Recently, I went to the movie with my honey to see Savages. I was the one who wanted to see it...Crazy, I know. Who would've thought, right? "She's a romance writer," you say. I am, it's true; but I love a good movie.
So, we went to see Savages. It's an Oliver Stone directed film about three lovers (why yes, I said three lovers), O (Blake Lively), Chon (Taylor Kitsch), and Ben (Aaron Johnson) who are uber-wealthy growing an amazing strong medicinal herb. They're perfectly happy until a Mexican drug Cartel decides they want the business and the two factions butt heads.
Things go to hell in a hand-basket fast! O gets kidnapped, lots of blood and gore and unnecessary dying of muscular ex-military hotties; Chon and O try to get her back by agreeing to the Cartel boss's terms, the lady running the Cartel (yep, she's a super-sexy mom, like me or Vicki) tells them they can have her back in three years; they decide that won't work for them and fight back. Lots and lots more blood, violence, mayhem, and sick puppies, then...well, it ends in such a way to leave me wondering at the current state of affairs in our world...
Okay, maybe that's a bit harsh. However, I left the movie thinking it was a horrible movie. It was graphic, it was disturbing, it was too real, to violent, too extreme.
But I left the movie thinking...
Over a week ago. And I'm still thinking about it. It's one of those movies that just sticks with you. It twists up your mind, makes you question right and wrong, morals and people. I've been thinking about it, stewing about it, and I've decided not only was the movie worth watching (even though it isn't a romance), but I want to write like that. A story with that ability, the power to stay with the reader for days, weeks, months, years, to change perceptions or reinforce ideals...That's the type of story every author dreams of touching the world with...
Or I do, at least.
Showing posts with label writing. Show all posts
Showing posts with label writing. Show all posts
Monday, August 20, 2012
Thursday, December 1, 2011
Awkward? Ya think?
Ian, behind Max, hand on the hilt of his sword and the Kaltenschnees, flanking their brother, weapons at the ready, left no doubt as to the serious nature of the conflict.
The above sentence was tagged as awkward by one of my critique partners. I have no argument with that. My only question is; who wrote it? I didn’t write it. For one thing my attention span isn’t long enough. It had to be an anti-muse.
Just because nobody has ever seen an anti-muse doesn’t mean they aren’t real. Antis are like black holes; they can’t be observed directly but we know they exist by their effect on other things. Black holes bend light making it appear an object is light-years from its actual position. Antis bend thought and take your story light years from where it should be. Black holes can perturb orbits, sometimes sending objects careening off into inter-galactic space. Anti-muses perturb plots sending them off... Young black holes suck in matter and produce gamma-ray bursts. Anti-muses suck in prose and produce awkward sentences. Lucky for us there is an anti-anti-muse thingamajigger. Unfortunately, you can’t buy an anti-anti-muse thingamajigger. You have to find one or form one. They are called critique groups. A good crit group can uncover the work of the anti-muses.
Crit groups come in many shapes and sizes. Online and face-to-face, juried and open. Some you stand up and read your thing. Others you hand out pages. Still others you submit pages to be taken home and discussed the following week. You could go cross-eyed trying to think it through and decide which is best. You just have to get out there and give one a try. If it doesn’t work, try another.
Finding groups can be a problem, but they are out there. Some are sponsored by writing groups like, Rocky Mountain Fiction Writers. You should be a part of a larger writing group anyway so join something and see what they have to offer. Web-sites geared toward writing often have something set up. If not actual crit groups, an area where you can post your work for review. You could try the library, put a note on their bulletin board. You can find them with a little effort.
Another option is building one from scratch. You can form a group online but I prefer face-to-face. This requires more work but it will be good for you. Trust me. You will have to put yourself out there, make friends and acquaintances, tell people you write, ask people to read your stuff. You’ll have to get out of the house, go to meetings, events, write at the library or a coffee shop. You’ll have to introduce yourself as a writer.
I heard a collective gasp. I suspect writers may be more introverted as a group than the general populace. We hide in our little corner with our characters putting on our puppet show for nobody. Time to stop it. Anti-muses love this environment. Get out there, get in a crit group, meet new people, show your work, learn, listen, laugh. It’ll be fun.
I’ll end with a few guidelines for crit groups. You can make a whole bunch of rules and have someone be the sheriff but I prefer things a little more relaxed.
First, try to give as much positive feedback as you can. People learn from their mistakes but they also learn from success. Tell them what worked so they can keep doing it.
Be honest. Don’t gloss over something in your crit partner’s work that you think is a real problem. Explain what’s not working and why, also offer a possible solution. If you are on the other end, relax and think about what you are being told.
Allow for questions and brainstorming. Many groups don’t allow the writer to speak up during the critique because there just isn’t time. Our group is smaller. We have time. So we brainstorm if we need to. I like it better that way.
One note of caution. It’s your story and sometimes you have to disregard the advice of your crit partners. Do so if you must but do so at your peril.
I think I’ll do another crit group blog in a week or so. I didn’t cover everything I wanted.
Go have fun, Mike
The above sentence was tagged as awkward by one of my critique partners. I have no argument with that. My only question is; who wrote it? I didn’t write it. For one thing my attention span isn’t long enough. It had to be an anti-muse.
Just because nobody has ever seen an anti-muse doesn’t mean they aren’t real. Antis are like black holes; they can’t be observed directly but we know they exist by their effect on other things. Black holes bend light making it appear an object is light-years from its actual position. Antis bend thought and take your story light years from where it should be. Black holes can perturb orbits, sometimes sending objects careening off into inter-galactic space. Anti-muses perturb plots sending them off... Young black holes suck in matter and produce gamma-ray bursts. Anti-muses suck in prose and produce awkward sentences. Lucky for us there is an anti-anti-muse thingamajigger. Unfortunately, you can’t buy an anti-anti-muse thingamajigger. You have to find one or form one. They are called critique groups. A good crit group can uncover the work of the anti-muses.
Crit groups come in many shapes and sizes. Online and face-to-face, juried and open. Some you stand up and read your thing. Others you hand out pages. Still others you submit pages to be taken home and discussed the following week. You could go cross-eyed trying to think it through and decide which is best. You just have to get out there and give one a try. If it doesn’t work, try another.
Finding groups can be a problem, but they are out there. Some are sponsored by writing groups like, Rocky Mountain Fiction Writers. You should be a part of a larger writing group anyway so join something and see what they have to offer. Web-sites geared toward writing often have something set up. If not actual crit groups, an area where you can post your work for review. You could try the library, put a note on their bulletin board. You can find them with a little effort.
Another option is building one from scratch. You can form a group online but I prefer face-to-face. This requires more work but it will be good for you. Trust me. You will have to put yourself out there, make friends and acquaintances, tell people you write, ask people to read your stuff. You’ll have to get out of the house, go to meetings, events, write at the library or a coffee shop. You’ll have to introduce yourself as a writer.
I heard a collective gasp. I suspect writers may be more introverted as a group than the general populace. We hide in our little corner with our characters putting on our puppet show for nobody. Time to stop it. Anti-muses love this environment. Get out there, get in a crit group, meet new people, show your work, learn, listen, laugh. It’ll be fun.
I’ll end with a few guidelines for crit groups. You can make a whole bunch of rules and have someone be the sheriff but I prefer things a little more relaxed.
First, try to give as much positive feedback as you can. People learn from their mistakes but they also learn from success. Tell them what worked so they can keep doing it.
Be honest. Don’t gloss over something in your crit partner’s work that you think is a real problem. Explain what’s not working and why, also offer a possible solution. If you are on the other end, relax and think about what you are being told.
Allow for questions and brainstorming. Many groups don’t allow the writer to speak up during the critique because there just isn’t time. Our group is smaller. We have time. So we brainstorm if we need to. I like it better that way.
One note of caution. It’s your story and sometimes you have to disregard the advice of your crit partners. Do so if you must but do so at your peril.
I think I’ll do another crit group blog in a week or so. I didn’t cover everything I wanted.
Go have fun, Mike
Friday, November 18, 2011
Our First Live Workshop (And A Promotional Gig for RMFW)
We are so very excited! Why? Well...
Vicki and Marne are presenting our workshop, "Keeping Track of Your World: How to Create a Story Bible," LIVE! It's going to be the bomb! We are doing this workshop for half an hour, and then we'll be brainstorming what is needed to create a Rocky Mountain Fiction Writers' presence on the Western Slope. We want a writing group, complete with a critique group and monthly meetings/workshops, so let's see what we need to do to make that happen...
Here are the details:
Date: Saturday November 19, 2011
Time: 9:30 a.m. until whenever...
Where: 800 Colorado Ave, Grand Junction, CO 81501
So, yes, it is tomorrow. But, if you are a writer on the Western Slope area, please come support our adventures. You might get something out of the experience.
Vicki and Marne are presenting our workshop, "Keeping Track of Your World: How to Create a Story Bible," LIVE! It's going to be the bomb! We are doing this workshop for half an hour, and then we'll be brainstorming what is needed to create a Rocky Mountain Fiction Writers' presence on the Western Slope. We want a writing group, complete with a critique group and monthly meetings/workshops, so let's see what we need to do to make that happen...
Here are the details:
Date: Saturday November 19, 2011
Time: 9:30 a.m. until whenever...
Where: 800 Colorado Ave, Grand Junction, CO 81501
So, yes, it is tomorrow. But, if you are a writer on the Western Slope area, please come support our adventures. You might get something out of the experience.
Wednesday, November 2, 2011
Endings
I am trying to write the last chapter in the book I’m revising. My crit group opined that I hadn’t tied up enough of the plot thingymabobbers. Let me just say right here, endings suck.
