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Inklings Issue 3.11
================================================================
i n k l i n g s
Inkspot's newsletter for Writers on the Net
Issue 3.11 May 28, 1997
================================================================
<http://www.inkspot.com/inklings/issues/ink0311.html>
* Inklings PAYS writers starting next month! *
This issue features an interview with sf author Julia Ecklar,
advice about prologues (Michelle Sagara) and using pen names
(Carol Henson), and a review of Gary Gach's new book,
WRITERS.NET.
This issue sponsored in part by:
================================================================
$269 "LAPTOP COMPUTER" for Writers. The AlphaSmart Model 20 is
a smart keyboard with 4-line LCD display. Stores 64 pages text,
downloads via PC/Mac keyboard cable, 150+ hrs on 2-AA batteries
** AlphaSmart ** 1-888-510-1494 x20 http://www.alphasmart.com
================================================================
* ON SPEC Magazine * http://www.greenwoods.com/onspec/
The premiere Canadian Quarterly of Speculative Writing, where
readers can find the best in Canadian SF, Fantasy, Horror and
Magic Realism. E-mail: onspec@earthling.net
================================================================
THE WRITER'S SOFTWARE COMPANION: multimedia software by Writer's
Digest's Nancy Kress. Uses advanced learning tech. and total
immersion to bypass years of trial-and-error, dramatically
accelerating a writer's progress. http://www.novalearn.com
================================================================
MARKETS ABROAD - Thousands of publications overseas buy English-
language articles. This quarterly newsletter, delivered by email,
provides editor names, addresses, needs, rates, etc. $27/year.
Sample: sedgesample@inkspot.com. Inquiries: pp10013@cybernet.it.
================================================================
* Samurai Consulting * http://www.samurai.com
Services include internet consulting, WWW page design, electro-
nic newsletters, mailing lists, FTP sites, system maintenance,
training. Email: Bryan Fullerton <bryanf@samurai.com>
================================================================
ISSN 1205-6413. Copyright 1995-1997 Debbie Ridpath Ohi. For more
info about Inklings (how to subscribe/unsubscribe, change your
address, submit material, copyright, etc.) send any email message
to infoinklings@inkspot.com. For info on how you can become an
Inklings sponsor, send any email to ratecard@inkspot.com. No
attachments, please. Send comments to editor@inkspot.com (please
use a meaningful subject header!).
================================================================
| CONTENTS THIS ISSUE: |
| |
| From The Editor's Desk |
| Fresh Ink and Market Information |
| Ask The SF/Fantasy Author |
| Ask The Book Doctor |
| Book Review: WRITERS.NET |
| Interview With Julia Ecklar |
| Subscriber Success Stories |
================================================================
FROM THE EDITOR'S DESK:
=======================
I'm very pleased to announce that as of June/97 (next issue),
Inklings will be able to offer payment for original feature
articles. PAYMENT (U.S. funds): 3c/wd on publication, max. $50.
LENGTH: max 2000 wds. Please query first with a brief summary of
your article idea, writing credits if any, and a short sample of
your writing style (or URL). No attachments, please. No payment
for fillers. Send queries to submissions@inkspot.com. Please note
that at present I am not seeking new columnists. I look forward
to seeing your queries and submissions! For complete writers'
guidelines, send any e-mail to guidelines@inkspot.com.
Inklings is pleased to announce a new sponsor...MARKETS ABROAD, a
new quarterly overseas markets newsletter created by Michael
Sedge, who has sold more than 2500 articles around the world.
Michael has 'coached' writers on how to sell overseas in books
and magazines including Writer's Digest, The Writer, Byline, and
even Inklings :-). For a free sample of the newsletter, send any
e-mail to sedgesample@inkspot.com. Subscriptions are $27/year.
For more information, contact pp10013@cybernet.it.
Thanks to Joanne Reid for mentioning Inkspot in the April issue
of Editor & Writer.
Alphasmart (a sponsor of Inklings) has announced that readers can
get a free Mac/PC cable when they order an Alphasmart if they
mention they saw the ad in Inklings. For more info, please call
1-888-510-1494 x20 or check the website at www.alphasmart.com.
