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Remember how, a while back, I mentioned that a journalist friend was helping me with promotion? Well, she interviewed me. Below is the result.
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Captain Leung, the coolly powerful privateer, silk-clad and barefoot. Maxime, the charismatic, magnificently endowed ruler of a dukedom by the sea. In The Duke and the Pirate Queen, Victoria Janssen’s third novel, these characters take the spotlight in a vibrant world even more lush than The Duchess, Her Maid, The Groom and Their Lover, the Harlequin Spice novel where they first appeared.
Q: These two characters are unusual and very equally matched. At what point while writing The Duchess did you realize that Maxime gets his own book?
VJ: Probably close to the end. I didn’t think about him much until I had to write him. It was more that I wanted Captain Leung to have her own book and I thought – who would be a good partner for her?
Q: Some reviewers thought Maxime was such an alpha male that he should have been the romantic lead in the first book.
VJ: They’re totally wrong about him being alpha. There's a section I had to cut from The Duchess in which he is completely not your typical Alpha Hero. (You can download it for free from my website.) He’s much more of a diplomat than “my testosterone drives me to be in charge.” So really he operates more in the sort of traditional female role of negotiation and emotional bonds.
Q: The cover art is compelling. It shows Captain Leung’s power and her muscles. How did you decide on her appearance?
VJ: I wanted Imena to look powerful and atypical of romance heroines, to make it clear she was different. So at a glance you would know that this was somebody interesting and there were other possibilities for women in this world. Also, I described her in a way that I thought Sylvie [a character appearing in both The Duke and the Pirate Queen and The Duchess, Her Maid, The Groom and Their Lover, Janssen’s first Harlequin Spice title] would find hot!
Q: What made you think of having Captain Leung’s head be shaven and covered in tattoos?
VJ: Maybe the last Rush Hour movie, a movie with a woman with a map tattooed on her scalp. It seemed that her value was reduced to what she had tattooed on her, and I wanted to strike against that: “These are the things I choose.” And tattoos on your scalp…you have got to be tough to get that done.
Q: At 30, Captain Leung is the youngest of your heroines. What made you decide to write older characters?
VJ: I wanted to write about somebody in that stage of life because fewer romance, or even erotica, authors do. Not callow, but she’s not at that age where she’s looking back in regret, like Camille [The Duchess]. Stories about older women are more neglected in our society. There’re fewer role models.
Q: As fantastical as this book is, it also works as a story about a thirtyish career woman who is enormously competent at her job, going home to her usually unconventional parents who have turned suddenly conventional about pressuring her to get married. Is that what you intended?
VJ: Anytime you’re writing fantasy or science fiction, you’re using an imaginary world to write about us, a lens or a mirror to make you think about the issue from an unexpected angle, like light shooting off a mirror at an angle. I try not to force it, but once I find it in what I’ve written, I can emphasize it a bit, to give the characters more depth and to develop a theme. Sometimes I find unexpected things about the characters this way.
Q: Is that what happened with the Venom/Cassidy character? You showed him to be rich and shabby at once, pretentious but lethal, especially with your dialogue.
VJ: To me, dialogue is almost inextricable from characterization. The bit on the desert island, for instance, where Maxime tells Captain Leung a big secret – I didn’t come up with that until I was writing that scene. I often discover things through dialogue. I'll have them conversing back and forth and then my back brain speaks up. If I try to direct it too much, it gets really dry and flat.
Q: In an alternate universe, if the Squirting Squid tavern were real, where would it be?
VJ: Way south of South Street, one of those blocks where there aren’t any businesses left but a single bar. Except if was Philly, the drinks would be good, and the food would be, too – it would have been turned into a gastropub!
Q: Who are some of your favorite romance writers, and what did you learn from them?
VJ: Judith Ivory. I learned you don’t have to have a pleasant hero or heroine. You don’t have to like them immediately to be involved in the book.
Laura Kinsale. You can have cracktastic plots. You can have things in a romance novel that include penguins in the Falkland Islands, ninjas, heroes with vertigo. Very freeing.
Carla Kelly. The knack of writing about ordinary people.
Georgette Heyer. Fun with cross-dressing and banter.
Q: By the end of your career, how many books would you like to have published?
VJ: I cannot imagine an answer to that question. I can’t imagine an end. If I had to decide how many, I’d have to decide right now which ideas to use and which not to use.
Q: What are some things you would like to write next?
VJ: A Victorian-set romance with a lady adventurer and a candy magnate who’s also a spy…a bitter and angry candy magnate. A space opera. A young adult novel, with lots of angst. Definitely a Western, possibly steampunk or fantasy -- a weird Western. And something with woolly mammoths.
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Showing posts with label writing process. Show all posts
Showing posts with label writing process. Show all posts
Thursday, December 2, 2010
Friday, November 26, 2010
Things I Like To Write About
I'm trying to find my bliss.
It's been so long since I've deliberately sought out inspiration on this scale that it feels like something new! I haven't had time to come up with a totally new project since back in 2007. Ever since then, I've been writing from book to book, under contractual demands. It's freeing to imagine all the different things I could be writing right now; or, at least, after I finish a couple of short-term writing goals from the to-do list.
I'm trying a bit of free-association. What have I written about in the past that gave me great joy? What thrills me when I read about it? What things/situations/events make me eager to write? And can I reduce some of my free association to a list of Things I Like which might coalesce into a new idea?
World War One
losing and finding family
colonialism
space opera
horses
social class
psychic powers
hats
cities
postwar traumas
formal address
woolly mammoths
...and the list goes on.
It's been so long since I've deliberately sought out inspiration on this scale that it feels like something new! I haven't had time to come up with a totally new project since back in 2007. Ever since then, I've been writing from book to book, under contractual demands. It's freeing to imagine all the different things I could be writing right now; or, at least, after I finish a couple of short-term writing goals from the to-do list.
I'm trying a bit of free-association. What have I written about in the past that gave me great joy? What thrills me when I read about it? What things/situations/events make me eager to write? And can I reduce some of my free association to a list of Things I Like which might coalesce into a new idea?
World War One
losing and finding family
colonialism
space opera
horses
social class
psychic powers
hats
cities
postwar traumas
formal address
woolly mammoths
...and the list goes on.
Tuesday, November 16, 2010
Glimmerings in the Fog
I was in the shower last week when I finally felt the merest flicker of enthusiasm for a new writing project.
I've been deliberately taking some time off from writing. I took a week off solely to read (though I did end up writing a little bit on a short story). Before taking the time off, I wrote two synopses which were fine, adequate, but though they might be salable, I decided I wanted to think of other possibilities. And I've been waiting for inspiration.
I haven't had the leisure to wait for inspiration in several years, so it feels like something new, and a great luxury. It feels like something to be desired. So I was really glad that ideas for a future project began to appear, like matches being lit somewhere off in the fog. A bit here. A flicker at the corner of my eye. A hint of emotion when I think of a favorite novel or series.
I don't have anything cohesive yet, except knowing that I want to write about an alien planet or possibly an alternate dimension of some kind, but not one that's too alien. In my head, I'm assembling lists of Things I Like that might be useful for worldbuilding. And I'm poking at setups. Gently.
Be very quiet. I'm hunting rabbits.
I've been deliberately taking some time off from writing. I took a week off solely to read (though I did end up writing a little bit on a short story). Before taking the time off, I wrote two synopses which were fine, adequate, but though they might be salable, I decided I wanted to think of other possibilities. And I've been waiting for inspiration.