So, I’m going to ask you all what kind of endings you prefer. Does the protagonist need to be happy, healthy, and satisfied with his lot? Does the antagonist need to be dead, incarcerated, or reformed? Do you need to know if the secondary characters are living productive lives as you turn the last page? These are the nagging questions I’m asking myself on behalf of my prospective readers. I just don’t know how much I want to tie up.
Time for some ferinstances.
Egon, the protagonist, has some feelings for this girl he met while recruiting men to help him defeat the witch, Katerina. He kissed her, he thinks about her time to time, he’s kinda got a thing for her. When last he saw Jessica she was pissed because two of her brothers were killed and one maimed while fighting Katerina. Heat of the moment, he’d just told her they were dead, she tells him she never wants to see him again. Done? Or do you need to know more in the last chapter?
Acinom, a secondary protagonist, a winged humanoid female and the last of her kind has helped Egon become a leader and gave him tools to defeat Katerina. She’s kind of a mentor though a very unconventional one. She has been flirting with Egon throughout and the two developed a psychic connection. She is an alluring, wanton, free spirit without many boundaries and has told Egon that she and he should start a new race, half her, half him. Oh, and she’s okay with Jessica being in the mix. Haven’t seen much of her toward the end because mentors have to fade. She’ll make an appearance in the last chapter but do you need to know if Egon is going to father her babies?
Lars, a sixteen year old boy and one of the first to join Egon. He’s a smartass and he hears the whispers of dragons. We last saw him on the back of the dragon circling above the castle. He’ll have at least a mention in the final chapter but how much do you need to know?
I see him living in a stone cottage near a cavern high atop a cliff. Gradually, the constant whispers of the dragon drive him mad. He takes to stealing chickens and kidnaping robust middle-aged women. I won’t go into detail here but suffice it to say, mental illness is a terrible thing. But, someone else might have a different imagining of Lars’ future. Someone else might imagine him married with three kids living on a small farm. He’d have a herd of dairy goats, the dragon would keep the predators away and he’d teach his children to make yogurt. How do I end it with Lars?
How much does the reader want? How much do I give them? How much control do I exert over the direction the story takes from here? That’s the real question isn’t it? And I haven’t a clue.
How about you? Do you like everything wrapped up? Do you like to wrap everything up. Or do you like to let your reader’s imaginations wander willy-nilly?
So, I’m going to ask you all what kind of endings you prefer. Does the protagonist need to be happy, healthy, and satisfied with his lot? Does the antagonist need to be dead, incarcerated, or reformed? Do you need to know if the secondary characters are living productive lives as you turn the last page? These are the nagging questions I’m asking myself on behalf of my prospective readers. I just don’t know how much I want to tie up.
Time for some ferinstances.
Egon, the protagonist, has some feelings for this girl he met while recruiting men to help him defeat the witch, Katerina. He kissed her, he thinks about her time to time, he’s kinda got a thing for her. When last he saw Jessica she was pissed because two of her brothers were killed and one maimed while fighting Katerina. Heat of the moment, he’d just told her they were dead, she tells him she never wants to see him again. Done? Or do you need to know more in the last chapter?
Acinom, a secondary protagonist, a winged humanoid female and the last of her kind has helped Egon become a leader and gave him tools to defeat Katerina. She’s kind of a mentor though a very unconventional one. She has been flirting with Egon throughout and the two developed a psychic connection. She is an alluring, wanton, free spirit without many boundaries and has told Egon that she and he should start a new race, half her, half him. Oh, and she’s okay with Jessica being in the mix. Haven’t seen much of her toward the end because mentors have to fade. She’ll make an appearance in the last chapter but do you need to know if Egon is going to father her babies?
Lars, a sixteen year old boy and one of the first to join Egon. He’s a smartass and he hears the whispers of dragons. We last saw him on the back of the dragon circling above the castle. He’ll have at least a mention in the final chapter but how much do you need to know?
I see him living in a stone cottage near a cavern high atop a cliff. Gradually, the constant whispers of the dragon drive him mad. He takes to stealing chickens and kidnaping robust middle-aged women. I won’t go into detail here but suffice it to say, mental illness is a terrible thing. But, someone else might have a different imagining of Lars’ future. Someone else might imagine him married with three kids living on a small farm. He’d have a herd of dairy goats, the dragon would keep the predators away and he’d teach his children to make yogurt. How do I end it with Lars?
How much does the reader want? How much do I give them? How much control do I exert over the direction the story takes from here? That’s the real question isn’t it? And I haven’t a clue.
How about you? Do you like everything wrapped up? Do you like to wrap everything up. Or do you like to let your reader’s imaginations wander willy-nilly?
Monday, October 17, 2011
Disturbing Characters
I have a book that lists among my weaknesses the word, ‘DISTURBING’ Just like that, all caps. The only thing that disturbs me about that is that they consider it a weakness. Hell, if I can disturb somebody and there are no consequences, like getting arrested or fired, I’m going for it. Besides, we’re all disturbing in one way or another. Religion, politics, social and societal convention, we are all disturbed and disturbing by and to someone. The question is: should you make your characters disturbing?
Hell yes. Even if you are writing a piece about well meaning people on two sides of a divisive issue and everyone will be redeemed in the end through compromise and group hugs, someone needs to be disturbing or the boredom will be excruciating.
I can hear you thinking, ‘Huh, I’ll just have my antagonist be disturbing.’ Does it disturb you that I can hear your thoughts? Now, you can have your bad guy be disturbing, most of them are in one way or another; they’re bad guys. So make them disturbing in their actions. Have them swerve to hit bunnies on the highway, pee in the office coffee pot, try to see the future in the entrails of their victims, etc. That’ll disturb some readers but we expect that sort of thing and we expect bad guys to have disturbing thoughts if they have a POV. By all means, make the bad guy disturbing but also do the unexpected. Give your protagonist disturbing thoughts.
Heroes are better characters if they are flawed, we all know that. This is just one more way to bring them to life. I don’t have room here to give examples because there are too many possibilities. Think sex, murder, torture, violence, kinky sex, violent sex, torturous sex, vandalism, suicide, autoerotic asphyxiation, homophobic, homosexual, pee in the office coffee pot thoughts.
I can hear you thinking again and some of you are reluctant to sully your good guy with less than heroic thoughts. You love him because he is so strong and brave and virtuous. He is your idea of a perfect person. You can’t have him think stuff like... No!
Okay. Many books have been written and published with nary a thought out of place on the part of the hero. The tension comes from insurmountable odds, the hero’s fear or feelings of unworthiness, or his desire to save the villain, etc. There is a large audience for that.
Not my cup of tea.
I prefer Han Solo to Luke, Rooster Cogburn to Marshal Dillon, Ironman to Superman, Grace Anadarko to Joe Friday. I want heroes with grit. I want them dirty, nasty, sociopathic in their thoughts and borderline criminal in their deeds. I don’t care if they fight their demons or embrace them. I just want them to have demons.
Now, I realize this sort of thing can be overdone. So don’t obsess over thinking up and putting in inappropriate thoughts. But there are situations where a reasonable person might think something that would get them arrested if they said it out loud. If one occurs to you, try it out.
What do you think? Gonna do it?
Hell yes. Even if you are writing a piece about well meaning people on two sides of a divisive issue and everyone will be redeemed in the end through compromise and group hugs, someone needs to be disturbing or the boredom will be excruciating.
I can hear you thinking, ‘Huh, I’ll just have my antagonist be disturbing.’ Does it disturb you that I can hear your thoughts? Now, you can have your bad guy be disturbing, most of them are in one way or another; they’re bad guys. So make them disturbing in their actions. Have them swerve to hit bunnies on the highway, pee in the office coffee pot, try to see the future in the entrails of their victims, etc. That’ll disturb some readers but we expect that sort of thing and we expect bad guys to have disturbing thoughts if they have a POV. By all means, make the bad guy disturbing but also do the unexpected. Give your protagonist disturbing thoughts.
Heroes are better characters if they are flawed, we all know that. This is just one more way to bring them to life. I don’t have room here to give examples because there are too many possibilities. Think sex, murder, torture, violence, kinky sex, violent sex, torturous sex, vandalism, suicide, autoerotic asphyxiation, homophobic, homosexual, pee in the office coffee pot thoughts.
I can hear you thinking again and some of you are reluctant to sully your good guy with less than heroic thoughts. You love him because he is so strong and brave and virtuous. He is your idea of a perfect person. You can’t have him think stuff like... No!
Okay. Many books have been written and published with nary a thought out of place on the part of the hero. The tension comes from insurmountable odds, the hero’s fear or feelings of unworthiness, or his desire to save the villain, etc. There is a large audience for that.
Not my cup of tea.
I prefer Han Solo to Luke, Rooster Cogburn to Marshal Dillon, Ironman to Superman, Grace Anadarko to Joe Friday. I want heroes with grit. I want them dirty, nasty, sociopathic in their thoughts and borderline criminal in their deeds. I don’t care if they fight their demons or embrace them. I just want them to have demons.
Now, I realize this sort of thing can be overdone. So don’t obsess over thinking up and putting in inappropriate thoughts. But there are situations where a reasonable person might think something that would get them arrested if they said it out loud. If one occurs to you, try it out.
What do you think? Gonna do it?
Wednesday, September 28, 2011
Crap! Back to work.
Crap! I gotta get to work on my stuff. Sure, I’ve done a little but not enough. The summer has gotten away without getting much done on my manuscripts let alone any of the other projects lurking about. I catch glimpses of them daily. The boxes of flooring hunch in the corner of the front-room. The new trim waits patiently in the garage. The wall around the plot next to the patio begs to be filled with dirt. Errk! I need to win Mega-Millions and hire a handyman.
Okay, enough whining. Too much really. I went to conference, got a request for fifty pages of two manuscripts and it’s time to buckle down.
What does buckle down mean exactly? Where’d that phrase come from? Hitch up your pants and tighten your belt before getting busy?
