Category Archives: Research and the Writer
Below are the covers for my new trilogy coming out 12 April 2011, on the 150th Anniversary of the start of the Civil War. We’re looking for feedback whether they would invite readers to look into the books. I have also started a new blog for the series.
The key to this series is a simple fact I had to memorize as a plebe at West Point:
Who commanded the major battles of the Civil War? —— There were 60 important battles of the War. In 55 of them, graduates commanded on both sides; in the remaining 5, a graduate commanded one of the opposing sides.
That struck me as utterly fascinating and disturbing on a core level. After all, how did men who went to the same Academy, who swore the same oath of allegiance, end up fighting each other? So I decided to take a handful of fictional character and insert them into history, to rub elbows with those who would become great and those who would become infamous.
My handful of fictional characters are swept up by the tide of history and their factual contemporaries, and sometimes are more than swept up as they are the significant unknowns, the people who changed history but weren’t recorded by it.
This is history told both epic and personal so we can understand intellectually what happened, but more importantly feel the heart-wrenching struggle of duty, honor, country and loyalty coming into collision.
This first trilogy will be followed by more books, taking our characters through the Civil War and beyond, into the Plains Wars and further.
So? What do you think?
Write It Forward!
Over the years, as I’ve learned more about the craft of writing, I’ve revised my process for writing a book. Honestly, way back when, in days of yore, when I was living in the Orient studying martial arts and started writing my first novel because other than getting beat on 8 hours a day, I still had some time to kill, I had absolutely no clue what I was doing. I’d never taken a creative writing class, attended a workshop, a conference, read a book on writing, had a mentor. Nada.
But I had read. A LOT. I read so much growing up in the Bronx, that I had to go beyond our local library branch and find a larger one, because I’d read my way out of the local one.
So I simply regurgitated every thriller I’d read in writing my own thriller. I didn’t even know I was doing that. My subconscious brain had the flow of a thriller and a novel imprinted on it so many times, that I was able to basically mimic all I’d read.
What I’m finding to be a very valuable practice now, is to look back at some of my old books and try to reconstruct, with my present awareness, what exactly I did in writing those books. Both good and bad. Also, both in craft and business.
The one thing I can remember about every single one of the 50 or so manuscripts I’ve written is what I call the Kernel Idea now, but used to call the Original Idea. This was the moment of conception of the book. Let me give you an example of examining process in retrospect and how it helps me now.
I was in the midst of writing my Area 51 series, which had taken off at Random House. I was doing a lot of research on mythology, ufology, legends, pretty much every far out thing I could find. And I came across a mention of Atlantis.
I’ve always been fascinated by myths and Atlantis is one of the oldest. I delved deeper and found there was only one true source mention of it: by Plato in his dialogues. Everyone else was riffing off that.
So that was the moment of conception of my Atlantis series: What if Plato was talking about a real place? And what if the force that destroyed Atlantis came back to threaten our modern world?
So that’s idea. What about story?
I was also taking a graduate course in physiological psychology. In the bicameral mind (The Origin of Consciousness in the Breakdown of the Bicameral Mind—not a beach read) the two sides of the brain mimic each. But there’s one part, on one side, that doesn’t mimic the same part on the other side—in fact, no one is quite sure what it does.
So. Now I’ve got Atlantis. The brain. And military last stands. Yes, my mind has some weird parts in it too. I’ve always been fascinated by them. But what if they could serve some higher purpose and be connected to a priestess who has a brain that’s different and that area that no one knows what it does—it does something, but only in connection with the spirits of warriors fighting in a doomed battle—do you see how a writer’s mind works? So I ended up with Custer’s Last Stand, Isandlwana, Pickett’s Charge, the 300 Spartans, a gladiator in the shadow of Mount Vesuvius in 79 AD—all eventually were woven into the main storyline. And, oh yeah, I brought Amelia Earhart back from the dead. Three times I think. Well, not back from the dead, but from parallel worlds where she was still alive.
Is your head hurting? Isn’t this fun?
I ended up with a six book series, under a pen name, that my friend, Terry Brooks, loved for some reason. Maybe because he does elves and his brain, well, it’s out there too. The series also sold a lot and is now back in print under my name and my Area 51 pen name, Robert Doherty.
But in retrospect, what did I do wrong and what lessons can I take from that?
- I didn’t consciously know the theme/intent of my series. What message was I sending? It came out eventually in the writing. But you can do a lot better if you consciously know it before writing.
- I didn’t know who the true antagonist was. For the first book it was enough that there was this Dark Shadow coming through ley line gates into our world and doing bad things. But who was the Dark Shadow? What was the plan? WHY were they doing this? Honestly, I didn’t take the time to figure it out before writing first book. I was too excited about all those things bubbling around in my brain. Ever start writing a book too fast? Without having all the pieces you need?
- Point of view. I’m not sure I really knew what POV was back then. I wrote a mixture of third limited and omniscient, without really knowing. I’d go to omniscient whenever I shifted away from my protagonist or a few other main characters. I don’t think it was a major problem, but I could have handled it better by locking down. Into omniscient. Jenny Crusie is the one who schooled me on strict POV.
- I didn’t plan a series. After my experiences with Area 51 and Atlantis my recommendation is this: trying to write a multibook series with a story arc covering the entire series is hard as heck. Because each book has to do two things: carry the series arc; and be a complete story by itself.
- And you have to write each book to please two readers: the series reader who started at book one, and the other reader, the one who picks up book three and wants a good read. The letters from my editor drove me insane: too much info here for series readers; not enough explanation here for stand-alone readers. I swore I would never write a series again, so, of course, I’m doing final edits on 55, a novel of the Civil War that starts in 1840 and goes to the Battle of Shiloh in 1862. Book two will pick up there. ARGH!! BTW: 55 refers to the fact that in the Civil War, in the 60 major battles, West Pointers commanded both sides in—guess how many?
- Pen names. I’ve written under five over the years. The problem is that scatters your audience. I couldn’t really have done it different back then because of contracts. I picked Donegan because it was close to Doherty, which was my Area 51 pen name. But now that I’m bringing backlist out, it’s a bit of a problem at times.
- Genre. Area 51 was racked in science fiction because there’s this flying saucer on the cover (which isn’t in the book). Atlantis was racked mainstream, because the publisher couldn’t figure out what genre it was. We called it X-Files type, Michael Crichton type. I was quite proud I’d invented a new genre: TechnoMyth. It does not seem to have caught on. For writers, being able to find your niche and focus it is key to marketing.
- On the plus side, five years after the first Atlantis was published, this TV show called LOST came out. About halfway through the first season I had contacted a lawyer and asked about intellectual property. There were exact scenes, concepts and characters from my first Atlantis book in that first season. I learned you can’t really protect intellectual property. On the bright side of that, though, I used Lost as a marketing platform to re-launch the series and I believe that’s what’s made it our #1 selling title. (BTW, Abrams is also behind Super 8 coming out later this year, which is about Area 51. Hmm).
Overall, the main lesson is to learn lessons. Everything that happens can be both an obstacle or an opportunity. As far as craft goes, get all the good stuff out of your subconscious brain and into your conscious brain.
And here’s the real kicker, which you’ll see as I do more of these posts intermingled among other Write It Forward posts in the coming months: the more you consciously know about writing, the harder it gets. You can’t wing it any more. You have to do it right!
Write It Forward.