Storycraft for serious authors.
Epiphanies await.

An Interview with C.S. Lakin

Author of “The 12 Key Pillars of Novel Construction,” and other craft books and novels.

 

C.S. Lakin and I have a lot in common.  We are both novelists who were so inspired by the experience of writing fiction that we decided to write about that – about the craft of doing so – as well.  In addition to our writing roots and our current multiple focuses, it is also worth noting that our views about craft, especially story structure, are almost mirror images.

The more you read about doing this work, the more commonality you’ll see among the folks who write about the principles that make it work.  But you may also notice the occasional departure from these core tenets of craft, particularly in forums that include unpublished authors and in interviews with novelists who don’t usually write about it.  When that happens, pay close attention and avoid jumping to conclusions.  Because there’s a meaningful difference between being asked about process and the principles themselves… the later applies to any and all processes, and too often those waters are muddied by folks who aren’t qualified to discuss it in a context to easily misinterpreted and credible advice.

When C.S. Lakin talks about writing, stop everything and take notes.  She’s a sure thing, in an avocation and profession that offers very little with that description.

LB: Your book, “The 12 Key Pillars of Novel Construction” was published in February.  By my count that was your fifth writing craft book, all of them within one year of each other.  Does this signify a complete switch to craft from writing novels?

CSL: Not at all. Earlier this year I wrote and published my third novel in my Front Range Western romance series—Wild Secret, Wild Longing (pen name Charlene Whitman), and I had two other novels come out last year. I have planned a number of novels to write as soon as I find time. But working almost full-time as a writing coach and copyeditor makes it hard to carve out time for writing anything, including blog posts.

LB: You’ve been writing fiction over the last few years.  What is the status of your fiction writing work presently, and looking forward?  Where is your heart, on that issue (I ask because my heart and mind are in different places when it comes to balancing fiction with writing about craft)?

CSL: I’m not sure what you mean by status, but I love to write stories, as well as help writers write theirs. So I try to balance my time (somehow) so that I get that joy and fulfillment of immersing myself into crafting stories. If I can get one or two novels written a year, that usually satisfies that craving. But if I go too long without story creation, I get antsy and restless. I think a lot of writers feel this way. It’s not so much an addiction as a need. A need to nurture and express our creativity and imagination through some form of media (and this of course applies to any of the arts). It helps me to alternate project types. I’ll work on a writing craft book for my Writer’s Toolbox series, then once that’s done, I dive into a novel.

LB: How do you handle writers who push back on the key principles of craft, which are consistent across your books, my books, and other craft authors like James Scott Bell and even Donald Maass?

CSL: Well, I tell writers they can do whatever they want. It’s their book. But that doesn’t mean anyone will like it or that it will sell at all. As you know, I’m very adamant about structure, and probably swing way to the “right” (just picking a random direction here for example) about plotting. I personally feel no one can write a terrific novel just by winging it (“pantsing”) and those who claim to never plot actually do so in their head. Seasoned “pantsers” have had so much experience writing novels that although they may not plot out their story in detail ahead of time, they know structure so well from experience, they utilize it all the same.

LB: I critique more than two hundred manuscripts a year (as well as edit dozens). I see the same problems over and over, and for the most part the biggest flaw in 90% of these manuscripts is the lack of structure. While we “craft” teachers vary on terminology and some of the minor methods and approaches to structure, I feel we all are basically saying the same thing when it comes to core structure. Whether a writer chooses a three-act structure or a five-act one, structure is there and has to hold up. I’m very adamant in my critiques about structure, and often encourage writers to go back to the concept stage and work out of the kinks in concept before tackling a rewrite.

Speaking of the secret club of those who write “how to” books on fiction (I won’t reveal the secret handshake if you won’t), why does the world need another writing book? “I ask this with all humility, since my new one comes out in October, and I find myself asking the same question.

CSL: Larry, your books have your unique take on writing craft. I’ve read dozens of writing craft books, and while many overlap in some of the things they cover, each author brings to the craft table his unique outlook, personality, and method. My aim when writing and publishing a craft book is to present, perhaps, a little bit different way or seeing or approaching writing fiction. I would never want to just rehash what is already out there, and I try to incorporate what I’ve personally struggled with as well as what I see are big problems in many manuscripts. I want to help writers avoid making the same dumb mistakes I made as a beginning writer. I wish I’d had someone like me—or you or James Bell or Donald Maass—to work with me and show me how to improve and what I was doing wrong. I never even thought about using structural planning for my novels until recent years.

So, yes, writers need more writing craft books—better ones, ones that open up new methods and ideas and ways of looking at craft, ones that tackle writing issues from another angle, ones that give concrete examples of what works and doesn’t . I created Shoot Your Novel when I discovered not one blog or craft book in existence taught novelists how to utilize cinematic technique in a practical manner. Sure there were a few resources that taught film structure, but nothing about crafting scenes with a series of camera shots. Or using image systems. So Shoot Your Novel fills a unique niche and writers continually tell me how it’s radically changed the way they structure their scenes.

