Tag: fiction writing

Word Count

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What is the perfect length for a story?  Well, I’m sure there is no agreement in the world on that.  And I must confess I have enjoyed books that go over a thousand pages (counting the “Lord of the Rings” as one story) and short stories that barely cover a handful of pages.

But I have an opinion and since I get to throw it out onto the internet for as long as I can pay for my hosting costs, I feel I should elaborate.  After all, I have to write my five hundred words tonight.  Although that length is hardly a perfect length for a work.

I believe that between 10,000 and 35,000 words is the sweet spot for telling a story.  I think that’s somewhere between a long short-story and a good-sized novella.  So, I’ve rejected the majority of modern novels and definitely all of the thousand-page potboilers that have been in fashion for the last few decades.  And look, that rejects the “Lord of the Rings!”  Well, hear me out.

I think long books are by nature composite creations.  They consist of a bunch of chapters strung together to get our hero from Point A to Point B.  And in my opinion each chapter (or at most a few chapters together) is a separate story.  This is like a play or a movie having multiple acts or scenes.  You string those together and you tell a larger story.  But usually in a movie or a play there is a climactic scene when all of the emotional power of the story is unleashed.  If the writer is exceptionally skilled, he can drag out the emotional interest from the beginning of the story until this climax.  But no matter how well-written the longer story is it doesn’t have the same impact as a shorter work that can be digested in one sitting.  Even a long movie has the danger that it can overtax the watcher’s attention and patience.

I think that if I kept my work within that 10,000-35,000-word range I could make the maximum impact on the reader.  Of course, 10,000 is really close to the minimum that can result in a rich word-picture.  But I think if an author works carefully to paint a vivid sketch of a scene even the 10,000 should yield a memorable story.

Of course, I am painfully aware that the commercial market for shorter fiction is essentially nil.  I was reading recently that science fiction short story magazines and collections don’t sell at all.  So that guarantees that authors will continue to pump out door-stops.  And honestly, the longer episodic genre books are perfectly enjoyable just as they are.  But in my opinion the true masterpieces of writing are a shorter type of story that weaves a tapestry in front of the reader’s mind in a unified effect that goes from beginning to end in a single story arc that satisfies the reader’s interest in the subject and provides a legitimate conclusion to the story.

Well, anyway that’s how it seems to me.

A Good Day to be a Writer

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Today I went to my tax accountant to discuss my “royalties.”  I waited until now because tax season is much too hectic to talk about 2026 issues to people in that profession.  I have had a few unhappy incidents with the tax man and I go way out of my way to make sure that doesn’t happen again.

Now this is my new accountant.  In fact, he’s the grandson of my old accountant.  His grandfather is retiring soon so I’m sort of an inheritance.  When I arrived, I saw a kid walking in the front door and after waiting in the waiting room for a few minutes that same kid turned out to be my accountant.  But despite his youthful appearance he proved up to the job of assuaging my fears about ending up in an IRS gulag for high crimes and misdemeanors against the tax code.  Specifically, I was worried that maybe there was some kind of monthly reporting and payment I needed to perform for both the state and federal systems.  I remember when I was dealing with a state agency that required businesses to collect and pay sales tax monthly.

He explained to me that unless I was profiting to the tune of several thousand dollars a month, I wouldn’t need to send any money to the feds but even if I did, I’d be getting it back if I had enough “expenses” (like Amazon Ads and marketing fees) to cover the royalties I received.

At the mention of expenses, I barked a bitter laugh.  I told him the idea that I was profiting from my sales was laughable in the extreme.  Basically, a first book (barring some miraculous viral publicity) was a loss leader for the rest of the sequels.  He agreed that his other author clients had told him about what it took to grow a book business but he also warned me that the feds only give you three years to turn a profit before they stop considering it a business and declare it a hobby for which expenses are not credited.  Well, we’ll have to see about that.

So, we agreed I’d check back with him in June to see if I was any closer to needing to send some cash to the feds.  And he didn’t want to take a fee for his services today but I insisted.  The information I got had so eased my mind that I felt I would be robbing him of a well-earned reward if I didn’t give him fifty bucks.  I mean people who go to therapy to ease their minds pay their psychiatrists many hundreds of dollars and get less peace of mind than I did today.  I would have felt like a thief if I walked out for nothing.

