Brandon Sanderson – Page 5 – One Thousand And One Parsecs

Rock Canyon Writing for Charity

So a couple weeks ago, I heard of this for-charity writer’s conference going on in Sandy this weekend. Unfortunately, I wasn’t able to attend the full event, but I did go to the evening extravaganza with fellow writer and quarkie Jimmy.

The evening session was great! There were some excellent performances by Divine Comedy and singer/songwriter Nancy Hanson, and a giant question/answer panel with such local writers as Shannon Hale, James Dashner, Sara Zarr, Brandon Mull, and Brandon Sanderson, among others.

My question for the panel was “with the way the market is changing, what advice do you have for new writers trying to break in right now?” Most of the answers were pretty standard fare, such as “don’t write for the market, write what you love,” “don’t let all the crazy speculation keep you from writing,” and, perhaps implied more than spoken, “no one really knows how things are changing; just keep writing.”

At the signing afterwards, though, I was hanging out with Brandon Sanderson, and he had some interesting things to say on the subject. When asked about getting an agent, he said that new writers should follow the blogs of the agents to whom they want to submit and join the conversations going on there.

Let me just say that Brandon is better to his fans than practically any other authors I know–and that’s saying something, because I have yet to meet an author in-person who wasn’t friendly and gracious. Maybe it’s something about sf&f; the community tends to be really good to its own.

Anyway, even with all the fame he’s gained from the Wheel of Time (he’s basically Tor’s biggest superstar fantasy writer right now), Brandon is still very accessible and down-to-earth. He makes a special effort to remember his fans, and greets them by name (or by some other tag if he can’t remember names) when he sees them. One of the guys asked if he could take a picture of Brandon with a message to his son, and Brandon not only took the picture but posted it to his twitter pics.

Overall, the event was a good opportunity to rub shoulders with other authors and aspiring writers from the area–and in Utah, there is certainly no shortage of either one. Chatted with Dan Wells and Rob, an old friend from the first 318 class I took at BYU, as well as others. Besides that, the money went to buy books for low-income kids across Utah–how can you not feel good about that? Great event–I’m glad I could go.

Wolverton interview and more

The interview with Dave Wolverton was a resounding success! We had a fascinating conversation about science fiction and the gospel, his latest book In The Company of Angels, self-publishing, the English 318 class at BYU and the profound impact it’s had on the LDS writing community, and much, much more.

On that, I suppose I should disclose my full reasons for going down to St George and meeting with Dave. I’m putting together an article for the December 2010 issue of Mormon Artist, where I hope to give a brief history of BYU’s “class that wouldn’t die” and explore the impact that it’s had on both the LDS writing community and on mainstream sf&f.

The “class that wouldn’t die” was the group of students who signed up for the first English 318R science fiction creative writing class at BYU, back in ’78 (I think it was ’78…gotta check that). After the semester was over, the students banded together through forming a writing group, which they called “Xenobia.”

They didn’t stop there, however. As Xenobia grew and matured, the students decided to form other organizations designed to help new writers (especially sf&f writers) improve their craft and build their writing careers. Specifically, they founded Quark, BYU’s science fiction and fantasy club; Leading Edge, a student-run magazine that gives written feedback to every story submitted; and LTUE, an annual science fiction and fantasy symposium (like a convention, only no costumes).

These organizations, as well as the 318 class, led directly to the explosion of LDS writers in science fiction and fantasy. Several bestselling LDS authors, including Stephanie Meyers, Brandon Sanderson, and Dan Wells (among many others) can trace the launch of their careers back to this class. In turn, these authors are having a tremendous impact on mainstream sf&f literature.

The article is slated to come out in next December’s issue of Mormon Artist Magazine, just in time for LTUE 2011 (which I hope to attend). Right now, I’m in the research phase, meeting with some really amazing people and gathering some fascinating stories. This article is going to be awesome.

In parting, let me share one of the more interesting things Dave said in the interview. As we talked about all these amazing resources available for sf&f writers in Utah valley, I asked him why this happened in this community and not elsewhere.

