Author Interview: Carolyn See

I love Carolyn See's book, Making a Literary Life. One of the things she recommends in the book is to send a charming note to an author, agent, publisher or editor daily. I felt it was appropriate that she be the recipient of my first charming note.

I later asked if she'd do an interview for me and she graciously consented.

MP: What is a typical workday?

CS: There is no "typical" work day. For my weekly reviews I try to take the book outside and read for a couple of hours until they're done. Then, since I'm such a terrible typist, I'll write the review on one day (they're 850-900 words, but I count them as 1,000), and type it the next -- which is the hardest part of the process. Then one day to revise, with notes from the editors of the Washington Post, and that can vary wildly, from ten minutes to three hours. They're wonderful people, but I have my favorites -- those who agree with me, of course.

If I'm going to a conference or a seminar, I'll spend a couple of hours organizing, or if I'm lazy, I don't.

For writing long projects, I try to do 1,000 words a day or (no more than) two hour's revision five days a week. If I'm working on a deadline, all that goes out the window, of course. I have a couple of anthology pieces coming up, and I'm procrastinating so much that I'll end up doing them over a period of three or so days. But I don't recommend that. I try to work in the morning, read in the afternoon. But I also try not to get tied to any particular schedule -- there too many ways to get off it and then beat myself up about it...

MP: How do you feel about plotting and outlining?

CS: For plot and outline, as I say in MAKING A LITERARY LIFE, I generally know the first thing that's going to happen and the last. Then I'll do the second chapter and the penultimate chapter. Then I'll do my favorite scenes, the ones I feel like doing that day. I don't want to be dogmatic about it, but I think, except for mysteries and commercial novels, you don't need an outline. Because life doesn't have one -- it's full of surprises, and by doing outlines you fence yourself in.

more later . . . . .

As more of this interview becomes available I'll get it posted.

Author Interview: Marilyn Harris Collins

I had the opportunity to visit with Marilyn Harris Collins about her career as an author of non fiction books. She's the author of several books for Acadia Press. Her most recent work, Write History Right details how to capture stories from your family, town, church or civic group and organize them into book format.

MP: When writing non fiction do you outline before you begin?

MHC: I use a timeline covering the scope of my book as my "outline." Obviously, I start with the first event and end with the last, including backstory. I continually add to the timeline as I research the book. There is added value to a timeline other than keeping the story on track. Natural chapter breaks will appear. From this you can readily tell if you have too much information on one topic, not enough on another. This is a good time to assign an estimated word count per chapter -- thus the entire book. An overall project schedule will begin to take shape judging on how many words you can write a day plus adding time for research, site visits, interviews and so forth.

MP: What is a normal workday for you when you have a book in progress?

MHC: After I walk the dog, help my husband pick out a tie, I take a quick coffee run. When I set the coffee on my desk and turn on the computer, my day begins. I work until mid to late afternoon. Sometimes I could back and work late into the night - if I'm on deadline or the writing is going really well.

MP: About how long does it take to finish a first draft?

MHC: After several trial starts and stops, once I get started it takes me about three months for a first draft, another three months to get a workable final draft. This does not account for the prelude to writing - research, interviews, collecting visuals, and some tearing out of my hair!

MP: How many revisions do you normally do?

MHC:There are probably 100 ways to say the same thing. I keep making minor tweaks to the last minute trying for that one last, best way to bring the reader into the story. I find rewriting valuable beyond grammar checks and choice of words -- the story and my purpose for telling it becomes more clear. I learn more about myself as well as the subject as I go along. The book means more to me at the end than at the beginning.

MP: What is the most difficult thing about writing non fiction?

MHC: I suppose the most difficult part about writing nonfiction isn't finding the truth to tell - but in bringing that truth alive for the reader through the characters, setting, and conflicts of the time. I want the reader to "be there." Creative nonfiction ploys allow the writer to use more dialogue, explore inner feelings of the characters, and provide a very realistic setting for the book. Another difficult part of writing nonfiction is finding the arc for the story when you have to deal with facts as they happened. This takes some skill.

