You have to start somewhere.
Have you ever listened to a writer who just recently started a new project? They are practically jumping out of their pants with excitement. Their eyes light up and oddly enough, they break out of that introverted shell and start babbling away about their latest novel.
This is at the core of the Kernel Idea. The spark of inspiration. That one thing that made you believe you could sit alone in a room and write 100,000 words. However, when the writer hits the 50k mark they often forget what excited them in the first place. As you go through Nanowrimo, are you starting to sputter out? The flame flickering low?
The kernel idea is the Alpha and the Omega of your book. By that I mean it starts your creative process and it completes it. It’s what you begin with and at the end of the manuscript, everything in the book points toward it.
The kernel idea is the foundation of your novel. When I say idea, I don’t necessarily mean the theme, although it can be. Or the most important incident, although it can be. But it can also be a setting. It can be a scene. It can be a character.
It is simply the first idea you had that was the seed of your novel. All else can change, but the idea can’t. It might be a place; a person; an event; a moral; whatever. But you did have it before you began writing and you must remember it as you write. If you don’t, your story and style will suffer terribly. You should be able to tell your idea in one sentence. And repeat it to yourself every morning when you wake up and prior to writing. Knowing it will keep you on track. (Nanowrimo Survival Kit)
Every new book I begin, I write out this one sentence on a word document as the very first writing I do. I print it out and put it where I can constantly see it.
Can you clearly state what your book is about in 25 words or less? This is a key, essential ingredient of writing a good book. This idea keeps you focused and on track. It is important to:
- Write The Kernel Idea down.
- Ask yourself what emotional reaction does it bring about.
Good writing and strong characters are the key to great writing and knowing what excited you to write the book in the first place will bleed onto the page. However, if you don’t write it down, you might forget and get lost along the way.
What Is Your Kernel Idea?
- Good news is you had one.
- Bad news is you probably forgot it.
- It is usually the first thought you had (the spark of inspiration)
- It is the foundation of your book, the seed.
KERNAL IDEA EXERCISE
Write down the idea behind your current project.
If you can’t do it, then you need to backtrack through your thought process to find it, because you had it at one point. Everything starts from something. While idea is not story (something I will talk about later) idea is the only thing in your manuscript that won’t change. Your story can, but your idea won’t.
In one of my early novels, the original idea was an action: What if Special Forces soldiers had to destroy an enemy pipeline? That’s it for Dragon Sim-13. Not very elaborate, you say. True. Not exactly a great moral theme. Right. But with that original idea there was a lot I could do and eventually had to do. I had to change the target country after the first draft. But that was all right because I still had the idea. I had to change characters, but that was fine too, because it didn’t change my idea. I had to change the reason why they were attacking a pipeline, but again, the original idea was the same.
You will have plenty of latitude for story after you come up with your kernel idea; in fact, I sometimes find the finished manuscript turns out to be different from what I had originally envisioned, but one thing is always true: that kernel idea is still there at the end as the Omega.
For my first kernel idea, I made it as simple as possible to enable me to focus on the writing because when I was in the Special Forces my A-Team had run a similar mission on a pipeline. Since I had a good idea what would happen in the story, I could concentrate on the actual writing of the novel.
I’ve sat in graduate literature classes and heard students say: “The author had to have a moral point in mind when they wrote that book.” I agree, but sometimes it is not at the forefront of the story. Many authors write simply to tell a story started by that kernel idea, which indeed might be a moral point, but sometimes is a story that they wanted to tell and the theme developed subsequently.
A moral or theme (screenwriters call it intent) always does appear in a book by the time it’s done. No matter what conscious expectations or thoughts an author has when they start writing, a lot more appears in the manuscript than they consciously anticipated.
After you have that kernel idea, you should spend a lot of time wrestling with it and consciously uncover your feelings and thoughts about it. I try to look at my main characters and determine what will happen to them emotionally, physically and spiritually as they go through the story. Who are they at the beginning of the story and who are they at the end?
This is an example of being aware of what you are doing. Not all authors have a conscious theme when they write a novel, but experience has taught me that it is better to have your theme in your conscious mind before you start writing. It might not be your original idea, but it will definitely affect your characters and story.
The reason it is important to have a theme in mind is because people want to care about what they read and the characters. If there is some moral or emotional relevance to the story they read, they will become more involved in the story and enjoy it more. Even if the reader doesn’t consciously see it either.
Writers balk at the Kernel or one-sentence idea. How can you be expected to write the entire essence of your epic novel in one sentence? You are told that every word, every sentence, every paragraph and every scene must have purpose, so how can any writer sum up their work in twenty-five words or less?