I haven't had the leisure to wait for inspiration in several years, so it feels like something new, and a great luxury. It feels like something to be desired. So I was really glad that ideas for a future project began to appear, like matches being lit somewhere off in the fog. A bit here. A flicker at the corner of my eye. A hint of emotion when I think of a favorite novel or series.
I don't have anything cohesive yet, except knowing that I want to write about an alien planet or possibly an alternate dimension of some kind, but not one that's too alien. In my head, I'm assembling lists of Things I Like that might be useful for worldbuilding. And I'm poking at setups. Gently.
Be very quiet. I'm hunting rabbits.
Wednesday, November 3, 2010
Reading Lessons
One of the reasons for my reading vacation was to refill my brain with stuff that I will, eventually, use to write. Letting new water seep into the well, as it were. Eventually, I will write again, and I don't want to have to dig that writing out of the dry and cracked ground of my brain with a pickaxe.
(Another reason was that if I didn't get some hermit-time, I was going to start banging people over the head with whatever I had to hand if they so much as looked at me funny, which tells you something about me and reading.)
I read a lot of books during that week, and skimmed through some that I didn't feel like reading in their entirety, and I tried not to think too much about writing. I did write, on Friday--I had an idea, or part of one, that I burned to put on paper, so I allowed myself to do that, but I didn't finish the short story I began, I only wrote until I came to a logical stopping point. (I didn't finish the story yet, anyway).
But back to the reading. A large portion of what I read were books from series that I had followed for years, one of them even before it was sold. I realized what I cared about, far more than the ongoing plot, was the characters. They'd appeared in more than one book, so I had a better acquaintance with them than characters who only appear in a single novel. Sometimes it only takes one book to love a character, but there are other things you can do with them when they appear over and over. I am thinking about that now. Not very hard. But it's in my backbrain.
I already knew I loved character-driven novels and series even more. It seems a silly thing to need to be reminded of. But I think I did need to be reminded. Now I'm thinking about why I like series so much.
(Another reason was that if I didn't get some hermit-time, I was going to start banging people over the head with whatever I had to hand if they so much as looked at me funny, which tells you something about me and reading.)
I read a lot of books during that week, and skimmed through some that I didn't feel like reading in their entirety, and I tried not to think too much about writing. I did write, on Friday--I had an idea, or part of one, that I burned to put on paper, so I allowed myself to do that, but I didn't finish the short story I began, I only wrote until I came to a logical stopping point. (I didn't finish the story yet, anyway).
But back to the reading. A large portion of what I read were books from series that I had followed for years, one of them even before it was sold. I realized what I cared about, far more than the ongoing plot, was the characters. They'd appeared in more than one book, so I had a better acquaintance with them than characters who only appear in a single novel. Sometimes it only takes one book to love a character, but there are other things you can do with them when they appear over and over. I am thinking about that now. Not very hard. But it's in my backbrain.
I already knew I loved character-driven novels and series even more. It seems a silly thing to need to be reminded of. But I think I did need to be reminded. Now I'm thinking about why I like series so much.
Wednesday, October 20, 2010
Talent versus Marketability
All of us are good at something. Sometimes the hard part is recognizing what we’re good at, and not only what we’re good at, but what we’re really good at.
You can be good at a lot of things, but only one or two of those things sing.
For a writer, fiction that sings is the fiction that engages and involves people on a deeper level than most of their everyday reading. Naturally, that varies person to person. But there is still an indefinable something that some writers seem to have and some don’t.
Even if you have that something, it isn’t necessarily present in everything you write. Think of a favorite author who has more than one series, one of which is on your ultimate keeper shelf and another which you traded away on BookMooch. What did the keeper have that the transitory read did not?
The reader who can figure that out can save herself a lot of money and time on books she won’t adore. The writer who can figure that out might be on the path to selling a lot more books.
I think a way to go about finding what sings for you is to think about market categories. This serves two purposes. First, it helps you narrow down story elements and plot structures that particularly work for you. Second, it helps you think about how salable what you’re good at might be. I don’t think there’s any shame in trying to make your work marketable. After all, after you’ve written it, don’t you want a lot of people to read it? Not to mention money (but if writers only wrote for money, there would be a lot fewer of them!).
What reader reaction did you get from your contemporary romance versus your historical suspense novel? Did readers fall in love with your spaceship captain heroine but feel nothing for the vampire? And what did you love most? Did that translate into your writing? What lives in your writing, and what is limp and dead?
I’m going to keep thinking about this. I’d welcome input!
You can be good at a lot of things, but only one or two of those things sing.
For a writer, fiction that sings is the fiction that engages and involves people on a deeper level than most of their everyday reading. Naturally, that varies person to person. But there is still an indefinable something that some writers seem to have and some don’t.
Even if you have that something, it isn’t necessarily present in everything you write. Think of a favorite author who has more than one series, one of which is on your ultimate keeper shelf and another which you traded away on BookMooch. What did the keeper have that the transitory read did not?
The reader who can figure that out can save herself a lot of money and time on books she won’t adore. The writer who can figure that out might be on the path to selling a lot more books.
I think a way to go about finding what sings for you is to think about market categories. This serves two purposes. First, it helps you narrow down story elements and plot structures that particularly work for you. Second, it helps you think about how salable what you’re good at might be. I don’t think there’s any shame in trying to make your work marketable. After all, after you’ve written it, don’t you want a lot of people to read it? Not to mention money (but if writers only wrote for money, there would be a lot fewer of them!).
What reader reaction did you get from your contemporary romance versus your historical suspense novel? Did readers fall in love with your spaceship captain heroine but feel nothing for the vampire? And what did you love most? Did that translate into your writing? What lives in your writing, and what is limp and dead?
I’m going to keep thinking about this. I’d welcome input!
Thursday, October 7, 2010
Fascinating Faces
I adore looking at old photographs, particularly photographs of people.
I found this one on the web. It's of actress Marjorie Day. There's not a lot of information about her out there that I was able to find on a cursory search. But for my purposes, that doesn't really matter.
I feel like I know her from the photo, in a different way than knowing facts, in a kind of abstract way. It's a casual photograph, not overly posed, or so it seems to me. I feel like I have a glimpse of her personality from it.
I can't stop looking at her expression, at her stance. She's somebody. You can see it. She will probably show up in my fiction one day.
This Bassano photo in the National Portrait Gallery seems like it's of a different person.
I found this one on the web. It's of actress Marjorie Day. There's not a lot of information about her out there that I was able to find on a cursory search. But for my purposes, that doesn't really matter.
I feel like I know her from the photo, in a different way than knowing facts, in a kind of abstract way. It's a casual photograph, not overly posed, or so it seems to me. I feel like I have a glimpse of her personality from it.
I can't stop looking at her expression, at her stance. She's somebody. You can see it. She will probably show up in my fiction one day.
This Bassano photo in the National Portrait Gallery seems like it's of a different person.
Tuesday, September 28, 2010
I Am My Own Muse
How's that for a pretentious title? But aren't all writers, really, their own muses? It's sort of in how you talk about it. Some personify, and talk about their "muse" as if it's something/someone outside of them. Others, like me, feel the "muse" is internal, ideas cooked up by the subconscious.
