Showing posts with label getting it right. Show all posts
Showing posts with label getting it right. Show all posts

May 7, 2012

Should Do vs. Driven To Do


The amazing driftwood teepee that, sadly, is no more.

I have been so absent from the blog this month. A part of me has missed it, but another part of me didn't like the fact that it was starting to fall into the dreaded category of something I really "should be doing". 

Having lived an oddly nomadic, sporadic, all-over-the-place lifestyle for the last year or so, I've had a lot of time to think about the difference between the things you think you should be doing versus the things you feel driven to do. There are always things that you should be doing (paying taxes, say...or brushing your teeth). But to me, those are things you have to do. I'm talking about when the things you once loved to do start to feel like obligations. When a job you were excited by becomes an obligation. When this happens to me, it always seems like an ominous feeling. I don't ever do my best work when I come to it begrudgingly: a part of me is wondering why I'm doing it at all. Of course, just because something isn't inspiring you, doesn't mean you should stop doing it. I'm pretty sure bosses don't think "I'm just not feeling motivated and inspired today" is a good enough reason to skip out on work. I'm pretty sure that it doesn't get novels finished, either. 

Still, I recently read Stephen King's On Writing and was stuck by something he said. “They pay me absurd amounts of money,” he observes, “For something that I would do for free”. I think when something you started for fun starts to feel like an obligation, it's starting to lose its point and purpose. Maybe it's time to spend time away from it, to let it become a thing you feel inspired to do. If there's anything I've learned this year, it's that passion and conviction are necessary to make any part of your life thrive, and that "should do" and "driven to do" should overlap as often as possible.

Here are some of the things I've been doing, and that I'm still excited about:

1. I took a week-long Southern road trip with one of my oldest, dearest, craziest friends.
2. Signed a teaching contract.
3. Found an awesome place to move this summer.
4. Made many cards and envelopes out of old book pages/illustrations and started on online Etsy shop.
5. Made dinners and toasted glasses of wine with amazing friends, old and new.
6. Watched my brother graduate.
7. Wrote almost 30,000 words of my new WIP, currently known as UndergroundNovel.  
 8. Taking pictures of Mom's local woods and beach as they get dressed for summer.



Current song obsession: From The Woods!! by James Vincent McMorrow 

March 28, 2012

Why Critique Partners Are A Writer's Best Friend

Two years ago today, I got an email from a stranger. She'd seen my 'Want Post' for a critique partner and was hoping we could swap some pages.

I was nervous. Trying to find a critique partner is a lot like blind dating: you swap pages, edit each other's work, and then wait nervously to see if your writing, and your crit style, mesh. And like first dates, this process seemed to involve more awkwardness for me than connection. I wasn't willing to settle for anything less than what I wanted: honesty, experience, support and editorial brutality (when necessary). By the time I received this email, I'd already swapped pages with several people, all of whom were lovely but none of whom where the 'one'. I was starting to despair a little. But Ryan sent back my pages ripped to shreds and hanging in revelatory tatters. I fell in critique partner love. Luckily she felt the same way.

So we corresponded through the interwebs, picking at each other's work with deft, savage fingers. We decided to try and find another crit partner to provide a little balance and were lucky to find Emma, who fit right into our tiny clan. I didn't always love the critique--it always meant gutting something I loved or doing work I thought was behind me. But, consistently and irrevocably, these two fantastic writers made my story better. The process of working with them and reading their work made me a better writer. They taught me how to see criticism as a blessing, not a curse.


In November 2011, I went down to Charleston and met Ryan (whose debut novel is set to be published in 2013!) in the flesh. We sat across from each other at an awesome cafe, typing away, and it struck me: anyone who is serious about writing NEEDS this. A writing relationship based on mutual respect, encouragement, and utter honesty.    

October 14, 2011

Backstory (and why it matters)

I've just read my fabulous crit partner Ryan's post on the importance of backstory - I've thought about backstory so much this week that I'm hitching a ride on the back of her thought process.

If novel #2 (otherwise known as Torn) has taught me anything, it's that there are so many things you need to know about your characters in order to bring them to life. I'm not just talking looks, ticks, and speech patterns; I have to know about the whole span of their lives in order to understand their motivations. So much of their background hasn't made it to the surface of my story. But every piece of knowledge, evident or not, has helped me to stay true to my characters' voices. There's nothing quite as fun as discovering something new about your story just when you thought you had it all figured out.

Things I learned about my three main characters this week:

1. One likes foreign films, but he's a terrible reader.
2. One can't dance.
3. One has a violent aversion to socks.
4. The one thing they all have in common: life-changing experiences with dead bodies.

