The Plan for A Novel of America

My plan for A Novel of America is to follow the strategy James Michener and I used in crafting our books, with a key difference of letting these multilayered tasks unfold on the Web.

1. Reading and Research (current, see remarks on "Notes" in the guide)
   
2. Plotting a rough outline (the next stage, which should be complete by March 2009. (See examples of the plotting for The Covenant and Brazil. )
   
3. Manuscript (draft, to be posted serially on line, two or three times a week. Readers’ comments invited. The complete working draft will be available on line, with interactive images, maps and web links. See, Kindle Illustrated Guide to Brazil.)
   

Like Brazil where my saga spans six book sections, I plan a similar structure for A Novel of America.

Each completed section will be published on Kindle and initially made available via Print on Demand. The final manuscript with all sections will be offered in a traditional book form.

I’ve launched A Novel of America as an independent writing project. A traditional publisher could come aboard along the way, but if not I’m ready to go it alone, one of the true empowering features for the serious writer of the Digital Age.

Monetization is the challenge, of course, as others have pointed out. The first step will be to build a subscriber base with a loyal following who have an eye on the future and an appreciation of good writing that both entertains and educates.

A prospect as vital as when the first story-teller sat beside the glowing embers and began, "Once upon a time, when the sky was new..."

A Simple Guide to A Novel of America

At the suggestion of a reader unfamiliar with blogs, here’s a simple site map for the main portal to A Novel of America:

Column One

Regular posts appear here. Items tagged as “Notes” derive from current research and reading.

When I begin writing the novel, my “Drafts” will be posted here.

The latest post or instalment is always at the top.

Posts can be commented on or bookmarked and shared.

All posts can be found via The Archives (see Column Two).


Column Two

About the Project gives a brief overview, plus an invitation To All Readers to jump in and comment.

The Archives lists Posts (see Column One.) – These appear chronologically, which will make it easier to follow the story when the writing begins. – I will provide a link to a web page with the complete Draft.

Web Research Links cover the many areas I’m investigating. These are updated weekly.

Images provides an image bank collected as I go along. Maps are selected for relevance to locales and themes of the novel.

Books I’m Reading are exactly that rather than a core bibliography.

The Boston Pages comprise my earlier American research, as discussed in this post [Timing is Everything.] They give a good idea of how A Novel of America will unfold on this blog: The Outline, The Family Trees, Research Links and Notes, Clipping File. The Library and Notebooks are made public via Google


Column Three

About the Writer provides links to my home page and published works.

THE BRIDGE is the companion blog to A Novel of America, where I discusss the nuts and bolts of the project.

Signature Posts are key items that take you behind the scenes.

Subscribe by email is free and offered by Feedburner, where your privacy is protected, your email address never revealed. You can unsubscribe at any time. – Subscription via news reader is also available. [Of course, if you choose not to subscribe, simply bookmark the site and check in whenever you wish.]

Topics is a list of subjects covered in the posts - clicking on an item of interest will take you to the relevant post.

Support A Novel of America allows you to make donations via PayPal. You can also support my work whenever you visit Amazon. All you have to do is access Amazon via the search box on my site or my associate store: any item bought on your visit to Amazon earns me a commission, with thanks.

Writing a Novel "live" on the Internet

When I talk to friends about the idea of writing a novel "live" on the Internet, their response ranges from "A-mazing!" to an adamant, "I’ll never read a book on a computer."

I live surrounded by books. I still welcome my daily Boston Globe. I watch the rising tide of red ink threatening to engulf the presses and look back to a time when I was a young reporter in a hectic city newsroom: never could I have imagined a day when the very existence of newspapers would be moot, not the yellow rags but the great gray ladies of the world.

In less than two decades, the Digital Revolution spurred by the Internet has radically altered the way we communicate in private and in public. Twenty years ago, social networks like My Space, Facebook and Gather where millions of people interact daily did not exist. The idea of a single article generating 10,000 "letters to the editor"was inconceivable, yet we saw this in the last election with comments racked up on some Huffington Post headliners.

Startling as these changes are, Robert Coover suggests we’re in the "silent movie" era of the Digital Age – the early stages of a transition as fundamental as going from writing on parchment scrolls with reed pens to inking text-blocks. An advance that spanned a century and a half, during which medieval copyists existed alongside printers of "good cheap" books.

