At the end of the outlining process, which I discussed in my last blog post, I have in hand an outline that gives me a basic summary of what’s going to happen in the story from scene to scene to scene, and how this story will progress from beginning, through the middle, and all the way to a hopefully satisfactory conclusion.
Which brings us to… the first draft!
The first draft is definitely one of my favorite parts of the writing process. There’s so much that could happen. So many surprises await you! So many twists and mysteries to be uncovered! So many characters to fall in love with!
It can also be a very intimidating part of the process, because you have a grand idea in your head of what this story is going to be and if you start writing it and realize that it’s not coming together how you wanted or it isn’t as epic/brilliant/genius as you’d thought, well… that can be really frustrating. (Unfortunately, this happens every single time. Sigh.)
For me, I try to fend off the first-draft doubts by writing really fast first drafts.
Not every writer works this way, but I like to get all the words out as quickly as possible so that I can make ALL the mistakes that are going to be made in this first icky, messy attempt at the story, and then move on to the good stuff. (The good stuff being all the epic/brilliant/genius things I’m no doubt going to come up with during revisions.)
How fast is ‘fast’?
During the first draft, I generally write anywhere from 3,000-6,000 words per day, which means I can get through it in a month or less. (Fairest, my shortest novel, I wrote in about a week, Cinder took me about two weeks. My longest novel so far, Winter, took almost three months by comparison, and boy did I feel like a slacker.)
Of course, “fast” is going to mean different things for different writers. For some writers, 1,000 words in a day is a huge accomplishment, especially when you’re balancing day jobs and families and school and Adult Responsibilities. Not to mention that—writing is mentally draining! So don’t be discouraged if 3,000 words seems like an impossible goal for you. Be nice to yourself and embrace the pace that feels right for you. Progress is progress, after all.
One reason I’m able to write a fast first draft is because of that outline. It’s not that I never get stuck during this part of the process, but if something isn’t working out, I can at least look at my outline and see where I’m supposed to be heading.
In other words, I don’t follow my outline to the letter. The story inevitably takes on a life of its own, and I just try to keep up. But when I feel like the story is losing its way, I have that original roadmap to fall back on. I might take an occasional detour, but I can always look back and see where I was heading in the first place.
That said, there have also been times when I realized halfway through writing the first draft that my final destination was somewhere completely different than I’d originally thought. No problem! It’s easier to scrap two pages of an outline and rework them than to scrap 100 pages of a manuscript. I’m constantly fussing with and altering my outline as I discover new things about the story and characters.
Other than starting off with a decent outline, here are some strategies I use in writing my first drafts.
Strategy #1: Set a Daily Word Goal.
I’m big on self-imposed goals. I’d never get anything done without them!
I recommend choosing a daily goal that feels challenging so that you don’t squander an hour staring at the wall, knowing that you still have plenty of time to hit your word quota, but don’t choose a goal that seems so impossible you’ll get overwhelmed before you even start. Play around, find what feels right for you.
Part of the reason that the fast first draft works for me is because when I’m trying to crank out 3,000+ words a day, I really don’t have the time to stop and listen to that annoying inner editor. Did that last chapter suck? Too bad, at least I hit my word quota! It keeps me moving forward, no matter how the neurotic perfectionist in me is cringing at all the horrible choices I’m making.
Strategy #2: Humor the Internal Editor—but just barely.
Often it seems that just when things are starting to get rolling, that little voice in your head says, “That last chapter really sucked.” Or “This entire plot is a mess.” Or “Did you just write the cheesiest dialogue in the history of fiction? Yes, you did!”
The inner editor is a jerk, in case you didn’t know.
So that was the cheesiest dialogue in the history of fiction? Fine. Write that down!
My first drafts are filled with random notes like:
– “Come up with something less cliché here.”
– “Make this less melodramatic.”
– “Need this to be funnier” / “more intense” / “creepier” / whatever.
– “Need to research this!”
– “Make this scene less terrible.”
That way the Inner Editor knows that I’m listening—I hear you!—and that I will come back and fix this. Later. Like, during revisions, when it’s time to start fixing stuff.
Strategy #3: Always keep moving forward.
