Showing posts with label writing. Show all posts
Showing posts with label writing. Show all posts

Genius writing advice, or why my friend B is brilliant

Text conversation:

Me: This page is very white and blank. *glares at it*

B: Quick! Type your favorite word on it.

Me: *does*

B: See?  You can't glare at your favorite word.

And she's right.  And the page isn't blank anymore.  And I can probably just do a "Find/Delete" on all instances of "defenestration" before I call this manuscript done.

The no-longer-blank page now has 200 words it didn't have 20 minutes ago.  Only one of them refers to throwing someone out of a window.

I want to be a writer when I grow up.

I said this to myself when I was about eight.  I remember it really clearly because we learned to write haiku in third grade and I had so much fun playing around with the syllables, even though I'm sure my attempts were pretty terrible.

My eight-year-old self has her wish, but there are a few things I wish I could tell her at the moment of that revelation, just to prepare her:

Dear Small Self,

Writers spend a lot of time not writing, or at least not writing books.  Some of it is related to writing books, though.  There are edits and outlines and synopses, where you write the whole book in five pages before you write it in four hundred.  Yeah, I know.  You still have to do it.  There's something called social media for making friends and getting people to learn your name, and you'll find out all about that when the Internet becomes a Thing You Can Play With.  Right now it's just something computer people have.

You'll also spend a lot of time not writing books because, again, someone invented this Internet thing.  There will be strange, amazing, as-yet-unheard-of entities called Twitter and Wikipedia.  Please, don't let these take up too many hours.  That also goes for a thing called an iPad and its very reason for existing, Angry Birds.  It's coming.  Prepare yourself.  (But if you're curious, you're actually pretty good at it.)

Small Self, I have to tell you you're not quite done with the magic of bath crayons.  Oh, you'll find more fun things to play with in the next few years, like skip-its and Dungeons & Dragons and boys, but, in the end...bath crayons.  You'll need them because your best, most creative ideas will come in the shower, and you'll work your way out of that seemingly impenetrable plot tangle while you have suds in your eyes.  Your friends will come over, have a glass of wine, and emerge from the bathroom asking, "Why do your tiles say, 'Speakers = Eggs'?" 

You'll have to answer them.  That, though, is good practice for talking about your work, which you will do with friends, critique partners, agents, editors, the cute tattooed guy who works at your local bookstore.  And I want you to remember that, in big and small ways, these people have your back.  They want to read, sell, and promote your book.  They want you to succeed.  Give them the satisfaction of doing just that.

And, on that note, treasure every hour you get to write.  There'll be times when you can't (see above) and times when it's hard and times when it's easy.  Value them all.  Small Self, you get what you want, and nothing will make you happier.  Trust me on this one. 


From catastrophe to fresh start

While Brooks is busy judging contest entries, I'm going to talk about my week.  It was one of those weeks.  You know that part of one of the HP books (3, I think) when Harry and Ron are working on their Divinations homework and coming up with fake predictions of a different horrible event they'll experience every day for a month?  This week was like that, except it all really did happen, and without my prior consent.

Most of it's stupid, boring stuff involving a cold and ripping one of my favorite shirts, but some was particularly fun.  My internet going out for 24 hours while I was in the middle of researching Book Stuff was a good time.  (Warning:  Doing in-depth historical research on an iPhone for a whole day will give you a wicked headache.  So now you know.)   I'd had my connection back for about twenty-three seconds (ok, a few hours) when I had a ridiculous accident with a French press and my trusty old MacBook.  It was...not pretty.  Trusty Old MacBook is now in the Great Apple Warehouse in the Sky.

So now the week is over, I'm online from a swishy new Shiny Thing, my book deal present to myself landed in my hands (Best. Headphones. EVER.) and things are looking up, especially thanks to an unexpected silver lining.  As you can expect from an old computer, it was filled up with all kinds of crap I didn't need or particularly want, but who ever feels like sitting down and clearing things out when the Sparkly Internet is there just waiting to distract and entertain?  Not me. 

I'm thrilled I managed to rescue the data that wasn't already backed up, but I've been able to choose to transfer only stuff I need onto Shiny Thing.  I'm feeling wonderfully uncluttered and very clearheaded.  I've done a fair amount of writing in the past day or two, and it may be the stress (or relief from it) talking, but I'm noticing a difference in quality and clarity.

