Essay on Writing Fiction

Writing Fiction Essay
by Anthony J. S. Dudley

Creating Fiction

I: What is fiction?
A: What is fiction
1: A craft
2: A boundless expanse of possibilities
3: The ultimate playground of the mind
4: The fundamental principles... which any great work... can be based

B: How the masters define it
1: All stories set in the future
2: All stories set in the historical past that contradict known facts of history
3: All stories supposedly set on Earth, but before recorded history and contradicting the known archaeological record
4: All stories that contradict some known or supposed law of nature

C: More to writing fiction
1: There is much more to writing fiction than simply understanding the definition
2: The writer must develop his craft
3: The writer himself must hold certain qualities
1. 4: The craft itself must be honed through practice

D: What must be understood
1: An essence, which is based upon what a writer must understand
2: Summed up in just three simple words: creating, writing, and selling fiction
3: The writer must... establish what the concept and ideals are
4: From there, the writer must actually write the fiction
5: This fixation is sometimes based on a fear of rejection

E: What this paper will do: thesis
1: How the development process begins, how it is followed, and how it is finished
2: Show... the best of both views on how to write fiction
3: Will express the opinions of the authors, or quoted peoples
4: Will be a tool in the form of a reference

II: Fiction: the motivation

A: In the past
1: Earliest works of fiction were orally given accounts of events
2: Fiction was all about learning
3: Incorporated elements such as tension and drama to enhance this feature

B: The Reader
1: To learn
2: To entertain
3: To inspire feelings or ideas

C: The Writer
1: To tell a story
2: To share him(her)self with the world
3: Story is the medium; fiction is the tool

III: Is fiction for you: the writer!

A: The Writer
1: Desire
2: Determination
3: Inspiration
4: Creativity
5: Understanding

B: Looking to decide
1: There are always exceptions
2: Do not take it as a simple fact that one is born, or is not born, a writer
3: Confidence can be a powerful persuader

IV: Is fiction for you: the craft!

A: The Craft
1: Conveys a message through the medium of print
2: The skills and techniques of the writer can be learned... as any trade-skill can
3: Fear of the rejection and failure is what holds many people back
4: Overcoming these fears is key to the development of a writer's craft

B: The budding of a Writer
1: Ideas, usually, are spontaneous
2: Creativity can be shaped, guided as it forms
3: Creativity must be developed, not forced

V: The Craft

A: Rules vs No-Rules
1: following a set of rules is the best way to create fiction
2: this is untrue, it blocks creativity and hinders natural growth
3: rules cannot be fixed things, they must adapt to every situation

B: Choosing the best for you: Rules or No-Rules
1: Find the way that functions best and stick to it
2: Be advised that only experienced writers should use rules
3: It shows that the writer is using rules as a crutch to support their own work: whether or not their work actually needs the crutch

C: Technique and Feeling
1: A writer must develop a set of techniques
2: Expand on the basic format of writing: connecting scenes and grouping segments together in meaningful ways
3: Further than simple technique, however, is feeling
4: This is where experience matters most
5: A novice will not know exactly when to rely upon feeling

D: The Focus of the Writer
1: It should be to hone his craft
2: There are many methods, but they all amount to the same thing: reading
3: Reading is the only way to absorb the techniques and elements that writing fiction relies upon
4: There is no alternative

E: Concluding the Craft
1: If there is anything considered a magical secret to success, reading is it
2: There is a method about it that should not be ignored
3: Read it, taking note of what the author did to grab your attention, see how each idea is developed, how each scene is laid
4: Just keep reading

VI: Creating Fiction

A: Outline vs No-Outline
1: People like to plan ahead when writing fiction, creating extensive outlines and schematics in an attempt to control and shape their creativity
2: Like rules, these often act as restrictions to spontaneity, but unlike rules, they have a very positive effect on the story
3: Other people can simply jump right in, their creativity is so strong that it can supply material for any situation
4: Often enough these people are as surprised at what they make as those who read it are

