I'm thrilled to have been able to interview award winning author Sarah Hoyt. She has written in many genres, but science fiction and fantasy remain her favorite. Her novel Darkship Thieves won a Prometheus Award in 2011, and she is currently working on her next work, Darship Renegades(due out in December). As if that wasn't impressive enough, Sarah is a member of Mensa, SFWA, MWA, and RWA. Check out her blog if you get the chance.
1. Why and how did
you become a writer?
I don’t know. I
have this theory the fates hate me.
Honestly? I really don’t know how
or why I became a writer. It might have
been because I was born very premature and had a very sickly childhood at a
time and in a place when it was believed bed rest was the cure for almost
everything and quarantine at least good for half of it. I think I spent most of my childhood alone,
and since my parents – at the time – rented a shotgun apartment without windows
(glass at the front and back door). I didn’t even have the amusement of looking
out the window. There was only so much
reading I could do, even after I learned to read at four. So, it was logical to sit there making up
stories. When I could write fluently
(at around six) it became natural to write them. And when I was about ten I figured out that’s
what I wanted to do for a living. When I
figured out the realities of publishing and writers’ pay it was already too
late.
2. How has the
landscape for writers change over the past 15 years?
Fifteen years? For
most of that time it was getting bleaker.
The number of publishers accepting submissions diminished, the number of
PUBLISHERS diminished. The number
of bookstores diminished and most of it
started being picked locally. You can
track how much influence your publisher’s decision had on your final success by
the number of books being published on “how to write a blockbuster novel.” In a free market this sort of book is
nonsensical. Blockbusters emerge out of
nowhere, suddenly and wildly (Like
Harry Potter). There will be some books
on how to do this that will compare books that did well and isolate their
elements. But in a system that is
controlled by the publisher, and where they can essentially control laydown and
thereby sales, because there’s no other way to buy books, it makes sense to write books saying “you
need these markers, because they impress the publishers.” Concomitantly to seeing this happen as a
writer, as a reader I found it harder and harder to discover things I WANTED to
read. I remember going into Barnes and
Noble about five years ago with a hundred dollars burning a hole in my pocket,
and literally finding nothing to buy.
I could see this from both sides – because as a writer, I
was reading the books saying “you shouldn’t write cozies because they’re not
real mysteries” and the interviews with the editors mocking cozies because
“that’s not how crimes are solved” and as a reader, I couldn’t find any fun,
light mysteries – and I wanted to scream “I’m your ideal buyer. Why isn’t anyone asking me?”
In the last five years things have changed as a
reader. I think savvy book stores are
looking at what sells on Amazon. The
non-savvy ones are going under. And, oh,
yeah, I can always buy on Amazon.
And as a writer, my books are making it onto the shelves
even when the editors aren’t all that invested.
From my perspective, this is progress.
At the same time, though, the publishing houses are buying less and
reporting smaller numbers. (In general. One of my books is selling very well
indeed.)
It would be enough to make me pull out my hair… if it
weren’t for indie.
3. What do you
think of the current transformation within the market concerning traditional
versus indie publishing?
I think indie publishing has the opportunity of becoming
a great boon to both writers and readers.
We’ll get crap of course, as if we didn’t from
traditional (Yes, I know Kris Rusch says traditional publishes very little
crap. Well, I don’t know what crap is,
but I know what I will not read, even if it’s the last book available, and my
alternative is want ads in a newspaper that used to contain dead fish. And about half (if not more) of what
traditional has put out – or actually got onto shelves -- the last few years
falls into the “I’d rather put my eyes out with a grapefruit spoon than read
that.” It might, mind you, be
competently written, exquisitely worded crap.
As far as my reading goes, it is still crap.) The readers are more than capable of picking
what they want to read despite and around the crap.
There’s a chance, if we don’t screw this up too badly,
that we’ll end up with less crap – defined as stuff people want to read. And already I have more stuff I want to read.
Goodness all around.
Of course, traditional houses will need to adapt or
die. *shrug* Why should they be immune? They are NOT too big to fail.
4. Where do you
get your ideas, and how do you map them out?
Do you brainstorm, outline, or just write on the fly?
Well, I, like every professional, get my ideas from Hays
Kansas, in return for a SASE. We keep
trying to convince them to go electronic, but there’s no reasoning with some
people.
Oh, okay, fine. I
get my ideas from everywhere and everything.
Actually the hard part is keeping from having ideas.
I’ve had ideas that are “responses” to books I read. Like you know, I’ll read a book and go “But
it would never happen THAT way.” I’ve
had ideas that take a phrase from a song and suddenly spin out an entire
character or situation on me. I’ve had
ideas in dreams. I’ve had ideas while
I’m peacefully ironing, and suddenly there’s this guy – or gal in my head –
telling me his story. Which, btw, is how
most of my ideas manifest. Not all, but
most of them. One of my publishers (the
only one I continue to work with) used to throw me for a loop in the early part
of coming up with a book, because she would say “Yes, but what is the book
about? What are you trying to say?” Because… blessed if I know. Until I’m about halfway through the book, I
often have no clue. It’s more “It’s her
and this guy who changes into a dragon, see, and then his father.”