And then there are the backstories of my support characters - these are the ones who are giving me trouble. I'm finding it difficult to flesh them out without letting their voices take over the narrative. A teacher of mine, Kim Wilkins, once said this about supporting characters: you never want it to feel like they 'go back in a box when they're off the main stage. So how do you make sure minor characters aren't coming off as cardboard cutouts? Here are some of my findings:

- Every SC should have a defining role to play in the main characters' lives. What is their specific function and place? My character Dalton was pretty flat until I realized that he's my MC's secret keeper; he's the one she feels most comfortable sharing with.

- When SCs are becoming cliche, give them some interesting contradictions. They're phobic about germs but refuse to wear socks outside. Or whatever. Contradictions are what make people unique.

- Don't just give SCs traits; give them relationships with their traits.

- Spend time crafting the MCs' relationship with their SCs. It's often through the main characters' descriptions and feelings towards their supporting cast that readers really get to know them.  

May 25, 2011

Grammar Girl: Writing Concisely (Part 1)



The most influential writing advice I ever got was also the most frustrating. That advice: "write concisely". I thought my professor was telling me to cut out all my lovely descriptive passages! killing my creative expression! and making my sentences short and lifeless! My students seemed to think so, too. But I made sure to point out to them that writing concisely isn't about brevity. What it is about is this: making every word count.

You know when you hang too many ornaments on your Christmas tree so that when you step back, you can't see the individual elements underneath all the holiday vomit? Some would argue you can get away with it on trees. But not so much in writing. Because too much of a good thing weakens your message, and inevitably the power of your voice is lost. Every word, every paragraph, every scene, every character needs to be adding something of value to your writing. Otherwise it's just beauty and grace hidden underneath a giant blob of tinsel.


Concise writing is something that you can flag-post in the editing process if you're paying attention. My students can usually pick out which sentences aren't "working" in terms of conciseness, but they struggle to pinpoint why. So here are some items that have helped my students (and me) do just that:
  1. Let your subject and verb come closer together. Sometimes moving your actor/agent and your verb closer together (and closer to the beginning of your sentence) will help make your sentences more direct and your emphasis clearer. You see this a lot in the use of passive voice. For example:
"The zombie had its head cut off by me with a long sword." (13 words) Revised: "I cut the zombie's head off with my sword." (9 words)

2. Turn nouns into verbs. Often nominalisation (turning verbs into nouns) makes for weak, confusing sentence structure. Try turning them back into verbs. For example:

"The realization that I had cut off the zombie's head made for the actualization of my dreams." (17) Revised: "I realized that cutting off the zombie's head actualized my dreams." (11)

3. Take our empty words or phrases. This also includes implied knowledge. I can't tell you how many times I crossed "In my opinion", and "all things considered" out of students papers. You know why? Because it's implied. Those phrases add nothing to your sentences. They're tinsel fillers that are taking up precious real estate on your tree. For example:
"In my opinion, Barack Obama still kicks some major ass, all things considered." (13) Revised: "Barack Obama still kicks some major ass." (7 words)

4. Avoid cliches and jargon. Cliches have their place and, sometimes, they can be useful. But they're called cliches because they're tired. They make your reader think, "haven't I read this somewhere before?" Because they have--lots of times. Great if that's what you're going for. Not so good if you're going for 'fresh'. In my opinion, the only place jargon belongs is in political speeches. And it kind of sucks there, too. If you're writing to say what you mean and make that meaning clear, jargon is not your friend. Not in government documents. Not in specialist journals. Nope, not anywhere. For example:

"We continue to stand behind the pillars of democratic values as we look to lift the currency of foreign opinions and esteem." Revised: "... sorry, what?"


May 21, 2011

How To Plot Your Novel (H&S-style)

When I write stories, I don't often know how they end. Or how they middle, for that matter. All I have are specific scenes or characters, and everything I write sort of flows out of those. This method is not one that leads to stunningly-paced and coherent plot lines. My characters do weird things (sometimes twice) that don't make sense in the grander scheme of things. There are weird holes that I can't seem to figure out how to fill. But novels can be such big, unwieldy things. They make it hard to step back and see them simply and honestly. Enter the Health & Safety Spreadsheet.

My Manfriend helped me trial a new kind of plotting procedure. It's what he uses when doing an incident report in which he has to piece together what went wrong in a sequence of events. I'm not going to lie, I was skeptical. It sounded businesslike and un-fun. But I was told there would be colorful Post-its. And there were lots!

The green ones were for major plot details. The blue ones were for important emotions going on in the scene. The pink ones were for incidental happenings that couldn't be classified as 'major events'. I really can't tell you how helpful this process was. I'm pretty visual, so seeing my story laid out in its entirety let me see what was happening too soon, what wasn't happening at all, and what plot points needed strengthening. It helped me realize that some of my scenes were in there because... well, they were pretty. But they weren't serving a function, so off those Post-its came.

