I thought I should make a post about what I'm currently up to. I tend to get carried away with what I'm doing and then find I don't make time for updating others on what I'm doing through my blog posts. I'll try to do better with that in the weeks and months ahead.
First, I'm editing my novel. Currently, I'm adding an entirely new chapter to the beginning. A friend of mine who's reading a previous version suggested I start at a different point. I agreed that a preceding event to the existing novel would be a much better introduction of characters and help in establishing the overarching plot. The chapter is outlined, and I'm making my way through it. I'll have to polish it up and then come up with a new hook for the novel; the current one won't work in the new setting.
I've also been working on a query letter, going through multiple drafts with feedback from others. I know from past experience that it takes me a while to form a proper query letter - condensing things down to 250 words in a way that hopefully entices agents to ask for pages. That's why I like to start the process in advance - one less thing to worry about when the novel is complete.
I wrote another short story that a friend is critiquing for me. This one is a science fiction story, and I'm trying out first-person present tense. I don't recall trying to do that before. It was years before I'd even try first person. The reason for the present tense is that I wanted the action to feel immediate - like readers are in the moment with the protagonist. I don't know if it works or not. But I like to try things with writing. I don't look at my strengths and think I'll only write to those (or write to hide my weaknesses). Instead, I look at the story I'm trying to convey and think about what it would take to properly convey it, even if it's something I've never tried before. That's not to say that I completely throw away anything I've learned over the years, but I don't want to stick with what's comfortable, or I'm limited in what I can tell. Or I end up telling stories the same way, which may not be the most fitting manner for a particular story. I enjoy learning new things and seeing what I can do, pressing my craft beyond where I thought I could take it. And yes, those first attempts at something new don't always turn out well, but I'm willing to take that risk. The worst that can happen is that a story isn't published. And by this point in my writing career, that's hardly anything to be concerned with.
I'm working on another Galaxy review for Black Gate. Normally I work on these during my lunch breaks, but I've had several working lunches this past week. Hopefully I'll complete the review next week, depending on my schedule.
During a recent trip to New York, I visited Strand Book Store. I had hoped to visit their top floor where the rare books are located, but it was closed when I arrived. I did, however, purchase a 1999 reprint of The King of Elfland's Daughter by Lord Dunsany. He is a magnificent author. He has a way of showing readers a world that you feel in your soul. He goes beyond the simple description down into the depths of why you should care about something. For example, it's not just a dawn but a song about dawn that you hear deep within; then you gasp because you not only see those rays of light and how they interplay with the landscape, but you feel the glow on your skin and smile at its warmth.
Showing posts with label writing. Show all posts
Showing posts with label writing. Show all posts
Saturday, July 22, 2017
Monday, January 09, 2017
Happy New Year!
Okay, I'm more than a week late in stating it, but the sentiment is the same. 2016 was a really great year, writing-wise. I had two stories published, and I completed a rough draft on a Katsu/Tsukiko novel. And to start this year of editing right, I chopped off the first two chapters, killing over 7K words. Katsu and Tsukiko aren't the only ones with cutting skills.
I did put out a new retro review of Galaxy recently on Black Gate.
I was pretty busy closing out the old year, but things are about to settle into a better pattern. I'm looking forward to more writing.
So to everyone out there, I wish you a happy new year.
I did put out a new retro review of Galaxy recently on Black Gate.
I was pretty busy closing out the old year, but things are about to settle into a better pattern. I'm looking forward to more writing.
So to everyone out there, I wish you a happy new year.
Sunday, August 21, 2016
What Am I Up To?
Earlier this month, I attended Gen Con, focusing on the Gen Con Writer's Symposium. If you haven't attended the panels in GenCon before, it's well worth your time whether you're aspiring to write or are already in the trenches, submitting your work. I took copious notes and learned quite a bit. I'd attended last year, but this year I also chose to pay for a feedback session with professional authors. They had excellent feedback on one of my short stories.
I'll be attending the World Fantasy Convention in October, and I signed up to do a reading. I'll be practicing in front of my wife, who will prepare me for any possible distractions, as she did in preparation for my reading at Gen Con. She would cough loudly, laugh randomly, stand up and walk into the other room, or pretend to check her phone for text messages. And while she's doing so, she's still observing everything so that at the end, she's telling me how best to focus, emote, etc. (she's a professional actress and comedian). I haven't decided on what I'll read just yet, but I have enough time left to prepare.
As far as writing goes, I'm working on a novel featuring Katsu and Tsukiko, who are the main characters in "Shadows in Sakamura" that was published in the latest issue of Heroic Fantasy Quarterly. The novel reveals how they became as they are - one shadowing the other. I really love writing this story, but it's not easy; this is probably the hardest I've ever worked on any writing project to date.
I can't say how much time I've spent just reading about the Japanese Edo period or looking at art and pictures of Japan. Sometimes I just get lost in the research - fascinated by all of the details. So much of what I'm studying will never end up on the page directly, but it's helping me to build this fantasy world - one that I hope absorbs readers.
Sunday, January 24, 2016
What Am I Up To?
January is almost gone, but I thought I'd share some of my goings-on for 2016.
First, I'm editing one of my stories. It wasn't a rewrite request. I felt like I needed to tighten it up, though. I reread part of it and found a propensity for tagging many pieces of dialogue (e.g. Mary said). My reasoning at the time was to clearly identify the speaker, knowing that readers will skim over those pieces for the most part, anyway.
But I started reading other thoughts on the matter and realized that unless there are more complex scenes with multiple characters, the tags aren't needed at all. It can just be dialogue that bounces between people, and it's just as easy to track. For the occasional interjection that could be from anyone, add a tag. I also permit the tag if I tack on an additional action. For example: "I don't know what this stuff is," Dave said, wiping the slime from his fingers.
So I'm cleaning up a lot of dialogue tags, which in turn tightens the story up, allowing me to add more flesh to scenes that seem a bit too rushed.
Once I'm finished with editing, I'll move back to the novel WIP. I'm still working through the rough draft, and it will take time to complete. Then comes the editing. There's a lot to think through with this, and while I've planned most (if not all) high-level points, there is also a lot to think through at the granular level.
Two of my short stories are being held for consideration by editors. I had mentioned a rewrite request in Twitter last year, and that's one of them. I don't like giving details beyond that. But if either turn into a sale, I'll certainly say more.
Something odd I've noticed recently: I can't write to music anymore. I find myself thinking very hard while writing, and for the past couple of years, I just can't write to music. It distracts me too much. I don't think it's old age since I'm still in my thirties, but if something (technique, music, etc.) interferes with my process, then it has to go.
Currently, I'm reading issues of Galaxy Science Fiction. Sometimes I'll read from Fantasy & Science Fiction, too, but I'm very far behind the current issue. I also finished the Naruto manga series. I love Naruto, but I'm glad it had an ending. I think all great stories need a beginning, middle, and ending, even if the story spans multiple books and takes years to tell. But if something just goes on and on, I think there's something lacking. There should always be an end-game, and the story should be heading toward it, regardless of how meandering that path may be.
First, I'm editing one of my stories. It wasn't a rewrite request. I felt like I needed to tighten it up, though. I reread part of it and found a propensity for tagging many pieces of dialogue (e.g. Mary said). My reasoning at the time was to clearly identify the speaker, knowing that readers will skim over those pieces for the most part, anyway.
But I started reading other thoughts on the matter and realized that unless there are more complex scenes with multiple characters, the tags aren't needed at all. It can just be dialogue that bounces between people, and it's just as easy to track. For the occasional interjection that could be from anyone, add a tag. I also permit the tag if I tack on an additional action. For example: "I don't know what this stuff is," Dave said, wiping the slime from his fingers.
So I'm cleaning up a lot of dialogue tags, which in turn tightens the story up, allowing me to add more flesh to scenes that seem a bit too rushed.
Once I'm finished with editing, I'll move back to the novel WIP. I'm still working through the rough draft, and it will take time to complete. Then comes the editing. There's a lot to think through with this, and while I've planned most (if not all) high-level points, there is also a lot to think through at the granular level.
Two of my short stories are being held for consideration by editors. I had mentioned a rewrite request in Twitter last year, and that's one of them. I don't like giving details beyond that. But if either turn into a sale, I'll certainly say more.
