the detective can find out some of it and how one thing can lead to another.
The important thing in this genre is to keep coming up with surprises. As I said, maybe the affair was with another man, or it was with a prostitute but he never slept with her, he just talked--and what he talked about leads to another secret he had.
When I read this kind of fiction the thing that interests me more than the mechanics of the plot is the personality of the detective or other protagonist. If he or she is interesting I’ll forgive some plot lapses. A good example: the Nero Wolfe novels by Rex Stout. Nero and his sidekick Archie are what makes the books fun to read. If you want your detective novel to stand out, I think coming up with a distinctive protagonist is the key.
(Get advice on plotting, creating characters, developing your style and much more, from the great writers of the past and present, including Twain, Dickens, Austen, Amis, Vonnegut and many more. It's all in my new book, 'Your Creative Writing Masterclass,' published by Nicholas Brealey and available now from Amazon or your other favorite bookseller.)
I had a question recently, whether I knew from the start what kind of writing I wanted to do. The answer is no. I started out wanting to do all kinds of writing and did sample scripts of various kinds but I wasn't getting anywhere very fast.
Finally a friendsaid: "You're putting 20% of your energy and attention into five different kinds of projects and 20% isn't enough to break in. Put 100% into one kind until you have broken in, then you can always spread out later."
I took that advice and focused on sitcoms first. Once I'd established a bit of a track record in sitcoms I was able to also write TV movies and a mini-series and a feature film.
I still suffer from the desire to to it all, but periodically I have to remind myself, "You can do it all...but not all at the same time."
ACTION: If you are spreading yourself too thin, consider my friend's advice about that 20%.
Are you blocked because you fear revealing too much about yourself in your works of fiction? First enjoy the 5th episode of "Sherman Writes a Book," in which he has a similar fear(it's under two minutes long), then see the tips below for beating this kind of writer's block. (To see Sherman's story from the start, go scroll down to May 1 and then watch them in order.)
THE FEAR OF REVEALING TOO MUCH
Sometimes writers develop a block because they suddenly fear that their book or script will reveal too much about themselves. What if everybody realizes (or just assumes) that all of the protagonist's embarrassing stuff actually is the truth about the author?
First, it's true that the best fiction often reflects some aspect of the author. It's almost impossible to write anything that doesn't have some part of you in it. Of course that's not the same as saying what happens to him or her has happened to you. After all, very few writers of mystery and crime novels have actually killed anyone, yet the best are able to get inside the mind of a killer enough to do justice to that character. If they can't do that, the book won't be very good.
You have deniability! Every author is allowed to say, 'I could imagine doing such a thing, that' doesn't mean I've done it' (even if they have).
Also, let's face it, if you have a passion for writing, that means there's something about your life and/or your thoughts and feelings that you want to convey. As for which parts of your book reflect those, you can keep your readers guessing.
You also have the power of opt out of interviews and other forms of self-exposure. It didn't hurt the sales of "Catcher in the Rye" that J. D. Salinger was reclusive. In a recent interview, Stephen King revealed that he regretted doing a series of American Express ads that showed his face because from then on everybody knew what he looked like.
In short, remember that people will think whatever they want to think...but they spend far less time thinking about you then you think they do.
(There's great advice from the best writers about writer's block and a myriad of other topics in my newest book, "Your Creative Writing Masterclass," published by Nicholas Brealey and available from Amazon or your other favorite bookseller. Not just advice from me but from the all-time best writers like Mark Twain, Jane Austen, Anton Chekhov and many more. When you get the book, you get them as your mentors.)
This is the fourth in a series on overcoming the various kinds of writers' block, accompanies by the "Sherman Writes a Book" animated series of episodes (all under 2 min. long) that started on May 1. You might want to go back to that post and follow Sherman's story from the beginning).
THE 'WHAT IF IT'S NOT GOOD ENOUGH?!" WRITER'S BLOCK
Some writers panic because they fear that their manuscript or script will not be good enough. What if no agent will accept it? What if no publisher wants it? What if they spent all that time writing for nothing?