His answer was extremely insightful: for many writers, the mentality is that once you break in, you have to close the gate behind you. It’s something of a zero-sub game, where people horde their ideas, compete with each other to break in, etc.

Not so in the LDS community. As Latter-day Saints, we have a deep-set mentality of helping each other and building each other up. That’s exactly what happened with the “class that wouldn’t die”–they did everything they could to foster other writers. The proliferation of Latter-day Saints in mainstream sf&f is a direct result of this.

That’s Dave’s take on it, anyway. It will be interesting to hear what others think.

Oh, and FYI, Mormon Artist is 100% volunteer run and free, so when the article and interview come out, you won’t have to pay anything to read them. I’ll certainly provide links on this blog–stay tuned!

And as one final note, check out this piece of Xenobia history: the original Quantum Duck, as featured in the first issue of The Leading Edge. Why a quantum duck, you ask? Because that’s where the club’s name came from: a bumper sticker that said: BEWARE THE QUANTUM DUCK THAT GOES ‘QUARK,’ ‘QUARK’!

An interesting concept

Last night, I was hanging out with a friend of mine and a couple of girls in the apartment complex where I currently live. We got to talking about books, and one of the girls said something really interesting:

Every book needs to have one thing that the main character knows that the reader doesn’t know, and one thing that the reader knows that the main character doesn’t know; otherwise, it’s too boring.

That’s a fascinating concept. I know that both things are important, but I’ve never connected them together.

When the reader knows something that the main character doesn’t, it can make for great suspense. A good example of this is this scene from Xenogears, when the characters are trying to hunt down a monster in the sewers (skip to 6:37):

It’s harder to pull off having the characters withhold information from the readers, but it can be done. I think a good example of this is the scene from Star Wars V: The Empire Strikes Back when the Millenium Falcon arrives at Bespin and C3PO gets shot:

Granted, nothing really vital is withheld here, since by this point Master Yoda has seen Luke’s friends in danger, and Bobba Fett has clearly followed them to Bespin–but the audience still doesn’t know exactly what’s going on, and so it creates suspense.

In terms of Orson Scott Card’s MICE quotient, this would definitely fall under the “information” component of stories. In Brandon Sanderson’s class (and in my own reading), I’ve focused a lot on character, setting (milieu), and plot (event), but I haven’t thought a lot about information.

I wonder how my own novels measure up to this principle. Let’s see…

In Genesis Earth, there are a lot of things that Michael and the reader doesn’t know, but not much that one knows and the other doesn’t. There are, however, quite a few things that Terra knows that the reader doesn’t. Those all come out in the middle, though. In terms of information withheld from the reader, I suppose you could count Terra’s feelings for Michael, in the buildup before the climax, but that’s about it.

In Mercenary Savior, the reader knows a TON of stuff that James doesn’t know–it’s a major source of the suspense in that novel. In terms of things the characters know that the reader doesn’t, there’s much less, but I can think of a few things Danica knows that are kept mysterious until a key climax. Those aren’t foreshadowed until maybe 50 or 100 pages before the reveal, but I suppose it still counts.

Thinking WAY back to my first practice novel, Ashes of the Starry Sea (which I will probably never publish), there is, again, a TON of stuff the reader knows that the characters don’t. Basically, every character is clueless in some crucial way, and the resulting comedy of errors drives the plot. In terms of information withheld from the reader, though, there’s not as much. There is a point where Ian runs off without an explanation, but I’m not sure if that’s just my own poor writing. I could probably pull it off in a revision, but I don’t know when or if that will ever happen.

So yeah, I suppose I’ve done that in my own writing. I suppose it’s much easier to do this in third person, however–Genesis Earth is entirely in first person, and there isn’t anything Michael thinks about that the reader doesn’t see. He is an unreliable narrator at times, but he’s not the character withholding the information–and if he was, I don’t think it would have worked very well.

In any case, it’s a very interesting principle. I’ll have to keep it in mind.