MP: What are your top three reference books for writing non ficiton?

MHC: I have a bookcase full of how-to writing books that I've been absorbing for years. However, I found no books for writing history per se on the American market. So, I wrote Write History Right as the user-friendly guide for anyone planning on writing a history of their town, region, family, church, school, and so forth. I found two books invaluable in setting up my publishing company:
Dan Poynter's Self-Publishing Manual, Para Publishing, 2007
The Well-Fed Self-Publisher by Peter Bowerman, Fanove Publishing, 20077

MP: How do you feel about critique groups?

MHC: Belonging to a writer's group is very important to me and to my work. My advice is to join the right group for you. My group, Northwest Arkansas Writer's Guild is for published writers. Just as other specialty groups are for romance, mystery, sci-fi writers, and so forth - the level and purpose of our critiques are tailored to our needs as a group. Our group is excellent because: a) members are all published and provide critiques toward that end, b) our size is small - 12 to 16 members, c) we share mutual trust and support, d) are flexible to help each other on current projects, and e) we have fun and there is no jealousy.

MP: What's your best piece of advice for a new writer?

MHC: Many wise words have been directed to writers over the years. After all those are said and read, I offer this: I have a very inquisitive mind - I'm interested in almost everything and see a good story around every corner. And I want to write it all! This can be not only overwhelming, but can keep me running in so many directions I don't accomplish as much as I could if more focused. I like writing magazine articles at the same time I'm writing a book (or maybe two). They add variety and supply constant deadlines. Not everyone likes to juggle multiple plates over their head at once, but I do. So, my advice is know your own personality and find ways to make your quirks and skills work for, not against, you.

Learn more about Marilyn Harris Collins non fiction books at http://www.writehistoryright.com/

Author Interview: J.A. Jance

I did a little research before this interview and found out some fascinating things about J.A Jance. Did you know that the first book she wrote was a true crime novel? Did you know it was 1200 pages long? (No it didn't get published.) Did you know that she doesn't plot all of those amazing twists and turns in her novels but lets the story devolop as she goes along? If you want to learn more read on.

MP: What's a typical workday for you?

JAJ: I get up, have coffee, answer e-mail, read the papers. Go to work. I work longer hours the closer I get to a deadline. I also work longer hours when I'm editing and need to keep the strings of the story straight in my head. Starting a book is always harder than finishing one.

MP: How long does it take to write a first draft?

JAJ: Three to six months.

MP: How many revisions do you normally do?

JAJ: I revise some every day, going back over the most recent material rather than going back to the beginning. Otherwise, I would end up with a very polished beginning and the book would NEVER be finished.

MP: Has your process changed since you became a full time author? If so how?

JAJ: I used to have to write before I got my kids up and ready to go to school and before I got me ready to go sell life insurance. Now the kids are raised and I don't have a day job. Writing is my day job. I usually start with a crime and write until I figure out who did it and how come.

MP: Do you talk about your books when you're in the process of writing them? If so who is the lucky person?

JAJ: My husband reads as I write and helps talk me off the cliff when I run into trouble.

MP: How do you feel about critique groups/first readers?

JAJ: I've never belonged to one primarily because, when I was starting writing I had small children and a full time job. In other words, I could belong to a critique group or I could write. I chose to write. Having a critique group of other unpublished writers may be a good social outlet, but it seems a lot like the blind leading the blind. But again, that's probably unfair since I was never part of one. Actually, I attended one once. Someone complained about a continuity problem in my second book and told me that never would have happened if I had had the manuscript read by a critique group. But, of course, by then I was working on my FOURTH book. My critic, by the way, died without his first novel ever seeing the light of day.

MP: What are your three favorite writer's reference books?

JAJ: I don't have three favorites. I don't have one favorite.

MP: What advice would you give to new writers?