It’s simple. Your story started with an idea. The idea wasn’t much. If you write it down when you think of it, then summarizing your story in one-sentence is just that much easier.
One way to work on understanding the Kernel Idea is to take your favorite movie or book and try to figure out the Kernel Idea. This will help you narrow the focus and see how it is the foundation of everything in the story.
Do you know what your kernel idea is?
(In the next post, I’ll give examples of Kernel Ideas)
WRITE IT FORWARD
So how much actually applies and is useful?
I recently taught at a conference that forced me to get back to basics. Both in terms of the craft of writing and the business. Like many agents and editors, successful authors, after years in the trenches, become a bit jaded, and we also tend to forget what it was like to be on the outside looking in.
Looking at many conferences and conventions we see the same names presenting, again and again. Normally, they are very successful authors, whether indie or trad, who indeed have a lot of great information to impart. Still, the same person saying the same thing at a lot of conferences the same year might be overkill. The same is true of popular blogs where the same party line is touted, without considering the nuanced sides to every issue. After all, I’ve never seen a business event in publishing to be all good or all bad. Every thing has shades to it that every writer has to factor into their own personal situation.
But, after all, we want to hear from success stories, not failures. Still, if it were easy to replicate those successes, then everyone would be doing it. Plus, many success stories feel their path is the path, and don’t take into account not only other paths, but the changes in the business and even in story telling since they started.
For decades the spiel was pretty much the same: write a great novel following a traditional form of narrative structure (I still teach the five part structure) and then query an agent, hope the agent takes you on, then the agent pitches an editor, etc. etc. etc.
That’s somewhat true now, but there are so many more options, if I were new to publishing I’d be completely confused, as many writers I’ve met at conferences are.
First—does what the 1% say regarding their career path even apply any more? Things are different now than they were just six months ago. For trad authors issues like rights granted, reversion clauses, and non-compete clauses are growing more and more important. For indie authors, the market is saturated, so how do you get a toehold in it and leverage your way up, especially if you don’t have backlist, which is the conundrum for the new author?
When I was listening to an agent present I felt like I was in a time warp going back five years or more. Much of what she said was applicable but some of it had cobwebs hanging all over it. In fact, the success story she touted was a couple of years out of date and no longer applicable. But in a similar manner, I’ve heard some on the indie side speak and while what they say is often cutting edge, the cut is often very much slanted toward indie, while disparaging to trad publishing. I tend to believe for a new author, trad is probably the better option simply because the learning curve in publishing is so steep, that to learn it and break in while publishing yourself (while still writing, being a parent, working a job, etc.) might be more a cliff than a curve. I think it all co-exists, much like Cool Gus & Sassy Becca above.
Second—does narrative structure even hold true in a different story-telling market? I turn to TV for this as my wife and I spend an inordinate amount of time watching it (she always controls the remote and she’s always right about what to watch). Shows like Orange Is The New Black do things to story (time hops, protagonist really not being part of climactic scene, etc) that are non-traditional but fascinating.
While I teach the basic narrative structure, I do so as part of craft, always reminding writers that to be true artists they have to learn the rules, then break them.
The same is true of the business. We hear “This is the way to do it!” shouted, but is it for you? Actually, the true entrepreneur blazes a new path. One reason I’ve stayed alive in publishing for a quarter century is I never thought I had it made. Every author I know who thought they had it made, ended their career the second they thought that. I’ve constantly reinvented myself and still am. I’m doing things differently now, both creatively and business-wise, than I was six months ago.
I want to hear from you—the writers getting all this great advice from so many sources. What have you heard that you liked, didn’t like and what do you want to hear that hasn’t been spoken yet?
That’s it in one word.
Author: do you control the rights to any of your work?
If your answer is no, then bend over and take what’s happening and especially what’s coming.
Let’s make two assumptions:
- Authors complaining will not get Amazon to change its stance.
- Authors complaining will not get Hachette to change its stance.
(Reference my blog post: Complaining is not a business strategy which pointed out something like the Hachette situation was coming– again)
When digital blasted across the musical landscape over a decade ago, the artists left standing were those who did one of, or both of, two things: toured and/or controlled the rights to their music. Since touring isn’t likely for authors that leaves us with the issue of rights, as digital blasts across the publishing landscape (and don’t even tell me we’ve hit a plateau, print is coming back, yada, yada, because then I got a bridge in Brooklyn I’ll sell you).