Something odd I've noticed recently: I can't write to music anymore. I find myself thinking very hard while writing, and for the past couple of years, I just can't write to music. It distracts me too much. I don't think it's old age since I'm still in my thirties, but if something (technique, music, etc.) interferes with my process, then it has to go.
Currently, I'm reading issues of Galaxy Science Fiction. Sometimes I'll read from Fantasy & Science Fiction, too, but I'm very far behind the current issue. I also finished the Naruto manga series. I love Naruto, but I'm glad it had an ending. I think all great stories need a beginning, middle, and ending, even if the story spans multiple books and takes years to tell. But if something just goes on and on, I think there's something lacking. There should always be an end-game, and the story should be heading toward it, regardless of how meandering that path may be.
Friday, December 11, 2015
Camping and Writing
The weekend after Thanksgiving, I went camping by myself for the first time. My wife had recently gone on a retreat for a few days and suggested I take some time to myself. So I headed to Spring Mill State Park in Mitchell, Indiana.
I arrived around 4 PM on Friday and got to pick my own spot. I chose an electric site, meaning there was an outdoor power outlet to hook into, and if the modern bathrooms were open (they were already closed for the season), I'd have access to them as well.
I think there was maybe one or two other campers in the entire park. Not only was it the Friday after Thanksgiving, but it was cold and raining. In fact, I had to set up my tent in the rain. My tent has a rain fly, but you don't put it on until the tent is up. So the inside of the tent got wet. Fortunately, I had towels to dry up the mess.
The view was outstanding - nothing but woods behind the tent, and the lot itself was one of the largest ones.
Next, I set up a screen tent. It's just a small tent that a few people can sit inside for shade or protection from insects. To some degree, it can also protect you from the rain, although the roof leaks drops sporadically. And if it's a blowing rain, you're going to get soaked.
In the picture, you can see my main tent in the background and my screen tent to the right.
I took an outdoor power cord with me, courtesy of my father-in-law, so that I could charge my phone and laptop from within the screen tent. I also had a small table and a couple of camping chairs setup in there since it was raining.
By the time I had everything set up, it was dark. Sunset happened around 5:30, not that I could see the sun to begin with. But overcast skies during the day are very different from overcast skies during the night. It was dark.
In the dark, I started making dinner. I started a fire with some difficulty, using some fire-starters, Fatwood (a type of kindling), and a couple of pieces from my bundle of firewood. I had to split the pieces of firewood with my hatchet; otherwise, they would have been too large to consume initially. (With camp fires, you have to start small and build your way up to the larger pieces.)
I cooked a hot dog over the fire and then started making some freeze dried mac 'n cheese. Freeze dried meals are pretty simple. You boil a cup or two of water (depending on what you're making), dump it into the pouch, stir it up, and seal it. After a few minutes, you open it and either drain it or eat it (again, depending on what you're making).
While that was happening, I had a bag of chips open at my table in the screen tent, along with extra hot dog buns. Then I started cooking my second hot dog. I wore a headlight so that I could see what I was doing (no, not the kind that's on a car - the kind that straps to your head), and I saw a pair of glowing eyes.
The eyes belonged to a large raccoon I named Fatty Bandit. Fatty Bandit was sauntering around my campsite, interested in how my meal was coming along. So I had to grab my bag of chips, my pouch of mac 'n cheese, my bag of extra buns, and squat down by the fire to finish cooking my second hot dog.
When I sat down to eat inside the screen tent, Fatty Bandit sauntered up (that's the only verb to describe how he moved - saunter) within a foot of me like a pet dog. He looked up at me, expectantly, and I told him to move on. Normally at camp sites, I'll see raccoons if I flash my light in their direction, but they'll quickly disappear, never coming closer than 10 feet at most. But not Fatty Bandit. He just didn't care. Or maybe he cared a lot about my food. After all, there weren't any other campers nearby, and he was probably tired of eating what he found in nature.
That night, I dreamed that Fatty Bandit came into my tent and curled up next to me. And I came out of that dream half-awake and felt a lump next to my sleeping bag. I yelled, "Get out of here!" Then I realized it was actually one of my bags, and I felt a bit foolish. It didn't make sense for a raccoon to get into my tent or to lay next to me, but it seemed plausible in my dream.
I tried to take a picture of Fatty Bandit one night, but it was just too dark. Just imagine a really heavy raccoon.
Saturday was a great writing day. I sat in the screen tent for hours at a time and wrote. I took a picture of my setup.
Yes, note the scotch. I don't drink scotch regularly when writing, but this was camping.
I was working on my latest novel. It was NaNoWriMo, after all. I say that more with good fun. I started the novel quite a while back; it's not a project I suddenly undertook with the hope of completing within the month of November. But when my current project is a novel during the month of November, I can't help but mention NaNoWriMo.
Beyond writing the immediate chapters, I also discovered how to give better precision to the narration. I'm writing in close third, but the focus splits between the two main characters. And by splitting, I don't mean within the same scene. Within a given scene, the close third is tied to one character; my college creative writing teacher was very clear that we should avoid head jumping. I thought I knew their voices already, but I became aware that I started wanting more specific patterns; narration tied to this character should be like A, whereas narration tied to the other character should be like B. I'll have to go back and clean up a lot of places later to make this work, but it will add much more clarity to the voices and hopefully tie readers closer to the characters.
Sunday was a day of sleeping late, hiking for a couple of miles, and more writing. I felt really relaxed by the end of the day.
Below is a picture of one of the entrances to Donaldson Cave.
Monday, I ate breakfast and packed up. I just wanted to be back home with my family. Having time to myself was both the best and worst aspect of the trip. I really enjoyed being able to camp in solitude, which allowed me to write and observe nature in silence, but I also became rather lonely.
For those who write, I highly encourage taking a trip somewhere by yourself where you'll have a chance to write and think. I know camping isn't for everyone, but I would recommend a destination with limited human interaction and few distractions. I think we need opportunities to focus.
I arrived around 4 PM on Friday and got to pick my own spot. I chose an electric site, meaning there was an outdoor power outlet to hook into, and if the modern bathrooms were open (they were already closed for the season), I'd have access to them as well.
I think there was maybe one or two other campers in the entire park. Not only was it the Friday after Thanksgiving, but it was cold and raining. In fact, I had to set up my tent in the rain. My tent has a rain fly, but you don't put it on until the tent is up. So the inside of the tent got wet. Fortunately, I had towels to dry up the mess.
The view was outstanding - nothing but woods behind the tent, and the lot itself was one of the largest ones.
Next, I set up a screen tent. It's just a small tent that a few people can sit inside for shade or protection from insects. To some degree, it can also protect you from the rain, although the roof leaks drops sporadically. And if it's a blowing rain, you're going to get soaked.
In the picture, you can see my main tent in the background and my screen tent to the right.
I took an outdoor power cord with me, courtesy of my father-in-law, so that I could charge my phone and laptop from within the screen tent. I also had a small table and a couple of camping chairs setup in there since it was raining.
By the time I had everything set up, it was dark. Sunset happened around 5:30, not that I could see the sun to begin with. But overcast skies during the day are very different from overcast skies during the night. It was dark.
In the dark, I started making dinner. I started a fire with some difficulty, using some fire-starters, Fatwood (a type of kindling), and a couple of pieces from my bundle of firewood. I had to split the pieces of firewood with my hatchet; otherwise, they would have been too large to consume initially. (With camp fires, you have to start small and build your way up to the larger pieces.)
I cooked a hot dog over the fire and then started making some freeze dried mac 'n cheese. Freeze dried meals are pretty simple. You boil a cup or two of water (depending on what you're making), dump it into the pouch, stir it up, and seal it. After a few minutes, you open it and either drain it or eat it (again, depending on what you're making).
While that was happening, I had a bag of chips open at my table in the screen tent, along with extra hot dog buns. Then I started cooking my second hot dog. I wore a headlight so that I could see what I was doing (no, not the kind that's on a car - the kind that straps to your head), and I saw a pair of glowing eyes.