When I think about writing and inspiration, I go around and around in my opinions. (It's one thing on which every writer has an opinion, or opinions. Just ask us. Better yet, ask a herd of us all at once.)
I can't personify my urge to write and my inspirations. I know it's one way to feel you control those elements of writing, because if you can describe something, it's there. You can do things with it. You can "tell your muse to behave." All of these techniques are no doubt helpful at one time or another in the writing process.
At the same time, personifying means giving up control: my muse is not me. If my muse is not cooperating, it's not my fault. That can be good or bad. Sometimes, giving up control helps summon new depths to writing. Sometimes, you end up with confusing slop.
I'd rather, for the most part, have an element of control over my creative impulses. If I give in and write with little thought, I always, later, go over it with a critical eye. Maybe I'm just a control freak.
What about you?
When I think about writing and inspiration, I go around and around in my opinions. (It's one thing on which every writer has an opinion, or opinions. Just ask us. Better yet, ask a herd of us all at once.)
I can't personify my urge to write and my inspirations. I know it's one way to feel you control those elements of writing, because if you can describe something, it's there. You can do things with it. You can "tell your muse to behave." All of these techniques are no doubt helpful at one time or another in the writing process.
At the same time, personifying means giving up control: my muse is not me. If my muse is not cooperating, it's not my fault. That can be good or bad. Sometimes, giving up control helps summon new depths to writing. Sometimes, you end up with confusing slop.
I'd rather, for the most part, have an element of control over my creative impulses. If I give in and write with little thought, I always, later, go over it with a critical eye. Maybe I'm just a control freak.
What about you?
Wednesday, September 15, 2010
The Nerd Heroine - Louisa Edwards Guest Post
Please welcome my guest, Louisa Edwards!
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When I sat down to write Just One Taste, I had only one thought in mind: I want to write about a nerd. And not a nerdy hero, either--I wanted my heroine to be a first class, grade A+++, Wookie-loving, Magic card-carrying friend of Buffy. If you know what I mean, and I think you do.
Oh, I had justifications. I wanted to play with themes of emotional intelligence (the ability to read people and respond to their emotions) vs. book smarts, and I wanted to explore the hard science of food chemistry in relation to the more mysterious realm of culinary aphrodisiacs.
But mostly? I wanted to write a heroine who, while certainly better at chemistry than I'll ever be, loves the same things I do. I wanted to write a woman who is smarter than everyone else in any given room, and doesn't try to hide it. And I wanted to pair her with that most romantic creature of all--a hero who adores her exactly the way she is.
Dr. Rosemary Wilkins has a wide ranging interest in science fiction shows and books, from Battlestar Galactica to Jim Butcher’s Dresden Files. I admit it, I needed zero special research to know what an authentic nerd would enjoy! All of her references come straight out of my everyday vocabulary--and I only wish I had her awesome t-shirt collection.
So here is my list of Top Five Nerd Essentials (and I hope by now it’s obvious that I use the term "nerd" with a deep, abiding affection and pride):
1. Star Wars--the original episodes 4, 5, 6. Accept no substitutes! These were the first sci-fi movies I ever saw (my mother actually recorded the historic moment of my exposure to The Empire Strikes Back in my baby book), and they left an indelible mark on my young psyche.
2. Buffy the Vampire Slayer—-the TV show. I had never before been so obsessed with anything as I was with that series. The dialogue, the wit, the--omg, characters! I mean, Spike, alone. . .I think I’ve watched the entire series, all seven seasons, straight through at least 10 times. Even writing this blog post is making me want to watch it again. Don’t judge me. And while we’re on Joss Whedon--Firefly. Nathan Fillion in tight pants. ‘Nuff said.
3. The Lord of the Rings--books and movies. My mother read The Hobbit out loud to me when I was about 8, and I couldn’t wait to read the rest of the books. No world has ever captured my imagination as completely.
4. Terminator--the first one. Okay, I like them all, but the first one remains one of the best romances on film. I’m serious! Sarah Connor and Kyle Reese are a couple for the ages.
5. Battlestar Galactica--the new TV series. Talk about obsessed! It’s utterly engrossing, fabulously complex, the characters are crazy flawed and fascinating, and I have the biggest girl crush ever on Starbuck.
So that’s my list! Who’s on your list? Comment for a chance to win a signed copy of Just One Taste and some signature Recipe for Love swag.
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Thanks, Louisa! Ummm...so, who would win if Spike and Darth Vader and a Terminator and Gandalf all had a fight? Me, I think Wolverine would show up and beat them all. Because of his healing ability and general meanness, you see.
#
When I sat down to write Just One Taste, I had only one thought in mind: I want to write about a nerd. And not a nerdy hero, either--I wanted my heroine to be a first class, grade A+++, Wookie-loving, Magic card-carrying friend of Buffy. If you know what I mean, and I think you do.
Oh, I had justifications. I wanted to play with themes of emotional intelligence (the ability to read people and respond to their emotions) vs. book smarts, and I wanted to explore the hard science of food chemistry in relation to the more mysterious realm of culinary aphrodisiacs.
But mostly? I wanted to write a heroine who, while certainly better at chemistry than I'll ever be, loves the same things I do. I wanted to write a woman who is smarter than everyone else in any given room, and doesn't try to hide it. And I wanted to pair her with that most romantic creature of all--a hero who adores her exactly the way she is.
Dr. Rosemary Wilkins has a wide ranging interest in science fiction shows and books, from Battlestar Galactica to Jim Butcher’s Dresden Files. I admit it, I needed zero special research to know what an authentic nerd would enjoy! All of her references come straight out of my everyday vocabulary--and I only wish I had her awesome t-shirt collection.
So here is my list of Top Five Nerd Essentials (and I hope by now it’s obvious that I use the term "nerd" with a deep, abiding affection and pride):
1. Star Wars--the original episodes 4, 5, 6. Accept no substitutes! These were the first sci-fi movies I ever saw (my mother actually recorded the historic moment of my exposure to The Empire Strikes Back in my baby book), and they left an indelible mark on my young psyche.
2. Buffy the Vampire Slayer—-the TV show. I had never before been so obsessed with anything as I was with that series. The dialogue, the wit, the--omg, characters! I mean, Spike, alone. . .I think I’ve watched the entire series, all seven seasons, straight through at least 10 times. Even writing this blog post is making me want to watch it again. Don’t judge me. And while we’re on Joss Whedon--Firefly. Nathan Fillion in tight pants. ‘Nuff said.
3. The Lord of the Rings--books and movies. My mother read The Hobbit out loud to me when I was about 8, and I couldn’t wait to read the rest of the books. No world has ever captured my imagination as completely.
4. Terminator--the first one. Okay, I like them all, but the first one remains one of the best romances on film. I’m serious! Sarah Connor and Kyle Reese are a couple for the ages.
5. Battlestar Galactica--the new TV series. Talk about obsessed! It’s utterly engrossing, fabulously complex, the characters are crazy flawed and fascinating, and I have the biggest girl crush ever on Starbuck.
So that’s my list! Who’s on your list? Comment for a chance to win a signed copy of Just One Taste and some signature Recipe for Love swag.
#
Thanks, Louisa! Ummm...so, who would win if Spike and Darth Vader and a Terminator and Gandalf all had a fight? Me, I think Wolverine would show up and beat them all. Because of his healing ability and general meanness, you see.
Monday, September 13, 2010
Steampunk Themes
What are some common themes of steampunk fiction? (If you have suggestions, please comment!)
