Lawyers make cases. And I am not lawyer.

But I am going to try to make a case here, right now. At least, I feel strongly enough about what I am going to write to spend a bit of my Saturday evening writing it.

The publishing industry is absolutely filled with dichotomous battles: Independent versus Chain, Commercial versus Literary, Fan Fiction versus Original Fiction, Story Quality versus Marketing, and Outline versus Free Writing.

It is this last one I wish to speak on, although I definitely have opinions on the others listed even as I know I've missed a few of the other polar philosophies. When I first met Terry Brooks, he was on tour for A Knight of the Word and he spoke before his signing. At this time, he and I were not friends and did not work together, but I still listened to his advice when it came to writing. A question was asked about his craft process, and he answered as I would find out later as he always does: 10 words - read read read, outline outline outline, write write write, repeat.

I laughed inside at this mantra when I first heard it. Who outlines past the age of 13? No one. I know I certainly didn't, and none of my friends did. I was almost 23 at the time, having newly changed majors from biochemistry to english, and the thought never occurred to me. Outline? Outline? Outline? It seemed like a way for a bestselling author to dodge such questions like, "Where do your ideas come from?" or "What inspires you to write?" I didn't care what Terry Brooks had written at that point; he was obviously just plain wrong.

But his words stuck with me. I wanted to believe, being a huge fan—and his obvious success was well-documented—but it just seemed too ridiculous, like a bedtime story told to 40-year-old. Over the years after that first encounter, I listened to him say the same thing and eventually I began working for him as his official webmaster. All the while, he preached the outline, and while I made my way through school, I ignored him.

Then he wrote Sometimes the Magic Works, and I finally gave in.

I was in my last quarter at the University of Washington, and working full-time as a manager at B&N along with my various website duties. All of it was really wearing me down. I needed a minor break from reality and I decided to read Terry's new non-fiction book. I needed a way to reduce the stress of that last quarter. It was 2003, I had been working with Terry for three years, and it was time to trust the man when it came to the craft.

I read the book, and fell in love with his process. At least how it looked on paper. I didn't know if it would work for me and I knew from years of listening to other writers speak of their craft that Terry's way might not. To each their own, as someone once said. I decided to give "Outline, Outline, Outline" a chance with my next 20-page paper.

It worked. Or I should say, it worked for me. It gave me structure. It forced me to think my way through the beginning of my paper to its end. I took the thesis, thought of my conclusion, and came up with the various plot points to prove that conclusion true.

And I wrote the paper fast. Really fast. The paper percolated inside for a few days before I started my outline, but once it was outlined the writing was finished in two days. It was simple writing it once the hard work was done. I finished my paper a full week before it was due. And during that week, I got to rework the text until it was something I felt very proud of.

I used the same process for the other two papers that last quarter. The same results happened. And I 3.9ed a very difficult 400-level class (attendence lost me that extra .1).

When I began the process for my first novel, it went very much the same way as that last quarter's work. Just on a larger scale. I had forgotten my earlier qualms about Terry's mantra; I knew what worked for me and if it isn't broke, why fix it? I let the story percolate inside me, working and reworking what I wanted it to be, and then wrote my outline.

Then I wrote my 700-page novel. In nine months.

Many writers do not outline. Stephen King hates it. Some say it removes the creativity from the writing process and makes it stodgy and boring. Maybe for them, it does. Maybe constraint kills it for them. For others, it allows them to live with their story for a long time before putting it down on paper. And that can make all the difference whether or not a story succeeds through to its end. Those writers I mentioned earlier, they sometimes write great openings and terrible endings. I wonder why that is?

As a rebuttal to those people—even though I know the process works differently for each person—I finished my second book's outline a few days ago. I began writing it the very next day and as of a few moments ago I just finished the book's Prologue. While I wrote it, two things happened: 1) I stuck to the outline, and more importantly 2) great creative things came out of it I hadn't imagined while I constructed the outline.