The eyes belonged to a large raccoon I named Fatty Bandit. Fatty Bandit was sauntering around my campsite, interested in how my meal was coming along. So I had to grab my bag of chips, my pouch of mac 'n cheese, my bag of extra buns, and squat down by the fire to finish cooking my second hot dog.
When I sat down to eat inside the screen tent, Fatty Bandit sauntered up (that's the only verb to describe how he moved - saunter) within a foot of me like a pet dog. He looked up at me, expectantly, and I told him to move on. Normally at camp sites, I'll see raccoons if I flash my light in their direction, but they'll quickly disappear, never coming closer than 10 feet at most. But not Fatty Bandit. He just didn't care. Or maybe he cared a lot about my food. After all, there weren't any other campers nearby, and he was probably tired of eating what he found in nature.
That night, I dreamed that Fatty Bandit came into my tent and curled up next to me. And I came out of that dream half-awake and felt a lump next to my sleeping bag. I yelled, "Get out of here!" Then I realized it was actually one of my bags, and I felt a bit foolish. It didn't make sense for a raccoon to get into my tent or to lay next to me, but it seemed plausible in my dream.
I tried to take a picture of Fatty Bandit one night, but it was just too dark. Just imagine a really heavy raccoon.
Saturday was a great writing day. I sat in the screen tent for hours at a time and wrote. I took a picture of my setup.
Yes, note the scotch. I don't drink scotch regularly when writing, but this was camping.
I was working on my latest novel. It was NaNoWriMo, after all. I say that more with good fun. I started the novel quite a while back; it's not a project I suddenly undertook with the hope of completing within the month of November. But when my current project is a novel during the month of November, I can't help but mention NaNoWriMo.
Beyond writing the immediate chapters, I also discovered how to give better precision to the narration. I'm writing in close third, but the focus splits between the two main characters. And by splitting, I don't mean within the same scene. Within a given scene, the close third is tied to one character; my college creative writing teacher was very clear that we should avoid head jumping. I thought I knew their voices already, but I became aware that I started wanting more specific patterns; narration tied to this character should be like A, whereas narration tied to the other character should be like B. I'll have to go back and clean up a lot of places later to make this work, but it will add much more clarity to the voices and hopefully tie readers closer to the characters.
Sunday was a day of sleeping late, hiking for a couple of miles, and more writing. I felt really relaxed by the end of the day.
Below is a picture of one of the entrances to Donaldson Cave.
Monday, I ate breakfast and packed up. I just wanted to be back home with my family. Having time to myself was both the best and worst aspect of the trip. I really enjoyed being able to camp in solitude, which allowed me to write and observe nature in silence, but I also became rather lonely.
For those who write, I highly encourage taking a trip somewhere by yourself where you'll have a chance to write and think. I know camping isn't for everyone, but I would recommend a destination with limited human interaction and few distractions. I think we need opportunities to focus.
Friday, July 25, 2014
What I'm Working On
I don't usually cover the specifics of my writing projects. Not out of any negative feelings. It's more that until I see something in publication, I like to keep it to myself. I'm a bit private, I guess.
But I thought I'd write a quick post to cover my projects in general. Currently, I'm working on a fantasy short story. It takes place in a very different setting than other stories I've had published. It's also the second story I've written around two new characters (who will not be mentioned in specifics for reasons stated above). The exciting thing is that I can imagine a lot with these two characters, beyond short stories. But I'm not sure how far their complete tale spans. I'm hoping that with each new story I'll start to see more of what their picture looks like. I would certainly like to write a novel around them, but that might not be enough. I'm very drawn by them and their overall struggle, along with this unique setting. It's all just so very different from other fantasy I've worked on.
But when I complete this short story, I want to work on a novel that's been brewing in my mind for months. I wrote a version of it years ago, but I wasn't skilled enough to make it work well. I didn't really like the plot I had come up with overall; it just didn't feel right to me. But now I've got ideas around it that I've been itching to try. Completely from scratch (that's how much it didn't feel right to me). And as much as I love my newest short story characters, I don't feel like I have enough thoughts around them to embark on their novel (or series of novels or whatever it might be). So I'm going to plow forward with what I do know.
My short story inventory currently sits at five stories. By inventory, I mean stories that I'm actively submitting to magazines for publication. Three are fantasy, and two are science fiction. They're all looking for good homes, and I hope they all find them. All but one were recently written, but the older one has undergone many edits since I first said, "Finished," years ago. In fact, it underwent another edit about two months ago. I think it's a strong story, but like so many tales I write, I think it will take just the right market to pick it up. I write the ideas that come to me; I don't force myself to plot stories around topics/characters/settings that I know would have a better chance of selling (if that makes sense).
I think I mentioned in the past that I did complete a novel sometime recently. I have no news around this, but yes, I'm still actively pursuing publication. Novels can take a very long time to move through this process, and I learned long ago not to sit on pins and needles throughout the journey. Hopefully this journey will end with a published book, but who knows?
So that's where I'm at from a high level. Working with words, crafting as well as I can, and hopefully increasing my skills as I go.
But I thought I'd write a quick post to cover my projects in general. Currently, I'm working on a fantasy short story. It takes place in a very different setting than other stories I've had published. It's also the second story I've written around two new characters (who will not be mentioned in specifics for reasons stated above). The exciting thing is that I can imagine a lot with these two characters, beyond short stories. But I'm not sure how far their complete tale spans. I'm hoping that with each new story I'll start to see more of what their picture looks like. I would certainly like to write a novel around them, but that might not be enough. I'm very drawn by them and their overall struggle, along with this unique setting. It's all just so very different from other fantasy I've worked on.
But when I complete this short story, I want to work on a novel that's been brewing in my mind for months. I wrote a version of it years ago, but I wasn't skilled enough to make it work well. I didn't really like the plot I had come up with overall; it just didn't feel right to me. But now I've got ideas around it that I've been itching to try. Completely from scratch (that's how much it didn't feel right to me). And as much as I love my newest short story characters, I don't feel like I have enough thoughts around them to embark on their novel (or series of novels or whatever it might be). So I'm going to plow forward with what I do know.
My short story inventory currently sits at five stories. By inventory, I mean stories that I'm actively submitting to magazines for publication. Three are fantasy, and two are science fiction. They're all looking for good homes, and I hope they all find them. All but one were recently written, but the older one has undergone many edits since I first said, "Finished," years ago. In fact, it underwent another edit about two months ago. I think it's a strong story, but like so many tales I write, I think it will take just the right market to pick it up. I write the ideas that come to me; I don't force myself to plot stories around topics/characters/settings that I know would have a better chance of selling (if that makes sense).
I think I mentioned in the past that I did complete a novel sometime recently. I have no news around this, but yes, I'm still actively pursuing publication. Novels can take a very long time to move through this process, and I learned long ago not to sit on pins and needles throughout the journey. Hopefully this journey will end with a published book, but who knows?
So that's where I'm at from a high level. Working with words, crafting as well as I can, and hopefully increasing my skills as I go.
Wednesday, June 18, 2014
Carve Out Time
A friend of mine mentioned an interest in writing, but he said he hadn't found the time yet. He considered taking a week off work and just focusing on writing for that whole week. I discouraged doing this because it didn't resolve the initial problem: finding consistent time to write.
Dedicating a week to writing instead of a full-time job would be wonderful for many of us, but if that is the only time available for writing, then that one week will not suffice. Any project started will hang in limbo until the next vacation, and whatever flow of ideas available at that time will be lost.
To produce fiction, we must write regularly. And by regularly, I mean as close to daily as possible. For me, it's part of my early-morning routine. In the past, I've used slots of time at night. But each day, I know when writing time is scheduled.
Life happens, though. Schedules break due to the random events around us. Depending on writing's priority in one's life, the writing schedule either gets interrupted or rises above other items. That's up to the individual. But if life's events are constantly getting in the way of a writing schedule, I would argue that it's not really a schedule in the first place - it's simply a wish akin to dreams of weight loss or accumulating wealth.
If you want to write, you must carve out the time. Look at your current schedule, and push it into a slot somewhere. But to do this, something must give. What are you willing to trade? Be careful in your answer, though. If you have a family, my suggestion is to carve out time from something personal (if possible); for example, stop playing video games every night (or play them much less), and write instead. Don't continue in personal hobbies and then tack writing on top of them unless you want to take time away from your spouse, children, or friends.