It's not quite spring yet, but maybe there's something to this cleaning out/fresh start business.  This nightmare of a week has turned into a pretty good one, though I will still whine about one thing:

That was one *($@)^@#*$ expensive cup of coffee.




Don't write someone else's book.

No, this isn't a post about plagiarism, although that's an interesting subject.  This is about an obvious writing lesson I really had to learn the hard way.

Writers are told to read widely in their chosen genre/age group/subject matter etc, so we know what's out there, what's been done.  I touched on this briefly in an earlier post, but that can be a double-edged sword for people, like me, who tend to accidentally pick up on style and let that color whatever I'm writing.  I know enough now to steer clear of things where that's a risk.

Unfortunately, for a long time that didn't stop me from doing it intentionally.  I have this project I've been working on for...a long time.  I've redrafted and reinvented this thing more times than I can count.  I'm determined to make 2012 the year I'm happy with it.  And for years (not kidding, years) I've told myself that it's a specific kind of book and so it needs to have a specific kind of voice.  I've fought with my protagonist, my supporting cast, my villains.  I've been thisclose to throwing my computer out the window and abandoning the idea completely, but I can't because I love it too much.

2011 was a busy year.  I wrote a different book, did several rounds of edits, found an agent, edited some more, CODA went on submission--and that's just the stuff related to that one book.  I have a Real Life that demands attention, too, just like everyone else.

I was tired of fighting Secret Project.  For a while at the end of last year, the temptation was again there to abandon it, but fuck that.  In one of those moments of bizarre lucidity that only come from some form of exhaustion, I finally saw that there's a different way to stop fighting.  I can just write like me, and let the damn story be told the way I want it to, the way the characters have demanded from the start.  Yeah, there are some rules that I need to adhere to, like not swearing up a storm in a MG manuscript, but I'm allowed to use my voice.  I don't need to use the voices of the writers whose ranks I hope to join with this book.  I'm allowed my style, my fun.

And it will be better because of that.

I'm wide awake now, and I don't think it's the 4,876 cans of diet coke.




Just a quick post today...

But watch this space!  Something FUN is coming up that may or may not involve a query critique contest from a real live agent.

All I need to know about my book, I learned from TV

Okay, that's not really true, but I did learn something fun about it--in particular the process of writing it--from watching Criminal Minds.  I LOVE Criminal Minds; it's practically the only show I watch with any kind of regularity.  I'd love it even if it didn't have Dr. Spencer Reid.*  Most of what you see on TV isn't true, sure, but I'm giving the benefit of the doubt in this case because it was Reid who said it and, as a character notable for his brilliance, he's more believable if the scriptwriters give him facts to work with.

Anyway, I won't spoil this week's episode for anyone who hasn't seen it, but at one point Reid, JJ, and Morgan are discussing music and Reid tells them that, neurologically speaking, we solidify our appreciation of music at age fourteen.  Our tastes might grow, change, expand, but no music will ever have the same effect on our brains as what we listened to at that specific time in our lives.

*light bulb moment*

A LOT of music has come out since I was fourteen.  It was...a while ago.  (BRB, going to eat a cookie and cry into my wrinkles.  ...  ...  OK, I'm back.)  When I was writing CODA, though, a significant percentage of the music I listened to and that made it onto the book's soundtrack were songs I learned and loved, yes, the year I was fourteen.  My first mental images of my protagonist in a club had him dancing to that music.  Some of the songs--hell, maybe all of them--might not be the most shining examples of their kind, but I have such powerful associations with them that they were automatic go-tos when I needed to evoke a specific feeling in myself and pour it onto the page.

So, that's really interesting to me, and made me wonder if I would've written the book differently if I'd known about the age thing.  I think it's actually possible there's one small aspect I would have changed.

All through the writing process the book surprised me, marching off in the opposite direction to what I intended, changing and growing and presenting themes and ideas I hadn't considered.

It's sort of cool to know that eight months later, it still can.

Em

*Admittedly, not nearly as much.  He's delicious.


Smashing glass

Oh, how I wish I could remember where I read this, because it's maybe the best practical, really specific writing advice I've ever read.  If anyone out there knows where this came from, PLEASE tell me.  If by some miracle of the interwebz the person who wrote it sees this, please let me know.  I want to credit you, and possibly kiss you if you're into that kind of thing.

