Smashwords has just posted a new interview with me. Check it out here: https://www.smashwords.com/interview/DavidKubicek
Ray Bradbury once said that there are three great adventures: being born, living, and dying. Last night Bradbury embarked on that last great adventure when he died at his Los Angeles home at the age of 91.
Bradbury not only had a profound influence on my writing style, but his book The Martian Chronicles inspired me to start writing in the first place. We exchanged a few letters in the 80s and early 90s, and I found him to be an approachable and generous man.
The first time I wrote him, I sent him a copy of the college thesis I’d written about him and his early work: Ray Bradbury: Space Age Visionary. In less than a week I received a note of thanks along with galleys for a new book of criticism of his work another author was publishing.
My first inclination when I heard of Bradbury’s passing was to take time off and read some of his stories in honor of his memory. But I immediately realized that the best memorial to a man who got physically sick if he didn’t write at least two pages every day would be to write. So as soon as I post this, I’ll go back to work on my novel. I’ll read some of his stories later.
When I was in college a well-meaning English professor read one of my short stories and encouraged me to expand it into a novel. I wholeheartedly agreed. I thought it would make a good novel then, and I think so now. But at that time I wasn’t ready to write a novel. I’d only been trying to write professionally for a short time and was just becoming comfortable with the short story form. I didn’t realize that a novel is an entirely different animal, and it takes much longer to write.
So I started pounding the keyboard to transform my 5,000-word short story into a 50,000-word novel. Shouldn’t be too hard, right? Just add scenes. Piece of cake. Unfortunately, at that time I had never heard of Elmore Leonard or his one-sentence explanation of the driving force behind his writing: “I try to leave out the parts that people skip.”
Long story short, my first novel was mostly made up of parts that even I skipped. I finally put it out of its misery at 47,000 words because I couldn’t stand working on it another minute, not even to reach my goal of 50,000 words. I never submitted it anywhere. I tried to throw it away, but the garbage man rejected it. He suggested I call the hazardous waste people. I put it on a shelf in the closet where it gathered dust and dead flies–who died instantly once they landed on it . . .
Okay, I’m exaggerating. But the best thing I can say about my first novel is that it stunk to high heaven, and the worst thing I can say about it cannot be published on a family blog. Mercifully, the thing was lost over the years as I moved from one place to another. I hope it won’t show up to haunt me when I least expect it.
Why should you care about my first novel-writing experience? I’m glad you asked.
Regular readers of this blog know by now that I have a man-crush on Ray Bradbury. Bradbury’s advice to aspiring writers is to write short stories to learn their craft. You can write one short story per week, 52 short stories per year, but it will take you months to write a novel. You get more practice, and more chances of getting it right – and you learn more about writing – by writing short stories.
Except for my one deviation described above, I followed Bradbury’s advice. I wrote 200 short stories before I wrote my next novel. Most of them were clinkers, but among the coal were some gems. I finally got it right and was prepared to tackle a longer form.
And judging from comments I’ve gotten from readers and reviewers, I did a much better job with my second novel, In Human Form, than I did with my first.
As most of you who have followed me for very long know, Ray Bradbury was my mentor. After reading a 25-cent copy of The Martian Chronicles that my mother had picked up at a thrift store, I decided to try to write like Bradbury and to get my stories published.
When I was in college I wrote a thesis about the connection of Bradbury’s early life to his stories. I called it Ray Bradbury: Space Age Visionary. Although I never published it, and the only publicly available copy I know of is in the special collections section at the University of Nebraska-Lincoln’s Love Library, somehow Amazon got wind of it and listed it on their site.
I just came across an online video of a commencement address Bradbury gave in 2001. It’s 55 minutes long, so block out a good chunk of time to watch it. As I listened to him speak, I realized that I had followed his advice. I’d never heard him speak while I was learning to write, but while researching the man I’d turned up most of what he talked about in this commencement address.
Ray Bradbury is one of the great storytellers of our time. This video is essential for aspiring writers – for all writers. Watch it, bookmark it, and watch it again from time to time when you need inspiration: Ray Bradbury Commencement Address.
Although self-publishing is less stigmatized now than it was even ten years ago, we still have a long way to go before we stamp out every form of prejudice against self-published books. For instance, book reviewers – other than local reviewers in the author’s hometown – refuse to review self-published books. They won’t even open the book and read the first few paragraphs, which is enough for people who make their living reviewing books to determine if the writer is good, or if he’s publishing prematurely.