Time is finite on this world. Use it wisely.
Dedicating a week to writing instead of a full-time job would be wonderful for many of us, but if that is the only time available for writing, then that one week will not suffice. Any project started will hang in limbo until the next vacation, and whatever flow of ideas available at that time will be lost.
To produce fiction, we must write regularly. And by regularly, I mean as close to daily as possible. For me, it's part of my early-morning routine. In the past, I've used slots of time at night. But each day, I know when writing time is scheduled.
Life happens, though. Schedules break due to the random events around us. Depending on writing's priority in one's life, the writing schedule either gets interrupted or rises above other items. That's up to the individual. But if life's events are constantly getting in the way of a writing schedule, I would argue that it's not really a schedule in the first place - it's simply a wish akin to dreams of weight loss or accumulating wealth.
If you want to write, you must carve out the time. Look at your current schedule, and push it into a slot somewhere. But to do this, something must give. What are you willing to trade? Be careful in your answer, though. If you have a family, my suggestion is to carve out time from something personal (if possible); for example, stop playing video games every night (or play them much less), and write instead. Don't continue in personal hobbies and then tack writing on top of them unless you want to take time away from your spouse, children, or friends.
Time is finite on this world. Use it wisely.
Sunday, March 30, 2014
Write What You Love
I've seen at least one professional writer mention that he writes what he thinks will sell. To him, it isn't important whether or not he likes the story. He simply writes what he believes editors will publish. And he's had success in doing so.
To me, taking that approach to writing isn't any different than any other kind of production job. My full-time job is producing code. I didn't start the company; I create code based on the company's needs. It can be challenging and rewarding, and I do my best to write solid code. But I'm not going in every day developing whatever software comes to mind.
Assuming we have technical skills to go along with a clear perception of exactly what editors (and possibly readers) want, we could do just that: produce stories to fit the market. But I would argue this isn't good for the soul. Is your chief aim publication at all cost, even creating the kinds of stories you don't enjoy?
I've said many times that writers shouldn't be upset if they can't get a story published that they wrote solely for themselves; after all, they've already reached their target audience. But if all we do is write for others with nothing for ourselves, how much are our hearts really in it?
I primarily write fantasy and science fiction. But suppose I perceive a need for a genre I don't read or enjoy. Further suppose that I meet a magazine editor in this genre, and she asks me to write a short story to fill a current gap in an upcoming issue. Should I do it? After all, if she likes it, it's a publishing credit and a live check. Being paid to write is a wonderful thing. But at what cost? I would be taking time away from something else I could create, something dear to my heart. Granted, I may instead produce a story that no one purchases. Is that a better use of my time?
There is no right or wrong answer as to what a writer spends time on. Remove writer and substitute artist. Sometimes, one simply has to pay the bills, and if it's not writing code, it might be writing words. I understand that, too. I don't know all of Beethoven's back-story, but this seems like it might be the difference between his 8th and 9th symphonies. The 8th was written to match many of his contemporaries, and it feels dated and not like him; perhaps he was just trying to generate income. Then there's the 9th, which is nothing short of genius.
I'm curious where other writers stand on this issue. It might be different for those who have other vocations as primary income versus people who rely solely on writing.
For me, at least for now, I only write what I love. I'm passionate about the stories that come to my mind, and even if I can't get some of them published, I can at least look back on them fondly.
To me, taking that approach to writing isn't any different than any other kind of production job. My full-time job is producing code. I didn't start the company; I create code based on the company's needs. It can be challenging and rewarding, and I do my best to write solid code. But I'm not going in every day developing whatever software comes to mind.
Assuming we have technical skills to go along with a clear perception of exactly what editors (and possibly readers) want, we could do just that: produce stories to fit the market. But I would argue this isn't good for the soul. Is your chief aim publication at all cost, even creating the kinds of stories you don't enjoy?
I've said many times that writers shouldn't be upset if they can't get a story published that they wrote solely for themselves; after all, they've already reached their target audience. But if all we do is write for others with nothing for ourselves, how much are our hearts really in it?
I primarily write fantasy and science fiction. But suppose I perceive a need for a genre I don't read or enjoy. Further suppose that I meet a magazine editor in this genre, and she asks me to write a short story to fill a current gap in an upcoming issue. Should I do it? After all, if she likes it, it's a publishing credit and a live check. Being paid to write is a wonderful thing. But at what cost? I would be taking time away from something else I could create, something dear to my heart. Granted, I may instead produce a story that no one purchases. Is that a better use of my time?
There is no right or wrong answer as to what a writer spends time on. Remove writer and substitute artist. Sometimes, one simply has to pay the bills, and if it's not writing code, it might be writing words. I understand that, too. I don't know all of Beethoven's back-story, but this seems like it might be the difference between his 8th and 9th symphonies. The 8th was written to match many of his contemporaries, and it feels dated and not like him; perhaps he was just trying to generate income. Then there's the 9th, which is nothing short of genius.
I'm curious where other writers stand on this issue. It might be different for those who have other vocations as primary income versus people who rely solely on writing.
For me, at least for now, I only write what I love. I'm passionate about the stories that come to my mind, and even if I can't get some of them published, I can at least look back on them fondly.
Sunday, August 18, 2013
Blog Break
I've decided to take a bit of a break from blogging to focus on other writing projects. I will continue to use this blog for news on publications and such, and I still plan on writing reviews on Galaxy Science Fiction for Black Gate. But I'm going to pause on regular blog entries here.
When I return, I plan on having routine posts rather than sporadic ones. And the posts will be much more focused around the blog's theme. The exact theme is yet to be determined, but it will, of course, be focused in some way on fiction writing. It isn't as though I'm going to start back up with a skiing theme or something else completely out of the blue!
Again, this is not an end to the blog but simply a break. In my mind, it's similar to the breaks I take between the first and second drafts of every writing project I undertake. My mind needs time to reflect on what was written and how to improve upon that writing.
To those who read this blog: thank you. I'm excited to see where it goes in the future, and I hope you share in my enthusiasm to some degree.
When I return, I plan on having routine posts rather than sporadic ones. And the posts will be much more focused around the blog's theme. The exact theme is yet to be determined, but it will, of course, be focused in some way on fiction writing. It isn't as though I'm going to start back up with a skiing theme or something else completely out of the blue!
Again, this is not an end to the blog but simply a break. In my mind, it's similar to the breaks I take between the first and second drafts of every writing project I undertake. My mind needs time to reflect on what was written and how to improve upon that writing.
To those who read this blog: thank you. I'm excited to see where it goes in the future, and I hope you share in my enthusiasm to some degree.
Friday, July 19, 2013
My First Anthology
I recently found out that my story, "The Whitman Inn," would be included in Plasma Frequency's anthology. The anthology is a collection of stories from their first year of publication.
An anthology is just that - a collection of stories. It differs from a magazine in that the anthology is more of a one-time or annual publication. It may include reprints (stories that have previously been published), new fiction, or both.
Anthologies are usually themed in some way. For example, an anthology about wizards, such as Way of the Wizard. Or the "theme" may be a "best of" anthology, as in the best science fiction of 2013.
For the more talented/popular writers, there may be an anthology solely devoted to their work. I've read most of H. P. Lovecraft through anthologies. It makes it a lot easier to obtain a collection of an author's fiction that way, especially for fiction that's decades old.
I'm really excited to be included in an anthology for the first time ever. For those interested, here are the contents: http://www.plasmafrequencymagazine.com/yearone.html
An anthology is just that - a collection of stories. It differs from a magazine in that the anthology is more of a one-time or annual publication. It may include reprints (stories that have previously been published), new fiction, or both.
Anthologies are usually themed in some way. For example, an anthology about wizards, such as Way of the Wizard. Or the "theme" may be a "best of" anthology, as in the best science fiction of 2013.
For the more talented/popular writers, there may be an anthology solely devoted to their work. I've read most of H. P. Lovecraft through anthologies. It makes it a lot easier to obtain a collection of an author's fiction that way, especially for fiction that's decades old.