And looking at my book’s Amazon page, I had two new very complimentary reviews.  One was from a friend of mine.  He disclosed our relationship but it was still a very good review.  And another one was from someone who was an Iraq War vet who enjoyed the scenes in the desert.  That kind of made my day.  So today is a good day to be a writer.

Book Writing and Blogging

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Writing “The Sniper” was a massive learning experience for me.  Not only does it take up a lot of time but it also makes it much harder to do other things at the same time.  And vice versa!  Working, blogging and taking care of my other responsibilities really slowed down my book writing performance drastically.  And the time has come to begin writing the sequel.

So, something is going to have to give.  My decision is to cut back on the blogging.  Believe it or not even knocking out five hundred words has been taking a couple of hours.  And when I’m doing it at ten or eleven at night the quality has been way down.  The old brain just doesn’t click like it used to at that hour.

So, what I see happening is the posts will be hit and miss.  I’ll be able to keep the photos and quotes going without much strain.  But if I find myself scrambling for a theme, I’ll let it slide until I’ve got one that makes sense.  Quality over quantity.  It makes sense.

So, my apologies for my laziness but I am a man with definite limits.

Thinking of Humor

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If you go through my entire book looking for moments of humor, I think there are fewer than ten.  And that is counting sarcasm as humor.  I’m guessing that in an adventure story that’s probably not unusual.  With a team of men that know each other pretty well, there will be a certain amount of banter which can be defined as humor.  But, I don’t feel like I’ve fallen below some critical thresh-hold of comedic content.

But, at the same time, I have to confess that comedy is one of the things I greatly enjoy in stories.  To my mind stories that do not have a certain amount of humor seem flat and lacking in interest.  And for that reason, I was recently wondering if I could introduce a character in my next book that is a “wise guy.”  And by wise guy I’m not thinking of the Good Fellas definition of an Italian American mobster as a wise guy.  I’m harking back to my childhood when every block had at least one guy who was the clown.  In my neighborhood we had a kid who today would equate most closely to an insult comic.  He was a mimic and he could find a way to mock anyone and everyone.  This often earned him at least a mild beating if the victims of his mockery pooled their strength to grapple him to the ground and pummel him until he shut up.  But it was almost as if he couldn’t help himself.  He was a slave to his craft.

Now I don’t intend to try and recreate that type of juvenile humor but I think I could make a character who doesn’t know when to shut up.  I’m guessing I’d have to do a lot of work editing the dialog from this character because obviously that’s the kind of thing that pretty easily can be taken too far.  As an example, look at the movie Dead Pool.  This character shoots an almost endless series of insulting jokes at every other character in range regardless of whether they’re friends or enemies.  For the most part it’s entertaining but at some points it can become wearisome.  So, I understand that doing comedy “right” is a matter of balance and skill.  And the other part of it is providing the “comic” with a foil; a straight man.  So Dead Pool needs the haplessly earnest Colossus as the butt of a lot of his jokes.  Building up a duo like that must be handled carefully so that these two characters can be more than caricatures.  And all of this mustn’t take away from the main action of the story but merely come off as the personalities of the characters involved.  It needs to seem organic to the relationship of the people involved.

Now after talking all that through, it seems like this would be a lot of work for not much gain to the story.  But for whatever reason, I’m excited by the idea.  Making the characters real seems to be as important to the writer as making the action exciting.  I’ve found myself actually caring for my make-believe people as if they were real.  Well, anyway, tonight I was thinking of humor.

It Could Be Huge

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Just as I planned, we ate a late and leisurely breakfast today.  It was as warm and sunny as forecast.  Walking out in the sun by a frozen lake was very enjoyable and I even took a few photos just to prove I still remember how.  Then Camera Girl and I drove over to the big city (ha!) and had some Thai food.  Splendiferous.

I went over the communication I received from my book marketer and set up what I hope is a productive post-launch meeting where I can finalize a plan to finish off the launch with a large number of readers getting their hands on the book in the next week or so.