B: Plot and Structure
1: The plot is the course of the story
2: Plot happens
3: Plot is the structure of the story, the foundation upon which all other events in the story occur
4: An essential part of the story, that gives the reader a sense of continuity

C: Character
1: Stories are also about people
2: The characters in a story are the ones who shape the story events
3: They are the motivation behind our attachment to the story

VII: Writing Fiction

A: How the story tells
1: Deciding how to actually tell the story, now that the reader has decided to tell it at all, becomes a much larger issue
2: It's important, especially at the beginning, that you reveal information that promises your reader an interesting story to come
3: There must be some sort of recognition from the writer, an acknowledgment of the reader's existence and an acceptance that the writer is trying to sell a story to the reader

B: Points of View
1: First person lives the story through the eyes of the primary character
2: Third person is aloof from any single attachment and allows the reader to experience a variety of characters in the story through their own perceptions
3: Omniscient point of view gives the ultimate perspective

C: Plotting, the Scene, the Pattern, the Tension
1: Tension is what keeps the reader invested in the story
2: A story with a high, continual level of tension will keep the reader reading
3: Without any control of the level of tension, the reader will lose interest

D: Dialogue
1: There is dialogue, spontaneous action, not mere descriptive passages
2: Dialogue occurs any time a character joins in conversation
3: A story can be a success without dialogue elements

E: Action vs Description
1: Action passages offer more power than descriptive passages
2: Yet a story cannot exist solely upon action
3: The reader must know what, where, when a story takes place

VIII: Selling Fiction

A: Editing
1: What should be known about editing is this: everyone needs it
2: It does not matter how skillful or professional the writer is
3: The secret to editing is to not give as much pointless work

B: The publisher, the editor, the agent: what to expect
1: There are so many publishers, in many different states, that it is almost impossible to keep track of them
2: There is no real help that can be given, no secret to make the publisher look at your story specifically
3: But there are some useful tips

C: Copywriting
1: Many writers worry about copywriting their work
2: The truth is that this is not such a large issue as it once was

D: Getting Published
1: Getting published is a difficult task for any novice writer
2: Only so many books will sell
3: The key is persistence

Conclusions: Creating Fiction is what you make of it, how you develop and tell a story has as much to do with how it is enjoyed as the content of the work. If careful consideration are afforded to the story, it will inspire greatness in other parts of the work.

The Essay:

What is fiction? Fiction is a craft, a set of trade-skills adapted from the art of storytelling. Fiction is a boundless expanse of possibilities, limited only by the perception of one's imagination. Fiction is the ultimate playground of the mind, where anything is possible. But it is also a harsh and unforgiving profession. This gap, between success and failure, is why many people seek that special something to give them an edge. Sadly, there is no magic secret, no special truth that allows an average somebody to become a brilliant success. This is as true in writing as it is in any other field. What instead is available, is the broadest of outlines, the fundamental principles upon which any great work of writing can be based.

As an old master of the craft defines it, fiction is: “All stories set in the future, because the future can't be known... All stories set in the historical past that contradict known facts of history... All stories set on other worlds, because we've never gone there... All stories supposedly set on Earth, but before recorded history and contradicting the known archaeological record... All stories that contradict some known or supposed law of nature.” (Orson Scott Card; 17) This just about sums up the technical definition of fiction. Publishers use such guidelines when determining whether a book should be placed in the fiction or nonfiction section of the book store. Of course their individual definition may have a slight variation, but Card's words stand as a model by which to judge the works of others.

Yet there is much more to writing fiction than simply understanding the definition. If it was really so easy, than every entity who has ever shared an idea would be a teller of fiction and an inventor of tales. No; creating fiction takes much more effort than that. The writer must develop his craft, learn the skills from experience. There is no other substitute. The writer himself must hold certain qualities. “Before you can tell a meaningful story, you have to hone and sharpen your understanding of the world, and that begins with the fundamental rules, the natural laws.” (Orson Scott Card; 36) Without such a base, the skills necessary for the success of the craft cannot develop. The craft itself must be honed through practice, and relentless determination. The writer will have to submit himself to ridicule and rejection, time and again. These traits are not held in everyone, and if all are not held within the aspiring writer, it should not be held against them. Even if not every quality is met, any combination can lead to success; even a single quality, if in great enough measure, can make the carrier of a writer a possibility.