Sometimes I might go back and read the last chapter I wrote so I can refresh my memory of what happened and where the characters were when I left off, but that’s it. I don’t go back and read anything else when I’m working on the first draft. I just keep pushing through until I hit the end.
That said, oftentimes I’ll realize that something needs to change in an earlier scene. Just like with leaving myself ‘internal editor’ notes, I’ll leave myself a note for these changes too. I might go write it down in the chapter that needs to change, or I’ll keep a separate file with a running list of things that need to change in revisions. Things like: “Insert the villain into chapter 3 so they can overhear the conversation between hero and heroine” or “Show early on that the protagonist has a black belt in karate so the final fight scene isn’t so random” or “you know what, let’s make this character an only child—delete all mentions of their older brother!”
Once I’ve noted something to change in revisions, I continue right where I left off, but I write it as if I’d already made the change.
Strategy #4: Skip Stuff
I used to be a very lineal writer. I started on page one and wrote straight on through to the end. No more! While I still try to write as lineally as possible, if I find myself getting stuck, I’m totally okay with skipping the scene that’s giving me a hard time and move on to something I’m really excited about. Oftentimes having some space from that tricky scene will help me figure out what wasn’t working with it.
And besides, progress is progress is progress. If you need to jump to the romantic kissing scene or the epic conclusion scene so you can hit your word quota for the day, power to you. Just keep writing!
The Most Important Thing About the First Draft
Finish it, finish it, finish it.
So that you know you can.
Finishing stuff is hard, and there’s always a shiny new idea ready to coax you away. But finishing that first draft is an accomplishment that can never be taken away from you.
Also, it will give you something to work with in revisions… which I’ll talk about next week!
I love-love-love NaNoWriMo. Cinder, Scarlet, Cress, Fairest, and Heartless all started life as NaNo novels, and if I can swing it, I’ll be drafting the first book of my superhero series this November, too. *fingers crossed*
The goal of NaNoWriMo (or National Novel Writing Month) is to challenge yourself to write a 50,000 word novel during the 30 days of November. They also do Camp NaNo during the summer for people who struggle to join in during November. Hundreds of thousands of people participate each year, and it makes for a really fun, supportive community. It’s nice to know that you’re not all alone in this crazy world of noveling. Plus they have neat things like graphs that let you chart your progress and pep talks from really awesome authors. (Such as this one. *cough*)
The great thing about NaNo: It gives you the goal. It gives you the deadline. All you have to do is hunker down and write.
If you’re the type that thrives on friendly competition, I highly recommend giving it a shot. You have about six weeks to plan.
Writing this blog post is coming at an optimal time, as I’m about to start outlining my superhero story within the next couple of weeks.
I’ll be honest. No matter how many books I outline, I always find this part of the process intimidating. Part of me always wants to wait. Research more! Brainstorm more! You’re not ready yet! You still barely know your characters! You still hardly know what’s going to happen in the plot! How do you possibly think you can turn this random jumble of scene ideas and research notes into a complete story?
It’s a frightful thing, the Writer’s Brain.
So I suppose the first step of outlining is to quiet those voices and jump in. You have to start somewhere, after all.
Reviewing My Notes
In my last entry I talked about gathering all of my ideas and notes into one file and dividing it into sections: Character Ideas, Potential Scenes, World-Building, etc.
As I begin the outlining process, I review these notes, especially the scene ideas, and start re-ordering them.
– What obviously comes at the beginning?
– What is obviously related to the climax or resolution and therefore comes toward the end?
– What scenes do I have absolutely no idea where they belong, and therefore we’re going to stick them somewhere in the middle for now?
This will be sparse and messy. That’s okay. We’re just getting started.
Thinking About Characters
You sometimes hear about how there are “plot-focused writers” and “character-focused writers,” and while I suppose it’s true that most of lean one way or the other (I would be plot-focused), most writers will tell you that the two are inseparable. What is plot? It’s characters . . . doing stuff.
So my characters come into my outlining process really early on.
First up: The protagonist.
Usually by this point, I have a generic idea of who they are. Boy or girl? How old? What are their vague life circumstances? (Rich vs. poor, big family vs. orphan, going to school vs. working, etc.)
