Lesson (sort-of) Learned

Well, seven years after I wrote a scene in which a young monk is whipped while trying to paint a thrush, I can finally say it: The Emperor’s Blades is out on the shelves. Oddly, the money-laden dump truck driven by attractive fans has not yet arrived in the driveway, but maybe that happens tomorrow.

I’m a slow learner, but even for slow learners seven years is enough time to pick up a few lessons. Here’s what I’ve got:

1. It is never a good idea to drink five cups of coffee before noon.

2. That scene you spent a week and a half on, the one you thought was going to be the psychological pivot for an entire act? Yeah, it’s crap. Cut it.

3. When you find a brilliant beta reader, marry her. It’s the only way to ensure she’ll see the project through to the end.

4. Back up your fucking hard drive. Back up your fucking hard drive, you idiot. Back up your fucking hard drive.

5. If you dress zombies up with a fancy new name, they are still just zombies. Cut ‘em.

6. One beer might help the creative process. One.    O. N. E.    1.

7. You think you write clean prose? Prose that will leave the copyeditor with little to do? Ha. Ha ha ha. Ha.

8. When you start cursing and poking at the screen, it’s time to get up and go for a run.

9. If you’re still worked up about whatever wasn’t working when the run is over, the run is not over. Go do the other loop.

10. Tweeting is not writing.

11. Facebooking is not writing.

12. Google+ing is not writing.

13. Blogging is sort of writing, but you’re not gonna get a book out of it.

14. That whole plot line with the Urghul girl as a point of view character? The one that’s a hundred thousand words long? Yeah. Cut it.

15. If you make eye contact with the dogs, they might stop chasing you. Or they might not.

16. Always listen to your agent. She is smarter than you. She is more experienced than you. Without your agent you would be like a baby deer wandering around inside the lion cage at the zoo. Except you are not cute like a baby deer.

17. Your friends, for reasons known only to them, actually believe you can pull this off.

18. Your baby is probably screaming because you’re not writing fast enough.

19. Remember when you didn’t know what an editor did? No? That’s because now that you’ve realized your editor does everything, the thought of putting out a book without him is inconceivable.

20. Stop typing and make a sandwich already. A healthy human can go thirty days without eating, but it doesn’t make for very good prose.

21. Just because you wrote eight thousand words in one day doesn’t mean you’re allowed to keep any of them.

22. Stop trying to come up with titles. Just stop. Stop.

23. The book has your name on it, but without your wife’s help at literally every step of the process, it would just be a pile of scribbled-on pages like Russell Crowe’s crazy papers in A Beautiful Mind.

24. Even if the book is a steaming turd, it doesn’t matter. You have wonderful friends and wonderful family, people who don’t really want to handle a steaming turd, but will do so if necessary and keep loving you at the same time.

25. That scene with the monk? The first one you wrote seven years ago? Yeah. It’s crap. Cut it.

Shakira and Usher Hate Tolkien; Opening Sentences in Fantasy

I suspect something horrible may be happening to us; I suspect that someone – the CIA, aliens, maybe that dude who works at the late-night burger place down the alley – is siphoning away our brain power a little bit at a time. My suspicions were first aroused last night, when my wife and I sat down to watch the premiere of The Voice. If you’re not familiar with the show, all you need to know is that the singers get ninety seconds to impress the judges. Not a full song, or, heaven forbid, a set of songs that might showcase different abilities: ninety seconds. And it was awesome. We were never bored. While watching the show I forgot that boredom existed.

Then I remembered a writer’s conference I attended many years back in which I went to a number of pitch sessions entitled “Two Minutes; Two Pages.” Sorta like The Voice, but with literary agents instead of Shakira and Usher, reading instead of singing, and an extra thirty seconds to hawk your shit. Also, I don’t seem to recall a cheering live audience of thousands. At any rate, these sessions made a real impression on me, as the agents, all of the agents, kept saying things like, “I see a million submissions a day. If you haven’t hooked me by the end of the first paragraph, I’m done.”

I really wanted an agent. I rewrote my opening paragraph.