There is a core, an essence, which is based upon what a writer must understand. This essence can be summed up in just three simple words: creating, writing, and selling fiction. The writer must create the fiction, establish what the concept and ideals are, and govern each event as it unfolds. From there, the writer must actually write the fiction. Improving upon the established creation. There are countless known techniques for doing this, and many others that writers have self-adapted over the years that will never be shared with others. It is encouraged that a writer use known techniques only as a base, and develop their own style from there. This is because each writer has his own capabilities, and to focus completely upon someone else's proposed technique would set artificial limits on their writing ability. Selling fiction is the last thing a writer should worry about, and (probably because of that) it is also the one most writers fixate on. This fixation is sometimes based on a fear of rejection, or a fantasy of success. These both have their origin in novice writers. But the so-called professional writers also deal with this problem. Usually it grows out as a writer matures and becomes more confident in their work.

This is the knowledge that shall be endeavored to pass on to the reader. This research paper will be about writing fiction novels: how the development process begins, how it is followed, and how it is finished. This paper will show the reader the best of both views on how to write fiction, using sources from multiple books written on the topic. It will express the opinions of the authors, or quoted peoples, from those sources. It will exclude points that are felt to be irrelevant or off topic. It will not be a guide to writing fiction. It will be a tool in the form of a reference.



For a moment let the reader consider an article of truth: the motivation behind fiction. The earliest works of fiction were orally given accounts of events. The art of fiction has evolved much since then. Most congruous elements within that fiction, however, remain the same. Fiction was all about learning. Stories were a teaching device. They have since incorporated elements such as tension and drama to enhance this feature, to, in effect, make the audience care about the story. This helps the audience to remember, and makes the learning more successful. “There is magic and mystery at the heart of it. Say anything you want about 'the creative process,' but what is clear and certain is that we don't really understand it. It breaks all the rules as fast as we can make them. Every generalization about it turns out to be at best incomplete or inadequate.” (Julie Checkoway; George Garret; 2) The art of fiction has independently evolved in every known human culture. Storytelling is, for lack of a better definition, an intricate part of human nature.

But what about the specific motivation? What is the appeal that holds people? For the early fiction it was simple: to learn. But with the advent of more advanced forms of literature it became inevitable that storytelling would take on less practical applications. Now most fiction is used primarily to entertain. A good story lets the audience escape into a new reality -that of the story itself- and enjoy a different perspective on life. Some stories use this sojourn to inspire feelings or ideas in the reader. Others propel the reader to consider actions taken in their own lives, in light of their new perspective. Still others delve into the primal character of the human spirit, tapping into that boundless reserve of raw emotion and instinct. There are as many possibilities for stories as there are thoughts in the collective human mind. Not all of these would be a success. The writer must interpret what the audience wants, for that is the key to success in the field of writing.

The motivation that strikes the writer may be altogether different. The writer may seek a diversion from reality, but usually not in his own works. A writer must want to tell a story. Even the ones who do it only for money. There is an underlying need, again part of human nature, that makes an individual want to share himself with the world. The story is a perfect medium, and fiction is the tool that allows the shaping of the story. “The writer can reach out, through the agency of his own imagination.” (Dwight V. Swain; 314) That is the most basic truth about fiction. One person reaches out to another and shares their feelings, their ideas, their beliefs, and ultimately, their knowledge.