Weirdly, that particular book was completely outlined, but
I had to be in his father’s head to realize it was a book about redemption and
families (Actually the whole series
is). So… do I map ideas? I’m not very visual. Other people keep talking of diagrams and
outlining with color. Doesn’t do a thing
for me. Usually when I have an idea, I
write out a page with the general story.
Then when I’m getting ready to work on it (and I’m assuming a novel,
here. For a short, I just WRITE it.)
I’ll write an outline that can range from ten to fifty pages, depending on the
book. Then I “unpack” this onto a
chapter-by-chapter outline, ten chapters at a time, just before I write it.
Now… this is the theory.
I have had stories that unspool in my mind, in trilogy-length down to
the last word and punctuation mark. One
minute they don’t exist, and the next they’re all there full fledged and I’m
COMPELLED to type them out.
AND I’ve had stories that won’t let themselves be
outlined, and where I have to write them a chapter at a time, as though
blindfolded and unable to see ahead into the next chapter. It’s very annoying, but when it has to be
done that way, it has to be done that way.
Weirdly, once finished, that’s some of my most structured
work.
5. Editing our
work is one of the hardest things for a writer to do, especially a newbie. Describe your editing process.
<Groan.
Now, or when I was a newbie?
When I was a newbie I often cut out as much as two thirds
of a book in editing. In editing I held
the book to a rigid linear structure, cut out all humor and anything that
didn’t IMMEDIATELY advance the plot. I
used to do about ten passes before I was satisfied with something.
Now… well – the
typical editing process?
As you can see in the novel I write on line, the process
of writing is very messy for me, even with an outline. Though Witchfinder is probably messier,
because I only do it once a week and I work on other projects the rest of the
week.
However, a lot of its issues are issues I’m prone to
ANYWAY. One of them is changing
characters names without notice mid-book.
Another is getting the timeline completely messed up. Another is dropping what I thought was one of
the main themes halfway through. Then
there’s the surprises which my characters hand me, even if I plotted in
advance.
What this adds up to is that when I take a finished draft
off the printer – and I always edit in print.
I’m a dinosaur – I go over it for plot/theme and discontinuities FIRST,
making the thing a coherent whole. Then
I read it again, to make sure it still makes sense, and add in any
foreshadowing/pay off needed.
Then I send it off to my betas. At this stage, it’s often only been cursorily
spell checked, which is why I HAVE to train my betas to stop sending me lists
of typos and missed punctuation. I CAN
catch those myself. And either in
traditional or indie, the work will go through one person or a couple of people
whose sole job it is to catch those typos and such.
What I want from my betas at that point is “this doesn’t
make sense” or “uh, this character died in chapter three. How come he saves the day on chapter
fifteen? Is he a zombie?” But mostly I want the emotional
resonance. Did they cry in the right
places? Laugh in the right places? Do they like the right guy? Hate the right villain? More importantly, did it pay off for
them? Did each thread do so? Or are they saying “I didn’t understand why
the thread with the kitten ends in that stupid way. What was I supposed to think?”
Then I take back their opinions and do one final go over
for plot, etc.
And then I do a manual spill chucker and general check.
Now, as with the writing process, this varies. I’ve had two books that emerged from the
printer ready to go to the betas, and then the betas found no issues. So these books are essentially first draft,
with careful copy-editing. No, I’m so
not telling you which books. (Though
one of them did very well. The other
hasn’t been published yet.)
6. Is there any
one novel or story you're most proud of, and why?
The temptation is to say “all of them” but of course,
some stories will always be heart’s blood while others are merely darlings.
A lot of these are “firsts.” I’m fond of my first-published short story
Thirst. I’m very fond of my first
mystery, Death of A Musketeer. Draw One
In The Dark was the novel where, for the first time, I felt I was in control of
the novel-form.
Then there’s the genre I always wanted to write, which
seemed impossible for over a decade. I
love Darkship Thieves, because I love the characters and the world. I love the sequel (coming out in December)
and right now, up to this moment, I think A Few Good Men, due out from Baen in
Spring, is the best thing I’ve ever written.
7. What projects
do you currently have in the works? What
kind of timeline can we expect them released on?
What do you mean by “in the works” – I’ve delivered
Darkship Renegades. It has a cover. It comes out from Baen in December. I have delivered A Few Good Men. I don’t know about a cover. It comes out from Baen next Spring. I’m finishing Noah’s Boy for Baen, I don’t
know when it will come out yet. I’ve
delivered A Fatal Stain to Prime Crime, and it comes out in October.
If you mean, though, in the works as in writing them –
I’m working on The Brave And The Free, a space opera taking place 500 years
after Darkship Renegades, which I hope to release next year. I’m also working on the first of the Orphan
Kitten mysteries, which will come out from Naked Reader sometime at the end of
summer.
The reason I’m not sure on time is that while I’m working
with traditional, my entire timeline can get upended in a moment, as I get a
rewrite request or even “just” page proofs dropped on me. These will cost me weeks and then it takes me
a while to get back into the current project.