There goes my ADHD again. In my case it ought to be HDAD; High Definition Attention Deficit. So, where was I? Oh yeah, getting down to it. Getting down to it? A mining term possibly? Never mind.
So, what’s my plan? A reasonable, logical person would come up with a plan. But I’m not much of a planner. I live in the moment and I don’t say that with pride. I know plans are good things and I ought to embrace them but I don’t like them. I don’t like them the way I don’t like rodents. I’m not afraid of them, I have no phobias I’m aware of. I loathe them. If there is no reason not to, I kill rodents. In my world, because my wife is in it, there are reasons not to kill rodents. I don’t understand them but they exist, just trust me on that. Uh,oh, HDAD again.
My plan is to work on my manuscripts every day, even if only for an hour. Seven hours a week minimum, that’s my goal. I’m not sure if set-up time is included. Not all the details of my plan are worked out. Do I include the time driving to the coffee shop and getting out my laptop? Or, do I start the timer once my fingers hit the keyboard? I don’t have a lot of experience with plans after all. My sense of it is, that it should be actual writing so that’s the way I’m leaning.
The trouble is I’m at the point where it’s not actual writing. I have to go through and fix things, define things, clean things up. I know that’s part of writing but I like the first draft part better. Hence the need for a plan. (Whew, almost started whining again but I pulled it back.)
Anyway, that’s my plan. I’ll write seven hours a week minimum and some every day. I hope that by writing every day I’ll get in more than seven. That way the things get done and out so I can start a new project. I also hope that, by posting my plan, I’ll stick to it.
So, what’s your plan? Got one? Like’em? Hate’em?
Okay, enough whining. Too much really. I went to conference, got a request for fifty pages of two manuscripts and it’s time to buckle down.
What does buckle down mean exactly? Where’d that phrase come from? Hitch up your pants and tighten your belt before getting busy?
There goes my ADHD again. In my case it ought to be HDAD; High Definition Attention Deficit. So, where was I? Oh yeah, getting down to it. Getting down to it? A mining term possibly? Never mind.
So, what’s my plan? A reasonable, logical person would come up with a plan. But I’m not much of a planner. I live in the moment and I don’t say that with pride. I know plans are good things and I ought to embrace them but I don’t like them. I don’t like them the way I don’t like rodents. I’m not afraid of them, I have no phobias I’m aware of. I loathe them. If there is no reason not to, I kill rodents. In my world, because my wife is in it, there are reasons not to kill rodents. I don’t understand them but they exist, just trust me on that. Uh,oh, HDAD again.
My plan is to work on my manuscripts every day, even if only for an hour. Seven hours a week minimum, that’s my goal. I’m not sure if set-up time is included. Not all the details of my plan are worked out. Do I include the time driving to the coffee shop and getting out my laptop? Or, do I start the timer once my fingers hit the keyboard? I don’t have a lot of experience with plans after all. My sense of it is, that it should be actual writing so that’s the way I’m leaning.
The trouble is I’m at the point where it’s not actual writing. I have to go through and fix things, define things, clean things up. I know that’s part of writing but I like the first draft part better. Hence the need for a plan. (Whew, almost started whining again but I pulled it back.)
Anyway, that’s my plan. I’ll write seven hours a week minimum and some every day. I hope that by writing every day I’ll get in more than seven. That way the things get done and out so I can start a new project. I also hope that, by posting my plan, I’ll stick to it.
So, what’s your plan? Got one? Like’em? Hate’em?
Sunday, August 21, 2011
How Do You Get Your Mojo Back?
Today is a ho-hum day. The dog-days of August are almost over, the garden is pretty much doing its own thing now (thanks to my DH and his amazing weed-matting in the Spring), school starts (for us, anyway) tomorrow, and the summer family plans are all over.
Not the kind of day I write on.
Not the kind of day I do much of anything on.
It's a Mojo-Suck Day!
However, it struck me a few minutes ago... "The Fae Dragon Chronicles: Love Chosen" is soon to be published, the second book in that series, "Love Dared," is with Crescent Moon Press now for consideration, and I'd like to finish book three, "Love Desired," sometime before book two comes out (I'm being hopeful they'll pick it up, as well).
In order to, ya know, continue on with the whole writing business dream I have, I need to not let those ho-hum days suck my Mojo.
So this question is for anyone, writer and reader alike... What do you do to kick it in gear when it feels like life has kicked you in the pants?
My answer? Well, today I called my bestie, played a riveting game of Mario with my son, and then picked veggies from the garden with one of my daughters.
I think it worked...
Now I'm off to write something.
But what about you?
Not the kind of day I write on.
Not the kind of day I do much of anything on.
It's a Mojo-Suck Day!
However, it struck me a few minutes ago... "The Fae Dragon Chronicles: Love Chosen" is soon to be published, the second book in that series, "Love Dared," is with Crescent Moon Press now for consideration, and I'd like to finish book three, "Love Desired," sometime before book two comes out (I'm being hopeful they'll pick it up, as well).
In order to, ya know, continue on with the whole writing business dream I have, I need to not let those ho-hum days suck my Mojo.
So this question is for anyone, writer and reader alike... What do you do to kick it in gear when it feels like life has kicked you in the pants?
My answer? Well, today I called my bestie, played a riveting game of Mario with my son, and then picked veggies from the garden with one of my daughters.
I think it worked...
Now I'm off to write something.
But what about you?
Thursday, August 11, 2011
Real Heroes
I've started Book Three in "The Fae Dragon Chronicles," (meaning I'm profiling my characters, creating scene sketches, improving on my story bible...ya know...brainstorming). I've decided book three, "Love Desired," needs to be Queen Morgana's story (which everyone will understand once books 1 & 2 come out, lol).
I know Morgana, inside and out.
However, I do not know her hero, yet. I've met him once, briefly, but he's still a stranger.
In "Love Dared" (Book 2), I learned: this character is strong enough to lead the enemy's army, yet a gentle father-figure to a young boy. Until yesterday, I didn't even know his name.
But poor Morgana has a story and she desperately needs some love.
So, this has me thinking about heroes and what makes a great hero, a hero the reader doesn't forget, a hero we all want to take home and... let's go with cuddle up to...
I have a hero I took home, and I find bits and pieces of him in each of my stories.
My husband is my hero, and yesterday he reminded me of this several times:
He rushes to help damsels in distress: My brother (well he might be happily married with kids, but we always called him Josephina, which makes him a damsel to me) had broken down out of town. My DH didn't hesitate. He dropped his chores, because I asked, and saved my brother (and the car).
He romances the heroine in little ways: Out of the blue, my hero said and did the sweetest things, like he brought me a watermelon (because it is my absolute favorite fruit!), and he came up behind me and whispered, "have I told you how sexy I think you are?" as he walked by.
He romances the heroine in big ways and solves complex problems (which showcases his superior skills and big heart): (I know, I'm rolling two in one...) My hero installed my dishwasher. I know, you're probably wondering exactly how that's sexy; but, trust me, watching him install the beast and knowing he was making my life easier? Totally sexy!
The hero slays the dragon (or other totally monstrous beastie): At ten-thirty last night, we were all so tired. We'd worked on the yard, pulled potatoes from the garden, pulled weeds, saved my brother, installed the dishwasher, played with one of our grandsons, and did five thousand other things. So, at ten-thirty, I look out my window and what I call the 'Danger Will Robinson light' is flashing in red neon, lighting up the dark yard.
Oh poop.... "Um, Honey?" I say, a bit cautiously. But I'm wondering, if I close my eyes and tap my heels three times, will it shut off?
"Yeah?" He says.
"The light's on."
"What?" He's getting a bit exasperated.
"The light. The light, dear. It's flashing." I sound a bit disjointed, I know, but it's because I'm quite stressed out by now. How could this happen? Why now? I really just wanted to shower and go to bed, and now I can't.
Argh!...
He glances out the window and sighs, presses his lips together in a stiff line, and kind of stomps outside.
The door shuts quietly behind him.
Later, I'm holding a flashlight and he's up to his elbows in...well, we live in the country and when that light goes on it means something is wrong with the pump connecting us to the city sewer system. It's a pre-warning system, so our house doesn't flood with, well, everyone else's waste water (can you say, "ick?").
Some people hire a plumber (who would probably hire an electrician, since it's electrical), but my husband's an electrician so...
And as I'm holding his flashlight, and my honey is slaying my latest nasty, stinky dragon, I'm thinking I have an amazing hero, right here in real life. I think I tend to model my romance heroes after mine, in one form or another, when I write.
What about your heroes? Do you have preferences? Stories? Please share...
P.S.- It should be noted, however, I don't always feel quite so sweet and admiring toward my hero...we are married, after all, lol!
I know Morgana, inside and out.
However, I do not know her hero, yet. I've met him once, briefly, but he's still a stranger.
In "Love Dared" (Book 2), I learned: this character is strong enough to lead the enemy's army, yet a gentle father-figure to a young boy. Until yesterday, I didn't even know his name.
But poor Morgana has a story and she desperately needs some love.
So, this has me thinking about heroes and what makes a great hero, a hero the reader doesn't forget, a hero we all want to take home and... let's go with cuddle up to...
I have a hero I took home, and I find bits and pieces of him in each of my stories.
My husband is my hero, and yesterday he reminded me of this several times:
He rushes to help damsels in distress: My brother (well he might be happily married with kids, but we always called him Josephina, which makes him a damsel to me) had broken down out of town. My DH didn't hesitate. He dropped his chores, because I asked, and saved my brother (and the car).
He romances the heroine in little ways: Out of the blue, my hero said and did the sweetest things, like he brought me a watermelon (because it is my absolute favorite fruit!), and he came up behind me and whispered, "have I told you how sexy I think you are?" as he walked by.