Might the reader take a deeper look at fiction? How does one begin this craft? Is it the right thing for the reader? Such questions are not simple to answer, and require a great amount of information for even the most basic response. To start with, there are certain qualities that all writers have, to one degree or another. But even if these qualities are absent, it does not mean that the reader cannot become a successful writer. These qualities can all be acquired through learning and practice. And what is more, a writer does not need all of these qualities. One or two would be enough, if in the right proportions. Even a single quality, if strong enough, would ensure the base necessary for the creation of fiction. The following is a list of the essential qualities in order of importance. Desire; a writer absolutely must have desire to achieve anything. Without a desire to tell a story, a potential writer would never be motivated to consider a story. Without the desire to complete a story, the story would never be finished. Which brings us to the next quality. Determination; without a strong sense of determination, a writer would never complete the grueling task of finishing a story. Consistent and unyielding effort must be applied to writing, because it is such an enormous task. Inspiration; to magnify the initial creation of the work and to subtly guide the writer in the continual development. Creativity; to provide the initial idea, and to fill in all of the gaps it leaves behind. Understanding; in order to reach out to others, the writer must first understand them. If there is no understanding, there can be no communication, and the writer will fail. This is low on the list because in most cases the one reading the work will supply the understanding. But it must be, at least partially, mutual. The one reading will be the one to take a leap of faith, but the writer must be the one to hold out their hand to catch them.

Of course the reader must decide for themselves whether they will hold any of this to be true. As a generic sampling of the needed traits, it is not all inclusive. And furthermore there are always exceptions, in fact almost every case is an exception. So, in this instance, do not take it as a simple fact that one is born, or is not born, a writer. The reader must review themselves, scrutinize every detail of their thoughts, carefully digest their feelings, and above all, remain confident. That is the hidden trait that is not proclaimed. Confidence can be a powerful persuader. If the reader fails to have any of the above traits, and remains confident nonetheless, than they can still succeed. Once the reader has made their decision, they should hesitate no longer. If the reader means to be a writer, then the reader must begin to write.



A writer is a person who conveys a message through the medium of print. While most writers would like to believe that they were born with the skills to be who they are, it is not true. The skills and techniques of the writer can be learned and mastered as any trade-skill can. As a professional writer once put it: “And I discovered the most incredible thing. The big lie was a lie. A person could learn how to write because I was learning.” (James Scott Bell; 2) Fear of rejection and failure is what holds many people back. A potential writer might not write at all because he is afraid that he will be denounced as a failure. Overcoming these fears is key to the development of a writer.

A writer needs only himself and his thoughts. Ideas, usually, are spontaneous. But creativity is not necessarily so. Creativity can be shaped, guided as it forms. There are techniques and skills that the writer learns in order to cope with his creativity, which more often than not acts as his enemy. But ultimately it is inspiration that ignites the fires of creativity. Even if that inspiration did not form into a working story, it triggered the creativity within the writer. That creativity can then be harnessed, and, as said before, shaped to whatever task it is needed for. But there are some methods of bringing out the writer, the creativity. The best known method is to ask 'the' question. Why. Every time the budding writer asks himself; why is it, why did it, why, why, why; he is building a bridge between his conscious mind and his creativity. Or the budding writer may deliberately consider a situation from a new perspective, forcing the bridge to be built. The later is a more immediate solution, but it does not function well from a long term standpoint. Creativity must be developed, not forced. When it is forced to provide an answer, it is usually resentful, even outright rebellious.



Many writers will insist that following a set of rules is the best way to create fiction. Others will argue that this is untrue, that it blocks creativity and hinders natural growth. Both cases are equally correct, and equally wrong in other areas. The 'rules' writers usually did not start with any rules by which they write. And for those that did, they do not now use the same rules as they did when they first began. Always keep in mind that rules cannot be fixed things, they must adapt to every situation. The 'no rules' writers are free of restrictions on their work. Often they are better able to develop as writers, and are more often original in their work. The writers that do not use rules are often more seriously creative, yet often lacking in consistency in their writing. From that view, there are pros and cons to each course of action. The only advice anyone can offer in this situation is to try both, and experiment until the reader finds his own niche.

Once the reader has found the one that functions best for them as an individual, they should stick to it. For the simple fact that rules can be binding and act as a limiter for future creative development it must be advised that only experienced writers use them. A beginner is tempted to form a list of rules, some guidelines, anything to act as a foundation for their efforts. This may seem a good thing in the early stages, but it usually is not. It shows that the writer is using rules as a crutch to support their own work: whether or not their work actually needs the crutch. More experienced writers will never face this dilemma, because they will already know what they are doing.

