Why I'm not doing NaNoWriMo

  • I started writing Seeds of Calamity over a month ago, and the (slow) writing pace I am setting will probably require me to write at least through January. Rushing to finish by the end of November would result in an inferior product, in addition to stretching my sanity to its limits.
  • My slower writing pace (relative to the 1,000+ words per day I set when writing Tendrils to the Men) is due to writing in a different style and family and church commitments impinging on my writing time.
  • Tendrils was bursting from me when I spontaneously decided to write it in January. Seeds so far has not had that driving force behind it.
  • Last, but not least, my wife and I have a baby due on Thanksgiving, which shortens my November writing time to a mere 3 weeks. That doesn't account for the time needed to prepare the house. After the baby is born, I think my hands will be more full of my 2-year-old daughter than the baby. She's going to have to learn to be less reliant on Mommy and be more reliant on Daddy.

Despite the slow writing pace for Seeds, I'm not the least bit discouraged. If there is a hump to get over in the writing of a book, I'm over it. I am currently on chapter 4 of a planned 15 chapters. The two leading characters are defined and their arcs are set in motion. I have only begun to take advantage of the opportunities presented by the setting. The out-there sci-fi elements that I find exciting are just around the corner. I am learning some lessons in writing this book, which I will explain in a later post.

For your edification, here's the prologue of Seeds of Calamity.

Prologue
First Calamity at Artynia


As she did after every dust storm, Regan climbed the steep switchbacks and aluminum ladders tied end to end out of the canyon. Slung over her shoulder was a shovel and a land-handled brush. They tapped the back of her helmet as she clambered over a squat boulder jutting out of the rock.

Her clunky boots and gloves required she move with caution, double-checking her foot and hand placement before applying her weight. The dirt layered on top of carbon dioxide frost made the trail slippery.

But she was good at this. She was a firsty. Her limbs were thin and willowy, perfect for spanning holds in the cliff wall, easy to twist and fit in narrow spaces. The town physician said she would grow up to be taller than her Earthborn father, and her build was, at best, average among her peers.

Her stubbornness was decidedly above average. That’s why the governor had let her have this job, despite his misgivings about risking the health of a “precious young lady,” a status that relegated most adolescents of her sex to domestic endeavors. Ironic that the place of her birth shaped her body for physical tasks that her specialization as a female demanded she refrain from. As far as she was concerned, that was a long, long way off.

Far off to her right, Torrance shimmied up the funicular rail, which rose up the sheer cliff face from the town to the plain above. He blasted the track and cable with compressed air, sending up puffs of red dust. Because he was a boy, Torrance had been given the more dangerous job, even though she had demonstrated she was the better climber.

The dust that didn’t disperse and fall into the canyon stuck to Torrance’s body, camouflaging him against the red canyon wall. If he didn’t turn the compressed air on himself, the dust could penetrate the fittings in his activity suit, like water seeping into a leaky submarine, as her dad said. (One of his many tales from Earth that seemed more fantasy than reality. Water in such quantity that it filled entire basins? Regan would believe it when she saw it.)

She didn’t like talking while she was out here, preferring to take advantage of the solitude while away from the crowded town. Nevertheless, she knew what radio channel Torrance was using, in case they needed each other.

She cleared the evening shadow cast by the opposite wall of the canyon. The frost was not a factor anymore, as it evaporated within minutes of being touched by the Sun, even when it was covered in dirt. She jogged, no longer requiring the use of her hands on this less exposed part of the canyon wall.

Normally she would have been able to see the distant, rounded peak of Alba Mons looming behind the solar farm, but all she could see was the dust storm’s ruddy smear. Unobscured views north, west, and south revealed a broad lava plain, featureless but for the sandstone hills to the north and the canyon, the 300-mile scar that Regan and her people called home.

She stopped at the first solar cell, which had an inch-thick dusting on its flat surface. She unslung the shovel and stuck it in the red dirt next to the 3-inch pipe. All the electric current from the solar farm routed through a cable in that pipe. It disappeared under the topsoil and ran along the rim of the canyon to meet the rail west of the airfield. After clearing the solar cells and digging out the cable, she would meet Torrance there and ride the rail back into town.

