Fiction Workbench

At Randy Ingermanson’s Advanced Fiction Writing Blog, he’s answering an interesting question today from Jacob, from the Netherlands. You can read his entire question and Randy’s reply on his blog, but I wanted to have a go at it as well–because it’s an excellent question and one that most fiction writers must deal with at one point or another.

Jacob writes:

How do I create Evil? (not an evil character, but just “evil”) Pure evil is a powerfull symbol, but how to give it body.

Randy points out that it’s incredibly difficult to address evil as a noun in a novel. It’s much easier, and perhaps more effective, to deal with it as an adjective–as a descriptor for what characters do. I tend to agree with that. Jacob is concerned that the portrayal of evil not be one-dimensional. He wants a fully-rounded portrayal of it in his novel. The problem is that evil by definition is one-dimensional. In order for something to be multi-dimensional and feel fully real in a novel, it has to have contradictions and contrasts and levels. That’s what makes a character feel “real.” In that sense, having only evil is–of necessity–one-dimensional. There are no contrasts or contradictions.

So, to get more practical about it, the best choice a writer can make with any aspect of a novel is to humanize it. Whether it’s a god, a supernatural force, an alien, or the Ultimate Evil–the only way readers will really relate to it is through their own human experience.

How do humans experience and express evil? They do “bad” things–lie, murder, cheat, steal, etc. But what makes it feel EVIL and not just a “poor choice” is the motive behind it. And ironically, the more understandable and laudable that motive, the more evil it becomes.

For example, I have a WIP (“work in progress”, for the newbies among us) that has a queen who loves her country and her people and hates to see them being oppressed by a neighboring nation. That’s admirable, right? But taken to an extreme, she becomes so obsessed with saving the country and bringing down the enemy that she becomes willing to sacrifice even her closest supporters and commit unspeakable atrocities in order to reach that goal. That’s evil. And it’s even more so because it starts as something “good” and goes to an extreme.

I think even the ultimate Bad Guy–Hitler–may have started out with “good” motives. The German economy was tanked, the people were suffering. Is it possible he started out with laudable intentions, and took them way too far? That’s Evil. And it’s chilling because we can relate to it. We all have good, noble motives–or at least motives that are understandable. And we all know what it’s like to cross the Line from acceptable pursuit of a goal to a corrupt, harmful obsession with it.

The best portrayal of evil in a novel will force the reader to look Evil in the face and acknowledge that they, too, possess the potential to embrace the darkness. It makes us re-evaluate what Evil is, what it looks like, how it behaves. And we have to face the fact that its true colors are more likely to be shades of gray than stark black.

So for Jacob, and any other fiction writer working through a similar issue, I would suggest personalizing your Evil Force. Give it a face. Make it influence someone we care about. Nobody is chilled by Tolkien’s Sauron. The chilling moment is when dear, sweet Frodo can’t destroy the Ring–because we know then that if Frodo can become dark, so can we. And that is when Evil becomes the darkest and most insidious. That is when it becomes the absence of Hope.

Question: What do I do if I feel afraid or anxious about writing my novel?

Answer:

An author friend of mine and I were talking about the new fiction projects we both are working on. She commented that she wished she could jump into a new story as easily as I do, but that she often feels afraid to write.

Now, I don’t know all the reasons for her fears. But I do know that anxiety seems to be a fairly common experience among fiction writers. Contrary to my friend’s compliment, I also sometimes feel afraid or anxious about my writing. Here are some reasons why we writers may feel anxious or fearful about beginning a new fiction manuscript:

1. Writing a novel is a huge undertaking that may require months or years to finish. What if I get stuck and run out of energy? What if I lose interest half-way through? What if I can’t think of anything to write? What does that say of me, to fail in that way?
2. Writing a novel requires a lot of emotional energy. It may require the fiction writer to confront unpleasant memories or draw on painful experiences. Conversely, it might make the fiction writer face the reality that her real life doesn’t measure up to the fictional world she has created. Even if emotional pain isn’t involved, creating authentic character emotions requires a lot of energy and effort from the fiction writer. Sometimes we just don’t feel up to the task.
3. Writing a novel requires ongoing and daily commitment. It takes a good bite of time from your day. Many fiction writers feel overwhelmed at trying to fit one more task into their daily schedules.
4. Writing a novel may involve tasks that the fiction writer finds unpleasant, such as research, plotting, revisions, or even just the writing itself. Even though we writers love to write, sometimes we hate it, too.
5. Writing a novel and finishing it means that then we must either work on submitting it to editors or agents, or–if it is already under contract–going through the process of revision, and then promotion. This can be an intimidating process

The most effective way I’ve found to deal with these writing fears is to face them head-on. Reflect on how you are feeling. Why are you afraid or anxious? List out the reasons.

