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Jigsaw Puzzle

Tuesday, September 20th, 2011

Last week, I talked about all these ideas that appear between stories and trying to decide which one to work on next. Part of having new ideas is that in the beginning it’s like a giant jigsaw puzzle and the pieces are kind of strewn everywhere, not just on top of the table where I want to work and I don’t have the box cover to work from.

The hunt it down stage, when I try to find the critical pieces–let’s call them the edge pieces–is both frustrating and exciting. The frustrating part is not knowing what the puzzle is supposed to look like. So I have these few pieces in my possession and I’m kind of looking at them and going, hmm. I turn them this way and that, trying to decide where they go, but not really figuring that out.

The exciting part, though, is when I find one of those edge pieces. It gets my brain whirring faster and suddenly some of those pieces I had earlier fit! I love that. It erases the frustration as if it never existed.

And the more edge pieces I get, the less frustration I experience because answers come more quickly as more and more of the framework is there to work with.

Right now, I’m mostly in the frustration part of the equation. I’m starting to get an edge piece or two, but not really enough to know what I’m working with yet. I know it’s a trilogy. I know it’s in the Blood Feud world. I know who my three couples are, although I’m not sure what the third heroine is yet. I know who the bad guy is and what his goal is, but I’m not sure how this unfolds over the three books. That’s the part making me the most nuts.

But I’m starting to get a small glimmer. Not enough to leave the frustration behind–not yet–but I have no doubt that it won’t be much longer before things start falling into place. I can’t wait!

 

How I Started Writing

Tuesday, August 16th, 2011

Another topic request blog post–How I started writing. (Remember, if you have anything you’d like to hear me talk about, feel free to leave it in a comment or send a Twitter comment or email me.)

I’ve always had stories in my head. I distinctly remember as a very small child, maybe 6 or 7, playing Barbies with my friends. They’d be done and ready to do something else, but I had an elaborate scenario to take Barbie and Ken through first. And FYI, even at this tender age, my "characters" were having romances. Maybe not sophisticated romances, but I was in grade school.

The stories stayed even when the dolls were put away. Dragged by my parents to something boring? I’d find a corner, sit down, and play stories through my head until we could go home.

Writing these stories down never occurred to me until 8th grade. One of my best friends at the time started writing a story using the entire class as characters. She paired "me" up with my teen actor heartthrob and passed her notebook around with each new installment. Well, you knew it was bound to happen sooner or later, right? She wrote "me" doing something I didn’t like. I asked her to change it and she refused because it was her story. So I was like, hey, I can write stories, too!

And I did. Only I didn’t use people in my class as characters. That might have been my original intention–I can’t remember–but I had characters show up. Real characters.

Thus began my own scribbling in notebooks as I wrote angsty YA romance. My friend gave up writing that school year, but I didn’t. In 9th grade, I joined the school newspaper. In 10th grade, it was the yearbook staff and I was editor my senior year. I took every writing class I could get myself into, including taking 2 English classes my senior year even though I wasn’t supposed to be able to do that. They made an exception for me because I was such a good student. heh!

I knew by the time I was in high school that I wanted to be a novelist when I grew up. I also knew even back then that fiction writing didn’t pay much for most writers. Being a Capricorn and hugely attracted to financial security, I decided to major in Journalism. I could write and get paid for it. Well, I did get the degree from the School of Journalism, but I went to work for the airline instead. Speaking of tenuous financial security. :-/

The writing bug never died, though. I continued to take writing classes wherever I could find them. And I wrote off and on for years. I finished my first book at 24, but for a long stretch, I’d start books and never get farther than chapter 3. My perfectionism drove me to revise and revise and revise until I was so bored, I’d move on to something different.

Then I reached a point where I realized I had to finish books if I wanted to, you know, sell them. I finished two others. And then I didn’t write for almost 2.5 years. I like to think of that time as working on me, becoming a better, more grounded person.

And then I was driving home from work one day in 1999 (I think) and I saw a woman huddled on the floor with her arms wrapped around her knees. I knew something bad had happened, but I didn’t know what. I started writing again and 18 months later, Ravyn’s Flight was finished. Y’all know the rest.

 

Still A Thrill

Thursday, July 21st, 2011

Someone said to me the other day that seeing the covers for my books must be old hat and pretty mundane for me. That’s not true. My first book came out in 2002 and even now, I anticipate each cover. And if I love it, I become hugely excited.