She brushed the cell, exposing the blue, reflective monocrystalline silicon, careful so as not to touch it with any part of her suit. Before she finished, the cell’s motor started to grind, and the broad-faced panel swiveled to face the Sun in the clear, amber sky, shedding the top layer of dust built up on it.

There were more than 2,000 cells laid out in a rectangular grid above Artynia Catena. Regan proceeded along the outer row of cells with her brush. As the first light in days touched their photovoltaic surfaces, they turned to face the brightest light source in the sky.

She made the turn at the far end of the grid. To her surprise, the solar cells in the first row pivoted all at once, like a line of soldiers making an about-face. Regan caught sight of an emerald light above the western horizon, larger and brighter than the Sun.

Her mouth fell open, and she absently dropped the brush in the dirt.

The light grew brighter while moving to her right. It left a turbulent trail of dark smoke in the sky. The ground trembled, like during the graben collapse that shook the town last year. The descending object’s incredible speed became apparent as it drew closer, crossing over the canyon in less than a second. The radio hissed plaintively. Regan pinched her eyes shut to the now blinding light.

The ground heaved violently, throwing her to the ground. Something heavy fell on top of her. A stabbing pain shot up the backs of her thighs.

She twisted out from underneath the downed solar panel and stumbled toward the canyon, fighting a sudden onset of stiffness in her hamstrings and a deep rumbling through the ground. A massive, expanding plume of dirt raced toward her, like a dust storm more violent than any she had seen. It blanketed Monviso, the gateway to the Cottian Hills, a mere 7 miles away.

She hastened to the cliff’s edge, picking up the shovel on her way. She keyed the radio and shouted over the rumble generated by the quake and the gathering pressure wave. “Torrance!”

The boy’s voice shuddered with fright. “Regan! What’s happening?”

“I don’t know! Something fell out of the sky and there’s a storm headed this way!”

She faltered as she reached the canyon rim. The quake was dislodging loose boulders and dirt from the cliff. Two connected ladders twisted in the collapsing rubble, the beams pinching shut like a drawing compass.

She spotted Torrance clinging to the funicular rail 500 feet above the canyon floor. Even from a mile away, Regan observed the joists buckling, bowing the heavy iron rail like a clothesline.

“Hold on!” she said, veering left. She could reach the rail terminus in 5 minutes at a dead sprint, then ride the platform down. The dusty rail would degrade the platform’s wheels, but at least she and Torrance would be safe inside the dome.

“Don’t!” Torrance screamed. “The rail won’t hold!”

No sooner had his words reached Regan than the rail broke. The supports on either side of the widening break leaned away from Regan, snapping cleanly from their bases. Regan watched in terror as the rail bearing Torrance gathered speed and broke up further against the opposite cliff wall. He disappeared in the red haze rising from the rubble.

“No!” she cried out, reaching her hand over the void.

She glanced at the advancing plume. It had reached the edge of the solar farm. Her mind raced as she realized there was no way she was going to make it to safety.

She retreated a hundred feet from the cliff’s edge, still holding her shovel. She found a patch of soft dirt and jabbed the blade down as hard she could. Quickly she retrieved a square foil sheet from a suit pocket and cocooned it around her, pinching the outer seams shut in her clenched fist.

The plume struck. Her body rolled and her helmet struck the shovel handle. Blood vessels in her neck burst and spread warmth and numbness simultaneously. Then everything went dark.

Let me know what you think in the comment section below! I'll reply to you as soon as I can.

Readers' differing reactions to detail

It's wild getting feedback on your book. As the writer, you have goals you want to achieve, and you have a good idea by the time you finish writing whether you succeeded or failed. But readers don't care about your goals. I forget where I read it, but writers don't know what they've written until the readers tell them. There's some truth to that.