I won't lie to you, it's entirely possible that you might not be able to see your finished book or script. It's a tough business and the majority of manuscripts and scripts don't sell. If profit is your only motive, I suggest going to Las Vegas and putting your life savings on red or black at the roulette table. At least there you have an (almost) 50/ 50 chance of winning.
However, if you write because you love it or you can't imagine not writing, then I'm afraid you are stuck with the risk. What might you gain even if your project doesn't sell? Well, you might learn something from its failure. You might figure out why it didn't sell and use that knowledge on your next project. Or it's possible that you grew as a person as a result. It's even possible that the process of writing it gave you pleasure!
The question I always ask people who worry about this is, "If you stopped writing, what would you do instead?" Most of them have no idea or say something like, "I guess I'd watch more TV with the rest of the family," or "I guess I'd read more." Unless you feel like you're really short-changing your family, would you enjoy that more? Would it bring you or them closer together--especially if you secretly felt frustrated because actually you don't want to stop writing?
Do you wish Van Gogh had stopped painting because he wasn't able to sell any of his paintings in his lifetime? Was he a failure as a painter because of that?
Don't deny your fears, just expand your definition of success.
(How about some help from the greatester writers--like Chekhov, Dickens, Twain and another 100 or so more? You'll find their writing advice in my newest book, "Your Creative Writing Masterclass," published by Nicholas Brealey and available from Amazon or your other favorite bookseller.)
Sherman's saga began on May 1, so you may want to start there and work your way forward. Each video is under two minutes long. Below the video we look at another kind of writer's block and how to overcome it.
THE 'WHAT IF THEY RECOGNIZE THEMSELVES' BLOCK
If you're writing something that is based even loosely on real people, you may wonder whether they, like Sherman's mother, might wonder whether you're writing about them. If you have portrayed them in a less than flattering light, will they hate you? Sue you?
Here are some tips on how to avoid that:
* Change lots of details so it's not easy to recognize your models for the characters. You can change gender, age, physical description, the setting, profession, hobbies, relationships, etc.
* Go for hybrids. In other words, mix together the characteristics of several people so that the combination is not that much like any of them. This also gives you deniability. You can say, honestly, "No, that character was not based on you."
* Remember that actually people generally don't know themselves well enough to recognize what you've used, especially their bad traits. Lots of successful authors have commented on that.
And if you're worried that a totally ficitonal character might accidentally be similar to a real person who coud turn around and sue you, here are a couple of tips:
* If you create somebody really hateful, give them either a common name or an obscure name. The Bill Smiths of the world are used to encountering hundreds of other Bill Smiths and they won't automatically think that an evil character with that name is modelled on them.
If you give the character a very obscure name, check Facebook and Google that name to see if anybody actually is called that. Be especially careful that you haven't give this evil character any characteristics that you spot for someone with a similar name. For instance, if your character is a sadistic dentist named Hieronymous Skitch, and you find there's a real dentist named Hieronymous Skatch, change the name totally.
Frankly, usually fears about this issue usually are overblown. Use a bit of common sense and you'll be fine.
(Want more good writing advice? Not just from me but from Charles Dickens, Anton Chekhov, and Jane Austen? It's in my newest book, "Your Creative Writing Masterclass," published by Nicholas Brealey and available from your favorite bookseller.)
Here's episode 2 of "Sherman Writes a Book," the saga that started yesterday. Today Sherman decides to get professional help... (the video is less than 2 min. long).
A WRITING BLOCK MAY BE JUST A PLOT BLOCK.
Sometimes when writers get stuck they worry that's it, they'll never write again. Not true. Over the next few posts we'll look at a variety of ways you can get past that block and get your writing flowing again. Today let's look at one kind of block: THE PLOT BLOCK
* Are you stuck on one part of the story? Do you get the sense that if you could solve that issue you'd be able to continue on with the rest of it? If so, you have a plot block. It may feel like you've written yourself into a corner. You don't want to give up, but you don't know the way forward.