Space Pirates of CONduit

So this weekend I went to CONduit up in Salt Lake city. It was a great experience! Lots of fun, lots of friends, and lots of excellent panels on writing.

The usual crowd was there: Dan Wells, Brandon Sanderson, L. E. Modessitt, Bob Defendi, Dan Willis, Paul Genesse, Julie Wright, John Brown, Larry Corriea, James Dashner, Eric James Stone, and tons of others. Besides the bigger names, I saw a lot of other aspiring writers like myself who have yet to make it big–friends from World Fantasy and LTUE. It was good to catch up and reconnect.

Friday had a number of excellent panels. My personal favorite was A Writer’s Life, in which a number of relatively newer writers gave advice on breaking in and talked about what their lives are like now that they’re published.

At one point on the panel, a fearful aspiring writer asked the question: “when do you know when it’s time to quit and give up?” The responses from the panelists were quite insightful. Basically, the only way to know that you need to quit writing is if you can imagine your life without it. If you can’t, you may feel that you’re writing currently sucks, but you’ve still got stories in you, and those stories need to find a voice.

There were a number of other gold nuggets on that panel. Larry Corriea surprised me by saying that there is no such thing as an “outline writer” or a “discovery writer”–that these concepts simply describe writing tools, and that different projects require different tools. Julie Wright said that if you are not enough without a publishing deal, you will never be enough with it. John Brown (I think) said that writer’s block doesn’t exist: if you’re blocked, it means either something’s wrong with you or something’s wrong with the story.

Saturday had a number of excellent panels as well. The guest of honor was Barbara Hambly, and she was a delight: witty, saucy, and full of interesting stories and great advice. For her main address, she simply talked about how her life has changed in the past thirty years, but it was fascinating.

One of the more interesting things she said was that God places an angel with a flaming sword in front of every door in our lives that we shouldn’t take. Sometimes, it seems that you’re simply staring down a corridor full of guarded doors–and sometimes, especially towards the end of life, it seems that you’re staring down a corridor and the angels are saluting you. That made her tear up–she’s had a long, rough, yet interesting and vibrant life.

When asked to elaborate on the decline of the fantasy market in the past twenty years, she gave a very interesting response. Today, instead of buying fantasy novels by the pound, fans are immersing themselves in MMORPGs like World of Warcraft. Because it requires much less effort to play a game than to read a book, people are turning to games as a substitute.

Another fascinating panel was Riding the Rocket, in which a number of established authors discussed the career blast off and what to expect. Lee Modessitt made the point that there are two basic approaches to writing: storytelling or writing excellent prose. In order to be successful, a writer has to master both, but they generally start out better at one than the other. The key is to know which one you’re weaker at and consciously work on it.

When asked about their greatest fear, the unanimous answer was that they’re terrified their next book will tank and that they’ll fade into obscurity–that they’ll be forced to go back to that dreaded day job. The only way to deal with that, though, is to keep writing, keep working on your craft, and control the things you can while not fretting too much about the things you can’t. If you do what you can, things will generally work out for the best.

There were a ton of other excellent panels, other nuggets of wisdom. I recorded a number of panels, but I’ve decided not to post the mp3s publicly here: if you want them, just email me and I’ll send you a copy.

All in all, I’m very glad I came! Besides all the panels and networking opportunities, it was just a lot of fun to hang out and talk science fiction and fantasy with a bunch of like minded people. CONduit is an awesome convention–if you’re a local Utah writer and you have the chance to come, I definitely recommend it!

Book Festival and other updates

So last Friday, there was a book fair at the Provo Library. I only heard about it the night before from Facebook, but there were almost twenty authors on the guest list, so I figured it would be a good place to go to meet other writers. I wasn’t mistaken!

I biked up to the library just as Brandon Sanderson was walking in. We chatted for a while, caught up on stuff since the last time I took his class. I almost got to walk into the author’s only lounge with him, but one of the staff stopped me. One of these days, though…one of these days!

