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Submerging, And Other Random Thoughts about Novelspinning

Picture of roses
Found in a Seattle alley. They smelled like grandmothers and summer.
One of the questions I’ve been asked several times and never known how to answer before is “How is writing a novel different than writing a short story?” The smart-ass answer is, of course, a novel is longer, but it’s more than that, more a question of the complexity that a greater length affords you, an ability to move in four dimensions rather than just three.

A short story is smaller, flatter, closer to two-dimensional, while a novel has at least four dimensions and probably much more than that. Things interconnect in a short story, but in a novel those interconnections become even more important, indeed are their own kind of building block. In a novel, things reflect, are doubled, made more complicated, imbued with meaning. So what’s the difference beyond that? For me, it’s what’s required in the writing, in getting enough of the book in my head to be able to figure out where it’s going next.

How does one achieve that? The answer that’s emerged for me is submersion. There needs to be — at least for me — a period where I’m focused on the writing to the exclusion of anything and everything else. To go to sleep with my words echoing in my head, to wake with dreams lingering in which pieces of the story have been predicted or deciphered. To not be watching television or playing videogames, which fills up my head with pop culture crap (I do not decry it in its place, simply claim that for a writer, too much can be detrimental.)

To work at novel length — at any length, really, though — is a willingness to let your unconscious wander and then capitalize in the rewrite on the wonderful things that process has revealed. You can’t hold a novel in your head the way you can contain a story, seeing it as a complete entity. Instead you exist within it, seeing outward, creating a hollow space in which the reader can live while experiencing the funhouse ride you have constructed.

I start with a roadmap that tells me the basic arc, but every few chapters I have to recalculate and check that map, and make sure no necessary sidetrips have presented themselves (or need to be dropped from the itinerary). I know by now, having completed five of these things, that I can reach the end. I just don’t know exactly how much gas it’ll take or what the terrain will present me with. That’s half the joy and most of the terror of this enterprise.

I don’t want to discount writers with a more straightforward plotting process — mileage will always, inevitably, vary and anyone who claims to have found the One True Way for anyone other than themself is full of hooey. Here’s a truth: all that matters is that you write. That you produce words of fiction rather than words about the art of fiction writing or the state of the world or the publishing industry or any of the ways in which the world has wronged you (a fascinating topic to you, but few others). This is not to say that critique and revision are not important as well, but simply that for either to take place, the act of creation must have preceded it.

I’m counting down the days till July because I’m taking a month and a half for submerging myself, heading off to housesit for a friend in another state. It’s what both my waking and unconscious mind are telling me to do in order to finish up this book and get a running start on the next, Exiles of Tabat. To dive deep into the roots of the story and blunder around, colliding with those hidden pillars, overgrown with metaphor and symbology, so semiotically-shagged that you must reach out for them with something like a special bat-sense, akin to sonar, because otherwise you’re just a blind man, holding onto an elephant’s tail and gravely expounding on how like a snake an elephant truly is.

Those pillars inform everything because they hold it all up. A story is just a story, a spaceship just a spaceship… but that’s not true at all, is it? In a novel, a spaceship’s cargo hold is packed tight with meaning: exploration, escape, the forces of technology, even fripperies like references to other fictional spaceships or science.

Things in books are more than just things, because even when we’re reading “just for entertainment,” there’s a level on which they show us what is and isn’t okay for humans to do. Everything is political in that it works to normalize (or mark as abnormal) what’s presented in it. A book with a protagonist preaching libertarian values or fondling her gun is just as political as any other viewpoint and to pretend such stories are not political is disingenuous or ignorant at best and outright dishonest at its worst.

But I digress, because I don’t want to talk about opinions of art, but rather what I can say about its creation. I’ll have wireless, so I’ll be teaching some classes, and there’s a few other things to do, but mainly I’m just going to write and write and see what I can get done. The book for sure, and a handful of stories that I’ve promised people, and at least an outline for Exiles. I am extremely lucky to have a spouse who doesn’t mind my heading off to hole up, as well as the economic circumstances to do this, and I am going to make the most of it, particularly in the post-Nebulas lull, because I’m itching to get the second book out there and see what people think, because it’s a weird structure, and man, the people who didn’t like the cliffhanger in the last are not going to be happy with this one.

Life’s been contentious lately, at least in the overall climate. If you want to feel happier, go do something nice for someone else. Give someone a kind word or a smile. And wish me luck, because today’s got a series of downers in it – but they are all quite survivable and July is coming soon.

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"(On the writing F&SF workshop) Wanted to crow and say thanks: the first story I wrote after taking your class was my very first sale. Coincidence? nah….thanks so much."

~K. Richardson

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Interviewed by Genevieve Valentine

Cat Rambo
Cat in the San Juan Islands. Photo by Wayne Rambo.
In 2009, Genevieve Valentine did this interview for the press kit included with my collection. I’ve posted it here for posterity.