Check out the Alphasmart Pro review in the May issue of WIRED
magazine, p202.
FRESH INK
=========
New online writing course
-------------------------
Offered by Skip Press, author of _Writer's Guide to Hollywood
Producers, Directors & Screenwriters' Agents_, starting July 15.
"It's of interest to anyone with Hollywood ideas and/or
screenplays to sell, or anyone who wants to sell books and hasn't
yet."
http://www.hollywoodnetwork.com/skip
Paul Thain's Playwrights & Screenwriting Page
---------------------------------------------
Nice example of a personal homepage that encourages repeat
visits.
Includes bio, info about his writing and services, tips and links
for writers, and a list of playwrights on the web.
http://ourworld.compuserve.com/homepages/paul_thain/index.htm
Magazine Writers Discussion List (MAGWRITE)
-------------------------------------------
Unmoderated discussion list created to help freelance magazine
writers--both published and unpublished--find markets, brainstorm
on articles, receive critiques of their work, and share their
thoughts on all aspects of magazine article writing. To subscribe
to MAGWRITE, send "subscribe magwrite" to
LISTSERV@maelstrom.stjohns.edu. List Owner: Amy McBay
<amymcbay@juno.com>
Editor and Publisher Classifieds
--------------------------------
Good source of journalism jobs.
http://www.mediainfo.com/ephome/class/classhtm/class.htm
Creative Writing For Kids
-------------------------
Storywriting tips, links, online writing by young writers, etc.
Part of The Mining Company site.
http://kidswriting.miningco.com/
New online workshop for romance writers
---------------------------------------
LoveStory-L is a workshop for writers of romance stories, from
short-shorts to lengthy novels. For more info, send email to
LoveStory-L-request@lists.psu.edu with a blank subject header and
"Subscribe LoveStory-L" in the message body. "That will get you a
packet of information explaining how the workshops operate and
subscription instructions."
Special Gila Queen Guide To Markets SF/F/H Issues
-------------------------------------------------
I've frequently used the GQGTM as a source of market info for
Inklings. Issues #87 & #88 will focus on sf/f/h markets and
will be out this summer. Cost US$7, $7 outside US. Contact
GilaQueen@aol.com for more info or see website at:
http://www.pacifier.com/~alecwest/gila/index.html
Free writers' software
----------------------
S.A.M.M. (Sandbaggers' Automated Manuscript Manager) is now
available for both Windows and DOS. Be sure to check out the
rest of the site which has useful info for children's writers.
http://www.sisna.com/users/kcummings/samm.htm
================================================================
MARKET INFORMATION
==================
Please note: Inklings does its best to print only accurate market
info. However, it cannot be held responsible for lost postage,
time, etc. that you may incur due to inaccuracies. Do not send
submissions by email before inquiring first. You should get
current, detailed guidelines before submitting. Include SASE for
snailmail replies. More market info at:
http://www.inkspot.com/market/.
SPECIAL THANKS TO THE FOLLOWING MARKET SOURCES:
SCAVENGER'S NEWSLETTER
Monthly market info letter for sf/f/h/m writers & artists.
More info at: http://users.aol.com/Lemarchand/scavenger.html
THE GILA QUEEN'S GUIDE TO MARKETS
POB 97, Newton, NJ 07860-0097 Email:K.Ptacek@genie.com
http://www.pacifier.com/~alecwest/gila/index.html
CHILDREN'S WRITERS MARKET LIST (magazines only)
Available by e-mail or snailmail. Email shauers@inkspot.com.
For free sample, send any email to childmkt@inkspot.com
==-----------------------------------------------------==
"FNASR" = First North American Serial Rights, "SASE" =
self-addressed, stamped envelope, "simsubs" = simultaneous
submissions, "mss" = manuscript, "RT" = response time, "GL" =
guidelines, "wds" = words.
