There are no educational or social requirements to becoming a novelist. Education helps you develop writing skills and get involved in the community of writing, but it is not a requirement for success. The main requirement is that you write a novel. The better written and more marketable your novel is, the better your chances. In the end, the elements that lead to the successful marketing of a novel have little to do with educational or social background.

What types of novels sell well?

Genre novels tend to be the easiest to market. There is a built-in audience for genres such as romance, horror, children, mystery, science fiction, fantasy and thriller. A new genre, chick-lit, in which the protagonist is a modern single woman experiencing relationship and career issues, is currently popular. Novels that fall outside of these genres aren’t necessarily doomed, but they are harder to market, and most major publishing houses are looking to publish novels that they are confident they can sell in great numbers.

How do I find a publisher?

There are many small and mid-sized publishers who are open to new writers. The problem with smaller publishers is that they don’t have the money and clout of a major publisher. Typically they will publish a print run of about 5000 books and try to sell those before they print more copies. Your chances of getting published with a smaller publisher is better (though you are still competing against many other novelists) but few of them can bring you the royalties required to make a living. Major publishers are the ones that can bring you big sales. It is harder to get a major publisher to notice you, but it isn’t impossible.

Typically a writer is represented by a literary agent. An agent is someone who has read your book and believes that the book is marketable enough for them to sell it to a publisher. They take advantage of whatever connections they have in the publishing industry to get your book read by acquiring editors, who decide what books their publishing company should publish. The acquiring editor then makes a proposal to their board of editors (or whoever else has final authority) and if all goes well you get your book published.

How many novels do I have to sell to make money?

Here is where you run into trouble. While there are many, many variables involved in how much a writer makes when his or her novel is published, a good rule of thumb for estimating your profits is a dollar a book. That means that you would have to sell 50,000 books a year in order to earn a solid living. While there are some people who publish multiple books a year, the typical novelist manages to produce a single book a year, so you would have to sell 50,000 copies of each book you publish, assuming that you find a publisher for your books.

While the Stephen Kings and J.K. Rowlings of this world have no trouble selling millions of books, the typical novel sells about 5000 to 10,000 copies. Less than ten percent of published novelists manage to sell 50,000 copies or more of their book, and selling 50,000 copies of a book in no way guarantees that you will find a publisher for your next book. Major publishers are looking for big wins. They want to sell hundreds of thousands of copies, and they are going to stick with the writers they think will deliver them those numbers. Keep in mind as well, that the delay between having a book accepted for publication and getting that book published is generally about two years and often longer. That is a long time to wait to see profits from a book.

Are there other ways for novelists to make money?

Many novelists hold full-time jobs in publishing or education. These jobs provide their main income. Novelists can make some money by giving readings or getting paid to attend writer’s conferences. A novel can also get sold to a movie studio. Whether the novel gets made into a movie or not, the novelist gets paid a certain amount. If the novel becomes a successful movie, the novelist is usually in a much better position to get their next novel published.

Can I self publish?

Self-publishing is an option for people who want to get their novel read, but the option seldom leads to substantial profits. The upside of self-publishing is that you can make much more per book than if someone else publishes your work. The downside is that all of the risks and all of the expenses are on your shoulders. That means that you have to find a way to sell enough copies of your book to make back your initial investment and then to make a profit. This is possible, but it is a lot of hard work. Keep in mind that the time you spend trying to publish and sell your novel must be subtracted from the amount of time you have available to write your next novel.

I’m sad now, can you cheer me up?

While the prospects of making a living as a novelist aren’t good, there are some people out there who manage to do it. A few people even manage to get quite wealthy. I recommend that you write novels if it is something you enjoy doing and if you want to produce something you can be proud of. Those are excellent reasons to write novels. By all means, once you produce a novel you are proud of, send it out into the world and try to find a publisher. Maybe you’ll strike it rich and maybe you won’t. At minimum you’ll have written a novel, and that is something to feel good about.

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In order to make the writer more money than the advance, a book has to sell well. If it does, your payment as the author comes from royalties, which you can calculate using the system below. A book that sells moderately well, but is not a bestseller, may or may not make the author a few extra thousand dollars. Royalties (ranging from 4% to 8% in most cases) are generally based on the cover price of the book, but that does not include books that are discounted or remaindered. So, for the sake of argument, say you sold 20,000 full-price copies of a paperback priced at $7 (I know it would more likely be $6.95 but I am going to use round numbers.) If your royalty percentage were a generous 8% you would make a total of $11,200.

