The Woes of Word Counts

A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason a drawing should have no unnecessary lines and a machine no unnecessary parts. This requires not that the writer make all his sentences short, or that he avoid all detail and treat his subjects only in outline, but that every word tell.

  ~William Strunk, Jr.

The dreaded red pen

Being concise is difficult; so difficult many writers won’t do it unless forced. Most of us regard the red pen with fear and loathing. We don’t want to edit, we don’t want to cut. So why do we have to? We love words. Why can’t we write as many of them as we want?

The simplest reason is that the publishing industry clearly demands it. The magic number is 100,000. You can’t go over that word count for a novel without severely hampering your chances of getting published. (In some genres, it’s even less.) To be honest, I don’t really understand why this is. Maybe one of our readers in the publishing industry can explain it. In a recent informal, completely nonscientific survey, the majority of my friends said they prefer long books: the longer, the better. They like getting lost in another world. We can all think of a dozen bestselling exceptions to the 100,000 rule: War & Peace. Pillars of the Earth. Gone with the Wind. Harry Potter. According to this guy, all modern books (all!) are too long. So we may be forgiven for feeling sniffy when agents tell us to keep our submissions short.

Doubles as a doorstop

One thing to keep in mind is that the demand for succinctness seems to apply primarily to unpublished writers. The Deathly Hallows is 759 pages, but The Sorcerer’s Stone is only 309. Rowling was probably forced to be more terse than she wanted with that first novel: once she established herself as a bestselling author, she was allowed to indulge. It is also true that some debut novels are massive: Special Topics in Calamity Physics, Marisha Pessl’s first novel, is 514 pages long — which translates to about 200,000 words. We look at her, cross our envious arms over our chests, and think, well if she can do it …

But the most salient truth here is this: many literary agents really do reject on word-count alone, and it’s never a good idea for a novice to assume she’s the next Marisha Pessl. Getting published is hard enough. To ignore the word-count guideline is to run a marathon with one leg hobbled.

Not an ideal way to enter a marathon

Another reason to write shorter is that it will force you to write better. “The only art is to omit,” said Robert Louis Stevenson. “If there is anywhere a thing said in two sentences that could have been as clearly and engagingly said in one, then it’s amateur work.” When I write freelance articles, I’m usually required to write no more than 800 words. My notes and interview transcripts run thousands of words, and it all seems important.

This is going to hurt

But I have to be economical: if I don’t slice those words, my editor will, and I’d rather be the one holding the scalpel. This forced concision means I have to think hard about word choice. Not only word by word, but paragraph by paragraph. Some passages, especially descriptive ones, add nothing substantive. They’re decorative, and when you’re on a word budget, decoration is the first thing to go.

Not everyone, of course, is inclined to write long. Last summer I took a writing class with a woman struggling to complete a middle-grade book. She’d been told she needed to add about 2,000 words to get it to the “right” word count for that genre, and she was devastated. “I don’t know if I can do that,” she said, mournfully regarding the pages in her hands. I was puzzled: for one thing, 2,000 words doesn’t seem like that much. For another thing: think of the chances she had to develop character! To wax eloquent with a scene description! To throw in some snappy dialogue! But for some writers, reaching the word-count minimum is the trick. (That magic number, if you’re wondering, is 50K for mainstream adult fiction; 30K for middle-grade.)

What about you? Do you feel hampered by industry’s word-count limits, or do you find the guidelines helpful? Do you wonder, especially with the growing popularity of e-readers, if this limitation is becoming irrelevant? Have you been told by an agent or editor you need to cut — and if so, how did it affect your story?

 Too many notes, Herr Mozart

Where Have all the Recluses Gone?

Are you a little shutter shy?
How reclusive are you?

Much like Paula Cole asked back in 1997 when it came to the cowboys, I too have a similar question. We live in a day and age where just about any pertinent (and some that isn't) piece of information one wants to know about a film star, a musician, a reality junkie, or heck, even an author, is out there for all to see. But there was a time when no one really cared about that black and white glossy on the back flap of a book or the quick bio indicating how many dogs the author lived with and what he/she enjoyed about living in (insert a state that doesn't come easily to mind). No. There was a time when the unknown author was, well, unknown.