Because Tendrils to the Moon ended up being 40 percent longer than the book I set out to write initially, I think it's a tad long-winded for the story it tells. The prose can be tightened up. I also regret the plethora of secondary characters, some of whom disappear by the third act.

One reader, who is a friend, enthused about the book's procedural detail and realism, but wanted an equal level of description of character appearance and background, especially for secondary characters. He explained it was difficult to visualize the people, who needed to stand out more because of the stark environments they often were in.

Character detail is pretty spare in Tendrils. Ames is a big, physically fit guy in his late 40s. Sheridan is 50 and has sunken eyes and gray hair. Reuben is old and thin. Shaun is young and thick-chested, and has a Sun tattoo on his neck. Miranda is a pubescent girl with long red hair. Jeremiah is a small boy with freckles and brown hair. Rosco has a black mustache. Therese is short and buxom. Etc. Although I am a visual person, very few of the character details I included were intended to help visualize the character. They were intended to build the character. Their actions come first; traits are attributed by necessity.

On the other hand, another reader told me that the level of detail in Tendrils draws out the story too much. "Joe," this reader told me, "why can't you just say, 'the ship docked to the flotilla'?" In the first chapter I spent a few thousand words describing this process: the launch into a higher orbit, vector-matching the flotilla, docking, and finally the boarding protocol.

I get it. The level of detail extends many scenes and demands the reader's focus. But I think of how losing the grainy procedural detail would harm the book, and I couldn't possibly move away from that. It does more than build out the fictional world. The actions the characters take and the words they speak during these moments reveal their personalities and how they relate to one another. That depth is a strength of Tendrils that I am loathe to sacrifice.

As I said previously, Seeds of Calamity will be a "softer" sci-fi book, with less procedural detail and hard science. Already at the end of writing chapter 1, I have encountered several things that I've told myself I'm better off ignoring. I'm developing a habit of merely noting certain facets of the setting, giving the characters' actions more emphasis. It has the potential to be better than Tendrils. We'll see.

Let me know what you think in the comment section below! I'll reply to you as soon as I can. I invite you to read the first 3 chapters of Tendrils to the Moon for free, and see if the last 9 chapters are worth your time. The paperback version is on sale at Amazon for $8.99. The ebook is only 99 cents.

Announcing Seeds of Calamity

After wrapping Tendrils to the Moon, I thought I might try my hand at fantasy. I wrote a few thousand words and an outline for one-third of a novel before I realized I needed to meditate longer on the characters and how they fit together for the plot I was envisioning.

I shelved the idea for a short juvenile fantasy book. It seemed like something I could write quickly to cleanse my palate of Tendrils. But I stopped about 5,000 words into it due to lack of interest.

Another sci-fi novel, a spin-off from an idea I had 10 years ago (which seems to be where all my sci-fi ideas come from), started to percolate over a month ago. I wrote a snappy prologue and a snappier title: Seeds of Calamity. Despite the plant-based name, it will not be connected to Tendrils. The tone promises to be different, less sciency and more opera. It will have fewer characters and more (more than none, anyway) aliens.

I am focused on developing these facets of my writing with Seeds:

  • Outlined start to finish before drafting
  • Told from the perspective of just one character
  • Prominent female character
  • Shorter chapters (average 5,000 words)

I will release the paperback on the same day as the ebook. I have enlisted my wife to edit the book, one chapter at a time as I finish them, so this book will be pretty clean when it goes to production.

The wordcount goal is 80,000, significantly shorter than Tendrils (as well as, ironically, the original wordcount goal for Tendrils; I mean it this time). A publish date in January 2019 is ideal, but we could miss it because our second child is due in November. This is a strong incentive to write as much as possible before Thanksgiving, so it may account for a dearth of posts over the next few months.

Here's the back-of-the-book pitch:

A rogue asteroid with an exotic passenger strikes near a colonial settlement on Mars, killing thousands.

Brother miners Felton and Levi turn to theft in the outer solar system when their accounts are suddenly frozen. When they steal from the wrong man, they're compelled to follow him to the Red Planet, where the most destructive force mankind has ever encountered is gathering strength.