***If you are a *paying* market and would like your guidelines
included in a future issue of Inklings, please fill out the form
at: http://www.inkspot.com/market/mktpayform.html
PAYING MARKETS:
Lilly Magazine
--------------
Lilly Magazine, 1333 E. Grand Ave., J204, Escondido, California
92027. LILLY MAGAZINE is an on-line fashion magazine geared
towards image-savvy women, ages 16-34. They publish
short-stories, personal essays, and articles on fashion, beauty,
fitness, lifestyle, relationships. See URL:
http://www.LillyMagazine.com to become familiar with the magazine
style. August 10th deadline for fall "Must-Haves," fashion and
accessories, and make-up. No particular deadlines for personal
essays, short stories, relationship articles. Payment: Lilly
Magazine pays competitive rates whenever they have paying
advertisers for the particular page on which the contributor's
article is displayed. NON-FICTION: Actively seeking feature
articles (400 to 1,000 words) on health, sex, relationships,
career and lifestyle for Lilly's Exclusive. Short pieces (up to
500 words) on fashion, fitness, make-up, skincare, hair-styling,
haircare and manicure are also welcome. One-time rights. Send a
query or a complete manuscript. Include a SASE for the return of
your material. E-mail submissions OK. FICTION: "Short stories
from 1,000 to 5,000 words. Literary craftsmanship is the only
requirement. Send the complete manuscript with a cover letter.
E-mail submissions OK. One-time rights. Include a SASE for the
return of your material." (Source: Writers Page newsletter
http://www.getset.com/writers and Lilly website)
Email: editor@lillymagazine.com.
GL: http://www.LillyMagazine.com/subm.htm.
Dance Spirit
------------
DANCE SPIRIT, 250 W 576h St., Ste 1701, New York NY 10107: Julie
Davis, Editor. TO BE LAUNCED IN SEPT Ô97. Primarily dance teams
on campus & in dance studios. Very visual (photos!) with brief
articles 100-500 words. Ideal writer is a choreographer for a
school spirit team or trainer. Pay rate varies. (Source:
Children's Writers Market List)
Freeze
------
FREEZE, 929 Pearl St., Boulder CO 80302: Tom Winter. This new
magazine is for skiers 14-25. Likes writers under 30!!!!
Articles will range from 750-1000 words, with many photos. IÕd
write for more info. (Source: Children's Writers Market List)
Lady's Gallery
--------------
POB 40443, Bay Village, OH 44140. Editor: Veronica Trainer.
"LG is a special interest publication with the primary focus
directed to antique and vintage collectibles, fashion culture,
and decorative arts. In addition, leisure reading will accompany
the feature articles from an entertainment perspective. These
articles will be factual and fictional in nature; they will
range from historical portraits, documentaries, culinary
entertainment and projects/fancywork. We are looking for topics
which reflect major movements in fashion and decorative arts
as well as the social and historical forces that have shaped
the world. We want to change the vision of our readers
momentarily and move into a realm of gentle beauty and
romantic reminiscing with unique information and visuals."
LENGTH: 1500 words average (feature articles). PAYMENT: $50
or approx. 8c/wd on publication. "Proposals are welcome and
preferred to finished mss. Ideas for future articles and
editorial consideration should include: a brief description
and focus of the article. How many photos will be included.
Samples of previously published work. A computer disk along
with a H/C is preferred." Include address and phone number.
(Source: The Gila Queen's Guide To Markets, #84)
Pennsylvania Angler & Boater
----------------------------
PA Fish & Boat Commission, PO Box 67000, Harrisburg, PA
17106-7000. Editor: Art Michaels. Bimonthly. Payment Details:
Article/photo packages of 400 to 3,500 words pay $50 to $300 for
First Rights. Accepts articles and photos separately. Send for
complete contributor guidelines, include SASE. LENGTHS: 400-3500
wds. Published by the PA Fish & Boat Commission. "No product
reviews or roundups, no poetry, no cartoons. Consult contributor
guidelines before submitting." Prefers to work with established
professionals. (Confirmed May 28/97)