Today, any aspiring author is told that in order for her work to sell, she must have a built-in audience already in place for that big day when her book hits the shelf. Anymore, there seems to be an endless list of what aspiring authors should be doing and not really focusing on what's most important to a writing career -- the writing. I've heard more than one agent or editor stress that those time-consuming things we do on the side (i.e. blogging, tweeting, etc.) are almost more important than what's written on the page. How have we gotten so off-track in the publishing world, to the point that the writing has been placed on the back burner?

I'd like to take a look at a few of the authors many of us have come to know and love and, yet, they shunned the public eye. They pretty much thumbed their noses at it and told everyone to leave them alone. But we love them to this day, and not because of their "platform" or how many "followers" they have tagging along behind them. No, we love them for . . . you guessed it, their writing.

J.D. Salinger -- 1950

J.D. Salinger, who is known for his one and only full-length novel, Catcher in the Rye, was probably one of the most reclusive writers in American literature. Catcher in the Rye took Salinger ten years to write and when it was published it became an instant hit. The book has never gone out of print, but according to nndb.com, "as the novel's popularity grew its author became more and more reclusive, refusing all interview requests and virtually never being seen in public." Even his neighbors in Cornish, New Hampshire fiercely protected his privacy. Up until the time he passed away on January 27, 2010, he reportedly spent his time writing, but for himself and not for the public. His last work to ever appear in print was a novella entitled "Hapworth 16, 1924," which was published in The New Yorker in 1965. Talk about longevity and basically off of one novel! I'm assuming he never opened a Facebook account, right?

Marcel Proust -- 1900

Marcel Proust was a French novelist who became a permanent fixture in Paris salon society up until the turn of the century. With his brother's marriage, his parents' death and health issues, including crippling asthma, he lived a reclusive lifestyle during the last seventeen years of his life. According to FlavorWire.com, "Proust, who soundproofed his studio with cork walls and installed layers of heavy curtains to keep the light out, would stay up for days on end working on his 3,200-page masterpiece, In Search of Lost Time. When greeting guests, he was often unsure of whether it was day or night." Before his death in 1922, there was a three year period where Proust rarely (if ever) left his apartment.

Cormac McCarthy

Cormac McCarthy isn't quite as reclusive as the aforementioned authors, since he showed up on Oprah not too many years ago. But it had been a while. Fifteen years to be exact, since his last interview. Although McCarthy's first novel, The Orchard Keeper, came out in 1965, it wasn't until the 1992 publication of All the Pretty Horses (Yeah, you remember that dud of a movie starring Matt Damon, right?) that he earned recognition for his writing (and most of his career he's spent without an agent). All the Pretty Horses would go on to win the National Book Award and National Book Critics Circle Award. The only newspaper interview McCarthy has ever done was for the New York Times and the only on-air interview he's ever done was for Oprah Winfrey in 2007, when he told Winfrey that he doesn't know any writers and much prefers the company of scientists (interestingly enough, he doesn't care for Marcel Proust's literature, either). His most recent bestsellers include No Country for Old Men (2005) and The Road (2006). He leads a quiet life in Tesuque, New Mexico.

Thomas Pynchon on The Simpsons

Thomas Pynchon has lived a similar reclusive lifestyle to that of Salinger, although with a little twist of humor along the way. His most celebrated appearances? The three that took place on The Simpsons, most notably with a bag over his head. Pynchon has a penchant for fooling the public and most wonder why he's chosen such a low-key lifestyle. He's been praised for his novel Gravity's Rainbow which was released in 1974 and won the National Book Award. He sent comedian Irwin Corey in his place to accept the award. It took four decades before New York magazine tracked him down in 1996. Although he's reportedly spent much of his career living in Mexico with brief stints in California, the magazine found him living a quiet life in New York. He shuns the public eye and has rarely been photographed or seen on camera (surprisingly enough, per his request).

Harper Lee -- 1960

Harper Lee's one and only novel, To Kill a Mockingbird, came out in 1960. She was a long-time friend of Truman Capote and based most of her novel off her life growing up in Alabama. Her novel won the Pulitzer Prize for fiction the following year, but that didn't mean Lee was doling out interviews. For years, Lee politely refused interviews and public appearances. It wasn't until 2006 that Lee broke her longtime silence. She finally agreed to do an interview for the New York Times but would only answer questions pertaining to the University of Alabama's annual awards banquet honoring essays written about To Kill a Mockingbird. To this day, at the age of 85, she politely refuses all interviews with a handwritten note.