The 12 Key Pillars of Novel Construction grew out of the desire to simplify the novel creating process. To me, the hardest part of writing a novel is taking all those great character, plot, and scene ideas and then shape it into a strong story. I also developed this method of working on the first four key corner pillars first before moving forward in plotting out a novel. This ties in with much of what you teach about idea and concept, and yet it’s different. Our terminology is different, but to me, we both get writers to the same place in the end. A place that showcases a strongly structured story.

In addition, I put together a comprehensive unique workbook for The 12 Key Pillars. I want writers to be able to start with their random idea and develop it all the way to completely fleshed-out novel idea. I did something I haven’t seen in workbooks—I can up with an idea and then answered all the brainstorming questions for my idea alongside the sections the writer uses for her idea. I included a dozen or so mind maps I created for my “novel” to show ways writers can generate and link together components of their story.

So, when we craft writers find new, helpful ways of presenting structure that will help writers write great novels, there is certainly room “on the shelf” for one more writing craft book.

If forced to boil it down, among all the stellar writing tips and truisms out there, what is the single most empowering and eternal fiction writing tip you would give?

Approach becoming a novelist as you would any other career. Becoming an expert or proficient in any vocation takes hard work. Like Malcolm Gladwell explains in Outliers, it takes a good 10,000 hours to become great at something. Writing is no different. Writers, for some reason, think that since they’ve read a lot of novels they can just sit down and pump out a perfect story, no problem. But that’s like someone wanting to be a surgeon reading a few books about surgery or watching a few TV shows striding into an operating room and asking for a scalpel to operate on a patient.

Okay, it’s not that extreme, but I hope the point is clear. If you want to write great novels, roll up your sleeves and be prepared for some really hard work. Book work (study) and footwork (application). In this world of fast food and “I want it now,” aspiring writers need to yank on the reins and slow down. Take your time to learn the craft, put it to practice, and get professional feedback and instruction. It’s a journey, not a destination.

LB: Do you still have a Big Novel in your head that somehow isn’t making it to the page, and if so, what’s the roadblock?

CSL: I have about six of them at this point. The roadblock? Absolutely no time. But I’ll get to them at some point.

LB: Who do you read for inspiration, entertainment, or both?

CSL: I read widely. I love Westerns (like Zane Grey), good best sellers of any genre (except erotica), a good mystery. I often read based on a friend’s recommendation, and I read a lot of my author friends’ books because I want to support what they’re publishing and encourage them. Right now I’m reading a few friends’ novels, and one of Walter Moer’s crazy books. Mostly my reading comes via audiobook as I’m driving in the car because, as with writing, I have little time for recreational reading. And it’s a nice break for my eyes (since I’m usually editing 6-8 hours a day). I just finished listening to Dan Brown’s Angels and Demons, and that was great fun. However, it’s hard for me not to edit or dissect structure when I read or listen to any books. Curse of the vocation.

LB: Everything has changed drastically over the past five years.  Where are you on the issue of self-publishing versus the traditional treadmill (which itself bears little resemblance to what it was as little as five years ago)?

CSL: Just about every author I know (including me) who has been traditionally published (even highly successful ones) is now self-publishing. I understand why some writers want to get that traditional contract, and I don’t oppose that in any way. But I do feel it has a price. And that price is mostly time. Are you willing to wait years to land an agent? And then wait more years to (maybe, if you’re lucky), get a publishing contract? And if that book does come out, are you willing to do all the marketing and promotion yourself (since the publisher won’t)? Even though I had six different agents working hard over twenty-five years to get me published, they never got me a contract. I sold nine books to three traditional publishers by pitching to them at conferences (one picked me up via Twitter).

There are tons of blog posts online that discuss this topic (my blog included), so writers trying to decide which way to go have lots they can read about this. I think there will always be traditionally published books, but it’s getting harder for a writer to get a contract, and rarely will a publisher do much to promote. That golden ring is getting so small and dangling so far away, it’s almost as hard to grasp it as it is to win the lottery, it seems.

Personally, I feel this is a great time to be a novelist, and I love the way the self-publishing world is developing and opening so many opportunities for writers. The Internet has made it so convenient and easy for writers to get their books out to readers. It’s a crazy world to navigate through, but I love it.

LB: Your website doesn’t reveal much beyond 2014.  Are you booking any live events these days?

CSL: I have a few things planned. I usually teach at some conferences here and there, and I just held my first small writers’ retreat at South Lake Tahoe (CA) last week and it was terrific! I love getting together with writers and teaching them. So I do hope to teach at a few conferences next year, but I limit that since I have little writing time as is, and have a cute grandson that I babysit each week. Priorities!