In short, following an outline doesn't need to be a stodgy, boring thing. It is what it is for the right person.

Give outlining a try. Do it right.

If it doesn't work for you, don't do it.

But don't say it doesn't work until you've tried it.

Just a tiny bit of news.

Yesterday I finalized my second book's outline. The very early title of the book is Well of the World, and it is currently six chapters longer than Song of the Fell Hammer. The outline took about two months to fully come together, but it did in a flurry while I sat in the majestic University of Washington's Suzzallo Library reading room a few days ago. It just goes to show how important environment can play in the creative process sometimes.

Well of the World will include point of view chapters from three more sources that will accompany those from the first book. I felt after re-reading Song of the Fell Hammer that readers would want to learn more about some of that first book's periphery characters, and I have to admit I wanted to learn more about them too. Overall, they help make the second book deeper and stronger.

The outlining time spent on this new book was great fun. I gave myself enough time to let the story really sink in before I began writing any of it down, and unlike the first book—which did not have a compelted outline at its start—this book does and I feel a lot more comfortable with it. The other advantageous highlight of working the book through its course before writing it has been I already know how I want to approach the next book. With that knowledge, I can seed certain plot elements into Well of the World and let them grow and bloom in the next book.

With the outline done, I have begun writing. It has been almost three months since I last sat down and put words down in a chapter, but it came easily and clearly this morning. I think the Prologue will be finished tomorrow—the setting of the novel finished—and I will begin Chapter One on Monday.

I am very excited about this book. The story is a good one. Its literary allegorical meaning is assured, and the climax will be great fun to write. It is filled with action and mystery, and it continues the storyline of those people in the first book. As a bridge book goes, the middle of a trilogy, I think it stands up all on its own. And that's what a middle book should do.

It's been a while since I posted a message here, but at least this one will have some substance to it. Or, at the very least, it is a subject I am keenly interested in.

I gave my book, Song of the Fell Hammer, to two outside sources to read. I didn't choose to do this lightly nor did I choose lightly who I would give the book to, but I saw it as necessary for the moment. The first is one of the moderators on Terry Brooks's Forum, someone I have known for years online and had the pleasure of meeting several times. The other person is a new Del Rey author who read my excerpts and enjoyed them so much he asked for the book.

I asked both of them to read several parts of the book with a critical eye, those parts I feel could be executed better. I also asked them to pay attention to pacing, tone, storytelling, content, and overall enjoyability. I asked both of them what writer's fans would most enjoy it. Overall, I wanted to gauge whether or not I had what it takes from a serious fantasy fan.

Here is the first of those reviews:

"I've been giving Shawn a hard time for the past few posts in this thread, but that's all I've been doing, just giving him a hard time.

What Shawn's put together here is something that any fan of Terry Brooks should be excited to read. He's crafted a story full of compelling characters thrust in to situations that really make them struggle with who they are.

When I first got my hands on some of Shawn's writing I didn't read it for a long time, I was afraid that it would be good. When I finally did get around to reading his sample chapter (chapter 9, I do believe) I quickly found myself angry that I had waited so long.

I've thought a lot about where I would place Shawn in the pantheon of fantasy authors out there, and it became apparent to me that I would put him in the Keyes/Hobb/Williams field of storytelling. I'd say his writing and style, along with his plot and storyline, fall somewhere in between Brooks/Salvatore/Eddings/Feist and Erikson/Martin. By that I mean, his work isn't quite so fluffy and light as something like Brooks or Salvatore would write, but also not nearly so complicated and convoluted as a Martin or Erikson novel. I feel comfortable putting him in the same field as Hobb/Martin/Williams in that sense.

The world he has created reminds me a lot of Midkemia, the world created by Raymond E. Feist. It's a bit grittier than the Four Lands, the time period is more medieval, rather than a stock fantasy novel (besides the giants/elves/witches/etc...). The religious aspects that Shawn have written in to the story are of utmost importance and, thusly, they are very well thought out and developed.

