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Facebook has several pages dedicated to including the main NaNoWriMo group as well as municipal groups.
As November looms, so thousands of writers worldwide start to prepare for the National Novel Writing Month (NaNoWriMo). A month when they will throw themselves into the annual challenge of writing a fifty-thousand-word novel. That may sound impossible, but for many, they’ll achieve it. For others, they’ll take that enviable step of actually realizing their literary dream.
This year will see me undertake my fourth NaNo journey. With each year my writing has grown, and with each year, I’ve realized there are things I need to do to improve the next years’ experience. And so, as I prepare this year, I’ve separated preparation and planning, both personally, and professionally where my writing is concerned.
Angela asked me to write about my NaNo experience, so here goes.
Preparation (a personal perspective)
1. Make sure you have a creative space to work in.
It’s not always easy. Whether you live alone, or with a family, there’s always distractions. Whether it be the urge to tidy up and vacuum, or having to listen to your teenage sons’ music. As a result, if you are going to write, you need a place you can feel comfortable in.
Do you need an uncluttered workspace? Do you work best with your family around you? Do you work with chaos around you? It’s all up to the individual. I know writers’ who work in the kitchen in the midst of their family. And writers who need to escape from the chaos that’s home. Everyone is different.
If not at home, then possibly a local coffee shop, the library. You need to feel comfortable where you write to avoid distractions, and the urge to procrastinate.
2. Pre-prepare meals
As a mom of six, understandably meal-times can be a little like feeding time at the zoo. However, I’ve found that during NaNo, if I prepare meals and freeze them, it makes for a far more efficient dinner time. As a result, during October, every time I cook a meal, I make double the amount and freeze the extra for the following month (why I don’t do this all year round I don’t know!). I’ll make cauliflower cheese, lasagna, spaghetti Bolognese, shepherd’s pie, curries. I’ll prepare veg and then put it in freezer bags (I could probably buy frozen veg, but I’ve always preferred my own). I’ll have baking days, where I make muffins, potato wedges, anything that I know the family enjoy. So that when they’re hungry, they can merely take it out of the freezer and heat it up. Meaning they leave mom alone!
3. Make sure your family and friends are aware of what NaNo means to you, and them.
I’ve traditionally used a personal contract to reinforce my commitment to NaNo. I commit to my fifty-thousand-word goal, and have in the past reached as many as 125,000 words. This has only been possible by communicating with my family. They know what writing means to me. But during November, they’re aware that they don’t come into my study. They leave me to write. My husband bought me a hat, which he jokingly referred to as my writing hat. It’s become symbolic, in that if I’m wearing it, the family leave me alone to write.
Talk to your family and friends. Explain to them what NaNo is. What you intend to do. Why it means so much to you. Help them to understand why the month is important. If you’re going to commit, then you need the support of those around you. To be honest, my family become my own personal cheerleading squad. Watching as my daily tally grows. Urging me on all the way. That kind of support is invaluable to any writer.
4. Know what you want to achieve from NaNoWriMo
It’s all well and good committing to NaNoWriMo, but what do you want to achieve? Is it a novel you’ve always known you wanted to write, but never had the time? Is it your memoirs? Perhaps it’s a thesis? A collection of short stories? As you prepare for NaNo, set your goals. Know what it is you want before the month begins.
5. Buy yourself stationery.
Most people these days’ use computers, but one of the things I’ve found vital are notebooks and pens. I have small notebooks that fit in my handbag – each one labelled differently. Character notes, ideas, quotes, sources. I also have a large notebook that I use as journals and plotting diaries. I keep record of my progress, documenting how ideas evolve. How a character has changed; why I decided it needed to happen; if I decided to change a setting. All things that contribute to the evolution of my story. Not to mention picking up interesting snippets when I’m out and about.
6. Create a schedule
Identify what time of day is most effective for your writing. Are you a day writer? An early morning writer? Or do you like writing late into the night? In identifying it, you’ll be able to create a schedule for NaNo that most effectively uses your time for creativity. Do you want to just write for a couple of hours each day? Just an hour? Do you want to join a local write-in with the your local NaNo group. Research what’s available early, so that you’re not distracted during NaNo.
7. Set your goals.
Set yourself SMART goals (small, achievable, realistic targets). It might be a word count goal. I generally aim for 2,000 words a day. But I’m lucky enough to have the time to commit to having my bum in the seat far longer than many others may be able to commit.
To achieve 50,000 words in a month, then the average would be around 1650 words a day. You’ll find some days that is easy. Others will be a struggle. But they will generally average out if you’re on course for the fifty-thousand-word goal.
If you have a goal, you have something to reach for. A direction. So commit to that goal.