Because the history of publishing was steeped in authors selling rights to publish their work in order to get distribution, we find most authors still trapped in an archaic mindset. They believe they need their agent, their editor, their publisher, the bookstore.
Several years ago a #1 NY Times bestselling author asked me at dinner whether she needed to be worried about this ‘eBook thing’. I told her ‘not really’. Her sales were strong, she was well positioned with her publisher, and had a backlist that sold well.
Today my answer would be different. In fact, the authors who really need to be worried about not having any of their rights (and probably never getting the rights to any of their backlist in their lifetime) are the bestselling traditional authors. Which means they really need to evaluate what their future is going to be now, before they sign that 3 or 4 book “major” contract locking them into a gilded indentured servitude for the next half a decade or so. Remember your books will outlive you, but your career won’t if a publisher owns it. Which is not good news for your family.
For midlist authors, we’re seeing how Hachette and Amazon haggling over terms is costing them sales, which is costing them royalties (if they’ve earned out!). We saw how the Simon & Schuster vs. Barnes and Noble battle kept some books out of B&N at just the wrong time for some authors and essentially destroyed their careers. They cried, they complained, they wrote blogs and tweeted/bleeted, but the reality is that publishers truly don’t put authors’ careers first. They put their own bottom line first. If an author who has signed their rights over to a publisher is crushed in the process, oh well. That’s business.
A midlist author really, really needs at least to go hybrid. Get a footprint in the ‘self pub’ world. While I don’t believe you can truly self-pub, there are those who can help (caveat emptor). At Cool Gus we specialize in helping authors go hybrid, such as working with Colin Falconer, Jennifer Probst, Janice Maynard and others. Actually the reason Cool Gus came into existence is because I went hybrid back in 2009 (before I invented the term in a blog in 2011) and realized I couldn’t and didn’t want to, do all the work involved. And there’s a lot of work involved. There is a reason publishers exist. But trad publishers have just way too much overhead and also too ancient a mindset. The author has to come first. Not the publisher!
That’s not to say things are all rosy over on the indie front. There is a flood of content and discoverability on the internet is attached to reviews, likes, keywords, categories, algorithms, and alien technology, making it difficult to not only stand out but actually be discovered. Also, our royalties are at the mercy of other large corporations—Amazon, Apple, Kobo, et al. But the key here is we also have control because we have our rights AND we have choices. We can actually do direct sales (with 100% royalties), something we did at Cool Gus in the past and will be resurrecting with a twist in the coming year (the groan you just heard was Jen Talty as she realizes her workload just doubled). Right now the big corporations that control our main distribution are actually in competition with each other unlike the Big 5, which were found guilty in court of colluding (still amazed at the lack of outrage over that and the gouging of readers with eBook pricing).
Here’s another thing we’re going to see more of: rights being sold. Harlequin was just sold. While the HQ authors might not be focused on it, believing they still write for Harlequin, they actually write for an entirely new set of corporate masters. I remember when David Geffen, in an HBO special, discussed trading the rights to Poco to another manager for Neil Young. Guess who made out with that deal? But guess who had no control because they’d signed contracts? Poco and Neil Young. We’re going to see a lot more rights being sold, wrapped up in these mergers and consolidations. Authors are going to end up working for the Russian mob the way things are going (some already may).
The minute the author signs a contract, they’ve lost control. Seriously. James Patterson complaining about sales???? Don’t even get me started on Scott Turow. The Authors Guild is actually an example of the dinosaur mindset of many trad authors. It should be called the Publishers Guild, because it truly believes publishers are an absolutely essential part of the process of getting their stories to readers.
The distance between the reader and the author is the internet. If anyone gets between the two, they must provide value. If Hachette is screwing authors over (you signed with Hachette, not Amazon, authors, so focus your outrage appropriately) then they are not providing you value. But also remember that you cashed your advance check. This is the dark side of all those great things you crow about your publisher and editor and agent doing for you. Because your publisher and editor and agent ultimately have a different agenda than you do, because their business is not primarily YOU. It’s themselves, and if you don’t think that shifts things somewhat, well, there’s always that bridge.
When you control rights, you also have access to much higher royalty rates. A trad author should take a look at their last royalty statement and consider what would happen if their eBook royalties were doubled while subtracting all their print sales (a radical possibility, but it gives a baseline). Where do you stand? Then consider the shrinking print footprint. Consider the development of Print On Demand technology. Consider having complete creative control. Final say on cover, subject, copy, etc. In other words, try thinking ahead, something very, very few in publishing have bothered to do (music gave a ten years warning! Pulling SMPs buy buttons gave Hachette a few years warning!)