I'll definitely be using the Incident Report method again. Just add a bottle of red wine and you've got yourself a pretty fun little party.


April 30, 2011

Introducing: Grammar Girl

So I've been grading papers again. This involves sitting at my desk, writing sloppily, and trying to find the fewest number of words with which to dispense grammar advice. While making my notes, I realized that I'd spelled 'necessary' wrong on one of my student's papers. Which means I probably spelled it wrong on several papers. Yikes!

After several years spent teaching/practicing/reading about/working in the field of writing and editing, I like to consider myself fairly hip to grammar conventions. Sure, I get confused about the subtle, sometimes maddening differences between Australian and American spelling, but otherwise I like to think of myself as a kind of grammar good Samaritan, arming young minds with good writing guidelines that will hold them in good stead for the rest of their lives. They expect me to be an expert on such things. But that's the thing. I'm not an expert. And in my opinion, 99.9% of the people who profess to be 'grammar experts' are lying.

Grammar conventions aren't static things. They are constantly changing depending on the year, the country you're in, the style guide you're using, and the audience you're writing for. Sometimes, like in the case of 'e-mail' vs 'email', spelling and grammar depends on what mood you're in and what feels 'right' to you. The slippery nature of our shifting language is what scares people into thinking they'll never be any good at writing.

I spent several hours the other day trying to figure out what the 'proper' rule on using quotation marks is in Australia (Do we use " or ' for direct quotation? Do we put commas inside or outside the quote mark?). My students' lecture and textbooks couldn't seem to come to any unanimous conclusion, so I tried looking online. Same deal. In desperation, I leafed through all of the books in my bookshelf purchased in Australia. There was no way to tell. And yet a student of mine was told my an editor that "In Australia, we don't USE double quotation marks for dialogue". And all I can think is: as long as it's not distracting to the reader... who cares?

Some people get way too caught up on what's 'correct' when the truth is that we're mostly talking guidelines here, not strict rules. The whole point of teaching grammar and syntax is to help people tell the stories they want to tell, not to try and keep them out of some made-up writing elite.

So I've decided that every time I discover something new and useful (and maybe even interesting) about grammar, I'm going to blog about it. So for those of you who are still awake and reading, here you go:

until vs. till/'til/til: is there a 'right' way to bastardize the word 'until'?

Rule: Apparently, till was a word long before until started being used. It isn't actually a shortening of until, but another word entirely. If you're trying to create a contraction of the word until, the logical choice is to use 'til (as apostrophes take the place of missing letters). That said, till is still commonly used in similar situations and, more rarely, so is til.

Verdict: Any one will do, but if you're creating a contraction, 'til is the most 'proper'.





April 15, 2011

Novel #2

2010 was the year of many things for me. One of those things was Novel #2 (which, technically, I started at the very end of 2009). I'm feeling a little frustrated with myself because #2 (also called Torn) is taking sooo muuuuch loooonger to finish than I thought it would. But that's not to say I'm not excited about it. I'm really excited about it. I love my characters and my setting a lot, and I'll be excited when I can share it with whoever I can convince to read it over for me.

It's just that I'm feeling a little embarrassed. After finishing Novel #1, I thought I'd learned so much about plot and character arcs and streamlining. That I learned what I'd need to do to make sure I didn't end up with a lumpy, patchwork first draft when I gave this whole novel-writing thing another go. But I can see, without even having finished it, how much work I'm going to have to do to get Novel #2 where I want it to be. But I'm beginning to think that maybe this is my process: write madly, stop and pace and plan, write madly, then copy/paste/partially rewrite my merry way to a story I'm truly proud of. Maybe I'm not the kind of writer who ends up with a first draft that doesn't need to be half shredded. Maybe that's okay.

After more than a (very tumultuous) year, I've got about 20,000 words left to go. So, for the purposes of inspiration, I thought I'd Wordle the 50 most-used words in my manuscript.

Here's to finishing my draft by June!