Genevieve Valentine: Though your stories take place in different worlds and range from the comic to the tragic, a common theme is the intrusion of the fantastic into the everyday (for certain values of “everyday”); do you find it more satisfying, as a reader, when there is conflict between worlds, or cooperation?

Cat Rambo: Well – story inevitably comes about as a result of conflict. Where there is only cooperation, as nice as it sounds, stories become a lot subtler and dreamier and sometimes easy to miss.

To me one of the inevitable things about the intrusion of the fantastic is that it makes us rethink the everyday in a way that may provoke a similar conflict in our souls. The very best stories sock us in the gut and leave us gasping with realization that we almost missed a cathartic moment.

GV: The workshopping process seems close to your heart; in what ways do you feel it’s shaped you as a writer and as a reader? What is your advice for writers who want to find, our found, a writers’ group?

CR: Curiously, I’ve found myself listening less and less to the line by line comments and more to the broad-scale, big-picture level stuff. If I can infuriate my friend Derek Zumsteg, I know I’ve gone far.

It’s possible to get too carried away with workshopping, to end up pulled in too many directions by too many voices. As far as founding a group goes – make sure everyone is at a comparable level, that people communicate with trust and respect, and that you establish the ground rules early on.

GV: Your stories are steeped in folklore, but your retellings seem built on the barest bones of the original tale. What advice would you give for writers who want to make an old fairy tale new again?

CR: When I was a kid, I was working with a somewhat limited library. I ran out of fiction to read, in fact, and they wouldn’t let kids 13 or below check out books from the adult stacks. So I spent a few months one summer working my way through the fairy tale and folklore section, which is where all the bones of fairytales that come glimmering through in my stories, such as “Heart in a Box” or “A Key Decides Its Destiny”, grow from.

It’s hard to do anything new with fairytales anymore because the top layer has been mined so thoroughly. If I’d seen the wealth of mermaid stories that I’ve seen since taking on reading for Fantasy Magazine, I don’t know that I would have been arrogant enough to try a new take on the Little Mermaid or Dick Wellington’s Cat (The Dead Girl’s Wedding March).

GV: What was the particular fact or piece of trivia that determined your course in writing “The Towering Monarch of His Race”?

CR: I was writing an encyclopedia entry on the acquisition of Jumbo the elephant by P.T. Barnum and the story’s details were too good not to go into a story. They are, for the most part, true — Jumbo did die as a result of a collision with a train and it’s true that when Barnum was told that Jumbo had laid down and refused to board the ship to America, he said every day the elephant spent lying down was priceless in terms of publicity. The elephant did refuse to go aboard until his keeper coaxed him onto it, and all of England mourned the elephant’s departure.

GV: Animals make frequent appearances in your stories; what are the challenges of writing around (and sometimes, writing as) an animal?

CR: Well, I have never found this quite as radical an act as some readers seem to have thought it. I know I caught some flak about writing from an elephant’s pov part of the time in The Towering Monarch of His Race, but I didn’t think it too over the top. I researched it and I spent time thinking about what an elephant would notice.

GV: So, what’s your beef with eagles?

CR: I like eagles! I see both golden and bald eagles almost every morning when I go to get my coffee – we have a tree down near the water that they’re nesting in.

GV: What’s something you feel people overlook in your writing?

CR: The muscular nature of my sentences, which I try to pare down as much as possible.

GV: What about your writing makes you roll your eyes sometimes?

CR: Often I get carried away with the intense beauty of my prose.

GV: As an [Overlord for Armageddon, you came to the table well aware of the potential and the peril of an online identity. What online platforms have been of most benefit to you as a writer? What should new writers avoid?

CR: I was, and still am, an Overlord for Armageddon, which is a game I’ve worked with for almost two decades now. I have been a public figure in the game for most of that time, and find being a writer/editor not much different. People are generally kind and patient if you are patient and kind with them, but you should also not be a pushover.

Computers are TERRIBLE TIME SUCKS but sort of unavoidable. Avoid committing too much of your time to an online presence – it does you no good if you don’t have some actual writing to sell.

GV: You’re doing a DIY promotional tour for Eyes Like”¦. In an age where publishing is getting scaled back, writers are becoming their own best publicists. What have you discovered about self-promotion while preparing for this tour? What are you looking forward to? What’s the number one mistake you’re afraid of making?

CR: That it’s incredibly hard, tedious work. I’ve been going through my mail compiling a list of reviewers and bloggers, for example, that I want to make sure get an ARC (advance reading copy of the book). I’m preparing for a 31 day virtual blog tour, as well as a month on the road where I’ll be reading at the KGB bar in NYC as well as venues in Philadelphia, Indiana, Kansas, Colorado, Salt Lake City, and Seattle.

In this I’ve been happy to have my retired mother compiling a lot of the info as well as my incredibly talented friend Kris doing a lot of the graphic work.

