WRITING IN GENERAL
Q: How do you find time to write as much as you do?
A: I’ve been asked where my ideas come from. Frankly, I cheat. I got a good deal on an idea machine from eBay in 1997.
Q: No really.
A: I like to set little goals for myself. For novel writing, it’s
five pages a day, give or take. I strive for five, but sometimes only
get four. That means I owe one the next day. According to my Great
Uncle Tom Picirrilli, 5 pages a day for three months equals a finished
novel. Screenplays are different. I can’t work on anything else
while I’m working on them. Once my brain screws into that format,
I can’t pull away.
Q: Do you outline?
A: I outline screenplays, novels and novellas, but never short stories.
Both my agent and the editors I deal with expect novel outlines as a
kind of proof you know where you’re going. I use them to keep
track of what’s going on, and what’s going to go on. I
drive my wife nuts. I can tell her once I see an outline how many pages
the book is going to be. I usually come in within five pages of the
original guess.
Q: Do you write chronologically/linearly?
A: For the most part. I find it pretty easy to do it that way. But
there are times when I get stuck with transitions. With an outline, I
can jump ahead until I figure it out.
Q: What do you write with and/or on?
A: I’m convinced that my brain has moved to my fingertips. Even
when I lose something, it’s not until I scratch my head that I
remember where it is. I write on a desktop computer with two screens.
When I travel, or want to sit on the couch, I use a netbook. I used to
be able to scribble notes long hand, but that’s becoming rarer
and rarer.
Q: How long do you spend on average on research, writing, revising, etc. until you are happy?
A: As long as it takes. Seriously. I do research when I’m coming
up with the idea and creating an outline. Once I begin actually
writing, I do research on the fly. Thank God for Google!
Q: Who are your literary influences?
A: They’re constantly changing because I read so much. If you
think of me as a tree, my roots are comprised of Ray Bradbury, Edgar
Rice Burroughs, Robert Heinlein and comic books. My trunk is John
Irving, James Michener, Leon Uris, Peter Straub. Then I branch out. I
have a horror branch that includes Stephen King, Clive Barker, and
Brian Keene. I have a science fiction branch that includes Joe
Haldeman, John Scalzi, David Gerrold, and the Kollin Brothers. I have a
literary fiction branch that includes Rafael Iglesias and Richard Ford.
And on and on. I think my deep appreciate for comic books and movies
allows me to write as visually as I do. I'm constantly listening to the
people around me, following trends in conversation and natural dialog,
looking for the way that people talk. Certain directors have a perfect
grasp of dialogue, such as Kevin Smith and Quintin Tarantino.
Q: Do you have any recommendations for a beginning writer?
A: Read everything! If you want to write horror, read outside the
genre. You have to read outside so that when you write you can bring
fresh blood to your own genre (if you have a genre). And write every
day. Writing is a muscle, the more you do it the better you become.
THE BUSINESS OF WRITING
Q: Do you have an agent?
A: Yes. I’ve had three agents over the years. My current agent is
the only one who did anything for me, which goes to show that having an
agent doesn’t mean you’ll be successful.
Q: Who represents you?
A: I am represented by Robert Fleck of Professional Media Services.
Q: Will you refer me to your agent?
A: It doesn’t work that way. You need to have something finished
and as near perfect as possible, then search an agent directory and
find someone who represents the kind of work you write..
Q: Did you have an agent before you sold your books?
A: No. My first several novels I negotiated myself. But my agent is
able to get my work into places that don’t accept unagented
submissions. I also never would have had a deal with St. Martin’s
Press if it wasn’t for him.
Q: Will you read my book/story/idea?
A: I'm sorry, but no. From a legal standpoint, it's a bad, bad thing
because there's always the chance that you and I might be working on
similar ideas. I don’t want to be put in the position where we
might be at odds one day.
Q: Do you have to know someone to get published?
A: No and yes. I garnered 42 rejections before my first paying short story sale. I’ve had six novels published, with two more on the way at the time of my writing this. My work was published on the strength of the work. That said, networking at conventions and writing events is very important. I cannot oversell that.
A: No and yes. I garnered 42 rejections before my first paying short story sale. I’ve had six novels published, with two more on the way at the time of my writing this. My work was published on the strength of the work. That said, networking at conventions and writing events is very important. I cannot oversell that.
Q: So conventions are important?
A: Absolutely. Meet your mentors, peers and your fans. With success you’ll find yourself becoming peers with your mentors.
Q: Will you donate a story to my small press or online magazine?
A: Sorry, the answer again is no. I support the small press and
appreciate how it's a learning ground for new writers. But nowadays
webzines go up in a weekend, and they disappear just as quickly. Many
get little or no editing and because of that, are a poor showcase for a
writer's work. Be that as it may, in the past I've sold stories for
copies and/or no payment at all, but I can't go into a grocery store
and offer the cashier a contributor's copy of a magazine in exchange
for a loaf of bread. Nor can I give the electric company or the IRS an
Internet URL and tell them that reading the story posted there is
payment to them for my electric or tax bill. I have bills to pay, so I
can't give work away for free. A final note if you're one of those
writers who has a tendency to keep giving your work away for
contributor copies or miserable pay rates like 1/4 cent a word, then
consider this question: If the editors out there know you'll write for
free or next to nothing, why should they pay you pro rates?
Q: May I send you a book to autograph?
A: Absolutely. I do this all the time. Here are the instructions.
If you have a book or books, or a bookmark or photo you'd like signed,
feel free to send it along to:
Weston Ochse
Post Office Box 1364
Sierra Vista, AZ 85636-1364
USA
PLEASE NOTE! You MUST include a self-addressed, stamped envelope with
enough postage on it for the item to come back to you. Items without
return postage will not be returned. Do not send cash or a check. Have
the items weighed and put the stamps on your pre-addressed return
envelope. If you are not in the US, please PayPal the appropriate
postage, including PayPal fees, to weston @ westonochse dot com with
full instructions.
But before you send anything, coordinate with me by email (see above
address). Email Rules: If the subject line is blank, if it has
Yvonne's name in it (a common spam ID), or if it just says "Hi" or
"Hello", it gets deleted by spam filters.
Q: Will you appear at my school/convention/event?
A: Sure. As long as it’s not too far.
Q: Do you have an appearance fee?
A: No. But if it’s a long distance, I have a better chance of being able to attend if my travel is paid or provided.
Q: How do I arrange an appearance?
A: Contact my agent or myself. Contact information is below.
Q: Who is Yvonne Navarro?
A: She’s my wife and a fellow author.
Q: Is it cool being married to another writer?
A: I can’t imagine a better way for writers to live.
Q: Can I contact her?
A: Sure. Go to www.yvonnenavarro.com.
Q: Are you the luckiest guy in the world?
A: Hell yes!
Contact information:
Author- Weston Ochse westonochse at gmail. dot com
Agent - Robert Fleck - robertlfleck at me dot com
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