One can't speak of the religious aspects without touching on the story and plot. Shawn doesn't disappoint. I think the best thing I can say about this is that even after 650 or so pages, I still didn't want it to end. Shawn manages to fit a lot of good stuff between those pages. He clearly has a good grasp of religion and he poses a lot of questions surrounding religion and its place in the world. His characters are conflicted and believable and it can be hard to travel with them through many of the hard decisions they have to make.

Shawn's writing grows by leaps and bounds as the chapters roll by. He's not kidding when he says the first few chapters are the weakest of the book. There are problems in there, he is a first time author afterall, but I didn't find a whole lot that can't be solved by having a good editor.

I've been speaking with Shawn a lot about the book and my thoughts, where I think he can make it stronger, as well as what I really liked about it. He's presented a clear, well-thought out story and it's obvious to me that he's committed to completing a story that will make a reader think about their own place in the world and the state of the world itself.

One final thing I want to touch on before I wrap this up is the way Shawn ends the book. I've been very vocal about my distaste for the way Terry Brooks has been writing his "Cliffhangers", he seems to come to the 1/3 mark and simply not write the next chapter (this is a bit of an exaggeration, but not by much) and this leaves me feeling unsatisfied. I was worried this would be the same with Shawn and was more than ready to tear him apart for it. As I turned the last page I was relieved to find it wouldn't be necessary. Shawn has done an excellent job at taking his separate story arcs and taking them to their completion (with the exception of one, but the way it ends is suitable and understandable considering the circumstances), he then sets up the story arcs for the second book that will be the result of the actions in the first book.

I left Shawn's book and feeling very satisfied with it. My only problem is that he hasn't even started writing the second book! Shawn's written something that was wholly as exciting and fantastical as I was expecting it to be. This book is ready to be published and has the ability to reach not only Terry's audience but one that includes fans of other authors such as Greg Keyes/R.A. Salvatore/George R.R. Martin/Robin Hobb/Steven Erikson/Tad Williams/etc....

You won't be disappointed.

Kudos, Shawn. Thanks for keeping me entertained."

Ever since I was diagnosed with cancer in 2001, I've had several goals in mind: live another year, and see that year put to good use. These two elements to my personality have helped me become the man I am today, for better or worse.

But around the New Year, that sentiment becomes even more poignant. I tend to reflect during this time and, that coupled with seeing family and friends I might not have seen for some time, makes those feelings all the more strong. The reflection helps me gauge what I have done with my time, who I have touched, and what goals I have met; the reflection leads me to understand more about what my forthcoming year should be like, who I should try to touch, and those goals I shoot for.

A few nights ago, I began reflecting. And then it hit me like a ton of bricks.

I wrote a book in 2006--a book I am proud of.

That book is currently sitting on an editor's desk in New York City at a highly respectable publisher.

My book might actually be read by a professional editor and liked enough to be purchased.

What goal can I have in 2007 that eclipses the completed goal of 2006?

So many of my family and friends have congratulated me on finishing my novel. They have patted me on the back, shook my hand, sent well-wishes via email. They have acted like it is a major accomplishment. And I suppose it is, to a certain degree, although I don't see it that way. It's similar to asking an artist to draw a picture; to the artist it is easy to draw the picture. They can produce many if they so desire, and that knowledge makes the art less rare. The same can be said of writing the book--I can write another one.

In short, it's not ususual for a writer to write.

It took me about one second to discover what my goal should be for 2007.

What else can a writer do but write?

This week I will wrap up the initial outline for Well of the World. It is the sequel to Song of the Fell Hammer and begins about two weeks after the first book's epilogue. The goal will be to write the new book and finish it by September 2007.

I don't know about New Year's resolutions, but writing Well of the World is not one of them.

After all, does a person need a New Year's resolution to breathe?