E-mail: amichaels@fish.state.pa.us
URL: http://www.state.pa.us/Fish
GL: http://www.state.pa.us/Fish
Story Friends
-------------
616 Walnut Ave., Scottdale, PA 15683. Editor: Rose Mary Stutzman.
Seeking short stories for ages 4-9 dealing with cross-cultural
understanding, sharing, care of the environment, and family
values. Poetry for ages 4-9 (4-8 lines) should encompass
children's experiences and seasonal material material with the
exception of Hallowe'en. PAYMENT: 3-5c/wd, $10/poem. Non-fiction
for ages 4-9 (100-300 wds) should deal with nature, recipes,
activities that reinforce reading skills and how-to articles.
Illustrators may contact Rose Mary Stutzman. They pay
$30-50/illustration. (Source: Canscaip News)
CNN Interactive
---------------
WRITERS/COPY EDITORS for CNN Interactive. Required: Five years
newspaper, broadcast or wire experience; extensive knowledge of
national and international news. Ability to turn out high volume
of copy on variety of subjects, based on CNN and wire reports.
We're open 24 hours a day, seven days a week. Internet knowledge
helpful but not required. Send resumes, non-returnable clips to
Mike Revzin, CNN Interactive, One CNN Center, Atlanta, GA 30348.
No calls, please. (posted 05/16/9 on Editor & Publisher
Classifieds)
Glimmer Train Press
-------------------
710 SW Madison Street, Suite 504, Portland, Oregon 97205 USA.
Phone: 503.221.0836. Quarterly short story magazine. Each issue
has 160 pages and contains six illustrated short stories.
1,200-7,500 word limit. "Typed and double-spaced. Our issues have
no themes. Please, no story fragments, poetry, children's
stories, or nonfiction. Simultaneous submissions are okay. Send
your stories during the months of January, April, July, and
October. We pay $500 for first publication and nonexclusive
anthology rights. Payment is made upon acceptance. Please include
a self-addressed sufficiently stamped envelope for the return of
your manuscript, or a single-stamped envelope if you would prefer
we send a response only. Single issues available for $9 in most
bookshops or directly from us payable by check." See website for
info about contests.
URL: http://www.glimmertrain.com/
GL: http://www.glimmertrain.com/guidelines.html
UPDATES:
City Now! is experiencing staffing changes, so submissions are
being put on hold.
================================================================
Ask The Experts
---------------
*** Please put "inklings question" in the subject header. ***
Judith Bowen (ROMANCE WRITER) jbowen@max-net.com
David Breeden (POET) drpoetry@ktc.com
Charles Deemer (SCREENWRITER) cdeemer@teleport.com
Mark Fowler (LAWYER) askthelawyer@inkspot.com
Susan Graham (AGENT) slgraham@mindspring.com
Paula Guran (HORROR WRITER) DarkEcho@aol.com
Carol Henson (BOOK DOCTOR) UBKX12C@Prodigy.com
Ken Jenks (ELECTRONIC PUBLISHER) MindsEye@tale.com
David Leit (LAWYER) askthelawyer@inkspot.com
Bob Sablatura (JOURNALIST) bob.sablatura@reporters.net
Michelle Sagara (SF/FANTASY WRITER) Michelle.Sagara@sff.net
Lee Wardlaw (CHILDREN'S WRITER) Katknip2@aol.com
Marcia Yudkin (FREELANCE WRITER) send to yudkin@inkspot.com
Sharon Zukowski (MYSTERY/SPY WRITER) 76372.2252@CompuServe.COM
Columnists may be unable to reply privately to every message,
but will answer selected questions in future issues of Inklings.
================================================================
ASK THE SF/FANTASY AUTHOR
----------------------------------------------------------------
by Michelle Sagara
<Michelle.Sagara@sff.net>
Q: Should we include prologues in our writing and/or when we mail
our our manuscripts?
