The Pressure of Being Creative

industry-vintage-old-fabric Sometimes being creative is not all it's cracked up to be. Often if I'm meeting someone new at a party or in line at the police station or at the supermarket the conversation invariably turns to: "What do you do for a living?" My answer: "I write books." If I'm not met with stunned silence (or even confusion) I will often get the next statement: "That must be so much fun!" And it is fun. Creating characters and wrapping stories around those characters has been my dream since I was sixteen. And since the age of thirty I've been living that dream (eighteen years and counting of living off my creativity). So, all things being equal, I have no right to complain.

And yet...  And yet... Yes, there is a pure joy to creating a book. Most of that joy is at the very beginning when you get that first idea for a novel (Something I call ohmygodofchoicethisisanamazingidea euphoria). The joy returns again about a year or two later when you are holding the book in your hands. In-between is the actual process of writing. The endless research. The first draft. The second draft.  The third draft. And fourth. The first public viewing for the editor. The edit letter that appears in a sheet of flame and burns your mistakes into your eyeballs. And so on. That is all part of the grunt work of writing and though it is not always joyful, I do enjoy it (if that makes any sense). I like the challenge.

But the pressure comes from different levels of the creative process. Can I solve this plot problem that I've created in the novel? Can I make this character more realistic? This situation? And those "small" questions lead to larger questions like does the book suck? And, if it doesn't, am I doing anything new with this book? Is it better than my last book? Have I improved as a storyteller? And, finally, will the book be a success?

That last one is important. Obviously you want your book to do the best it can. To find its place. Both in the minds of readers, but also it's great if the book finds a proper financial place. Success also means that it will earn back its advance and make more money so that more writing can be done. Often people get upset when we talk about artists and money as if the idea of cash being paid should never come into the creative equation. But, and this may surprise some people, writers need to eat. To drink. To see the latest Star Wars movie.

There is also the pressure of picking the right idea for the right reasons. I have a multitude of projects that are waiting in my "idea" bin but am constantly asking myself which one will both be pleasing to my creative side and commercial enough to add to the bank balance. Last year I released a graphic novel called Modo: Ember's End. It was a continuation of my The Hunchback Assignments series as a comic book. I chose to use crowdfunding to create the book because I wanted to test how this "new" way of getting ideas to paper worked. And on nearly every level the book was a success. Artistically, I was pleased with the story but especially pleased with Christopher Steininger's artwork (we had been talking about doing a graphic novel together for nearly ten years, so we finally fulfilled that dream). We raised over 20,000 dollars on Kickstarter and Indiegogo and received a $10,000 grant from Creative Saskatchewan. So again, the book was a success financially. Over 1000 copies have been sold around the world (we were/are hoping to find a publisher to do the softcover version, but so far have not been successful). The problem is that by the time all of the expenses were tallied (artwork, printing, shipping) my take of that money was around $4000. My best guesstimate at the time spent on the project is six months (that includes learning how to crowdfund, doing promotion, packaging, writing the script, etc.). Now in six months I can usually write a few drafts of a novel and could, in theory, make about ten times that amount for the book. So did I make the right choice to create the graphic novel? Artistically, yes. But my kid takes piano lessons and gym and...well you get the picture.

I don't have a list of five things to take the pressure off of you creatively (and I don't think pieces like this always need to come down to a fix). These words you've just read are an admission. And commiseration with those experiencing similar pressure in their lives (be it creative or otherwise).

And a chance to let off a little steam. Thanks for that.

Art

 

 

See My Editor Tear My Work To Shreds

The Short version:

An author tries not to cry as he reads the "suggested" changes from his editor on the first page of his manuscript.

The Details

This is a page from my soon to be released book, Flickers. It's a novel set in Hollywood during the silent movie era. I've lost track of how many drafts I've done of this book. Let's just put it at more than ten and fewer than two hundred. And yet, there are still mistakes made. Places that can be cleaned up. Prose that can be un-purpled. And that's why we have editors (this post goes hand in hand with my "My Editor Says These Two Words I Use Make Kitties Cry" post).