Now I start asking myself focused questions, with two goals in mind:
A: I want to start turning this shadowy figure into a real person. (When I’m lucky, this is easy. Some characters just know who they are and can’t wait to tell you. Others might require multiple drafts of a book before I feel that I really have them figured out.)
B: I want to start connecting them to a plot.
To do this, I ask myself things like:
– What does this character want?
Knowing your character’s immediate goal will give them something to do in those first few chapters. Giving them larger goals to uncover throughout the story will keep them chugging forward.
– What does this character need?
Not always the same thing as wanting! For me, the characters’ needs are usually emotional. They need: personal acceptance, or to find a group that they belong in, or to become an independent person. (If this sounds like the start of a theme to you, that’s because it is. I don’t seriously start to think about themes until probably the final revision rounds of my books, but they do start churning around in my head way back here at the beginning.)
– What is opposing them?
Your character wants something right away, but if they get it right away—story over! So what is keeping them from achieving their goals? This will probably change over the course of the story, so if you can think of a few conflicts now, all the better!
(Also keep in mind that conflicts can be internal and external. Your protagonist might have an archenemy standing in their way… but they also might have self-doubts that are causing them to sabotage their own efforts. Or they might have dueling wants/needs. For example: Cinder wants to escape the poisonous household of her cruel stepmother, but she also wants to stay and take care of her little sister. These goals are at odds with each other. Ha—conflict!)
– What is this person afraid of?
Whatever your character is afraid of, they should have to face it at some point in the story. Perhaps even multiple times before they defeat that fear. Look—plot!
– What does this character’s day-to-day life look like? Where do they go? What do they do?
For example, if your character is in school, probably some important parts of the plot will revolve around school. Likewise if they have a job. Start thinking about possible conflicts they might encounter in these settings.
So there’s the protagonist. I’ll do the same sort of Q&A with the love interest and villain (if there is one), and any other major characters.
Building The Plot Off the Character
As I dig deeper, more ideas unravel. New scenes start to pop into my head. My thought process starts to look something like this . . .
[WARNING: CINDER SPOILERS AHEAD]
Cinder is afraid of the cyborg draft and letumosis, so I know at some point she’ll come face to face with that fear.
Maybe cyborgs are being used as experiments for the plague. Maybe Cinder becomes a guinea pig herself. Maybe she runs into the prince at the labs and has to once again hide the fact that she’s cyborg from him!
But wait. How would she become a guinea pig in the first place? Does she volunteer? If so—why?
No—her stepmother volunteers her!
But if her stepmother volunteers her now . . . why didn’t she do it before? She has to have a personal investment. A reason to make this decision now.
Maybe someone she knows catches the plague and she’s suddenly desperate for there to be a cure. Maybe it’s Peony!
So okay, Peony catches the plague, and Cinder’s stepmother volunteers her for plague research, and she goes to the labs and the prince sees her and . . . then what happens?
I’ll try to let the story play itself out as far as I can take it. Sometimes this might just be for a scene or two, sometimes it will seem like half the plot works itself out in one plotting session. (Gosh those are good days!)
As I’m coming up with new scene ideas and new twists, I’m constantly trying to plug them into that original framework I started with and connect the dots.
Piecing It Together
As the story expands, I’ll get to a point where I’m asking one question over and over again:
And then what happens?
And then what happens?
And then what happens?
I try to make each scene naturally progress into the next scene as much as possible. This will get more complicated as I add in subplots, as not every subplot is going to be represented in every scene, but for the most part every action should result in a reaction which will result in the next action.
In other words:
You character makes a decision > they act on that decision > things go bad (or good?) leading them to make another decision > they act on that decision > and on and on.
When you get stuck: Ask yourself, what’s the worst thing that could happen to my characters right now? Do that. It’s a pretty handy trick. I use it a lot.
By this point—hopefully—something like a story is starting to emerge. You have your beginning. You have an ending. You have things happening in the middle that are spurred on by your character’s wants and goals, you have opposition and conflict meeting them at every turn, you have a natural progression of events. At least . . . a sort-of natural progression of events.
You know, in theory.
(If it seems as though my outline process might be a little on the sketchy side, that’s because it totally is. But hey, whatever works.)