I'm thinking along these lines:
Punk, to me, at base means rebellion against an establishment.
Because steampunk is influenced by the culture of Victorian England, I also feel there needs to be some kind of commentary on colonialism and empires, and on class divides. Looking at these issues through a "real world" lens is an important part of this.
Technology versus nature also ought to be in there, though on the whole I feel technology in steampunk is usually favorable so long as it's wielded by the good guys. Tech might be temporarily bad, but I don't think I've ever seen anything steampunk in which technology ended up being abolished. If it causes bad effects, they're usually outweighed by the good.
Thoughts? Comments?
Here's an interesting related post at the Age of Steam blog: The Darker Side of Steampunk.
I'm thinking along these lines:
Punk, to me, at base means rebellion against an establishment.
Because steampunk is influenced by the culture of Victorian England, I also feel there needs to be some kind of commentary on colonialism and empires, and on class divides. Looking at these issues through a "real world" lens is an important part of this.
Technology versus nature also ought to be in there, though on the whole I feel technology in steampunk is usually favorable so long as it's wielded by the good guys. Tech might be temporarily bad, but I don't think I've ever seen anything steampunk in which technology ended up being abolished. If it causes bad effects, they're usually outweighed by the good.
Thoughts? Comments?
Here's an interesting related post at the Age of Steam blog: The Darker Side of Steampunk.
Monday, August 30, 2010
Rear, meet seat; fingers, meet keyboard.
One of my favorite pithy sayings about writing is “ass in chair, fingers on keyboard.” It’s short and to the point. Unless you write standing up, or perhaps sitting on a rubber doughnut, it’s pretty standard for a writer to sit in a chair and write. You can’t write while roaming the streets or hurtling off a diving board or driving, or rather you shouldn’t because that could lead to injury.
Side note: If you think texting while driving is bad, I knew someone who used to write while driving. He kept a little notebook on his leg and when he was stuck in traffic, he would scribble down humorous verse.
Back on topic. It sounds so simple, doesn’t it? “Ass in chair. Fingers on keyboard.” For me, the hard thing about accomplishing that task is not sitting, but eliminating the things that prevent me from sitting. If I’m trying to sit near a basket of dirty laundry or similar, that visible sign of Things To Do That Are Not Writing can be very distracting. I have to either leave the house, perhaps for a coffee shop where cleanup is not my responsbility, or perhaps mentally schedule that load of laundry for later: after I’ve written for two hours, after I’ve written a thousand words, at 7:00 pm, tomorrow afternoon.
Then comes moving my fingers on the keyboard. I move on to another pithy quote to tell how to accomplish this:
"Throw up into your typewriter every morning. Clean up every noon." --Raymond Chandler
Another version of this quote, which has numerous sources, is "Don't be afraid to let yourself write shit." Just because the story isn’t yet perfect doesn’t mean you get out of working until it's as perfect as it can be. There aren't any shortcuts to accomplishing this task.
Except, perhaps, ass in chair. Because the sooner you start, the sooner you’ll be done.
"I hate writing. I love having written." --Dorothy Parker
Related posts:
Writing Elsewhere.
Finish it.
How To Write a Novel (in 72 Easy Steps!)
Side note: If you think texting while driving is bad, I knew someone who used to write while driving. He kept a little notebook on his leg and when he was stuck in traffic, he would scribble down humorous verse.
Back on topic. It sounds so simple, doesn’t it? “Ass in chair. Fingers on keyboard.” For me, the hard thing about accomplishing that task is not sitting, but eliminating the things that prevent me from sitting. If I’m trying to sit near a basket of dirty laundry or similar, that visible sign of Things To Do That Are Not Writing can be very distracting. I have to either leave the house, perhaps for a coffee shop where cleanup is not my responsbility, or perhaps mentally schedule that load of laundry for later: after I’ve written for two hours, after I’ve written a thousand words, at 7:00 pm, tomorrow afternoon.
Then comes moving my fingers on the keyboard. I move on to another pithy quote to tell how to accomplish this:
"Throw up into your typewriter every morning. Clean up every noon." --Raymond Chandler
Another version of this quote, which has numerous sources, is "Don't be afraid to let yourself write shit." Just because the story isn’t yet perfect doesn’t mean you get out of working until it's as perfect as it can be. There aren't any shortcuts to accomplishing this task.
Except, perhaps, ass in chair. Because the sooner you start, the sooner you’ll be done.
"I hate writing. I love having written." --Dorothy Parker
Related posts:
Writing Elsewhere.
Finish it.
How To Write a Novel (in 72 Easy Steps!)
Thursday, August 26, 2010
Steampunk Worldbuilding Questions
I'm in the early stages of creating a world in which a steampunk Western can take place. Here are some of the questions I'm asking myself. Some of them I answered promptly; some of them I'm still pondering.
1. Alternate history or alternate world fantasy? How close will my world be to the "real" world? Is geography the same as in the real world?
2. Overall mood: is it utopic, dystopic, or somewhere in between? How is the world organized politically?
3. Technology, magic, technology that might as well be magic, or some other variant?
4. How are women and people of color positioned? What plot opportunities does that create?
5. What are the boundaries of technology? What can be done? What can't be done, and why? What plot opportunities does that create?
1. Alternate history or alternate world fantasy? How close will my world be to the "real" world? Is geography the same as in the real world?
2. Overall mood: is it utopic, dystopic, or somewhere in between? How is the world organized politically?
3. Technology, magic, technology that might as well be magic, or some other variant?
4. How are women and people of color positioned? What plot opportunities does that create?
5. What are the boundaries of technology? What can be done? What can't be done, and why? What plot opportunities does that create?
Wednesday, August 25, 2010
My New Steampunk Project
It's been an eventful couple of weeks for me.
For the last few months I've been working on a sequel to my World War One werewolf novel, but my next published novel for Spice will be a different project instead: a steampunk Western. The tentative release date is spring/summer 2012.
I don't have a title yet, but I do have characters! The men include a Native American scientist who's also a bit of a diplomat/spy; a down-on-his-luck younger son of a British aristocrat, who was thrown out of Cambridge for his scientific experiments; and a charming gambler/con man who happens to be an extraordinary mechanic. The women are an airship pilot who bears a bit of resemblance to Han Solo in personality, and an east coast bluestocking engineer who's fleeing marriage.
I've already begun collecting research materials. This won't be a historical; rather, it's an alternate universe with a few ties to "real" history and a whole variety of extrapolations. I'm really excited to work out the details!
For the last few months I've been working on a sequel to my World War One werewolf novel, but my next published novel for Spice will be a different project instead: a steampunk Western. The tentative release date is spring/summer 2012.
I don't have a title yet, but I do have characters! The men include a Native American scientist who's also a bit of a diplomat/spy; a down-on-his-luck younger son of a British aristocrat, who was thrown out of Cambridge for his scientific experiments; and a charming gambler/con man who happens to be an extraordinary mechanic. The women are an airship pilot who bears a bit of resemblance to Han Solo in personality, and an east coast bluestocking engineer who's fleeing marriage.
I've already begun collecting research materials. This won't be a historical; rather, it's an alternate universe with a few ties to "real" history and a whole variety of extrapolations. I'm really excited to work out the details!
Thursday, August 12, 2010
Under Flowerpots, Mostly
This post was originally written for Savvy Authors.
