D. J. Herda

When a writer wants some tips on starting a new book without having any idea of where it's going and what it will be about, you have to wonder: Is this guy serious? Here's how I responded to just such a query.

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I've read the responses to your question from two other people so far and found them, uhh, really interesting. Also, really wrong and patently ridiculous. Why do so many people insist on answering question to which they have no logical response and obviously no knowledge? Beats me. So, let's get down to brass tacks with a question right back at you.

Question: What are some ways to fail at life?

Answer: 1.) Don't plan ahead. 2.) Don't anticipate anything but instead play everything "by ear." 3.) Don't learn anything more than you pick up in your daily activities. 4.) Don't, by any means, put yourself out or stress over anything.

Those are the only ways to proceed if you want to guarantee you're going to fail at life. On the other hand, if you want to succeed either at life or at starting a new book without knowing what the hell you're getting into, I suggest you turn out the lights, crawl into bed, and go to sleep. Read More 

A screenwriter asked the other day what adapting a screenplay to a novel would cost. Here's what I told her.

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Does $100,000 sound reasonable? I didn't think so. How about $80,000? No? Okay, but here's the problem we run into for any amount of money.

Screenplays and novels are totally different creatures. Novels are far more complex and require more literary knowledge than screenplays. Infinitely more. That's both because novels have a more complex structure, more "moving parts," and because they're the end result of one writer's work (with very rare exception). Screenplays are collaborative efforts. Sure, a freelance screenwriter may write his entire 90-110-page first draft by himself, but by the time the script is made into a film, several dozen to several hundred people have contributed their expertise to the transformation. That includes five, six, eight, or even twelve different writers or more, all taking your baby out for a walk around the park.

That explains why really good novelists have very little trouble transitioning to good screenwriters, but very good screenwriters nearly never work out to be good novelists. Not only are most novels three-to-six times longer than the average feature-length script, but also they contain far more interrelated elements that must all work together. There's simply a far greater learning curve (and experience factor) in producing a well-written novel than there is in producing a top-notch screenplay. Read More 

A fairly thoughtful writer asked the other day when it's necessary to develop a second character in a novel. Here's what I said.

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Good question. Complex answer. Let's see if I can nail it for you.

All novels require at least "a" well-developed secondary character. And sometimes several. That's because all novels have conflict. Your protagonist doesn't float through life without a care, or it wouldn't be much of a story. As a protagonist, he or she needs full development so that the reader will empathize with him and want to learn more—including what happens to him in the end.

The same is true for the antagonist. The reader has to find out enough about him to want to continue reading, to try to figure out what motivates him, to feel some sort of empathy toward him, as rotten as he may appear to be. Readers thirst for the knowledge of what motivates various characters to act. As an author, you have to provide that knowledge for them without revealing too much.

One of the largest failings of novelists, both established and newbies, is to paint their antagonists with the broad brush of negativity. He's harmful because he's pure evil. He eats, sleeps, and drinks evil. He worships the devil. He reeks of bad breath and alcohol. After all, we want the reader to know who the good guy is versus who the bad guy is, don't we? Read More 

Someone new to writing asked on Quora the other day what the rules are for using mythology in fantasy fiction. Here's what I told him.

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Good question. When it comes to writing fantasy and using mythology within your novel, you need to pay attention to the three Cardinal Rules of Inclusion. They are, in strict numerological order:1. Write correctly (grammatically); 2.Write effectively (phrasiologically); 3.Create the best damned, riveting, can't-put-it-down book you can possibly write (storyologically).

That's it. Also sometimes known familiarly as The Holy Trinity, those are the only rules you have to follow in writing fantasy while employing mythology as a literary tool. Wait a minute! On second thought, those are the only rules you have to follow in writing any fiction—period!

See, fiction is fiction because it's not nonfiction, poetry, or an aardvark. It's made up. It may be based upon a true story or true incidents, but it's still primarily manufactured in the writer's mind. That's what makes it so enjoyable. Both to write and to read. If it had a bunch of stodgy old rules bloating it, it would no longer belong to the writer but, rather, to a board of semi-retired, semi-cognizant rule-making academicians sitting around a big walnut table somewhere, deciding on what the writer can and can't do. If that were the case, we would never have been blessed with one thousandth of the great works of art that have graced our tables over the eons. Read More 

Someone asked an interesting question online recently. It was "What's the best way to learn to write a book?" The author implied that he has several books he'd like to write but doesn't know how to go about doing it. My response to him may surprise you.

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The best way to learn to write a book? How about the only way! If that's what you and twenty million other Americans want to know, I have the answer. I also know you won't like it.

Hire a mentor.