Hitting the Plot Points
Eventually I start running into brick walls with all my planning and plotting. I have the bare bones of a plot, but things maybe aren’t fitting together quite as well as I’d like. There are probably a lot of lingering plot holes. There are a few subplots in need of attention.
When I get to that point, I start getting serious about capital-P Plotting.
There are lots of resources that break down basic plot structure but my personal favorite is the one that Dan Wells explains in this brilliant video series. It’s about 50 minutes in total and worth every second. I’ve watched the whole series multiple times. It’s really, really helpful.
I’m also fond of the structure discussed in the screenwriting guide Save the Cat by Blake Snyder.
With words like “inciting incident” and “plot reversal” rolling around in my head, I start looking at my outline with new eyes, trying to determine if the major plot points are all accounted for and if they happen at the most opportune times at the story. Does my inciting incident come too late? Does my climax come too early? Am I missing a plot point entirely?
I move things around.
I add new scenes and remove others.
I try to keep the plot moving forward.
I ask myself, over and over, what happens next?
A Word on “Figuring It All Out”
I don’t. Figure it all out, that is. I know of writers who do write super intense, long, detailed outlines in which every question is answered, every plot hole filled. My outlines are a lot more sparse than that.
My goal with an outline is to make sure I have a beginning, a middle, and an end, and that they all connect to each other in a somewhat logical way. I want to make sure that my stakes are increasing and that the story builds up to a satisfactory climax and resolution.
My outline for Heartless was only 3,000 words long, but it covered the major plot points and gave me an idea of how the story would connect from beginning to middle to end. That’s all I’m going for!
I will still have questions when I’m done outlining, and I’ve taken to underlining those so that I know at a glance what “problems” I still have to work through.
Things like: Cinder runs into Kai (where/how?) and finds out about the antidote. Or, Scarlet and Wolf decide they have to take the train to Paris (but why can’t they just take her podship?). Or, Add something about Levana in this scene—a press conference?
Even through I won’t have all the questions answered, I trust that they will reveal themselves as I start to write. I also know that things always, always, always change when I launch into my first draft, and it doesn’t seem that any amount of plotting and outlining can keep that from happening. Characters will surprise you. Plot twists will catch you off-guard. That’s part of what makes it fun! So I’m happy to leave some space for the story to grow and change—it will regardless, so I might as well expect it from the beginning.
Once I feel as though I have a pretty basic roadmap to go by, I consider my outline done. It’s time to move on to the first draft! Stay tuned.
Note: I’m gathering questions and will do a special Q&A post at the end of this series, so keep them coming!
BAM—You Have an Idea!
It’s usually something small. A character starts speaking to you in the back of your head, wanting to tell their story. Or you’re sitting on the bus one day, daydreaming, and a movie starts to play out in your head. Just a single scene first, but you want to know more. Or maybe it’s a concept. A What If. What if a comet hit the Earth right now? What if dinosaurs hadn’t gone extinct at all and still roamed around in our modern world? What if, what if, what if…?
I’ve heard of writers who sit down one day with the intention of coming up with a new story idea. There are plenty of brainstorming techniques for this. (James Scott Bell lists some great ones in his craft guide Plot & Structure.) But I, personally, have never done this. Every story idea I’ve ever had popped into my head when I wasn’t expecting it.
With Cinder, the idea of Cinderella turned into a cyborg came into my head as I was falling asleep one night and bam—head instantly full of possibilities.
With Heartless, it came in the middle of a conversation with my agent. We were talking about villains and fairy tale retellings and I off-handedly mentioned that I wanted to read a book that told the back story of the Queen of Hearts and—bam. Idea.
With the superhero series that I hope to start drafting this winter, I was on my way to a book signing and caught a construction sign out of the corner of my eye—one of those “Coming Soon to this Site: Another Strip Mall!” signs. But with my quick, disinterested glance, I thought the sign said something about superheroes. It didn’t, upon closer inspection, but . . . no matter. Bam—a light bulb went off.
So that’s where ideas come from. Anywhere, anytime, anyhow. I never know when they’ll hit, but I’m always ready to jot them down and explore them when they do.
