The Creative Process of an Author: HANK GREEN
THE WONDERFUL WORLD OF HANK GREEN
Hank Green is a human with many titles. A quick trip to hankgreen.com provides you with enough links to see the expanse of his reach. Rising to mainstream notoriety through a YouTube channel created with his brother John in 2007 — vlogbrothers — Green has shaped an industrious network of entrepreneurial success. This channel is but one of the creative entertainment enterprises under Complexly, a company started by Hank Green but now jointly owned by the two brothers. Delving into educational and inspired online shows, music, charitable initiatives and podcasts are just some of the ways Green is leaving his mark on the world. However, Hank Green is also an accomplished best-selling author.
Thanks to his presence on YouTube as a content creator, there is a wealth of information on the process from conception to publication of Hank Green making his books. In 2017, Green had signed a two-book deal with Dutton, an imprint of Penguin Random House (Alter 2017). Green’s debut novel, An Absolutely Remarkable Thing, was released in September 2018. It received positive industry reviews and quickly became a number one best-seller. The sequel, A Beautifully Foolish Endeavor, is due for release in July 2020 (Green 2019). In this article, I will explore the journey of these novels to understand the creative process involved in literary publication, the importance of audience, and the challenges faced by Hank Green.
THE IMPORTANCE OF CREATIVITY AND PASSION
Hank Green’s career trajectory is not uncommon in creative industries. In fact, people inclined to make a living from creative projects often navigate along a divergent career path unlike traditional industries and establish several vocational avenues in their pursuit (Gouthro 2014, 174). Fiction writers are no different and need to have a deep desire and a drive to manifest meaningful work (Gouthro 2014, 175).
This is not to say that writers are just people with an idea and passion. Authors need to develop a range of technical skills in their chase including a reflexive lens in their writing and the careful use of words and sentences to convey human experience (Gouthro and Holloway 2017, 137).
Noting that a lot of people, including himself, want to write a book in their lifetime and gain notoriety, Hank Green keenly expresses how many do not want to do all the necessary work to get to the end product. He had written a lot in his life before writing his first novel, but it was mostly non-fiction. Further, while being open about his tumultuous journey to An Absolutely Remarkable Thing, Green confessed that in the past he had started several fiction projects but would inevitably abandon them (vlogbrothers 2018).
It takes a lot of perseverance and a willingness to commit to a life that is not based on instant gratification to succeed in such a competitive market like fiction writing. This highlights that becoming a writer is a specialised venture; one that is a personal choice that is not random or easy (Gouthro 2014, 176; 185).
It could therefore be argued that an author is compelled to write — that it is a part of their identity. This phenomenon could also be considered through the concept of authorship which notes that the identity of an author is constituted through cultural discourses of what it means to belong to the literary community (Adsit 2017, 307). For Hank Green, his identity as an online content creator and small business owner collide with his writing practices and force him to not only cross identity boundaries but establish his place in the literary world.
Over the years, creative writing has been discussed as an exercise in observation, research and narrative inquiry (Adsit 2017, 305–306). Further, creative writing stands somewhat separate to other forms of creative practice:
“…voyage of discovery but differs from most other arts and sciences (even the art of poetry) in one of its major modes of thought — narrative improvisation, a nonreflective mode that typically involves stances in a fictionworld from viewpoints different from one’s own” (Doyle 1998, 29).
Green expressed as much while discussing how it was not that he had always wanted to write a book, but that he wanted people to be able to read a book that he wrote. It had always been about the connection and meaning a novel elicits:
“I’ve analysed this, and I think it’s because when I read books, they have an outside impact on me. This of course happens with other media, but for me, most of the creations that I have consumed the have deeply changed the way I see the world have been books. Like, it’s cliché that you lose yourself in a book, but that doesn’t mean that it’s not extremely profound” (vlogbrothers 2018).