And no! I don't mean just anyone. I mean someone with a proven record of his or her own conventionally published books plus articles, blogs, and short stories. And someone with a history of teaching fiction writing or journalism or nonfiction writing or whatever area you're interested in pursuing.

That leaves in the dust about 98 percent of all writers advertising their skills and availability to mentor up-and-coming young writers. If they advertise for clients, they're not for you. If you stumble across them and they don't have dozens, if not hundreds, of their own conventionally published books and thousands of short pieces to their credit (verifiably—no taking their word for it), forget them. Read More 

Someone expressed concern about the possibility of including fictional work within a nonfiction book. Is that possible? Here's how I replied.

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Absolutely a nonfiction book can have a fictional story within it. Especially when used to illustrate a point or shed light on a specific topic, ethnic group, or culture, fictional tales shared throughout history can be potent teaching mechanisms. Even though these fictional stories are part of the larger work, the book still remains nonfiction, or a factual work, because the main body of the work is nonfiction.

For instance, in a recently published book on Wilma Mankiller, the first female chief of a major Indian tribe in modern history, I used Cherokee and other tribal tales to enrich an understanding of the complex cultures of Native Americans. Within the book, (following each nonfiction chapter), I interwove various indigenous tales, such as The Mother and the Corn, The Long Way Back, The Cherokee and the Women, The Ending of War, The Lost Cherokee, The Race Between the Crane and the Hummingbird, Two Wolves, and The Coyote and Death. Read More 

If someone came up to you and asked why literary voice seems more important for narrators in fiction than in nonfiction, how would you respond? Could you respond? I can, and I recently did. Here's what I said.

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You know, I had to think about how to answer this one for a couple of days. Why? First, because your use of the word "seems" implies that this is your personal observation and not empirical fact, which of course is true. Second, if voice does actually seem more important for narrators in novels than in other literary forms—not only to you but to everyone—that tells me there are a lot of poor writers in this world. And I know that to be true from my own observations.

Sadly.

I say this because good writers—great writers—don't turn their literary voices off and on at will. Great writers have only one literary voice, and it's strong, consistent, and commanding. It draws the reader in and ensnares him. It mesmerizes and delights. It fascinates and enlightens. So, why shouldn't a writer use that same strong voice in all forms of writing, from memoir to history, romance to literary, biography to self-help? In fact, in whatever he writes?
 

Answers? Anybody? Anybody?  Read More 

Some people were talking about fiction the other day, and the topic got around to exotic settings. When asked about some of my favorited novels based upon the uniqueness of their settings, I couldn't help but respond.

Of course, you have to understand that "unique settings" are unique only to people who don't live in that place. Exotic Fiji isn't very exotic at all to a resident there. As for examples of my favorite settings, here's one that comes to mind. It starts out in Miami and quickly moves to exotic St. Lucia, where the son of a murdered woman marine biologist sets out to bring the killer to justice. In the process, he befriends a native chieftain, runs afoul of black voodoo, and stays two steps ahead of an overzealous suitor while falling in love with a woman who, it turns out, is his adopted step-sister! All ends well in the end, although not before putting the protagonist through some strangely harrowing and unexpected experiences.

The book is The Last Wild Orchid, which I not only read numerous times but also happened to write. It's one of my personal favorites. Go figure.

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A writer-type fella posted a question online the other day on how many edits an author should give his book before considering it finished. Here's what I replied.

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Congratulations. You received not only two previous answers to your question but also two horrible previous answers. That's batting a thousand. It might be a new online record.

For the respondent who said, "For newer writers, it's prob beat to only do do after you've finished your piece," forget him. Anyone incapable of editing the first fifteen words of his own response about editing so that it's understandable is incapable of offering a cogent and meaningful response.

For the other respondent who advised you to "Try to get it right the first time around!" when you're on a tight deadline, well, really? Isn't that what writing is all about? Trying to get it right the first time around? And isn't the purpose of editing to go back and revise those things you failed to get right the first time around? Am I missing something here? Read More 

I ran across a question the other day that went something like this: Must an author only write a novel about something he has personally experienced? Well, I like shooting ducks in a barrel, so here's how I responded.

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First, is this a serious question, or did you lose a bet? If you read the other two responses you've received as of this writing, you know what I mean.

Second, if you read those responses, you should also know enough to take both of them with a big grain of salt. The respondent peddling a book telling how long it takes to write a novel, what you should do "about your first draft" (whatever that means!), and how to revise is ridiculous. Making blanket statements designed to fit every personality, work ethic, and talent level is a waste of time and energy. There is no blueprint for writing a novel—only suggestions on various ways to do it.  Read More 

A novice writer asked me the other day what makes a fantasy novel setting bad. My response? I said it's simple. The same thing that makes any setting bad: unbelievability. If the reader can't envision a setting clearly in his mind, he's not going to buy into the the overall concept—and might even be turned off the book altogether. Everything boils down to using creative imagery effectively. And, doing that can be reduced to two elements:

1. Visualization. Can you, as the writer, see the image clearly in your mind? Can you envision the setting, hear the sounds of everyday life, smell the scent on the breeze, taste the dew in the air, feel the emotions of the people around you, sense the magic of it all?
   
