Norwescon Day 4

Ah, sweet redemption. My last panel of the con was a really good one – well moderated by Patrick Swenson, the editor-in-chief of Talebones magazine. (Be aware, those of you who write short stories that might fit his magazine, he sends complimentary copies of Talebones to all NY editors.) Along with Jim Glass, Grá Linnaea, and Renee Stern, we talked about ways to get good feedback on your writing, from critique groups to contests to first readers, writers conferences, and workshops to Writers of the Future, to long gritty (and expensive) ordeals like Clarion. Each of us had slightly different perspectives and backgrounds.

Our most important points?


The critical importance of getting feedback and the truth that no one way works for everyone. We all agreed, too, that you can learn more about writing from giving critique than from almost anything else in the world. After taking a quick turn about the dealers’ room to sign the remaining stock of my books, I took off with friend Brenda for two days of writing in a cute B&B at soggy Gig Harbor. A very fun cozy couple of days. Good progress was made by all!
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Learning from Critiquing

One of the best ways to hone one's writing skills is to critique other writers' work. Yes, I know I've said this before. But even after writing eleven books, and learning an incredible amount, it never hurts to get reminders.

I just completed critiquing seven manuscript submissions for several workshops. All of these were the opening pages of fantasy or science fiction works. These ranged from utterly beginner level to one that made me sorry the submission was only 20 pages. And I want to state right here up front a Bravo! for all seven submitters. It takes a lot of moxie to put your work out there for someone else to scrutinize. Some aspiring writers never get there...and they'll never get anywhere. Because as much as we must write for our own pleasure, publishing means communicating our ideas to someone else.

This exercise reminded me of several important lessons about openings.

1. Open with something important - the story!
2. Be specific
3. Go deeper - step back and view the big picture
4. Strip TV and movie cliches from your writer's vocabulary

1. Open with something important - the story!
   Even the most die-hard seat-of-the-pants writer [me!] knows a lot before beginning to write. Backstories of characters. World history. The nature of magic. You need to know those things. The reader may need to know them, too, but not necessarily everything, and certainly not in the first two chapters. Be ruthless. Get to story developments - events – in the first two pages. It is story that draws in the reader, not history. If it is page 16 before we know the gender of your main character or page 18 before the first “event” occurs, you will have lost most of your readers.
   



2. Be specific
   Specificity is what separates generic prose from vivid prose. Think about moving from place to place. Walk is a generic movement. It almost always requires an adverb to tell the reader what kind of movement we’re talking about, eg. walked slowly or walked briskly or decisively. English is rich with verbs, especially for something so basic as movement. Pull out that thesaurus - not to find hifalutin words your characters would never use, but to find the right word: stroll, meander, stride, trot. For nouns, don’t just say flower or cup or animal. Find a word that will evoke the world you’re describing or reveal something about the character who is describing it. Tankard and teacup give us more vivid scenes without excess verbiage. Think replacement, not addition. When your characters hear a prophecy, don’t leave us with generic, “Beware of the evil one. Shadows will drown the light,” come up with something interesting and specific to your story.
   



3. Go deeper - step back and view the big picture


What makes your fifteen-year-old hero different from every other fifteen-year-old hero in literature? Think of the heroic deeds he needs to perform…and then think of what seeds of personality or emotion exist inside your character that can emerge to support those deeds – or what the character lacks that he must develop to be able to do what you require of him. Sometimes you don’t know these things right away, but eventually you must. You’ll not only enrich your character, but you’ll get ideas for meaningful story events that will develop or expose these characreristics. And then look at the reverse to find interesting quirks and flaws. Maybe your female love interest doesn’t need to be highly literate, but she needs to be assertive, so let her lack of literacy be something that distinguishes her from other female characters or something that bothers her.