Maybe a year ago I was mooching around online, link hopping through various blogs and writing sites.  I came across a thing on backstory that has stuck with me since and which I'm conscious of every time I sit down with my beloved Scrivener.

I'm haunted by the dreaded infodump, where you cram a whole book's worth of worldbuilding into a few clumsy pages of narrative, but it's hard to think of how to avoid it.  This thing I read (WILD paraphrasing to follow) said to picture my backstory as a sheet of glass.  It's the window into the world I'm creating.  Now, take that sheet of glass and smash it over my manuscript.  Let shards litter the pages from beginning to end.  Break up any big chunks that remain.

I became so enamored with this way of looking at it while writing CODA that on many occasions, a close friend would gchat me to ask how things were going and I'd say, "Oh, you know, just smashing the glass."  Code for, "Please, writing gods, do not let me shove the CODA-verse down readers' throats in undigestible lumps."

I hope I haven't.  I hope I never do, in any world I create.

To add my own thoughts to this, sometimes the glass will be stained, a prism of color.  Sometimes it'll have ripples, or bubbles, or be thicker at the bottom than the top.  (A phenomenon that occurs in very, very old windows, from back when glassmaking techniques were different.  This may be getting too technical.  I'm nothing if not skilled at stretching a metaphor far beyond reasonable limits.)  Anyway, it's my world.  Its backstory will be uniquely my own, with idiosyncrasies only I could come up with.

Just smash it up.  And if I can't, if there's a place where it's truly necessary to have a big, unbroken sheet, Windex the hell out of it.




Books I'm reading...or not.

I'm sure I'm not the only one out there who needs to steer clear of certain kinds of book while writing.  During the CODA process, I had to give up sci-fi completely, and even a lot of other kinds of fiction written by people whose style stuck in my head too easily.  I wound up reading a lot of non-fiction, especially biographies and travel memoirs, and re-reading a lot of Terry Pratchett.  (I love the Discworld books, but the style was never going to infect me.  I'm totally incapable of bringing that level of funny.)  I celebrated finishing CODA by reading John M. Cusick's excellent GIRL PARTS.*

Now, I'm writing two books at the same time.  One is a kind of companion novel to CODA, so all of the above still applies.  The other one means that I can't re-read any of the fantasy series I love so much.  Including Narnia and Harry Potter.  My soul is crying.  If that's not incentive to finish the book, I don't know what is.

What I am/have been reading recently:  A lot of contemporary YA, in particular John Green's amazing THE FAULT IN OUR STARS. (I don't really need to link that, do I?  You all have a copy?  Good.)  Also, all the Bill Bryson travel memoirs I haven't read yet (there aren't many on that list), THE MASTER AND MARGARITA again to see if I understand more of what the hell is going on the second time around, and a few reference books on plot and style I dip in and out of.

It's important to know and ready widely in your genre, but equally important to let yourself fall behind on that reading while you write.  You know, YOUR book.  The one that's nothing like anyone else's.  You can always catch up.

Mostly, though, I'm writing another book I want to read.

*And with a bottle of Bombay Sapphire.  The author made up a drinking game for me based on the book.  HA!

BOOK DEAL NEWS

It's been an age since I last blogged, I know, and there's actually kind of a good reason for that.  Adventure!  Intrigue!  I had to have surgery!*  By the time I was back into the swing of things and feeling up to blogging again, everything I could've posted about paled in comparison to the information I've been sitting on since just before Christmas.

I HAVE A BOOK DEAL!  MY LITTLE BABY BOOK IS GOING TO BE A GROWNUP!  I HAVE TO RESIST THE URGE TO WRITE THE REST OF THIS POST IN CAPS, BUT CAPSLOCK IS HOW I FEEL INSIDE, YOU GUYS!

Offers, it seems, can sometimes be a little like buses.  You wait and you wait and then a couple come along at the same time.  After a crazy week in mid-December, SuperAgent Meredith** and I agreed to a deal with Running Press Kids, a division of Perseus Books, and my new editor, Lisa Cheng.  ('My editor' is going to take as much getting used to as 'my agent' - in other words, I might never get used to it.)  I can't tell you how excited I am to be working with her, or that this book I've loved, slaved over, occasionally hated, stayed up all night for, gnashed my teeth at, and was finally so proud of is going to see the light of day.  Every character I've ever written or will write is close to my heart, but the ones in this book live inside it, drinking coffee, playing their music too loud (<---whatever this means), putting their feet up on the furniture and refusing to clean their rooms.