Apparently, there is a website called BookFunnel that will allow me to run a giveaway in exchange for the customer’s e-mail address.  This will facilitate follow-on advertising of my sequel books and other writing projects.  In conjunction with this the marketer thinks I should produce a follow-on epilog or teaser to entice the readers to sign up for some program of material that I will produce in the future.  All very interesting, but what I’m also interested in finding out is whether the traction I created with the launch is indicative of a book and sequels that will be popular or not very popular.  I basically don’t have any real knowledge about what a popular book start-up looks like.

I’ve sold a little over a hundred and twenty copies to date and that doesn’t seem to be an overwhelming response by the book buying public.  I was hoping for more like a hundred and twenty million copies or even a hundred and twenty thousand copies.  I’ve had to cancel my rental of MetLife Stadium for my book signing event.  Instead, I’ve taped together three or four of the boxes that Camera Girl gets her dog food bags delivered in and set them up in the lower driveway.  I hope it doesn’t rain soon.  That tape’s not so strong.  I’ll be giving away free key chains with the name of my local mechanic on them.  He had them out on the counter and I thought he wouldn’t mind if I took a few (or all) of them.  I don’t think he bought one of my books so I think it’ll be alright.

For my next book, maybe I’ll attempt to reach viral status using a best-seller adjacent name.  In other words, I’ll make it sound like some other popular work.  For instance, “Reacher” is a very commercially lucrative series.  So maybe I could have a series with a character named “Reached.”  He could be like Reacher only in the past tense.  So instead of being enormously large and strong I’ll make my character big but kind of old and worn out.  Sort of like Reacher in thirty years.  And he could fight crime but only in retirement villages and old age homes.  And his tag line will be, “What did you say?  Speak up you young punk!”  I think it could be huge.

Theories of Story Structure

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I was watching a video about the correct way to structure a story.  And the guy had eight or ten different versions that people have formulated over the years.  And they go from a three-act model to a (I kid you not) twenty-seven stage version.  The latter is based on the hero’s quest model that Joseph Campbell formulated based on what he observed in various western myths and legends.

From what I could tell, more is better.  He had the three-act version down as the worst version.  Now he did qualify that it was probably a good model for a movie or a short story but for a novel it was too slight.  For the most part they all seemed to be variations on a theme.  Basically, you have a series of setbacks and victories leading up to a climax and then a conclusion.

I guess that’s probably more or less what a story is.  And there were some good ideas for what some of these setbacks should look like.  In particular, the hero’s quest had a bunch of stages that seemed to echo many of the incidents in such classic adventure stories as “The Lord of the Rings.”  There’s the initial refusal to accept the quest, there’s a temptation at a low point to renounce the struggle.  We have a scene where a minor character saves the day.  We might have a mentor helping the hero mature into his role.  Maybe there’s a betrayal.  Etcetera, etcetera.

In his defense the video guy did say that a good writer wouldn’t have to follow any of these models slavishly.  Like a good cook he can use his own judgement and add and subtract things from this recipe according to personal taste.  And I think that’s the point.  Really there is no perfect recipe.  Every story should be different.  If it’s not, why would anyone want to read the second one?  Why would someone want to write a second story that’s exactly the same as the first one?  That’s a rhetorical question.  The obvious answer is that if people liked it the first time, many of them will want more of the same.  So, the answer is money.  But I hope that anyone who is writing a series can plot out the events for the saga with enough intelligence to make the story varied and interesting and not repeat all the same events with only small variations.

I will confess that when I was getting close to the end of my book, I was tempted to make the story quite a bit longer.  I thought the ending was a bit abrupt and there wasn’t a more gradual slope to the end of the story.  But the more I thought about it the less I liked the idea of dragging it out.  My character had gone to war for revenge.  When that was done his part of the history was effectively over.  What came afterward would be another story and I still haven’t decided what the next thread I want to pull on in my make-believe world should be.  So hopefully I’ll have the sense to read Joseph Campbell’s book and then do the opposite!

