by Angela Ackerman

Ah, the euphoria of holding one’s own book. Nothing compares, does it? In that moment, the months (or years) of writing, revising, editing, polishing, and finally publishing are in the rearview mirror. All we know is the joy of seeing our hard work compressed into pages and fitted with a stunning cover.

We dream of happy readers, bestseller lists, and maybe even awards.

And we can have these things...if we haven't broken
 the cardinal rule of publishing.

As someone who studies storytelling from all angles, I can spot quickly when the cardinal rule has been broken, and every time, it guts me. Each book starts with untapped potential, ripe with the imagination of its creator, ready to bring something new and fresh to readers. But this one rule, when it's broken, limits a book's potential, keeping it from being all it can be.

So, what is this cardinal rule that stands above all others?

Don't Rush.

Stories take time to write, and even longer to refine, especially as we're all developing writers. We each have strengths and weaknesses and are building our skills as we go. Sometimes we don't know what we don't know, and so may not be the best judge as to whether a story is ready to move forward.

And yet, I see writers rush toward publication, skipping some of the necessary steps to ensure their book is as strong as it can be. And unfortunately, it ends the same way - a book that wasn't ready, and the author feeling disappointment and disillusionment when their novel fails to gain traction with readers.

Rushing Burns Bridges

With more books than people on the planet, readers have endless choice. So, the very best thing we can do is give them an amazing experience when they pick up our book, because when we do, they'll be back for more. But if we rush and the quality isn't there, readers notice. Not only is it unlikely they'll stick with us as an author, but they may also leave poor reviews that dissuade others from taking a chance on our book, too.

Rushing also hurts if we're on the hunt for an agent or publisher. If we submit something that's clearly not ready, that's the end of the road with that agent or editor. And what if they remember us and our rushed manuscript if we submit to them down the road...will they be less inclined to ask for sample pages?

Rushing Can Be Expensive

When we rush, we seek out editing before a story is ready for it, meaning costs go up as there's more to fix. A reputable editor should let the writer know if the project is not ready before they get in too deep, but this is an ethical line that you can’t count on everyone to follow. And if a writer doesn't carefully vet their editor, they might end up with someone who isn't skilled enough to offer the level of help needed yet is happy to keep billing round after editing round.

Most of us must budget carefully when it comes to our writing, and editing costs that balloon can fill us with frustration and guilt and may cause us to question our choice of pursuing this path.

Rushing Can Open Us to Scams

All careers require time, effort, and training to become great at them. But unfortunately, we can forget this when it comes to writing. Maybe we think having an abundance of imagination and our creativity will carry us through, or a past career where we wrote a lot on the job makes us believe we can zip through the learning curve. Here's the thing - imagination requires craft to apply it well, and writing and storytelling are two different skill sets. Believing there's an easy route to publishing opens us to scams.

There are plenty of vanity publishers and other "assisted publishing" businesses that make big promises to do all the work that the writer doesn't want to do. Because their business model is to make money from writers, not the sale of books, they don't care about the product. Writers end up shelling out huge dollars for something subpar and are often locked into contracts where they are required to also purchase a large quantity of their books themselves.

Bottom line: there is no easy button when it comes to a quality book and successful career. Prepare to work hard and open yourself to learning all you can.

Rushing Can Damage Self-Esteem

When we query or self-publish process before we're ready, the results won't be what we hoped for, and this can cause us to feel inadequate. When our self-belief plummets, it can steal our energy and make it harder for us to pivot or rebound from mistakes and failures. And even when we write great books, mistakes and failures come with the territory, so we need to learn how to process these moments and learn from them.

If we're always beating ourselves up for every misstep, we'll eventually decide we aren't cut out for this career. And we are! Each of us is capable of learning what we need to know to write amazing stories and steer ourselves toward a fulfilling career.

Pressure to rush is something we all understand
 but must resist.

When other writers are pounding out stories and getting them out into the world, we think we need to be doing the same, forgetting that we're all in different stages of development, and our journey to publication will be unique.