Let me know what you think in the comment section below! I'll reply to you as soon as I can.

Book promotion post mortem

The full Moon promo officially ended Sunday night at midnight, and the results are in. Overall, it was a stunning success. I gave away more books than I could have hoped, and Tendrils to the Moon peaked briefly at number 3 on Amazon's bestselling hard science fiction chart.


In my post on Friday, I noted that Amazon normally takes 2-3 business days to respond to a request to price match a book. For me, they did it in about 12 hours.

The "selling" started slowly, but picked up steam Friday afternoon. The pace dropped on Saturday but was steady throughout the day, ending just shy of Friday's sales mark. Sunday showed a steep dropoff in free "purchases." The book remained free through Monday morning, when I contacted Amazon and asked them to restore the normal Kindle book price of $0.99.

During the weekend, I tweeted the book page link three times and posted to Facebook once. I don't know how effective the Facebook post was, but my tweets got few clicks. I believe most of the "sales" came from people perusing Amazon's library of free books.

As I expected, including Amazon in the promo vastly increased the giveaway's effectiveness. I won't give raw numbers, but I distributed 28 times more books than the Apollo 11 anniversary promo, which ran on Smashwords only.

If I run a promo over a weekend again, I'll end it Saturday night, owing to the diminishing returns Tendrils experienced on Sunday. My guess is that most people load up on free books at the start of the weekend, and they're done looking by Sunday. Also, if my weekends reflect the average person's, most people have less discretionary time on Sundays than they have on Saturdays, what with church and getting ready for the workweek.

I'm going to target the full Moon on Wednesday, October 24, to run my next promo, to see how effectively I can give away books in the middle of the week. Until then, Tendrils to the Moon will be $.99.

Let me know what you think in the comment section below! I'll reply to you as soon as I can.

Full Moon this weekend


Sunday morning, to be precise.

Which means Tendrils to the Moon is available for free on Amazon, Smashwords, and Kobo through midnight Sunday night.

I followed the instructions in this nifty article "How to Make your Book Free on Amazon KDP" to make the Kindle book free for a limited time. (Kindle is my most popular vendor.) In July, I ran a promo exclusively on Smashwords in commemoration of the Apollo 11 landing. You had to have a Smashwords account to use the coupon to download the book for free. I'm hoping including Amazon on the giveaway boosts the promotion's success.

Yesterday morning I put in the request for a $0 price match through Amazon's Contact Us page, and I received a courteous reply that a price match normally takes 2-3 business days, but that they would push to make it happen sooner, since I requested the price match to start today, Friday. Next time I'll work on the promo in advance of the time window to give Amazon more time to process my request. Per usual, this was my first time running a promo like this, and I'll do a better job next time.

"Free" is not a four-letter word around these parts. My goal has not been to make much, if any, money on Tendrils to the Moon. My goal has been to gain an audience. These promos will be a regular thing for the foreseeable future.

Fun fact: Even though the Moon moves east to west across the sky (like the Sun), the Moon actually orbits the Earth west to east. That is because the Earth, which rotates east, completes a rotation much faster than the Moon completes a full revolution around the Earth. If you observe the Moon at the same time on consecutive nights, the Moon appears farther east each time.

Let me know what you think in the comment section below! I'll reply to you as soon as I can.

To buy or not to buy ISBNs

Publishing Tendrils to the Moon turned out to be way harder than I thought. Soon after the ebook went life, enough people asked me for hardcopies that I decided to publish in paperback, too. Per the directions of David V. Stewart, who has several good videos on designing book covers, I used Createspace, which is basically Amazon's imprint, to design my paperback.

I was quickly faced with several questions, such as the paperback's size, price, distribution channels, etc. But the question I agonized over was whether to buy an ISBN.

To publish a paperback, you need an ISBN, whereas it's industry-standard to not require ISBNs for digital ebooks. Many paperback and ebook vendors, including Createspace, offer ISBNs for free, because in great quantities they're extremely cheap. Their cut of your sales will cover the cost of an ISBN easily.