I'm really excited to be included in an anthology for the first time ever. For those interested, here are the contents: http://www.plasmafrequencymagazine.com/yearone.html
Wednesday, March 27, 2013
Avoiding Fantasy Stock Characters
A stock character is one that embodies an archetype or falls into basic stereotypes or cliches. For example, the brave knight or the evil lord. Especially in writing adventure fantasy or high fantasy, it's easy to slip into stock characters because these forms are so familiar. But if we don't break the molds, we'll find our writing is nothing but a pastiche of others' work; any originality will fade behind the distracting cliches.
A character cannot simply be an elf any more than a character can simply be a man; that doesn't identify anyone (even if he has his own name). Delve into their personality, their background, their mannerisms. The character can still be readily associated with a specific magical race and be well defined. For example, a distinct dwarf character can still love mining.
If you feel like you're stuck, watch people. Observe their behavior, especially anything quirky. Embellish these things for your characters, and you'll see them stand apart in a lineup of stock characters.
Allow for multiple characteristics to permeate; for example, a knight who acts bravely but is guilt-ridden, has insomnia, and enjoys poetry. One strong characteristic may dominate, but if it aligns too closely with an existing trope without letting anything else shine through, the character will just be another brave knight, ho-hum.
It's okay to reference fantasy races or types of people that readers are familiar with, but don't rely upon them as distinguishing characteristics. A character must feel real, even if he's a centaur. Don't be lazy; think creatively.
A character cannot simply be an elf any more than a character can simply be a man; that doesn't identify anyone (even if he has his own name). Delve into their personality, their background, their mannerisms. The character can still be readily associated with a specific magical race and be well defined. For example, a distinct dwarf character can still love mining.
If you feel like you're stuck, watch people. Observe their behavior, especially anything quirky. Embellish these things for your characters, and you'll see them stand apart in a lineup of stock characters.
Allow for multiple characteristics to permeate; for example, a knight who acts bravely but is guilt-ridden, has insomnia, and enjoys poetry. One strong characteristic may dominate, but if it aligns too closely with an existing trope without letting anything else shine through, the character will just be another brave knight, ho-hum.
It's okay to reference fantasy races or types of people that readers are familiar with, but don't rely upon them as distinguishing characteristics. A character must feel real, even if he's a centaur. Don't be lazy; think creatively.
Thursday, February 07, 2013
Getting Through the Lulls
The fun times of writing are seeing acceptance letters or seeing stories appear in magazines or book form (I can imagine this last one anyway). But what about the lulls? By that, I mean the times between acceptances or publications - those long spans of time when it seems like rejection letters are the only responses you're seeing.
It's easy to get discouraged as rejections mount up. I recall after making my first few sales, I then faced over a year of rejection letters. Where did the magic go, I thought. I know I can sell stories; I sold some last year. Yet this is a new year with no sales. I can't even sell a story to the magazine that published my other pieces.
First (and most important), keep writing. You can't change whether a story is accepted or rejected, whether you worry about it or not. I think this is especially tempting after completing a novel and trying to query agents, especially if you start getting some hits requesting more material. I've read comments from people that make it seem like their world has come to a stand-still until they find out what that agent thinks. But it doesn't really matter. You're a writer, so go write. If the novel is picked up by an agent, great. In the meantime, you've been getting another one ready, so maybe that will lead to a quicker sale to a publisher. Or maybe the first novel won't get picked up at all, but by the time you've exhausted your resources, you have a brand new novel to peddle.
Second, don't rewrite a story unless you feel like it must be done based on your own thoughts. It becomes very tempting to change stories based on an editor's feedback when you get personal rejections. But unless that editor is specifically asking for a rewrite in order to be considered for publication, you should leave the story alone. I recall a story I had written where an editor for Magazine A said something he/she didn't like, so I changed it. Then I submitted it to Magazine B, only to have that editor say he/she didn't like the piece that I had just changed. Only change something if you get feedback that resonates with you and you feel that it absolutely must change in order to give yourself peace about that story. But this should be rare.
Third, don't beat yourself up. Celebrate the victories you had, but don't beat yourself up for any gaps. Remember, you don't have control over publications. All you can do is write and submit, trying to improve your writing with each story. If your current batch of stories isn't selling, it doesn't help to doubt your skills and enter a dark period of self-loathing (though that may itself lead to new story ideas).
Again, if you take nothing else away from this article, just remember to write no matter what - whether you're selling everything or selling nothing.
It's easy to get discouraged as rejections mount up. I recall after making my first few sales, I then faced over a year of rejection letters. Where did the magic go, I thought. I know I can sell stories; I sold some last year. Yet this is a new year with no sales. I can't even sell a story to the magazine that published my other pieces.
First (and most important), keep writing. You can't change whether a story is accepted or rejected, whether you worry about it or not. I think this is especially tempting after completing a novel and trying to query agents, especially if you start getting some hits requesting more material. I've read comments from people that make it seem like their world has come to a stand-still until they find out what that agent thinks. But it doesn't really matter. You're a writer, so go write. If the novel is picked up by an agent, great. In the meantime, you've been getting another one ready, so maybe that will lead to a quicker sale to a publisher. Or maybe the first novel won't get picked up at all, but by the time you've exhausted your resources, you have a brand new novel to peddle.
Second, don't rewrite a story unless you feel like it must be done based on your own thoughts. It becomes very tempting to change stories based on an editor's feedback when you get personal rejections. But unless that editor is specifically asking for a rewrite in order to be considered for publication, you should leave the story alone. I recall a story I had written where an editor for Magazine A said something he/she didn't like, so I changed it. Then I submitted it to Magazine B, only to have that editor say he/she didn't like the piece that I had just changed. Only change something if you get feedback that resonates with you and you feel that it absolutely must change in order to give yourself peace about that story. But this should be rare.
Third, don't beat yourself up. Celebrate the victories you had, but don't beat yourself up for any gaps. Remember, you don't have control over publications. All you can do is write and submit, trying to improve your writing with each story. If your current batch of stories isn't selling, it doesn't help to doubt your skills and enter a dark period of self-loathing (though that may itself lead to new story ideas).
Again, if you take nothing else away from this article, just remember to write no matter what - whether you're selling everything or selling nothing.
Wednesday, October 03, 2012
Don't Get Lost in the Battle
With high or adventure fantasy, battles tend to be part of the genre. What better way to draw to a climax than sending thousands of armed soldiers against each other, perhaps led by some savage who can kill 1,000 by himself?
But before jumping into the fray, you might consider a few points to keep yourself from getting lost in the battle.
First, think through the logistics. How many combatants are there? What kinds of battle units are involved? What is the landscape like? How are the armies supplied? What is the objective of each side?
Once you have a general idea of who will be skirmishing, take time to research what similar battles looked like. For example, if you have an army consisting of cavalry, archers and infantry, how many make up each group? From there, research historical battles involving similar groups. It's not difficult to find strategies generals would use for organizing their forces and positioning them for battle. Research how people fought with the weapons and armor that your armies employ.
I don't need to do any research; I'm writing fantasy. Don't let your genre excuse laziness. Plausibility exists in fantasy worlds; we need something to hold on to while we explore the unknown.
Years ago, I was trying to write a battle between men and dwarves, and I struggled with how to write it. So I called a friend who does Civil War reenactments to get his take on battles. He had personal experience with mock battles, and I picked his brain on how fatigued he would get, how hot he would get, the level of confusion involved, etc. He also read a lot of accounts of battles, which allowed me to ask more gruesome details, like how bodies would stack up. Some of his answers led me to new questions I hadn't planned on asking. These tangible details greatly helped me in anchoring the reader to the narrative.
Plan the battle at a macro level first so that you know how you want it to play out. What movements will take place? How will it be resolved? How many casualties will there be?
After understanding the battle at a macro level (and perhaps describing it at a macro level), personalize the battle. Let the reader follow the character (or characters) who matter. A battle without characters means next to nothing. Why should the reader care about the outcome? And through that character, let the reader experience the reality of the battle with all of its excitement, dread, and whatever emotions you want to pull into the scene.
When you focus on individuals, be mindful of the macro level at the same time. Otherwise your writing will be out of sync, making for a confusing tale. The characters don't need this macro information, but you do. If it helps to stage figurines while you write or draw crude graphics, do it. Just keep yourself grounded in what's happening.