Yet, when we give ourselves the space and time to write the strongest story we can, it may take longer, but our chances of pleasing readers will go way up. And we grow through the process, gaining new knowledge and refining our abilities, which will help us become masterful storytellers.

So, embrace the learning curve and enjoy the journey! It’s there to help, not stand in your way.

Help for Anti-Rushers:

How to Write a Book From Start to Finish in 13 Steps
Self-Editing Your Own Writing
Story Feedback: Free and Paid Options
Critique Etiquette: The Ultimate Guide for Giving and Receiving Feedback
When Am I Ready for Professional Editing?
Best Practices for Working with a Professional Editor
How to Navigate Editorial Feedback and Revise Your WIP

Have any lessons to share about rushing, or tips on how we can rein in the urge to do so? Let me know in the comments!

About Angela

Angela Ackerman is a story coach, international speaker, and co-author of the bestselling book, The Emotion Thesaurus: A Writer’s Guide to Character Expression, and its many sequels. Available in nine languages, her guides are sourced by US universities, recommended by agents and editors, and are used by novelists, screenwriters, and psychologists around the world. To date, this book collection has sold over a million copies.

Angela is also the co-founder of the popular site Writers Helping Writers®, as well as One Stop for Writers®, a portal to game-changing tools and resources that enable writers to craft powerful fiction. Find her on Facebook, Twitter, and Instagram.

By Leon Conrad

We’ve been telling stories way before we started writing them down.

The structures they follow are embodied within us.

There’s much we can learn about story—and about ourselves—from analysing the patterns that stories follow.

But how?

Tracing the Path of Story

My approach is to trace the patterns that each character in a story follows. Characters experience events. The events are related and follow in chronological order. The events, when whittled down to their bare minimum, form sequences which are recognisable as story structures.

1. To analyse the story structure(s) in a given character’s story line, I mark the opening of their story line with a mark of recursion (r) and identify the character in their initial situation using Spencer-Brown’s mark of indication (m) drawn from his Laws of Form (1969).
2. I then reduce the events to a series of ‘bare bones’ events—the minimum number needed for the story to be meaningfully related and arrange them in chronological order.
3. Following that, I map the events qualitatively according to whether they either impel or delay the character in their attempt to reach their goal using a forward barb (⇀) or a backward barb (↽) respectively.
4. At the end of their story line, the mark of indication is again used to denote the character in their final situation (m) and the story’s close is symbolised using another mark of recursion (r).

Outline Example from Metamorphoses

Here’s the most compressed story structure I’ve found—which is also the most impressive. It’s the structure which the gods’ story lines typically follow in stories from Ovid’s Metamorphoses.

At step 5, while Cornix undergoes a metamorphosis, Minerva remains unchanged.

The approach allows for almost indefinite expansion and contraction, following simple rules.

Common Sequences in Story

Sequences of different step types can expand and contract as follows:

Using Sequences to Produce a Transformational Twist in Story

Where an encounter between two characters involves (i) an active intention to dupe (ii) a comic outcome, or (iii) a surprising outcome (Huh?!), I use a double barb (⇌).

When one character intends to dupe another, they invariably have the tables turned on them—the dupe ends up tricking the trickster and the status quo is reset. When there’s a comic outcome, there’s often a transformational twist. And for every ‘Huh?!’ there’s usually a balancing ‘Ah!’

While double barbs tend to come in pairs, they only seem to expand and contract in a 1:3 or 3:1 proportion.

The Quest Structure

A common structure is the Quest structure, which the three little pigs follow in the well-known story. The version below was collected by Hamish Henderson from Bella Higgins who heard it from her mother.

The two story structures depicted above can be compared and analysed. In the table below, step 3 in the Transformation structure symbolises a problematic (negative) 'transgression against the natural order'. It expands, giving rise to the first (positive) meeting (step 5 in the Quest structure) which will be with a friend or helper. The seed of the positive is contained within the negative. You can follow the implications of the expansion of step 4 in the Transformation structure yourself.