However, a single ISBN (which was never an option for me personally) costs $125, and 10 ISBNs costs $295. I balked at this expense. Theretofore, all the work I had put in to write the book, edit it, proofread it, design the cover, and publish the ebook had been free. Buying the rights to the cover art cost only a couple of dollars. Now I was being asked to shell out $125 to publish one paperback. Why would I do that when I can use Createspace's ISBN for free?

Take a step back and look at it like this. Self-publishing is about giving the writer control of the publishing process. Having your own ISBNs enhances that control. With your own ISBNs, you can publish under your own imprint, essentially starting your own publishing company. That helps with branding. It also makes you the point of contact for sales and distribution. Most independent and chain bookstores do not carry books from the Createspace imprint. Finally, it gives the author warm and fuzzy feelings. (Don't discount the value of warm and fuzzy feelings.)

Read more about ISBNs here.

For awhile I was committed to buying a block of 10 ISBNs and starting my own imprint, Dooley Fiction. I even started designing an imprint logo. In the end, this is what my wife and I decided: Don't overcommit to a whole course of action just to publish one paperback. Use a free ISBN this one time for Tendrils to the Moon. Get your feet wet in the publishing world. Learn some more. Write another book and try to get that one traditionally published. If that doesn't work out, start our own imprint and buy our own ISBNs.

Let me know what you think in the comment section below! I'll reply to you as soon as I can. I invite you to read the first 3 chapters of Tendrils to the Moon for free, and see if the last 9 chapters are worth your time. The paperback version is on sale at Amazon for $8.99. The ebook is only 99 cents.

Tendrils to the Moon's plot problems, big and small

There are some plot problems with Tendrils to the Moon that were kind of baked into the cake as I was writing it. One is that Sheridan, the bad guy, is more interesting than Ames, the hero. (One reader told me he thought Ames was the bad guy for a good portion of the book.) Sheridan has a deep back story, and his decisions under stress drive the plot. While I was writing, I feared his actions would be unconvincing in the context of the story, so I devoted quite a bit of narrative space to developing his thought processes so his actions wouldn't come off as ridiculous. (I had a lot of fun writing these scenes, and I couldn't help but compare the output to that of Stephen King, who has a gift for turning his characters inside out, laying bare their fears and insecurities.)

Another small problem is a middle section where the plot does not really advance. This is because the 80,000-word novel I wanted to write turned into 113,000 words and change. Most of that extra length came in the middle of the story, because I wanted to show off the Moon setting, which I believe most readers sign up for when they open my book. I did several things to maintain dramatic tension in these middle chapters so they wouldn't feel slow.

The biggest plot problem occurs in chapter 10. I won't go into details, but after a dramatic scene where the hero and the bad guy confront each other, the hero does something surprising in order to gain minor characters' sympathy. The surprising act also entails lying to the very people whose sympathy he is seeking, which two readers told me felt off. I agree. It is off. It's Tendrils' biggest plot problem, and may be the biggest problem in the whole book.

Let this be a cautionary tale about writing chapters out of order. When you skip a chapter because you don't know how to execute the story, the chapter you skipped takes on the burden of connecting the dots between the end of the previous chapter and the start of the next one.

I wrote the last two chapters of Tendrils, chapters 11 and 12, before I wrote chapter 10. Chapter 11 kicks off with a fun action scene, but a month later, when writing chapter 10, I could think of few ways of putting the pieces in the right places and setting them in motion without jumping the shark. My initial solution was worse than what ended up in the book, so much worse that when I settled on the current solution, I was satisfied, even though I still felt it was the weakest part of the story.

Key takeaway: Don't skip writing crucial scenes.  

Let me know what you think in the comments. I'll reply to you as soon as I can. I invite you to read the first 3 chapters of Tendrils to the Moon for free, and see if the last 9 chapters are worth your time. The paperback version is on sale at Amazon for $8.99. The ebook is still a mere 99 cents, and is available in a variety of formats via Smashwords.