If you decide to change the battle, go back to your notes on the macro level and rethink all scenes in the narrative that are affected by the change.
Stay focused, and read everything with a critical eye. Ask yourself what is happening in all directions. Take breaks and make new drawings or notes if you need to. Even if the battle is rushing along, you don't need to rush your way through writing it.
When the battle's over and you know you've taken into account all of the subtle details, you'll share in the victory.
But before jumping into the fray, you might consider a few points to keep yourself from getting lost in the battle.
First, think through the logistics. How many combatants are there? What kinds of battle units are involved? What is the landscape like? How are the armies supplied? What is the objective of each side?
Once you have a general idea of who will be skirmishing, take time to research what similar battles looked like. For example, if you have an army consisting of cavalry, archers and infantry, how many make up each group? From there, research historical battles involving similar groups. It's not difficult to find strategies generals would use for organizing their forces and positioning them for battle. Research how people fought with the weapons and armor that your armies employ.
I don't need to do any research; I'm writing fantasy. Don't let your genre excuse laziness. Plausibility exists in fantasy worlds; we need something to hold on to while we explore the unknown.
Years ago, I was trying to write a battle between men and dwarves, and I struggled with how to write it. So I called a friend who does Civil War reenactments to get his take on battles. He had personal experience with mock battles, and I picked his brain on how fatigued he would get, how hot he would get, the level of confusion involved, etc. He also read a lot of accounts of battles, which allowed me to ask more gruesome details, like how bodies would stack up. Some of his answers led me to new questions I hadn't planned on asking. These tangible details greatly helped me in anchoring the reader to the narrative.
Plan the battle at a macro level first so that you know how you want it to play out. What movements will take place? How will it be resolved? How many casualties will there be?
After understanding the battle at a macro level (and perhaps describing it at a macro level), personalize the battle. Let the reader follow the character (or characters) who matter. A battle without characters means next to nothing. Why should the reader care about the outcome? And through that character, let the reader experience the reality of the battle with all of its excitement, dread, and whatever emotions you want to pull into the scene.
When you focus on individuals, be mindful of the macro level at the same time. Otherwise your writing will be out of sync, making for a confusing tale. The characters don't need this macro information, but you do. If it helps to stage figurines while you write or draw crude graphics, do it. Just keep yourself grounded in what's happening.
If you decide to change the battle, go back to your notes on the macro level and rethink all scenes in the narrative that are affected by the change.
Stay focused, and read everything with a critical eye. Ask yourself what is happening in all directions. Take breaks and make new drawings or notes if you need to. Even if the battle is rushing along, you don't need to rush your way through writing it.
When the battle's over and you know you've taken into account all of the subtle details, you'll share in the victory.
Wednesday, May 23, 2012
Trimming
I'm in edit mode (and have been for a while now), and it's in such a state that I start trimming words. It's easy to fall into verbose sentences during a rough draft. Like the Spice, the ideas must flow. But when it's time to edit, bring out the clippers.
Here are a few patterns I fall into:
Failing to think of the right word. Rough draft: Jim bought a ticket for the underground train. Trimming: Replace "underground train" with "subway".
Cramming. Rough draft: Jim soiled his crisp, white shirt and silk tie - a gift from his wife two years ago - due to tripping on the third step from the bottom and spilling decaf coffee on himself. Trimming: Break this into several sentences and lose the non-essential details.
Extra words for no purpose (good for high-school essays but bad for stories). Rough draft: Jim wanted to get to his hometown where he grew up. Trimming: It's assumed he grew up in his hometown - otherwise it wouldn't be his hometown - so get rid of the phrase "where he grew up".
Sheer confusion. Rough draft: Jim thought he could outrun ended up left around midnight. Trimming: Figure out what in the world this sentence is supposed to say and get rid of the rest. I don't see this too often, but it's usually a result of trying to edit while I'm writing the rough draft - always a dangerous proposal. So I start rewriting a sentence before actually finishing it, resulting in multiple versions, awkwardly coexisting.
Here are a few patterns I fall into:
Failing to think of the right word. Rough draft: Jim bought a ticket for the underground train. Trimming: Replace "underground train" with "subway".
Cramming. Rough draft: Jim soiled his crisp, white shirt and silk tie - a gift from his wife two years ago - due to tripping on the third step from the bottom and spilling decaf coffee on himself. Trimming: Break this into several sentences and lose the non-essential details.
Extra words for no purpose (good for high-school essays but bad for stories). Rough draft: Jim wanted to get to his hometown where he grew up. Trimming: It's assumed he grew up in his hometown - otherwise it wouldn't be his hometown - so get rid of the phrase "where he grew up".
Sheer confusion. Rough draft: Jim thought he could outrun ended up left around midnight. Trimming: Figure out what in the world this sentence is supposed to say and get rid of the rest. I don't see this too often, but it's usually a result of trying to edit while I'm writing the rough draft - always a dangerous proposal. So I start rewriting a sentence before actually finishing it, resulting in multiple versions, awkwardly coexisting.
Wednesday, April 18, 2012
Frightening Villains
In some stories, it becomes necessary to introduce one or multiple villains. There are various types of villains, but the ones I find most intriguing are those that are frightening; there is something unnatural about them. They are chilling. I don’t want to identify with such a villain or perceive some hidden heart of gold. I fear them as I would fear a rabid dog because there is something not quite right in their thinking – something not quite right in their being. They cannot be reasoned with, and we cannot empathize with them. And though they may have changed from good to evil, they can never change back.
One example that comes to mind is Orochimaru from the manga/anime Naruto. Orochimaru is a ninja from the Leaf Village who goes astray. In order to learn as much jutsu as possible, he experiments on people, killing them in a secret hideaway within the village. He later forms his own village and has his own following, but he doesn’t care about anyone but himself. On the surface, Orochimaru seems like the typical power-hungry villain, but there’s something almost perverse in how he interacts with other characters. His jitsu always leans toward the macabre, and he transforms his body into repulsive, serpentine shapes.
The second example that comes to mind is Satan. Not the sit-on-your-shoulder guy in red with a pitchfork. I mean Lucifer himself – the highest archangel who decided he was above God and led a third of the angelic host with him in rebellion. Here is a person who was the greatest created being of all time and turned into the most menacing threat mankind has ever known. In fact, the word Satan comes from the word “accuser” because he accuses men before God, yet he tempts humanity into utter depravity. I think a lot of people are frightened by the demonic based on the popularity of films where the characters struggle against a demonic opponent in various forms.
A final example is zombies. With zombies, all vestiges of humanity have been stripped away, and all that remains are remorseless beings with insatiable appetites for living flesh, especially that of humans. Even their appearance is a twisted form of normalcy, often to reflect their undead status (assuming they are undead as opposed to alive and infected). There are times I wish "The Walking Dead" wasn’t so compelling because it really creeps me out to watch it.
There is a time and a place for villainous characters, and I think there are also times when we should turn to frightening villains. We are not excited about their appearance in the story; not because they take away from the story (in fact, they may be the story), but because our fight or flight reflex tells us to run.
One example that comes to mind is Orochimaru from the manga/anime Naruto. Orochimaru is a ninja from the Leaf Village who goes astray. In order to learn as much jutsu as possible, he experiments on people, killing them in a secret hideaway within the village. He later forms his own village and has his own following, but he doesn’t care about anyone but himself. On the surface, Orochimaru seems like the typical power-hungry villain, but there’s something almost perverse in how he interacts with other characters. His jitsu always leans toward the macabre, and he transforms his body into repulsive, serpentine shapes.
The second example that comes to mind is Satan. Not the sit-on-your-shoulder guy in red with a pitchfork. I mean Lucifer himself – the highest archangel who decided he was above God and led a third of the angelic host with him in rebellion. Here is a person who was the greatest created being of all time and turned into the most menacing threat mankind has ever known. In fact, the word Satan comes from the word “accuser” because he accuses men before God, yet he tempts humanity into utter depravity. I think a lot of people are frightened by the demonic based on the popularity of films where the characters struggle against a demonic opponent in various forms.