LB: You are a very spiritual, perhaps even religious person, which I admire.  In what ways does your writing connect you with that aspect of life, if any?

My faith is intrinsic to who I am. I don’t feel writers of any religious persuasion should “dump” their faith on their readers, but I do believe that our views, character, personality, and beliefs find ways into our stories. We write from who we are. I’ve written novels for both the general and the Christian market, but I try to write great stories that look at human flaws. Some of my books have characters that struggle with faith, among other things, but I don’t want to use my novels as a platform to preach. Some of my themes also deal with faith. But overall my objective is to create complex, compelling characters that are realistic, human, vulnerable. And that often includes questioning belief and purpose in life.

On a personal note, my relationship with God is the most important part of my life and who I am, and I rely heavily on God to move, lead, direct, and inspire me in my writing. I realize all my creativity is a gift from him and I want to use it in a way that will honor that gift, as well as the giver.

*****

S. Lakin is a multipublished novelist and writing coach. She works full-time as a copyeditor and critiques about two hundred manuscripts a year. She teaches writing workshops and gives instruction on her award-winning blog Live Write Thrive.

The latest book in The Writer’s Toolbox Series—The 12 Key Pillars of Novel Construction—shows writers how to take an idea and turn it into a compelling concept, then construct all the needed components to build a solid novel. The companion workbook with hundreds of brainstorming questions, inspection checklists, and lots of bonus materials will take the pain out of novel construction.

Just released—the second edition of Say What? The Fiction Writer’s Handy Guide to Grammar, Punctuation, and Word Usage—is designed to help writers get a painless grasp on grammar. You can buy it in print or as an ebook. Also available on Nook, Apple iTunes, Kobo, and other online venues.

Want to connect with Susanne? You can find her on Twitter and Facebook.

 

Please follow and like us:

11 Responses

  1. Regarding the act of creativity and imagination, the reason I write is because I can’t do it in reality. The characters in my story are doing what I want to be done, so it’s a form of exorcising the release of my angst of the state of the world we’re in, and that the calvary is never coming.

    Comment on does the world need another writing book, like Larry’s StoryFix out now on Kindle:
    Larry’s latest book has the best EVER question which leads to another question. First, is your story worth telling? If the reason you are writing it because it turns you on…sorry that isn’t going to cut the mustard. Do you want other people to read it, and more importantly tell others to read it? You know…word of mouth advertising? If no–then just write what YOU want to write. And it is 99% likely not to be read–because it isn’t fresh, it doesn’t grab you, period. Stroll to the library or Goodreads.com, and OMG, those books are DULL.

    Society has a creativity problem!!! They aren’t making anything compelling, they are just rehashing what has been popular. Matt Damon is currently filming another Jason Bourne, guaranteed to make zillions because Damon is a treat to watch, and how bad can it be?

    A new author—has no Matt Damon name to compel people, so your story idea, the concept and the premise has to grab us instead.

    Larry’s latest book addresses that head on. Formerly a politically incorrect thing to ask, but he asks the question: Is your story worth telling? What I am saying is that if YOU are the one saying yes–then you are delusional.

    Consider that you have a product. You can’t say it will sell and have Walmart buying it wholesale first. Walmart wants to know if it will sell. You know–test it first? Your buddies really don’t count. What is the product demand out there for what you have? Does it already exist? Okay, novels. Yes they already exist. Why do people read fiction? Isn’t their own life interesting enough? NO!!!!!!!!!! If it were, do you think they would be into something FAKE?? Face it, novels are to escape something. A quick survey of marriages has revealed that due to monotony, the partners are BORED out of their mind. Sorry, but being compulsively busy with the kids doesn’t count. Soccer games do NOT replace ecstasy. Welcome to the romance genre. They want to feel what they used to—or maybe never have.

    Another thing that should warn you (that maybe your product just isn’t going to sell) is when you feel that someone like me should shut up, go away, because YOU are right. You write what you want to write and believe–everyone else will like it. Okay, lots of people will like it. Because your story idea, concept and premise is–fresh and compelling.

    Sure.

    But there’s one big problem with you telling me to shut up. I AM the customer, I’m just very vocal. I do not hide under the bed and wish someone else would confront you. You know—be heroic? Maybe I’m your antagonist? Either way, ignoring the likes of people like myself is not smart when it comes to business. Unless you already have the golden goose. If that’s the case, then you are the exception to the rest of the world.

    What are Larry’s stats on the percentage of stories he has evaluated to be not compelling, and just a mess? I recall under 5 of his posts over the last few years with here is a great story submission. Actually I think it is 3.