Two Dynamic Story Structures

The two structures analysed above are linear structures. But how and why are the events in them linked? This is where I see dynamic structures coming in. Dynamic structures map the qualitative change in the relationship between knower and known in a character’s story line. They symbiotically underpin Linear story structures.

I’ve identified two dynamic story structures to date:

The Revelation Structure

The Revelation structure follows a ‘veni, vidi, vici’ pattern (I came, I saw, I conquered). It’s typically found in sequences which build suspense leading to a dénouement. Marie Louise von Franz sees this as a ‘1,2,3,Bang!’ sequence.

It’s mapped as follows:

The Chinese Circular Structure

The Chinese Circular Structure, as I call it, is based on the interplay between yin and yang energies through the yearly cycle and the five-element system visualised in the Wu Xing arrangement.

In Chapter 18 of Story and Structure, I describe how the Chinese Circular Structure can be seen underpinning every one of the linear story structures identified to date. The approaches are informed by close reading of early Chinese texts which clearly map to the structure.

Three Classifications of Story Structures

First event in the story line

The 18 structures I've identified to date (16 linear and 2 dynamic) can be classified in three ways relating to what happens at the beginning, in the middle, and at the end of a story structure. The nature of the first event in a character’s story line gives rise to the following classification:

Middle Events in the Story Line

The ‘middle’ classification is based on whether or not a character crosses a threshold between transcendent (metaphysical or supernatural) and immanent (physical) dimensions of being. The Creation Myth structure straddles both conditions:

Ending Events in the Story Line

And the ‘ending’ classification gives the following:

We can learn a lot by looking at story structures. We can’t avoid the metaphysical, the transcendent. Story gives rise to embodied story structures. Story has a sacred dimension (as language does—especially when used in sacred chant). It shows how these simple patterns tell a universal story: a quest to find balance and harmony individually and universally. It highlights the important of us finding balance and harmony in the larger cosmos of which we are a part. Isn’t this ultimately why we tell stories?

How do you use story structure to write a novel? Tell us your a-ha moments and how you have analysed your writing to improve it.

About Leon

Leon Conrad was born in London, UK, to a Polish father and Coptic Egyptian mother. He moved to Alexandria at age 6, and grew up in a multilingual environment there, among the souks and bazaars of Egypt. He is currently based out of London.

As a writer, Leon sees the written word as sound on the page. Why else do we call nouns and verbs 'parts of speech'? He has written plays, and have published articles, poetry, and books.

As an editor, he offers in-depth proofreading, editing and review of manuscripts, focusing on a work’s structure, the reader’s journey, the narrative presentation, the style of a work, the sound, rhythm, musicality and the flow of a piece of writing.

Find out about his various projects, awards, and services at his website: LeonConrad.com.

Want more information on his writing method? Download a free sample of his book below today.

Story and Structure: What’s in it for YOU?

• Be inspired
• Learn new things about story that we’ve not realised despite the fact that we’ve literally been telling stories for millennia
• Use what you learn to perform more effectively in your life and work
• Improve your writing, storytelling, communication

In Story and Structure, I’ve outlined a new approach to story structure analysis inspired by six simple symbols drawn from George Spencer-Brown’s Laws of Form (1969).

I was Spencer-Brown’s last student and he guided me through the work himself. This is the first time his work (which has been successfully applied in both mathematics, computing, and logic) has been comprehensively applied to the analysis of story structure.

Download a sample from leonconrad.com/writer 

Copyright © Leon Conrad, July 2023. All rights reserved.
Leon Conrad has asserted his moral rights in accordance with the Copyright, Designs and Patents Act, 1988.

by Laura Vanarendonk Baugh

GOOD MORNING, WRITERS! Today’s topic is Intimidating Business Details, and I’m your host, Laura VanArendonk Baugh!