October 28, 2010

Editorial Domination: Book 2


I am VERY proud to introduce:

(c) HEMA Maps Pty Ltd

This is the first book in Hema's Atlas & Guide series that I saw through from initial draft to finished product. I wrote several sections, including the intro and the back cover blurb, selected and edited all of the photos, and checked the research provided by our lovely head of research (and did a whole lot of my own - who knew how hard it would be to find a good picture of a mountain pygmy possum? Who, by the way, is the only marsupial that hibernates? Ah, sweet useless knowledge). I shaped 4WD track descriptions and checked them against many, many maps. I compiled both the index and the contents page (manually. That's right.) I got to spend long hours reading about bushrangers with wily beards, wildflowers and mountain wines. I lived and breathed this sucker for about three months. It is in many ways my first editorial baby - I love it no matter what others think of it (and pushing it out... well, there were times when it hurt like hell). Here are a few pages for your viewing pleasure:


(c) HEMA Maps Pty Ltd


(c) HEMA Maps Pty Ltd


(c) HEMA Maps Pty Ltd


(c) HEMA Maps Pty Ltd


I'm pretty proud of how it turned out, I have to tell you. This thing is pretty AND useful. And I'm grateful to it, because it taught me an amazing amount about the editorial process. I have the feeling I'll be carrying this around in my purse for the next few weeks and showing it to strangers: "Look! A book! I helped make it!"

September 28, 2010

Editorial Domination: Book 1

The month of October will see my name in commercial print for the very first time. Here's a quick peek at the Queensland Food & Wine Touring Atlas, the product that I got to cut my editorial teeth on. Check it out:




And, just because I'm a nerd like that:


I came to Hema when this book was being laid up by design, so much of my contribution was that of a proofreading/fact checking nature. I learned a lot of editorial lessons while doing this.

1. Consistency is key: knowledge of house style is pretty crucial in creating a readable product that jumps out at a reader in the right way. So my strong feelings concerning issues such as 'and vs &' and whether or not long numbers should have commas in them have all FINALLY been validated.
2. Never leave multiple book proofs lying scattered willy nilly on your desk: you will get SUPER confused about what changes have been made and which haven't. And a confused editor is not a happy editor.
3. Chocolate is truly the best work incentive.
4. Editing a book with lots of little pictures and maps is a great way to develop chronic neck cramps, but it's all worth it when you have the final product sitting on top of your desk.


May 6, 2010

The Right Beginning

Recently, I had a critique partner tell me that my first attempt at a novel (Spellbound) 'didn't really start' until around page 7. I was, initially, thrown by this. Those first seven pages were (I thought) filled with important context and building tension. But then I got to thinking about those slippery things, beginnings: how do you know if where you start your story is where your story actually begins?

This seems like it should be a simple question, but it's one I continue to grapple with. Kristin, an American literary agent, says that maybe 70% of her slush pile is filled with stories that don't 'start' until 30 or more pages in. She attributes the fact that these manuscripts are slow out of the gate to two things: backstory and minutiae. She thinks that a lot of writers (especially beginners) feel the need to set up the story- character, tension, motivation, setting- before the story can really get going. She also blames the writers' desire to cover up slow starters by giving too much detail up front. Both of these tactics bog down the story- not good when you're trying to get a reader hooked. And that's the thing about beginnings. It doesn't matter if it's a friend, an agent, or a stranger- you want them to pick up your story, skim the first few lines, and find it difficult to pull their eyes away. I'm beginning to think that my story doesn't do that.

Take, for example, the beginning of Mudbound by Hillary Jordan:
Henry and I dug the hole seven feet deep. Any shallower and the corpse was liable to come rising up during the next big flood: Howdy boys! Remember me? The thought of it kept us digging even after the blisters on our palms had burst, reformed and burnt again. Every shovelful was an agony- the old man, getting in his last licks. Still, I was glad of the pain. It shoved away thought and memory.
This opening plunks us in the middle of the action; it also tells us volumes about the speaker. The fact that he's digging his own father's grave is enough to get you interested. But besides that, the reader is shown Jamie's detached feelings towards his father, his light but bitter tone, the hardship of his current position in life, and the aching desire to forget. Tension. Backstory. Character. All without once slowing down the story.

I've found plenty of suggestions for how to make sure your story starts where it should. Someone suggested that the 'moment of change' is the best place to start, or by opening with a scene that serves as a kind of case study for what is wrong with a character's life. But that leaves me wondering how a reader can appreciate the significance of that change if they don't know anything about the character it's happening to?

One writer advised cutting your prologue and first chapter, then manually circling the crucial things in it that readers needed to know and threading that information into the rest of the story. Readers aren't dumb- they'll pick backstory up as they go along, as long as you're skilled enough to thread it in. That, to me, seems like the trick here: to thread all of that crucial backstory into the ongoing story in a way that keeps the plot ever moving. Terry Brooks said something along the lines of 'nothing starts at the beginning- everything starts in the middle of something, so do yourself and your readers a service and start in the middle of something interesting.'