Now remember that your advance is an advance on these royalties, so your publisher would subtract the initial advance from the $11,200. If your initial advance equaled $10,000 you would eventually receive $1,200 in additional royalties. An author who makes a total of $50,000 or more from a fiction book should consider himself or herself to be doing very well. For the sake of argument, however, let us say that Oprah Winfrey chooses your book for her book club and you sell 500,000 copies of your book. With this same formula, at 8% you would make $280,000 and would have no trouble finding a publisher and getting a big advance for your next book.

Surprisingly, the publisher does not make most of the money from your book. The party that makes the most money off the sale of a book is the retailer. By the time a publisher pays all of the related expenses of publishing a book (production, distribution, salaries, promotion, etc.), they generally clear a profit of about a dollar a book for a book with sales of about 20,000. Therefore, the publisher made more than you, but not that much more and they took on all the risk. Remember, if the book never sells a copy, you still get to keep your advance.

For this reason, the market for mid-range books (under 100,000 copy sellers) is very tough, and major publishers are looking for books they expect to sell in large numbers. This is why it is hard to get a fiction book published in today’s market. A first-time author or even an author with modest previous sales is going to have a hard time finding a publisher. When they do, they can expect very little by way of promotion because the publisher expects so little return for their investment.

If you do get your book published, and you want it to sell well, be prepared to spend a great deal of your own time marketing the book. Most authors think it should be up to the publisher to promote the sale of the book, but the author is the one who really needs to be out there making phone calls to bookstores, lining up press interviews and setting up readings and signings.

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While it is possible to write one, I have never personally read a novel in which the events took place in a matter of minutes, but I have read novels in which the action took place over several hours or a couple of days. Franny and Zoey, the novella by J.D. Salinger, is comprised of two events that happen over the course of a few hours. Bright Lights, Big City takes place over the span of about three days. The World According To Garp is a novel that spans the entire life of the main character, T.S. Garp, moving from the events of his birth all the way through his life and his death, followed by a descriptions of the remaining lives of just about every character in the story.

Pick a Pace

The way you teat time in your story should have a fairly consistent approach. For example, if you write one scene in great detail, with each moment discussed at length, then you should consider that approach for most of your scenes. It would be odd to have a scene written to that level of detail followed by scenes that happen much faster and are far less descriptive. There might be reasons why you would make that choice, but for the most part you want the pace of your novel to say fairly steady unless there is a specific result that you want to achieve by changing the pace.

Jump With Care

Moving forward and backwards in time is also a tool that should be used with great care. A flashback can add value and perspective to a story, but it can also jar the person out of the narrative or leave them confused about the sequence of events. Sometimes, for the sake of continuity, it is better for a character to discuss the past events than for there to be an actual shift in time. It a choice that should be made carefully.

Watch Your Place

Be careful when it comes to the sequencing of events. If your story is supposed to take place over the course of a week, for example, be sure that the events could logically happen in that time frame. Also, especially if you write your novel out of sequence, make sure that when the finished product comes together, everything happens when it is supposed to.

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This is a story that could happen virtually anywhere, and at almost any time in history. It could be a comedy, melodrama or tragedy. All of the elements are there for any sort of story you can imagine. The overt crisis (though not the underlying conflict) is clear and the stakes are equally clear. Consider though, the effect that setting would have on this story.

Setting #1: 2008. The wedding took place at a posh hotel in Chicago, The bride and groom now face a long plane rise to Hawaii, where they have secured a small villa right on the beach. While they are in Hawaii they are scheduled to attend a luau, an island tour and snorkeling in a private lagoon.

Setting #2: 1988. The couple were married at a Las Vegas chapel by an Elvis impersonator. The reception was held at the Circus Circus hotel buffet, which is the hotel they will be staying at, surrounded by their family and friends, for the next several days. They have tickets to see Rich Little and have booked a helicopter tour of the Las Vegas Strip.

Setting #3: 1954. Rural Virginia. The couple were married in a large church wedding with the reception at the Elk’s Lodge. For their honeymoon they are driving down to a small motel in Myrtle Beach, South Carolina. Their car is a ten-year old Cadillac.

Obviously these are rudimentary setting details, but I think you can get an idea that the three different settings lend themselves to dramatically different effects. A posh villa in Hawaii will influence the characters much differently than a garish casino or a small-town motel. The morals and general atmosphere of the 1950s, the 1980s and the 2000s are very different. The economics of the three settings are also dramatically different. The feeling of being surrounded by family or being isolated during a crisis has influences the characters.