My first four novels had a prologue (each of them); my second set
of two did not; my third published novel with DAW will have
-two-, and the fourth will have one as well. The need for a
prologue is defined almost entirely by the work itself. If the
prologue isn't necessary for structural reasons, if it doesn't
advance or explain action that is necessary to the book that
wouldn't otherwise fit well within the narrative structure, I'd
leave it out; in retrospect, I would leave out at least two of my
early published prologues <wry g>.
HOWEVER, -if- you intend for the book to be published with a
prologue, you should send the prologue as part of the proposal --
because if the book is going to have a prologue, it should work
well as a book's beginning.
==-----------------------------------------------------==
Michelle Sagara is the author of The Sundered novel series (Del
Rey) the Hunter Series (DAW, under her married name Michelle
West), as well as many short stories. _Hunter's Death_ was
recently released.
Copyright (c) 1997 Michelle Sagara. All rights reserved.
================================================================
ASK THE BOOK DOCTOR
----------------------------------------------------------------
by Carol Henson
<UBKX12C@Prodigy.com>
Using a pen name
----------------
Q. I am considering using a pen name on my next book. What is
the proper way to submit a manuscript?
A.
About pen names: At the top of your manuscript in the upper left
hand corner put your real name. Then, right beneath it, in
parentheses, put your pen name. Next line is your address and
phone number, the usual stuff. Then under your title put your
pen name again. You might want to put your pen name/(real
name)/book title-page number on each subsequent page. Or just
your pen name/title-page number. Up to you. Of course, if you
don't want ANYONE to know your real name, including the
publisher, you'll have to notify the post office and the bank
that you use a pen name. In some places you may be required to
register your "doing-business-as" (dba) name. Hope this helps.
==-----------------------------------------------------==
Carol Henson is a Book Doctor/editor/author and is happy to
respond to your questions about Book Doctors, editing, writing,
etc. Her web page is located at:
http://pages.prodigy.com/books/bookdoc.htm.
Copyright (c) 1997 Carol Henson. All rights reserved.
================================================================
BOOK REVIEW: WRITERS.NET
----------------------------------------------------------------
by Debbie Ridpath Ohi
<editor@inkspot.com>
TITLE: WRITERS.NET
AUTHOR: Gary Gach <writersnet@hotmail.com>
Prima Publishing, 1997. ISBN 0-7615-0641-1. USS$22/CDN$29.95.
URL: http://www.primapublishing.com/life/76150641.html
WRITERS.NET is a valuable resource for both beginning and
established writers. Internet trainer and bestselling author Gary
Gach covers the various resources on the Internet available to
writers including networking possibilities, various genres,
markets, online courses and writing labs, self-publishing and
self-promotion, censorship and copyright, and even "An Internet
Primer For Writers" for those new to the net. I especially liked
the quotes and short articles from various writers and website
personalities throughout the book, as well as the sections on net
publishing. In summary, I found this book a very enjoyable read
as well as a useful resource.
================================================================
INTERVIEW WITH JULIA ECKLAR
----------------------------------------------------------------
by Debbie Ridpath Ohi
<editor@inkspot.com>
Julia Ecklar is a science fiction writer as well as lecturer
and teacher of creative writing. She has co-written many
Star Trek books under the pen name L.A. Graf, including the
the bestselling Deep Space Nine novel, TIME'S ENEMY, as well
as numerous short stories.
Her website includes her column, "Getting There From Here", her
thoughts about the art of writing.
Website: http://www.sff.net/people/Julia_Ecklar/
How did you make your first sale?
---------------------------------
Actually, my first sale was pretty pedestrian. I had been
writing and submitting short stories since I was about 13, and
had collected a couple personal rejection letters, but that was
all. Then, in 1987, I submitted a short story called "The Music
Box" to Analog. I didn't really think it was an Analog-type
story, but it had already been to the other magazines on my
submission list, so off it went.
The editor, Dr. Stanley Schmidt, rejected it with a very nice
personal letter. He said that he liked the story, but they'd
already bought one that was very similar in theme, and he didn't
want to hang onto "The Music Box" if I could sell it elsewhere.