The Edits

Just click on the image to make it bigger. Click a second time and it will grow even bigger. Click a third time and you'll be able to see the tear stains on the page.

flickersedit

All the best,

Art

The 1st Page Critique Offer

slademail Let me read your writing! The first page of your writing project is the most important. It's where you hook the readers. This is the same truth whether it's a short story, novel, or non-fiction piece. So I'm offering to do a critique of the first page of your piece of writing for anyone who's a subscriber to my newsletter. The actual offer will be in my next newsletter (to come out on June 16th) and will be available until June 30th, 2015.

Hmmm. The word critique bothers me. It implies criticism. Instead I should call it here-are-my-humble-suggestions-take-them-or-leave them. I've been doing this sort of work for over twenty years. In fact I just finished spending nine months as a writer in residence. The most important part of my job was to go over the writing of other writers, mark the work up line by line, then have a one on one discussion (we talked out heads off).  I read everything from memoirs, to poetry, to fantastical fiction. Oh, and one engineering paper.

So this is my way of offering a similar virtual experience to you. You can even submit the 1st page on behalf of someone else (a student, your offspring, an elf...even literary pets). Just sign up by visiting the link here: My Newsletter Signup Page

The newsletter itself is monthly-ish and has lots of goodies for fans, readers, teachers and other humans. And there's often a prize and competitions. I have so much fun putting the newsletters together--it's the perfect way to procrastinate.

So, please hop on board. And if there's anyone else you think might enjoy this offer (and the newsletter) just click and share on the links below.

Keep on rocking!

Art

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A Createspace Experiment--Print on Demand

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I've been curious about Createspace's print on demand book publishing options for some time now (It's just one of the many arms of the Amazon). Since my novel Megiddo's Shadow was out of print in the US, I decided to use it to try out Createspace. It is a relatively easy way to self publish a book. All you need is a word file. They provide a template that I just copied and pasted my novel into (there were a few hours of fussing a fidgeting to get things right, but I expected this).  The actual book cover design system is also very easy to use. They have a variety of covers and styles that you can use. Since the novel is inspired by my grandfather's experiences in WW1, I decided to use his picture. Again this took me at least an hour of fussing--if I had better design skills it probably would have gone faster. And finally I submitted all the files and ordered my proof. It arrived a month later (there was some odd delay and when I informed them that it had been a month Createspace immediately sent new copies of the books to me).

Here's what it looked like when I got the books:

http://www.youtube.com/watch?v=9pfwcmqE9aI

Overall I was quite happy with how the book turned out. The font is perhaps a little small for my ancient eyes, but the whole process cost me less than $30.00 and now people in the US & UK can order physical copies of the books for $8.99. Which means I still make $2.41 for each copy sold. I don't expect to sell many copies, this was just an experiment to see how it worked. I also hope that it will actually help sell more ebook copies of the book because the ePrice looks better by comparison.

Am curious to hear anyone else's experiences with Createspace or other print on demand systems.

Art

1000 Words a Day or Else!

Why do I have a picture of me digging a hole in my backyard (it's for the fish pond, you DEXTER fans, it's for the fish pond)? Well, sometimes when I'm writing I feel like I'm stuck in a rut that's inside a deep hole. Or that I'm treading water without waterwings. I've found that all the other "demands" of being a writer (clever Facebook updates, amazingly insightful tweets, googling my own name) do tend to distract from my main goal of writing. So I wanted to change that. Or...to redirect my distraction.

Recently, I was re-reading Stephen King's On Writing and he mentioned that he works every day except for Christmas and his birthday. What a lazy bum! Just think about how much more he'd get done if he worked those extra days. His goal is to write 2000 words a day (thankfully, he didn't say whether or not they had to be clever, perfect words). 2000 words! I can do that easily. Just as soon as I get around to it. I have to put the finishing touches on a tweet. Oh, and check my Amazon rankings and...oh, wait...there I go again.