Probably 80% of my ideas are written off as dumb, cliché, or overdone within the first day or two of having it. Those ideas get relegated to the back pages of my idea folder. Another 10% or 15% might hang on for months, even years, always one of those “I would like to write this someday” ideas that somehow always gets surpassed by something brighter and shinier and more of-the-moment. Maybe I’ll write them someday, maybe I won’t. I think of them as my back-up ideas—the ones I’ll write if the idea file otherwise runs dry.
And then there are the diamonds. The ideas that take hold and hang on. They keep coming back up in my imagination, again and again. Somewhere in the back of my thoughts, they start to percolate.
Eventually I know that this idea is going to be my next project. Then the fun begins.
Once I have my heart set on turning an idea into a story, I start to dig a little deeper.
I ask a lot of questions: Who is the protagonist and what do they want? What other characters are needed for the story? Who is the love interest and how do they factor into the plot? What is the main conflict? What is the world like that the story takes place in?
There are no right or wrong answers. I write everything down, knowing that 75% of what I come up with at this point will probably be scrapped later when I come up with something better. I’m just exploring, poking at the idea to see what it does.
Those what if questions start to creep up, too. (The What If questions factor significantly into my whole process, so be prepared for a lot of them!)
- What if this cyborg Cinderella wasn’t a house servant, but a talented mechanic forced to earn money for her stepmother?
- What if her best friend wasn’t a mouse (Disney) or a bird (Grimm), but a robot?
- What if being cyborg was considered a bad thing, and the prince didn’t know what she was?
- What if there was an evil queen who wanted the prince for herself?
- What if, what if, what if . . .
Brainstorming notes for Cinder.
Research Part I: Inspirational / Market Research
I’ll have to keep looking things up until the day I turn a book over to my editor, but the bulk of my research happens right up front, in these first planning stages. While I’m asking all those What If questions in my head, I’m also actively gathering ideas from elsewhere in the world.
If the story is inspired by an existing story, I’ll go back to the source material. I’m reading it with a different eye than a reader wanting to be entertained. Now I’m on the hunt for inspiration.
With The Lunar Chronicles, I not only went back and read the Grimm versions of the stories, but I also read a few versions of the tales across times and cultures, along with modern adaptations. A lot of writers refuse to read anything similar to their WIP because they don’t want to be influenced by it. I get that, but I tend to take the opposite approach. I like to see what’s out there. What’s already been done, what might be veering toward the cliché, so I can see start thinking about what I want to do differently.
For example, as I was planning out Cinder, I went back and re-read (or re-watched? I can’t remember now) Ella Enchanted, one of my all-time favorite Cinderella retellings, and I discovered that some of the plot twists I had in mind were veering dangerously close to those in Ella Enchanted—and not just in a “they’re both Cinderella retellings” sort of way. So those plot twists got scrapped and I started looking for different directions I could go with it.
With Heartless, one of my first steps was to re-read Alice in Wonderland and Through the Looking Glass, looking for every tiny little detail about the “before” so that I could apply it to my Queen of Hearts-based prequel.
With my Superhero story, I’ve been watching all manner of superhero movies and marathoning the TV show Heroes. Always asking: What do I like about this? What don’t I like? What is it about superheroes that grabs me? What can I do differently? What would I have done if this was my story? What’s been done to death?
I take notes. Lots and lots and lots of notes. I make lists, too. Right now I have a list in my journal of “Superhero tropes I love” and “Superhero tropes I hate.” I’ll reference this list often as I start outlining to make sure I’m writing a story that I would also want to read.
Research Part II: Factual Research
And then there’s the type of research where I’m not looking so much for ideas, but authenticity. I start reading non-fiction books and articles and watching documentaries in an effort to populate my story with as many real-world details as possible.
For The Lunar Chronicles, I read many issues of Scientific American magazine to start building a foundation for the technological advancement in my futuristic world (which led to a lot of ideas about Cinder’s cybernetic parts!). I also read a book on the bubonic plague to inspire letumosis, and pored over China tourism guides, and walked the streets of Paris via Google Maps Streetview, and on and on.
For Heartless, I began with researching the Victorian era—from fashions to social etiquette to common foods—along with some of the historical people and events that supposedly inspired Lewis Carroll’s story.