The setting can either have a weak or a strong influence on the plot and the themes of a story, depending on how the writer uses it. Here are a few ideas for choosing your settings:

• Choose settings that matter to the characters
• Choose settings that can influence the action
• Choose settings that you know enough about to describe comfortably
• Choose settings that will be of interest to the readers
• Take the time to describe the settings in enough detail for the readers to have a clear idea of where the characters are

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Every story has to end. The most important thing that has to happen before a story ends is that the central conflict of the story has to be settled. The protagonist wins. The protagonist loses. The protagonist realizes that she has both won and lost. Whatever the case, the crisis is settled. What then?

Say a Little or Say a Lot?

In movies, you frequently see them end the story at the moment, the very moment, when the central conflict has been settled. Sports movies are famous for this. The Karate Kid ends just after Daniel has defeated his nemesis Johnny to win the karate championship. He is literally still standing there with his arms in the air as his instructor Miyagi looks on with pride. There is no denouement whatsoever. It ends at the moment of triumph.

On the other end of the scale you have the Lord of the Rings Trilogy (both the books and the movies). It can be argued that half the final book (and movie) are denouement. We see how the conflict has changed each of the central characters and we follow them as they return to their former lives or find that they cannot return to their former lives. The World According to Garp (the book, I never saw the movie) actually takes the time to follow each of their characters all the way to their various eventual deaths. It tells you how their lives played out in the aftermath of the central crisis.

All of these choices are valid, but there are definitely consequences to each choice. A brief, or nonexistent, denouement runs the risk of the reader not really feeling that the central conflict had a significant effect on the characters. They may end up feeling as if their time has been wasted or feel that the characters haven’t really changed. An especially long denouement, by contrast, runs the risk of leaving the reader bored. Once the tension of the crisis has been released, the reader knows that the conclusion is coming. The longer you take with the denouement, the longer you will have to keep the reader’s attention without having the tension of the conflict to keep them invested.

Be Fair to your Readers

One of the most controversial denouements is the end of the Harry Potter series of books. Because the series lasted seven books, the readers were invested in many, many characters. People wanted to know how all of these characters turned out. What readers got was a twenty page denouement, set years later, that answered very few of the lingering questions. This upset most readers — quite understandably. When you spend several thousand pages discussing the lives of a set of characters, you should expect that the readers will be invested in the outcomes for each of these characters that they have grown to love over the years.

My simple advice is that a denouement should last long enough for the reader to feel satisfied, but no so long that the reader gets bored. Make sure that the central themes of your novel get at least a moment of reflection in the denouement and that your readers are clear about how the novel has changed your characters.

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When you start a novel, the options are virtually limitless. A character can go in almost any direction. As the story progresses though, all of those options should fall away until the only option left is the conclusion. Think of your story as a tree. In the beginning, a tree is just a seed, and it can grow in many directions, both up and down. As you move along a tree though, you eliminate options. If you move up, you have left the roots behind. If you move past a branch, that branch is now behind you and can no longer be chosen. When you choose a branch, you eliminate everything but that branch. As you follow that branch along, you move by other branches until make another choice. At that point your choices are narrow. You are running out of branches until eventually you reach the end, where you have nowhere else to go but to embrace that final leaf or bud or whatever form your conclusion takes.

Decisions Define both Characters and Stories

The choices in a novel run along those same lines. Every word, every paragraph goes toward defining your characters, your plot and your themes. Each choice your characters make eliminates the other choices that could have been made. As each choice comes up, it further defines the character and it eliminates the choices that they could have made. The character might make dramatic changes as the story moves forward, but those changes must be the result of their earlier choices. Eventually, the character runs out of choices. They arrive at the ending knowing that it is now the only ending that remained possible.

As the Plot Progresses, Even the Same Decision is Different

Keep track of the choices that your characters make. In the beginning, your protagonist may be a high school graduate who must choose between college and work. If he chooses college, then he must choose a major. If he chooses a major, he has to choose from a specific set of classes. If he goes to the class he must take a seat. If he takes a seat between two people, he may choose to talk to one of them, none of them or both of them. If he talks to one of them, that person may turn out to be a friend or an enemy. If that person is a friend, they will go places together. If they spend too much time doing things other than classes, the student fails out of college.

At that point the student once again must choose, college or work, but he is not at the same point as he was in the beginning, even if he is making a similar choice. Getting back into college will be hard this time. He may have to choose a lesser school, foe example. If he goes to work it will be as a college dropout or perhaps as a part-time student who must hold a job as well. Either way, his choices revolve around college or work, because those are the branches of the tree that follows. If he fails at college again, the chances are very slim that he will have a third chance. Meanwhile, he has acquired a friend along the way, and that friend would not have appeared if he had made different choices.