It suddenly occurred to me that I could do half the work of Stephen King in the same amount of time. So I set up a little goal for myself and made up my own rules. I must write 1000 words of new work every day.  Yes, new is the important part. No matter what rewriting is needed, no matter whether I have a reading at a school, a deadline or a dentist appointment, the very first thing I must do is write 1000 new words. No tweets. No checking the hockey score on my virtual hockey team (Authored Destruction). Those words must be written. All of my rewriting, redrafting, pretending to plot, are all on hold until the new words are done. The reason I want to write new words is that I do believe those brand new, sparkly words and sentences that come flowing out of your mind in that first draft are as close to the subconscious as we get as writers. And I think it's important to be in touch with your subconscious first thing in the morning (right after waking). There is a caveat to the rule. I can stockpile words. So if I'm going on a holiday, I will actually take a holiday, as long as I've written my quota for the time that I'm away. But I'm gonna work on my birthday and Christmas (take that Mr. King).

Heck, I made a splendid chart to keep track of it all. And to motivate myself. As you can see I'm ten days into my schedule and I've written 11,000 new words. I'm 1000 words ahead! And I even took last Sunday off.

I have found that the buzz I get from creating that new storyline carries on to my rewriting that I do 2nd thing in the morning. It's like jumpstarting my mind. It crackles. It sparks. Then the creative engine roars into verbtacular life.

So if you see me tweeting early in the morning you have full writes...err...rights to say, "What's up, Dude? Didja get your 1000 new words done yet?" And, I encourage you to do 1000 new a day words, too. Just think about how much brighter the world will be...

At the end of the year I hope to have 365, 000 new words to play with, to bat around, juggle and rewrite and turn into something other people might want to read. Until then I'll keep on plugging (or treadmilldesking) away...