I've read a lot of advice along the lines of 'when editing, focus on the story your readers want to enjoy- not the story you wrote to get to know your characters'. I suppose, since this was my first shot at a novel, I never thought of those two as mutually exclusive. I assumed that readers would want, even need, those pages of character building in order to appreciate the drama that comes next. The more I think about it, though, the more I see the wisdom there. First drafts are about finding the story. It's like treasure hunting, really. You to dig through lots of literary dirt before you get to the heart of the story you're trying to tell.

For me, the crucial question is this: is the first seven pages of my manuscript just so much literary dirt? Or is it necessary, interesting context? Where does my story actually begin?

In an earnest attempt to answer this question, I'm attaching the beginning of Spellbound below (I know it's full of cliches and too much description and slightly stilted dialogue. Ignore it for me, mmmK?). If any of you feel inclined to cast your eyes over my current beginning, all I want to know is this: when, for you, does it start to get interesting? Where do you think my story begins?
***

I heard it before we turned the corner: the familiar crank and rattle of rusty rides, the tinny plinking of the merry-go-round. I could smell the sickly-sweet cotton candy, almost taste it on the moist twilit air. The Summer Carnival was spinning to life behind our high school, filling the growing dark with happy shouts and jeers. The happy crowd buzzed and hummed by the ticket booth, laughing their oh-so-familiar laughs. I fought the urge to turn around and go home.

It wasn’t that I was entirely unsociable- I just understood what I was heading towards. My entire school would be there, all four hundred and eighty two of us, picking like carrion birds over who had changed two months into summer break. In teenage time, two months could make or break you: new muscles and a good tan could get you an all-expenses-paid trip into a new life. Summer hadn’t gifted me with anything to shout about: just bigger feet and a fresh patch of pimples. I was still an unimpressive, scrawny 5’9. Carnival was a glaring reminder of how much everything hadn’t changed.

“Come on, Jack, quit dragging your goofy feet,” Spence called.

I lengthened my stride to try and catch up with him. Keeping up with Spencer was becoming a challenge. His legs had stretched out like rubber bands, pushing him into another stratosphere. Hard labor on his family’s farm had given him biceps and bulked-up shoulders. Standing next to him all night wasn’t going to do me any favors. We snaked through the line at the front entrance, the music getting louder with every step we took.

“Time to check out the fresh meat!” Spencer said, spreading his hands out as if surveying an untouched buffet. “There’s going to be some prize pickings coming up this year. You know that little redhead who had gym with us in eighth?”

“The Langley girl? She’s, like, twelve years old.”

“Untrue. Tracy’s fourteen, going on available. You’ve got to get them young before the Big Dumb Football Animals.”

“Honestly, Spence,” I laughed. “Standards.”

Once we’d bought our tickets, we made our way to the crowded, dusty strip of grass that ran down the Carnival’s spine. The sun slipped down behind the hills, dragging the humidity in its wake like a cloak. The tops of the bigger tents and food stalls were black outlines against the orange sky. Families were heading home to their beds, kids wilted over their shoulders like sacks full of flour. I recognized every one of them as they passed, even some of the relatives that had come in from the next town over. Our town was that depressingly small. You were constantly surrounded by the same faces, circling around you like bad TV reruns.

I surveyed the crowd as it thinned out, leaving my classmates behind. The Carnival was about to become their personal playground; I could feel the knowledge spreading outwards like a fog. The Big Dumb Animals had begun to prowl, looking in their red and black Hominy Hummingbirds jerseys like a pack of slithering eels. Girls gathered in laughing herds, plucking fussily at short skirts. They weaved in and out of sight around us, making me feel strangely boxed in, despite the crowd’s thinning. As we made our way past a line of brightly-lit games stalls, a group of sophomore girls floated by us. Marjorie Allen batted her large, startled-looking eyes at us. The spillover happening at the top of her shirt made my cheeks feel warm.

“Hey, Spence,” she said, gazing at him over her shoulder.

“Hey, Beautiful,” he called after her. “You going to ride with me on the Wheel later, or what?”

“If you’re lucky,” she said. The other girls giggled, then huddled together.

Spence turned on me and frowned.

“Why didn’t you say anything to Jenny?”

“Who, Jenny Morris?” I said.

“Um, yeah,” Spence said, giving me his oh-Jack you idiot face. “She’s staring at you like she’s thinking of unhinging her jaw and swallowing you.”

I used my sleeve to wipe at my glasses, which had picked up a film of reddish dust. They were goofy and old-fashioned, but I couldn’t afford contacts and was halfway blind without them. I pushed them up my nose and looked at the girls again. Jenny was definitely looking in our direction, but not at me. I was probably blocking her view of someone else.

“Don’t think so. I appreciate the optimism, though.”

“What am I going to do with you?” Spence said. “I’m never going to find you a girl when you insist on being hopeless.”