There are a lot of parts of being an author that are still exciting. OMG, seeing your book on the shelves at the bookstore? Or an airport bookstore? Sheer elation. Author copies being delivered to the doorstep. Opening that box and seeing the story you slaved over for months and months printed and bound and looking so pretty? Completely awesome. And every time someone sends me an email telling me they loved my book? Rapture. Seriously. My favorite part is when readers love my book.

None of this excitement has ever faded for me, no matter how many times I’ve experienced it. And I think this is a good thing. If a writer loses the wonder (not just with the writing/editing/revision part, but with the little joys like holding your book for the first time), they’ve lost something intangible that I think affects their work.

Actually, my life philosophy overall is that we have to enjoy moments–big or small. It doesn’t matter if it’s the first time or the tenth time, we have to savor and embrace the good stuff.

Oh, Yeah–Nocturnal

Tuesday, July 12th, 2011

Over the Fourth of July weekend when I was trying to get pages and pages done on the Work In Progress (WIP), I had a memory jolt. I opened my file every day and while I got a little bit written, I certainly wasn’t meeting my own expectations. But as the evening got later, the word count increased. Greatly.

I didn’t think much of it the first night, but when it happened on Sunday, too. I stopped and wondered. And then a memory came slamming into me. This had happened before. When I was writing Conor and Mika–both half demons–I could only make good progress when it got dark.

It took a while, but I finally figured out that it’s because demons are nocturnal.

I’m working on another demon couple now–or at least one full demon hero and one half demon heroine. It was a light bulb moment. No, I shouldn’t have been so slow to figure it out, but in my defense, my other demons didn’t insist on nighttime writing. Some characters are just more cooperative and pleasant to work with than others.

Thanks, Andras and Bree (Demon Kissed)! Not so thrilled with you, Nicole and Dak (Enemy Embrace).

Myth or Reality?

Thursday, July 7th, 2011

I read this blog post last week about myths of writing that kind of irked me. It started out well enough. Item one was that reading and writing alone weren’t enough to make people good writers. That education classes shouldn’t be forgotten. This one I could get behind because I took a lot of writing classes–in high school, in college, after college. I also read a lot of craft books.

Then the blog post completely derailed for me. Myth two according to this male writer (I think of SF/F, but I’m not 100% sure) is that authors write what their characters tell them. He insisted that characters only do what the writer has them do and that any surprises are because of the writer’s awesome subconscious at work.

Dude, maybe your characters are happy to let you move them around like cardboard cutouts, but mine are not. Mine will bring the story to a complete halt until I change what they don’t like. You can call this my writer’s subconscious at work if this makes you feel better, but I know differently. You suggest that I should write my character putting a gun to her head and pulling the trigger, then delete it later. That I could do this without any problem because my characters are not real and not in control.

Ha! My heroine lowered the gun to her side, looked at me and said, “Are you freaking nuts?” She didn’t pull the trigger, she wouldn’t even lift the gun to her head.

SF/F Writer Dude, I counter with this question: If your characters aren’t real to you, what can you do to make them come alive? What can you do to give them more depth and dimension?

Myth three, according to him, was that there is no magic in storytelling and that writing an outline/synopsis/etc doesn’t steal the magic.

I can agree with him to an extent, but not completely. There is magic in storytelling. That’s what the surprises are. I don’t think throwing together a synopsis steals the magic, I actually like having a synopsis after about the third chapter of the actual story because having a road map is nice. A detailed outline? Maybe one that’s 60 pages long? (Yes, there are authors who do this.) If I’m writing 60 pages, my story is done. It’s told. It’s time to write another one. So for me, over detailing the story before I write does kill something. It kills what makes it magical to me–the discovery, the wonder, the surprises.

I’m afraid I couldn’t read any farther. Not only did I disagree strongly with item 2, but his tone really put my back up. It was the “I’m right about writing and if you don’t agree with me you’re doing it wrong” attitude. I learned early that I was never going to write the way the “experts” said was right. When I tried, I hated writing enough to want to quit it all together. So I do it my way–no matter how wrong it is–and I enjoy it.