Once upon a time, I edited a book called October Dreams: A Harvest of Horror. I received an average of 240 submissions per month. I had lots of other things to do besides read 240 submissions per month, which would have taken a substantial amount of time. After reading a couple of paragraphs, two pages at most, I knew two things: 1) If the writer was ready for publication, and 2) If the story was the type for which we were looking. That’s not difficult to do, and it doesn’t take much time. There is not an editor anywhere who reads every word of every manuscript he or she receives.
When I was a student at the University of Nebraska, one of my English teachers brought in an arm load of self-published books. They weren’t difficult to find. UNL’s English department publishes The Prairie Schooner, a prestigious literary magazine. The Schooner receives many review copies of books from traditional and self-publishers. At that time they dumped the self-published books on a table where anyone who wanted them could pick them up.
My teacher read excerpts from the books, and we all had lots of laughs over them – until he came to one written by a fellow named Thomas M. Disch. That piqued my interest because, being a reader of speculative fiction, I was familiar with this author’s name. My teacher, with a smirk on his face, started reading. Slowly, the smirk dissolved. He stopped reading, and in a voice that clearly communicated his astonishment, he said: “This isn’t funny.”
He seemed almost let down, as if the Prairie Schooner had cheated him by putting this book on the rejects table.
The reason that book wasn’t “funny” might have been that Thomas M. Disch had a long history of being “traditionally” published. I don’t know why he chose to self-publish the book my teacher picked up. There are many reasons writers choose to self-publish, and it is a mistake for a critic to dismiss a book because of his or her own misconceptions, his or her own prejudices.
Reviewers who have a rule that they will review no self-published books, would not have reviewed The Adventures of Huckleberry Finn, which Mark Twain self-published because of “the foolishness of his publishers.” That’s one reason some writers self-publish. Other writers self-publish because the pay is better (a royalty of 60-85% vs. 10-25%), and they are paid more quickly (many traditional publishers withhold an author’s royalties for three pay periods – 18 months – after the book is published). Other books may be self-published because, for whatever reason, they failed to find a publisher who thought there was a market for the book.
And yes, many self-published books are not ready for publication. But this is true of traditionally published books as well. I’ve been an avid reader for many, many, many years, and 99% of the books I’ve read were published by traditional publishers. And I’ve read lots of crap. Lots of crap. I’ve read fiction by writers who weren’t ready for the big time or who had ineffective editors or both, and I’ve read nonfiction books that did not support their hypotheses with good evidence. I’ve also read many good traditionally published books.
On the flip side, I’ve read some good self-published books as well as some that were not ready for publication.
My point is, to borrow an old cliché, you can’t judge a book by its cover. A reviewer who refuses to even look at a book because it is self-published not only is failing to do his job, but he’s also doing his readers a disservice, readers who might like Amanda Hocking’s stories, for instance (for those of you who may not have heard, Hocking found her audience by self-publishing, then was offered a $2 million deal from a “traditional” publisher).
For a look at some famous authors who self-published, check out my earlier blog post Self-Publishing: Is It For You?
In the past couple of weeks two newsworthy events have occurred in the self-publishing universe. The first was when, as I reported in an earlier blog, thriller writer Barry Eisler walked away from a $500,000 advance to self-publish his next novel. The second was when self-published bestselling author Amanda Hocking signed a $2 million four-book deal with St. Martins.
The Hocking deal inspired the post “Advice for Amanda Hocking From Authors and Agents” on book editor Alan Rinzler’s Blog. As the title implies, Rinzler asked several authors and agents to put in their two-cents-worth about whether the deal would help Hocking achieve her main goal, which she said was to concentrate on writing rather than split her time between writing and publishing duties.
I won’t summarize the post here. It is a good one, and I recommend that you read it, especially if you’ve flirted with the idea of self-publishing. But I will make a few comments about some of the pros and cons that were mentioned.
It may seem as if I’m jumping on the self-publishing bandwagon. That’s not entirely true. Like Amanda Hocking, I would take a traditional publishing deal if it felt right for me; however, also like Hocking, I would not give away the rights to books I had already published, and I would retain the right to self-publishing other books.