   
2. Description. Can you describe all those things in such a way that the reader can also get a clear sensory image in his mind?

If you answered "no" to either of those questions, your setting is in trouble.

You see, readers don't experience writing by reading words. They experience writing by reading rich, indelible, memorable imagery, words that paint a picture of what the author intends to convey. If the writer can't see that imagery in his mind, he can't possibly convey it to others. Until the writer sees a clear mental picture of a setting, it doesn't exist. And, if it doesn't exist, his readers can't see it. Read More 

People have asked me this question a few times now in the last few months, and it deserves an answer. Namely, can you use chapters numbered with Roman numerals in your novel? My answer: Yes!

Next question: Should you use chapters numbered with Roman numerals in your novel? Next answer: No! For reasons that may not be obvious. So, let me add a little something more from an "insider's" point-of-view to clarify.

As a former book, magazine, and newspaper editor, I soon learned that nothing set my ears upright and the hairs on the back of my neck skyrocketing for the stars faster than some quirky, unconventionally formatted manuscript submission. It told me about the writer, "I'm a weirdo trying to stand out visually because my material isn't strong enough to stand out on its own contextually." And, do you want to know something else? That was (and is) exactly right. Ninety-nine times out of a hundred. And, for that one time that it didn't hold true, well, let me just say that, as an editor swamped with manuscripts, running the risk of wading through all the hog slop in search of the pork chop just wasn't worth it. Read More 

When someone posed the question on line as to why he is able to create good characters but can't create a decent story to save his soul, the Internet lit up with do-gooders, not the least of whom was one of my favorite spreaders of online misinformation. Here's what I told him.

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First, assuming the Queen of Wrong can read (which may be a stretch), I'm not sure why she feels you are only interested in the characters "as they are, not how they got to where they are now." You stated in your question that you're good at characterization, so what's Queenie's beef?

And, as for her implication that you need a course on "plotting," let me say that plotting isn't the be-all and end-all she apparently thinks it is. Plotting is storytelling, plain and simple. If you can tell a good story from beginning to end without losing your listener's interest, a plotting course will only slow you down in your development. Ask Herman Melville or Uncle Remus or even Beatrix Potter if they'd taken many courses on "plotting" throughout their lives. Uh-uh? That's what I thought.

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A newbie author interested in knowing how to begin his new book made the mistake of asking for advice online. As usual, some of the answers were anything but inspiring. Here's how I replied.

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You should start your book with a BANG! That doesn't necessarily mean you must start with your main character at the peak of his crisis, as some genius has suggested. In fact, that may turn into one of the weakest, most predictable formulaic openings you could craft. In fact, some of the most successful novels ever written don't introduce the main character or the primary action at all until later in the book. Want a few examples? I'm happy to oblige.

In the book The Mynah's Call, author Paula Favage begins the story with someone who kills herself before the real action begins. That, in turn, acts as a catalyst for what becomes the book's devastatingly delicious plot in a story that spans the globe from the United States to Afghanistan and back.

It's an unusual treatment, producing an introductory chapter of a scant five pages in length. But, Favage's opening gambit pays off. The reader is hooked from page one. By the time the real story begins, he or she can't wait to find out how the author is going to top that opening. Surprise! She really does. Her opening is a genius ploy because it works. It does exactly what the author wanted it to do. Read More 

What, you ask, is hard-boiled crime, anyway? Well, if you've never seen the film The Maltese Falcon with Humphrey Bogart playing detective Sam Spade, you should. Once you do, you'll know the answer to that question. And, become a lifelong fan of H-B crime.

Wikipedia defines hard-boiled crime roughly as a literary genre that shares some of its characters and settings with crime fiction (especially detective and noir fiction). The genre's typical protagonist is a detective who battles the violence of organized crime that flourished during Prohibition (1920–1933) and its aftermath, while dealing with a legal system that has become as corrupt as crime itself.

Notable hard-boiled detectives include such super-sleuths as Dick Tracy, Philip Marlowe, Sam Spade, and dozens of others.

The genre of hard-boiled fiction is nothing new. It made its debut into society in the form of early detective stories appearing initially in the "pulps" or populist magazines of the mid-1920s. The most successful of these publications was Black Mask, in which writers were influenced by the preexisting conventions of the western, nineteenth-century, urban drama. Adapting those conventions to the modern city, innovative novelists such as Dashiell Hammett and Carroll John Daly used the genre to explore the angst created by Prohibition and its resultant wave of crime, particularly organized or Mob crime. Read More 

Someone wanted to know why writing a book is so difficult, and he received an answer or two from other online respondents. One was way off the mark. Here's why.