After seeing how some notable authors have been able to retain their privacy to this day, my question is, why is the social network so important when it comes to selling fiction? I recently attended a writers' meeting where the guest speaker spoke about the imbalance between those who follow him on Facebook and Twitter and how many books he sells on average. Basically, what he said is that followers on those sites don't translate into sales, something he's worked long and hard to attain through social networking.

Perhaps you're a little like me and don't care for all the details when it comes to the author. Does a little ambiguity make us enjoy an author more, and does it lend a little mystery to the writing craft?

What do you think?

Do you believe the online community has helped or harmed your writing career? Do you waste time connecting to others, or do you use your time wisely and learn to balance your writing with your online social life? Do you believe a writing career today would be harmed by adopting such a reclusive lifestyle?

☞ Make sure to stop by The Random Book Review and see what Sister Stephanie has to say about this week's controversial novel! ☜

To Err is Human, To Learn Divine

My 8 Biggest Mistakes in Writing

From the time we learn to form complete sentences, we notice and point out other people’s mistakes and flaws (for a sample, visit your nearest playground or listen to a pair of siblings arguing.) But it takes decades for us to acknowledge our own errors—if we ever do. It seems especially difficult to find mistakes in our creative endeavors, particularly in our writing. There is something about this art form that feels very personal. Many times we need someone else to tell us what's wrong with our manuscript. Other times—if we’re objective enough—we’re able to identify the problems ourselves. This is an important step for a writer; if we never acknowledge our mistakes, we are bound to repeat them. Equally important is to be able to learn from them, but this is not always easy. Sometimes we’re too immersed in our work to see clearly, or we’re too impatient to be published to take the time to rewrite—even if a little voice inside our heads keeps telling us the novel is not ready. This is why time and distance are key. If we come back to our novel weeks, months or years later, we’ll be able to read it like outsiders and identify what’s not working. But we won't be able to do this until we have grown in our craft. Thus, practice and reading are essential. Our favorite books, or even the ones we don’t like, can be great learning tools. As with any other skill, like playing the piano, cooking, or roller-skating, the more we do it, the better we’ll get at it.

Going back to the earliest drafts of my first novel, I can now see clearly the mistakes I made. Here are my eight worst mistakes and what I’ve learned from them:

1. Ms. Ghost or the Passive Protagonist

In my attempt to create a vulnerable and likable heroine, I made the mistake of making her too passive. She was agreeable and nice, but boring. (And she was always smiling!) Things just happened to her and she had no other option but to react. Somewhere in the creative process, I crafted secondary characters that “came to life” and became a lot more interesting than my protagonist. Ms. Ghost became a witness to the more active characters and I kept hearing how much my readers loved the other characters (buuh!)

Possible solutions: If another character becomes more engaging to you, consider making her the protagonist. If this is impossible, then find ways to make your main character more active and interesting. Instead of letting the circumstance and/or other characters dictate her actions, make her take the initiative. Give her a backstory (but don’t share the entire thing with the reader, please.) One of the problems I had with my heroine was that she was “born at 19.” I never gave her a past, therefore I didn’t know who she really was; only what was going to happen to her in the future.

2. Ms. Magnet or the Inexplicably-Attractive Character

Not only was my heroine passive, but men were falling for her like flies on a quarter sheet of chocolate cake. (Maybe because of her smile?) She was an irresistible magnet and at least three men in the novel were fighting for her affection. The leading man, for example, practically fell in love with her “at first sight.” Although it’s not unusual for people to be immediately attracted to each other, it’s not enough to build a convincing/touching tale. Neither is it realistic that with so many women in the world, everyone falls in love with the same one.

Possible solutions: Dissolve her fan club and focus on the relationships that are relevant to the plot. More importantly, give the hero and heroine things in common: likes, dislikes, backgrounds, ideals, goals, etc. You know, things that make couples in real life fall in love.