It may also seem as if I’m promoting Smashwords. To some extent that may be true. My book, The Moaning Rocks and other stories, is being published by Smashwords because I investigated the company and liked what I saw (and so far I’ve been pleased with my experience). My novel In Human Form will follow shortly. Smashwords is also up-front with writers; they say that although some of their books have sold lots of copies (Amanda Hocking’s among them), some authors haven’t sold a single book. It all comes down to how well the author can promote his or her work and how good of a writer he or she is.
But that’s true of traditional publishing as well.
As little as a decade ago self-publishing was a stigma. The industry and the public viewed it as something one did out of desperation, when one could not get one’s books published by traditional means.
In the past few years, particularly with the growing popularity of e-books, that has been changing. And now thriller writer Barry Eisler, author of the popular John Rain novels, has given self-publishing a tremendous boost. Eisler turned down Minotaur’s $500,000 offer for two books and plans to self-publish his next novel as an e-book because, he said, he believes in the long run self-publishing will be more financially lucrative.
In a conversation with self-publishing guru Joe Konrath, Eisler talks about his reasons for his decision. It’s a lengthy conversation but well worth the time for anyone who is considering self-publishing.
For perhaps as long as publishing has existed self-publishing has been stigmatized. The terms “self-publishing” and “vanity publishing” often are used interchangeably. They are not interchangeable. We’ll get to that shortly. For now, here are a few writers, established writers, who have self-published some of their own work:
This list just scratches the surface.
I have, technically, published some of my own work. In 1988 I established Kubicek & Associates to publish an anthology of farm stories I had collected. The book contained one story I had written, about 3,50o words, and 13 stories by other writers. I thought publishing was cool, so I went on to publish three books by other writers and, in 1989, an anthology of horror stories which also contained one of my own stories (again, about 3,500 words) as well as 19 stories by other writers (including a classic story by Henry Kuttner, originally published in 1939).
Self-published books differ from vanity published books by being of a higher quality. They achieve that higher quality by going through a similar process as a traditionally published book. A vanity book, on the other hand, is a book that the author considers to be good enough to publish and pays to have it published – there are no checks and balances, no feedback from other reliable sources, and minimal – if any – revision or copy-editing.
There are two schools of thought about how writers write:
I’m a subconscious writer. I believe in letting my subconscious take an active part in my storytelling. This was not always so.
When I first started writing I thought I had total control of my stories. A story I wrote called Be a Man changed all of that. It was a simple story, I thought, about a kid who has an unpleasant experience in swimming class and becomes disillusioned about his teacher. I gave it to one of my former English professors, Bob Bergstrom, to read.
When Bob gave me his critique he launched into an in-depth analysis of the character and what was really happening in the story. I was shocked. I admitted that everything he said was true, but I hadn’t realized it was there. That was a lot of stuff to pack into a 2,300-word story.
I forget how long the idea for Be a Man gestated–tumbled around in my mind–before I put it down on paper. But I do remember that it was about two from idea to writing of Two Coffees. I was at Godfather’s Pizza with a friend. She indicated a table not to far from us and told me about the dude who she’d see when she was in with some of her friends the other night. He’d ordered four glasses of beer, set one in front of himself and the others around the table. Then he proceeded to carry on a conversation with the invisible buddies who, apparently, possessed the other three beers.
As you can see from the story a lot changed from conception to execution. This 900-word story is on my Website because it’s my favorite, particularly because my subconscious was deeply involved in the writing. I discovered this on re-reading the story a few years after I wrote it. I submitted the story three times, and it has been published twice–excluding its online publications.
I believe that even writers who believe in strictly outlining and scene-planning everything are influenced by their unconscious minds whether they know it–or like it–or not. But I don’t think they take full advantage of the powers of their subconscious.
The subconscious needs time to work. It cannot be forced, but it can be nudged. Here are some ways to nudge it:
How do you know your subconscious is working? Because suddenly, out of nowhere, an idea will pop into your mind, and often it will be better than what you had been thinking of.
The patience part is the most annoying to me because things may not come together as quickly as I’d like, but when the ideas do come they are inevitably much cooler than if I had wracked my conscious mind for solutions. For example, I’m working on a young adult dystopian novel with the working title of Beyond the Wall. The story has changed dramatically in the last couple of months, so dramatically that the title will definitely have to be changed because the wall probably will not exist in a physical sense.