Well, a year later it still hadn't sold. In the meantime, I'd
seen the story Stan must have been referencing when I got that
issue of the Analog, and privately agreed that he was right about
them being too similar. Still, since some time had now passed
since that story saw print, I sent "The Music Box" back to Analog
with a note reminding Stan that he'd seen and liked the story
before. A few months later, I got my first professional short
story contract in the mail.
Right about the same time, I'd submitted a proposal for a Star
Trek novel (>The Kobayashi Maru<) to Pocket Books. The
idea had
come to me after seeing the premiere of >The Wrath of
Khan,< and
a friend who at the time was a regular Star Trek author offered
to show it to the editor for me (since I didn't have an agent).
So I typed up a proposal and sample chapters just like I still do
today, and just like I'd been taught I had to do as a novice
writer. Right around the same time I got word that "The Music
Box" had sold, I also got word that Pocket had bought >The
Kobayashi Maru.< The first was in the September 1989 issue of
Analog, and the second came out that December.
The moral: It really is just hard work and not turning your back
on whatever opportunities might rear their sneaky heads.
What non-Trek writing have you done?
------------------------------------
I've written 8 or 9 short stories, novelettes, or novellas which
have appeared in ANALOG (including four cover stories--the cover
for the January 95 issue was for my novella "Tide of Stars," and
got Bob Eggleton nominated for the Hugo for Best Published Cover
on a Magazine; I don't know if he won). I've also had a short
story published in F&SF;, and a novel (ReGenesis) published by Ace
in 1995. Just this month, Ace published an anthology called
OTHERWERE in which I've got a short story called "Thylacine
Dream," which I was pretty happy with.
I take it you're no longer writing Trek books? Why not? Also, how
did you come up with the pen name "L.A. Graf"?
----------------------------------------------------------------
Sorry if I gave you the impression I'm not still doing Star
Trek--I certainly am! On top of being a life-long Trek fan
(which makes writing the stories very fun), Star Trek is also a
great way to make that getting-by living that I'd otherwise have
to be doing secretarial work to make. I'd *much* rather make
that through my writing! Just like last July, L.A. Graf had her
first DS9 novel--Time's Enemy--as part of the big four-part
Invasion! series Pocket did. (An over-arching storyline which
began in an Original Series book, then was continued through Next
Gen, DS9, and completed in Voyager.) L.A. Graf has another DS9
book (Armageddon Sky) coming out in summer 1997, and a TOS (The
Original Series) book coming out in summer 1998 (Wardragons).
We've also got proposals in for another DS9 book and for a Capt.
Sulu adventure, and those would come out in '99 and 2000 (!) if
they come through.
I say "we" because L.A. Graf is actually two authors--myself and
Karen Rose Cercone--writing together. (When she isn't writing
Trek with me, Karen Rose writes Victorian-era murder mysteries
set in turn of the century Pittsburgh.) The very, very first
L.A. Graf Trek book (Ice Trap) included a third author who
shortly after moved to Upstate New York, then to Oregon (which
made co-writing kind of unfeasible). We decided to come up with
a pseudonym because we figured it would take up too much space on
the book cover to have three authors. At the time, we all belong
to the LAGRAF writers group--with LAGRAF meaning "Let's All Get
Rich And Famous." So it seemed a natural to just turn that into
L.A. Graf.
By the time our third co-author left, Karen Rose and I had
already started on a second book, and we just kept the pseudonym
since it still avoided the "too many names on the cover" problem.
Since then, we've become really aware of how differently L.A.
Graf writes than either of us separately, so now feel it's a good
way to differentiate for the readers what sort of writing they
can expect. People who like L.A. Graf's hard-hitting action
style may not enjoy Julia Ecklar's more cerebral hard SF, or
Karen Rose Cercone's beautifully period Victorian mysteries.
Karen Rose and I have plans to do some non-Trek SF
together...someday. We just have no idea when! Right now, we're
s booked up--both separately and as L.A. Graf--that neither of us
has any idea when we'll ever be free to work on the original
ideas we have. But we're patient. And it's not like either of
us is going anywhere! <grin> It gives us something to look
forward to.
