After almost a solid month of plotting, characterization,
pacing, and creating setting, I finally wrote the last sentence to my new novel
before I start the revision process. Feeling elated I sat back in my office
desk chair and beamed, enjoying the pleasurable sensations of finishing this
stage of the project. Then suddenly, I was stricken with horror. I had written the
story to completion. There was nothing more I could say or add to the story. It
was done in my mind.
But… it is only 16,000 words!
Being a first draft, I know I can expand the scenes and
probably drag out another 20,000 words turning this into a 36,000 word
manuscript. But I wonder, is that long enough? My fears were quickly assuaged
as I began researching the top selling indie authors.
It seems the days of minimum novel-length requirements
have passed. Many authors are selling tens of thousands of copies of their 99
cent 20,000 word stories and getting rich doing it. Lucinda Wilde is one
example. Her (it’s actually a husband and wife collaboration) 10,000-20,000
romance novels are selling in droves. Readers want quick fixes these days and
are not offended to shell out a little money for a few hours’ worth of reading
entertainment. Attention spans are short and so are many of the bestselling
indie books.
Being able to write, publish, and sell a story or novella
is not an exact science. The short novella must be top notch. It must grab the
reader right away and addictively string them along until the story’s conclusion.
There can’t be any wasted scenes or oddly, off-putting dialogue. The story must
be streamlined and awesome.
Many writers will argue that a 15,000 or 20,000 word
novel is not a novel but a glorified short story. They argue that a book this
length would never make it in the mainstream, and they are right. But today’s
indie author isn’t writing for the mainstream, they are writing because they
have stories to tell that are outside of the mainstream. Stories that for
whatever reason the big publishing houses thought they couldn’t make a profit
on. That doesn’t necessarily mean the stories aren’t worth the public’s
attention, only that the corporate numbers didn’t pan out.
Going over my first draft, I can’t seem to find where I
could add more plot. The story is finished as it is and adding fluff will only
lessen the impact. As I begin the revision process I’m empowered by the fact
that there are no minimum requirements for an excellent story. I write scenes
that make the story strong not just to fill empty pages. My dialogue is tight; not
drawn out to add to the final word count. This freedom to write stories without
the leaden weight of a corporate marketing and financial responsibility is what
is revolutionizing the publishing industry and the writer as an artist as a
whole.