I also ran into Dan Wells, who remembered me from World Fantasy and gave me a very nice compliment: he said I was very good at approaching people, especially at conventions. Talked about the different cons this year; according to Dan, Dragoncon is going to be huge this year, since Worldcon is in Australia and World Fantasy is in Ohio. I have a friend in Atlanta–I’ll have to look into attending that.

Brandon Sanderson, Clint Johnson, Mette Ivie Harrison, and J. Scott Savage did a panel on writing fantasy. Fortunately, I had my mp3 player on me and was able to record it. If you would like to listen to it, you can find it here:

Fantasy Panel, Provo Children’s Book Festival (15 May 2010)

Clint had some interesting advice for me after the panel; he asked about the books I’ve written and said I should submit them to YA agents/editors as well as mainstream adult agents/editors. Apparently, Genesis Earth and Mercenary Savior could work as YA, since 1) they’re about (relatively) young protagonists having coming-of-age experiences and learning how they want to live their lives, and 2) they don’t have the sense of nostalgia that adults often have when they think about their childhood.

So that was the Provo Children’s Book Festival. Let me just say, this is one of the reasons why I love Utah: the writing scene for fantasy/sf/YA is HUGE. Tons of writers, tons of readers, local writing events all the time–it’s great.

In other updates, I got a personalized rejection from Orson Scott Card’s Intergalactic Medicine Show! It was a pretty long one, too. The assistant editor said the writing was pretty good, but it felt too much like a novel. Hehe…confession, it was part of a novel. But that’s awesome that he thought the writing was good!

Besides that, he gave a lot of suggestions as to formatting, referring me to this site for detailed ms instructions. I didn’t think most editors would mind Times New Roman, but if it’s an issue even for a few of them, I should probably just switch to Courier–no editor is going to fault me for using Courier.

Besides all that, I’m well on my way to finishing Mercenary Savior 3.0 before CONduit. My goal right now is to finish it next Tuesday and spend Wednesday and Thursday sending it out. After CONduit, I plan on starting Hero in Exile (except the name will change), and I have a TON of great ideas for it. Funny how sometimes in order to finish a book, you need to write another one first.

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Man, I don’t write for this blog as much as I should.

Life is going well. I just recently got a part time job doing telephone surveys; hopefully, it will help tide things over until I can get something better. Between that and donating plasma, I should be able to pay the bills for the next couple of months.

I’ve also been writing quite a bit, hitting between 2k and 4k words per day. At this rate, Mercenary Savior 3.0 should be finished by the end of next week. That’s good, because I’m excited to start submitting it. I’ve already got Genesis Earth making the rounds, but the sooner I can get another project out there, the better.

For my next project after , I want to recycle Hero in Exile (ugh, it needs a new title) and turn that into a complete novel. I have a lot of ideas for it, but it will require some research, which may delay the actual start date.

For example, the main character (who I’m going to rename) has this major conflict where he’s trying to go home. As a young boy, his parents put him in an escape pod that crash landed on the planet, where he was raised by the locals. As the writer, I’m going to need to know about adoptions, know a handful o f adoption stories to pattern things off of, and maybe read a couple of essays on the meaning of “home.”

As another example, one of the major themes I want to get across is the struggle to maintain personal moral integrity in a morally corrupt world. I probably won’t have to look too far for that–being Mormon has given me lots of opportunities for research there–but I need to do a lot more to be aware of that particular conflict. When you’re slogging away, it’s very easy to focus too much on plot and no enough on the rest.

Probably the biggest preparation is going to be working through the character motivations, and that inevitably means building a background, since motivations grow out of the character’s history and background. But that’s going to involve a fair degree of pre-writing, which I may or may not be able to do before I start page one.

And that’s another scene; I’ve got to completely revamp the beginning. What I have now involves the main character staring out over the desert just before a sandstorm. Picturesque, but essentially navel gazing with little real character development. Instead, I want to show him thinking or doing something that reveals the central, most important aspect of his character, the way Brandon Sanderson did it in Elantris.