How did your co-writing process work? (e.g. did you alternate
chapters? discuss and then one person write?) What are the pros
and cons of co-writing with someone?
-----------------------------------------------------------------
Karen Rose and I actually have a fairly regimented co-writing
process--although I feel like our actual writing can be more free
because of it. We do all the brainstorming and plotting
together, then sit down and make up a very detailed outline,
scene by scene. This can be quite a tumultuos process, with a
lot of shouting and grumping and creative arguing. But we always
end up with something that surprises us with how well it flows
and fits together, and it's always something quite different from
what either of us would have created individually.
To disguise the differences in our natural writing styles, we
divide up the story by character point of view. Each of us
adopts one or two characters, pretty much just by choosing
whatever characters we think would be interesting to write
(although this tends to translate into characters who will do
well in our "voices"). Then we try to structure the story so
that we alternate scenes--so that the scenes are written
Karen-Julia-Karen-Julia, although the >characters< might
not get
such an even division. For instance, the >character< scene
division might look more like Sisko-Kira-Sisko-Bashir-Sisko-Kira.
Sometimes this translates into a chapter by chapter alternation,
sometimes scene by scene; we try to keep the story evenly
divided, so that neither of us is doing "all the work," while at
the same time doing what's best for the overall story.
As much as possible, we try to write the story in order. I may
write the first scene, then do something else while Karen Rose
writes the second scene, then I write the third scene, etc. This
tends to work out pretty well, since Karen Rose has a "day job"
as a college professor, so she can only write on weekends. That
means she writes her scene on the weekend, then I write my scene
during the week while she's teaching just in time for her to do
her next scene on the weekend. We like to write the story in the
proper order that way so that we can each keep up with the mood
and character behavior as it develops, but there have been a
couple books where that didn't work out perfectly and one of us
finished well before the other. I don't think you can tell which
books, because there are advantages to filling in the scenes
while running along behind somebody, too--you can play all sorts
of fun narrative tricks when you have a solid version of what's
going to happen in front of you the whole time you're creating
the other half the plot.
There are two big advantages of co-writing with someone. The
obvious one is that a book gets written a whole lot more quickly.
The other is that it's a whole lot of fun. I >like<
brainstorming, and I love seeing somebody else's vision of a
story merge with mine. I like seeing what Karen Rose does with
"my" characters in her scenes, and I like having to adjust for
her inspirations while not having to worry that she won't be able
to adjust to mine. The trust between us is amazing. I tried
co-writing with a handful of people before finally getting
together with Karen Rose, and I never felt such incredible equity
with them. There was always some sense that each of us was
contributing the majority of one element while contributing none
of another element. With Karen Rose, I feel like we're both
completely functional as craftspeople, thinkers, and plotters,
we're just very different. It's exciting to see what forms our
differences come together as.
The only real disadvantage is that you'll always have a certain
level of compromise. I consider that a really minor
disadvantage, though. I'm a much darker, more emotionally
intense writer than Karen Rose, and a lot of times where I would
go with a plot is not a direction she's comfortable going, or
what I'd do to a character is not something she wants to play
with. I actually think this makes L.A. Graf a better Star Trek
writer, since Karen Rose keeps me more toward the Trek side of
drama and thus saves us from a lot of screaming from out
Hollywood way. But it also means Star Trek (and co-writing in
general) could never completely replace my own personal writing.
I love co-writing, but there are still things I want to say
individually which can only be adequately expressed through my
own voice, not my voice mixed with somebody else's. The same is
true for Karen Rose--she writes a series of turn-of-the-century
murder mysteries which are quite different from anything I would
do, but also quite good. I think it's important for us to be
strong as individual writers, so that we can come together to
create a strong third entity, instead of trying to use L.A. Graf
to create a strong writer out of two weak ones.
How useful have you found the Internet in your writing career?
-----------------------------------------------------------------
Personally, I haven't used much of the Internet's great resources
in relation to my own writing yet. I've looked up information
for personal use lots of times, and I keep in touch with various
friends (most of them writers) via email, but that's pretty much
it.
