What’s Best?
Having been born without the sports (or math) gene, I’m not much into statistics. Numbers make my head hurt and, frankly, I’ve got enough problem with the manipulation of words that I don’t need addition headaches trying to keep track of numbers too. Personal best? In prose, I’ve had a couple of 6,000 word days and a few more 4-5,000 word days, while in comics, I once wrote an entire twenty-two script overnight.
There.
Shortest blog post. Ever.
Still, I like to think it’s the quality of the words one produces, not the quantity, that counts. I’d rather have a few hundred really great words than several thousand merely serviceable ones. But unlike word counts, that’s tougher to quantify. It’s more a matter of how a sequence fits in and works with the story as a whole, what it reveals about a character or a relationship, and how it serves as a pretty but relevant little ornament on whatever story you’ve been knitting together.
Several years ago I wrote JSA: Ragnarok, a novel based on the DC Comics title (and don’t go searching Amazon for it; due to technical difficulties beyond anybody’s control, it’s yet to be published). At some point, the good guys, as is their wont in such tales, fall into the clutches of the bad guys. One of the heroes, Mister Terrific, aka former Olympian Michael Holt, blames his becoming distracted for their plight, which triggers a memory of an earlier incident in his life in which distraction cost him a victory. It’s a compact little vignette, all of about 650 words long, telling how Holt allowed a Kenyan competitor’s behavior in the 400 meter race to distract his focus from his own performance, thereby losing to the Kenyan by .05 of second, but it’s a nice, tight little piece of writing that sheds some light on the character’s personality. I don’t recall if I wrote it in the middle of a longer run of prose or as its own separate section, but if all I produced that day had been those 650 words, I would have been a happy writer.
A lot of what I write are comic books, recently for Archie Comics’ Life With Archie magazine. The premise of LWA is, briefly, the Archie gang as twenty-somethings in two alternate realities, one in which Archie is married to Veronica, the other to Betty. LWA is a really “quiet” title; it’s a lot of scenes with characters sitting around the Chocklit Shoppe or hanging out in the park, interacting, for the most part, the way real people do. Very little of which makes for interesting visuals, a prerequisite for your average comic book, even one in which the reader doesn’t expect a whole lot more than people talking. So in order to shake things up, I try to find interesting bits of business for the characters to perform while they talk, or unusual settings for them to talk in. I think one of my personal best efforts in that vein was in the most recent issue of LWA, #34, in which Archie is on a job interview with a billionaire industrialist…on a harrowing, stomach churning flight over Riverdale in a Korean War-era helicopter piloted by his perspective boss.
My favorite scene in my Crazy 8 Press mystery novel The Same Old Story is another one of those personal best moments, where story, character, and a great bit of business came together. In the pulp-story-within-a-story, police detective Inspector Solomon is tracking the movements of a victim the night he was murdered, which leads him to a diner down the street from the victim’s office. There, while questioning the owner and waitress, Solomon indulges in his passion for pie, consuming several slices as a sampler of the diner’s fare. At the end of the interview, when the owner tries to decline the detective’s money for the pie and coffee, Solomon insists on paying his way so that he can feel comfortable returning for more of their delicious pie as a customer and not be seen as a freeloader.
It’s another short sequence, a little over 1,500 words, but it’s successful not only in moving along the story but in advancing the character as well. Two characters, in fact; that of the fictitious-within-the-story Inspector Solomon, as well as that of Max Wiser, the writer of the fictitious Solomon, a character he created based on his own father.
So while I don’t keep a record of how many words or comic book pages I’ve managed to pound out in any given sitting, I can’t help but keep in mind those scenes, sequences, and chapters that I consider a creator’s true personal best. It is, after all, what we’re trying to accomplish with everything we write.
Personal Best – The Finders Keepers Elevator Pitch
As an author, when you start out with an idea, you think that writing the novel is the hard part. But then you do it, you have your novel, and then … it’s time to sell. To market.
When I first started talking to people about Finders Keepers, my ‘elevator pitch’, such that it was, lasted about half an hour. Okay, maybe not a half hour, but it took me so long to explain what it was about that I exhausted myself.