So anyways, lots of work to look forward to, in terms of writing that is. Other kinds of work…well, it’s good to have a sense of security. Even though I’ve been producing a lot, I’m sure I could have been producing more (upwards of 6k or 8k per day) if I’d had that sense of security provided.

Anyways, there is more that I could say, but I’m going to go to bed because it’s freaking 2:22 AM. Night.

Quark has a new writing VP

That’s right; her board name is Jimmy and she’s basically doing it the same way I did it–by jumping in the deep end first. Joined quark last semester, went to a few writing meetings, and pow! Writing VP.

Anyways, we had some interesting conversations after the last writing group meeting of the semester. Basically, I think I convinced her to set daily writing goals the same way Aneeka convinced me. She also decided to start a writing blog, so if you get a chance, you should check it out! It’s called Dragons, Dirt & Bones, after the quote by G. K. Chesterton:

Fairytales are more than true–not because they tell us that dragons exist, but because they tell us that dragons can be beaten.

The funny thing is that we met each other two years ago and both totally forgot about it. She was a high school junior visiting BYU, and came to Brandon Sanderson’s English 318 class. She remembers bookstore guy…and one of the writers whom the others in the writing group mercilessly ripped on. Guess who that was?

In unrelated news, I am no longer homeless but am currently unemployed. Dropped off a business card at Pioneer Book, though–told them I could help if they need extra work for the move. Who knows, maybe that will lead to something.

I will probably end up getting a generic summer job, then upgrade to something more semi-permanent (and resume friendly) by August. I’ll probably stay in Utah, using my writing and editing skills in some capacity. I’d like to work as a grant writer for BYU, but they’re still under a hiring freeze. Once that lifts, though, there are going to be a ton of job openings.

My primary plan is still to make my living as a published author, and I’m very optimistic about that working out. Before the end of next week, I want to have Genesis Earth sent out to at least five new places. My goal for Mercenary Savior is to finish draft 3.0 by CONduit at the end of May, but I will probably polish the first three chapters and start sending it out before then.

In the meantime, the real world awaits. Scary, I know, but at least I’m graduating debt free, with a roof over my head, friends and family close by, and lots of exciting possibilities for the future. I think things will turn out well.

Quick post from Provo

This is going to be quick, because it’s late at night and I want to get some sleep.

I made it to Provo. I’m currently staying with an old roommate, sleeping on his couch. To do: find a job and a place to live. Fortunately, I’ve just about got the second one secured.

I talked with the editors at Leading Edge today, and they told me they’ve been having problems with the buy function on their website. If you tried to buy a copy of issue 58 (the one with my story) before this month, they probably lost your address. Don’t worry, they voided the purchase, but if you want a copy you’ll have to go through the process again. Sorry for the hassle.

Wrote the last academic paper of my undergraduate college career today. The last freaking paper. Hooray!

I dropped in to English 318 tonight, and a couple of Sanderson fans got engaged in front of the whole class. It was pretty cool, not the least because they were cosplaying at the same time. Good luck, Mi’chelle! May you and your future husband have a wonderful life together!

Thanks for all the feedback on the new title. I think I’m going to stick with it. It’s weird to call the book by a different name after working on it for so long under the other title, but I think Mercenary Savior works much better.

Looked up Westercon today and found out it’s only $60. Thinking seriously about going. Should I? Is anyone else planning on going?

To do tomorrow: get cap and gown, complete and file taxes, sign a spring/summer contract, meet up with old supervisors/professors in pursuit of a job, go to a bonfire and have a good time.

My mom always got depressed with to do lists; she always felt daunted when she saw all the tasks she needed to accomplish. To counteract this, she made a “tasks accomplished” list at the end of the day to make her feel better. So, on that note:

Accomplished: finished all Washington Seminar coursework, attended English 318 and obtained leads for Mormon Artist article, attended Leading Edge and caught up with the slushies, got a date for next Friday (totally unrelated), submitted Genesis Earth to an agent, wrote +2.2k in Mercenary Savior.

Not bad. Now, if you’ll excuse me, I’m going to crash for the night.

Go to Tor.com and read this.