He romances the heroine in big ways and solves complex problems (which showcases his superior skills and big heart): (I know, I'm rolling two in one...) My hero installed my dishwasher. I know, you're probably wondering exactly how that's sexy; but, trust me, watching him install the beast and knowing he was making my life easier? Totally sexy!
The hero slays the dragon (or other totally monstrous beastie): At ten-thirty last night, we were all so tired. We'd worked on the yard, pulled potatoes from the garden, pulled weeds, saved my brother, installed the dishwasher, played with one of our grandsons, and did five thousand other things. So, at ten-thirty, I look out my window and what I call the 'Danger Will Robinson light' is flashing in red neon, lighting up the dark yard.
Oh poop.... "Um, Honey?" I say, a bit cautiously. But I'm wondering, if I close my eyes and tap my heels three times, will it shut off?
"Yeah?" He says.
"The light's on."
"What?" He's getting a bit exasperated.
"The light. The light, dear. It's flashing." I sound a bit disjointed, I know, but it's because I'm quite stressed out by now. How could this happen? Why now? I really just wanted to shower and go to bed, and now I can't.
Argh!...
He glances out the window and sighs, presses his lips together in a stiff line, and kind of stomps outside.
The door shuts quietly behind him.
Later, I'm holding a flashlight and he's up to his elbows in...well, we live in the country and when that light goes on it means something is wrong with the pump connecting us to the city sewer system. It's a pre-warning system, so our house doesn't flood with, well, everyone else's waste water (can you say, "ick?").
Some people hire a plumber (who would probably hire an electrician, since it's electrical), but my husband's an electrician so...
And as I'm holding his flashlight, and my honey is slaying my latest nasty, stinky dragon, I'm thinking I have an amazing hero, right here in real life. I think I tend to model my romance heroes after mine, in one form or another, when I write.
What about your heroes? Do you have preferences? Stories? Please share...
P.S.- It should be noted, however, I don't always feel quite so sweet and admiring toward my hero...we are married, after all, lol!
Wednesday, August 3, 2011
Character Kinks
Yes, it's about exactly what it sounds like.
Hey all, I’ve been really busy with...stuff and such. But, I’m here now and I think a short set-up for the blog topic is in order lest you think some untoward thoughts about me. Not that they couldn’t be true but I want to keep up appearances in case I ever want to run for public office. I just finished reading one of my crit partners subs. In it she, or rather, one of her characters refers to Spanx Shapewear. I wrote in the margin, (Spanx = Spanks. Is she Kinky?) From there my mind went hither and yon as anyone who knows me can imagine. So, lets get to it.
Some of you may avoid putting kinks in your characters because you don’t want people to think you enjoy a good spanking yourself. Okay, that might be valid but I write female characters and nobody thinks I’m a woman. My reason for not putting them in is that I just hadn’t thought of it...yet. Oh sure, I’ve got Katerina who is a nut and a deviant of sorts, but that’s just her. I haven’t given any sane characters kinks and I’m rather disappointed with myself. How could I not have thought of that?
Now, I’m not suggesting you start writing bondage erotica but if you have a sexual component in your work, put a little something different in it. Suppose your heroine is a bit of a sadist and she is attracted to your hero. That’s going to put a whole new level of tension in there: first, in her internals and second, in their interactions. Now, for a happy ending, he’s going to have to be a bit of a masochist whether he knew it before or not. But, what the hell, it’s fiction and it ought to be fun. And what’s more fun than kinky sex?
Now, suppose this same heroine needs to get some information from a bad guy. Ha, she’s got a set of skills that the reader knows about and she can really show her stuff. I’m laughing just thinking about it. The hero is a little reluctant to use force and she just wades in and starts clamping stuff on. He, the hero, is incredulous and much to his surprise, a little turned on. Now we’ve got some fun stuff happening.
And you can go the other way. A strong willed heroine likes to be spanked. She obsesses over his hands: their size, just right shape, how rough and rugged they are, perfect for spanking. Or, a determined hero has a foot fetish that distracts him. How fun would it be if the hero kept looking at the heroine’s feet, enough that she notices and says something. Freudian slips create awkward moments. Thoughts unbidden create distraction and attraction. I can hardly wait to start something new to work this in. And research. I’ll have to do research. What fun. I usually hate research but now I’m excited.
But, don’t go overboard, I’m prone to that. Just put a little in. Unless you want to write bondage erotica, then go for it. I’m thinking of using it to round out the characters. And not every character and not in every story. Maybe even keep it within the character and never let it be known to the others. A festering kink yearning for expression could be worse that unrequited love.
A kink will influence a character and that’s what I’m after.
Hey all, I’ve been really busy with...stuff and such. But, I’m here now and I think a short set-up for the blog topic is in order lest you think some untoward thoughts about me. Not that they couldn’t be true but I want to keep up appearances in case I ever want to run for public office. I just finished reading one of my crit partners subs. In it she, or rather, one of her characters refers to Spanx Shapewear. I wrote in the margin, (Spanx = Spanks. Is she Kinky?) From there my mind went hither and yon as anyone who knows me can imagine. So, lets get to it.
Some of you may avoid putting kinks in your characters because you don’t want people to think you enjoy a good spanking yourself. Okay, that might be valid but I write female characters and nobody thinks I’m a woman. My reason for not putting them in is that I just hadn’t thought of it...yet. Oh sure, I’ve got Katerina who is a nut and a deviant of sorts, but that’s just her. I haven’t given any sane characters kinks and I’m rather disappointed with myself. How could I not have thought of that?
Now, I’m not suggesting you start writing bondage erotica but if you have a sexual component in your work, put a little something different in it. Suppose your heroine is a bit of a sadist and she is attracted to your hero. That’s going to put a whole new level of tension in there: first, in her internals and second, in their interactions. Now, for a happy ending, he’s going to have to be a bit of a masochist whether he knew it before or not. But, what the hell, it’s fiction and it ought to be fun. And what’s more fun than kinky sex?
Now, suppose this same heroine needs to get some information from a bad guy. Ha, she’s got a set of skills that the reader knows about and she can really show her stuff. I’m laughing just thinking about it. The hero is a little reluctant to use force and she just wades in and starts clamping stuff on. He, the hero, is incredulous and much to his surprise, a little turned on. Now we’ve got some fun stuff happening.
And you can go the other way. A strong willed heroine likes to be spanked. She obsesses over his hands: their size, just right shape, how rough and rugged they are, perfect for spanking. Or, a determined hero has a foot fetish that distracts him. How fun would it be if the hero kept looking at the heroine’s feet, enough that she notices and says something. Freudian slips create awkward moments. Thoughts unbidden create distraction and attraction. I can hardly wait to start something new to work this in. And research. I’ll have to do research. What fun. I usually hate research but now I’m excited.
But, don’t go overboard, I’m prone to that. Just put a little in. Unless you want to write bondage erotica, then go for it. I’m thinking of using it to round out the characters. And not every character and not in every story. Maybe even keep it within the character and never let it be known to the others. A festering kink yearning for expression could be worse that unrequited love.
A kink will influence a character and that’s what I’m after.
Sunday, July 17, 2011
Getting Away...to Write
We spent the last five days in the beautiful San Juan Mountains at a place called Priest Gulch Campground, RV Park, Cabins and Lodge.
( http://priestgulch.com/ )
This is Mike's and my second year writing in River House 2 (see cabins). Marne joined us this year.
What motivation the mountains, trees, river and wild birds were for me. No matter where we were in the cabin, we could hear the river. Marne and I spent most of the time on a wonderful wrap around porch overlooking the Dolores River. Each of us with only one headphone on. Tuned into our favorite music on Pandora with one ear and the river with the other. Thank goodness for Pandora, because Marne and I have very different taste in music and music is important to each of us when writing.
No cell phone service or phones in the cabins, but we did have WiFi. None of the teenagers could reach us except through Facebook. :)
Having Marne and Mike clicking away on their computers next to me helped my motivation as well. I accomplished much, both on my story bible and my manuscript. Twenty new pages of work I’m excited about. I’m loving my story and my characters. Mike and Marne seem to be happy with their accomplishments as well.
I don’t have pictures, because although I always bring along my camera (and phone), I never think to use either one of them. No doubt Marne will post a couple of the pics she took.
What motivates you? Do you get the chance to get away to write? Where do you go?
We spent the last five days in the beautiful San Juan Mountains at a place called Priest Gulch Campground, RV Park, Cabins and Lodge.
( http://priestgulch.com/ )
This is Mike's and my second year writing in River House 2 (see cabins). Marne joined us this year.
What motivation the mountains, trees, river and wild birds were for me. No matter where we were in the cabin, we could hear the river. Marne and I spent most of the time on a wonderful wrap around porch overlooking the Dolores River. Each of us with only one headphone on. Tuned into our favorite music on Pandora with one ear and the river with the other. Thank goodness for Pandora, because Marne and I have very different taste in music and music is important to each of us when writing.
No cell phone service or phones in the cabins, but we did have WiFi. None of the teenagers could reach us except through Facebook. :)
Having Marne and Mike clicking away on their computers next to me helped my motivation as well. I accomplished much, both on my story bible and my manuscript. Twenty new pages of work I’m excited about. I’m loving my story and my characters. Mike and Marne seem to be happy with their accomplishments as well.
I don’t have pictures, because although I always bring along my camera (and phone), I never think to use either one of them. No doubt Marne will post a couple of the pics she took.
What motivates you? Do you get the chance to get away to write? Where do you go?
Sunday, July 10, 2011
The Character Who Won’t Leave Me Alone and How I Misplaced His Voice
I started my first manuscript well over ten years ago. Late at night, after tossing a best-selling author’s book across the room and telling myself I could do better.
My first attempt was full of cliches, passive writing and confusing POV. I was excited that I would soon be a New York Times best-selling author. Along with a bad case of new writer syndrom, I had the where-with-all to know there were other writers out there I could learn from and I went on a quest to find them.