From the little I've shared here, you might know it's science fiction, or that it's about music.  It has a male protagonist whose appearance in my head (and subsequent hostile takeover of same) is really what started the whole thing off.  There's a love story, but it's not a romance.  There's valid science and extrapolations of current science and things I invented at three a.m., high on caffeine and sleep deprivations.  There are parts I struggled to write and ones where I didn't stop writing except to rub my hands together in evil glee.***

At least as things stand now, it's called CODA and will be released in spring 2013.  Between now and then there will be all kinds of fun.  Editing!  Cover art!  The first time I hold it in my hands, when I will probably bawl and scream and dance around to Animal Collective****  like I did the day I first typed The End.


So many people helped me get here; you know who you are and I hope you know how much I love you.  All my thanks and embarrassing squealing noises and every cupcake I can ever lay my hands on to Mer, who believed in this book from the day she read my query, and to Lisa for loving it, buying it, and turning me into a REAL LIVE AUTHOR WITH A BOOK.

I can't wait for everything ahead.  AHHHHHHHHHH!!!!!! :D :D :D

Stick around, this is going to be a good year.

xoxo

Em

*One of these things is true.  I'm totally fine now.

**Now complete with gold lame cape!

***For which at least one of my friends still hasn't forgiven me.  B, I'M SORRY, OKAY? <3

****Summertime Clothes, dude.  Oh, yes.

The fine line between issues and stereotypes

 Warning: rambling post ahead.

Anyone who pays attention to the rumblings of the YA-verse on twitter (as in YA writers, agents who represent them, editors and publishing houses who pub them etc) will have seen today the kerfuffle over this article on the Publishers Weekly blog.  Briefly, it is the story of a writing team who say that a specific (but unnamed) agent would only agree to represent them if they "straightened out" a gay character in their book.

I have Views on this.  Herewith:

For starters, the title of the article is misleading.  It isn't agents (plural) to which the article is referring, it is one agent.  And yes, I believe making that distinction is important.  To generalize in that way is simply another form of exactly the same problem that's being railed against.  You can't generalize a whole profession, a whole industry, by one member of it, in the same way that you can't - and shouldn't - generalize people regarding their sexuality.  To claim that "agents" - without giving specifics - do this kind of thing is sensationalist and misleading. 

I queried a novel with an openly bisexual main character, two other openly gay characters, and an atmosphere indicating that none of this was frowned upon.  I didn't do it because of any Issue, the main character is bi because he told me he was and I couldn't think of a good reason to take it out.  The others are gay because that's how the plot worked.  No part of the book is about sexuality, it's just about people.  Did I get rejections?  Yes.  Did any of those rejections cite the sexuality of the characters as a reason?  Not a single one.  I received two offers of representation, and had phone calls with each of those agents.  In one, it was mentioned only in an "I love that you did that" passing kind of way.  In the other, there was no need to mention it at all.  Off the top of my head I can name half a dozen YA books that contain LGBQT characters that I've read this summer alone.  Agents will take on these books.  Editors will love them.  Houses will publish them.  To claim otherwise is a tactic that leaves a bad taste in my mouth.

Why?  Oh, I don't even know where to start on the reasons, but it's mostly these: because it will scare people off writing books with a full representation of the spectrum of humanity, and authors will self-censor before those nameless, faceless agents get a chance.  Because authors will get more militant about "standing up for the cause" and the books will wind up being "issue books" about nothing other than sexuality, and that's a huge, undesirable problem.  Being defined by one's sexuality is exactly what most LGBQT people I know don't want.  They're people, not walking lists of who they sleep with.  In fact, I don't know any straight person who'd want to be defined by that list - rarely would it paint an entirely flattering picture of the person in question.

It's easy to get upset when reading an article such as the one linked above, and it's easy to take up arms for the cause, especially when everyone else is.  (Look up the #YesGayYA hashtag on twitter to see a good example.)  And I have nothing but respect and admiration for anyone who does look at something like this happening and thinks, this is wrong.  This shouldn't happen.  I agree.  It is and it shouldn't and I have absolutely no doubts whatsoever that it does happen, daily and behind closed doors and in closed minds.  The thing is, though, that you don't get to pick which generalizations and stereotypes are okay to perpetuate and which ones are Issues.  You can't, on one hand, say, "Agents do this and it is WRONG, everyone fight back!" but, at the same time, complain that YA novels (or any other subset of fiction) contain stereotypical, white-bread characters and that needs to be changed.