I am worried about pushing too hard with this book and alienating people, but at the same time, I’m learning that unless you ask, you can’t find out, sometimes.

GV: The most frustrating part of the writing process is _________.

CR: The slowness. I can’t stand markets that take 6+ months to reply. I think that’s RIDICULOUS. At Fantasy we turn stuff around within a week tops, and that’s processing 400-500 fiction pieces a month. :p

GV: This can be solved by _________ and liberal applications of _________.

CR: Determination and weed.

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Guest Post: Dan Koboldt on Magic Versus Technology in SF/F

It’s always bothered me that fantasy and science fiction get lumped together into a single category. The two genres seem very different, at least on the surface. Fantasy usually features some kind of magic as a core speculative element. It often takes place in a secondary world at a pre-industrial state of technology. Science fiction, in contrast, usually takes us to the future in which some as-yet-nonexistent technology underlies the plot. Granted, there’s a huge overlap between fantasy and science fiction fandoms. Maybe that means we live for escapism, whether to a fantasy world or outer space.

The Crossover Genre: Science Fantasy

It’s rare but wonderful when we get both sci-fi and fantasy elements in the same story (a genre sometimes called science fantasy). Dune is the first example that comes to mind. Disclaimer: Dune always comes to mind when I’m thinking of science fiction, because I love it so much. Most of the series is sci-fi: space travel, drones, laser rifles, and a sprawling galactic empire. But there are other elements that I’d call magic: the practices of the reverend mothers, for example, and the prescient powers achieved with a spice overdose. When the story goes out into the deep desert with the great sandworms, it feels like a fantasy to me.

I could also argue that the original Star Wars also blends the SF/F genres. The talking droids, epic space battles, and planet-blasting Death Star make it mostly a science fiction story, but there’s also magic that plays a pretty central role to the story. Like all great magic systems, this one is accessible to only a select few, requires considerable training, and has certain limitations. And it plays a key role in the central conflict. Obviously, I’m talking about the Force. It’s not just a magic system, but practically a religion among its practitioners.

Technology Versus Magic

The interplay between magic and technology in Star Wars is fascinating. When it comes to technology, the Empire has almost every advantage. Bigger, better ships. Armored combat walkers. And a planet-destroying space station, albeit briefly. The Rebellion’s scrappy fighters win unlikely victories against these overwhelming forces. They did so often with the aid of that mystic religion. The Force, in other words, can level the playing field.

Magic and technology as speculative elements actually have quite a bit in common. Given a new capability ““ either arcane or technological in nature ““ we tend to apply it to similar problems. Both serve as weapons (curses and lasers) or in defense from attacks (wards and deflector shields). Healing is another popular application, whether that’s with a medical tricorder or a fistful of athelas. The same goes for teleportation, construction, destruction, and many other forms of speculative wish-fulfillment.

Which Element Matters More?

Given their similarities, one has to wonder: in a world where both magic and advanced technologies exist, which side has the upper hand? It is tempting to say technology matters more, because a technical advantage is both practical and constant. If you have guns and they have bows, you’re likely to be victorious. If the technology gap is wide enough, Clarke’s third law might be applied: any sufficiently advanced technology is indistinguishable from magic.

Even so, I can’t help but notice that the scrappy underdogs facing a huge technology deficit often emerge victorious if they have magic on their side. In both Dune and Star Wars, the underdogs manage to topple powerful emperors. And in both cases, they do so with considerable help from arcane sources: the Jedi’s mastery of The Force, and the witch-like powers of Bene Gesserit. In a conflict between two mismatched sides, magic can be a powerful equalizer.

About the Author

Dan Koboldt (website) is a genetics researcher and fantasy/science fiction author from the Midwest. He is the author of the Gateway to Alissia series (Harper Voyager) about a Las Vegas magician who infiltrates a medieval world. He is currently editing Putting the Science in Fiction, (Writers Digest), a reference for writers slated for release in Fall 2018.

By day, Dan is a genetics researcher at a major children’s hospital. He and his colleagues use next-generation DNA sequencing technologies to uncover the genetic basis of pediatric diseases. He has co-authored more than 70 publications in Nature, Science, The New England Journal of Medicine, and other scientific journals.

Dan is also an avid hunter and outdoorsman. Every fall, he disappears into the woods to pursue whitetail deer with bow and arrow. He lives with his wife and three children in Ohio, where the deer take their revenge by eating all of the plants in his backyard. Follow him on Twitter as @DanKoboldt.

Enjoy this writing advice and want more content like it? Check out the classes Cat gives via the Rambo Academy for Wayward Writers, which offers both on-demand and live online writing classes for fantasy and science fiction writers from Cat and other authors, including Ann Leckie, Seanan McGuire, Fran Wilde and other talents! All classes include three free slots.

If you’re an author or other fantasy and science fiction creative, and want to do a guest blog post, please check out the guest blog post guidelines.

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