I was uncomfortable with what I knew were the beginnings of a familiar argument, so I groped for something to distract him. It didn’t prove all that hard.

“So, you’re into Marjorie now? I thought you liked Janet?”

“Who says I’m not allowed to like both? Did you see Marjorie’s assets?” Spence held his hands out in front of his chest as if clutching two invisible gourds. “A man can’t ignore that kind of treasure.”

I let Spence go on as we walked down the dusty strip, comparing Marjorie’s assets to those of the hundred other girls that Spencer flirted with, nodding periodically. We worked our way around the merry-go-round. The colored lanterns hanging above us cast us all in a fog of red and blue.

We’d made our way to the Carnival’s heart, which was lined with small tents and game stalls. I saw Rob Bowman and the rest of his set standing by the duck shooting range, talking to a couple of freshman. I instinctively peeled the other way, around a strength-weighing machine and out of his line of sight. I hated myself for it, but that didn’t stop me from doing it. I headed for one of the less crowded laneways and waited for Spence to catch up to me before I started walking on. He gave me a questioning look, but said nothing.

“Hey, this one’s new,” Spence said, pulling up short.

We stopped in front of a dark green tent whose flaps were closed, unlike the others. There was a wooden sign above the entrance scrawled with ornate gold lettering- ‘Rosemary’s Tarot Readings: $10’. Spence was looking at me with that glitter in his eyes that meant trouble.

“No freaking way, Spence.”

“Come on! It’ll be funny.” He nudged me in the ribs. “Don’t you want to know your future?”

“From someone who relies on a deck of cards to make major life decisions? I’ll pass.”

“Come on,” Spence said, wagging his eyebrows. “I want to know whether Marjorie’s worth the effort.”

“Remind me why we’re friends again?” I said.

“Because without me, you’d lose the will to live.”

I blew out a frustrated breath, which we both knew was just for show.

“Fine, but you’re paying,” I said.

Spence smiled and pulled back the tent flap.

A thick cloud of incense assaulted my nostrils from the depths of the close, cave-like space. Lit candles covered every surface, making it feel church-like, almost like a shrine. A woman in a dark Renaissance-style dress sat behind a velvet-draped table. Her dark green eyes were huge and cat-like. They looked me over as if deciding whether I was worth the effort it would take to digest me.

“Welcome, boys,” she said, her voice dripping with practiced smoothness. “Which of you will be going first?”

“He will,” Spence said, shoving me forward. I glared back at him. He had his hands out in a gesture that I assumed was meant to stop me from fleeing. I sat down, crossing my arms across my chest.

“Welcome, my child,” she said, shuffling a stack of cards against her palm.

I wondered if I could bail out without being blatantly rude. I studied the woman’s cakey makeup, the grin so hard it looked as if it would shatter her cheeks, and felt instantly on guard. What kind of a name was Rosemary, anyway? She must have figured that something from the spice rack would make her sound more authoritative.

“Whenever you’re ready,” Rosemary said, “we’ll begin.”

“Alright,” I mumbled. I heard Spence chuckle behind me and I cursed myself for being such a pushover.

Rosemary laid three cards face down on the table. “Each one represents a different chapter of your life,” she said. “One is your past, one your present, one your future.” She pointed at the cards in turn with purple, talon-like nails. “We’ll flip them over one at a time and see what they have to reveal.”

***

March 5, 2010

Rambling on Fumes

It's been a while since I last posted because I've been experiencing my first week of professional, full-time work. My head has been too full of new stuff (and my body has been too exhausted) to support almost anything extra curricular. Even so, I was gratified to find that all the writing I've done over the past year has actually helped prepare me for my job. I discovered myself thinking about editing a lot this week (which could be because, well, you know... I'm an editor).

I was asked to go through the final proof of an Atlas of the World. This involved looking through large, information-packed page for teeny tiny errors that someone else may have missed. We're talking errors so small that you think you might be imagining them. I was excited by this task (because I'm just a nerd that way), but was a little overwhelmed by it. And then I remembered what my fabulous tutor (for whom I have already professed my love) told us just a few weeks ago.

"There are two things you need to be when you edit: Detached and Methodical."

As I talked about in one of my latest posts, she taught us that it was a good idea to go through a manuscript with one particular editing task in mind. You're not supposed to let yourself edit for anything else, just that one thing that you've decided to focus on. That's what keeps you from being overwhelmed and from missing the things that you need to fix. I thought about that advice a lot as I went through this task: I did six sweeps of the proof, each time looking for something different. And it worked. I wasn't overwhelmed by the bigness of it. And I found a lot of minute errors that I was thrilled to say I'd picked up on.