Those first chapters pretty much sucked, but there, from the ashes of bad writing, arose a wonderful character. I knew his history. I knew where he came from and where he was going and why. I knew what was stopping him and how he would get around barriers. I gave him life and he’s taken up residence in my mind and still talks to me at the oddest moments. I think that’s why writers are weird people. It’s difficult to be normal when you have someone else riding shot-gun in your head.
Three or so chapters into this character’s story, I learned a few things about writing and made changes. Then I learned a few more things, attended writers’ functions and became thoroughly depressed. I scratched much of what I’d written and started over, but the heart of my character stayed.
Digressing...I love books and always have. The written word fascinates me. I have a very distinct memory of my mom walking by me, stopping to look at me with a smile on her face, then taking a book out of my hands to turn it right-side up and put it back into my clutches. I remember where I was sitting when that happened. I was probably about three years old. Yep, I’ve always loved books and reading, but once I learned a little about writing, I came to love it more.
I finished that first story, after giving it chapter-by-chapter to my critique group and incorporating their suggestions. I received good feedback, from writers, readers and contest entries. It finalled with, according to the contest coordinator, the highest first-round score they’d ever had. I was proud and, with the feedback I received, I started editing. I found an online critique partner (because my in-person critique group was tired of reading that first story). The new partner said, “This is ready. Get it out there.” I thought she might be right, but I was still editing. I was also working on newer work, but that first story just wasn’t quite good enough yet.
Then Mike and Marne said, “This is ready. This is good. Get it out there. And for God’s sake, leave it alone.” I thought they might be right, but I was still editing.
Our critique group went through a few changes. People left, new peopled joined. Fresh opinions! I submitted the book again. I didn’t realize it then, but I am somewhat of a perfectionist. When the new blood made suggestions, I saw problems with the manuscript and I set aside other projects and started tearing the book apart. Fixing things, changing things, re-writing.
Now, ten years later, the story is in pieces. Worse, along the way, while trying to make it perfect, I lost my voice with this manuscript. It’s tragic. I mourn often.
Unlike other losses I have had in life (which, I’m fortunate enough to say, are few) time has not healed this wound. My character is pissed. He tells me about it daily. He wants closure. It's a good story. I screwed it up by trying to make it perfect.
I have a new belief from this experience. I believe there is no perfection in writing, because perfect writing is boring writing. No perfection, only story, characters and voice. Someday I’m going to let Jesse out to play and I’m going to tell his story. I have to distance myself from the mess he’s become first.
What do you think about perfection in writing? How about your characters? Do they holler at you while you’re trying to hold meaningful conversations with your children, your spouse or your boss? What about your first manuscript? Did you finish it? Did you submit it?
Are you still in mourning like I am?
My first attempt was full of cliches, passive writing and confusing POV. I was excited that I would soon be a New York Times best-selling author. Along with a bad case of new writer syndrom, I had the where-with-all to know there were other writers out there I could learn from and I went on a quest to find them.
Those first chapters pretty much sucked, but there, from the ashes of bad writing, arose a wonderful character. I knew his history. I knew where he came from and where he was going and why. I knew what was stopping him and how he would get around barriers. I gave him life and he’s taken up residence in my mind and still talks to me at the oddest moments. I think that’s why writers are weird people. It’s difficult to be normal when you have someone else riding shot-gun in your head.
Three or so chapters into this character’s story, I learned a few things about writing and made changes. Then I learned a few more things, attended writers’ functions and became thoroughly depressed. I scratched much of what I’d written and started over, but the heart of my character stayed.
Digressing...I love books and always have. The written word fascinates me. I have a very distinct memory of my mom walking by me, stopping to look at me with a smile on her face, then taking a book out of my hands to turn it right-side up and put it back into my clutches. I remember where I was sitting when that happened. I was probably about three years old. Yep, I’ve always loved books and reading, but once I learned a little about writing, I came to love it more.
I finished that first story, after giving it chapter-by-chapter to my critique group and incorporating their suggestions. I received good feedback, from writers, readers and contest entries. It finalled with, according to the contest coordinator, the highest first-round score they’d ever had. I was proud and, with the feedback I received, I started editing. I found an online critique partner (because my in-person critique group was tired of reading that first story). The new partner said, “This is ready. Get it out there.” I thought she might be right, but I was still editing. I was also working on newer work, but that first story just wasn’t quite good enough yet.
Then Mike and Marne said, “This is ready. This is good. Get it out there. And for God’s sake, leave it alone.” I thought they might be right, but I was still editing.
Our critique group went through a few changes. People left, new peopled joined. Fresh opinions! I submitted the book again. I didn’t realize it then, but I am somewhat of a perfectionist. When the new blood made suggestions, I saw problems with the manuscript and I set aside other projects and started tearing the book apart. Fixing things, changing things, re-writing.
Now, ten years later, the story is in pieces. Worse, along the way, while trying to make it perfect, I lost my voice with this manuscript. It’s tragic. I mourn often.
Unlike other losses I have had in life (which, I’m fortunate enough to say, are few) time has not healed this wound. My character is pissed. He tells me about it daily. He wants closure. It's a good story. I screwed it up by trying to make it perfect.
I have a new belief from this experience. I believe there is no perfection in writing, because perfect writing is boring writing. No perfection, only story, characters and voice. Someday I’m going to let Jesse out to play and I’m going to tell his story. I have to distance myself from the mess he’s become first.
What do you think about perfection in writing? How about your characters? Do they holler at you while you’re trying to hold meaningful conversations with your children, your spouse or your boss? What about your first manuscript? Did you finish it? Did you submit it?
Are you still in mourning like I am?
Monday, June 27, 2011
Not Captain Kirk and A Lil' Morgan in my Writing
Spoiler Alert: I'm not talking about Captain Morgan here...
So...life has been amazing and busy. Two weekends ago, Vicki and I went to Crested Butte for the Crested Butte Writers' Conference (huge Shout-Out to all our new friends). OMG, the town was such a surprise. Quaint and haunted... Need I say more?
My manuscript, "Love? Please!" placed third in the final round of their contest, the Sandy. And GREAT things came out of the weekend.
I decided to change my writing name to Marne Ann Kirk, but I'll talk about that and Branding another time.
And this last weekend, I spent four nights partying with my honey, Lady Antebellum, Little Big Town, Craig Morgan, Sawyer Brown, Alan Jackson, and two thousand of their closest friends.
So, what I have NOT done for the last two weeks?
Write much :-(
But THAT isn't what I want to talk about.
I had one of those thinking "aha moments" while drooling over Craig Morgan in concert, and THIS is what I wanna know...
Are your characters the real deal? Do they have those qualities that make them human? Make them characters readers can relate to?
Craig Morgan is an incredible entertainer, and as close to a real-life superhero as I'll likely ever meet! (He saved two children from a fire, because he was there and it needed done)
But, and here's the part I started asking myself questions about with my characters, his heroic qualities are revealed, not by his current profession, but in the little things he does and says in his daily life.
The day of his concert, he spent time quite a while with a little girl from Grand Junction who has cancer. Then he brought the girl on stage and sang a song to her (doesn't that just melt your heart?). During his performance he spoke about the men and women serving in our military, and how thankful he was for their service (yet he didn't talk about his own service, which includes something like nine tours to Iraq). He talked about the love of his life, his wife of 23 years (and sang his newest song, not yet released, but written for her...). His song, "This Ain't Nothin'," came out after he and his band went to perform in (I believe) Oklahoma, and ended up elbows-deep in Tornado aftermath cleanup instead. Why? Because it needed done (and then he wrote a song about the experience).
My point is, I learned so much about this man from what others said about him or from what he said while extolling the strengths of others.
And those little details make me feel like I know him, like I can relate to him, like I can connect to him.
Do your characters have that connectivity? The little details that make the reader feel what I felt?
Do you think the little details are vital to your protagonist? What about your antagonist?
So...life has been amazing and busy. Two weekends ago, Vicki and I went to Crested Butte for the Crested Butte Writers' Conference (huge Shout-Out to all our new friends). OMG, the town was such a surprise. Quaint and haunted... Need I say more?
My manuscript, "Love? Please!" placed third in the final round of their contest, the Sandy. And GREAT things came out of the weekend.
I decided to change my writing name to Marne Ann Kirk, but I'll talk about that and Branding another time.
And this last weekend, I spent four nights partying with my honey, Lady Antebellum, Little Big Town, Craig Morgan, Sawyer Brown, Alan Jackson, and two thousand of their closest friends.
So, what I have NOT done for the last two weeks?
Write much :-(
But THAT isn't what I want to talk about.
I had one of those thinking "aha moments" while drooling over Craig Morgan in concert, and THIS is what I wanna know...
Are your characters the real deal? Do they have those qualities that make them human? Make them characters readers can relate to?
Craig Morgan is an incredible entertainer, and as close to a real-life superhero as I'll likely ever meet! (He saved two children from a fire, because he was there and it needed done)
But, and here's the part I started asking myself questions about with my characters, his heroic qualities are revealed, not by his current profession, but in the little things he does and says in his daily life.
The day of his concert, he spent time quite a while with a little girl from Grand Junction who has cancer. Then he brought the girl on stage and sang a song to her (doesn't that just melt your heart?). During his performance he spoke about the men and women serving in our military, and how thankful he was for their service (yet he didn't talk about his own service, which includes something like nine tours to Iraq). He talked about the love of his life, his wife of 23 years (and sang his newest song, not yet released, but written for her...). His song, "This Ain't Nothin'," came out after he and his band went to perform in (I believe) Oklahoma, and ended up elbows-deep in Tornado aftermath cleanup instead. Why? Because it needed done (and then he wrote a song about the experience).
My point is, I learned so much about this man from what others said about him or from what he said while extolling the strengths of others.
