An imaginary town

I’ve been working hard on my second novel, and it’s been a real challenge. First, writing is work. Sure, sometimes you sit down and the story pours out of you…but sometimes it doesn’t.

When I took Dean Wesley Smith’s Character Voice and Setting workshop last year, I learned that I can write no matter what. I can write when I’m sleepy, or hungry, or angry. I can write when my head hurts. I can write when it’s noisy. I can write when I have hours to spend, and I can write when I only have a few minutes. By the time class was over I could write at the drop of a hat. Then I came back home and re-entered the real world, with my real job, real dogs to entertain, etc. After a few days it was no longer easy to slip into writing mode so quickly…but I’d learned that my old excuses were truly just excuses. Now I’m able to tell myself to sit down and write, and I have a discipline I never had before.

This is all great, but my current book is hard!!!

It’s really not hard – it’s just different. My first novel, With Perfect Clarity, was first person, present tense, and all from the same character’s viewpoint. The second novel, which I will continue to refer to as book #2 since I’ve as yet failed to come up with a decent title, is different. It’s third person, past tense, and there are four viewpoint characters – two are main characters, and two are secondary characters. I’m perfectly capable of writing like this, but it’s different – and, because it’s a novel, it feels big, and therefore scary.

I can at least point out to myself that I’ve already written one novel, so I know I can do this. And that helps, but the biggest help is the lesson I learned in Dean’s class – that I can write even when I think I can’t.

The other thing that has helped is that I recently decided to move my novel to a made-up place. This story was originally a short story that I wrote for a homework assignment in the Character Voice and Setting workshop. I set it on the Oregon coast, probably because I was on the Oregon coast at the time. The location is perfect, but I kept running into two issues: 1) I don’t know that area very well, since I’ve only been there twice for classes, and 2) the real towns aren’t laid out in a way that works well with my story. This was slowing me down a lot, and telling myself “you can fix this all later” was not working. A few days ago I was staring at my computer, trying to figure out how to make something happen since the real town I was trying to work with didn’t have what I needed, then finally I thought: I need an imaginary town!!!

So now I have one.

It doesn’t have a name yet, but then neither does book #2. And that’s just fine for now. I’m about 2/3 of the way through the first draft, and I’m very happy with my made-up town.

There is, of course, one thing – or, more correctly, two things – that get in the way of my writing, but I’m just fine with that. Here’s one of them “helping” me write earlier today. I’m lucky to have such wonderful helpers!

2013-07-07 Jasper

A tale of two houses

I came up with the original idea for With Perfect Clarity while pondering how ghosts work. I was thinking about how ghosts often haunt the house they died in, then thought: what if that house was destroyed? Would the ghost be free to find another house? What if the ghost was bound to the original house, even if that house no longer existed?

I had no idea this would turn into a novel. Also, I hope that this isn’t how being a ghost works, because if it is there must be an awful lot of angry ghosts out there.

Once I got a little further along with my book, I decided I needed to put some thought into the layouts for the two houses. The original house that Emma was murdered in burned down, and the house that exists when Emma meets Ashley overlaps the foundation of the original building, but it’s not an exact match. Because Emma can sense both the walls/doors of the original house and those of the house in the present, it was important that I knew where they were.

I searched around and found some house plans for real houses from the 1800s, so I used those as a starting point. The houses in the novel aren’t exactly the same, but it was very helpful to look at similar houses. Here are the exterior views from the real plans:

With Perfect Clarity - house exteriors

And here are the layouts:

With Perfect Clarity - house layouts

(Unfortunately I don’t have the original document, just these images, so I can’t reference the source.)

Based on these plans, I came up with a working version of the two houses in the novel. Here are the first floors for the two houses overlaid on top of one another.

with_perfect_clarity_first_floor_overlay

I used that as a guideline, so don’t expect it to be 100% accurate…but it was immensely helpful. Not only did I need to make sure the old and new walls didn’t wander around, I also had to think about things like where the furniture was, and which wall was the west wall. After I put this together and reviewed my manuscript I found several places where I had unintentionally moved a wall or a door, so it was definitely worth the time to draw this all out.

Next time I should probably lay everything out earlier, but I’m pretty sure I won’t. 🙂 It is a pain to have to look for inconsistencies later, but I wouldn’t want to spend a lot of time drawing out maps, then start writing only to find that the characters leave that scene in chapter 2. Not knowing all the details is part of the fun of writing!

Going to the dogs

Several of my friends have asked how much I make per book sale. Not only do I not mind sharing this information, it’s very easy to figure this out within a few cents for any book published using the same methods.

My paperback is printed on-demand through Amazon’s CreateSpace arm. CreateSpace has a publicly available royalty calculator where you can see roughly how much anyone using their services is making per paperback.

Here’s a screenshot of the royalty calculator with my paperback’s info filled in.

WPC CreateSpace royalty calculator

They state on that screen that the calculator is for estimation purposes. In my case, the USD number is correct: for each $12.99 paperback sale, I make $4.04. That is, of course, only for purchases through Amazon.com. My paperback is listed at £8.47 on Amazon.co.uk, which is not exactly the same as the £8.48 that this calculator suggests, so the exchange rates have presumably changed since I set up my book.

For the Kindle, the standard royalty is 70% of the purchase price for sales in the U.S., UK, and a slew of other countries. The Kindle version of my book is listed at $7.99, so this means I make $5.59 per sale.

The two methods I detailed are the main ways I expect my book to sell, but there are other variants. For example, if a bookstore decides to pick up a paperback printed through CreateSpace, the author makes significantly less than he/she would selling the same book through Amazon. I would make $1.44/paperback if a bookstore picked up my book.

The important thing from my perspective is, of course, how much each sale equates to in dog toys. We go through dog toys very quickly.

2013-04-20 Destruction

Obviously toy prices will vary, but it looks like one paperback sale is roughly equivalent to purchasing three squeaky balls.

one paperback sale = 3 squeaky balls

Maisie developed a fondness for squeaky balls during her three knee surgeries, so this is the toy we go through the quickest. We do, however, have to replace others as well…her destruction knows no bounds.

Fortunately, the profit from each Kindle sale is slightly higher ($1.55 more), so we can apply that to the more expensive toys, like these happy little bees. Each Kindle sale equates to two bees.

one Kindle = 2 bees

So there you have it. Book sales mean happy dogs!

2013-04-20 Maisie with a package of squeaky balls