A final example is zombies. With zombies, all vestiges of humanity have been stripped away, and all that remains are remorseless beings with insatiable appetites for living flesh, especially that of humans. Even their appearance is a twisted form of normalcy, often to reflect their undead status (assuming they are undead as opposed to alive and infected). There are times I wish "The Walking Dead" wasn’t so compelling because it really creeps me out to watch it.
There is a time and a place for villainous characters, and I think there are also times when we should turn to frightening villains. We are not excited about their appearance in the story; not because they take away from the story (in fact, they may be the story), but because our fight or flight reflex tells us to run.
Monday, March 26, 2012
This Isn't Working
I'm not the kind of writer who gets things right the first time. My stories go through several edits at least. To get published, one of the keys is figuring out if something's not working.
With rough drafts, it's a time to crank out ideas as quick as they come. Grammar? Marginalized. Plot holes? You bet. Confusing dialog? Yes, that character did just ask a question of himself that he answered in the form of another question - and I don't care.
Past that stage, when the story transitions into something much more organized, there comes a point when it seems like the piece is done. Except it isn't working. You may not be aware it's not working until it's not selling, which forces you to look closer at the story and discover that it's not working. (I don't believe that just because a story hasn't sold, it therefore has problems, but I am suggesting that a second or third glance is in order if it's run through a lot of markets without any bites.)
Wait, is "not working" subjective? I'm not so sure on that one. Preferences are subjective, so to a degree, something like pacing can be subjective. But if the story has a pacing problem, it's noticeable beyond a preference for a certain type of pacing. For example, I may have a preference for a story that starts out a little slow and builds into something fast, but if I read a story that starts fast and then meanders to a crawl before picking back up, I would cite that as a pacing problem. I'm not against it because it started fast but because it drastically lost momentum in the middle.
So there are two challenges - the first is finding the problem (or problems). For that, read with a critical eye or look for personal feedback if you're not spotting anything yourself. The second challenge, which can be just as duanting, is resolving the problem. In one of my published stories, I struggled with narrative issues due to how the protagonist interacted with other characters. I sensed a problem and went with what I thought was the best solution, though I never felt settled about it. The editor saw the issue as well, and it took several more drafts before the best solution found the light of day. I had almost given up hope at one point, but persistence paid off. Once complete, I knew I had an actual working solution, not just my best guess at a solution.
Solving the issue may take a complete rewrite from start to finish. With one of my stories, I recongized halfway through the rough draft that it needed to be a first-person narrative. Normally, I would not advise starting over before completing a rough draft, but I couldn't just go forward without fixing what was behind me; I needed resolution immediately. So I printed out what I had, opened a new document and started over.
Don't leave junk behind. Whether you see issues during a first draft, a "final" draft, or three years after submitting it to markets, fix the story. Even if it hurts. Even if you have to put other stories on hold. You'll gain valuable experience in the process and become that much keener at editing your work in the future. Plus, you'll end up with something that has a much greater chance at publication.
With rough drafts, it's a time to crank out ideas as quick as they come. Grammar? Marginalized. Plot holes? You bet. Confusing dialog? Yes, that character did just ask a question of himself that he answered in the form of another question - and I don't care.
Past that stage, when the story transitions into something much more organized, there comes a point when it seems like the piece is done. Except it isn't working. You may not be aware it's not working until it's not selling, which forces you to look closer at the story and discover that it's not working. (I don't believe that just because a story hasn't sold, it therefore has problems, but I am suggesting that a second or third glance is in order if it's run through a lot of markets without any bites.)
Wait, is "not working" subjective? I'm not so sure on that one. Preferences are subjective, so to a degree, something like pacing can be subjective. But if the story has a pacing problem, it's noticeable beyond a preference for a certain type of pacing. For example, I may have a preference for a story that starts out a little slow and builds into something fast, but if I read a story that starts fast and then meanders to a crawl before picking back up, I would cite that as a pacing problem. I'm not against it because it started fast but because it drastically lost momentum in the middle.
So there are two challenges - the first is finding the problem (or problems). For that, read with a critical eye or look for personal feedback if you're not spotting anything yourself. The second challenge, which can be just as duanting, is resolving the problem. In one of my published stories, I struggled with narrative issues due to how the protagonist interacted with other characters. I sensed a problem and went with what I thought was the best solution, though I never felt settled about it. The editor saw the issue as well, and it took several more drafts before the best solution found the light of day. I had almost given up hope at one point, but persistence paid off. Once complete, I knew I had an actual working solution, not just my best guess at a solution.
Solving the issue may take a complete rewrite from start to finish. With one of my stories, I recongized halfway through the rough draft that it needed to be a first-person narrative. Normally, I would not advise starting over before completing a rough draft, but I couldn't just go forward without fixing what was behind me; I needed resolution immediately. So I printed out what I had, opened a new document and started over.
Don't leave junk behind. Whether you see issues during a first draft, a "final" draft, or three years after submitting it to markets, fix the story. Even if it hurts. Even if you have to put other stories on hold. You'll gain valuable experience in the process and become that much keener at editing your work in the future. Plus, you'll end up with something that has a much greater chance at publication.
Wednesday, March 07, 2012
Notes
At the 2010 World Fantasy Convention, I spoke with Howard Andrew Jones, and he showed me a small notebook he carried around with him that he used to record his thoughts. I assumed these were writing ideas or the megalomaniacal musings he’s prone to (those who know him can back me up on that), but I didn’t actually read through it.
A short time later, I decided it was time to invest in a notebook of my own. And I already had one on hand that my wife had given me as a gift. It’s a hand-sewn, leather-bound cover with a leather strap to tie it closed. On the inside, it has pockets on the left and the right so that I can slide the covers of a notebook within. But I don’t just use any notebook; I use a notebook of thick, unlined parchment paper with a rustic look to it – not the bleached-white pulp found at a supermarket. I love the way it feels, and it gives my notes more of a fantastical feel, making them twice as good in my mind (okay, not really – but they do look cool).
I record ideas for new stories as well as notes on existing stories. I keep my notebook with me most of the time, so I’m rarely dropping ideas. Not that all ideas lead to stories or that all notes get folded into existing stories. But if a noteworthy thought comes to mind, I’ve got it. I’ve found this to be quite invaluable.
I think what helps is that my notebook is special; it’s not just some piece of paper shoved in my pocket, and I’m not just using some Smartphone app. It’s ink on a page. It demands to be used.
I recommend purchasing something unique to your personality – something you’d find worthy of your ideas. Then try it for a month. See what you jot down. I think you’ll be surprised at how much you’ll record in the notebook and how you can expand a wisp of a thought into something tangible within the moment.
A short time later, I decided it was time to invest in a notebook of my own. And I already had one on hand that my wife had given me as a gift. It’s a hand-sewn, leather-bound cover with a leather strap to tie it closed. On the inside, it has pockets on the left and the right so that I can slide the covers of a notebook within. But I don’t just use any notebook; I use a notebook of thick, unlined parchment paper with a rustic look to it – not the bleached-white pulp found at a supermarket. I love the way it feels, and it gives my notes more of a fantastical feel, making them twice as good in my mind (okay, not really – but they do look cool).
I record ideas for new stories as well as notes on existing stories. I keep my notebook with me most of the time, so I’m rarely dropping ideas. Not that all ideas lead to stories or that all notes get folded into existing stories. But if a noteworthy thought comes to mind, I’ve got it. I’ve found this to be quite invaluable.
I think what helps is that my notebook is special; it’s not just some piece of paper shoved in my pocket, and I’m not just using some Smartphone app. It’s ink on a page. It demands to be used.
I recommend purchasing something unique to your personality – something you’d find worthy of your ideas. Then try it for a month. See what you jot down. I think you’ll be surprised at how much you’ll record in the notebook and how you can expand a wisp of a thought into something tangible within the moment.
Wednesday, February 08, 2012
Better Left Unsaid
I’ve played musical instruments for over twenty years, and I learned that while the notes are important, the rests (the moments of silence for your instrument) are equally important. Such omissions are also pertinent in writing.
I don’t mean that there should be large whitespaces between words or scenes. Instead, what I’m referencing are the pieces of narrative and dialog that we purposefully withhold from the reader. Let me provide an example of two pieces of writing and ask which is stronger.