Also, this year has been unusually difficult for health, which might be
related to last year being unusually stressful.
However, I’m planning on doing more Indie mysteries and
space opera and those reading my blog or friending me on Facebook will be kept
abreast of indie releases, as well as traditional ones. For the traditional ones, I’d like to request
advance ordering wherever possible, because that really influences the laydown
these days.
8. What kind of
books do you like to read? What's your
favorite and why?
Uh… I like to read
books with letters. I prefer them in one
of the languages I understand, though I’ve been known to invest unending time
in reading books while learning the language.
If you mean genre I read everything: science fiction,
fantasy, mystery, historical, lately for my sins romance (Well, I was taught it
was wrong, wrong, wrong. It’s too bad
because I enjoy them immensely). I read
non fiction of all types (Yes, of all types.
I was once held captive for several weeks of a series of nineteenth
century books on biology for college students.
And the reason my kids HAVE to call if they’re going to be late, was
this fascinating series of books I found at a flea market about the most
gruesome murders in history.)
Now, I do have a strong need for plot and for novelty,
when reading fiction. Oddly biology manuals
and tourist guides for places I’ve never visited rarely need a plot. If a book
has no plot or is a collection of clichés, I’m not likely to like it.
My favorites?
Well… I have multiples for each
genre, so this is difficult, but off the top of my head and missing a lot of
them: most of Heinlein, particularly The Moon Is A Harsh Mistress; most of
Pratchett, particularly Night Watch; most of Rex Stout, particularly Fer deLance; most of F. Paul Wilson, particularly Hosts; most of Ellis Peters,
particularly Brother Cadfael; Steven Saylor’s Roma Subrosa; all of Clifford
Simak, particularly They Walked Like Men; Georgette Heyer’s romances; PJ
O’Rourke’s Eat The Rich; Andrew Ward’s Our Bones Are Scattered. I could do this forever, but I won’t. I’m sure I forgot a dozen others I like as
much as the ones named, but if I start looking through the shelves, this will
never be finished.
9. Besides writing
the manuscript, what responsibilities do you see for an author in order to have
a successful career?
Keep an eye on contracts; keep an eye on statements; keep
an eye on the industry. Don’t offend
anyone you don’t need to offend (By
this, I don’t mean be timid; I mean don’t go gallivanting around picking fights
for the sake of making yourself disagreeable).
Keep an eye on other writers and what they’re doing and what works. Keep in touch with friends, network, help out
those who need a hand. You’ll find a
hand extended to you in return, but even if you don’t, giving a hand to those
who need it are the dues one pays for being human. And for the love of heaven, live. Have kids or a spouse, or a lover, or a
cat. Get out of your office sometime
(train the cat to walk on a harness ).
Volunteer, or take courses, or take an unhealthy interest in your neighbor’s
lives (I’ve never done this, but I
understand a pair of binoculars is useful.
Just don’t get caught watching).
Eat at diners and at five start restaurants. Go to a museum. Take a walk through an area of town you have
no real reason for visiting. Learn how
to wax moustaches or how to cook squid.
It’s important to stay connected to life and people to write new
stuff. Otherwise you’re just
regurgitating someone else’s work, either in print or movie. And that stuff feels… recycled.
10. What advice
would you give to writers who are just getting started?
Be very careful before you sign a contract. Some of the traditional publishers are
getting very odd. Don’t give away your
copyright, or if you do, be very sure what you’re getting for it – be it money
or exposure – is worth it to you. Do NOT
under any circumstances sign away your right to work again if that publisher
stops publishing you, or your right to work for any other publisher, for that
matter. This is one of those “NEVER DO
THAT.”
Try indie, even if you’re committed to the traditional
route. First, the results might surprise
you. Second, it’s always good to have
more than one outlet. If you find that
you don’t want to do it under your own name, do it secretly, under a pen
name. NO ONE NEED EVER KNOW.
Read Dean Wesley Smith’s Think Like A Publisher. Stay on top of Dean’s blog, Kris Rusch’s
blog, Konrath’s blog, The Passive Voice, and any other blog that seems to be on
top of what is happening in publishing right now.
And work. Never
stop yourself from writing something because someone tells you it’s
unmarketable. There’s no such thing as
unmarketable, though there might be stuff you want to bring out under a pen
name or a DBA.
In the same way never force yourself to write that which
you REALLY don’t want to. There’s no
reason for it and life is too short to waste writing stuff you hate.
In fact, my advice is the same you get when going into
unknown territory “Keep your eyes peeled, stay on the move, and be equipped for
survival no matter what the conditions and you’ll do.”
Actually I’ll pass along something Kris Rush told me over
a year ago now, and which re-oriented my entire perspective. Don’t write for indie, don’t write for
traditional. Write for the fans. Then publish each of the works in the way
they’ll get in front of most fans.
Sometimes that’s a particular publisher.
BUT it never is “in your drawer.”
If nothing else, put the stuff out indie.
Allow it to find fans. (And for
some books, indie will always be the first choice. You’ll know which they are, if you’ve studied
the market.)
Oh, yeah, and good luck.
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