Anyone beginning writer who’s reading this, just know that there is no right or wrong way to write. If it works for you, it’s right for you. His process is right for him and it works for him. Yea for him. But just because my characters are real and in control, just because I don’t want to write the story in abbreviated form before I write the real story, doesn’t make my way wrong. And no other writer–no matter how successful they are–gets to tell me I’m not following the “one true way.” He doesn’t get to tell you this either.

It’s Not Just a Job

Tuesday, July 5th, 2011

Truly, every day is an adventure inside my head. Something new always happens. Usually, it’s a new story or new characters talking. That’s totally normal to me and I take it in stride. I can even shrug off a return of old characters. They rarely come around, but it’s occurred. The other night, though, I entered uncharted territory.

It started out normal enough. Ravyn and Damon came in with Cam.

It isn’t the first time they’ve shown up and I was like, okay, hello. But after a little vignette with Cam, the strange part happened. I started to see what their romance/story would have looked like if there wasn’t a killer on Jarved Nine.

This was a first for me. It wasn’t as if I’d made a choice when I wrote the story about what the circumstances were that set it off and that I opted to have someone kill almost everyone on the planet. The story for Ravyn’s Flight came to me when I saw Ravyn huddled on the floor, her arms wrapped around her knees. I knew something awful had happened, but I didn’t know what and I began writing the story to find out.

I’m still trying to figure out why I suddenly got this scenario. I have to say, though, that although it was kind of a WTH moment, it was pretty cool. Writers are always asking what if? And while this wasn’t a question I’d thought of before, once it popped inside my head, it intrigued me.

No one will be surprised if I mention that they fell in love in this version, too, right?

The whole thing, while weird in the extreme, was fun, too. I got to revisit a couple of characters that I liked, saw a cool story, and I wasn’t required to do anything except be entertained. I’m calling this a win.

Insurrection!

Tuesday, June 28th, 2011

My heroine and I spent the past weekend arguing. About a major plot element that sets up the entire romance.

Keep in mind that she originally voiced no opposition as I formed the general plot for this story. I thought that meant it was all good. As it turned out, it wasn’t.

I’ve mentioned before that my characters refuse to do what I want them to do if it’s something they don’t agree with. I sit and spin my wheels until I go back and change what they don’t like. This time, I didn’t even write the part of the scene yet that she was objecting to. This was a pre-objection. :-)

Actually, I’m okay with her objecting before I reach that part of the scene. It saves me from writing stuff I won’t be able to use and keeps me from coming to a complete stop as I try to figure out what’s wrong. It just would have been nice if she’d said something earlier.

I guess the fact that we spent an entire day arguing is my fault. I should have just agreed to change what she didn’t like. It wasn’t as if I had a choice, but this was a major structural piece of the story and I didn’t want to give it up.

As it turned out, though, it wasn’t too difficult to fix the issue. This surprised me. I expected to spend a lot of time struggling with this, but when I went to bed Saturday night, the answer popped into my head.

Sometimes there are epiphanies.

Writer Commitment Or Writers Should Be Committed (One of the Two)

Tuesday, June 21st, 2011

(The play on words in the title is intentional, BTW.)

Writing is a commitment. It’s true before you sell, but it’s even more true afterward. The tough part is that most people don’t understand this and that includes family.

In general, people think that an interruption is “just a minute” and that you can jump right back into writing without any effort. This is so not true. A one minute interruption can make me completely lose what I was going to write and I’ll never remember it exactly the same way no matter how long I think about it. And that one minute interruption? It can take me a half an hour or more to get back into the writing spot inside my head.

Others seem to think that if my fingers aren’t moving on the keyboard, I’m not writing and it’s safe to disturb me. This is so wrong. A lot of my time is spent in my head, figuring things out. One of my favorite quotes is: “Typists type, writers stare out the window.” I can’t remember who said it to attribute it, but it’s accurate. I might be taking a break to get a drink of water or something, but my head is still working.

The other big issue that comes up all the time is people don’t understand why you can’t just take the day off and do what they want you to do. After all, it’s no big deal, it’s just one day, right?

Wrong. Really. The problem with this logic is the person assumes that all writing time is 1) productive and 2) results in keepable words. Some days writing time is not productive. Some days It might take me an hour to get a paragraph right. X hours does not produce X words on schedule. Writing is way too fickle for that.