JAJ: When I bought my first computer, the guy who installed my word processing program fixed it so that, when I booted up, these are the words that flashed across the screen: A writer is someone who has written TODAY. Those were words I clung to back when I was an unpublished author and those are words I cling to today. Writers write regardless of whether or not they are being published.

Her latest Ali Reynolds novel, Cruel Intent will be in stores December 2008.

Software Review: The Marshall Plan for Novel Writing Template Generator

How would you like to write a novel that is so well crafted it grabs your reader by the throat, shoves them up against the wall and doesn't let go until they've finished it? If you're going to write it you'll need to plot and as I pointed out a couple of weeks ago plotting ain't for weinies.

While I was in the midst of my plotting angst I was fortunate enough to receive a copy of The Marshall Plan for Novel Writing Template Generator. I had used Evan Marshall's book to guide me in targeting a genre, determining word length, and number of scenes/characters. I had actually written my plot in the form of a word document instead of writing everything out on the scene cards he provides and thought I had it covered.

When I received the Template Generator and started plugging in my plot I found out differently. Using Evan Marshall's software program forced me to really think about some things that I hadn't realized were issues. It helped me to identify the need for two additional subplots and helped me to fill in some gaps in my story that I hadn't seen before. The program is easy to use and I can guarantee that I'll be using it to plot from now on.

Here's what Evan Marshall had to say about The Marshall Plan for Novel Writing Template Generator:

MP: The Marshall Plan for Novel Writing Template Generator is a natural extension of your books. Can you tell us how it came into existence?

EM: Ever since my first Marshall Plan® book, The Marshall Plan® for Novel Writing, came out ten years ago, I have received mail from writers asking if the system is available in software form. The system does lend itself perfectly to a computer program. Once I started to think about converting the system into software, I knew exactly how I wanted it to be, so rather than hire a developer, I took several years to teach myself how to program, and created the software myself. And it’s exactly what I wanted it to be—a program that helps you answer some key questions about the novel you plan to write, then generates a “template” or detailed plot structure for that novel, with the proper number of viewpoint characters, the idea number of scenes, and all of them in their proper place and order. It really works! And there’s no other program like it.

MP: Most of us are either left brained or right brained. Writing is definitely a right brain activity. How difficult was it for you to switch to the left brain activity of programming?

EM: I thought learning programming would be a nightmare, but I love it, because it’s actually more right-brain than people think. I found creating the software—deciding on its design, its look, keeping it clean and simple but effective—was extremely creative. I’m working on two more exciting new programs now.

MP: How long did it take to complete the software?

EM: All in all, about four years.

MP: What's your favorite aspect of The Template Generator software?

EM: That you can keep changing your mind about any number of elements—word length, number of viewpoint characters, whether to include a romantic thread, whether to make your antagonist visible or “invisible” (as in a mystery), and so on—and the program automatically readjusts your template. This feature makes it very easy for a writer to try out different ideas to see what works best.

MP: Do you recommend that people purchase The Marshall Plan for Novel Writing in addition to the Template Generator? Why or why not?

EM: The program is designed to stand completely on its own, so that it’s not necessary to read the book, but for people who want to reinforce some of the ideas in my system and read more deeply, it can’t hurt.

MP: Where can we purchase The Marshall Plan for Novel Writing Template Generator software?

EM: At my website: www.marshall-plan.com. There you’ll find a detailed explanation of the program and what it does, with numerous screen shots.

evan marshall

Author Interviews Coming Up

We've got some author interviews coming up in the next few weeks. Here's a short list of who you can expect.

• Evan Marshall, author, agent, software designer
• Pat Carr author of Death of a Confederate Soldier
• Stephen R. Donaldson author of the Thomas Covenant series
• Marilyn Collins author of Write History Right
• Radine Trees Nehring author of the To Die For mystery series
• J.A. Jance New York Times Bestselling Author

And lots of others. If there are any questions you have for these authors or any authors you'd like to hear from leave a comment and I'll see what I can do.