Guest Contributor – Tregonsee – 23JAN2026 – Often Unreliable

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I think the fondness for first person (often unreliable) or third person limited viewpoint comes from a fundamental aspect of modernist philosophy. That aspect is that in modernist thought there is NO absolute truth. There’s my truth and your truth and (heaven help us) Kamala Harris’s truth. The Omniscient narrator belies this point, for that story, their narrative is the truth. They deny that such can exist in support of their raging relativism. I think the second issue is the types of “stories” they write. Plot is limited or irrelevant, the characters aren’t characters but more archetypes or mouthpieces for their viewpoints. They view the whole purpose of literature to essentially be propaganda. The more traditional is that we are telling a story. There is probably meaning there but in general rarely is allegory the prime purpose. Not to say this doesn’t happen, e.g. Starship Troopers is a polemic on Duty, but honestly, it is also a hell of a good story. Thirdly, the modern literature folks are oddly like what the Puritans were alleged to be. They’re afraid someone might be having fun somewhere and they must prevent that at all costs.

 

Point of View Blues

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I was just watching a YouTube video which tried to explain why narrating a novel in third person omniscient is wrong but third person limited is right.  The young woman explaining all this was personable, eloquent and prepared with arguments for her thesis.  Ultimately, she was foursquare against “head hopping; meaning switching back and forth between points of view in a scene.

And who knows, maybe she’s right.  Maybe subjecting the audience to the point of view of two people within a dialog is just too confusing for audiences.  But you know what?  I have a feeling if a story is interesting enough and the characters sympathetic, I’m guessing that the audience is following along just fine and just wants to find out how the plot will progress.  I think a lot of times editors edit even when they should be reading and feeling whether the story is achieving that minor miracle we call entertainment.  And if E.E. Doc Smith used too many exclamation points and Robert E. Howard had Conan grunt the same way in too many scenes, I’m sure a competent editor would have demanded these faults be eliminated from the final version of the book.  But would that have added significantly to the entertainment value of the story?  I don’t think so.  Sure twelve-year-old me and current me are different readers.  We notice different things in the same book.  I would see the pulp aspects of the writing and even the temporal changes in writing and culture that have occurred over the course of almost a century since these books were written.  But I can still enjoy the story as a story.  If it elicits emotions or makes me think about a scientific point the author is trying to make then even if the prose is far from deathless, I can be entertained.  I don’t need Shakespeare in space.

So, here’s my point.  The book publishing industry is dying.  And it’s not dying because of the prevalence of the third person omniscient point of view.  It’s dying because the gatekeepers of publishing just as the gatekeepers of movie-making consciously squeezed all the fun out of novels in order to advance a social justice narrative that they thought was mandatory to push.  So, the cure for this isn’t better editing.  It’s better writing, writing that keeps the interest of the readers.  Better plots and better characters and more fun.

Of course, I went back and tried to decide if my narration was third person omniscient or third person limited.  And by golly I think it was omniscient.  Now I could go back and rewrite the novel by switching the point of view in all of the tens of thousands of words to third person limited.  But then it wouldn’t be my story.  Because I don’t think that way and so I would be stumbling about trying to rework the sentences to fit this requirement of the narration.  Well, I guess editors have to eat so I can’t blame them for pushing the party line that provides them with work.

But I just can’t see it from their point of view.

Jake Barter – A Man for All Seasons – Well, Summer Anyway

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Jake Barter is a shadowy figure who inhabits the Compound somewhere in the semi-mythical town of Dunwich, New England (state unspecified).  He is the sole proprietor of the website Orion’s Cold Fire and splits his time between battling the eldritch horror and annoying bureaucracy of Dunwich’s First Selectman Cthulhu and pursuing his avocations (science fiction writing, macrophotography and right-wing politics).  His schooling was in math, chemistry, engineering and classical languages.  In a past life he designed biopharmaceutical processing plants.  Now he concentrates on getting a decently brewed cup of coffee every morning.  He is happily married to Camera Girl and enjoys the status of patriarch, surrounded by his descendants and their relations.

This is the Author’s Bio I put on Amazon today.  For a figment of my imagination, it comes reasonably close to being a facsimile of me.  If I had known what a pain in the neck it is selling a book I might have been dissuaded from doing it.  There’s an enormous amount of hand-waving and classifying and “key words” and other stuff that I thought I could slough off on other people entirely.  Then there’s Amazon Ads and Goodreads approval and before you know it I’ll have to be interviewed by Oprah and the View.