Sometimes, Decisions are Made for You

Sometimes, in a novel, outside forces determine some of the branches. For example, his parents may have been paying for college, but then they lose a significant amount of money when the stock market crashes, and they can no longer afford to help him out. He must now make his choices based on the new situation. Be careful with outside forces though. It is usually better for a story if the characters’ own choices determine their fate as much as possible. The outside world may act to eliminate some options, but for the most part, rely on your characters to determine their paths; otherwise the conclusion will feel unearned.

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The NBC show Heroes has a lot of problems. It never quite lives up to its potential for a number of reasons. There is one thing I love about the show though. I love Sylar. Sylar is the bad guy. Occasionally you get the feeling that he would like to be a good guy, but deep down he is bad. His essential flaw is that he craves power. Specifically, he craves the superpowers of the other characters and he has a longing to take them, by force, generally leaving the other characters dead or at least deeply changed. Despite that, there is a certain glee to Sylar. He enjoys what he does, and he can readily explain why he does what he does. He’s also funny, and that always helps. I know many people absolutely hate Sylar. That’s fine too. Whatever the case, people care about the guy. People pay attention when he is on the screen.

The Villain Doesn’t Have to be Evil

Not all bad guys are quite as evil as Sylar. In some cases, they aren’t evil at all, they just have goals or intentions that run counter to the Hero. Watch a romantic comedy, and you will often see a good guy antagonist. For example Kevin is the ex-boyfriend of the Greg Focker’s fiancé Pam. Kevin is as close to the perfect guy as you can imagine. He is kind and creative. He is handy with a hammer and he is never anything but nice. He is so perfect, in fact, that Stiller’s character feels immensely threatened by the guy and worries that he is going to lose his fiancé to him.

Antagonists Represent Obstacles

Antagonists come in many forms. They may be as evil and ruthless as Darth Vader or they may be as commonplace as an overbearing boss, a flirtatious ex-girlfriend or an annoying little sister. The main role of the antagonist is to provide obstacles for the protagonist. The antagonist’s needs and desires in some way interfere with the needs and desires of the protagonist. The boss makes the protagonist work late when he should be with his wife. The flirtatious ex-girlfriend makes the protagonist doubt his commitment to the wife. The annoying little sister asks exactly the wrong questions just when they can cause the most trouble.

Every Character has a Story

When you are writing your novel, keep in mind that the antagonists have their own goals, their own needs, and their own hopes and desires. You may not agree with their world view, but you should respect that it is important to them. The antagonists are, in their own minds, the protagonist of their own stories. Respect and understand their needs, and you will create antagonists that people want to read about.

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It is no secret that conflict drives stories. The conflict may be clear and specific (a meteor is going to destroy the planet!) or understated and perhaps not even overtly discussed (Ed feels like a failure). Whatever the case, conflict is at the core of any story. Something should be or absolutely needs to be resolved, and dealing with that conflict is what the story is about. Because of the central conflict, a number of smaller conflicts emerge. Here are some central points to consider when approaching conflict in a story:

Why does it matter?

What about the conflict in the story makes it important, both to the characters and to the reader? When the meteor is approaching earth, there’s a pretty good reason to try to resolve the conflict. Death is on the line. A planet in peril is a major conflict.. But most story conflicts aren’t quite that easily identified with. For example, if you write about a forty-year old man who is committed to losing fifty pounds and running in a marathon, you have to come up with a reason why it is important to the man. Perhaps he has started to feel as if his life is routine and that he running out of time to accomplish something. That is the conflict. You also have to come up with a reason and why it is important to the reader. Should they like this guy? Do they think accomplishing the goal will be meaningful to him?

What can be gained or lost?

When you start out with a simple desire, such as the marathon, there has to be consequences and rewards. There are obvious benefits to the man getting in shape and running in the marathon. There is a sense of accomplishment to be had, and there are clear health benefits. There should also be consequences both for success and for failure. Clearly there is an emotional cost to failure. Not managing to accomplish this goal could mean that the man feels more like a failure than when he started on the journey. He may also risk physical injury. There is also the genuine risk that accomplishing his goal may not be as satisfying or life-changing as the man initially thought it would be.

What are the smaller conflicts that result from the central conflict?