This also is why I have several projects going at the same time; if I need to prime my subconscious to work on one story, I switch to another while my subconscious takes its own sweet time, and I check back regularly to see if some new ideas are coming. I don’t have any trouble switching back and forth between projects. It’s not a bad ability for a writer to try to develop.
I have always wanted to write a novel or short story fast, in white heat, like some writers (in his book On Writing, Stephen King says that he writes the first draft of every novel, no matter how long, in three months). That would be seriously cool. I’ve tried it on many occasions, but all I succeeded in doing was creating extra work for the garbage collector (or these days, to be politically correct, the recycling dudes).
If that works for you, great. But if you find yourself constantly getting stuck on story problems, instead of whacking at your conscious mind with a sledge-hammer, try gently consigning the challenges to your subconscious for a few days.
During the first decade of my writing career I wrote short stories as if I had a patent on the form, about 200 of them, and that’s only the ones I have a record of. There were many more that I deemed unworthy of being submitted and took a direct route to obscurity–the trash can.
After that fairly prolific period, I moved into other areas, and my short story writing slowed to a trickle. I wrote two novels (unpublished), three screenplays (not produced), started a publishing company (published five books), and finally became a photojournalist (published more than 3 million words). When I again focused on fiction writing, I concentrated on the novel.
But the other day I came across an interview with a fellow named Stephen King, who is not only a prolific novelist but a prolific short story writer. King said that when writers concentrate too much on novels, they tend to lose interest in writing short fiction. I would add that the short story is a good laboratory for learning discipline.
Every story has a perfect length. College students often want to know how long their assignments are required to be. I had a writing teacher in college who, when asked what length a story must be, said “As long as it needs to be.” A story could be 1,000 words or 100,000 words, as long as it does what you intended it to do. That’s pretty much what King said.
If you are focusing only on novels, you may be missing lots of good ideas for shorter fiction.
For me there are a couple of obvious advantages, not in any particular order, for writing novels over short fiction:
Plenty of magazines (including some online mags) buy short stories. Start with Writer’s Digest, which publishes several Writer’s Market directories. You can even subscribe to Writer’s Market online. If you write in a particular category–science fiction, mystery/crime, literary, etc.–there are many magazines that publish those types of fiction. Glimmer Train is one magazine that not only pays well for fiction, but also has several contests each year.
Writing short fiction is more difficult than writing novels. You must focus on a single, defining event, and any wasted words or other mistakes will jump off the page. But for those of you who are starting out–and even for seasoned novel-writing pros–writing in the short form will teach you discipline.
In the past ten years I’ve written a total of three short stories, even though I’ve had plenty of ideas that I jotted down for future use. But the Stephen King interview has inspired me to start writing some of those stories, although I certainly will not neglect my current novel.
To watch the Stephen King interview as well as comments from a couple of other prolific short story writers:
Most writers have been faced with the challenge of making a living while waiting for that big break. Day jobs I’ve held included dishwasher, custodian, film processing lab technician, copy-editor, advertising copywriter, publisher, and print shop stripper (it’s nothing dirty; I “stripped” negatives into paper frames which were used to “burn” offset printing plates–with today’s direct-to-plate technology, printers may not even need strippers anymore).
Here’s a look at jobs held by a few famous writers before they were famous. Some of them eventually were able to write full-time, others never sold enough books and had to keep their day jobs, and others like Scott Turow (who continues to practice law) and John Grisham (who remains interested in politics and considered running for U.S. Senator from Virginia in 2006) maintain their non-writing career interests.
This post is dedicated to my cousin, Unitarian minister and scholar Dr. Wesley Hromatko, who inspired me to look into the day jobs of some famous authors.
In this video, mystery writer Parnell Hall takes a humorous look at many authors’ worst nightmare: showing up at their book signing, but nobody comes. Diehard writers–and country music fans–can’t help but chuckle.
Visit Parnell Hall’s Website.
For a business to succeed, four things are necessary:
To build a successful writing career, you must use the same principles.
For your writing career to prosper you must not neglect any of these areas. And don’t stop. After you’ve gone through the process with one novel, begin again with another. Keep repeating the process. And never give up. The first novel you write probably will not be the one that is published.