It’s this idea of transition – lightning fast, by comparison, given the exponential growth of the Web’s reach and application – that underscores my interest in picking up the new web writing tools.

The innovative communities at if:book, Grand Text Auto, MIT Communications Forum and other sites I visit regularly represent the vanguard of change. (See links opposite: "Inspiring Inquiring Intuitive") I’m intrigued by such digital works as Gamer Theory, In Search of Lost Tim, 253, and the squawk of networked fiction on the lines of A Million Penguins.

I love these edgy explorations of digital literacy but I see my friends rolling their eyes and shaking their heads. Baby boomers mostly, they’re the same folks who stood in line for the newest Michener saga with multilayered facets of entertainment and education.

This is where I see potential for transitional works like A Novel of America. I’ve intentionally kept the portal simple with a linear framework highlighting techniques Michener and I employed as seen in my web archives for Covenant and Brazil.

A key difference lies in the wealth of interactive material: blogged working notes, research links, maps, images, books I’m reading. As the work takes shape, I will share plot lines and draft manuscript, all open to comments which I will moderate.

A Novel of America is not a networked book but a writer’s invitation to explore a world as new to me as most of the readers I hope to reach.

An Attic with a View

Bob Stein, director of the Institute for the Future of the Book, is a “new media” visionary. Stein recently distilled thirty years’ work and ideas (and questions) on the if:book blog. Among items that struck a resounding chord:

• “I haven’t published anything for nearly twelve years because, frankly, I didn’t have a model that made any sense to me. One day when I was walking around London I suddenly realized I did have a model. I joking labeled my little conceptual breakthrough “a unified field theory of publishing.” – In short, the understanding of how a number of different aspects both compliment and contradict each other to make up a dynamic whole in the era of the digital network.

• The key element running through all these possibilities is the author’s commitment to engage directly with readers. If the print author’s commitment has been to engage with a particular subject matter on behalf of her readers, in the era of the network that shifts to a commitment to engage with readers in the context of a particular subject.

• This is not to suggest that one size will fit all authors especially during this period of experiment and transition. Some authors will want to lay down a completed text for discussion; others may want to put up drafts in the anticipation of substantial rewriting based on reader input. Other “authors” may be more comfortable setting the terms and boundaries of the subject and allowing others to participate directly in the writing…

• As networked books evolve, readers will increasingly see themselves as participants in a social process. As with authors, especially in what is likely to be a long transitional period, we will see many levels of (reader) engagement – from the simple acknowledgement of the presence of others to very active engagement with authors and fellow readers.

“One thing I particularly like about this view of the author is that it resolves the professional/amateur contradiction,” adds Stein. “It doesn’t suggest a flat equality between all potential participants; on the contrary it acknowledges that the author brings an accepted expertise in the subject AND the willingness/ability to work with the community that gathers around. Readers will not have to take on direct responsibility for the integrity of the content (as they do in Wikipedia); hopefully they will provide oversight through their comments and participation, but the model can absorb a broad range of reader abilities and commitment.”

I believe in the value of big literary works like Brazil and The Covenant that use good story-telling to entertain and educate. Like Stein, though, I’ve come to question the model.

In two decades following Michener’s breakthrough Hawaii, millions of readers eagerly awaited Jim’s next behemoth. High-brow critics scoffed at a “bricklayer” plastering on facts; Michener’s fans stood in awe of his grasp of the lands and people whose epic he brought home to them.

By the 1990s, the Michener-style novel was rare or presented in such watered-down fashion as to be of no lasting value. The old editors – I think of Albert Erskine and Herman Gollob, who made the long march through Brazil with me – laid down their pencils. Publishers and agents lost interest in the genre. Even less appealing was the idea of funding the fieldwork critical to planning and writing an epic.

Then came the Internet moving with lightning speed to a point where a multi-layered Web-based book project like A Novel of America becomes feasible. It also portends a paradigm shift in the roles of author/reader/editor/publisher, as Bob Stein suggests:

“An old-style formulation might be that publishers serve the packaging and distribution of an author’s ideas. A new formulation might be that publishers and editors contribute to building a community that involves an author and a group of readers who are exploring a subject."

Abandoning the “attic” to write in public is a radical change for me that brings exciting opportunities and real challenges. I see A Novel of America as an exploration of creativity that seeks to bridge the old and the new; taking a page from the past to work on a book of the future.