It makes me chortle when people ask writers “Where do you get your ideas?” Because where does anyone get ideas? And what kind of ideas do they mean when they ask?
I probably shouldn’t laugh, because most of the time, that question generates really interesting answers.
What’s my answer? I find my ideas under flowerpots, mostly. And by that I mean I have to reach down into places where I don’t normally look, where composting is going on. To me, ideas are combinations of seeds or, wrenching away from my very stretched flowerpot analogy, sparks.
A spark will make something in my brain go "That's interesting!" or "yes!" but it isn’t a story. It doesn’t generally have inherent conflict, so it can’t be a story. It’s when that spark meets another, and maybe several others (it's like fire!), that ideas begin to form.
(If I’m confusing you, well, that’s not unusual for me! Sometimes, when I’m trying to explain something I’m writing, I’m reduced to waving my hands around and making noises like “shunk” and “zhirrr.”)
How I get ideas is not a wholly, or even mostly, conscious process for me. But I’ll try to explain.
Here’s an example, using a story that is only partially written. I decide to write a story about a young woman and a much older man. That’s the spark, which might have come from a call for submissions, or just brainstorming a list of setups for stories; I can’t remember any more. Later, it occurs to me that the thing they have in common is a love of baseball, which is another spark. Still later, those sparks begin to overlap and make more sparks, such as maybe the man was a minor league baseball player and the woman’s mother was obsessed with him at the time, and this leads to emotional complications separate from their original relationship that create conflict and also works thematically with the May-December romance in some way. Eventually, all those sparks reach a state of density that means I have enough Idea to make a story. Anybody could use those same sparks, but they would always come up with a different idea from them, and subsequently a completely different story.
The story I wrote for Alison's Wonderland, "The Princess," is very, very short: it's only one hundred words long. But it still had more than one spark. The sparks for that story include: gender role reversal; the story of Andromeda; stereotypical princesses; and surprise ending. The combination of sparks is what makes the story unique, and mine.
I have learned something from writing this post. What I have learned is that I’m not very good at dissecting where I get my ideas!
Actually, that’s a good insight. It means that I really do find my ideas under flowerpots. For me, that works. And since one of the major rules of writing is do what works, I'll take it.
What works for you when you’re looking for ideas?
It makes me chortle when people ask writers “Where do you get your ideas?” Because where does anyone get ideas? And what kind of ideas do they mean when they ask?
I probably shouldn’t laugh, because most of the time, that question generates really interesting answers.
What’s my answer? I find my ideas under flowerpots, mostly. And by that I mean I have to reach down into places where I don’t normally look, where composting is going on. To me, ideas are combinations of seeds or, wrenching away from my very stretched flowerpot analogy, sparks.
A spark will make something in my brain go "That's interesting!" or "yes!" but it isn’t a story. It doesn’t generally have inherent conflict, so it can’t be a story. It’s when that spark meets another, and maybe several others (it's like fire!), that ideas begin to form.
(If I’m confusing you, well, that’s not unusual for me! Sometimes, when I’m trying to explain something I’m writing, I’m reduced to waving my hands around and making noises like “shunk” and “zhirrr.”)
How I get ideas is not a wholly, or even mostly, conscious process for me. But I’ll try to explain.
Here’s an example, using a story that is only partially written. I decide to write a story about a young woman and a much older man. That’s the spark, which might have come from a call for submissions, or just brainstorming a list of setups for stories; I can’t remember any more. Later, it occurs to me that the thing they have in common is a love of baseball, which is another spark. Still later, those sparks begin to overlap and make more sparks, such as maybe the man was a minor league baseball player and the woman’s mother was obsessed with him at the time, and this leads to emotional complications separate from their original relationship that create conflict and also works thematically with the May-December romance in some way. Eventually, all those sparks reach a state of density that means I have enough Idea to make a story. Anybody could use those same sparks, but they would always come up with a different idea from them, and subsequently a completely different story.
The story I wrote for Alison's Wonderland, "The Princess," is very, very short: it's only one hundred words long. But it still had more than one spark. The sparks for that story include: gender role reversal; the story of Andromeda; stereotypical princesses; and surprise ending. The combination of sparks is what makes the story unique, and mine.
I have learned something from writing this post. What I have learned is that I’m not very good at dissecting where I get my ideas!
Actually, that’s a good insight. It means that I really do find my ideas under flowerpots. For me, that works. And since one of the major rules of writing is do what works, I'll take it.
What works for you when you’re looking for ideas?
Monday, August 2, 2010
Feeding the Muse
I don't actually believe I have a "muse," but it makes a catchy title. The reason I don't like to say "my muse" is that it implies the impetus for my writing comes from a mysterious outside source. If that were true, it would be out of my control. I don't think that's a good thing.
So for me, "muse" is code for "my brain." So-called "inspiration" also means, to me, "my brain." As a writer, I'm pretty self-centered. I spend a lot of time thinking about how my brain works and how my writing process works, and I use that to help me when it's not going so well.
On to feeding my brain. (Braaaaaaiiiiiiiiinnnnnnzzzzzzzz!!!!!!!)
So far, I've always been able to write something when I sit down to write. The hard part for me is usually the sitting down part. However, some days are better than others. Some days, I feel like I have more to give the story than others.
What do I do when I don't have as much to give? (When The Muse turns her back on me, oh woe?!)
Stories, like brains (and zombies!), need food. That food is made up of snips and snaps of facts and opinions and images and emotions. Sometimes, if I feel like my brain is hungry, I decide there's nothing for it but to feed it. I start reading a new fiction book, or a new research book, or I take a night off and watch a DVD, or I exercise, or I go for a walk or go shopping, to fill up my brain with new Things. After a little while, like magic, I can sit down and the writing flows better.
What do you do when your brain is empty?
So for me, "muse" is code for "my brain." So-called "inspiration" also means, to me, "my brain." As a writer, I'm pretty self-centered. I spend a lot of time thinking about how my brain works and how my writing process works, and I use that to help me when it's not going so well.
On to feeding my brain. (Braaaaaaiiiiiiiiinnnnnnzzzzzzzz!!!!!!!)
So far, I've always been able to write something when I sit down to write. The hard part for me is usually the sitting down part. However, some days are better than others. Some days, I feel like I have more to give the story than others.
What do I do when I don't have as much to give? (When The Muse turns her back on me, oh woe?!)
Stories, like brains (and zombies!), need food. That food is made up of snips and snaps of facts and opinions and images and emotions. Sometimes, if I feel like my brain is hungry, I decide there's nothing for it but to feed it. I start reading a new fiction book, or a new research book, or I take a night off and watch a DVD, or I exercise, or I go for a walk or go shopping, to fill up my brain with new Things. After a little while, like magic, I can sit down and the writing flows better.
What do you do when your brain is empty?
Tuesday, July 6, 2010
How To Begin Writing blah blah blah
I've been rooting around in my backbrain trying to figure out how I begin writing a new story. I mean the writing part, not the coming up with ideas part.
These days, since I've been writing novels to deadline, it's easy to tell when I'm going to start a new story. I start the new story after the old story is finished. The subject of my story is dictated by what I've discussed with my editor already: "it's a sequel" or "it's a paranormal historical." I turn in a synopsis and perhaps chapters before I officially begin writing the book, so I've started before I've started, if that makes any sense. There's always the chance I'll have to abandon one idea and choose another that's more to the publisher's liking (which happened for book two of my first contract). I'm okay with that, since the publisher is the one paying for my novel.