Let me be very clear: I’m not complaining about these agents or their advice. They were passing along what I think is the overwhelming opinion of readers, the people who actually buy the books. It is their job to know what sells and they were excellent at that job. They were just a little ahead of me in the realization that aliens are thieving our attention spans.

These days, it seems that many readers want something good, and by good I mean awesome – a bomb threat, a zombie, someone naked, several naked people, naked people defusing a bomb while fending off zombies –  by the end of the first paragraph if not the end of the first sentence.

Was it always this way?

Well, I didn’t have time for an exhaustive study of opening lines, but I did have time for some half-assed Googling. Half-assed Googling, I realize, runs a distant second to actual statistical analysis, but I was so surprised by the results that I wanted to share them here. I Googled eight fantasy novels, famous novels. The first four were published before 1990, the next four, after. I ignored prologues where they existed, focusing instead on the opening sentences of the first chapters.

Consider:

Old Stuff:

“The first thing the boy Garion remembered was the kitchen at Faldor’s farm. For all the rest of his life he had a special warm feeling for kitchens and those peculiar sounds and smells that seemed somehow to combine into a bustling seriousness that had to do with love and food and comfort and security and, above all, home.” Eddings, Pawn of Prophecy (1982)

“The sun was already sinking into the deep green of the hills to the west of the valley, the red and gray-pink of its shadows touching the corners of the land. The trail stretched out unevenly down the northern slope, winding through the huge boulders which studded the rugged terrain in massive clumps, disappearing into the thick forests of the lowlands to reappear in brief glimpses in small clearings and thinning spaces of woodland.” Brooks, The Sword of Shannara (1977)

“The Island of Gont, a single mountain that lifts its peak a mile above the storm-racked Northeast Sea, is a land famous for wizards. From the towns in its high valleys and the ports on its dark narrow bays many a Gontishman has gone forth to serve the Lords of the Archipelago in their cities as wizard or mage…” Le Guin, A Wizard of Earthsea (1968)

“When Mr. Bilbo Baggins of Bag End announced that he would shortly be celebrating his eleventy-first birthday with a party of special magnificence, there was much talk and excitement in Hobbiton.” Tolkien, Fellowship of the Ring (1954)

New Stuff:

“Locke Lamora’s rule of thumb was this: a good confidence game took three months to plan, three weeks to rehearse, and three seconds to win or lose the victim’s trust forever. This time around, he planned to spend those three seconds getting strangled.” Lynch, Lies of Locke Lamora (2006)

“The morning had dawned clear and cold, with a crispness that hinted at the end of summer. They set forth at daybreak to see a man beheaded…” Martin, Game of Thrones (1996)

“The lapping of water in his ears. That was the first thing. The lapping of water, the rustling of trees, the odd click and twitter of a bird. Logan opened his eyes a crack. Light, blurry through the leaves. This was death? Then why did it hurt so much?” Abercrombie, The Blade Itself (2006)

“In the dark of waking, a soul has died. Its flesh, however, is still hungrily, savagely alive. The Reaper’s task is not to save.” Jemisin, The Killing Moon (2012)

You don’t need to be a literary scholar to see the differences.

Kicking off the old books we have: a birthday party, some geography, the description of a trail, and the sights and smells of a kitchen. Eddings, for his part, seems determined to absolutely destroy any narrative tension right at the outset, giving us love and security instead of mystery or suspense. Of the early works, Le Guin’s opening is probably the most exciting, but even she doesn’t zero in on a particular scene, providing us instead with something that sounds suspiciously like history.

In the new books, by contrast, we have: a beheading, a strangling, the potential death of the POV character, and a soulless Reaper. I can tell you right off the bat who’s going to end up on The Voice.

Now, I don’t want to suggest that the old books are weaker. In fact, the old books are classics, and deservedly so (whatever you think about Brooks ripping off Lord of the Rings). I do want to suggest that it looks as though the way readers and, therefore, writers approach beginnings is changing. The question is: is this bad? I have no idea. I’ve lost the ability to focus on the question long enough. Maybe one of you, however, someone who has escaped the brain suckers, could tell me what it all means…