That’s pretty much everything as far as the preparation is concerned. I hope this helps with others planning their NaNo journey. It’s an exciting time of year, and with only a little over two weeks to go, preparation is well and truly underway for 2016’s NaNoWriMo.
Part 2: Planning to come!
Emma Lowe moved to North Canterbury from Dunedin three years ago. She promptly joined the CWG and was overwhelmed to discover not only a network of writers, but a group of people who have become close personal friends. She has been focusing on her writing ever since (at least when she’s not juggling kids and the family business). She predominantly writes romance, and is also a member of Romance Writers of New Zealand, amongst other writing organisations.
Back in July, I did a presentation on “How to Write Non-human Characters” as part of our Character Building Workshop, and I thought it time I shared a little of it here for those of you unable to attend. I have written several novels, and numerous short stories (including fanfiction), about birds, lemurs, animal-people (“furries”) and fantastical creatures such as goblins and Pokemon. Whilst I do, on occasion, have human characters in my story, they are generally not the main protagonist.
So, why do I favour non-human characters?
First and foremost, I love animals, plus I have a zoology degree and I’m not afraid to use it, to educate while I entertain.
Other reasons you might choose to write non-human protagonists:
- Challenge, to explore the world from a different perspective.
- Adds an extra quirk to a fairly mundane or traditional plot idea.
- Allegory or parable.
Non-human characters can range from realistic style animals (Incredible Journey, Watership Down), through to the aforementioned furries. Generally speaking, I prefer to read animal-protagonist novels in which the animals behave much like their wild counterparts, but with increased insight and complex communication, or truly anthropomorphic ones, where the characters still show some of their natural animal traits. The movie, Zootopia, is an excellent example of this. However, shows like Arthur, where the characters are basically just children that happen to look like animals, don’t interest me.
Of course, “non-human” can also refer to werewolves, elves and many other near-human species.
For the purposes of this post, I’m going to deal predominantly with mostly-realistic animal characters.
The first thing to do when writing an animal character is RESEARCH. I watch documentaries, read books, look up information on the internet. Remember, if you get one facet wrong there is someone out there who will notice and most zoologists aren’t shy about correcting errors! Of course, the more popular your animal is, the more is known about them, so not only will you have a plethora of information at your hands, there will also be more folks out there looking to correct any errors you might make. If you are making up the species, as I did with my goblins, then you can create as crazy an ecology as you like, but remember to keep it consistent!
Next you need a plot, and with that, CONFLICT. Is your character wild or domestic? If domestic, you could write a family drama from the animal’s perspective – The Last Family in England (aka The Labrador Pact) by Matt Haig is an excellent example of this. Murder mysteries seem popular too: why have several cats in the neighbourhood been found dead? Sit down and brainstorm a list of possible adventures that your domestic cat or dog could get up to. For both domestic and wild animals, there is the classic theme: trying to get home/find a new home, in which either the original habitat is destroyed (Animals of Farthing Wood) or the animal is taken from his/her home and must find her way back (Far From Home Cats). Survival in general is also a popular theme, (ie: Black Beauty and Bambi), but you will still need the plot to build to something – whether it be the battle for dominance to claim his position as head of the herd, or that final hurdle before being reunited with her owner or finding his forever home.
Even animal characters need PERSONALITY. They should always be a character first, animal second. They should have needs and wants, hopes and dreams – and forces (be it another character, or nature) acting against their achievement of these. Cliches are fairly common in animal-driven narratives: cats are sly and manipulative, dogs dependable and loyal, but it is fun to twist the stereotypes. After all, hyenas are generally portrayed as scheming and malicious thieves and rogues, but did you know that they do regularly hunt their own food (not just steal it), have a matriarchal society and form strong clan bonds, not entirely dissimilar to the oft-romantisied wolf?
Whether your animal character is predator or prey, pet or stray, it can be fun to delve into the world, look at it from a different perspective (don’t forget the senses!) and challenge yourself to write something different!
Angela Oliver is a writer and illustrator, a reader and a dreamer. She has independently published two novels via Amazon’s CreateSpace, Aroha’s Grand Adventure, about a weka (a flightless NZ bird) and her adventures as she makes her way home across the island, and Fellowship of the Ringtails, which she describes as “epic fantasy with lemurs”.
In these days of print-on-demand and ebook technology, self (or independent) publishing has never been easier. No longer need we writers employ agents, or write query letters – now it is possible to write the story, edit it and put it up for the world to read.
But should we do that?
I made the decision in 2011, following my “win” in 2010’s NaNoWriMo, to independently publish my novel: Aroha’s Grand Adventure. This was, in part, because one of my prizes was a free proof copy via Amazon’s CreateSpace program. I wrote the novel over the month of November, creating the illustrations as I went, and received my first proof early in 2011. The book was available on Amazon by July 1st, 2011.