4. Strip TV and movie cliches from your writer's vocabulary
   
   How many people in the world can actually survive their boat going over a waterfall? A blow on the head severe enough to cause unconsciousness will generally cause a concussion. Look up the recovery time and symptoms of a concussion. Repeated concussions cause brain damage. [See the NFL statistics on players who are held out of games or retire because of repeated concussions.] Is it really possible to do the Jason Bourne thing and pick out the evil perpetrators from a mobbed train station? Visit a mobbed train station and try picking out one person! Labor almost never begins with one violent contraction. See what I mean? Don’t rely on film or TV for any medical advice, historical fact, or mechanical reality, ie. guns, bombs, car flipping etc. [Watch TV with a doctor, historian, or mechanical engineer and you’ll hear about it!] Besides being inaccurate, they are cliché. Boring. Unoriginal. And editors, agents spot them right away.
   
   

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Peripheral Matters

It would be lovely to think that a full-time writer gets to spend full (work/creative) time writing. But just this week, the variety of other endeavors involved in a writing career struck me especially hard. So what's going on?



Preparing for the World Science Fiction Convention

First, logistics: I don't fly this time, but I've got two airport runs to make, one for a good friend traveling in from Vancouver on Tuesday to be my roommate, and the second for two more good friends flying in from Baltimore to attend the con. Then I've got to schedule a dinner with my agent, a critique group meeting on Wednesday night to arrange as our remote member will be in town for the con, a lunch with readers from my online group, and decide matters like "do I take the car and pay the exorbitant nightly parking at the hotel or have the ES (Exemplary Spouse) drop us off?"

Second, prepare for my program items. Some are fun - like choosing what to read at my reading - Breath and Bone or teaser bits from Unholy Alliance. This can take time, and usually involves tough decision making. Some are easy, like preparing for the Torture panel and the Joining the Convention Community panel - that's just making a few notes. But the "SF as modern mythology" panel which I am to moderate is a bit more obtuse. What does that topic mean? Who are the other panelists? Do I know enough about this topic to ask intelligent questions to keep the discussion on track. I've been peeking at Joseph Campbell sites and exchanging emails to the panelists to get their take on where the discussion should go.


Preparing workshops for two upcoming writers' conferences

If there weren't handouts due to volunteers by Sept 1, I wouldn't even be thinking about workshops right now. But one of my workshops for the Colorado Gold conference is brand new. "What is This Thing Called Voice?" It's a topic I've got several pages of notes on, but I need to choose a focus [hearing voice vs. writing voice] and formulate a coherent script before I can pass on a handout. This can take two or three days to do. And then I'll need to do some run-throughs before the conference. In October I'm doing the Surrey Writers Conference, and I've got one workshop that I need to expand from a two hour to a three-hour class, mostly choosing some good exercises, and one workshop that I need to review as I haven't done it for about four years. That's at least a day and a half prep, plus run-throughs as the con gets closer.


WD (Wretchedly Delayed) Postcard/Bookmark Development

Aarrgh. Here it is WorldCon and I've still not done new postcards/bookmarks for the Lighthouse books. Part of this is my dallying because using tools like Corel or Publisher or whatever is something I do rarely enough that I have to relearn them each time. And my version of Corel is very old and it is the one thing that just won't run right on Vista. C _ _ P! Part of the problem is that I have to DECIDE things like postcard vs. bookmark, and then figure out what is needed - CYMK , 300dpi bookcover, trimmed to the right size, and then the back - which quotes? same blurb as on the F&S cards, new one for the "series" card, which fonts...etc. I can't afford to just dump all this in the lap of a professional. Wish I could. Now it is very late and I don't think I'll be able to get them done in time for the con. Phooey. But I needed to do them anyway.


Travel arrangements

The only thing I have to book is my trip to World Fantasy in Calgary for early November. I've been trying to watch fares. See if there is any wiggle room. No doubt it will be more expensive than if I'd booked it three months ago. I'm going to be in Vancouver the previous weekend. It would make sense to stay over a couple of days with my friend in Vcr and travel straight to Calgary, but I think the fact that the writers conference is booking the Vancouver trip and I'm booking the Calgary trip is going to make the whole thing too complicated. I'll just fly home and turn around and leave again two days later.


Critique prep

Can't forget to read my partners' work. They give me such useful feedback, this has to be a priority. And, as many, many writers will tell you, doing critique is at lest as valuable as receiving it. It just takes more time.


Blogging
Well, here I am. The days seem to race past, and I really do like to THINK before I write. Don't want to waste either my time or yours, dear reader.