My goal during this phase is to gather ideas (see a theme? More ideas and more ideas and more ideas . . .) until they start coming together to form a story. Often, this early research will lead to fascinating discoveries that will influence the entire plot.
For example, many of the hardships that Cress faces were directly inspired by the initial research I did on the Sahara Desert and survival tactics. Before that, all I’d known was that part of the book would take place in the desert, but it wasn’t until I started researching that part of the world that I could begin to fill in this gaping hole in the plot.
Some early research notes for Scarlet.
The Idea File
Though I do my most of my brainstorming on paper, during this stage I’m frequently updating my idea file. (For me, this is a basic word document.) I start to organize my ideas into things like “Character Concepts” and “Worldbuilding Details” and “Potential Scenes?”
The file starts to grow, and the pieces slowly start to come together and overlap, and then—hooray! I can see a vague story emerging from this overload of ideas.
Then it’s time to start outlining.
Stay tuned to learn more about my outlining techniques next week!
A few months ago I asked what types of blog posts you guys would like to see more of, and there was an overwhelming response for craft-based posts. And I’m right there with you. There is a lot to say on the craft of writing—entire shelves are dedicated to it in most bookstores!—but no matter how much has been written before, it seems we’re always discovering or rediscovering new techniques to apply to our work. I love reading new craft guides and am constantly flipping through writing magazines or checking my favorite writers’ blogs to see what new information they may have to share.
By far my favorite craft-related articles, books, and posts are those in which a writer talks about their process.
Do you outline, or do you wing it? Are you a speedy first-drafter, or do you take days to perfect each page before moving on? How long do you let sit in between drafts? Do you work with critique partners, and how many, and when do they see it?
I’m fascinated by other authors’ processes, because no two are the same. I’ll often hear an author talk about an element of their process and think, I could NEVER write like that! Other times I might think, Oh, that’s a great idea! I’m going to give that a shot. It may stick and it may not, but we are changing and growing creatures, and I think it’s smart to try new things once in a while. You just never know.
My writing process continues to change and adapt as I grow more confident in my ability to actually write an entire novel. (Three published novels in the world and some days I still can’t believe it!) I’m learning to trust my writer instincts. I’ve become more familiar with my own creative needs and am learning to recognize, for example, the difference between letting an idea simmer for a while longer vs. straight-up procrastination.
Each book comes with unique challenges that can change how I approach it. But the basic structure of my process, from that first spark of an idea to turning in a completed manuscript, doesn’t seem to vary a whole lot.
Not everything that I do will work for you, and that’s okay. It’s good to figure out what does and doesn’t work for us and to stay true to our creative selves. I hope these posts will bring comfort to those of you who share a similar process, and motivation to try something new to those of you who don’t. And I hope all readers will find it interesting—if not outright helpful—to see how I work through the stages of each book.
Most important, I hope this series of posts will inspire you to write, whatever your process might be.
Read the full series:
1. Brainstorming & Research
2. The Outline
3. The First Draft
4. Simmering Periods
5. The Second Draft
7. Beta Readers & Final Revisions
8. Tweaking & Polishing
9. The Publisher’s Editorial Process
The people have voted, the votes have been tallied, and I am pleased to announce the winners of the Lunar Chronicles Sticker Contest!
Thank you to EVERYONE who entered. It is always a delight to see the brilliant and beautiful things you guys come up with and I thoroughly enjoyed perusing through all of the entries. (Even though it is SO HARD to narrow them down to so few winners!)
You can see all of the entries here: http://www.pinterest.com/marissameyer22/design-a-tlc-sticker-contest/
Before we get on to the winners, I wanted to draw attention to some of my personal beloved designs.
There were many beautiful entries, but these three literally had my jaw dropping, because HOLY COW YOU PEOPLE ARE TALENTED.
And I adore-adored these two for absolute ADORABLENESS:
Prize: All honorable mentions will receive a swag pack of Lunar Chronicles goodies.
(See all six finalists here: http://www.marissameyer.com/blogtype/vote-for-your-favorite-sticker-design/.)
I would be proud to feature any of your work in my Lunar Chronicles swag and promotion! Well done, all of you!
Prize: All finalists will receive a swag pack of Lunar Chronicles goodies.