Blah, blah, blah. The content of this post is actually reflecting my process in beginning a new story. I ramble a lot. I might have an idea, but the idea isn't the story. I don't really count the story as begun until I've actually written a scene, until there are words on my computer screen or in my notebook. The characters, the setting, the story itself aren't a thing to me until they're out of my head and in the world.
When I sit down with a blank page in front of me, it can be terrifying. So unless I've had an opening sentence in my head for days, I just...begin. With blah, blah, blah.
These days, since I've been writing novels to deadline, it's easy to tell when I'm going to start a new story. I start the new story after the old story is finished. The subject of my story is dictated by what I've discussed with my editor already: "it's a sequel" or "it's a paranormal historical." I turn in a synopsis and perhaps chapters before I officially begin writing the book, so I've started before I've started, if that makes any sense. There's always the chance I'll have to abandon one idea and choose another that's more to the publisher's liking (which happened for book two of my first contract). I'm okay with that, since the publisher is the one paying for my novel.
Blah, blah, blah. The content of this post is actually reflecting my process in beginning a new story. I ramble a lot. I might have an idea, but the idea isn't the story. I don't really count the story as begun until I've actually written a scene, until there are words on my computer screen or in my notebook. The characters, the setting, the story itself aren't a thing to me until they're out of my head and in the world.
When I sit down with a blank page in front of me, it can be terrifying. So unless I've had an opening sentence in my head for days, I just...begin. With blah, blah, blah.
Tuesday, June 29, 2010
Dating for Writing
If I'm having a really hard time motivating myself to write--and by write, I mean planting myself in a chair to just do it--I make a date. There are several advantages to making a date.
1. The time is scheduled. I feel obligated just because it's in my datebook. I feel even more obligated if I announce that I have a writing date on Twitter or similar.
2. If I don't show up, my fellow writer will be annoyed.
3. If I show up and don't write, the date will be a failure.
4. If I don't show up, or show up and don't write, then I have to tell people I wimped out.
5. I always feel better after I've added wordcount.
So, essentially, a writing date shames me into writing. There are other reasons for writing dates, for instance seeing a writer friend, but right now, making myself write is the main reason for me.
1. The time is scheduled. I feel obligated just because it's in my datebook. I feel even more obligated if I announce that I have a writing date on Twitter or similar.
2. If I don't show up, my fellow writer will be annoyed.
3. If I show up and don't write, the date will be a failure.
4. If I don't show up, or show up and don't write, then I have to tell people I wimped out.
5. I always feel better after I've added wordcount.
So, essentially, a writing date shames me into writing. There are other reasons for writing dates, for instance seeing a writer friend, but right now, making myself write is the main reason for me.
Friday, June 18, 2010
Writer, Know Yourself - Emily Ryan-Davis Guest Post
Please welcome my guest, Emily Ryan-Davis!
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Writer, Know Yourself
Good morning, faithful Victoria fans. I’m a fan, too (she’s a lovely person and her characters fascinate me) so I’m pleased to be able to say you and I already have something in common.
I’m here today because Victoria generously volunteered a little of her cyberspace for my promotional efforts. Between the initial offer and now, however, I’ve decided not to do the promotion thing. I’d much rather talk about myself and my grasp of craft, and invite you to talk about yourself and your grasp of craft, than talk about my books. So. That’s what I’m going to do today. If you want to know what I can write or where to find it, Google will help you out.
So...I’ve been thinking about self-awareness a lot lately, in part because I’ve been observing beginner-author yearning for an experienced eye, for confidence in the decisions they make about what they’re writing or going to write, and for an end to the frustration of realizing they’ve made a self-uninformed decision. While writer self-awareness might not technically be a craft issue, I consider it as important as understanding of mood, theme, motif, story pacing and all that other stuff you can learn about from any number of books. And because my ego knows no bounds, since I decided self-awareness is as important as story structure, I’m going to treat it as a craft topic today.
About me: I don’t plot. Honestly, I care very little about plot, much to my critique partners’ dismay. Characters fascinate me. They could exist in a void for story purposes, their story progression taking place over the course of hours without any real-life sort of time allowance to lend realism, and I would be perfectly happy, both as a reader and as a writer.
Right alongside my plotfail, I also suffer from detail and logic problems. I just don’t care about the logic if it’s in the way of exploring my characters’ emotional transition from broken to...maybe a little less broken, ideally via an intensely sexual route. Again, my preference as a reader and as a writer. (If you’re an author reading this and you ever hear I skipped the middle of your book in order to read the end, please don’t take it personally; my habits are not necessarily commentary on the quality of your product.)
So I don’t plot and I have no head for details or logic. Or organization of details and logic. I do have a deep-seated penchant for whining and panicking when my characters dig in their heels and stop talking in an attempt to force me to give them some plot and details. I also have an immense appreciation for praise: go ahead. Love and adore me. It’s even OK if you criticize me as long as, underneath it all, you still love and adore me and are aware I’m going to resent your suggestion that I add some plot because it’s going to ruin the rhythm of my prose. I’m also bossy and not as generous with my praise as I expect others to be with theirs.
I’m not all flaws, though. There’s some awesomeness mixed in here. I’m a great speller. I barely stutter over query letters. I consider myself a master at nagging an editor without coming across as a nag. And I might be in love with the sound of my own prose, but I am totally not the only one.
Granted, the flaws outweigh the awesomeness. I’ve come to the conclusion the only reason I’ve managed to acquire and keep critique partners is honesty. Since I’ve figured out these things about my writer/reader self and have learned how to vocalize them, I’ve been better able to pinpoint my needs, explain my failings in advance, and warn people of what they’re getting as part of the package.
Self-awareness is working out pretty well for me. I find myself less frequently stalled in the middle of stories I think I want to write even though they’re not the kinds of stories I really want to write; sometimes people even come to me for advice or answers, despite my general lack of helpfulness.
How’s your self-awareness? Do you spend much time mulling over your high points and low points? Do you ever falter from what you know about yourself and decide you can change and be something different? (Boy, do I. Witness just about every one of my stories that try to wrestle with more than two characters and a miniscule plot.)
I'm inviting you to make use of Victoria's blog comments for the purpose of talking about yourself. Tell me all about your flaws and your awesomeness. Don't bother to check your ego at the door. I figure if you discover something about yourself today, you’ve learned something you’re not going to find in a how-to book. And maybe we’ll discover we have something in common besides mutual enjoyment of Victoria's awesomeness!
#
Thanks, Emily! I'm looking forward to reading the comments on your post.
#
Writer, Know Yourself
Good morning, faithful Victoria fans. I’m a fan, too (she’s a lovely person and her characters fascinate me) so I’m pleased to be able to say you and I already have something in common.
I’m here today because Victoria generously volunteered a little of her cyberspace for my promotional efforts. Between the initial offer and now, however, I’ve decided not to do the promotion thing. I’d much rather talk about myself and my grasp of craft, and invite you to talk about yourself and your grasp of craft, than talk about my books. So. That’s what I’m going to do today. If you want to know what I can write or where to find it, Google will help you out.