Beyond using rules in their craft, a writer must develop a set of techniques. These usually expand on the basic format of writing: connecting scenes and grouping segments together in meaningful ways. Further than simple technique, however, is feeling. “Art depends heavily on feeling, intuition, taste. It is feeling, not some rule, that tells the abstract painter to put his yellow here and there, not there, and may later tell him that it should have been brown or purple or pea-green. It's feeling that makes the composer break surprisingly from his key, feeling that gives the writer the rhythms of his sentences, the pattern of rise and fall in his episodes, the proportions of alternating elements, so that dialogue goes on only so long before a shift to description or narrative summary or some physical action.” (John Gardner; 7) This is, of course, where experience matters most. A novice writer will not have the background to draw upon that a professional will, so a novice will not know exactly when to rely upon feeling. There is no shortcut to knowledge in this case, it must be learned through direct experience.

The primary focus of a writer should never be merely to tell the story. It should be to hone his craft. There are many methods of doing this, but they all amount to the same thing: reading. Reading, reading, and more reading is the only way to absorb the techniques and elements that writing fiction relies upon. There is no alternative. There are classes and shop lessons that talk about these elements and techniques, that show their applications and methods of use, but never the technique itself. Many might argue this point, but there are very few exceptions. “However we may get it, mastery—not a full mental catalogue of the rules--must be the writer's goal. He must get the art of fiction, in all of its complexity—the whole tradition and all its technical options—down through the wrinkles and tricky wiring of his brain and into his blood.” (John Gardner; 15)

Which of course, brings us to that conclusion. To be a writer, one must be a reader. If there is anything that could ever be considered a magical secret to success, reading is it. But there is a method about it that should not be ignored. Read for enjoyment, the first time. Find a book that is enjoyable, and just read it all the way through. Then read it again, taking note of what the author did to grab your attention, see how each idea is developed, how each scene is laid. Then find another book and repeat the whole thing. But how can you absorb this information? “By never again reading your own stories or anybody else's—or watching any stage or screen or television play—innocently, but always with a third eye monitoring how the author does it: what dramaturgical cards are being played and subsequently picked up (or forgotten)....” (Julie Checkoway; John Barth; 131) There is no better way to hone the craft of the writer than to participate in it as a reader. Just keep reading.



Many people like to plan ahead when writing fiction, creating tedious outlines and schematics in an attempt to control and shape their creativity. Like rules, these often act as restrictions to spontaneity, but unlike rules, they have a very positive effect on the story. Other people can simply jump right in, their creativity is so strong that it can supply material for any situation. Often enough these people are as surprised at what they make as those who read it are. And yet, there are many varied opinions on the matter. “These [no outline people] happy folk love to frolic in the daisies of their imagination as they write. With nary a care, they let the characters and images that sprout in their minds do all the leading. They follow along, happily recording the adventures.” (James Scott Bell; 152) “They [outline people] seek security above all. They lay out a plot with as much specificity as possible... The value of their [outline people] approach is that, with experience, one can virtually guarantee a solidly structured plot.” (James Scott Bell; 153)

The plot is the course of the story. It can usually be shown in the form of an arc, where as the story progresses the relative tension and immersion increases until a climax is reached. To put it in a simple form plot is the structure of the story, the foundation upon which all other events in the story occur. “Plot happens.” (James Scott Bell; 6) “One can plot fiction in a variety of ways. The most common is the technique of setting up basic philosophical opposites and then disguising them, translating ideas into appropriate characters and generating events by method of the old-fashioned allegorist, each event expressing in mysterious but concrete terms the active relationship between central ideas.” (John Gardner; 168) Plot is an essential part of the story, that gives the reader a sense of continuity to the action that takes place in the story.