These tasks don't even cover email, reading blogs/posts/whatever, or even just reading. I'm reading two manuscripts for blurbs right now. Just finished one. Now to write the blurb...it was good. Then to finish the other one.

Such is a writers' life. Each thing fun in itself, but the scheduling, ow...
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Waking the Fire

This has been a busy summer. Family business has occupied most of my time since early May. Writing days have been rare and discontinuous, requiring constant restarts, which is just deadly for my development style. It didn't help that I was caught in the deadly middle of the book, the oft-mentioned "it's all crap" stage.

I was beginning to panic. Deadlines don't move, and I'm determined to get this book in on time. I feel as if I used up all my slacker chits on the Lighthouse books - two books instead of one, five months late with the first, a month late with the second. [Yes, Yes, many authors are constantly late, but I'm a good girl, you see.]

I've mentioned some things I've done to restart - rereading, rewriting, rethinking. But last Friday when I sat down to work, I decided I HAD to get moving. I was going to work Friday, Saturday, Sunday, and Monday, all in a row. The blessed spouse took care of several things that would have taken me away - he is the most supportive and generous of companions. And so what did I do?

I had to get reacquainted with the book - approximately 225 pages at present.

#1 - I started again at the beginning. Re-re-worked the new opening to include a couple of possible character "expansions" for my narrator Portier, who is actually the least fleshed out of my three agentes confide. One of the ideas is going to work. The other might be too much of a secret in a story where everyone has secrets. We'll see. I just laid the groundwork that can be easily removed later.

#2 - Spent a whole day with my "Conspiracy File". The biggest problem with a long layoff is losing the plethora of detail and "continuity information" in my head. Usually I maintain this store of info throughout the development of a book. But never have I had this kind of interruption [all good stuff, by the way, except for a few weeks where my mom was sick - thanks to those who were worried!]


What I did with the conspiracy file was to methodically go through my current list of clues, the current evidence against each suspect, the current progress in the revelation of the world's magic, and the current developments in the arc of one particular character of central importance. As I went through these things, I found myself referring more and more to the manuscript. Rewriting bits. Adding in a few bits that I had put in my conspiracy file, but had never gotten into the actual text.

#3 - Picked up a stack of critiqued pages from my writers group. I had not sat down to incorporate [or not] my critiquers' comments in the spring when I was trying very hard to forge ahead in the story to lay down as much as I could before the life disruption. But I felt this was the time, because it took me back into these earlier chapters while looking through alternate eyes. This is the great value of critique partners - forcing yourself to look at your writing through different eyes.

By this morning, I had gotten through all the comments and was sitting in the middle of Chapter 14 - the last full chapter I wrote. And all of a sudden, I found myself jotting down a list of "things that need to happen next" and writing an entirely new paragraph that opens the next scene. My head is full. My fingers are poised. I am anxious to find out what happens next. Hooray!!! Read more of this post!

Some Common Questions

Inspired by a comment on my last post, here are a few questions I get asked frequently.

Will you read and/or critique my manuscript?

Sorry, I won't. Between my own writing, critiquing work of my critique group partners, and reading manuscripts for the various workshops, blurbs, and such that I "sign up" for, I have no time to read other manuscripts. I believe all writers need to establish their own group of first readers - people who are serious readers, serious writers, and who will be honest about their reactions to your work. Family members or personal friends tend to give support (which we all need, as well) rather than detailed feedback. I enjoy the give and take of an excellent critique group, and have learned as much by reading other people's work critically as I do by their critiquing mine.

For a few more questions and answers...



I have an idea for a story. Will you write it and split the profit?

Nope. Ideas are everywhere. I have more ideas than I could possibly write in my lifetime. And to be blunt, an "idea" is far less than half the work of producing a book!

Where do you get your ideas?

Everywhere. The Lighthouse Duet came to be from a feature story I heard on NPR, in combination with a remembered scene from a YA novel about Roman Britain, and some stuff I knew about monks preserving classical literature during the Dark Ages. The Rai-kirah books resulted from an attempt to turn the concept of a fantasy hero from the cliched "naive, noble-hearted young boy or girl with a kindly wizard mentor, elf and dwarf companions, and a noble destiny awaiting him or her at the end of a quest" on its head. And so was Aleksander born. Song of the Beast came about when I decided to pick another unlikely hero - a musician who lacked and was unlikely to acquire any skills of war. Etc. Etc.

