Writing is somewhat like computer programming

By Anthony S. Policastro

Ok, if you think this idea is off the wall consider this: if a programmer leaves out a single character or adds an extra character, the program will not work as intended.

Writing in essence is the same. If you don't craft your words, sentences and paragraphs properly, your intended message does not come across.

Programming is a lot easier than writing - it's exact - XYZ code tells the computer to execute a specific function. The computer does not have an opinion about the code and the code does not have several meanings.

Writing, on the other hand, is more complex. Words have different meanings for different people. The structure of a sentence or paragraph may have one meaning for one person and different meaning for another.

But if the writing has the right flow, the right words and the right structure it is like great poetry. That's why we hear statements like, "The writing works! The writing pulls you in! I just love the writing!" It is the stuff of the classics and more.

So what exactly is the right stuff - the stuff of classics, the magic of the writing? My take is that the writing communicates universal truths, truths that are common and important to all human beings. The universal appeal of these truths is so powerful that the writing lives on generation after generation, century after century.

More importantly, the writing drips with emotion. Words can stir our deepest hopes and dreams, our imaginations, our inspirations and they let us dance in the joy of the things we love.

It's not easy getting words to do all those things, but as writers we always try. So if you can get the right "programming" for your words, you will write a classic that will live on and on.

Try doing that with a computer.

Should There Always Be a Free Lunch?

Image by gwydionwilliams via Flickr

By Anthony S. Policastro

I recently received a comment from a reader named Pepe on my earlier post Would You Pay $26 for an ebook? about the price of ebooks. I was impressed at what he said because he is a reader in favor of the author.

Here is what Pepe wrote:

"I think that 10$ is too much for having a book with drm, indeed for a book with drm I wouldn't pay more than a dollar.

Otherwise, if a get a book at a small price, provided it's without drm, and provided at least more than 50% of the price goes to the author I would pay for it, gladly, even these 10$ if the book really pleased me and is a long one."

He believes at least fifty percent of the book price should go to the author. And he has good reason.

"But this is even expensive, lot of people paying this amount will consider they have the right to give it away freely, and this is not good for the author, so why not sell them really cheap, let say 2 or 3$ and convince people that they should pay for reading it because that way the author will be able to produce more of these books they really enjoyed?

I think this is really possible, there's money for the author, for the online editor and people will be happy knowing most of the money they pay goes to whom really deserves it."

Like many authors, Pepe believes that Internet users should change their mindset in the belief that digital products on the Internet should be free.

Whether you believe it or not, there is a cost to someone to create the book, upload it to an ebook site and promote it so that readers may buy it. The cost may not always be physical, but it is a cost in time - time the author could be using to write the next great American book or just spend thinking of something new to write.

We need more readers like Pepe.

Are You FAKING IT?

By Elisa Lorello

Thanks so much, Anthony, for giving me the opportunity to post on your blog and for all your support. I’m so excited about this tour and about the journey FAKING IT has taken, from the very first “what-if” to now.

FAKING IT is a romantic comedy set mostly in New York City (think When Harry Met Sally meets Sex and the City). Andi, a thirty-something writing professor, meets Devin, a handsome, charming escort (is there any other kind?), and proposes an unusual arrangement: lessons in writing in exchange for lessons on how to be a better lover. When Andi and Devin break the rules of their contract that forbids them from seeing each other socially and become friends, complications ensue. FAKING IT is witty and fun, yet also has some poignant moments.

I’m often asked what advice I would give an aspiring writer. My response is to never limit yourself. If you believe you have limitations, then your biggest limitation is you.

Let me give you an example. The idea for FAKING IT came to me ten years ago (I can’t believe it!) when I was watching this brand new show called Sex and the City. I was struck by its boldness, yet uncomfortable with its content—I was this Roman Catholic with five overprotective brothers and a mother who never let me watch soap operas when I was a kid, and they’re talking about WHAT??? Suddenly this “what-if” whispered in my ear: what if a woman is so inhibited that she needs someone to teach her to be more like those women on Sex and the City? And what if that person is a man, someone who is an expert on such things? What if he’s an escort? And what if they become friends? And so on.

I put off writing that “what-if” for five years because of the limitation I had established: I am not a fiction writer.

Yes, I actually believed that! I had always been more comfortable with the autobiographical essay, or memoir. But the idea wouldn’t go away, and I finally realized that I could use elements of what I knew (New York, teaching, writing and rhetoric, etc.), yet still tell Andi’s story. After all, it worked for Nora Ephron. Same with Woody Allen. Once I removed that limitation, the dam broke, and lo and behold, FAKING IT poured out of me. Moreover, I quickly discovered that this novel had a potential readership other than me, and that I was indeed a fiction writer.