And those little details make me feel like I know him, like I can relate to him, like I can connect to him.
Do your characters have that connectivity? The little details that make the reader feel what I felt?
Do you think the little details are vital to your protagonist? What about your antagonist?
Monday, June 20, 2011
What's it like?
What’s it like?
I spend a fair amount of time trying to figure that out. So do you, probably. If you’re a writer of fiction, things happen to your characters that never happened to you. Likewise, your characters do things that you’ve never done: evil things, noble things, courageous things, things they can’t help and things they relish. What’s it like?
What’s it like to gouge someone’s eyes out? Or rescue a child from drowning? Kill someone for personal gain? Or in self defense? What’s it like to meet a sentient being from another species? Witness a murder? Be hung by the neck? Save your one true love? Save a people? Save a world? Save a galaxy? Destroy the universe? Sheesh, we writers get ourselves into a hell of a pickle.
Fortunately, we don’t have to experience everything we write about. Were that the case, my genre would almost certainly be erotica. What a wonderful excuse for hedonism; “I must do research for my book.” But alas, we have imagination, darn it.
However, raw imagination is not enough. We, as writers, have to direct our imagination, personalize and internalize the scene. If we imagine something as an observer, the best we can do is a newspaper article. To write it like we want to write it, we have to live it in our imagination. We have to be the aggressor or the victim, the hero or the coward or the killer, the rapist, the husband, the wife, the doctor, the patient...you get the point. We need to be actors. We need to immerse ourselves in the role. We need to imagine ourselves the character and live the scene.
That’s the way I do it anyway. As I write, my imagination forges ahead twisting and turning, wringing my brain like a threadbare dishcloth. Often, I look up and ask, “What the hell am I doing here?” Then I have to back up and unleash the imagination again. But, most of the time, my imagination gets me where I need to go; deep inside the head of one of my characters as they endure or perpetrate, flee or pursue, or fight or kiss or whatever. Until I started writing and took control of my imagination, I never knew you could have so much fun and never leave your head.
Well, reading is kind of like that, but not exactly. Reading is like a roller-coaster ride; you are put aboard and the thing takes off twisting and turning and wringing your brain but your imagination is on rails. Writing is akin to flying an F-15; no rails, you are in control, you, with the help of your trained imagination, direct the action. The twisting and turning are free-form, the route and destination are up to you. That’s what makes writing fun, and torturous, and disturbing, arousing, humorous, frightening and fulfilling.
All of it is something. Imagining what it’s like to fly on the back of a dragon is exhilarating, imagining what it’s like to be tortured or worse is disturbing. But it’s all important. It’s important because I want to take others where I’ve been. It’ll be on rails for them, that’s true but I want to make it a ride they’ll remember. I want to scare the crap out of them. I want to make them laugh, make them cry, arouse them, make them hate and love, ache and burst. I want control of their feelings. I want to take them deep inside my characters and give them a dragon ride followed by a little time with a pair of thumb screws. That’s what I want.
How about you? Do you imagine what it’s like to make love, or whatever as one of your characters?
I spend a fair amount of time trying to figure that out. So do you, probably. If you’re a writer of fiction, things happen to your characters that never happened to you. Likewise, your characters do things that you’ve never done: evil things, noble things, courageous things, things they can’t help and things they relish. What’s it like?
What’s it like to gouge someone’s eyes out? Or rescue a child from drowning? Kill someone for personal gain? Or in self defense? What’s it like to meet a sentient being from another species? Witness a murder? Be hung by the neck? Save your one true love? Save a people? Save a world? Save a galaxy? Destroy the universe? Sheesh, we writers get ourselves into a hell of a pickle.
Fortunately, we don’t have to experience everything we write about. Were that the case, my genre would almost certainly be erotica. What a wonderful excuse for hedonism; “I must do research for my book.” But alas, we have imagination, darn it.
However, raw imagination is not enough. We, as writers, have to direct our imagination, personalize and internalize the scene. If we imagine something as an observer, the best we can do is a newspaper article. To write it like we want to write it, we have to live it in our imagination. We have to be the aggressor or the victim, the hero or the coward or the killer, the rapist, the husband, the wife, the doctor, the patient...you get the point. We need to be actors. We need to immerse ourselves in the role. We need to imagine ourselves the character and live the scene.
That’s the way I do it anyway. As I write, my imagination forges ahead twisting and turning, wringing my brain like a threadbare dishcloth. Often, I look up and ask, “What the hell am I doing here?” Then I have to back up and unleash the imagination again. But, most of the time, my imagination gets me where I need to go; deep inside the head of one of my characters as they endure or perpetrate, flee or pursue, or fight or kiss or whatever. Until I started writing and took control of my imagination, I never knew you could have so much fun and never leave your head.
Well, reading is kind of like that, but not exactly. Reading is like a roller-coaster ride; you are put aboard and the thing takes off twisting and turning and wringing your brain but your imagination is on rails. Writing is akin to flying an F-15; no rails, you are in control, you, with the help of your trained imagination, direct the action. The twisting and turning are free-form, the route and destination are up to you. That’s what makes writing fun, and torturous, and disturbing, arousing, humorous, frightening and fulfilling.
All of it is something. Imagining what it’s like to fly on the back of a dragon is exhilarating, imagining what it’s like to be tortured or worse is disturbing. But it’s all important. It’s important because I want to take others where I’ve been. It’ll be on rails for them, that’s true but I want to make it a ride they’ll remember. I want to scare the crap out of them. I want to make them laugh, make them cry, arouse them, make them hate and love, ache and burst. I want control of their feelings. I want to take them deep inside my characters and give them a dragon ride followed by a little time with a pair of thumb screws. That’s what I want.
How about you? Do you imagine what it’s like to make love, or whatever as one of your characters?
Saturday, June 4, 2011
Road to RMFW's June Education Event: Interview with Mario Acevedo
Rocky Mountain Fiction Writers' June Education Event is one week from today. Whew. What fun we've had planning and attending the two workshops.
This week we will continue to interview the presenter and authors who are gracing us with their presence at the workshop in Grand Junction on June 11th.
Please welcome Mario Acevedo and be sure to ask Mario any additional questions you have or leave a comment or two.
Welcome Mario!!
First off, tell us a little about yourself and when/how/why you started writing.
I started writing seriously about 23 years ago and from the time I decided that I wanted to get published until I got the "call," it took 17 years (and six manuscripts). I started writing to quiet the voices in my head and I've found that I prefer my delusions to reality.
And your books, what do you have published and what are you working on right now?
I thought I was writing contemporary satire and instead it was urban fantasy--a five book series (and a graphic novel) about a detective-vampire/Iraq war veteran. I've got a couple of short stories in print, the most recent of which is in the anthology You Don't Have A Clue from Arte Publico Press. I'm working on a variety of projects to enrich my coffers for my scheme of world domination. So far I'm up to $11.57.
Rejection letters: How many did you receive before you were published?
I measure my rejection letters by the pound and use them as ballast in my fleet of yachts.
You are participating in Rocky Mountain Fiction Writers May Education Event, meeting with attendees and maybe critiquing the first 2 pages of their wip. In your experience and opinion, what is the biggest mistake or misconception new writers have? Did you as well, when you were new to the industry?
New writers need to read more and better understand their genre. Also realize that the process can take a long, long time. Be accepting of criticism as long as it is positive.
How often do you write? Do you stick to a schedule or work it in around life?
I write almost every day. I'm at the literary sausage machine by 7am and stick to it until noon or 1pm.
When not writing, what do you do?
Worry.
This week we will continue to interview the presenter and authors who are gracing us with their presence at the workshop in Grand Junction on June 11th.
Please welcome Mario Acevedo and be sure to ask Mario any additional questions you have or leave a comment or two.
Welcome Mario!!
First off, tell us a little about yourself and when/how/why you started writing.
I started writing seriously about 23 years ago and from the time I decided that I wanted to get published until I got the "call," it took 17 years (and six manuscripts). I started writing to quiet the voices in my head and I've found that I prefer my delusions to reality.
And your books, what do you have published and what are you working on right now?
I thought I was writing contemporary satire and instead it was urban fantasy--a five book series (and a graphic novel) about a detective-vampire/Iraq war veteran. I've got a couple of short stories in print, the most recent of which is in the anthology You Don't Have A Clue from Arte Publico Press. I'm working on a variety of projects to enrich my coffers for my scheme of world domination. So far I'm up to $11.57.
Rejection letters: How many did you receive before you were published?
I measure my rejection letters by the pound and use them as ballast in my fleet of yachts.
You are participating in Rocky Mountain Fiction Writers May Education Event, meeting with attendees and maybe critiquing the first 2 pages of their wip. In your experience and opinion, what is the biggest mistake or misconception new writers have? Did you as well, when you were new to the industry?
New writers need to read more and better understand their genre. Also realize that the process can take a long, long time. Be accepting of criticism as long as it is positive.
How often do you write? Do you stick to a schedule or work it in around life?
I write almost every day. I'm at the literary sausage machine by 7am and stick to it until noon or 1pm.
When not writing, what do you do?
Worry.
Thursday, June 2, 2011
POV Characters Immortal or not?
Hey everybody,
Can, or rather, should you kill off a POV character in the middle of a book? Obviously it would be a mistake to kill a POV character in a one or two POV book. And, we all know that the bad guy can, and often does, die near the end of a book, that’s okay. But what if you have multiple POVs? Can you kill one of those?
I’ve seen forum posts on this very thing and often, it depends, appeared somewhere in the post. It depends on how you treat it. It depends, does it further the plot? It depends on the phase of the moon. Well, maybe it does. But I’m going to take a stand and say, “Damn right you can, and you should. Why? Star Trek.
That’s right, Star Trek. The original series with Captain Kirk and Spock and Bones and Scotty, that Star Trek. The greatest sci-fi series of it’s time and progenitor of movies, tv series, action figures, and worldwide conventions. But, Star Trek had a flaw.