Probably the biggest advantage the Internet has given me
personally is email. The proposal for the Star Trek book I just
finished (Armageddon Sky) was submitted to our editor, submitted
to Paramount, and went through several rewrites without there
ever existing a hardcopy--we did it all via email. And I was
even in England at the time! So my co-author did some writing on
it, emailed it to me in England, where I did corrections and
emailed it back to her. It was kind of funky to realize, months
later when we sat down to start writing, that we didn't actually
have a COPY of it, only various email files.
What are your writing habits? Where and when do you write?
----------------------------------------------------------
My writing habits vary depending on the story or book involved.
The Noah's Ark stories tend to see first draft almost completely
in long-hand (although it's a very crude, almost script-like
first draft). I like to write those late at night, sitting on
the couch watching B-movies and using my favorite fountain pen.
I've had other books that refused to be written before dark, or
after 6:00pm, or in my own house (there's a bagel shop near my
house that's gotten very used to seeing me with my laptop or a
pen).
In a lot of ways, I haven't got as much flexibility as I used to.
When I was doing nothing but writing full-time, I could indulge
my creativity's weird impulses and still get things done. Since
I bought my house, though, I've been working part-time with the
US Postal Service (the late shift, until 04:00am). This
interrupts what is normally prime working time for me (between
11:00pm and 2:00am), messes up my usual sleep schedule (I like to
get up around 10:00am). I tend to squeeze writing in around the
edges, wherever I can. I take notebooks and a fountain pen to
work and write what I can during lulls; I can't run errands
during the work week, and have to force myself to sit down and
write during times of the day when my creativity doesn't really
want to do it. In general, I just can't wait until I get far
enough ahead that I can quite the PO job and just write again (if
ever). Life was a lot less hectic then!
Do you ever get writer's block? If so, how do you overcome it?
--------------------------------------------------------------
I'm one of those annoying people who doesn't believe in "writer's
block." Which doesn't mean I don't believe that there are times
when writing is harder than others, or where you get stuck. I've
just found that any sticking is usually because there's something
wrong with the story that your subconscious is trying to make you
notice. Or perhaps some stress in your life that's eating so
much of your brain and energy that you just can't summon the
concentration you need to write. In any case, I view writer's
block as a symptom that can be related to various ailments, not
an ailment in itself.
I overcome it by seeking out the actual ailment and treating
that. Barring being able to do that, I try to just work anyway.
Whatever I spit out onto the page is never as bad as I think it
is at the time; besides, I can fix it in rewrites. I has to
exist first. This can be a wildly painful thing to do, though.
I prefer to back up and figure out what's causing the stoppage,
and fix that.
What advice do you have for hopeful authors?
--------------------------------------------
Really, the advice I offer most is also the advice I think is
most obvious.
The first is to read--and read >a lot<--within the genre
you want
to publish. You can't get by just on watching science fiction on
TV and in movies, you >have< to know what the publishing
arena is
like because it's different. Even if you want to sell media
tie-in novels, it's different than the shows. I'm stunned by the
number of aspiring authors who admit they don't like written SF,
or they don't read, or they're planning to write short stories
but they don't subscribe to any of the short fiction magazines.
That's death. You >have< to know what's being done if you
want
to avoid writing stories/novels that have already been done a
million times. You can't really tap into your creativity and be
unique if you don't know what you are being unique in comparison
to.
My second piece of "should be obvious" advice is that you have to
write. Not rewrite, not talk about writing, not read about
writing, not form writers groups with your friends--although all
of those things are vital as support systems to the actual
process of writing. But you have to >write<. And write a
lot.
You learn to play piano by practicing piano, not by reading about
it; you learn karate by doing karate, not by thinking about it.
You learn to write by writing. You can't complain about a
novelist whose work you think is weak--you can't say, "Why can
SHE get published? I'm better than her!"--if the answer is,
"She's finishing the books and submitting them." You must write.
You must finish. Then you must submit. It sounds really simple,
but it's probably the place where most aspiring writers lose
their way.
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