In short, you can't rail against the generalization of sexuality but lump an entire profession into the category of all having one single, unified opinion on said sexuality.

Even if you read the article, don't generalize, and accept that it was one agent who did this...well, so what?  Sure, it's possible that they were being guided by personal beliefs, but equally possible they were being guided by what they thought might sell.  Agents misjudge what might sell all the time, and you only have to read about [insert NYT-bestselling author here] getting 50 rejections before landing an agent to know that.  There are hundreds of agents who don't represent what I write, and hundreds of agents who represent what I don't write.  There are agents who request edits from their authors that turn out not to be the right editorial choices.  I personally know at least three people to whom that's happened.

That doesn't make the gap between author and agent an Issue.  It makes that agent not the right match for that author.  Nothing else.

And to add to what I'm sure is a list as long as my arm of unpopular opinions I hold, I'm not at all sure that the battle-cry of "we need more X" (where X equals any kind of minority or difference from the "norm") isn't part of the problem.  Do we need more gay characters in YA?  Yeah, we probably do.  We also need more kickass girls and fewer assholes and more non-catty relationships between BFFs and a whole host of other things.  We need more realistic people in our books, however those people manifest.  Defining anyone, be it an actual human or an imaginary creation, by one particular aspect of who they are is a slippery slope that, I think, subtly but surely teaches us to view them as one-dimensional.  Not good for a person, not good for a character.  Open-mindedness is about more than accepting one whole facet of a person.  It's about accepting that they have four thousand whole facets and each of them deserve attention.

No rest for the wicked (and I don't want there to be)

It's a busy busy time.  I might, in a moment of madness, even go so far as to refer to myself as a bee. 

But busy is a good thing, especially the things I'm busy with.  I'm now officially free to start making real headway on Second Novel - YAY!  (Not that I wasn't free to before, but other things took precedence.)  I'm SO excited to be really writing again, or at least to be staring the blank page in the eye.  Brainstorming comes first, and that in itself is a ton of fun.  I've got a great piece of mind-mapping software that lets me go off on all kinds of crazy tangents and keep track of ideas both utterly lunatic and potentially viable.  As much as I'm a "pants" writer (as in, by-the-seat-of, I do very very little outlining) I do need to know where I'm going to start, some major events along the way, and where I plan to end up.  Everything else, well, I trust that my mind and the words will take me to the right places most of the time, and that I'll be able to do a U-turn when I wind up on the wrong track.

Caffeine: check.

Second Novel playlist: check.  (This will probably change as I get down to specifics, but for now I have one that suits the overall mood.)

Brainstorming file open: check.

A Google history full of truly bizarre searches: check.  This is one of the funniest things about being a writer.  I think most of us must be on watch lists somewhere.

Ready to go!  I'm so excited.

On a somewhat related note, my online critique group is setting up a blog.  We're all at different stages of the writing game and will all be talking about where we are in the process, how we write, etc.  I'll be blogging about writing Second Novel here, but will also be doing it there and will post a link just as soon as the blog goes live.

Happy writing!

xoxo

A blog post that blew me away

Or "In which I get on a soapbox and, knowing me, manage to fall off again."

After spotting a link on twitter (thanks, Ang!), I took a break from editing to read a fabulous blog post and am continuing that break to write this.  Please, take a break from whatever you're doing to read here.

In as much as this blog has a topic, that post, and this commentary, may seem like a deviation from it, but I don't think it is.  First of all, the writing is compelling, which is really all that matters to me regardless of subject, and also I think there's relationship between that post and fiction writing.  (Please note, I'm not for a second claiming to be the first to make a connection between those real-world concepts and character creation, it's just something I want to write about here.)

Hanne Blank is absolutely right, in my opinion, and as I am knee-deep in edits and watching my characters on the page again, it got me thinking.