Over the next two years, I went on to release my second book, Midsummer Knight’s Quest (which had actually been written prior to Aroha’s) and the first in my Lemur Saga, Fellowship of the Ringtails. So, aside from the lure of the free book, what were the other reasons that inspired me to avoid the traditional publishing route altogether?
1. Rejection letters: OK, so I confess, I didn’t really try too hard to take the trad route. I DID submit my manuscript for Midsummer Knight’s Quest to my favourite children’s publishers, Chicken House, but with little hope and no success – although I do have a lovely rejection letter.
2. I felt my stories were a bit unconventional and unlikely to appeal to the publishing houses’ criteria. Midsummer Knight’s Quest was extremely long and broke some narrator conventions. I knew from the start that I was doing this, and was not entirely comfortable with it, but could see no way to adjust it within the plot. After several suggestions to split it into two books, I’ve currently withdrawn it from sale. As for Fellowship of the Ringtails, it seemed unlikely, even with the success of the Madagascar movies, that any of the “big 5” publishers would take a book about lemurs seriously and even if they did, they’d likely try to force it into the children’s section, meaning I would have to tone down the prose.
3. I wanted to keep control of my stories: if a publishing house purchases your story, it becomes their property. They chose the cover, the illustrators, and may make adjustments. In smaller publishing houses, you may be asked for your opinion, but generally speaking, your book is now out of your hands and your control.
Another advantage of independent publishing, especially via Print-on-Demand technology, is that your book never goes out of print – it’s available for people to purchase for as long as Amazon (or whomever you choose to print through) exist. The “shelf life” in a physical store, unless your book is particularly successful or you’re a popular author, is about 6 months. That’s it. After which it will likely be returned, and pulped, or cycled into the clearance bins. Bookstores cannot afford to keep stock on the shelf that isn’t selling. Most publishing houses will do smallish print runs for unknown/debut authors and, if they don’t sell well, they won’t print more. Of course, with ebooks this is a moot point: ebooks will never go out of print, they don’t take up shelf space or gather dust, and they don’t get shop soiled with time.
That’s not to say indie publishing is without its faults though, for there are many. There are no gatekeepers to indie publishing, so it becomes harder to know what is good and what is not, and some people may choose to self-edit instead of hiring a professional (by way of keeping costs down), which may lead a story to be prone to plot holes and typos or grammatical errors. I do not recommend self-editing. If you can afford it, hire a professional; if you cannot afford it, give proof copies to your grammar-nut friends and encourage them to read it with pencil in hand (they won’t be able to resist correcting the ones they find). But seriously, the editing of your story could make or break your success. Reviewers can, and will, point out the poor editing, and that makes it look very unprofessional to any potential readers.
Also, self-publishing is a lot of work, with very little financial reward. Not only do you have to write the book, but also edit it/have it edited, have a cover designed, format the manuscript so that it looks professional, figure out how to get it up for sale, work through your proof copies to find the typos that were missed and then, once it is finally finished and available for sale, figure out a way to actually sell it.
Because that’s the biggest problem with independent publishing, getting your book noticed. If anyone can do it, and everyone does, then there are millions of books available for sale. How do you make yours stand out among the crowd?
Well, step one is: make your book as professional and interesting and as well-written and edited as possible. Your book must stand by its own merits.
Step two is marketing, and you can learn more about that by attending our May workshop.
Ultimately: if you have a strong, well-written and highly commercial novel, there is no benefit to you rushing the process and self-publishing. If you believe your novel can sit next to James Patterson or Brandon Sanderson or another well-renowned genre-novelist, then there’s no harm in polishing your manuscript, penning a query letter and submitting to whichever of the publishing houses can best fill your needs. If you end up collecting rejection letters, then so be it, you can always fall back on self-publishing! If your novel is, however, a bit avant-garde, non-mainstream, unconventional, or you feel will only appeal to a limited market, then by all means, prepare for the complex and sometimes frustrating journey that is self-publishing.
Do I regret self-publishing? No. I don’t write for the money (which is good, because Amazon won’t pay out until you’ve earned more than $100 in any one Amazon store, and guess what – I’m only halfway there). I write for the characters and I write for my fans. And, most of all, I write for myself.
I do, however, regret rush-publishing Aroha’s Grand Adventure, because I believe, of all my novels, that it had the most commercial promise. And because I was still ironing out typos for months after the initial release. Don’t rush the process!
We will speak more about the self-publishing process in following blog posts, but you might like to check out this previous one on creating a mobi ebook.