The other limitation I removed was this idea that there was only one way to publish, that if I didn’t have a literary agent or a traditional publishing deal, then no one was going to take me, or my novel, seriously. All I had heard was how hard it was to get published, how competitive the business was. But I decided not to believe them.

I queried agents and got many rejections, but that didn’t stop me from believing in my work or in myself as a commercial author. Thus, I researched self-publishing and was lucky to ride the wave of social networking as a force in self-publishing and viral marketing. And I have no regrets.

Don’t let anyone tell you that you can’t write, can’t publish, can’t sell your book. The only limitation you can ever have is you. Sky’s the limit – get busy writing!

FAKING IT is currently available at Lulu.com, Amazon.com, Quail Ridge Books and Music in Raleigh, NC, and Baker Books in North Dartmouth, MA. Also, be sure to join the group Faking It Fans on Facebook, and follow my blog, formerly known as Kairos Calling.

"Write a Page a Day or You're Not Serious"

My wife and I attended the Virginia Festival of the Book in Charlottesville this past weekend, and one of the highlights was hearing native son, John Grisham participate in a panel discussion with Stephen L. Carter.

Both are prolific writers, John Grisham with twenty two novels published and Stephen L. Carter, a William Nelson Cromwell Professor of Law at Yale Law School with nine novels and six books on policy.

During the discussion, moderated by Dahlia Lithwick, there was some valuable advice I garnered from both writers about writing and about being an author.

John Grisham said he never planned to be a writer - his dream was to become a great trial lawyer. He said he started "playing around" with writing fiction later when he was around 35 or so and found it was "fun" and "really gratifying."

His first book, A Time to Kill, had a print run of 5,000 copies of which, "I bought a thousand."
He wrote a second book and that would be the acid test - if it sold well he would continue as a writer; if not, he would continue as a lawyer. "Besides, I was not happy being a small town lawyer and starving." The second book, The Firm, sold well and later became a blockbuster movie.

When he had reached best seller status with the book, his friend, horror writer Stephen King, called him and said, "'Welcome to the big leagues.' That was nice I thought. And then he said if you want to stay on top you have to do a novel a year so that's what I have done."

Stephen L. Carter is so well known in law circles that he has a Wikipedia entry. He said when he started his career there were maybe two college professors who wrote fiction. Now, he said he is seeing a lot more writing fiction as well as professional journals and books.

He said "writing fiction fills a need in my soul and it is fun to do. If you want to be a writer, it has to be a job. You have to make yourself do it."

John Grisham agrees. "Write a page a day or you're not serious."

Click here to hear the entire one hour panel discussion at the VA Festival of the Book site.

What’s a Hook? The Art of the Pitch

New York Times Bestselling mystery/thriller author Joe Finder was gracious enough to let us reprint his blog post here on the art of the pitch.

By Joseph Finder

This is the text of my March Writing Tips newsletter, which just went out. If you'd like to subscribe, you can do so here.

My Hollywood agent brought me out to L.A. not long ago to pitch a couple of Big Shot TV producers on an idea for a show they wanted me to create. I figured, why not? I flew out there and got into the meeting with Big Shot Producer #1, wearing my expensive jeans, and started telling him about my idea, the same way I’d tell my editor or my agent.

About five minutes into my spiel he cut me off and said, “Excuse me. No offense, but you’ve never pitched before, have you?”

I confessed I hadn’t, as if I had to say anything. I don’t pitch. I write.

He said, “I can tell. That’s not how you do it. Why don’t you come back in after you meet with the other producers and pitch it again?”

You might think that I’d be embarrassed or annoyed, but the truth is, I appreciated his honesty and respected the guy all the more for it.

Pitching is a specialized skill that has very little to do with whether you can write. But in Hollywood, the pitch is the currency. If you can’t pitch your idea, no one’s buying.

Why should novelists care about the art of the pitch in Hollywood? Because being able to pitch a movie, or a TV show, is the same skill as being able to come up with the “hook,” the “what-if,” the premise of that novel you’re writing. Or that script.

Put it another way: you’re in an elevator with one of the most powerful book agents in New York (or wherever), and you have ten seconds to pitch your novel to her so that she’ll actually want to read it. Can you do it?

Bet you can’t.

Maybe you’re thinking, “Who cares? I’m not going to ever get into an elevator with a powerful agent, and if I did, I’d probably freeze up anyway.” Maybe. But odds are, at some point you will have to e-mail or snail-mail a pitch in the form of a letter or a note.

“So what’s it about?” a friend asks you. You say, um, er, well . . .

Summarizing your story in a sentence or two is one of the hardest things to do, whether you’ve published ten books or none. Don’t forget, we established writers have to pitch our books too, when we’re interviewed on TV or radio. It’s not easy. But it’s essential, and not just to sell a book. I’m convinced that if you can’t “pitch” it in a sentence, you don’t have the story figured out yet. Simple as that.