Has anyone ever stolen one of your ideas?

I sincerely doubt it. Just as I do, most writers have more ideas than they can possibly use. And it is in the execution...the writing...that a book comes to life. Ten writers could set out with the same premise and come up with ten wildly different stories. Example? How many stories have been written about cruel slaveowners and their mysterious slave? I like to think I did something unique with that idea. If my books stand up well, then anyone who lifts one of my characters or some particular worldbuilding idea will be shown up as a cheat. I love the concept of Amber...the essential core of a world and an endless variety of reflection worlds that one family can travel. But why would I want to write a story based on that idea and pretend it's my own?

Now if someone is stealing your actual words, whole passages...well, plagiarism is another matter altogether.

Is anyone ever going to make a movie of your books?

I would likely have to sell a whole lot more of them! (Notice the ones that get made with any success at all have sold a few billion copies. Word of mouth. Word of mouth. Word of mouth.)

How do I get started writing fantasy (or any kind of fiction)?

This is fodder for an entirely new post. But in short: Read. Write. Learn the craft. Constantly and interchangeably.

I'll do more questions in another post.
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Slitting Open Your Chest

No, this post is not a how-to for the darker aspects of fantasy fiction. This has to do with one of the writer's hardest tasks. Two weeks ago I handed out the prologue and first two chapters of Unholy Alliance to my critique group. And yesterday was D-day - the meeting where I would hear their first critique. Putting your work--your vision--your beloved characters and passionate prose--in front of others for the first time is a tough, but necessary part of the writing life.


Perhaps some writers' brains are capable of distinguishing the prose/characters/story the they intended to put down from the prose/characters/story they actually put down. Mine is not. I can write,

"He took chance on love"

and read it over fifty times never missing the "a" because my brain believes I wrote it. In the same way, I can write an action scene that plays perfectly in my head, but a reader will say, "Where the heck did those fifty cavalry men come from?" or "Weren't his eyes still closed when he shot that arrow?"

I need fresh eyes to look at my work and tell me what's confusing. What's missing. What they believe they have learned about the characters, the mystery, the world. I make the judgment as to whether they've learned what I want or experienced what I intend. Critique is a list of symptoms. The writer must diagnose the disease. It is not even the task of the critiquer to offer solutions, though sometimes I'll ask what might have worked better.

I am fortunate to have six excellent writers who read my work (and I read theirs as well, because you can learn just as much about writing from critiquing as from being critiqued.) I was a bit nervous about handing out these first chapters. When I handed out the first chapter of Flesh and Spirit, which I thought was much more polished than these, they hammered me for a number of problems - nicely, of course. So what was the verdict?
Overall, a great reception. Whew! Best: they enjoyed Portier's voice as narrator, and the developing relationship between my three investigators. They liked the magic, and the background of the conflict between science and magic, though there were clearly some places where I had left ambiguity. Does "blood-borne magic" imply that you have to prick your finger every time you work magic? No, no! It means "genetic" - inherited! And using actual blood in spellmaking is actually an important nastiness, because it can (and does) lead to all sorts of terrible crimes.

The biggest negative? Yes, I knew the short prologue, which is an introduction to our narrator and how he got involved in the mystery, would garner some negative reactions. It violates a couple of accepted standards for "openings." Will I change it? Not yet. I still think it might work. I'm anxious to hear from a member who was not there yesterday, to see if any comment jars me out of thinking I want to leave it as is.

Some authors disdain critique groups, saying that they don't believe in "writing by committee," and yet they will swear by their "first readers" who might be a wife or a good friend. Yet a first reader who does nothing but tell you how great a writer you are is just as useless as having a critique group that believes you should rewrite your story to please any or all of its members or accept 100% of their suggested line edits. A good first reader will give meaningful, useful critique. And a good critique group is just a set of good first readers. I value mine enormously.
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