If that's your block, here are three practical things to do:
* Take at least 48 hours away from the project. If you find yourself thinking about it, change the subject. Go to see a movie or two, or read a good book, take a long walk or a swim, get plenty of sleep.
* Then state, in general terms, the outcome you need. Take a step back from the solutions that aren't working and see the bigger picture. For instance, let's say that I have my protagonist tied up by the bad guys, it looks like there's no way for him to get away. Maybe I've been racking my brain trying to come up with some clever way for him to get free of his bonds. Now I'd step back and say what's the bigger definition of what needs to happen? He needs to get away.
* Brainstorm as many ways as you can that somebody can get away from a dangerous situation. Don't judge, just list as many as you can. These could include: fly away, get rescued, talk his way out, play dead, etc.
* After a break, go through your entire list. Cross off the ones you know you don't want ("somebody rescues him = deus ex machina, not good). For the ones that are left, brainstorm how they could work. For instance, talk his way out. What does he have that the bad guys could want badly enough to let him go--under supervision, of course--to get it? Or what could he do to make them think he's actually on their side? Or how could they benefit by using him in some way rather than killing him now?
* When you have a promising solution you may have to go back to an earlier part of the story to plant some additional information that pays off in this scene, and you may also need to make adjustments to what comes after this scene.
The key thing to remember: when stuck on a story point, step back and look at the bigger picture.
(You know who had terrific advice about plotting as well as characterization, description, setting? The great authors like Dickens, Twain, Austen, and the other 100 or so I quote in my book, "Your Creative Writing Masterclass." It's published by Nicholas Brealey and available now from Amazon or via your other favorite bookseller.)
Today starts the saga of Sherman Shilmeister's attempt to write a book. Each episode is under two minutes long and is followed by some practical tips.
THAT BLANK FIRST PAGE CAN BE SCARY. Here are some ways to overcome that fear:
* Remember that you don't even have to start with the first page. If there's a scene later on in your book or screenplay that you know will be part of the story, jump ahead and write that one first. It may help you break the ice.
* Remember that you'll probably end up rewriting the first pages anyway. Don't try to write the perfect first line or the perfect first paragraph, page, or chapter. Just get something down that gets you rolling. You can and will come back to it later to make it better.
* Write three different openings and decide later which one to use. Having several options takes the pressure of you to come up with the 'right' one immediately.
Sherwin's journey continues tomorrow...
(And your journey of writing can be made easier with advice from the greatest writers--like Twain, Dickens, Austen, Hemingway, Fitzgerald, Conrad, and many more. They spill the beans in my newest book, "Your Creative Writing Masterclass," published by Nichoals Brealey and available from Amazone or your other favorite book seller.)
This is the sixth in a series of weekly tips regarding small changes you can make, one per week, to write better, write faster, and have more confidence about your writing.
Do the members of your family and your friends respect how seriously you take your writing? Do you have somebody who knows about writing with whom to talk about challenges that come up or celebrate your victories?
If not, it's time you found some support.
This is easier than it used to be. If there isn't a writing group around, you can turn to the internet and the many writing-related sites that have forums and other ways for members to connect.
I recommend joining the people who have signed up for an annual subscription to my MADs--Massive Action Days. Annual members have access to our chatroom 24/7 and there's a small group in the chatroom every day, working on their own projects and also ready to help or just chat with others working on writing projects. And ten times a year you can focus on your writing on our Massive Action Days and get the surpport of 100 or more of your peers. You can get more information here:
Wherever you find your new friends, stay in touch and make sure you don't contact them only on days you are feeling discouraged. Celebrating victories together is important, too, and not just the big ones like publishing a book. You can also congratulate each other on hittting the smaller milestones that go with every big project.
(You can also get friendly support in print form, from having the idea right through to publication, via my book, "Your Writing Coach," published by Nicholas Brealey and available from all good booksellers and a few bad ones as well.)