Art

Dark Endeavours: Interview with Kenneth Oppel

Ladies, non-ladies, gents and non-gents, 
Herewith is my interview with Kenneth Oppel. It previously appeared on the brilliant Cynsations blog.
Kenneth Oppel's first novel Colin's Fantastic Video Adventure was published when he was seventeen and he hasn't slowed down one iota since. He is the author of the Silverwing series (which has sold over a million copies), the Airborn series (winner of the Governor General's Award for Children's Literature and the Michael L. Printz Honor Book award), and the highly acclaimed Half Brother. He lives in Toronto, Canada.
A: Congrats on the release of This Dark Endeavor: The Apprenticeship of Victor Frankenstein. The idea of doing a prequel to Mary Shelley's Frankenstein is very inspired and I'm certain there are many authors shouting, "why didn't I think of that?" Has anyone accused you of stealing their idea?
K: Amazingly, no, especially since there have been plenty of other classics rebooted with young heroes lately. You yourself may be familiar with the fabulous Hunchback series; there’s also young Sherlock Homes, young James Bond, among others. But Frankenstein was still unclaimed! I was making a presentation to a group of booksellers in the US a few months ago, and someone in the audience asked me if I was planning on ripping off any other literary classics. She didn’t actually say “ripping off” but you get the idea. I said I didn’t have any immediate plans, but asked if she had any suggestions. “Moby Dick,” she said, “focusing on Captain Ahab.” It’s not a bad idea. But I don’t think I’ll take the bait.
A: Hmm. Steampunked Moby Dick! Just let me write that down...anyway, back to the interview. Can you pinpoint when you first had that aha moment?
K: I love Mary Shelley’s Frankenstein. I’d just re-read it a couple of years ago, and the mentions of his childhood were brief but evocative. There were mentions of seeking out the Elixir of Life, raising ghosts and demons – you know, pretty typical teenaged stuff, right up there with rep soccer and hot yoga. But I saw these things as the seeds of possible gothic adventure stories. I spent a lot of time wondering about what might happen on such adventures, and what would motivate them in a powerful way. I sat on the idea for quite a while, almost a full year, before I shared it with my agent and approached publishers, because I wanted to make sure the idea was well formed; I really didn’t want it to be seen as a gratuitous attempt to cash in on the Frankenstein myth.
A: Did you channel Mary Shelley while you were writing? By that I mean did you want to imitate the style of the original book? Shelley's Frankenstein is a rather slow and dreamy novel at times, yet you manage to keep that dreaminess but also the plot moves along at a good clip. 
K: I’m a pretty good mimic, so yes, I did try to capture the linguistic flavour of the original, but without making it inaccessible to contemporary readers. I quite enjoy the richness of period fiction, so the language in Dark Endeavor might be a little more formal, but I made sure it’s effortless to read. I read all my books aloud during the writing/editing process, and if the prose sounds too constipated, or unnatural, or the pace is slack, I know about it, and change it. The book combines gothic adventure and horror and romance, and I wanted it to belt along. I’m not sure I could write a book that didn’t have a fairly powerful plot as its internal combustion engine.
A: How much leeway did you give yourself to play around with the backstory from the original novel?
K: Well, once I invented a twin brother for Victor, I was making a pretty clean break from the world of the original. I like to think of it as an alternative backstory to the Frankenstein myth. A search for the elixir of life is a great idea for an adventure, but I thought it would be even more powerful, and personal, if Victor needed the elixir to heal someone he loved. It could’ve been any family member, but I decided a brother – a twin! – would have the richest emotional possibilities. As for the cast of characters, I made the love interest, Elizabeth Lavenza a distant relation (as opposed to first cousin). Their best friend Henry Clerval was transformed into a slightly comic Woody Allen-like character who’s riddled with phobias and fears, making him the least likely person to enjoy a Frankenstein-style banquet of horror. Victor’s parents I actually based on Mary Shelley’s real parents, the radical writers William Godwin and Mary Wollestonecraft, so my Frankenstein household is very liberal for its time. Mrs. Frankenstein writes pamphlets on the rights and education of women; Mr Frankenstein is a fair magistrate who insists on his own family making the servants their Sunday dinner as a gesture of egalitarianism (a concept that was sweeping through Europe in the late 1700’s). And my Victor himself certainly shares traits of both Percy Shelley and Lord Byron (as did Mary Shelley’s Victor)..So I tried to work in lots of insider Frankenstein information.
A: Giving Victor Frankenstein a twin certainly upped the "interest" factor of the novel. The fact is, I liked "steady" Konrad more than the "impetuous" Victor, the narrator of the story. And yet, I was somehow cheering for Victor, too. Was that your intention?
K: Anti-heroes can be incredibly charismatic and exciting. I’m not sure I’d go so far as to call Victor an anti-hero. He has some dislikeable traits, but he’s never truly wicked (not in this first book anyway). You cheer for Victor, I think, because he has so much life and drive and passion in him; and you never forget he loves his brother, even though he’s ragingly jealous of him, and wants to steal his girlfriend. So yes, I wanted Victor to be complicated – but that makes him a much more interesting character I think.
A: It must have been rather exciting to have the book optioned before it was published. What was the process for that?
K: It was very exciting. My literary agent Steven Malk thought the book had strong movie potential, and showed the manuscript to an amazing pair of agents in Hollywood, Nick Harris and Josie Freedman at ICM, who specialise in book-to-film rights. They really liked it, and sent it out to a dozen top producers and within a couple days we had three offers from major studios. This doesn’t happen often. I know. I used to write screenplays, and I’ve had many books and scripts optioned over the years and usually you’re lucky if you get one offer amidst the tsunami of “passes”. Our decision was pretty easy: we sold the rights to producer Karen Rosenfelt and Summit Entertainment, the producer and studio who made Twilight movies.
A: The book ties up the ending nicely, yet there is still room for a sequel. What's next for Victor? 
K: At the end of Book One, Victor promises himself he’ll unlock every secret law of the earth to achieve his goals – let’s just say he honours his promise.
A: You've gone from the rich "bat" fantasy world of the Silverwing series, to the post-Victorian atmosphere of the Airborn series, to the modern reality of Half Brother. And now Frankenstein. Where will you be taking us next?
K: Straight to hell, in the second instalment of the Apprenticeship of Victor Frankenstein. It’s called Such Wicked Intent, and should be published August 2012. After that, who knows. I’ve got a couple of ideas I’m very excited about and now that I’ve just finished revisions on Such Wicked Intent, I have the wonderful luxury of daydreaming them into existence.
Thanks for the interview, Ken.
I hereby request readers to visit his website at http://www.kennethoppel.ca/