More than this, the very act of creating is one that becomes an exercise in reflexivity or critical reflection (Gouthro and Holloway 2017). Reflexive writing is a creative process that questions perspectives and aims to gain more self-awareness (and awareness of the other life positions) through understanding of identity shaping one’s experiences, perceptions and decisions (Murphy, Soyer & Martinez-Cola 2020, 2). That is:
“…from a sociocultural perspective, to create means to reposition yourself in relation to the problem or issue at hand, develop new perspectives on it, and place these perspectives in a reflexive dialogue with each other” (Lebuda and Glǎveanu 2018, 165).
Importantly, what comes with conversations about reflexivity and creativity is discussions about perspective-taking abilities which enhance divergent thinking. Not only do successful writers tend to have greater empathetic and reflexive skills, fiction authors who are paid also have the opinion that their characters are real and have distinct actions separate from themselves (Gotlieb et al. 2019, 713).
Turning a critical eye to the consumption of creative works, fiction writers, like Hank Green, must come from the perspective of knowing that life experiences and knowledge influence the creative product and are both important (hankschannel 2019). The reverse can also be said. For Hank Green, writing his first book taught him a lot about himself, from a deeper understanding of what other authors go through to awareness of self-destructive habits (hankschannel 2018a). As will be outlined below, Green’s creative process was reflexive and demonstrated several similarities with the approaches of other authors and creative practioners.
THE PROCESS
Having thought about writing a book since he graduated college, Hank Green began writing An Absolutely Remarkable Thing six years before he signed his book deal. Inspiration struck through a dream and initially Green wanted to create a graphic novel but realised he had enough to flesh out a book. Using Patreon he stayed motivated and received feedback along the way (Alter 2017).
Several creative thoughts came together to make Green believe the concept that could be executed. Explaining the process, he outlined how he had a plot in his mind, but first he needed to care about the characters deeply to the point that he felt compelled to know their story and have the motivation to continue writing (vlogbrothers 2019). Green got caught up in these characters like when he had fallen into the grips of novels, like they were real. In fact, they were, at least in part. All the characters were inspired by real people, where one character would have several traits from different people (hankschannel 2018b).
This is not uncommon, creative people like writers are emotionally invested in their craft, experiencing anxiety and frustration at the early stages of projects when ideas are unclear, joy when inspiration strikes and angst over the long process of working and revising (Ivcevic and Hoffmann 2019, 279).
A part of Hank Green’s process was finding moments in the main character’s life or ‘scenes’ that were strange and gripping, that he felt needed to be told. As he started writing those two factors were not enough and he kept finding himself stalling. It was then that he realised he needed to weave in his own knowledge and stories that he was passionate about but could not communicate through other creative outputs (vlogbrothers 2018). As the book moved along, Green details feeling despair and inadequacy when facing writing blocks and plot holes he could not solve but certainly would (hankschannel 2018a).
Green explains that while writing a manuscript, the amount of time he spends writing a day is dependent on what he is writing about, whether most of the day is spent researching and getting inspired by other creative works, or in development or planning (hanschannel 2019). Writing schedules are not practices Green adopts because life gets in the way, but he always makes sure to work on the book in some form every week to not lose sight of the relevance in his own mind. Green is also an advocate of not necessarily writing in a linear fashion (vlogbrothers 2019). This behaviour is key because learned flexibility and embracing the unexpected are marked as some of the most important techniques of the creative process (Adist 2017, 306).
During his first book, rewriting was something that happened daily as he reviewed what he wrote the previous day (hankschannel 2018b). However, when writing his second novel, Green changed this strategy because writing for him is about constantly checking for continuity. As he wrote A Beautifully Foolish Endeavor, Green realised that going back and fixing the mistake was counterintuitive and pointless if he got further and had to change it again. Instead, Green makes notes in separate documents to look at in revision and not interrupt flow (vlogbrothers 2019).
Not only did plotlines, character names or places change, but when the first full draft was ready, approximately 80% of that stayed the same (hanskchannel 2018b). Determining when the book was done was equal parts understanding that the author is ultimately in charge of when the novel is finished, and in realising in the moment that he was in the climax of the story. Having said that, Green also mentioned how he is still able to change small things in a book through the first pass and the second pass, but is then told by his team that no more changes can be made. That is the moment the book is finally finished and out of his hands (hankschannel 2018a; hankschannel 2020a).