Also, there are days where you can write lots of pages, think they’re awesome, and then wake up the next morning and realize you made a wrong turn. Sometimes that wrong turn happened a couple of days earlier and I just didn’t realize it until that moment. There are plenty of times where I lose a lot of work. Too much work.

And keep in mind that there are frequently multiple people asking for “just one day.” Now if it’s a big family deal, that’s one thing, but a lot of the requests come from others–acquaintances, colleagues, etc. It’s tough to say no. Others do not understand and it becomes an issue because of this. Explaining it? Well, the fallback is always, “but it’s just one day.” It’s actually easier to just go along than to say no, but wow, you have to learn to protect the writing time, because if you don’t, you’ll miss deadlines.

So writing takes commitment, it takes being able to say no even when it’s easier to say yes. It’s not easy, but then nothing about writing ever is.

Influence

Tuesday, May 31st, 2011

I’ve talked before about how I’ve acquired words that my characters like to use. It’s not that I didn’t sometimes use these words myself, but they weren’t my first choice. Now they often are. It’s still odd at times to realize I say dude because of Cass or crap because of Cai, but I’ve largely learned to accept this.

Weirder still is that I pick up my characters’ tastes in music. At least when they make a preference known to me.

This one I’m not quite used to yet. I only started paying attention recently, so it’s possible that this has happened before without my realizing it. There were times I just had to have music playing when I was writing, but I didn’t think about what I was listening to or why.

But then the Tchaikovsky day happened and it was a whoa! moment for me.

I own some classical music, but it’s not a genre I listen to all that often, and while I can recognize the more famous songs that were used in movies or TV commercials, I’m not all that well versed in it. Then I started writing Blood Feud and Isobel had Tchaikovsky playing in her car.

It was the following weekend while I was working on another story that I felt compelled to listen to Tchaikovsky myself. I checked iTunes, but I didn’t own any. I tried other classical music, thinking it was just a yen for that genre, but no. I wanted Tchaikovsky. It had to be Tchaikovsky. Finally, I surrendered and bought three different albums filled with his music.

I played them over and over. On Sunday, I did some more writing on Blood Feud and saw the Tchaikovsky reference. And the light bulb lit up. Isobel. I was listening to this composer because of Isobel.

Months after she left, I tried Tchaikovsky again when the urge to listen to classical re-emerged. And I had no interest. I ended up switching to a different composer instead.

The other character that I’m aware of influencing my music is Kel from In the Darkest Night. He liked Seether. Now I like Seether. I still play Seether. I’ve had their music stuck in my head the last couple of weeks. Kel’s not around anymore, and hasn’t been for a while, so I’m thinking this music is going to stick.

And I’m wondering if this is going to happen again with some other character and what music I’ll be playing then.

What It Takes

Tuesday, May 24th, 2011

The other day it occurred to me that there are two skill sets involved with being a fiction writer: Writing and storytelling. This isn’t exactly an epiphany because it’s kind of an obvious thing, but it was the first time I actually put it out there in my thoughts in such a straightforward way.

Two things kind of nudged this up into my consciousness. First was the reminder of the 10,000 hour rule. A couple of years ago, I’d read an article on how it takes 10,000 hours to become really good at anything. I blogged about it at the time and talked about how I always wanted to be able to draw, but wasn’t willing to put in the number of hours it would take to get good at it. My interest wasn’t great enough for drawing, but that it was different with writing.

The second thing that triggered this involved backstory and how new writers think they need to info dump the history of their characters at the start of their book. I can’t even tell you how many contests I’ve judged for unpublished writers where nothing happens in the entry at all because they’re so busy giving me the life and times of hero and heroine. The writing itself–how they put sentences together–is usually fine, but the storytelling isn’t.

Of the two, I think the writing part is easier to learn than storytelling. I’m assuming this based on the fact that the entries in the writing contests are generally well-written, but storytelling still needs work. Also on what I hear as coworkers tell stories. And by telling stories, I mean someone asks, “How was your weekend?” and listening to the response.

What usually follows is a recitation in chronological order of every little thing that they experienced over the weekend. That’s not how you tell a story. In storytelling, the boring stuff should be left out and so should anything the reader doesn’t strictly need to know. Backstory violates both those things.

So applying the 10,000 hour rule, I’m thinking this means that writers need 20,000 hours since there are two different skills involved. Or maybe there’s some overlap and writers need 15,000 hours?


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