^The minimum is 8 pages, BTW. 
Writing a Trek novel...
- Thread starter Joel_Kirk
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I can assume that they'll take more time to possibly look at it, if I wrote the max though, instead of the minimum? =P
Make it as long as it needs to be to tell the story. The page count is something to aim for, but it's okay if you run a little long or short if that's what the story calls for. As long as you don't run too much longer or shorter.
When I get really into writing something I do tend to write a lot and it becomes longer then I had intended. XD
A fanfic I write on another board I'm on, had 11 pages for the first installment; I tried to make sure I'd reach 10 or 11 for the rest of the episodes. Episodes 2 and 3 were both 16 pages each when I was done. =P lol
After doing a revised version of ep 1, it went to 12 pages too. XD Not much longer then it already was... but still. When I get into something, I really get into writing it and I try to be very detailed. =3
Thanks for the advice too. Much appreciated.
A fanfic I write on another board I'm on, had 11 pages for the first installment; I tried to make sure I'd reach 10 or 11 for the rest of the episodes. Episodes 2 and 3 were both 16 pages each when I was done. =P lol
After doing a revised version of ep 1, it went to 12 pages too. XD Not much longer then it already was... but still. When I get into something, I really get into writing it and I try to be very detailed. =3
Thanks for the advice too.
Much appreciated.
On second thought, you don't want to run too long on something like this. You're trying to catch and hold the attention of a very busy editor. You want to make sure you don't waste his or her time with excessive detail. This is a summary of the events and character arcs of the novel, so that the editor can evaluate the merit and coherence of the story. You don't want to leave out anything important, but you don't want to leave in anything that isn't essential.
For the computer generation: 10 pages in what font and what font size, what line spacing? Makes a hell of a difference.
And what defines the average length/word count of a chapter?
I assume the guidelines would specify. As a general rule, double-spacing is standard, and I find that 12-point Times New Roman is generally acceptable.
I think that "three sample chapters" is generally meant to represent about 30 pages. Again, though, consult the specific guidelines for the specific market you're submitting to. Different markets can have different preferences.
I actually finished my outline, and I didn't like it; actually, I shouldn't say 'finished' because it's not really finished until the book is written.
[I'm in the processing of tweaking it after asking myself questions that, as a reader, I would ask].
I'm reading a lot of Trek novels from the different series, reading the different styles from different Trek authors, and trying to bring 'something new to the table'...that would appeal to not only Trek readers, but non-Trek readers...is helping me.
Something that occurred today: I was accepted to UC Santa Cruz. (Interestingly, Brannon Braga is a UCSC alumnus).
I assure you, if I ever get in control of Trek on small or big screen...I'll try to be a bit more caring of the franchise--lol--I'll try to learn from my fellow alumnus...
Baby steps, though...baby steps...
[I'm in the processing of tweaking it after asking myself questions that, as a reader, I would ask].
I'm reading a lot of Trek novels from the different series, reading the different styles from different Trek authors, and trying to bring 'something new to the table'...that would appeal to not only Trek readers, but non-Trek readers...is helping me.
Something that occurred today: I was accepted to UC Santa Cruz. (Interestingly, Brannon Braga is a UCSC alumnus).
I assure you, if I ever get in control of Trek on small or big screen...I'll try to be a bit more caring of the franchise--lol--I'll try to learn from my fellow alumnus...
Baby steps, though...baby steps...
You're not writing the book, just three chapters. Please remember that or you're giving yourself too much work. You may be accepted into the hallowed realm of ST writers based on your outline and sample chapters but they may not ask you to write the book, they may give you something different to write.
I also am a big fan of this thread. We've been out a few times and I think it might actually lead to something.
Are there any non-North American resident tie-in writers? I could imagine communication between editor in New York and writer in Bordeaux could be a bit difficult.
Both Una McCormack and James Swallow are British Star Trek writers (and Swallow has done Dr Who and other stuff besides).
As BrotherBenny mentioned Una McCormack is British and we briefly talked about that very topic in a recent interview for Unreality SF:
Another non-American ST writer is Michael Schuster.
A large number of the writers for Star Trek Magazine are US based, with the magazine operating out of the UK. There are some I've never spoken to directly or met, and chances are I never will - but it doesn't make any difference.
Paul
Paul
Whereas if you ever were to encounter some of us in person, it would probably make a tremendous difference in whether you'd ever want to deal with us (oh, all right: me) again.
I was gonna say ...