But there is some progress being made.  I got my e-book listed with a pre-order page and an Author’s Page for Jake Barter up on Amazon and on Sunday a proof copy of the paperback will be arriving.  Supposedly it has some kind of watermark on it to designate it as “not for sale.”  But I’ll be playing around with it like a dog with his favorite bone.

As I mentioned the other day, this week was the first time I started thinking about what might be in the next book taking place in that “world.”  This one will have Connors trying to deal with a fractured America.  President Chastain and the red and blue states will be brokering short term arrangements as the Constitutional Convention is set up.  There will be plenty to discuss while the red states stand by the exits in case “business as usual” is what ends up prevailing.

I’m thinking of inventing a character who demands a new Declaration of Independence that includes the statement, “All Men are Created Unequal and endowed by their Creator with unique characteristics that require free association to ensure nobody has to be forced to endure unbearable neighbors.”

Now, that might sound as if it’s clear enough to avoid the same problems we’re having now from happening again.  But I’m convinced that’s not true.  It’s not the words on the paper.  It’s not even the way the government is structured.  It’s inherent in human beings that they will twist whatever arrangements they live under to unfairly advantage themselves over their neighbors.  The Greeks and Romans went through these same things.  The rich and the powerful bend the government to their advantage and make their neighbors slaves.

Maybe the best way to deal with this is to tear the whole thing down to the ground every two hundred and fifty years.  Give everyone the same amount of stuff and start over.  It probably couldn’t be any worse than what happens if you don’t.  Well let’s see what George and Paul come up with.

A Great Science Fiction Story?

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Lately I’ve been thinking about this topic.  What makes a great science fiction story?  Can it be a great science fiction story if the story’s not great?  How about if the science isn’t great?  I think you know what I’m saying.  A great story, meaning great fiction, has characters drawn in a way that makes them compelling.  It doesn’t have to be Shakespeare but it can’t be two-dimensional cut-outs that wouldn’t make it through a toothpaste commercial.  And by the same token, what if the science is just stupid?  Sure, you can just say it’s fantasy instead and then the sky’s the limit.  But let’s stick to science fiction.

When I was a kid, I would have said that “great” science fiction needed the science but the fiction was not that important.  If there were enough star cruisers and anti-matter bombs and giant amoebas then all was right with the world.  In fact, the fewer human relations involved in the story, the better.  I was much more interested in the non-human characters acting “realistic” than any dialog between humans.  And the male/female dynamic was completely off the table.  The last thing a Lensman needed before, during or after a battle was a woman getting in the way.

Suffice it to say that time changes things.  I look at some of the “classics” of the golden age and I see a flatness to the story.  Now, this isn’t an all-encompassing criticism.  There are plenty of stories from the day that have nuanced characters and plots that reflect actual human personality types.  So, it’s not black and white.

Now, the modern literary science fiction has been described as having the opposite problem.  It’s all about human feelings and relations.  What isn’t as important is the “science.”  When that’s the case I will just declare that if a story doesn’t have any science at all then it isn’t a great science fiction story because it isn’t science fiction.  Period.

And without a doubt if a story has an exciting plot and memorable characters and also a clever science fiction premise then without a doubt it’s great science fiction.

So that leaves the other extreme.  What if a story is built on incredibly imaginative science fiction plot devices but the characters are cardboard cut-outs of human beings?  Can that be a great science fiction story?  In this category the works of Arthur C Clarke comes to mind and specifically 2001: A Space Odyssey.  Here is an epic tale stretching all the way from the dawn of Man to the first human interstellar voyage.  And yet the most human character in the book is HAL9000; a schizophrenic homicidal computer.  Now, is it an interesting story?  Well, yeah.  There are cave men and monoliths and moon bases and worm holes.  But honestly, do you find yourself rooting for anyone?  There’s just something so inhumanly stolid and wooden about everyone in the story that I feel that each one being murdered by HAL might be his happiest moment.  At least liveliest.

But anyway, I want to pose this as a question.  Can a technically engrossing sf story be considered great if the characters are ciphers?  What do you think?