Setting Sail (on a new book!)

Today I “started” the next title in the Click Your Poison series, a High Seas adventure called Classically MAROONED. I say “started” because I’ve been researching and plotting this book for some time now, but only now has ink been virtually spilled on a word processor.

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Excerpt from today's writing.

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I know I said this book would be released in 2017, yet sadly, I must finally admit that it won’t. But, please bear with me, this is a good news post. My goal is 1000 words per day, which would put me at 100 days of writing. If you’d be so kind, let’s round that up to four months. Two more months of notes, rewrites, and editing; we could possibly have this book published in six months. That means we’re looking at Spring 2018 as a possible release.

Unfortunately, that makes this the first year since I started CYP that I won’t release a new title. Sure, I have excuses (moving halfway across the world, plenty of travel, working on a zombie screenplay with another screenwriter, as well as Rebooting the Star Wars prequels), but truth be told, I’m still very disappointed by this fact, as I imagine many of you are.

Yet the point of this post is to share excitement! Excitement that the writing (my favorite part!) has begun. I can already tell this will be a wonderful Click Your Poison volume. Classically MAROONED will share the research & realism of MURDERED, the humor & wit of INFECTED, the character development of PATHOGENS, the action & adventure of SUPERPOWERED, and of course, a special quality all its own.

To help you share in my excitement, let’s do the cover reveal first. Right now, in fact. Here it is!

MAROONED3

Living in England provides a fantastic opportunity to set a book during the Golden Age of Sail within the British Empire, but why pirates?

I’d originally thought to do an adaptation of several literary classics (hence the “Classic” in Classically MAROONED), to re-tell Moby Dick and Treasure Island and Robinson Crusoe in CYP form. But as I went through these stories, my usual idea fountain kicked off and I thought, “Why are you doing this? Because you want to tell someone else’s stories? For publicity? For ease of marketing? Write your own damn story, that’s why you do this. That’s why people read your work, because it’s told in your voice! Make your own world, do what you love because you love it, and the rest will come.”

So, I’m being true to myself, and loving the process. Day one: complete. 1223 words.


Thanks for reading! What do YOU think? 

Leave me a comment below, and don’t forget to share and subscribe!

113,000 words in 152 days

Okay, I haven’t posted in a while. Sorry about that, but I’ve got two really good excuses:

1) I’ve been busy scrawling away at my breakaway novel.
2) I’m getting married in… (let me check the calendar)… 7 days.

So, I’ve been a little busy.  However, In keeping that this is a professional blog, let’s focus on #1.

Over the last five months, I’ve worked nearly every day with the goal of at least 1000 words. Looks like I averaged around 740–not bad considering I drove across the country, spent two months away from home, and was busy planning a wedding.  Okay, to be fair, my fiance planned most of it.

Still! For the first time, I’m going to be a published writer. This is a certainty. Not because I’m sure I’ll woo an agent and a publishing house, but because I’m not even going to try. I’m self-publishing. I have a story that those in the biz (and people like me who want to be) call High-Concept. This means as soon as I tell you what it’s about, you’ll want to buy it. No matter that you’ve never heard of me and I have no track record; it’s that compelling. Scout’s honor.

It’s a zombie apocalypse story, I’ll say that much, but I’m not going to tell you what makes it so compelling just yet, not until the press release. Sorry.

Thinking of using this for my author picture in the back.

Instead, I can tell you what to expect from here on out. 1) Updates about the progress of the book’s editing, cover development, and release schedule. There is still much work to be done before the release. If you want to subscribe (over on the right), you won’t miss a thing.

And 2) News on the short stories I’ll be publishing as ebooks in the upcoming weeks and months as well.

But you’ll probably get neither until after the wedding.

Here we are at the start of a journey. I’m glad you can join me!

Scripts vs Novels

Disclaimer: I am not a legal professional, and nothing found on this site should be taken as legal advice.  Always consult an attorney.

I’ve already written about the differences of Screenwriting vs Prose from a writer’s perspective.  Now I’d like to touch a little on the differences between the finished products: Scripts (screenplays) and Novels (books).  Physically, here you go:

The Script: Three-hole-punched 8 1/2″ x 11″ computer printed paper, bound with two brads.
A Book: Bound pages, professionally printed, in a variety of shapes and sizes.

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As for the format?  There’s plenty of nuts and bolts books written on formatting screenplays and you can google manuscript specifications for agents or publishers (or ebook format), so if you’re looking for that, keep looking.

What I’d really like to talk about in this post is what the rights a writer keeps if they sell a script versus selling a novel.

Here’s what it boils down to: when you sell a screenplay, you are (generally) selling the whole thing.  It’s no longer yours.  Other writers can (and probably will) make changes to your story without your permission.  When you sell a novel, you’re still the copyright holder and it’s still your writing, you’ve just given the publishing house the rights to print and sell it.

As a writer in the US, you have far more rights as a novelist than as a screenwriter.  In Europe, screenwriters have more rights, but for this purpose–I’m talking only about American writers making deals with American production companies.

There are ways to keep certain rights to a screenplay, such as the extremely complicated Theatrical Separated Rights.  On the flipside, there’s also terrifying loopholes like Hollywood Accounting, where you might never even get paid.  For the most part, though, screenwriters aren’t even allowed to distribute the very scripts they wrote once they’re sold.

But as a novelist, you keep your copyright.  Even if your book is getting adapted to film–in which case you only license the material to the studio, allowing them to make the film, much like you allowed a publisher to print the book.

Really, we can chase this rabbit down the hole as far as we want, but I think if we go much further we’ll need a pack of lawyers to read the map.  So… that’s it for now.

Lesson learned: write the book first.  Sell it twice, keep the rights!

Screenwriting vs Prose

As a writer who finds himself at home in both forms, I’m often asked what it’s like transitioning between the two.

Personally, I love it.  They’re both very different, and switching from one to the other is like taking a break, but without the lost productivity.  And my number one goal?  Be prolific.  So if nothing else, it helps me accomplish that.

But before I get ahead of myself, let me outline the fundamental differences between the two.  As most people are familiar with prose (you’re reading prose right now!), I’ll just speak to how screenwriting differs.

In prose, the writing is the finished product. In a screenplay, the movie is it’s final form.  So there’s no thoughts, no emotions, no asides–just action and dialogue. In a script, you’re only writing what will be SEEN or HEARD by the eventual audience.  And guess what?  No description either.  You want your lead in a blue dress?  Oh well.  UNLESS it directly influences the plot, but if you just envisioned her that way–too bad.  Why?  Because at this point you’re doing someone else’s job.  A movie is a collaboration.  There’s someone whose entire job is picking out what color dress your lead will be in.

The result leaves you the bare minimum of words with which to tell the story.  But that’s expected, because there’s one other very important job as a screenwriter: you dictate the pacing.  The general rule, is that one page in a script is equal to one minute of film time.  So much hinges on this (budget, blah blah blah) that a minute goes by quicker than you think.

So in a nutshell:  Writing a novel, your goal is to completely immerse your reader into your story, by whatever means possible.  There are almost no rules.  Writing a screenplay, your goal is to not get in the way of everyone else on the project, so they can immerse the audience into your story.  And there are lots of rules (I’m not going to touch on formatting), but they can be broken if you know what you’re doing and have a good reason.

Now to cover the initial question: what’s it like to switch?  It makes my writing, in both forms, that much richer.  I’ve learned to make my words count, to use subtext, to let a moment speak for itself.

As an exercise, I re-wrote a story that was originally a short script, The Tunnel, as a short story.  You can read the script here and the short story here.

Want more on the differences?  Check out the next post in the series, Scripts vs Novels.