Years ago, when I was struggling through the first draft of The Moscow Club, I had lunch with an editor. “What’s your ‘What If?’” he asked.

I had no idea. My “What If”? I’d never thought in those terms. But he was right; every book starts with a question that, in the end, it answers. Call it a Hook, call it a donnée, call it a premise. It’s the thing that sucks the reader in and makes him or her want to know what happens next.

Now, a confession: I’ve been writing thrillers for over 20 years, and I still get confused about the difference between a “hook” and a premise. Is a hook the thing that starts the book and grabs you by the lapel and makes you want keep reading? Or is it the concept of the entire book — a definition that veers dangerously into the Hollywood notion of “high concept”?

I’ve done some thinking, and here’s my answer. “High concept” is an unjustly maligned term meaning a story idea that can be easily grasped both by studio execs and by audiences. But a warning: just because you can pitch it in a sentence doesn’t make it High Concept. No — it has to be extremely appealing and commercial, not just succinct. It’s got to have wide, instant commercial appeal.

Yet if a story is all high concept with no follow-through, it’s little more than a gimmick. Take “Snakes On a Plane” — you get what it’s about instantly. You may even want to watch it. But it’s not a good movie. It’s all wind-up, little delivery.

Don’t get me wrong; there’s nothing wrong with a “high concept” thriller. In fact, if you have a high concept, that makes it even easier to sell. Take The Bourne Identity, for example. What if a man with amnesia has forgotten he’s the world’s most dangerous assassin? That concept boosted Bob Ludlum’s already large readership hugely, based on the premise alone. And it’s a great one. A couple more great high-concept thrillers: Michael Crichton’s Jurassic Park: “What if scientists could clone dinosaurs from prehistoric mosquito blood trapped in amber?” Or John Grisham’s The Firm: “What if a high-end law firm turned out to be a Mafia front?

High concept isn’t necessarily cheesy at all — Shakespeare’s Romeo and Juliet, anyone? It’s all about how well it’s executed. Scott Turow’s Presumed Innocent (prosecutor is accused of the murder of his lover, and he’s the first-person narrator) is high-concept to be sure, but beautifully written and brilliantly plotted.

A hook, on the other hand, is the opening gambit that reels you in -- like a fish-hook. Harlan Coben is a master of the hook. (Dan Brown says so.) Tell No One, for instance — a guy gets an e-mail message from his dead girlfriend, who may or may not be dead. I’m there. The book spirals on from there, but that’s the set-up, the premise that grabs you at the outset.

A fishing hook needs bait and a fisherman, though, and a writing hook needs a story. An unusual situation, however intriguing, is not a story. “A family digs a swimming pool in the backyard, and finds a buried time capsule” is a great premise for a novel – but what happens next? “A family’s discovery of a time capsule buried in their backyard makes them the targets of government agents from every country in the world” — that’s a story hook, because now we know that the time capsule sets a chain of events in motion. (Hey, I just made that up, but I like it!)

So, the moral of the story: if you have a high concept for a novel, great. But you don’t need one. At the very least you want a great “what if,” a hook that grabs the reader in the beginning and makes him or her want to keep reading.

In any case, you do want your story to have a simple, easily expressible premise, and until you know how to articulate it, the odds are you haven’t figured it out yourself.

The Gift of Giving and Gratitude

By Anthony S. Policastro

At sixteen I knew I wanted to be a novelist. But when I sat down to start my book, the page remained blank. Writer's block at sixteen? Hardly. My pages remained blank for another dozen years or so, but my dream stayed with me. Then one day I was able to type "The End" on a page and I knew I accomplished the first step of my dream.

Years later I realized that when I tried to write a novel at sixteen, I had not experienced enough of life to form an opinion, a viewpoint, a voice. I needed to live life more, experience all of its intricacies and continually search for my voice. Maybe, this is what they call maturity. Maturity as a person, maturity as a writer.

That revelation stayed with me and is still with me and I am always open to trying new things, going to new places, meeting new people. Don't get me wrong, you don't have to climb Mount Everest or ride in a gondola in Venice to effectively write about those experiences – there is plenty of information in books and on the Internet to allow you to virtually experience them. You just have write so your readers can experience whatever comes out of your imagination.

So when my wife suggested that we volunteer our time at the Helping Hand Mission here in Raleigh on Christmas Eve to help distribute food and toys to the less fortunate, I was thrilled. Not only because it would be a new experience, but mostly because we would really be helping people less fortunate than us. And here's another important epiphany of life…perspective. You really get a reality check on your life when you see others who have much less than you. You become very grateful for what you have and you feel lucky. (You can experience a bit of what we did by viewing my photo stream on Flickr.)