So here are two things I learned this week: 1) Editing can be a fun and satisfying experience; you just have to take it one step at a time. 2) I need to get a lot more sleep if I'm ever going to do, you know, the writing that proceeds the editing (and so my blog posts start to make sense again).


February 21, 2010

Strip, Baby!

This week, I was given some writing homework. I had to create a scene map for Spellbound- a chart, essentially- breaking the story down chapter by chapter. I had to list every scene in one short sentence, then step back and ogle at my story... naked. Kim (my lovely and fabulous tutor) assured me that this would let me see what needed to be cut- identify what stuff is my story and what stuff just... isn't.

Have you ever been in a dressing room, twirling around in front of the mirror in a dress you really, really like? You saw it in the shop window and knew it would be perfect for that wedding/big date/thing you have going on next month. The thing is... it doesn't quite fit. It's the right size, but it doesn't hug you the way it should. More than that, it just isn't you the way you thought it would be. You don't want to believe it, so you start to justify: the price is right, you're tired of shopping, the cut of the sleeves looks nice on your arms. Say what you want... you know it isn't right. So strip off that sucker and start again!

That's editing. As soon as I had all my scenes down on paper, I was astonished how easy it was to see what needed to go. Chapter 3 involved my main character, Jack, sitting in a windowsill and thinking about life. I'm all for retrospective sitting, but he does it for three pages... and the thing with introspective sitting is that it can be, well, a little boring. Some of it is necessary, because it says a lot about Jack's desires and motivations, but a lot of it just... isn't. And until now, I couldn't bring myself to cut it. Why? Because... I liked it. I thought that sentences like 'They were like a stone dropped into water, sending strange symptoms rippling through the air' were pretty and thoughtful. They were some of the first words of Spellbound that I committed to paper, so they were special. They just didn't fit. So I cut them.

I've always found cutting a hateful process, but this time it actually felt quite good. Empowering, even. I was able to identify what I didn't need and actually make myself delete it without any angst. If that's not a step in the RIGHT editing direction, then I don't know what is.

2,210 words cut so far (and that's just from the first three chapters)- 2,210 words closer to finding that dress for Spellbound.


January 26, 2010

Spellbound's Back Cover

Last night, left to my own devices, I stayed up into the wee hours writing a blurb for Spellbound. I'm taking an editing course this year at the Queensland Writer's Centre, which consists of five day-long classes designed to make me a better editor. It's being taught by author Kim Wilkins, of whom I am an adoring fan. She's written to ask all participants to send her a (very) short synopsis of our stories. So I sat up with my weak iced coffee (Manfriend is better at making those) and worked on my blurb.

I have to say, it was kind of hard. I kept trying to envision the back cover of my published book, what choice words it would contain to lure readers into my story. I've read thousands upon thousands of back cover blurbs, so I didn't think it would be all that hard. The thing is... it was. Condensing this beast that you've spent countless months on into two very short paragraphs is like me trying to squeeze into my Sophomore-in-high-school jeans. Seriously? You want this giant thing to fit into that tiny space? I've written tons of journalism pieces that had to be under 100 words, but those were a cake walk in comparison. Maybe because I have a lot to say about Spellbound. Or maybe I'm just a wordy bastard.

In a class I took with Kim in 2008, she told us that she loves writing her blurbs. She likes to say that it's good preparation: if you can't sum up your story and spool it out in thirty seconds, then how are you ever going to sell it? Writing a blurb means plucking out your story's unique strengths. It means finding those threads that will make a reader turn the book over and open it to Page 1.

So here is my first attempt at writing a blurb for Spellbound:

16- year old Jack Lawson doesn’t believe in magic; he believes in the sad predictability of his ordinary life. That’s before he spies on the Sparrows, the mysterious and beautiful neighbors he’s been obsessed with for years. Jack witnesses a ritual he isn’t meant to see, one that gifts him with frightening powers that turn his ordinary life upside-down. Jack’s unpredictable fire magic plunges him into the secret world of the Sparrow witches, where everything he thought he knew is called into question. To stay sane, Jack must learn to tame his magic- including his ability to hear and see people’s thoughts- but for that, he needs help.

Help comes in the form of the enigmatic Lorna, the girl Jack pines for from afar. As they grow closer, Jack realizes that he’s bound to Lorna in a way that is both dangerous and intoxicating.

Jack’s in with the Sparrows girls ruffles more than a few feathers, so when a boy is found dead at school with Jack and Lorna standing over him, it doesn’t take long for rumors to fly. Whispers turn into accusations and thoughts turn into threats, pushing Jack further away from the friends and family he thought he knew. Jack must fight against this new-found violence to save Lorna, the Sparrows, and himself.