Hank Green’s creative process was not only the hallmark of a reflexive creative practitioner, but his quest to authorship that was unknowingly dependent on four characteristics of creative innovation — technical skills in writing, creative processes, motivation, and impact of social environment (Amabile 2018). This also means that there is space to learn and change to increase and support creativity, hence Green’s ability to enlist more productive creative techniques that work for him and gain knowledge that informs the fiction he writes.
READERS ARE THE REASON
Importantly, the creative process does not end simply in completing a book. Without question, readers are fundamentally important. Not only are they integral in the success of a book, but the ‘non-verbal interaction’ between the reader and a piece of fiction encourages a subjective understanding that makes a creative work meaningful (Lowdermilk 2019, 2). In this sense, many writers feel that their driving force is their work being received by audiences as meaningful.
For Hank Green, and many other authors, writing is a way to reach people and making money is secondary concern. Green expresses that he is just as happy for his book to be read at the library. Strangely though, a necessary part of visibility is making money because it is linked to how many people read the novel.
According to Green, because he has a book deal, he makes the same amount of money whether someone buys the ebook, audio book or physical book. However, what is important for an author’s career is when a book is bought because presales help all the parties involved know the numbers. From there, publishers know how to adjust marketing campaigns with unit sales also driving down the price on websites like Amazon where the algorithm is based traffic and attempted or full transactions (hankschannel 2020b).
Arguably one of the most interesting shifts in the literary world is thanks to technology. Not only are books more accessible, but authors now find themselves in a position of cultivating an online identity. This then helps promote their work and provide a more immediate and ongoing connection with their fans. This is then supplemented by book tours.
In Hank Green’s case, not only did he make several videos on hankschannel and vlogbrothers, but he also engaged in social media promotion and attended conferences in the literary world (vlogbrothers 2018). Once his first novel was published, he went on a book tour to actively meet his readers. In the face of coronavirus and with his second book release date remaining the same unlike other books, Green has been forced to alter his tour to include virtual stops (hankschannel 2020a; hankgreen.com). Sales of books in general have also been impacted by the virus. For books that traditionally sell well at airports or independent bookstores, there has been a big hit to the market they are trying to sell to (hankschannel 2020a; 2020b).
PUBLISHING THE RIGHT WAY
Assuming the ideation of the book moves to the realm of creation, there is still the massive obstacle of getting a book published. Within the lore that circulates the elusive world of publishing is that for many writers, it takes several years of hard work before getting published is even on the cards. Plus, a veiled reality exists where there is no assurance of a financially rewarding result (Gouthro 2014,182).
Once writers have the first draft of their novel completed, the road to publication is still a long one. Traditionally, there are three avenues to publishing: Getting a book contract with a publisher, hiring a company to publish and self-publishing (Friedman 2017). With the shift online, there are also now dedicated digital publishers offering ebook deals with the same support as traditional print houses including teams of professionals and marketing. Instead of offering advances, they are concerned with metadata and giving higher royalties (Sabral 2018).
Technology has certainly mitigated traditional literary avenues with the appeals of online publishing and the luxury of choice. However, there are still several advantages to signing with an agent and in getting published with a reputable publishing house that aligns with an author’s values.
Many of the major publishing houses do not accept unsolicited manuscript submissions. As a first-time author, the world of publishing might seem overwhelming. Literary agents are there to help authors get their first draft to the version that is eventually published and advocate on their behalf to publishers (Summerhayes 2020). Finding the right agent and sending an email pitch — gone are the days of mailed manuscripts — is one thing. Landing the agent and finding the right publisher is another thing entirely.
The size, experience and ethos of the publishing house are all factors to consider. Similarly, deciding on whether services are needed like marketing, editing, relationships with booksellers, financial viability (advances), access to certain markets and capital to absorb losses should also be considered (Carter 2016, 53).
Then there is the issue of a publisher choosing what they wish to take on. Publishers not only compete against each other for content and customers but prescribe value on a book through sales potential and quality (Bourdieu and Johnson 2016, 10). This potential to gain industry and symbolic recognition and saleability can work hand-in-hand or cause friction, but ultimately both are of great significance when signing an author (Carter 2016, 50).