It's the same with writing. When you constantly compare your writing to luminaries like Sara Gruen (Water for Elephants) or Jodi Picoult, who writes fiction about real issues that are pertinent today, you think your work is substandard because it doesn't sell and you are not a full time writer. Well, you should never imitate any writer; you should be your own writer. Yes, always shoot for the stars, but don't be undaunted by the success of others. And when you find your true voice, you should be grateful because many writers never find it. You should feel lucky and grateful like I did on Christmas Eve when I handed boxes of food and a turkey to fellow human beings who had a lot less than most of us.

It Really is a Wonderful Life

By Anthony S. Policastro

I thought I would re-post my piece on the classic film "It's a Wonderful Life" from last year. The film aired on NBC TV Saturday night (12/13/2008) and you guessed it my wife and I watched it and enjoyed the airing all over again.

In light of the current US economic situation, the film is a testament to the dire consequences of greed.

My wife and I were watching Frank Capra’s “It’s a Wonderful Life” on NBC the other night for the 100^th time or so. We both have seen the movie so many times we can recite the actor’s lines as they say them. We watch it every year just as we put up a Christmas tree every year. Although we have seen the movie many times, we both thoroughly enjoy watching it again often saying, “This is one of my favorite scenes,” or “I can’t wait to see this part.”

I started thinking about this film and why it is still popular and why it is so timeless. After all, the film debuted in movie theaters on December 20, 1946, it is in black and white and the lifestyle and mores of the era are those of our parents and grandparents depending how old you are. Some of the actors and scenes are corny by today’s standards, but the film remains highly popular. In addition, it was considered a box office flop because it did not generate the anticipated revenue.

As I watched it I could see that the film was made like a well written novel. Great characterizations, conflict, drama and George Bailey’s (played by Jimmy Stewart) self realization that his problems were nothing compared to all the things he had done and all the people his life had touched. All the plot points are resolved in the end and two major themes emerge: self sacrifice to help others and that family and friends are all that matter.

This is the stuff of great novels like GONE WITH THE WIND, THE OLD MAN AND THE SEA and others that speak a universal human truth that lives on through each generation. A truth that is not anchored in time and relevant to the values of any era. This is the kind of story telling all writers would love to write and it is the universal thread that keeps us writing against all odds.

If you have never watched “It’s a Wonderful Life” it is one of those films that should be required watching to become a member of the human race. It’s a film you should watch if you are writing a novel because it has all the elements of great story telling.

Here are links to additional information on the film.

A great review by Tom Dirks on filmsite.org

Photos and videos on The Internet Movie Database

Photos and information at Reel Classics

It Really is a Wonderful Life

By Anthony S. Policastro

I thought I would re-post my piece on the classic film "It's a Wonderful Life" from last year. The film aired on NBC TV Saturday night (12/13/2008) and you guessed it my wife and I watched it and enjoyed the airing all over again.

In light of the current US economic situation, the film is a testament to the dire consequences of greed.

My wife and I were watching Frank Capra’s “It’s a Wonderful Life” on NBC the other night for the 100^th time or so. We both have seen the movie so many times we can recite the actor’s lines as they say them. We watch it every year just as we put up a Christmas tree every year. Although we have seen the movie many times, we both thoroughly enjoy watching it again often saying, “This is one of my favorite scenes,” or “I can’t wait to see this part.”

I started thinking about this film and why it is still popular and why it is so timeless. After all, the film debuted in movie theaters on December 20, 1946, it is in black and white and the lifestyle and mores of the era are those of our parents and grandparents depending how old you are. Some of the actors and scenes are corny by today’s standards, but the film remains highly popular. In addition, it was considered a box office flop because it did not generate the anticipated revenue.

As I watched it I could see that the film was made like a well written novel. Great characterizations, conflict, drama and George Bailey’s (played by Jimmy Stewart) self realization that his problems were nothing compared to all the things he had done and all the people his life had touched. All the plot points are resolved in the end and two major themes emerge: self sacrifice to help others and that family and friends are all that matter.

This is the stuff of great novels like GONE WITH THE WIND, THE OLD MAN AND THE SEA and others that speak a universal human truth that lives on through each generation. A truth that is not anchored in time and relevant to the values of any era. This is the kind of story telling all writers would love to write and it is the universal thread that keeps us writing against all odds.

If you have never watched “It’s a Wonderful Life” it is one of those films that should be required watching to become a member of the human race. It’s a film you should watch if you are writing a novel because it has all the elements of great story telling.

Here are links to additional information on the film.

A great review by Tom Dirks on filmsite.org

Photos and videos on The Internet Movie Database

Photos and information at Reel Classics