I had to read this book for college, and when I read the synopsis, I thought it seemed quite good. I liked the idea, but the characters completely ruined this for me and not much happened as well. So JJ makes up an illness and says he is dying, because he is ashamed of the real reason why he wants to kill himself. He wants to commit suicide because his band broke up and his girlfriend dumped him. Jess is also depressed because her boyfriend left her. SO JJ IS JUDGING HER FOR HER REASON, WHILE IT'S THE SAME AS HIS?! Hypocrite! Here's a table to give you an idea of the word count range for different types of books: Type of Book

I didn't find it difficult to roll with the premise, in part because the novel is told in rotating first person, first Martin, then Maureen, then Jess, then JJ. As you step into each person's shoes, it's not too difficult to understand why they might mull ending it all, and why a random collision with a stranger might give each one pause. They may ask for a query letter, a synopsis, a proposal, or even sample chapters. Be sure not to send more or less than they suggest. So, the book's not really plot driven. But I never really felt like it was character driven either. I can't think of a single character that I... ummm... wait. I can't think of a single character. That can't be a good thing in a character driven book. So we've got these four forgettable characters coming together to deal with their crappy lives.How many words is Harry Potter? The word count of the Harry Potter books varies in each installment. The first book, "Harry Potter and the Sorcerer's Stone," has around 76,000 words, while the last book, "Harry Potter and the Deathly Hallows," has around 198,000 words. Doing it that way would make me worry I’ve missed something major early that will cause a complete rewrite when I discover it months later. I alternate creating and revising. Fun game-like experience: Keep young minds engaged with hundreds of stories and word games available in nine languages, including English and Spanish. Build confidence reading out loud with instant rewards of stars and badges

Fiction or nonfiction, if you commonly lose interest in your book somewhere in what I call the Marathon of the Middle, you likely didn’t start with enough exciting ideas . Potential agents or publishers require this in your proposal. T hey want to know where you’re going, and they want to know that you know. What do you want your reader to learn from your book, and how will you ensure they learn it? Your details and logic and technical and historical details must be right for your novel to be believable. That leads to more and more of the same. Once I’m in, my writing is forgotten, and all of a sudden the day has gotten away from me.

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Okay, some of this might be considered "Spoilers" so beware (I'm not calling them spoilers, cause there's nothing to spoil, but there you are). To start, the premise is both ridiculous yet tediously predictable: four people meet on a roof to kill them selves! Who wants to bet they DON'T jump? Who wants to bet the improbably become entangled in each other's lives? Who wants to bet they end up improbably helping one another learn Important Truths about Themselves and Life? Who wants to bet that, when they meet up in 90 days on the roof to jump, none of them kill themselves, because they now all want to live? Who wants to bet that they all get sort of Warm, Fuzzy, Life-Affirming Endings, even if one or two are Extremely Deep in that they learn No Meaning is The Meaning? How do you know you’ve got a winner? Does it have legs? In other words, does it stay in your mind, growing and developing every time you think of it? Martin: “They’d done nothing at all, and it was not difficult to imagine that they would continue to do nothing at all, and they made me look and feel like a world leader who runs a multinational company in the evenings and a scout troop at weekends.” This is just as important for your nonfiction book as your novel. It may not be as dramatic or emotional, but it could be—especially if you’re writing a memoir.

You’ll never regret—in fact, you’ll thank yourself later—for investing the time necessary to prepare for such a monumental task. Never settle for close enough just because you’re eager to be finished. Wait till you’re thrilled with every word, and keep revising until you are. Fantasy and science fiction novels are known to be lengthier than other books. Fantasy, in particular, takes the cake: some books in a fantasy series end up exceeding 140,000 words. That said, the average word count for science fiction and fantasy novels generally lies between 100,000 and 115,000. Examples include: The Golden Compass by Philip Pullman (112,815 words), Prisoner of Azkaban by JK Rowling (106,821 words), and Ender’s Game by Orson Scott Card (100,609 words). How many words should a romance novel be? There remain a few traditional publishers (those who pay you and take the entire financial risk of publishing your book rather than the other way around) who accept unsolicited submissions, but I do NOT recommend going that route.Nonfiction : “By the time Eustace Conway was seven years old, he could throw a knife accurately enough to nail a chipmunk to a tree.” —Elizabeth Gilbert, The Last American Man To write your book, you don’t need a sanctuary. In fact, I started my career o n my couch facing a typewriter perched on a plank of wood suspended by two kitchen chairs. Oh, it can still change if the story dictates that. But settling on a good one will really get you off and running.

They start padding, trying to add scenes just for the sake of bulk, but they’re soon bored and know readers will be too.

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Ah, but crappy lives, that's something we can all relate to. Let me clear things up, my life is basically perfect. I've got a great family, a great home, and a job I love. But I bet everybody has something in them that says, "yeah... but if I only had this..." Not that those desires are enough to make us suicidal, besides everybody has had crappy moments in life, otherwise what allows us to appreciate the good? Meet Martin, JJ, Jess, and Maureen. Four people who come together on New Year's Eve: a former TV talk show host, a musician, a teenage girl, and a mother. Three are British, one is American. They encounter one another on the roof of Topper's House, a London destination famous as the last stop for those ready to end their lives. Everything is on you. You are the publisher, the financier, the decision-maker. Everything listed above falls to you. You decide who does it, you approve or reject it, and you pay for it. The term self-publishing is a bit of a misnomer, however, because what you’re paying for is not publishing, but printing. And for nonfiction, even if you’re writing about a subject in which you’re an expert—as I’m doing here—getting all the facts right will polish your finished product. Your inner voice may tell you, “You’re no writer and you never will be. Who do you think you are, trying to write a book?”