Example 1:
“Hey, Don,” Evan said. “Did you go to the basketball game last night? We used to all go every Wednesday, so I was surprised I didn’t see you there. It was a great game; the home team came from behind to win by three points at the buzzer.”
“Of course not,” Don said. “Jenny used to go to the games, too. Then she broke up with me. After four years together. I still can’t believe she dumped me for Frank.”
“Actually, I saw her there with Frank. They looked pretty happy – holding hands and laughing.”
Example 2:
“Hey, Don,” Evan said. “I didn’t see you at the game last night.”
“Those games just make me think of Jenny,” Don said. “She wasn’t there, was she?”
Evan nodded slowly. “With Frank.”
Personally, I’d rather avoid the info dump in the first example. And I might even like something more elusive than the second example – revealing the relationship with Jenny through subtle hints. And I might give Frank a last name of Khan so that Don can scream it in frustration (yes, I’m kidding).
Besides allowing the reader to think, omission also prevents unnatural dialog. For example, if a story begins with two characters meeting at a football game, they wouldn’t say, “Well, here we are at the game that we planned on attending three weeks ago.” Work those details in, if necessary, through other means. Don’t slap the reader in the face with it: “Here, you need this information!”
Some things are better left unsaid, especially details that can be revealed subtly. Trust your readers. Trust your readers. Trust your readers.
I don’t mean that there should be large whitespaces between words or scenes. Instead, what I’m referencing are the pieces of narrative and dialog that we purposefully withhold from the reader. Let me provide an example of two pieces of writing and ask which is stronger.
Example 1:
“Hey, Don,” Evan said. “Did you go to the basketball game last night? We used to all go every Wednesday, so I was surprised I didn’t see you there. It was a great game; the home team came from behind to win by three points at the buzzer.”
“Of course not,” Don said. “Jenny used to go to the games, too. Then she broke up with me. After four years together. I still can’t believe she dumped me for Frank.”
“Actually, I saw her there with Frank. They looked pretty happy – holding hands and laughing.”
Example 2:
“Hey, Don,” Evan said. “I didn’t see you at the game last night.”
“Those games just make me think of Jenny,” Don said. “She wasn’t there, was she?”
Evan nodded slowly. “With Frank.”
Personally, I’d rather avoid the info dump in the first example. And I might even like something more elusive than the second example – revealing the relationship with Jenny through subtle hints. And I might give Frank a last name of Khan so that Don can scream it in frustration (yes, I’m kidding).
Besides allowing the reader to think, omission also prevents unnatural dialog. For example, if a story begins with two characters meeting at a football game, they wouldn’t say, “Well, here we are at the game that we planned on attending three weeks ago.” Work those details in, if necessary, through other means. Don’t slap the reader in the face with it: “Here, you need this information!”
Some things are better left unsaid, especially details that can be revealed subtly. Trust your readers. Trust your readers. Trust your readers.
Wednesday, February 01, 2012
Why Elves?
Among the myriad of established fantasy races, I continue to find elves captivating. They come in numerous forms and varieties, but I usually enjoy their presence as a reader and a writer.
A number of years ago, I’d written a short story around elves playing a game. There wasn’t much to the story, and it never sold before I locked it away, but on one of my rejections, an editor wrote: “Why elves?” Looking back, I realize the editor didn’t see anything in the plot requiring elves (likely because there wasn’t much of a plot). But at the time, I found it comical. What other race would I have used? For me, it was an exploration of this fascinating race, and I hoped to capture a slice of their lives.
Years later, I figured out that my failure in the story was a lack of plot. I had characters playing a game of no consequence in a generic setting. My next attempt was to take a human character and thrust him into the elves’ environment. What this allowed was an entry-level point of view – someone with limited knowledge of elves who would take everything in and point out anything he found curious or unusual. The character’s observations were my observations as I dreamed of their world and what they were like.
The challenge in writing about elves is to avoid clichés without violating key aspects that make elves what they are. In the end, it becomes a balancing act. But what I find most alluring about elves is their illusiveness - the ineffable qualities that humanity cannot understand. Whether it’s their craftsmanship, magic, language, longevity or intelligence – there are aspects of elves beyond my grasp. Regardless of what I might create, I always want to retain an enigma around them.
Ironically, the mystery I admire creates a superiority I detest. Because elves have inexplicable skills, humans become inferior. And the elves know it. In some stories, humans are prey to the elves’ amoral (or perhaps immoral) whims. Even Tolkien’s elves had a darker side, according to their deeds recorded in The Silmarillion.
Despite their arrogance, I won’t shun the elves. I’m drawn toward them, like so many stories of humans discovering the fey folk in the deep woods, never to return. We need more elves in today’s fantasy.
A number of years ago, I’d written a short story around elves playing a game. There wasn’t much to the story, and it never sold before I locked it away, but on one of my rejections, an editor wrote: “Why elves?” Looking back, I realize the editor didn’t see anything in the plot requiring elves (likely because there wasn’t much of a plot). But at the time, I found it comical. What other race would I have used? For me, it was an exploration of this fascinating race, and I hoped to capture a slice of their lives.
Years later, I figured out that my failure in the story was a lack of plot. I had characters playing a game of no consequence in a generic setting. My next attempt was to take a human character and thrust him into the elves’ environment. What this allowed was an entry-level point of view – someone with limited knowledge of elves who would take everything in and point out anything he found curious or unusual. The character’s observations were my observations as I dreamed of their world and what they were like.
The challenge in writing about elves is to avoid clichés without violating key aspects that make elves what they are. In the end, it becomes a balancing act. But what I find most alluring about elves is their illusiveness - the ineffable qualities that humanity cannot understand. Whether it’s their craftsmanship, magic, language, longevity or intelligence – there are aspects of elves beyond my grasp. Regardless of what I might create, I always want to retain an enigma around them.
Ironically, the mystery I admire creates a superiority I detest. Because elves have inexplicable skills, humans become inferior. And the elves know it. In some stories, humans are prey to the elves’ amoral (or perhaps immoral) whims. Even Tolkien’s elves had a darker side, according to their deeds recorded in The Silmarillion.
Despite their arrogance, I won’t shun the elves. I’m drawn toward them, like so many stories of humans discovering the fey folk in the deep woods, never to return. We need more elves in today’s fantasy.
Thursday, January 26, 2012
On Writing Well
For Christmas, one of the gifts I received was On Writing Well by William Zinsser. This is a resource I highly recommend for all writers, regardless of the type of writing you do - yes, even bloggers.
The subtitle indicates that the book is a style guide for writing nonfiction. While this is true, fiction writers can learn a great deal from the book as well. The principles of good style apply to all writers.
One of the things I enjoyed about the book was that Zinsser didn’t universally dismiss adverbs (they often come under attack by writing guides). Instead, he advocates simplicity and specificity. If there is a verb that connotes the adverb plus verb you started with, replace the two words with one. It isn’t that adverbs are evil, but they are often used unskillfully, resulting in clutter.
Zinsser calls attention to the loose style so many of us employ without thinking. In fact, it is precisely because we fail to think that we fail to write well. Rather than questioning the words and phrases we choose, we mimic the clunky jargon that surrounds us in the media and daily conversations.
If you want to improve your writing - again, even you, bloggers - and you’re willing to honestly examine your work, this book will illuminate flaws. I plan on keeping this one on my desk next to the dictionary.
The subtitle indicates that the book is a style guide for writing nonfiction. While this is true, fiction writers can learn a great deal from the book as well. The principles of good style apply to all writers.
One of the things I enjoyed about the book was that Zinsser didn’t universally dismiss adverbs (they often come under attack by writing guides). Instead, he advocates simplicity and specificity. If there is a verb that connotes the adverb plus verb you started with, replace the two words with one. It isn’t that adverbs are evil, but they are often used unskillfully, resulting in clutter.
Zinsser calls attention to the loose style so many of us employ without thinking. In fact, it is precisely because we fail to think that we fail to write well. Rather than questioning the words and phrases we choose, we mimic the clunky jargon that surrounds us in the media and daily conversations.
If you want to improve your writing - again, even you, bloggers - and you’re willing to honestly examine your work, this book will illuminate flaws. I plan on keeping this one on my desk next to the dictionary.
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