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While I'm sure Mr. Zapata's response was well-intended, it's dead wrong. Sure, writing a book can be all those things he claims, including despair, frustration, and loneliness. But, he makes no allowance for variances between writers, a common shortcoming with newbies with little experience over short periods of time.

Let me explain where he goes wrong.

First, writing "a book" isn't difficult at all. You sit down, string some words together, and when you have assembled sixty thousand of them or more, you get up and announce to the world that you've written a book. If that's your goal, it's easy-peasy.

However, writing a good book takes considerably more effort and generally more time. That's because all the elements for writing a good novel or even a work of nonfiction work must be present to make it "soar." It has to make sense; it has to move the reader along; it has to provide value for the reader; it has to have a distinct beginning, middle, and end, and it has to provide a satisfactory conclusion. While doing all that, the author must also know the nuts and bolts of grammar, punctuation, syntax, storytelling, conflict and resolution, logic, organization, and all the other elements involved in the clarity and efficiency of writing. Read More 

I was thinking the other day about how to write a dynamite first chapter, and I realized there are more ways to accomplish that task than there are oysters in the sea. But there's one sure-fire, can't-miss, absolutely foolproof way to pull it off. Interested? Okay, here it is.

Write it.

No kidding. Write your first chapter however you want, and then go back and cut it. Cut the chapter in half. And then cut it in half again. And keep cutting until it's one or two pages long. Or less. Far less.

I'm serious.

Nothing turns off a reader at the beginning of a book (short of horrendous writing, which is rampant among self-published authors and even some conventionally published ones) faster than a long, rambling first chapter. And, the antithesis (are you ready for this revelation?) is that nothing turns a reader on more than a short, punchy chapter that lays out the plot, introduces the main character, and sets the hook so the reader will need to continue reading.

Did you hear that?

He'll need to keep reading. Read More 

Someone asked online the other day for suggestions for a title for his new third-person book, which he then went on for a sentence or two to describe. My reaction? Not positive. Here's what I said.

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You know, I read your question with a great deal of interest. I re-read it, and I read it again a third time. Now, I have a response for you. But, it's not without consequences. By that I mean that every pile-on advocate of Group Think will be jumping down my throat, saying, "How could you be so cold and cruel to someone who merely reached out to you for advice?" My response is simple.

Horse hockey!

Now, I'm going to tell you why. Because it's the truth. And to those of your respondents who can't accept the truth, I say you have no business chiming in until you can.

And, for you, my dear confused author-in-the-making, I have a question. How can any author, writing in any POV, who knows what his story is about, how it plays out, and how it's been meticulously and painstakingly crafted, ask a group of absolute strangers to name his child for him? Are you kidding me? What am I missing here? Read More 

Someone went online the other day to ask how to write a book scene. Not surprisingly, there weren't a ton of people jumping up to help him with an answer. For good reason, as you'll see from my response.

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How do you write a book scene? Simple. You sit down at your computer (make sure it's turned on first). You open up a blank page. And, you start writing at the beginning and continue until the end.

I told you it was simple.

What's not so simple is getting the responsive answer to your question you seek from someone else. That's because there is no responsive answer from someone else. You're the writer. You create the scene from the thoughts, visions, and images in your head. You do the heavy lifting. You take the reader wherever it is you want him to go. Read More 

Someone asked online the other day if he can be sued for novelizing a "secret" someone told him. As usual, Queenie was there to muddy the waters. I hope I helped to clear them. Here's what I said.

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Please forgive the Queen of Wrong for she knows not what she does. Or, apparently, says. Of course you can get sued for writing a novel based upon a secret someone told you. You can get sued for crossing the street in rush hour or drying your socks on a line in plain view of the public. In fact, you can get sued for damned near anything, including for telling someone you can't get sued!

That doesn't mean you should sit around stewing about every single thing you do. Being sued is common. Being sued successfully is another matter.

In the case that you mentioned, even if the person who told you a secret sues you, he or she won't prevail in court. That's because there is no legal precedent of which I am aware that makes spilling the beans an illegal act. Now, is it morally reprehensible? Sure. Does the person who shares the secret lack moral integrity? Probably, depending upon the secret. If the person told you in confidence that his brother is planning on blowing up a grade school next Tuesday, for instance, you would be morally obligated to notify the authorities. Whether or not you write about it afterward would be strictly a matter between you and your conscience. It's a case of protecting the greater good: In this case, that means saving lives above keeping secrets. Read More