So...I’ve been thinking about self-awareness a lot lately, in part because I’ve been observing beginner-author yearning for an experienced eye, for confidence in the decisions they make about what they’re writing or going to write, and for an end to the frustration of realizing they’ve made a self-uninformed decision. While writer self-awareness might not technically be a craft issue, I consider it as important as understanding of mood, theme, motif, story pacing and all that other stuff you can learn about from any number of books. And because my ego knows no bounds, since I decided self-awareness is as important as story structure, I’m going to treat it as a craft topic today.
About me: I don’t plot. Honestly, I care very little about plot, much to my critique partners’ dismay. Characters fascinate me. They could exist in a void for story purposes, their story progression taking place over the course of hours without any real-life sort of time allowance to lend realism, and I would be perfectly happy, both as a reader and as a writer.
Right alongside my plotfail, I also suffer from detail and logic problems. I just don’t care about the logic if it’s in the way of exploring my characters’ emotional transition from broken to...maybe a little less broken, ideally via an intensely sexual route. Again, my preference as a reader and as a writer. (If you’re an author reading this and you ever hear I skipped the middle of your book in order to read the end, please don’t take it personally; my habits are not necessarily commentary on the quality of your product.)
So I don’t plot and I have no head for details or logic. Or organization of details and logic. I do have a deep-seated penchant for whining and panicking when my characters dig in their heels and stop talking in an attempt to force me to give them some plot and details. I also have an immense appreciation for praise: go ahead. Love and adore me. It’s even OK if you criticize me as long as, underneath it all, you still love and adore me and are aware I’m going to resent your suggestion that I add some plot because it’s going to ruin the rhythm of my prose. I’m also bossy and not as generous with my praise as I expect others to be with theirs.
I’m not all flaws, though. There’s some awesomeness mixed in here. I’m a great speller. I barely stutter over query letters. I consider myself a master at nagging an editor without coming across as a nag. And I might be in love with the sound of my own prose, but I am totally not the only one.
Granted, the flaws outweigh the awesomeness. I’ve come to the conclusion the only reason I’ve managed to acquire and keep critique partners is honesty. Since I’ve figured out these things about my writer/reader self and have learned how to vocalize them, I’ve been better able to pinpoint my needs, explain my failings in advance, and warn people of what they’re getting as part of the package.
Self-awareness is working out pretty well for me. I find myself less frequently stalled in the middle of stories I think I want to write even though they’re not the kinds of stories I really want to write; sometimes people even come to me for advice or answers, despite my general lack of helpfulness.
How’s your self-awareness? Do you spend much time mulling over your high points and low points? Do you ever falter from what you know about yourself and decide you can change and be something different? (Boy, do I. Witness just about every one of my stories that try to wrestle with more than two characters and a miniscule plot.)
I'm inviting you to make use of Victoria's blog comments for the purpose of talking about yourself. Tell me all about your flaws and your awesomeness. Don't bother to check your ego at the door. I figure if you discover something about yourself today, you’ve learned something you’re not going to find in a how-to book. And maybe we’ll discover we have something in common besides mutual enjoyment of Victoria's awesomeness!
#
Thanks, Emily! I'm looking forward to reading the comments on your post.
Thursday, June 10, 2010
Marriage of Convenience or Not?
My current novel is not a Marriage of Convenience. I'd been thinking it was. In my mind, for many months, I've been calling it "The Werewolf Marriage of Convenience."
Alas, I was wrong. My desperate desire to write a Marriage of Convenience obscured the reality. My characters know each other too well for their marriage to be one of convenience.
I think one of the major aspects of a Marriage of Convenience story is a focus on the hero and heroine (or whatever other gender pairing/grouping you choose) getting to know each other. They've been forced into intimate proximity, and have to make the best of it. If they already know each other, that can't happen, unless there's an additional layer: for example, they knew each other once, but have been separated for years; or for another example, they didn't know each other as well as they thought, because one of them was actually a spy the whole time, or harbored a secret deep angst, or was actually an alien.
In my story, the characters met in The Moonlight Mistress
when they were both held captive by the villain. They're both werewolves, and both want werewolf children, so after their escape, one talks the other into marrying (very Marriage of Convenience!). They make sure they are sexually compatible before marrying (not very Marriage of Convenience) and know something already about their partner's basic personality, clearly exposed during their captivity (ditto).
The trick to this story, then, won't be the things they don't know about each other. I think it will have to be what they don't know about what they do know. (I know what I mean!)
The tensions in the story will have to revolve around what their flaws will mean for their marriage. They'll have to learn the depth of those flaws. They'll have to learn to accept and live with flaws they already know about.
So...maybe it is a Marriage of Convenience. It just has one extra layer. What do you think?
I'm thinking I'm going to think about it some more, while I work on a favorites list of marriage of convenience novels.
Related Post:
The Intricacies of Marriages of Convenience.
Alas, I was wrong. My desperate desire to write a Marriage of Convenience obscured the reality. My characters know each other too well for their marriage to be one of convenience.
I think one of the major aspects of a Marriage of Convenience story is a focus on the hero and heroine (or whatever other gender pairing/grouping you choose) getting to know each other. They've been forced into intimate proximity, and have to make the best of it. If they already know each other, that can't happen, unless there's an additional layer: for example, they knew each other once, but have been separated for years; or for another example, they didn't know each other as well as they thought, because one of them was actually a spy the whole time, or harbored a secret deep angst, or was actually an alien.
In my story, the characters met in The Moonlight Mistress
when they were both held captive by the villain. They're both werewolves, and both want werewolf children, so after their escape, one talks the other into marrying (very Marriage of Convenience!). They make sure they are sexually compatible before marrying (not very Marriage of Convenience) and know something already about their partner's basic personality, clearly exposed during their captivity (ditto).The trick to this story, then, won't be the things they don't know about each other. I think it will have to be what they don't know about what they do know. (I know what I mean!)
The tensions in the story will have to revolve around what their flaws will mean for their marriage. They'll have to learn the depth of those flaws. They'll have to learn to accept and live with flaws they already know about.
So...maybe it is a Marriage of Convenience. It just has one extra layer. What do you think?
I'm thinking I'm going to think about it some more, while I work on a favorites list of marriage of convenience novels.
Related Post:
The Intricacies of Marriages of Convenience.
Friday, April 30, 2010
Line Editing, Up Close and Personal
I spent a large portion of the month of April revising The Duke and the Pirate Queen; some of the revisions responded to my editor's comments, some responded to a workshop critique, and some came from my fevered brain.
I thought it would be interesting to share some of the line edits I made in the manuscript.
Original version:
Imena was far more devious than he'd predicted.
Revised version:
Imena was delightfully devious.
Original version:
...he could hear feet above, pattering on the main deck, distant shouting, the loud creaking of wood and rope and the snap of sail.
Revised version:
...he could hear feet pattering on the main deck above, distant shouting, the loud creaking of wood, the heavy hum of rope, and the snap of sail.
Original version:
Maxime stopped him from closing the door with a hand on Chetri's shoulder.
Revised version:
Maxime grasped Chetri's shoulder to stop him from closing the door.
Original version:
Gently, he dislodged Maxime's hand from his shoulder and stepped back.
Revised version:
Gently, he dislodged Maxime's hand and stepped back.
Original version:
She hadn't thought it was like her to brood, but in the cold dark hours of the morning, her past decisions surged and receded in her mind like surf.
Revised version:
In the cold dark hours of the morning, her past decisions surged and receded in her mind like surf.
Original version:
He turned his head and kissed in the vicinity of her ankle, dragging his mouth along her shin and nibbling with the edges of his teeth...He curled one hand around her calf and slowly slid upwards, seeking the top of her stocking.