Stories are about more than merely a structured course of events. Stories are also about people. The characters in a story are the ones who shape the story events. “People become, in our minds, what we see them do.” (Orson Scott Card; 4) “As you work on a story, it will suggest characters to you—as long as you know how to look for them.” (Orson Scott Card; 34) They are the motivation behind our attachment to the story. Given something within the story environment to bond with, the reader will do just that. This bond creates a living tension as the reader follows the characters through the story. This bond, and the tension it creates, is called characterization. It is the technique, the art, of developing characters and presenting them to the reader.



Deciding how to actually tell the story, now that the reader has decided to tell it at all, becomes a much larger issue. “Perhaps the logical first step in the fictional process is the writer's conscious or intuitive recognition of the nature or narrative, and his acceptance of the shackles imposed by his decision to tell as story (instead of, say, to write a philosophy book or paint a picture).” (John Gardner; 53) “It's important, especially at the beginning, that you reveal information that promises your reader and interesting story to come. Those promises must be honest ones that you intend to keep...giving us interesting information that is vital to the story.” (Orson Scott Card; 95) There must be some sort of recognition from the writer, an acknowledgment of the reader's existence and an acceptance that the writer is trying to sell a story to the reader.

There are many points of view in which a fictional narrative can be written. First person lives the story through the eyes of the primary character, while third person is aloof from any single attachment and allows the reader to experience a variety of characters in the story through their own perceptions. Omniscient point of view gives the ultimate perspective. It shows the world as it might be viewed in from the eyes of a divine being. Such a view enters the perspective of anyone it cares to, and guides the reader through the world and the action of the story. “When you watch the guy at the party who spills a drink and talks loudly and rudely, would you judge him the same way if you knew that he was deliberately trying to attract attention to keep people from noticing something else going on in the room?” (Orson Scott Card; 5)

There are many tools and techniques that are useful for building upon a basic plot. Yet tension remains the key to unlocking a story's potential. Tension is what keeps the reader invested in the story. A story with a high, continual level of tension will keep the reader reading, to find out what happens next. Without any control of the level of tension, the reader will lose interest, and will not be able to follow a story that jumps from high tension to low tension. There also needs to be a development of sympathy from the reader to the view point character (The character through which the audience views the story). The audience needs to be able to feel that character. “In contrast to mere empathy, sympathy intensifies the reader's emotional investment in the Lead.” (James Scott Bell; 66) This is, ultimately, the primary tool that a writer will employ. The ability of a writer to determine when to use such techniques is the true display of the writer's worth.

There is more to a story than simply telling it. There is dialogue, spontaneous action, not mere descriptive passages. “When characters are interacting, they are exchanging feelings. As the writer, you're in charge of creating the story's mood.” (Gloria Kempton; 7) Dialogue occurs any time a character joins in conversation. The dialogue might be internal with the character, or from the character to the audience, or with other characters in the story. Much can be accomplished with dialogue, from an establishment of a premise, to the creation of a cultural mood. Dialogue is the only way this can be truly achieved in a way that satisfies the reader. When a reader is immersed in a story, they still have a natural tendency to question the story, to disbelieve it. When there is a passage describing what the people in a city believe, readers are less inclined to take that for truth. Whereas if the reader ‘sees’ the people worshiping their deities, they are more likely to consider it to be fact without question. Dialogue is the same. Dialogue is the quintessential truth that defines reader belief. A story can be a success without dialogue elements, but they are the facts that back up inferences made by the writer.

Action passages offer more power, more emotional punch, than descriptive passages. Yet a story cannot exist solely upon action. The reader must know what, where, when a story takes place. If these simple questions concerning setting are not revealed, the reader will have a hard time placing the action in any believable location. But when can a writer know when he should change from describing to doing? That is a hard question to answer, and much of it depends on the story up until that point. The best advice that could be given is to trust instinct. If there are parts of an over-long description that become boring to the casual reader, throw some action in. Not only is it exciting for the reader, but it is inspiring for the writer, even if, in the end, such action is removed from the story. Feeling is key. Most writers develop a sort of sense of when to change from description to action, or action to description, or dialogue or narrative summary. The change itself is what becomes primary to the writer, not when to change. The writer focuses on a smooth transition from action to description, a reason behind the development.