The most overt fact that has yet to be mentioned, is that writing runs in the family. Hank Green’s brother is an accomplished young adult author. Because of this, Green from the outset knew that publishers and agents would be reading his book; it was not potential, it was a certainty (vlogbrothers 2018). Even if he was not John’s brother, his online identity would have meant that any publishing house or literary agent would have deduced that there was limited risk in accepting a manuscript from his hands.
Hank Green is also very aware that with his fanbase and community reach from years of making content online, he could have self-published and made more money per individual book sold, however, he is a strong believer in having a team and delegating to experts; the publishing industry is there for a reason and they know what they are doing, thus self-publishing was not the right move for him (hankschannel 2018a).
Assuming that the right agent and publisher is found, there is an infrastructure of expertise (copywriters, marketing, editors) that can help to not only get the best version of a creation into the world but allows authors to focus on writing. However, one also needs to consider that because his brother John also published through Dutton, there was some level of trust in that particular publishing house.
FINAL REMARKS
To end, one piece of advice Hank Green has given to aspiring writers is that nothing but time writes a book. As good as ideation that happens in the shower and researching are, the valuable part — speaking strictly to getting the novel finished — is spent physically writing (vlogbrothers 2019). Similarly, the only way to become a better writer is by writing (hankschannel 2019). More than likely, the first creative piece someone makes will not be their greatest work because it is a reflection of experiences in the craft and in life.
Practice makes perfect, and creative people are always learning and growing in their craft. Hank Green’s creative voyage was only one example. Not all creative practitioners are the same, but literary processes affect all writers trying to get published. Authors have the opportunity to determine where and how they want to tell their story. It is all about finding the creative path that suits each person and taking advantage of the skills and knowledge at their disposal.
*Originally written for CIM405 at SAE Institute in JULY 2020.*
Sources:
https://www.penguin.com/publishers/dutton/
https://www.youtube.com/user/hankschannel
https://www.youtube.com/user/vlogbrothers
References:
Adsit, Janelle. 2017. “The Writer and Meta-Knowledge About Writing: Threshold Concepts in Creative Writing”. New Writing 14(3), 304–315.
Alter, Alexander. 2017. “YouTube Star Hank Green Will Publish His First Novel Next Year”. The New York Times. Accessed June 20, 2020, https://www.nytimes.com/2017/09/19/books/youtube-star-hank-green-first-novel.html?mcubz=1&_r=1.
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Green, Hank. 2019. Twitter Post. November 29, 2019, 12:14AM. https://twitter.com/hankgreen/status/1200085615565398020.
hankschannel. 2018a. “On Writing a Book”. YouTube, October 10, 2018, https://www.youtube.com/watch?v=25H4Q3BbT_g.
— — 2018b. “Some Questions About the Book”. YouTube, October 2, 2018, https://www.youtube.com/watch?v=vATH3diquk0.
— — 2019. “Answering Questions about Writing”. YouTube, June 7, 2019, https://www.youtube.com/watch?v=-tdXeuiAafU.
— — 2020a. “How Coronavirus is Changing my Book”. YouTube, April 3, 2020, https://www.youtube.com/watch?v=QtCccccugf4.
— — 2020b. “How to Buy a Book?!”. YouTube, June 17, 2020, https://www.youtube.com/watch?v=itML-Y7XjhA&t=368s.
Ivcevic, Zorana, and Jessica Hoffmann. (2019). “Emotions and Creativity: From Process to Person and Product.” In James Kaufman and Robert J. Sternberg (eds), The Cambridge Handbook of Creativity, 273–295. Cambridge, United Kingdom: Cambridge University Press.
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vlogbrothers. 2018. “I Wrote a Book. I WROTE A BOOK. How did I do that?”. YouTube, January 27, 2018, https://www.youtube.com/watch?v=_TaLahrHK6c.
— — 2019. “8 Things I Wish I Knew When I was Writing my First Novel”. YouTube, June 8, 2019, https://www.youtube.com/watch?v=lGNIpufvjIg.