It is, I believe, a universal hope amongst writers that someone, anyone out there will connect with the people we create in our books and identify with them.  We may be telling the stories of completely invented characters, but we want readers to invest in them and think, "Hey, that's me!" to some degree.  Not everyone will, and that's fine, maybe even good, since as Ms. Blank says, women aren't just one thing.  People aren't just one thing.  Still, it means that we want to make our characters as "real" as we possibly can, and with that there is an inherent responsibility to make them diverse.  That is to say, make them an accurate representation of the world not only that we've invented, but the one we're sitting in while we write them down.  For one thing, if we succeed (and learning how to is a process I'm sure I'll be going through for the rest of my life) it makes for a more interesting book, but there's another issue, too.  I'm a YA writer, at least some of you who will read this post are YA or middle-grade writers, and I'd argue that it's especially important for these age groups to read about as many different kinds of people as possible.  Not in a hey-let-me-sit-you-down-and-teach-you-a-lesson kind of way, because every kid and young adult I know can spot that faster than I can spot a twix bar, but in a way that reminds us people aren't just one thing.  It is, after all, depiction in various forms of media that has led to the necessity for posts exactly like the one linked above, and books absolutely have their place there.  I'm sure actual people have said things like this, often, but for the simple fact that I can remember it off the top of my head, I'm going to quote an episode of The West Wing, in which Toby says this:

There is a connection between progress of a society and progress in the Arts. The age of Pericles was also the age of Phidias. The age of Lorenzo de Medici was also the age of Leonardo Da Vinci. The age of Elizabeth was the age of Shakespeare.
The next line is another character saying "these people aren't Da Vinci or Shakespeare" and I'm not saying we are.  Not at all.  I have theories as to why I think we'll never see giants like that again, though that's another post.  We're writers, trying to get by and maybe see our books on shelves along the way, but I don't think that nullifies the point.  Pretty much everything is "normal" and if it takes depictions in books and TV shows and magazines and everything else to subtly guide us towards having that view of the world, then hey, at least we get there in the end. 

As a personal example, there is something about the protagonist of my current MS that could be considered a little "different" - or not, depending on who you are, but it could be.  I didn't choose to put it in there, or set out with a plan to create him with that particular aspect, but he was one of those characters that popped into my head fully formed, including this one thing, and there is a reason I didn't take it out.  I was recently asked whether I would if that would make the difference between being published or not, and my honest answer is I don't know, but if I ever did it would be a wrench.  It makes him more real to me, and if my book does make it to shelves and someone out there identifies with that aspect of him, then that's a bonus.  It's not why I wrote him that way, and at no step of the journey was it ever intended to be some kind of lesson or an attempt to force my own beliefs on anyone, but if it resonates with someone, just once, I'll be glad I didn't listen to the naysaying voice inside my head at the beginning.  (I just think he's a cool character, it's an interesting story, and I had an amazing time writing it.)

As of this morning, the twitterverse was re-alight with the debate over darkness in YA fiction, thanks to another article in the WSJ by the author of the original, who argued that darkness in YA is unhealthy.  Millions of opinions proliferate, and here's mine: the exploding YA market and its corresponding wealth of all kinds of subjects, tones, and genres brings with it an incredible number of rich, diverse, layered characters just waiting for people to read about them, put the book down, and (hopefully) think.  What could be healthier than that?

The hodge-podge post

Life has been crazy recently, and the past week has been a contender for the craziest week ever--in the best way possible.  I'm not quite ready to share my news, but I'm feeling bloggy so I thought I'd put a little something up here.  I was actually planning to do a "week in pictures" thing and scour the net for randomly hilarious gifs, but I'm navigating my trackpad with a finger that took a paintball to the knuckle a few hours ago, so I'm going for minimal effort here.

Instead, I will say my week went roughly like this, and 90% of it is book-related:

OMG.
OMGSOCOOLBOUNCEBOUNCE.
CANNOTBELIEVETHISISREALLYHAPPENING.
SEEINGBRIGHTEYESDESERVESMYFAVORITECOLORANDZOMG!
SOMUCHZOMGICAN'TBREATHE.

And that brings us to today, where as you read above, I injured myself in a way only I could manage.  Outside of a dance floor, graceful, I am not.  Accident prone, I absolutely am.   If I based a character on myself and documented examples of my own actual klutziness, no one would believe it.

Add in the beginnings of the plot for my next book, general awesomeness at seeing some old friends, and a trip to my favorite restaurant anywhere in the world, and it's been a really great week. 