What the writer should know about editing is this: everyone needs it. It does not matter how skillful or professional the writer is. What becomes a concern is the cost side of editing. This is a significant issue for most people. A professional editor will charge between $50 and $200 an hour. (2006 Statistic) If at all possible, look for friends with good English skills to volunteer some of their time to help. The secret to editing is to not give the editor as much pointless work to sift through. “...this means self-editing. True, you can hire an independent editor to work on your manuscript... But even if you do hire a pro, you want your manuscript to be as strong as it can be before you have it worked on. After all, why pay for editing you can do yourself?” (Renni Browne, Dave King; 2) This is the most effective method of endearing the overly pricey editors. The writer might still end up paying over a thousand dollars to have a single story corrected, but self-editing will usually allow that price to be cut in half. It is highly recommended for every aspiring writer.

There are so many publishers, in many different states, that it is almost impossible to keep track of them. In one year, twenty-two (2006 Statistic) new publishing houses have opened; (though eight of them were magazine based, and should not matter to the novel writer). This is an incredible number, and it makes it difficult to know where to send the offer. There is no real help that can be given, no secret to make the publisher look at your story specifically. “Is it 'who you know?'... The truth is that an editor who intends to keep his job doesn't publish books he doesn't believe in, even if they're written by his dearest friends.” But there are some useful tips. “Look up the addresses of the publishers... Then prepare a query and send it to all of them at once. That's right. Don't waste years of your life waiting for the editor at House X to remember that your manuscript is still sitting in the four-ton pile beside his bed waiting to be read.” Publishing houses are governed by their editors, who review the works that are sent to them. It is suggested that the writer reference a book when preparing to send out inquiries. Having a good agent can help, but the kind of agent that would pick up an inexperienced writer is not the kind that anyone should want to have. Secure the contract with the publisher first, then go to an agent and have them look it over. “...why do you need an agent now? Not so you can make more money—only in very rare cases is an agent going to be able to get you one dime more for a first novel. What you need the agent for is all the other stuff. To get obnoxious clauses removed from the contract before you sign it. To get the vital clauses inserted—the reversion of your rights if the publisher lets your book go out of print, for instance.” (Orson Scott Card; 110-113) It is the simplest of notions, but the truth is that the publisher is out for itself. Publishing companies are businesses first and foremost, and will not hesitate to take advantage of writers.

Many writers worry about copywriting their work. The truth is that this is not such a large issue as it once was. However, it is still advised to the writer to formally copywrite their work. There is usually a filing fee of $30 or more, but it ensures that there is no difficult legal battle over rights. The copywrite ensures that the writer has the absolute control of his work. (http://www.copyright.gov/)

Getting published is a difficult task for any novice writer. The fallout rate of authors remains a steady constant that looms threateningly over the literary community. Only so many books will sell, and a publisher will not take a risk on a half-established book. The key is persistence. Keep inquiring. Don't give up. “Above all, don't fret rejection.” (Julie Checkoway; Stephen Dixon; 269) In all measure of honesty, the writer will likely fail three or four times before succeeding. But each time the writer creates a work of fiction, he improves his skills. Never forget to keep reading. By purchasing books from the book store you ensure that there is a continual growth in the literature community. Thus ensuring the writers own place in it.

The information in this paper has helped the author in his aspirations to become a writer. One hopes that this paper has also helped the reader by showing which areas are important in a story, and giving helpful information in each area. Thank you for taking the time to read this.

Works Cited:

Card, Orson Scott. (1988). Characters & Viewpoint. Cincinnati: Writer’s Digest Books.

Card, Orson Scott. (1990). How to Write Science Fiction and Fantasy. Cincinnati: Writer’s Digest Books.

Gardner, John. (1983). The Art of Fiction. New York: Vintage Books.

Checkoway, Julie. (Ed.). (1999). Creating Fiction. Cincinnati: Story Press.

Frey, James N. (1987). How to Write a Damn Good Novel. New York: St. Martin’s Press.

Swain, Dwight V. (1965). Techniques of the Selling Writer. Norman: University of Oklahoma Press.

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