| If you ask yourself that question, you probably have | | | | where the story should go next. If a story is worth |
| written, are writing or want to write a novel. | | | | writing, it's worth planning. |
| Good for you. Novelist is definitely high on the list of | | | | Step 3 |
| "Fab" careers, but like any other major decision in your | | | | Like any other career, writing demands your best |
| life, there are some important things to consider before | | | | effort and attention. This doesn't necessarily mean you |
| you compose that resignation letter to your current | | | | need to work eight hours a day five days a week, but |
| employer. | | | | you must set aside a definite amount of time for |
| Writing a novel is 5% talent and 95% hard work. The | | | | actual writing. This isn't thinking time, it's writing time. |
| fact that you want to or already are writing one is a | | | | You can think about the book while you do the laundry, |
| pretty good indication that you have the talent you | | | | walk the dog or ride the bus to work. |
| need. | | | | No matter how long it took you to write your first |
| A much stronger indication is having finished and sold | | | | book, once it is accepted, you will be required to |
| the novel you began. | | | | adhere to a time frame set out in your contracts. |
| There are thousands of unfinished and unsold novels in | | | | Agents and editors want writers who have a new |
| computers and desks around the world. They wind up | | | | book ready in 12 to 15 months after acceptance of the |
| there because beginning writers often neglect or skim | | | | first one. Publishing schedules are planned that far in |
| over the most important first step in the 95% hard | | | | advance. If you don't meet yours, your "slot" may go |
| work part. | | | | to another writer. If you don't publish a new book |
| The first step | | | | every year, you may also lose your audience. |
| Like any career, becoming a novelist requires learning | | | | Readers who purchased your first novel may forget |
| the skills you need to do the job well. Recognizing an | | | | you and move on to other authors. |
| idea that will sell, writing the story so it hooks the | | | | Step 5 |
| reader and keeps him hooked all the way through, | | | | There are several questions you should also ask |
| then drawing it all to a satisfying finale takes time to | | | | yourself if you are considering a career as a novelist. If |
| master. And a lot of practice. | | | | you answer "yes" to all of them, you will probably have |
| Editors and agents are always looking for something | | | | a good chance of success. |
| new and different. They reject most manuscripts | | | | 1. Can you work alone productively for hours? |
| because they aren't different enough from the | | | | 2. Can you accept criticism and use it constructively? |
| hundreds of others they receive. | | | | 3. Do you have good skills in grammar, spelling and |
| The first-time novelist often gets caught up in the | | | | punctuation? |
| creative aspects of writing and doesn't give much | | | | 4. Are you willing to work your way up the career |
| thought to marketing until the book is completed. | | | | ladder with respect to income and name recognition? |
| "Publishers take care of that, don't they?" | | | | 5. Do you enjoy the self-editing as well as the actual |
| Yes, but they expect you to do your part. Marketing | | | | writing? |
| ideas and plans depend on the content of the book | | | | 6. Can you be objective and honest about your work? |
| and how it's written. | | | | Last but far from least, consider this advice from |
| If you don't write your novel so an editor sees its | | | | singer Tony Bennett in an interview on his 80th |
| market potential the first time she reads it, she won't | | | | birthday about his long career: "If you're going to do |
| recommend the company buy it. Marketability must be | | | | something all your life, make sure you like it." |
| written into your novel, it can't be added later | | | | Becoming a career novelist is exciting and fulfilling. It |
| Step 2:the elements that build and escalate suspense | | | | also takes time to achieve. Knowing the techniques in |
| and dramatic tension in a novel must be be planned | | | | theory isn't the same as developing them through |
| before you start writing. Suspense doesn't happen by | | | | practice. |
| accident or grow by itself. Smart writers plan each | | | | You learn by experience. Writing for other markets |
| step so it intensifies as the story progresses. | | | | teaches you to write to an editor's needs and |
| Whether you outline or use some other method, | | | | preferences, a definite asset in writing fiction. Writing |
| planning your book before you begin chapter one also | | | | and selling to smaller fiction markets, such as original |
| helps you determine whether or not you have enough | | | | paperbacks, series titles or small presses can be an |
| scenes and action to fill an entire novel. Running out of | | | | excellent training ground for honing your skills. They |
| story when the book needs 100 more pages can | | | | pay as you learn and become good credentials for |
| leave you floundering. And more than likely, you'll have | | | | later sales. |
| a hard time coming up with scenes that continue | | | | However you do it, pay your dues so you're ready to |
| building the suspense you need. Many writers abandon | | | | face the competition of the career pros who are |
| their novels half way through because they don't know | | | | already winning. |