Do you feel like you know what kind of story you're looking at? Would you pick this up for you/a friend/some teenager you know who likes this sort of thing? I feel like there are crucial elements I've left out, so I'll keep working on it until I get it right. Until then, it's time to get back to editing!

January 14, 2010

How to Start Over?


So, in 2008/09, I wrote my first novel. It's a sprawling, rough-around-the-edges first novel, but it's there: thousands of words in what I hope is an interesting sequence. I've proven to myself that I can sit down and do it without driving myself, and my Manfriend, completely insane.

Now that the last of the celebratory brownies are gone and I've gotten over the "Look what I did!", let's-hang-it-on-the-fridge stage, I find my mind whirring with shiny new ideas. One has become particularly sharp. Over Christmas, three main characters materialized in my head, waking me up at weird hours, distracting me from conversations in which I should be participating (that job interview probably wasn't my best...). This is the exciting part, when ideas bloom freely, unimpeded by ability or the strictures of practicality, trembling with promise. I've got a pile of haphazard notes about my setting, plot, and main themes. I think I'm ready to start again.

I find myself staring at the beginnings of an outline and thinking... how did I do this again?

Every writer has a process for getting from idea to completed first draft. You'd think, after writing my first novel (titled Spellbound until further notice), I'd know all about what I need to do. And yet, I find myself wondering if the way I did it last time was actually the best way for me. It took me a year and a half to write Spellbound (in retrospect, about eight months too long). It was a jerky process of stop-and-start, stumbling forward with only a vague idea where the plot was headed. My main character, Jack, morphed from age 13 to 16, the point of view from third to first person. I patchwork-edited as I went, which means that the story sometimes feels like a inexpertly sewn quilt, lumpy and puckered. This is making the editing process much more difficult, which is something I want to avoid in future. But how?

Here's what I think Spellbound taught me about how to write a great first draft:

1. Write every day, preferably at the same time. This seems like a no-brainer, but an important one. One of the reasons SB feels so patchwork is because there were weeks in which I wrote intensely, and some in which I didn't write at all. I allowed my fear-of-suckiness to keep me from pushing through the parts that were hard. Stopping pulled me out of the story, making it that much harder to get back in.

2. Make a relatively coherent outline before starting to write. This also seems like a no-brainer, because who can tell a story without knowing its beginning, middle, and end? Apparently, I thought I could. Other writers do this, I thought. Good writers like to fly by the seats of their badly worn, I've-been-sitting-in-my-office-chair-for-two-weeks-straight pants. I've discovered that winging it IS an important part of my process. That's when characters come alive and start to do things I didn't tell them to (naughty minxes). I've discovered that while I don't need to know how it ends, I need to understand the heart of the story- what the story is REALLY about and what major events are going to drive it forward- in order to get anywhere. There need to be gaps in my outline- but not gaping holes.

3. Know thy characters. I vividly remember writing the first scene in which Jack and Lorna, my main characters in SB, meet for the first time. I knew exactly how Jack was feeling because I was stuck inside his head. His dialogue came out pretty easily, but when I tried to coax words from Lorna's mouth, they came out flat. It took me a week and countless re-writes to figure out where I was going wrong. Lorna was only an idea, not a person: I knew as much about her as Jack did, which was very little. I didn't know what her motivation was, or how she felt about Jack, so I couldn't know how she would react. I had to go back and get to know her (everything past, present, and future) to understand what she should say. I mean, if someone asked you "What would so-and-so say if you told her that?" -and you didn't happen to know this so-and-so- how would you respond? Probably by saying something like "Umm... dunno?". I have to know my characters very, very well before I can write about them with anything like authority.

4. I like pretty pictures. It took me a while to realize this, but I'm a very 'visual' person. Photographs and illustrations that capture the essence of what I'm writing make all the difference when it comes to inspiration. This is especially true when I live in a tropical locale that blurs and generally wilts my mind's picture of my New England setting. I've put up two massive cork boards on my wall and filled them with Novel #2-inspired cut-outs: snow-draped forests, foggy fields, topaz gems. These pictures provide an important creative push on those days when I'm just not feeling it.

5. It's OK to go back- just not too far! I've read a lot of writers who say that, when writing a first draft, you shouldn't look back. Just keep writing and save the editing for when the thing is finished. Even when properly caffeinated, I need a little recap of what I wrote the day before. Reading back just a few pages helps to pull me back into the story and keep me on track. It also reminds me, on those days when every word I type feels like drivel, that there are really good things hiding underneath the crap. Your writing is always better than you thought it was.

The other thing I've learned? You need to stop allowing yourself to procrastinate via Facebook and Gmail and... blogs.

And so, back to the drawing board!