Since I should talk a little about actual writing and stuff here, I'll say that lots of things are brewing in my head--new projects, old projects, and peripheral projects to the manuscript I've just completed.  I'm excited about writing in a whole new way now, and that's saying something considering how I attacked the creation of my MS with all guns firing.  (Literally, when it comes to the end.)  More than ever, I'm looking forward to doing this forever.  There's a quote I've had reason to share this week (which in fact I misattributed, so I will correct that here.)

Writing is the only thing that, when I do it, I don't feel I should be doing something else. ~Gloria Steinem
If you feel like that, keep writing.  It's the reason we can't stop, and I know so many of us feel this way.  Write everything you can think of.  Carry a pen everywhere.  Keep a notebook by your bed and don't make the mistake I do of not being able to read the completely illegible scrawls the next morning.

So, that's kind of what's been going on with me--short on the details, I know, but stay tuned for BIG news on Monday. 











Writing what you know is crap

I find myself with a little writing-related time on my hands while Second Novel brews in my head and Weird Novel is beginning to make its first tentative steps out into the wide, scary world of queries, so I thought I'd blog about part of the writing process today.  The title really says it all, but it's worth saying twice: writing what you know is crap.  The (many) of you (us) out there who write speculative fiction, sci-fi, and fantasy prove that.  We've never been on a spaceship, had magical powers, been a vampire/werewolf/vegetable lamb (my personal favorite mythological creature/supernatural being of your choice.

So, here's the thing.  Don't write what you know, write what you can extrapolate.  For all the wide range of human emotions and experiences, the nuts and bolts of those things don't change that much.  Guilt is guilt, whether it's over breaking that jug your mother was fond of or crashing that spaceship prototype into the Ocean of Storms.  You know what your first kiss felt like, so when you write about it, it doesn't matter whether the other participant in your fictional game of tonsil-hockey is a cute guy in your protag's drama club or a demon from the depths of hell (but he's TRYING to be a better person, Mom, honest!)

Sit down at your keyboard, think back to a time when you felt the *thing* you want your protagonist to feel.  That's where it starts.  Subjects and settings...that's all research, and we've never lived in a better time for having access to information.  You're (probably) writing because you want whoever reads your work to be emotionally affected, invested, to cry when your protag does, laugh when they do, cheer when something great happens.  That's what has to be real, that's what you have to know.  You already do-you've been navigating the world through a haze of emotions Spock would disapprove of since you could walk.  Write from the heart.  You know that. 

In honor of Record Store Day

As with my first post, this one is going to be focused on music.  You're going to find that a lot on this blog, because it's about me and my identity - along with writer and various other things - is music nerd to a degree that embarrasses her friends.  As discussed in the first post, I can't separate the two in my head.  They're kind of the mischievous twins who rule my life.

Today, as some of you may know, is Record Store Day.  This is an international event aimed at celebrating independent record stores and reminding people what awesome resources they are.  Many bands are offering exclusive, special RSD releases, so check out www.recordstoreday.com and find your nearest participating store.  Me, I'll be heading down to mine soon in the hopes of snagging the new Panda Bear (otherwise known as Noah Lennox) on vinyl, crossing my fingers that it's as amazingly good as his last, Person Pitch.

On that note, I'm going to share one of the "mood music" playlists I put on when I'm trying to evoke a specific mood or tone from a scene.  I have many of them, and as long as it doesn't make readers throw whatever the web equivalent of rotten tomatoes is at my blog, I'll share them with some degree of regularity. 

And because I'm excited about the new Panda Bear, I'm sharing one he makes a few appearances on - as a solo artist, a guest vocalist, and with his main group, the incredible Animal Collective.

This is a playlist for characters sitting on a beach on a summer night, swinging on the swings in the park at 3 am, floating in dreams, or not hurrying that walk in the rain - at least, that's what it does for me.  Your mileage may vary, but hopefully the trip will go somewhere fun.

  • Atlas Sound - Walkabout (ft. Noah Lennox)
  • Animal Collective - What Would I Want? Sky
  • Neon Indian - Psychic Chasms
  • Delorean - Simple Graces
  • Caribou - Odessa
  • Beach House - Take Care
  • Cut Copy - Hearts on Fire
  • Panda Bear - Take Pills
  • Avey Tare - Lucky 1
  • The Faint - Fish in a Womb
  • Phantogram - Running from the Cops