Next, write out the worst-case scenario for each fear. What is the worst that could happen if that fear comes true? What will the consequences be? Usually, when we do this, we see that what we fear really holds no true threat for us. This can help us overcome that fear or anxiety.

If we still fear failure or are struggling with anxiety, maybe it’s time to talk to a creativity coach. This is what I recommended to my friend, because I have benefited from it myself. A coach can help us deal with, and then move beyond, our writing fears or anxieties.

There’s no shame in feeling afraid to write–many fiction writers feel this way. But don’t let it keep you from doing what you love or reaching your fiction writing goals.

Question: Is it okay to put my phone number or address on my writing business cards? What about a photo?

Meredith’s Answer:

I would strongly recommend NOT putting your home phone/address on it. You don’t want to compromise your privacy that way. People are sometimes weird about writers–especially once you get published, you’re sort of a semi-celebrity once people realize you are a published author. You want to protect your private information.

If you’re giving out cards to editors or agents, your email address will be plenty for them to contact you, and your mailing address should be on every page of your book proposals anyway, so you don’t need to put it on the card.

A picture is fine, but only if it’s a professional-looking publicity type photo. No snapshots. Otherwise, keep it simple and just have your name and website and email address on it.

I would also recommend spending the money to have it professionally printed. I use gotprint.com and love it. You can even have it designed for you or choose a design off the website. It really is so much nicer looking than printing it yourself.

Good luck!

Question: At a writer’s conference, how do we know when it is okay to pitch our fiction manuscript to an editor or agent? Is the “elevator pitch” really okay to use in an elevator, for example?

Meredith’s Answer:

I think the best thing we all can do for the editors and agents at a conference is to treat them with respect and compassion. Too often, in our enthusiasm, we treat them like prey that we hunt down for our own success.

They are people, and as much as we all want something from them, I really believe that we should see them as valuable human beings first. We shouldn’t use them for our own advancement.

So what this means for a conference setting is that we need to stop and think before we pounce. What is the setting? An elevator is a transition place between the public spaces of a conference and the private spaces of other parts of the hotel. So these folks may be half-way to “off duty.” The publishing professional may be worn out or simply tired of so much human contact. So the best way to treat them is the way you’d treat any other person you have compassion on. Do they look like they want to talk? If so, ask them how their day is going. Be others-centered and not focused on your own wants or needs. If they don’t look like they want to talk, then leave them alone.

A lot of times, if you reach out and show that you can see who they are beyond the tag that says “agent” or “editor,” they will often respond in kind and ask YOU about what you write. This is when that elevator pitch comes in useful. But keep it low key–most of the time they are asking you out of politeness only and are hoping you don’t go crazy on them.

The term “elevator pitch” doesn’t necessarily mean it’s to be used specifically in places like elevators or on the way to the lobby or in other semi-off-duty places. It actually means being able to explain your story in the amount of time it takes for an elevator to go from one stop to the next.

I think if you want to approach an editor or agent between workshops or after a meal, it’s usually okay, but you have to really pay attention to what else is going on for that person. You don’t want to put them in a position where they have to be rude to you because they’re about to be late for a workshop. If it looks like they do have a minute, say, “Do you have a few minutes sometime when I could meet with you?” They will either say yes, and you can work out a good time. Or they will say no, in which case, thank them and be gracious. Or they might say “No, but let’s talk right now.” THAT’s when you give them the “elevator” pitch. That way, you’ve been assertive, but without being pushy or walking all over them. You’ve given them space to say no, and they’ll appreciate that.

The thing is, whether or not they want to hear more or want to meet with you or whatever, a key to this whole publishing experience is relationship. Maybe you won’t get to do a full pitch, but I guarantee if you are kind to the faculty and pub professionals you meet, if you take an interest in them because they are valuable human beings, you will reap the reward of expanding your network and your friendships in the publishing world. And eventually, this might lead to the opportunity to pitch your book.

Even if it doesn’t though, what has more significance in the long run–a book contract or a friendship? (I know you already know the answer, but it makes a great closing question!)

Want to learn more about how to get the most out of a writers conference? Take a look at the Writers Conference Survival Guide!

Many writers wonder if it’s acceptable (by the publishing world) for a new writer to write their story in first person. First person is not frowned upon in either adult fiction or YA. There are plenty of very well-received books in both markets written in first person.

There are different tastes and reader opinions about first person. Some readers love it, some hate it, some don’t care either way.

For writers, the key is in whether you have the ability to make the story work well in first person, and whether or not your personal writing voice fits well in first person. Sometimes newer writers are encouraged to work in third person until they are more skillful, but it really comes down to execution of it. If you have a writing voice and strong skills that can carry a first person POV, there’s nothing to say you can’t or shouldn’t do it. You’ll have some people who will love it, and other people who won’t.

But that’s the case for everything we write. So it’s really a very personal, story-specific choice. Be free, and give it a try if you want.