PEOPLE’S CHOICE WINNER
Though the competition was tough, the people have voted, and one finalist is our grand prize People’s Choice winner:
CONGRATULATIONS, Julia M.!
Which brings us to the final grand prize winner, for which . . .
I can’t decide.
I SERIOUSLY CAN’T, YOU GUYS.
So because it’s my contest, and my books, and MY GOSH DARN STICKERS… I’ve decided to have TWO Marissa’s Choice Winners.
CONGRATULATIONS, Veronica S. and Tereza!
I am crazy smitten with both of these designs. They are clever, eye-catching, and brilliantly executed. Bravo!
Prizes: The Reader’s Choice and both Marissa’s Choice Winners will each receive a signed book, a limited-edition messenger bag, and lots of fun swag! Plus, all three designs are going to be turned into swanky stickers. Yay!
IMPORTANT: Winner’s, Finalists, and Honorable Mentions, I will contact you LATER THIS WEEK with further details for how to claim your prizes. Like, probably Friday. Sorry for the delay, but I’m heading out of town for a couple of days.
WHERE CAN YOU GET ONE OF THESE AWESOME STICKERS?
Once they’re printed, I’ll have these stickers with me at future tour stops, book signings, and the FAIREST Launch Party. Other opportunities to score stickers and cool swag will be announced in the coming months!
You guys don’t make this easy on a girl, but I somehow managed to narrow the design submissions down to six finalists.
(My goal was to get it down to five but I simply COULD NOT cut any of these six – I love them all so much, and it had already broken my heart to have to cut some other beloved submissions. Because OMG you guys are AMAZING.)
In case anyone is wondering what my thought process was for choosing the finalists, I mostly imagined two scenarios:
1. If I were in high school and I saw this sticker on a classmate’s binder, would it pique my interest enough to ask about it?
2. As an author and promoter of my own books, how much do I want to stick this design EVERYWHERE?
Those two questions, plus a lot of back and forth and hard decisions, led me to our finalists…
And now, YOU guys have the toughest part of all. Voting for the grand prize winner!
I’ve been updating my Pinterest board for the “Design a Sticker Contest” all morning, and some of these entries literally made me gasp. From clever to adorable, stunning to hilarious, the entries are top-notch. You Lunartics have once again outdone yourselves.
All of the entries can be viewed here. Prepare yourself for awesome.
ARTISTS: Please check the board to ensure that your entry is posted. If you don’t see it, contact me asap – either via a comment to this blog post or on Twitter. I know that at least one entry ended up in a spam folder, and I want to make sure I caught all the others.
Finalists should be chosen and posted for voting either tomorrow or Wednesday. How will I narrow it down?
…… I have no clue. *daunted*
Thank you to everyone who entered! I can’t wait to see two of these amazing designs turned into actual stickers!
One question that I’m asked over and over and over again is: Do you have any advice for aspiring writers?
At first, after Cinder had just released, I felt weird answering this question. I still felt like such an amateur myself! What did I know about anything?
But over the past few years I’ve come to realize that, yes, yes I do have advice to give, and a lot of these are things I wish I would have been told years ago. Because while every writer’s process and goals are going to be different, there are some things that I think apply to most of us across the board.
So here is my best advice, to take, or not, as you so choose.
1. First and foremost, write.
Oh, I wish I had a dollar for every time I’ve heard someone say, “I want to be a writer, but I never have time to write!” Or, “I have all these ideas, but when I sit down, nothing comes out!” Or, “I’ve been researching my novel’s setting for fifteen years—I feel like I’ll be ready to start writing it any day now!”
I’m not going to say that all excuses are bad excuses—sometimes you legitimately don’t have time or you’re not ready to start on a particular project. But for the majority of excuses: Stop. Stop making them. Stop tell yourself that you’re not ready or you can’t or you will someday.
So today, now, determine what your writing goals are and when and how you’re going to make them happen, and if your plan doesn’t include actual words on paper within the near future, then rework your plan until it does.
2. Almost as important: Write what you love.
I do think it’s valuable to know what’s happening in the publishing world and what your audience is interested in, but if you’re writing a vampire/dystopian/realistic novel because that’s what editors want, then you have probably already missed that boat. Trends come and go and by the time most of us figure out that something is a trend, it’s already on its way out.