Only the guys in the red shirts that you’d never seen before ever died. Oh sure, every now and then a main character was put in mortal danger but you knew they weren’t going to croak. You knew it beyond a shadow of a doubt so, no matter how artfully contrived the pickle, your fear and dread were less than they could have been. Now, I understand that sort of thing is a constraint of an ongoing tv series but we aren’t writing a tv series. Even if we are writing a series of novels, I would argue that you have to kill a main character once in awhile and, if you have multiple POVs, you ought to kill one of them.
The argument against killing POV characters seems to be that you might upset the reader. Okay, that may play in certain genres where there is an expectation of a ‘happily ever after’ ending. But fantasy, my genre, isn’t one of those.
Killing a POV character changes the dynamic for the reader. The reader, once invested in the characters, will fear more for them. Tension will increase if anyone in the cast can die. The momentary, “Crap! I liked that guy.” reaction will soon be overcome by the need to find out if the rest of them make it. The reader will have to see what peril the rest of them face. Will they overcome or succumb?
I have a novel that needs a lot of work. It’s the first one I wrote and it’s sitting in a drawer, and on my hard-drive, and on a couple sticks and one day I’ll pull it out and work on it. Many things will change; the antagonist needs some redeeming qualities, the protagonists need some work, I might pull a few scenes and write new ones. The one thing that will not change is the title character being killed two thirds of the way though. He dies for a reason and that reason is central to the book. He dies to demonstrate to the readers and the characters that the danger is real and imminent. He dies to demonstrate that his plan, no matter how vital and necessary, is likely to get some, maybe all of them, killed. And that, even should the plan fail, they must try again, no matter the cost.
That’s a pretty good reason to kill him. But I don’t need one that good. POV characters find themselves in threatening situations all the time, They can’t survive them all. If they all do all the time, the story will become predictable just like Star Trek. I don’t want any guys in red shirts in my books. POV characters will never get a free pass in my books. But those are my books.
What do you think as a writer? As a reader? I’d love to hear it.
Can, or rather, should you kill off a POV character in the middle of a book? Obviously it would be a mistake to kill a POV character in a one or two POV book. And, we all know that the bad guy can, and often does, die near the end of a book, that’s okay. But what if you have multiple POVs? Can you kill one of those?
I’ve seen forum posts on this very thing and often, it depends, appeared somewhere in the post. It depends on how you treat it. It depends, does it further the plot? It depends on the phase of the moon. Well, maybe it does. But I’m going to take a stand and say, “Damn right you can, and you should. Why? Star Trek.
That’s right, Star Trek. The original series with Captain Kirk and Spock and Bones and Scotty, that Star Trek. The greatest sci-fi series of it’s time and progenitor of movies, tv series, action figures, and worldwide conventions. But, Star Trek had a flaw.
Only the guys in the red shirts that you’d never seen before ever died. Oh sure, every now and then a main character was put in mortal danger but you knew they weren’t going to croak. You knew it beyond a shadow of a doubt so, no matter how artfully contrived the pickle, your fear and dread were less than they could have been. Now, I understand that sort of thing is a constraint of an ongoing tv series but we aren’t writing a tv series. Even if we are writing a series of novels, I would argue that you have to kill a main character once in awhile and, if you have multiple POVs, you ought to kill one of them.
The argument against killing POV characters seems to be that you might upset the reader. Okay, that may play in certain genres where there is an expectation of a ‘happily ever after’ ending. But fantasy, my genre, isn’t one of those.
Killing a POV character changes the dynamic for the reader. The reader, once invested in the characters, will fear more for them. Tension will increase if anyone in the cast can die. The momentary, “Crap! I liked that guy.” reaction will soon be overcome by the need to find out if the rest of them make it. The reader will have to see what peril the rest of them face. Will they overcome or succumb?
I have a novel that needs a lot of work. It’s the first one I wrote and it’s sitting in a drawer, and on my hard-drive, and on a couple sticks and one day I’ll pull it out and work on it. Many things will change; the antagonist needs some redeeming qualities, the protagonists need some work, I might pull a few scenes and write new ones. The one thing that will not change is the title character being killed two thirds of the way though. He dies for a reason and that reason is central to the book. He dies to demonstrate to the readers and the characters that the danger is real and imminent. He dies to demonstrate that his plan, no matter how vital and necessary, is likely to get some, maybe all of them, killed. And that, even should the plan fail, they must try again, no matter the cost.
That’s a pretty good reason to kill him. But I don’t need one that good. POV characters find themselves in threatening situations all the time, They can’t survive them all. If they all do all the time, the story will become predictable just like Star Trek. I don’t want any guys in red shirts in my books. POV characters will never get a free pass in my books. But those are my books.
What do you think as a writer? As a reader? I’d love to hear it.
Monday, May 30, 2011
Interview with author, Christine Goff
Hi all - We are gearing up for the second Rocky Mountain Fiction Writers 2011 Education Event. For the first time, RMFW is venturing across the mountains to provide a workshop to our western slope members and hopefully to make new friends. On June 11th, Christine Goff, Mario Acevedo and Robin Owens, all successful authors and members of RMFW, will join Charlotte Cook when she presents workshop, The Final Edit. Visit rmfw.org to learn more.
But right now, please welcome Christine Goff, who has graciously joined us to answer (with her own unique twist) the same questions we have put to other authors.
We appreciate your time, Christine...
First off, tell us a little about yourself and when/how/why you started writing.
I knew I wanted to be a writer from the time I was in third grade and wrote this great book called “The Haunted Mansion.” It was about these kids who snuck into a haunted house at night when the witch that lived there was out flying around. They got caught messing around with the bat wings and stuff. It was a great book. It never sold. It was published, however, in my mother’s scrapbook, and I never gave up. I went to school and studied Journalism, then switched to Creative Writing. I left school and moved to the mountains and became a ski bum. I took a job with the local newspaper and started writing again. I got married and took a correspondence course with the Institute of Children’s Book Writing (or something like that) and wrote this great book called “The Mystery of Phantom Ranch.” It was about these kids who rode the mules down to the bottom of the Grand Canyon. After being told about the ghost of Bert Loper, an octogenarian who died rowing on the Colorado River at night, they set out to find it. Only, it wasn’t a ghost, it was an Indian artifact smuggling ring. It was a great book. It never sold. Then, finally, a real writer moved into our ski town and I took a workshop in romance writing and wrote this book called “Frozen Assets.” It was about this counterfeiting ring in Breckenridge and had a great romance, great ski scenes—and it never sold. It got close though, so I started on a serial killer novel. Hey, if Thomas Harris can do it…. So I wrote this great book called “Stalked.” It was about this killer who stalked mothers at the school bus turnaround. Funny, it was like the school bus turnaround where I dropped my kids off every morning. It never sold. But, I was scaring myself, and I scared an agent. He agreed to represent my work, and the rest—as they say—is history.
And your books, what do you have published and what are you working on right now?
I published five novels in a Birdwatcher’s Mystery Series for Berkley Prime Crime. They are all out-of-print now in the U.S., though I will bring some copies to the workshop. They are, however, selling well in Japan. Maybe I’ll do a karaoke book tour in Tokyo someday. I am currently working on an international thriller set in Israel. My agent is really anxious for me to get it finished, and I’m excited at the prospects. It’s a new genre for me, but it’s what I’ve always wanted to write, so…
Rejection letters: How many did you receive before you were published?
Man, do I have to say? Counting editors, agents, family members and fans (yes, they send you mail when they don’t like something), maybe 30 or 40 or… I will say this, it doesn’t always happen like you think it will. I was rejected and rejected, then I sold my series on a partial (30 pages and a 4 page synopsis) without ever having published a thing in fiction.
You are participating in Rocky Mountain Fiction Writers June Education Event, meeting with attendees and maybe critiquing the first 2 pages of their wip. In your experience and opinion, what is the biggest mistake or misconception new writers have? Did you as well, when you were new to the industry?
I think new writers make two mistakes – they don’t listen to advice when they should, and they listen to advice. You have to be open to suggestions, weigh them carefully, see if it makes sense, if it resonates. You have to be willing to change things, hear what isn’t working and be open to the idea that going at it a different way might make your story commercial. If you’re only writing for yourself, then by all means, don’t change a thing. Otherwise, know that almost anyone who’s taking the time to critique your work only wants to help you succeed. What success is for you is another matter. That said, don’t make every change anyone suggests. People have differing opinions, and you’ll never please everyone. You’ll end up making changes and making changes until it’s not the story you want to tell. Make sure that you only change those things that you see can help.
Did I make these same mistakes? YES. When my romance workshop instructor gave me a three page, single-spaced critique on my full manuscript, once it was done, I cried, threw the pages on the ground and stomped on them. A week later, I picked them up and read them. I made a few changes, not many. When my manuscript was considered for publication by the senior editor at Harlequin Intrigue, she rejected it with a very nice letter sighting some of the same problems my romance workshop instructor had pointed out. If I only had listened, I might be a romance writer today. I’ve also gone the other route and tried to make every change my critique group suggested, until I was writing a book for the critique group and not telling the story I wanted. When I submitted that book, I was told it had no heart.
How often do you write? Do you stick to a schedule or work it in around life?
I try and write every day, for at least an hour, preferably four, Monday through Friday. Sometimes I write on the weekend, but that time is usually reserved for family. And I do put my writing aside when I have things come up. I have six kids (now all graduated from or in college), so my time is more my own these days; but, when I was writing my Birdwatcher’s Mystery series, I had three at home. You can’t always ignore life. That said, if you plan on hitting the NYT list and being a famous author someday, you’re going to have to make some sacrifices. All the really famous writers I know gave up time with friends and family to get where they are. Most of them have come back around to find a balance, but you’ll find the publishers will want you to turn in a book every nine months to a year, and they may want you to tour (at least put in appearances at the big writers conventions in your genre). You will have to answer your fan mail, keep up a blog or website presence. It all take time. More time than you think. So, pace yourself. Make a schedule. Stick to it. And build in time for life. It’s what fills your stories with heart.