Revised version:
He turned his head and kissed in the vicinity of her ankle, dragging his mouth upwards and nibbling with the edges of his teeth...He curled one hand around her calf and slowly slid up to her thigh, seeking the top of her stocking.
Original version:
Sunlight only occasionally filtered down through the trees, but when it did, the heat was trapped, and she felt it more powerfully with her clothing on. Sweat had begun to trickle down her back, mingling with tiny fragments of bark from her tree-climbing and the slightly sticky residue from The Knife's insect repelling balm.
Revised version:
Sunlight filtered down through the trees where the heat was trapped. She felt it more powerfully with her clothing on. Sweat had begun to trickle down her back, mingling with tiny fragments of bark from her tree-climbing and the sticky residue from The Knife's insect repelling balm.
I thought it would be interesting to share some of the line edits I made in the manuscript.
Original version:
Imena was far more devious than he'd predicted.
Revised version:
Imena was delightfully devious.
Original version:
...he could hear feet above, pattering on the main deck, distant shouting, the loud creaking of wood and rope and the snap of sail.
Revised version:
...he could hear feet pattering on the main deck above, distant shouting, the loud creaking of wood, the heavy hum of rope, and the snap of sail.
Original version:
Maxime stopped him from closing the door with a hand on Chetri's shoulder.
Revised version:
Maxime grasped Chetri's shoulder to stop him from closing the door.
Original version:
Gently, he dislodged Maxime's hand from his shoulder and stepped back.
Revised version:
Gently, he dislodged Maxime's hand and stepped back.
Original version:
She hadn't thought it was like her to brood, but in the cold dark hours of the morning, her past decisions surged and receded in her mind like surf.
Revised version:
In the cold dark hours of the morning, her past decisions surged and receded in her mind like surf.
Original version:
He turned his head and kissed in the vicinity of her ankle, dragging his mouth along her shin and nibbling with the edges of his teeth...He curled one hand around her calf and slowly slid upwards, seeking the top of her stocking.
Revised version:
He turned his head and kissed in the vicinity of her ankle, dragging his mouth upwards and nibbling with the edges of his teeth...He curled one hand around her calf and slowly slid up to her thigh, seeking the top of her stocking.
Original version:
Sunlight only occasionally filtered down through the trees, but when it did, the heat was trapped, and she felt it more powerfully with her clothing on. Sweat had begun to trickle down her back, mingling with tiny fragments of bark from her tree-climbing and the slightly sticky residue from The Knife's insect repelling balm.
Revised version:
Sunlight filtered down through the trees where the heat was trapped. She felt it more powerfully with her clothing on. Sweat had begun to trickle down her back, mingling with tiny fragments of bark from her tree-climbing and the sticky residue from The Knife's insect repelling balm.
Friday, April 16, 2010
Slow Writers Anonymous
At the 2003 WisCon, there was a panel about "Slow Writers." I've been thinking about it again, and thought it would be a good thing to post in my blog.
This post is comprised of my distilled memories of the panel.
Everybody works differently, and everybody is right.
There are at least two kinds of slow writers: those who write a tiny bit consistently, and those who just don't write very often. Combinations of the two are also common.
Most writers want to increase their productivity.
There's a difference between writing and typing that can affect our perceptions of how fast we write. For example, some people plot out an entire story in their heads, spending many months reworking it, and then type the whole thing in a day. Some people count the thinking period as writing time, some do not. Some think on paper or computer screen, some don't.
A lot of the pressure to be a faster writer comes from having to market your work. Karen Fowler said (I paraphrase), "You have to finish your book before all the booksellers who've heard of you are dead."
Methods used by panelists and audience to try and speed their writing, some of which were used to make themselves write anything at all, were varied.
Some of what follows came from the Slow Writers panel, some from comments at the Living Room event I attended with Ellen Kushner and Delia Sherman.
One writer found the pressure of having a contract for her novel helped her to finish it; being accountable to someone else for pages produced helped many people, but not all. Others said finishing a book for which they already held a contract was more difficult, because they felt they were forcing themselves to go faster than normal.
Keeping a journal was mentioned by more than one person (for example, Peg Kerr) as a way to keep track not only of daily word count but of daily thoughts and feelings about the work; one can go back and see that one always gets depressed around page 200 of a manuscript.
Candas Dorsey said that she has often used old reviews or commentary on her work to give herself a boost when she felt discouraged about her progress.
Some can only write a story in chronological sequence, so when they are stuck, they must often retreat before they can go on. Others wrote various scenes and then connected them later, so if they got stuck, they could just move on to another scene.
A related strategy I myself have used, and that was described in the panel, is to always have more than one project going. If one project needs more thought, then move on to a second one, or a third.
A method to encourage productivity is setting a writing date with a friend, who may or may not also be writing. For that hour or however long, you must write, or at least stare at a page. Being responsible to another person for showing up is a good motivation; that method has worked for me. A variation used by Delia Sherman involves sending a certain number of pages to a friend on a regular basis (I think my variation on this is posting draft sections in my journal).
Some found deadlines from their critique group were helpful.
All of this was very useful, but the best thing about that panel was, I think, the validation!
This post is comprised of my distilled memories of the panel.
Everybody works differently, and everybody is right.
There are at least two kinds of slow writers: those who write a tiny bit consistently, and those who just don't write very often. Combinations of the two are also common.
Most writers want to increase their productivity.
There's a difference between writing and typing that can affect our perceptions of how fast we write. For example, some people plot out an entire story in their heads, spending many months reworking it, and then type the whole thing in a day. Some people count the thinking period as writing time, some do not. Some think on paper or computer screen, some don't.
A lot of the pressure to be a faster writer comes from having to market your work. Karen Fowler said (I paraphrase), "You have to finish your book before all the booksellers who've heard of you are dead."
Methods used by panelists and audience to try and speed their writing, some of which were used to make themselves write anything at all, were varied.
Some of what follows came from the Slow Writers panel, some from comments at the Living Room event I attended with Ellen Kushner and Delia Sherman.
One writer found the pressure of having a contract for her novel helped her to finish it; being accountable to someone else for pages produced helped many people, but not all. Others said finishing a book for which they already held a contract was more difficult, because they felt they were forcing themselves to go faster than normal.
Keeping a journal was mentioned by more than one person (for example, Peg Kerr) as a way to keep track not only of daily word count but of daily thoughts and feelings about the work; one can go back and see that one always gets depressed around page 200 of a manuscript.
Candas Dorsey said that she has often used old reviews or commentary on her work to give herself a boost when she felt discouraged about her progress.
Some can only write a story in chronological sequence, so when they are stuck, they must often retreat before they can go on. Others wrote various scenes and then connected them later, so if they got stuck, they could just move on to another scene.
A related strategy I myself have used, and that was described in the panel, is to always have more than one project going. If one project needs more thought, then move on to a second one, or a third.
A method to encourage productivity is setting a writing date with a friend, who may or may not also be writing. For that hour or however long, you must write, or at least stare at a page. Being responsible to another person for showing up is a good motivation; that method has worked for me. A variation used by Delia Sherman involves sending a certain number of pages to a friend on a regular basis (I think my variation on this is posting draft sections in my journal).
Some found deadlines from their critique group were helpful.
All of this was very useful, but the best thing about that panel was, I think, the validation!
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