At the same time, who knows? Your novel might hit at the start of the next big trend, that no one has any idea is on the horizon.
My real-life example: When I started writing Cinder the “rule” in publishing was that YOU CANNOT SELL SCIENCE-FICTION TO TEENAGERS. Seriously, you could have asked anyone in the industry. Teens want magic and vampires, not all this techy mumbo-jumbo! But I had my heart set on a story about a cyborg Cinderella and a society of mind-controlling people from outer space trying to invade Earth and I was going to write it even if no one in the whole world would ever read it, because I was so smitten with the idea.
Moral: If you love something—whether it’s yesterday’s news or an up-and-coming genre, write it. Enjoy it. Have fun with it. And hope that the readers will find it when the time is right. That’s the best we can do.
3. Don’t worry about not being “very good.”
Think of your favorite writer. The one that constantly blows you away by their clever plot twists, their marvelous characterization, the way they make the words glow on the page.
And then imagine what that writer’s very first story was like. Or, heck, their first tenstories. Maybe even their first fifty stories.
If you are imagining works of genius, I can tell you that writer would laugh very, very hard.
No one starts out a brilliant writer, or even a decent writer, and I think few writers ever reach a point where we’re like, “By golly, I am amazing.” We are always learning. We are always striving to be better. We can always point out our own weaknesses and flaws, but we’re storytellers, so we keep writing and improving as much as we can.
So don’t quit because you think you suck or you’ll never be as good as So-and-So. We all have to start somewhere.
4. Read craft guides.
I love craft guides. I have read dozens and dozens over the years, and I learn something new with every guide I read. Some are full of general advice, while others focus on one specific craft element like setting or characterization. There are also books on living a writer’s life while maintaining your sanity, or setting goals for yourself, or how to market your work once it’s published.
Three of my personal favorites:
Now—I have heard published, talented, wonderful writers say that they refuse to read craft guides, usually because they worry it would impact their own style or voice. To which part of me thinks: We all have our own process and method and we should do what feels best for our own personal creative path.
But then another part of me thinks: Hogwash.
The thing about rules and tips and advice is that you can choose to ignore them. But at least then you’ll be making an informed decision. You’ll know why you’re ignoring that rule, and maybe—just maybe—your style and voice will be stronger because of it.
I have certainly read my fair share of writing advice that I disagree with. “Don’t use a thesaurus,” says Stephen King, and I want to chuck my beloved thesaurus at his head. “Write what you know,” says Every Writing Instructor Ever, and I say, that’s dumb, I’m going to write what I’m curious about.
But I find most advice in these guides thoughtful and helpful, and I have yet to hear someone say, “You know, my writing really took a turn for the worst after I read that book on plot structure.”
So—don’t be afraid to learn and keep learning.
5. Be patient.
Yes, there are writers who were published when they were seventeen years old, but there are also writers who weren’t published until they were seventy. There are writers who hit the jackpot with their first manuscript, and there are some who have twenty rejected novels sitting on their computer. Getting published involves diligence, hard work, determination, and—yes—luck. The whims of the market cannot be ignored. There are a lot of factors outside of your control.
But one thing that is within your control is the work itself. So take the time you need to write The Best Book You Are Currently Capable of Writing.
By which I mean: Research. Read writing guides. Revise. Edit. Use critique partners and listen closely to their feedback. Do not rush through your revisions and edits just because you want to be published nooooooooowwww. Rather, take the time you need to bring your work to a quality that will set it apart from all the other writers in an agent or editor’s inbox. That might be a few extra months, or it might be a few extra years, but it will not be wasted time.
The work itself is the one thing you have control over, so don’t rush it.
6. Also… write. And keep writing.
Certainly I could come up with many more tips for this list: Read widely and often. Treat writing like a job. Strike the words “writer’s block” from your vocabulary. Do your best not to compare your career with someone else’s. And on and on.
But of all the writing advice in the whole entire world, this might be the only advice that really matters.
Good luck and much inspiration to you all!
Anyone wanting to impart their own wisdom is welcome to share in the comments.