    What’s worse is that most of you on this blog are QUIET and just say, “Atta boy Larry…that was a good one” like you guys are pumping out best sellers and know all this stuff. Maybe you are. But if you’re that skilled, can’t you write about the plights of the people in just America that are losing their @#^$#$ quality of life because of greed and corruption that almost all of us are just pretending is not there? Heard of the GMO food scam? While you were ignoring that what you ARE eating IS actually causing you harm, a few people are NOT. Using the freedom of information act, it has been revealed in the last week that major public orgs have been using taxpayer money (that’s YOUR money) to falsify (LIE) official information, by creating official reports that this crap is good for you. It is NOT. Or how about the Florida doctors that were found DEAD floating in the RIVER, with gunshot wounds (suicide right…they went to the river and shot themselves because they hated their life) and oh, by the way, these guys have a CURE for CANCER and chronic fatigue and other issues! Additionally, in Europe, the powers that be, they stole over 10k vials of the stuff that could have saved YOUR friend, loved one—from cancer.

    Oh, is THAT worth writing about? Or is what you are writing about BETTER????

    Whoever DOES write about the above will be FRESH and COMPELLING. And yes, you can put romance into it, make it introspective as heck so that the reader thinks about the pros and cons of doing what you are told, or you lose your GRANT MONEY, and are out on the street! That’s ethics by the way, selling your soul and being a whore. Something we all do in our own way.

    Larry’s latest book points you in that direction.

    So YES, we need another writing book because the library and goodreads.com is DULL, DULL, DULL.

  2. My “day job,” for the past several decades, has been computer-software consulting. And, believe it or not, there are plenty of software engineers (and, entire teams of them …) who are: “pantsing” a program.

    Or, I should say, they tried to.

    And-d-d-d… it didn’t work. For exactly the same sort of “lack of structure” issues that crop up in a piece of writing in which the author did not clearly(!) plan ahead. Did not organize what they were doing. Plunged immediately into the (attempted) development of a full-on piece of code when they really hadn’t first figured-out whether it even belonged in the project at all.

    A major piece of writing, like a major piece of software, does not reveal the craft nor the craftsmanship that went into it. You see: only the finished result. You don’t see what was considered … only what was selected. (And you do not see any of the process by which the selection was made.) If the craftsman did his/her work well, it seems: “obvious.” “Intuitive.” “Of course.” And the craftsman will smile, appreciatively, but also knowingly.

    1. Nice comparison. Really, anyone who wants to do anything well (other than improvise, and there are good venues for that–jazz music, for example) needs to plan carefully in advance. I never cease to wonder why so many writers think writing is an exception. Maybe because it’s “artistic,” which to some is synonymous with spontaneity. Well, I used to be a songwriter/composer, and for years worked as a graphic artist. Both vocations required careful planning and layout of my projects–ideas, materials, plan of action.

      Some writers feel that plotting means giving up spontaneity or creative inspiration, but it’s quite the opposite. I have a nice little bit at the conclusion of my 12 Key Pillars book taken from the movie The Legend of 1900. The character explains how the eighty-eight keys of the piano keyboard give him an infinite of possible compositions. The framework isn’t a hindrance–it creates opportunity. So it is with writing structure. It’s freedom, not constriction.

        1. So true! My husband is a jazz sax player (hence why our black lab is named Coltrane). I couldn’t begin to guess the number (tens of thousands?) of hours he’s spent practicing scales, listening to recordings, practicing his chops. He would certainly agree with you. And this is very much like seasoned “pantsers” who claim they are just winging it (when they are actually drawing from all the structure embedded in their brain). Thanks for that.

  3. Any writer of any success who also has the ability to teach what they know has, I think, an obligation to do so.

    As Sheryl and Sue say, some of us will connect with Larry’s style and terminology, others with yours, some with both, some elsewhere.

    Bad writing hurts SO much. More teaching creates more opportunities for LESS bad writing. So thank you.

  4. Suzanne, I follow your blog, and absolutely love it. It’s one of my go-to sites when I have a question I need answered. Admittedly, I haven’t read your craft books. I’ve become picky whose advice I take because there are so many out there. But I will now. I find your take on things fascinating, and I’m sure your advice will resonate with me.
    Hey, Larry! *waves* You’re killin’ it on TKZ.

    1. Thanks so much, Sue! It’s nice to hear that the things we teach are helping writers. That’s why we put so much time and effort into writing these blog posts and books. I love getting emails from authors who say my words have inspired, motivated, and aided them to write a great novel!

  5. You asked whether it’s worthwhile to write yet another book about the craft.

    My answer?

    Yes, because the student of the craft may read Author A’s book, and maybe get all the way to Author J’s book before something in the way Author K explains things finally gets through to the student, i.e, the student finally internalizes what has been said a million times before.

    Love you both, BTW!

Leave a Reply

Your email address will not be published.

(Spamcheck Enabled)

Wordpress Social Share Plugin powered by Ultimatelysocial
AWSOM Powered