Why? Because I was trying to tell it all. And that never works.
For those of you who have read it, and for those who haven’t, Finders Keepers is a raunchy scifi backpacking comedy with a lot characters, told from various points of view, wherein various story lines slowly but surely come together into a pretty crazy–and satisfying–conclusion.
So there I was, fumbling my way through the description, until it became clear that I really had to figure this out.
In total I probably spent the better part of three months scripting, and revising, and re-writing myself until finally I could recite the essence of the novel that both hooks a potential reader, and stays true to the content.
Here’s how I talk about it now:
Finders Keepers is loosely based on a series of backpacking trips that I took through Europe and New Zealand, set against the quest for a jar that contains the Universe’s DNA. It’s like American Pie/Superbad meets Hitchhiker’s Guide to the Galaxy.
Those two sentences have helped me connect with a lot of new readers, and sell a whole bunch of books.
Just two sentences.
But coming up with those two sentences? It took a ton of work, and an endeavor I’m proud of.
Is it my personal best?
Not sure.
But I’ll take it.
The Camelot Papers Part of a Major Fantasy Bundle
- The Sacrifice by Kristine Kathryn Rusch
- Spirit Walker by David Farland
- MythWorld by James A. Owen
- The Camelot Papers by Peter David
- The Monarch of the Glen by Neil Gaiman
- Bloodletting by Peter J. Wacks and Mark Ryan
- Clockwork Angels by Kevin J. Anderson
- The Emperor’s Soul by Brandon Sanderson
- The Immortals by Tracy Hickman
Vidar is back in print–and Crazy 8’s got him!
For the first time in almost three decades, Michael Jan Friedman’s debut novel, The Hammer and The Horn, is available in paperback. Adorned with a heroic Caio Cacau cover, this handsome new edition from Crazy 8 Press introduces new readers to the immortal Vidar — a bastard son of Odin and one of the few Aesir to survive Ragnarok, the apocalyptic Twilight of the Norse Gods.
In the months to come, Crazy 8 Press will release the second and third parts of the Vidar Saga. Watch this space for details, Crazy Ones!
Thinking About Personal Bests
I learned a great many lessons from Dick Giordano when he was my boss at DC Comics. Perhaps the most invaluable one was that freelancers will always over-estimate the amount of work they can get done in a given time. On their best day ever, an artist will have drawn four pages. From them on, when opportunities arose, they would gauge their ability to fit in the work based on that never-to-be-repeated output. That way always led to danger.
Freelancers forget it was a one-time occasion, much as they never factor in holidays, conventions, illness, family obligations and the unexpected. When I made up the schedules at DC and Marvel I always factored in fudge time, revision time, and the like so people then would see a script due six or more months before publication and scoff. I cannot tell you how many times disaster would have been averted had people actual met my dates and not the ones in their head.
Personally, I think my best may have been a 6000 word day where I was adapting a script and things were flowing really well. However, I know myself and recognize I am good for 3000 word bursts. When taking on assignments, I tend towards being realistic so if an 80,000 word novel is offered me and I divide it by 3000 words, that means I need just under 30 days to write the book, but that’s once there’s a plot, a chapter outline, research, rewriting, etc. And I never have 30 consecutive days so that should be at least doubled if not tripled, meaning three months minimum.
Quite often, publishers want a book within six to twelve ACmonths so if I need three months and they offer me six, everyone should be happy. It’s when you need three months and the publisher is asking for it in two or less, you have to take time to assess if you really can push yourself this once. I know I can do more than 3000 words at a shot if pushed, if everything is working. I can’t do it consistently and I suspect the finished product will be rougher than I am happy with but it also means the deadline is met and there might be time for more polishing during copy editing.
Of course, here at Crazy 8 Press, we set our own schedules. Most of us have a good sense of how much we can write and take slots accordingly. Rarely do we need to meet a specific deadline but when that happens we make deliberate plans. As a matter of fact, we’re all at work on stories for an anthology debuting at Shore Leave in August as we celebrate our third anniversary. More on that later, but for now take comfort in knowing we’re all striving to deliver our personal bests.