Not like it’s not hard enough to develop a craft and manage time and set priorities and finally get a complete story on paper in a coherent form which someone other than your mother will also like, now we have to sell the darned thing. Let’s talk about some terms or concepts in contracts.

First, there’s that little subject of PAYMENT.

This is primarily about short fiction, as novel payments aren’t generally calculated by the word. When you’re shopping short fiction or checking out calls for submissions, you’ll see these terms, and here’s what they mean.

Non-Paying:

Exactly what it says on the tin. Will probably include a contributor’s copy. I’m not going to tell you never to do this, but do know exactly why you’re giving your work away for free.

You’re working for exposure, and unless you have a pretty good idea of what exposure you’re getting and its value, it may not be a professional choice. Generally speaking, these are better than nothing but are not going to impress publishers as credentials when submitting something else.

There are exceptions to everything, but if you look closely, they’re not really so exceptional. I have done professional-quality work without getting a paycheck—because the publisher paid me in advertising instead. (Take $200 for an article once, or expert-boost a book already doing well to a receptive audience?) I have donated work for a good cause (an anthology to raise money for literacy programs). Those were not “exposure” sales, those were calculated business or charity decisions.

Likewise, I’m currently in a project with several other authors to which I will contribute money or other resources toward production. But we’re co-authors co-producing a project for mutual promotion. Yes, it’s exposure, but it’s our own choice, our own business model, and our own informed decisions. No one else profits from my work while I do not.

Token Payment:

Also what it says on the tin. This is a flat fee regardless of word count and below professional rates. This is a great entry point, and you should probably be submitting here! Token rates may be $10 or $100+; they vary widely, depending on the project. Writers are generally paid upon publication. (I do these a lot; they’re often useful for discovery and reaching new readers. They can also be fun projects.)

Semi-Pro Rates:

This will be at least a penny a word. It starts to get a little fuzzy at the top end of the range, because some major organizations define “professional rates” differently.

Pro Rates:

Correspondingly, the bottom end of this one is a little fuzzy. SFWA adjusted their professional rates definition a couple of years ago, so some people think of it as the old terms and some as the new. Rely on at least $.05/word or $.08 for SFWA pro rates.

Royalties:

These can come in several ways. You may get royalties in addition to one of the above payments (which makes them “token payment plus royalties”). You may get no payment upon publication but share royalties among contributors, per author or by word count (I have an anthology contract that specifies my 15,100 words get me 6.58% of the total royalties).

Regardless, any reputable call for short form submissions will include payment in the call. See attached images. Accept no excuses on why payment is not mentioned. “We’re waiting to see how many submissions we get” or “how it sells” is just neon evidence of someone not actually doing any of the business side of publishing.

(Likewise, a project which requires money from the writer to get in with a dangled potential of royalties after is a big red flag. Projects which choose content by which checks clear rather than by quality or theme are not projects designed to sell well, and a publisher who already made their money off hopeful writers is less motivated for marketing to readers.)

Next scary topic: CONTRACTS.

You don’t need an agent or a lawyer for short form contracts, but you do need to pay attention.

(Obligatory disclaimer: I am not a lawyer, I have not played a lawyer on TV, and I didn’t even stay at a Holiday Inn Express last night. My expertise comes purely from dozens of contracts and keeping my ears open in the writing community. Use what you find useful.)

I’ve seen simple and detailed contracts, but every contract should define the work being sold (and usually has a clause confirming the author did not plagiarize it and bears sole responsibility if it turns out otherwise) and specifies the rights being sold.

THIS IS A REALLY, REALLY IMPORTANT PART:

What rights? Are those rights exclusive or non-exclusive? If exclusive, for how long?

Non-exclusive rights (Book A):

The Author hereby conveys to the Publisher the continuing, ongoing non-exclusive right to reproduce and/or publish (in book or other form, including electronic form, including audio form, including print on demand form), and to distribute and sell or license other parties to distribute and sell, this Work and all the contents thereof as part of an anthology entitled: “BOOK A” (the Anthology).