When you have an overall conflict, such as self esteem issues and a lack of interest in life, which a person is trying to solve (by running in a marathon) there are going to be other conflicts that occur as a result of the central conflict. For example, the man’s wife might be overweight and resent the fact that he is trying to improve. She may be indignant or she may even try to sabotage his attempts by bringing home sugary or fatty foods or trying to find other ways to occupy his time. There may also be conflicts at work because the man isn’t working the overtime hours that he used to. There are also the aches and pains of running as well as the temptations of abandoning his goal in favor of an easier life.

How will the conflict be resolved?

The resolution of a central conflict can make or break a novel. There is, of course, the possibility of defeat. Not every conflict gets resolved favorably, even if the expected outcome arrives. We’ve already discussed the idea of consequences for victory as well. The man may complete the marathon but lose his wife or his job, for example. The resolution must matter to the reader. If the reader has stuck around for 50,000 words, only to meet up with a resolution that either doesn’t make sense or doesn’t feel earned, the reader is going to be upset. If the conflict matters, than the resolution must feel logical and earned.

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Most writers are articulate. Because they work with the written word on a daily or near daily basis, and because they have a love of language, most writers express themselves well. Just because a writer is articulate, however, doesn’t mean that a character should be articulate. Adjusting your language to suit a character, especially in dialog, is vital to creating a realistic depiction of that character and vital for differentiating that character from others in the story.

Words Reflect Background

When most people think about writing realistic dialog, they think about things such as regional accents and vocal patterns. Those things are important, but it is just as important to adjust your dialog to the specific background of the characters. For example, people know that there is a Boston accent, but most people don’t realize that the Boston accent varies greatly according to where in the city that person lives and what their economic and educational background is. Not everyone from Boston sounds the same. A well-educated Boston lawyer is not going to sound like a poorly educated bartender at a local dive.

Don’t Distract the Reader

Another mistake people make in tailoring dialog is to go too far into an accent and ignore such things as speech rhythms or word choices. J.K. Rowling, for example, uses very exaggerated accents. In the early books, before the story got particularly dark, the exaggerated accents seemed to work reasonably well considering the stories were fantasy and the intended audience was mostly children. By the final books, however, when the story was very dark and the intended audience was much wider, the exaggerated accents seemed much more unsuitable and distracting.

Unique, Not Extreme

The key with dialog, especially with accents, is to make each person’s style differentiated enough that they sound unique and identifiable, but not so extreme that people are paying more attention to the words being said than they are to the intent of the statement. Try to think of what is distinctive about the way each person speaks, and why their word choices make sense for them.

Some Things to Consider

• Is the character concise or long winded?
• Does the character use words they don’t fully understand?
• Does the character have influence from different regions (such as a person from Texas now living in California or vice-versa)?
• Is the character used to public speaking?
• Does the character have any particular patterns or phrases that stand out?
• Is their something about the character’s role (Boss, employee, teacher, parent) that makes a difference in the way that character speaks in different situations?

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Third Person

A third person narrative tells the story from a perspective outside of any one particular character. It discusses the events from a slightly removed position. “Billy went to the store to get beer.” Some of the decisions involved with third person include whether or not the narrator has access to the character’s thoughts or merely their actions, and whether or not the narrator has a point of view about the actions happening in the story. Finally, there is the decision of whether or not to follow more than one character. A narrative can be in the third person, but still only focus on the actions of a single character.

First Person

First person is told from the perspective of a character within the story, usually the lead character but sometimes a peripheral character that happens to know most of the events either through observation, participation or through someone else telling them what happened. “I went to the store to get beer.” It is also possible to have multiple first-person narratives, with the perspective shifting by chapter or by scene from one storyteller to another.

Reliable or Unreliable Narrators

In first person narratives, the character sees everything from their own point of view. This means that they cannot know what happens unless they observe it or are told it, and the way they observe the story may be pretty close to the facts or skewed by their own perceptions. A story narrated by a pathological liar or a child, for example, may not accurately reflect the reality of what is going around them. Third person narrators are usually not unreliable, but it is possible to do this as well.

What Ar Your Needs?

Choosing which type of narrator to have can be difficult. You want the narrator that is going to best reflect the needs and goals of your story. A story with twenty different characters, for example, may need a third person narrator simply because a single character within the story may not be able to observe or even be told all of the things that occur. A first person narrator, however, generally adds a level of immediacy to the story, and the fact that they are seeing what happens from the character’s perspective may increase the reader’s feeling of connection to the story.

Once you choose a voice though, especially if you are trying to work quickly for a deadline like Nanowrimo, you need to stick with your first choice. Changing the narrative voice requires a great deal of editing and can take quite a lot of time.

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