This is bad advice, IMO. Most (non Star Trek) publishers, in my experience, want to know the book is completely written. The outline is only there to let them know the story hangs together, the first three chapters tell them your writing ability. However, if all you do is write 50 - 75 pages, that does not show them you can complete a novel. Would be writers have drawers full of 50-page, unfinished masterpieces. What happens if you luck out and your story - based on your sample chapters and outline - is accepted but they need to fill a hole in the schedule? I have no idea if this happens with Trek books, but it does elsewhere. The publisher wants your final draft by the following month. You’re screwed because, even if you take a leave of absence from work, you have to crank out 300 more manuscript pages. And first drafts suck. Your three chapter sample is polished like a fine gem, but your remaining output will be craptacular. Unless you are the most gifted, brilliant writer on Earth, every manuscript goes through multiple revisions to get it into acceptable shape.
You can't go on the assumption that writing a full novel before it is bought is "too much work." If you subscribe to that, don't be a writer. All first novels are written "on spec" without anyone promising a thing or showing any interest. If you want to be a novelist and insist on breaking in with a Trek book, write it from beginning to end. Then re-write it. Then have someone who knows writing look at it and give feedback (you may have to pay someone for this - be careful and do research before handing over any money). Then rewrite it again. You will be so damned sick of your story, but writing is rewriting. That's where the magic happens. You do this until it is as perfect as you can get it. Then, submit it according to their guidelines. If it is rejected, but they think you have promise as a writer (and give you another assignment - does this happen?), the work is not wasted nor was it for nothing. It got you in the door, proved you have the potential to be a professional and (if it happens) got you an assignment. You can always rework the story down the line if you're successful enough to do multiple books. Besides, you only get better at something if you practice and even a rejected novel is valuable: you know more about writing at the end of that 400 pages than you did at page one. Remember, write because you love it, since you're not going be doing it for the money.
Christopher is right: don't start with Trek books. Write your own story, with your own characters in your own universe. It's actually a lot more satisfying then playing in someone else's sandbox (for me). You might want to start with short stories to give you easier-to-reach goals. Writing a novel without anyone knowing about it and without deadlines is daunting, endless and easily abandoned. Polish them up and send them out to as many places as you can. Don't just focus on the "popular" or "mainstream" magazines, look to reach print in any fiction publication which accepts your chosen genre. Any sale counts on your resume (and by sale I don't mean you're going to get paid - payment most of the time is a free copy of the issue containing your story). And be prepared to be rejected over and over and over and over. A lot of the time, being published has less to do with talent than it does with timing, the staff's mood and blind luck. A friend submitted his first short story ever last month to a magazine and six days later got word it was accepted. That is UNHEARD of, but it happens. But if you find this too daunting, too much trouble or just plain discouraging, then you're not cut out for the life of a professional writer.
Write, write, write, read, read, read, and not just sci-fi or Trek books, people - hit your library. Read things that you don't think you'll like, because you will surprise yourself at the great work you've missed. And read like a writer, not like Cousin Josie in Alabama. Absorb, learn, take notes, see how it's done. Does your area have schools with fiction writing courses? Look into them. People think that since everyone "writes things" that anyone can sit down and write books. Well, talent without knowing the craft is worthless. Knowing the craft without talent isn’t as bad (lots of crappy authors get work because of this), but it's better to be a good writer with a solid understanding of the craft.
This applies to any kind of book you want to write. Go to it and good luck!
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ssosmcin, Trek doesn't work the same way ordinary publishers work. With Trek, you probably won't get to write the novel you submit the outline/sample chapters for. They just want to see if you can "get" the characters. It does of course help if you have published credits to your name. If you are accepted, an editor will give you a chance. It's up to you whether you blow it or not.
This does not apply to tie-in writing. Generally, tie-in stories are approved first at the outline stage - not just by the editor but also the license owner - before a contract is even executed. Once that's done, THEN you write the story itself, and the approval process begins all over again.
Generally speaking, if you're contracted to write a tie-in gig, then the editor is already reasonably certain that you can write a complete short story, novel, etc., and do so on a deadline. If you couldn't, or if there were any doubts, then you wouldn't have the gig to begin with.
How does the editor reach that level of comfort with you? Because you've hopefully demonstrated that aptitude elsewhere, such as with your original material.
Yet another reason why you should be concentrating on your own stuff, rather than focusing your early efforts on Trek or some other tie-in, in which case, much of what ssosmcin states comes into play.
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