1. This right to publish, license, distribute, and sell shall be applicable to the original English language version of the Work, and shall extend to all nations and territories of the World without exception.
   1. All other rights not herein granted to the Publisher are retained by the Author.

Exclusive rights (Book B):

The Author hereby conveys to the Publisher exclusive right for one year from publication date (after which author may reprint or republish provided attribution is given to the original publisher) to reproduce and/or publish (in book or other  form, including electronic form, including audio form, including print on demand form), and to distribute and sell or license other parties to distribute and sell, this Work and all the contents thereof as part of an anthology entitled: “BOOK B” (the Anthology).

1. This right to publish, license, distribute, and sell shall be applicable to the original English language version of the Work, and shall extend to all nations and territories of the World without exception.
   1. All other rights not herein granted to the Publisher are retained by the Author.

Non-exclusive eBook rights (Book C):

The Author hereby conveys to the Publisher non-exclusive right to reproduce and/or publish in eBook or in printed trade paperback, and to distribute and sell or license other parties to distribute and sell, this Work and all the contents thereof as part of an anthology entitled: “BOOK C” (the Anthology).

1. This right to publish, license, distribute, and sell shall be applicable to the original English language version of the Work, and shall extend to all nations and territories of the World without exception.
   1. All other rights not herein granted to the Publisher are retained by the Author.

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In the first example, BOOK A, the publisher gets to publish my story forever and ever, in eBook, print, or audio—but I also get to publish my story elsewhere, so I can release my own collection or give it to my patrons outside of the anthology or whatever.

BOOK B gets my story exclusively, but for only one year. (This time varies by contract.) After that, I can resell or republish it, but I have to give them credit for first publication (this is the “originally published in” line that you often see).

BOOK C gets unlimited publishing rights, but only in eBook or paperback, not in hardback or audio. Also those rights are non-exclusive, so I can still resell (at lower reprint rates) for eBook elsewhere.

There are many possible iterations! Additionally, all of these examples are specifically for English only, not for translations. And critically, all of them specify that anything not specifically granted to the publisher belongs to me—so that’s film rights, theater rights, holodeck rights, etc.

Rights Reversion:

---

If this Work is not published in book or other form, and offered for sale to the public, or licensed for publication by another party, within one (1) year(s) following the date of signing by the Publisher, all rights herein conveyed shall revert to the Author.

---

This bit means that if a publisher runs out of money, changes editors, or just drops the ball, I get my story back if they don’t do anything with it. That’s nice to have. (That’s happened to me.)

Contracts will also specify payment and may also specify contributor copies and which state/province/other will have jurisdiction if there’s a dispute.

Remember this—it is always acceptable to ask and negotiate. Contracts are open to negotiation.

I got a contract with a related-company rider that would have given away 50% of all my revenue on a character if the story was picked up for film—not just film revenue, but ALL REVENUE, including published stuff that company hadn’t handled. And it was a series character, though they had only one title in the series, so that would have been 50% of everything connected to the series. Um, no, I didn’t sign that. (And I got no push-back at all for opting out of it.)

I received another contract which asked for exclusive rights without an end date. I went back and said I would be happy to grant exclusive rights for a fixed period, how did they feel about a year? And publisher instead asked for non-exclusive. Sweet, done.

Point is, know what you’re signing, and most of the time a real publisher is not trying to take advantage of you and is happy to work with you. Just be nice while negotiating.

I hope that helps you to feel more prepared for selling your work. Good luck!

Discussion: Have you ever asked for a change in contract? What points are most important to you in a contract?

About Laura

Laura VanArendonk Baugh writes fantasy of many flavors as well as non-fiction. She has summited extinct, dormant, and active volcanoes, but none has yet accepted her sacrifice. She lives in Indiana where she enjoys Dobermans, travel, fair-trade chocolate, and making her imaginary friends fight one another for her own amusement. Find her award-winning work at http://LauraVAB.com.