At Cool Gus we focus on the author. Each author is in a unique position with different goals and their own yellow brick road to Oz. As a publishing partnership our job is ward off the flying monkeys and anyone trying to steal those shoes. Our role is to help the author achieve THEIR goals. We have to provide value. And we have to accept that authors are protective of, and value, their rights.
Do you control any of your rights?
Posted by Jen Talty
Lets take a step back. Bob and I were at Romantic Times last week and on Wednesday we did a workshop together titled: What a Publishing Partnership Does. Right before the workshop, Jon Fine stopped by. While we were chatting, Jon said something interesting to us when we told him what our workshop was about. “That’s interesting because I don’t really understand your partnership. I mean I do get it, but I don’t, but it works.”
Halfway through our workshop someone asked me what my work day was like. Basically, “what exactly do you do?” My knee jerk answer was, “whatever our authors need.” But I realize that’s too generic to help authors understand our partnership and why it works so well not just for Bob and I, but for Bob and I AND our authors.
I’m going to do a series of blog posts that show various aspects of what I do and how we work with our authors. Every author is in a unique position and has their own specific personal career goals. This really is key to helping any author on the THEIR personal yellow brick road to their personal OZ.
There is an enormous amount of information out there on all aspects of publishing. All of it needs to be taken with a grain of salt, including what you read here. What works for one, won’t work for someone else and everything is changing quickly its often difficult to keep up with it all. And more importantly, we can’t be experts in EVERYTHING. Not possible.
Two minds are better than one.
While I’m writing this, I’m also communicating with our author Janice Maynard who is working on a Janice Maynard Sampler. I’m compiling the excerpts and doing the formatting while she’s writing a personal note about each series for the reader. Once I have that, I’ll put it together and offer it free. We first tried it with the free Bob Mayer Sampler and its gotten great feedback from both people in the industry and readers. It gives readers a way to flip through an author’s entire catalog. This is a great tool, especially for someone with an extensive back and front list like Bob, Janice and Colin Falconer (I’m working on his too while he’s off researching his next Shakespearian Detective story). And that right there is the key. A writer’s job is to write. To create story. Readers consumer story.
Another thing I’m working on with Janice is her personal branding. I helped her create her website and worked with her on her “branding” plan. We’re also paying close attention to what her other publisher is doing and working on coordinating our efforts with both promotion and discoverability. While doing that, I’m working on keywords and categories with her books, matching some to her Harlequin novels and getting her in other ones. I actually spend a good hour each day just looking at keywords and categories. Because everything changes so quickly and there is less of a “standardized” system these day, it’s my job to “milk” the system, so to speak. Though you can’t really milk it, but you can play on the playground.
I’m also making a “digital” catalog of all of our titles to bring to BEA. We’ll be putting them on thumb drives along with our authors samplers, videos, slideshares, as well as some information on Cool Gus.
I then scheduled a special promo for 4 of our audio titles with a new company. What’s funny about this one is that as Bob and I went back and forth about the ads, about 4 emails into I received from him: “this is why you do this. Do what you think is best.” And I did, but honestly it took a good hour to read through the options, and because what works for one author, one genre, isn’t going to work for another, I picked different options for different audio books
I updated our Kindle Countdown Schedule and sent the information on to my team at KDP. I’m also sending them an accounting of how each countdown worked and what other promotion we scheduled.
I scheduled some promotion for our FREE sampler for Bob.
I’m uploading all our books to Google.
I’m also updated end matter for Bob as we’re going to be relaunching the Green Beret Series on all platforms soon. It’s 8 books, so really, not our entire catalog, but I create a file specific for each platform. That would take Bob a long time and he’s under deadline, so.
I also have to do that with 5 of Colin’s books. Again, not a lot of time necessarily, but he’s on deadline both with Cool Gus and with his UK publisher.
The other thing I worked on today was a proposal for Jennifer Probst and our upcoming new releases later this year. I talked with my assistant today about Jennifer’s booktrailer and slideshare that we’re doing for Beyond Me.
That’s just what I’ve done today so far. Oh wait, I sent emails from Bob and I from our meetings at RT and I’m sending emails for our meetings at BEA.
As I write this it occurs to me that some might be thinking, well, you have all that because you have a company with Authors. True. But we don’t have 100 authors with a couple of titles. We have over 100 titles with a couple of authors. Our goal to support an author’s career. To support their goals. Our goal as a company, or our mission statement, so to speak, is to help authors reach their OZ. Many yellow brick roads out there. Watch out for flying monkeys and witches who want your shoes.