Brandon Sanderson’s story of how he decided to become a writer is very interest. It goes back to elementary school, when he hated books and reading in general. A wise teacher put a copy of Barbara Hambly’s Dragonsbane in his hand, and it started a chain reaction that led to him becoming a bestselling writer.

As one of Brandon’s students, I’ve heard the story several times. However, I had no idea how significant a role that Michael Whelan, the illustrator of that book, played in it all. Tor commissioned Michael Whelan to do the cover for Brandon’s next book, The Way of Kings. In response, Brandon wrote a blog post at Tor.com explaining how significant it is to him that Mr. Whelan was chosen to do the cover art for The Way of Kings.

It’s an awesome and moving blog post. You should check it out.

In unrelated news, I am 110 pages into outlining Bringing Stella Home 3.0 and enjoying the process immensely. I’ve got some awesome first readers. Even with all the honest criticism, I’d much rather be writing than doing office work at my internship. Ah, well, April 15th will be here before we know it.

As for graduating and finding myself in the real world…not quite as thrilled about that. More like scared s***less.

Thoughts on writing characters

A couple months ago, I was listening to one of my personal recordings of Brandon Sanderson’s English 318 lectures from last year’s class. The topic was writing characters.

Brandon outlined several techniques for making characters sympathetic. He also outlined how to round them out: give them flaws and handicaps, as well as little quirks to make them unique and memorable.

However, I couldn’t help thinking that something was missing in his formulation.

Before I continue, let me say that I’m not disparaging or criticizing Brandon Sanderson’s abilities to write compelling, well-rounded characters. As his novel Mistborn shows, writing characters is one of his strengths.

At the same time, I feel that the “checklist” approach to writing characters can be dangerously counter-productive. Too often, characters in sub-par novels feel like a patchwork of characteristics and personality traits, not like actual, real people.

When I asked Brandon about this, he said that his techniques should be seen as tools, not as fundamentals. He then went on to say that the most important thing to keep in mind is the character’s motivations–why they want what they want. Beyond that, you just have to tweak the character until they fit into their role.

After thinking about it for some time, I came to the conclusion that the best way to write characters is to keep two essential rules in mind:

Rule #1: Every character is the hero of their own story.

Rule #2: Every story is composed of three parts: beginning, middle, and end.

The first rule is straightforward: every character sees their life as a story in which they are the main character. This is because all of us, as human beings, view our own lives in this way. We may look at other people and consider them nothing but extras in the story of our life, but they certainly do not think of themselves in this way.

To apply this rule, however, we need to understand what it exactly means to be the hero of one’s own story. We can only understand this when we realize that a story is composed of three basic parts: beginning, middle, and end (or, as we see ourselves: past, present, and future).

Every hero has an origin and a destiny. Without these, they don’t have a story; they don’t have a beginning and they can’t have a meaningful end. This is why the hero cycle begins with the miraculous birth and ends with ascension and apotheosis.

Writers should keep this in mind as they sketch their characters. If you don’t know where your character came from–who their parents are, where they grew up, what were their major formative experiences, etc–your characters are going to fall flat because they’re just extras in someone else’s story; they have no story of their own.

Likewise, your characters need to have a destiny. If you’re a discovery writer (like me), this might be harder because you don’t know, from the outset, where everyone’s going to end up. Keep in mind, though, that rule #1 applies to the story the characters tell themselves just as much as the story you’re telling the reader.

Each character’s individual story is like a thread, which the writer weaves together with other threads to form a beautiful tapestry. That tapestry is the novel; without the individual characters’ stories, the work would feel week, shallow–threadbare.

Of course, it’s not always possible (or a good idea) to reveal everything about every character. It’s also not always possible to outline every character in great depth–not without catching “worldbuilder’s disease.” Instead, the rules of worldbuilding should apply–only use 10% of your worldbuilding in the actual story, no info dumps, etc.

I don’t think that’s a comprehensive theory of character just yet, but I think it’s a step closer to one. If you have any ideas or suggestions of your own, please do share.

Image courtesy Postsecret