3. The "We are the World" Syndrome

If you ask me how many characters and subplots I had in my first draft, I couldn’t tell you. There were just too many to remember! My innocent goal was to tell the story of a town, not just a family, a la Peyton Place/Macondo. The problem with this is that it’s extremely difficult for a novice writer to keep track of all the developing storylines and character arcs, and be able to time them just right with the main plot. Not only that, but the manuscript becomes as thick as an encyclopedia, and you find yourself cutting down on scenes that contribute to the main plot or the characterization of important characters. (I should mention, too, that I was jumping from head to head at whim!)

Possible solutions: Press “delete."

4. The Anything-Goes Novel

In my conversations with other writers, we all agree that there is an innocence and bliss to that first draft that never comes back. When you first start, you feel unrestrained, powerful, enthusiastic with your creations and developments. A free spirit. You are overflowing with ideas and you must fit them all in your magnum opus. You are the “owner of your world.” But then you bump into that first door (aka: reality) be it through an editor, agent, teacher or critique partner and you realize you’re not as free as you thought. Your world has to have a direction, they tell you. You can’t have errant scenes just because they’re fun to write if they don’t lead anywhere. You can’t ramble about until you find a solution to the protagonist’s dilemma and your manuscript reaches 153,000 words. (True story.)

Possible solutions: Plan your novel before you start writing it. By planning, I don’t mean “think about it.” I mean write an outline or a summary of scenes. If you cringe just reading the word “outline," then at least figure out how you’ll get from opening dilemma to climactic scene to resolution. I know this is not a popular answer. Many writers feel their creativity will be shut down if they use any kind of structure or guideline. But in my own experience, complete freedom can be more paralyzing than setting limits for yourself. (If you can go any direction, how do you know which one is the best one to take?)

5. “Do what I tell you, Dammit!”

So you have an idea of how your plot should go. You figure out every twist and turn until you reach a satisfactory conclusion. Then you create your characters. But for some reason, they’re not doing what you want them to do. Or if they are, IT’S NOT MAKING SENSE. You’ve fallen into the trap of forcing your characters to follow the plot. They’re little puppets acting in ways that seem unnatural to who they are or to real life reactions.

Possible solutions: Be honest with yourself. How would you really act under the circumstances you’ve orchestrated in your novel? Don’t try to make your character act a certain way just because you want to use a particular setting, line of dialogue, or because you want to include that funny scene you love. It’s more important to craft believable characters and situations that your readers will buy. (A noteworthy comment: if you don’t think something you wrote is funny, neither will your audience.)

6. The Unsolvable Puzzle

When I first started writing it was difficult for me to determine how much information I should give away and how much I should withhold. Since I was writing a mystery, I was very careful not to give away too much. But the problem is I didn’t give enough and some conversations and scenes were so cryptic my readers had a hard time understanding what was going on. (I apologize for the frustration I imparted on my early readers.)

Possible solutions: Make the reader an accomplice of the protagonist’s discoveries. Give away information throughout the novel so that the reader doesn’t have the feeling he skipped three pages and doesn’t want to waste any more mental energy interpreting what your characters are saying/doing. In the end, you may lose your reader to a bottle of Aleve.

7. Telegraph Scenes

In my first draft, scenes were very short and lacked enough setting and inner thought. They were like characters in a school play coming in and out of the stage to recite their lines. My average chapter had ten or more scenes!

Possible solutions: Figure out what purpose each scene is serving and find a way to meet these needs by either joining scenes or rewriting them. Balance the dialogue with inner thought, action, setting, etc.

8. Rushed Ending

Somewhere in the middle of the first draft I read that 150,000 was a high word count (imagine that!) When I came to this realization, I started rushing my novel so that I wouldn’t add too many words to my already Bible-size manuscript (actually I did this with the second draft, too). What a mistake this was! There is nothing more unforgivable than an unsatisfactory ending! Many readers will swear off a writer if they don’t like how he or she wrapped up a book. Some writers also make this mistake because they’re eager to finish their books.

Possible solutions: If you realize late that you have a high word count, don’t sacrifice the quality of your book in order to cut down your words. When you revise the text from the beginning, cut any extraneous scenes/characters/subplots/words.

Your turn to own up to your mistakes. Which ones did you make when you first started to write and what have you learned from them?