When not writing, what do you do?
I’m a mom and a wife. I take bridge lessons on Wednesday nights. I knit. I make stuff (I’m crafty). I tile my bathroom, play with my dogs, read.
What did I not ask that you want to talk about?
But right now, please welcome Christine Goff, who has graciously joined us to answer (with her own unique twist) the same questions we have put to other authors.
We appreciate your time, Christine...
First off, tell us a little about yourself and when/how/why you started writing.
I knew I wanted to be a writer from the time I was in third grade and wrote this great book called “The Haunted Mansion.” It was about these kids who snuck into a haunted house at night when the witch that lived there was out flying around. They got caught messing around with the bat wings and stuff. It was a great book. It never sold. It was published, however, in my mother’s scrapbook, and I never gave up. I went to school and studied Journalism, then switched to Creative Writing. I left school and moved to the mountains and became a ski bum. I took a job with the local newspaper and started writing again. I got married and took a correspondence course with the Institute of Children’s Book Writing (or something like that) and wrote this great book called “The Mystery of Phantom Ranch.” It was about these kids who rode the mules down to the bottom of the Grand Canyon. After being told about the ghost of Bert Loper, an octogenarian who died rowing on the Colorado River at night, they set out to find it. Only, it wasn’t a ghost, it was an Indian artifact smuggling ring. It was a great book. It never sold. Then, finally, a real writer moved into our ski town and I took a workshop in romance writing and wrote this book called “Frozen Assets.” It was about this counterfeiting ring in Breckenridge and had a great romance, great ski scenes—and it never sold. It got close though, so I started on a serial killer novel. Hey, if Thomas Harris can do it…. So I wrote this great book called “Stalked.” It was about this killer who stalked mothers at the school bus turnaround. Funny, it was like the school bus turnaround where I dropped my kids off every morning. It never sold. But, I was scaring myself, and I scared an agent. He agreed to represent my work, and the rest—as they say—is history.
And your books, what do you have published and what are you working on right now?
I published five novels in a Birdwatcher’s Mystery Series for Berkley Prime Crime. They are all out-of-print now in the U.S., though I will bring some copies to the workshop. They are, however, selling well in Japan. Maybe I’ll do a karaoke book tour in Tokyo someday. I am currently working on an international thriller set in Israel. My agent is really anxious for me to get it finished, and I’m excited at the prospects. It’s a new genre for me, but it’s what I’ve always wanted to write, so…
Rejection letters: How many did you receive before you were published?
Man, do I have to say? Counting editors, agents, family members and fans (yes, they send you mail when they don’t like something), maybe 30 or 40 or… I will say this, it doesn’t always happen like you think it will. I was rejected and rejected, then I sold my series on a partial (30 pages and a 4 page synopsis) without ever having published a thing in fiction.
You are participating in Rocky Mountain Fiction Writers June Education Event, meeting with attendees and maybe critiquing the first 2 pages of their wip. In your experience and opinion, what is the biggest mistake or misconception new writers have? Did you as well, when you were new to the industry?
I think new writers make two mistakes – they don’t listen to advice when they should, and they listen to advice. You have to be open to suggestions, weigh them carefully, see if it makes sense, if it resonates. You have to be willing to change things, hear what isn’t working and be open to the idea that going at it a different way might make your story commercial. If you’re only writing for yourself, then by all means, don’t change a thing. Otherwise, know that almost anyone who’s taking the time to critique your work only wants to help you succeed. What success is for you is another matter. That said, don’t make every change anyone suggests. People have differing opinions, and you’ll never please everyone. You’ll end up making changes and making changes until it’s not the story you want to tell. Make sure that you only change those things that you see can help.
Did I make these same mistakes? YES. When my romance workshop instructor gave me a three page, single-spaced critique on my full manuscript, once it was done, I cried, threw the pages on the ground and stomped on them. A week later, I picked them up and read them. I made a few changes, not many. When my manuscript was considered for publication by the senior editor at Harlequin Intrigue, she rejected it with a very nice letter sighting some of the same problems my romance workshop instructor had pointed out. If I only had listened, I might be a romance writer today. I’ve also gone the other route and tried to make every change my critique group suggested, until I was writing a book for the critique group and not telling the story I wanted. When I submitted that book, I was told it had no heart.
How often do you write? Do you stick to a schedule or work it in around life?
I try and write every day, for at least an hour, preferably four, Monday through Friday. Sometimes I write on the weekend, but that time is usually reserved for family. And I do put my writing aside when I have things come up. I have six kids (now all graduated from or in college), so my time is more my own these days; but, when I was writing my Birdwatcher’s Mystery series, I had three at home. You can’t always ignore life. That said, if you plan on hitting the NYT list and being a famous author someday, you’re going to have to make some sacrifices. All the really famous writers I know gave up time with friends and family to get where they are. Most of them have come back around to find a balance, but you’ll find the publishers will want you to turn in a book every nine months to a year, and they may want you to tour (at least put in appearances at the big writers conventions in your genre). You will have to answer your fan mail, keep up a blog or website presence. It all take time. More time than you think. So, pace yourself. Make a schedule. Stick to it. And build in time for life. It’s what fills your stories with heart.
When not writing, what do you do?
I’m a mom and a wife. I take bridge lessons on Wednesday nights. I knit. I make stuff (I’m crafty). I tile my bathroom, play with my dogs, read.
What did I not ask that you want to talk about?
Reading. You must read. Read. Read. Read. If you don’t read—including in the genre you write—you cannot write. I know that’s a generalization and someone will point out someone who did it brilliantly; but, trust me. The best writers read their colleagues work. Notice, I didn’t say competition. It’s not a competition. You can only write the best book you can write. And every writer’s success builds interest in the genre and in books, it expands the market. Writers need to be each other’s best advocates and cheerleaders. So, you go!
Thanks, Christine. We look forward to seeing you in less than two weeks!!!!
Anyone who has more questions or comments, feel free to join the conversation.
Wednesday, May 11, 2011
Let's Write About Sex
Hey all,
How do you like your sex? Do you want all the slippery details or carefully worded suggestions of the action? I like details but not everyone does. One only has to look at romance to see variation in our tastes. At one end of the spectrum the door closes and the book ends, the other, the book opens with a coffee table orgasm. What’s a writer to do?
I say, write what you like to read. You’ll be more comfortable with it and you’ll know what to call the pieces and parts. That’s a big concern. Cock, shaft, member, manhood, himself, what do you call it? Female anatomy poses a similar problem. Your choice of names plays a big role in the tone of the scene. The nature of the scene dictates some of the choices. Hot monkey love calls for more vulgarity than the gentle bedding of a lover after a romantic candle lit dinner. Not that the scene can’t change as it progresses. Characters are only human and sometimes get carried away by the moment.
That’s an important point. Characters ARE human. For the most part, your characters will be narrating the action. How would they describe it? Not how would they describe it to their mother? How would they describe it in their mind? What are their thoughts? How interesting would it be if your prim and proper heroine thought, “Yes, yes, shove it in, you big burly stud.” in the middle of it all. (Anyone wants to use that line, take it, it’s a gift. ;) )
Now we’ve hit on the most important reason for writing sex; you can use it to give the reader important insight into your characters. The calculating become impetuous. The bold become timid. The reserved become wanton. Normally hidden character traits can be revealed and explored during sex. You can use those traits later to justify some unexpected action.
You can also use sex as a motivation. Once a person has been intimate with another, their relationship changes. They can become dangerously jealous or overly protective. You can turn cowards into heroes with sex. You can pit friends and siblings against one another. You can incite murder and betrayal. You can inspire greatness, forge alliances, topple governments or conquer the universe with sex. Sex is powerful. But for it to be all that it can be, ya gotta write it.
Long, long ago, in a coffee shop not so far away, I had a protagonist going along with a dangerous plan because he was attracted to a girl, maybe even falling in love with her. Her motivation was helping the creatures they had encountered, his was helping and protecting her. My critique partners weren’t buying it because he’d only known her a couple days. “He could die,” they said. Sex to the rescue. I wrote my first sex scene and his motivation was no longer in doubt. They’d had sex, he thought he was in love, he would go along to protect her.
However, the scene, in the opinion of one partner, was purple, whatever that means. So I rewrote it. Made it more detail oriented and submitted it again. The critiques I got on it were very short, punctuated by pauses, and accompanied by pink faces. Exactly what I was going for. One more reason to write sex; the fun of it. I still have that scene, maybe I’ll post it in my stories tab.
How do you like your sex? Do you want all the slippery details or carefully worded suggestions of the action? I like details but not everyone does. One only has to look at romance to see variation in our tastes. At one end of the spectrum the door closes and the book ends, the other, the book opens with a coffee table orgasm. What’s a writer to do?
I say, write what you like to read. You’ll be more comfortable with it and you’ll know what to call the pieces and parts. That’s a big concern. Cock, shaft, member, manhood, himself, what do you call it? Female anatomy poses a similar problem. Your choice of names plays a big role in the tone of the scene. The nature of the scene dictates some of the choices. Hot monkey love calls for more vulgarity than the gentle bedding of a lover after a romantic candle lit dinner. Not that the scene can’t change as it progresses. Characters are only human and sometimes get carried away by the moment.
That’s an important point. Characters ARE human. For the most part, your characters will be narrating the action. How would they describe it? Not how would they describe it to their mother? How would they describe it in their mind? What are their thoughts? How interesting would it be if your prim and proper heroine thought, “Yes, yes, shove it in, you big burly stud.” in the middle of it all. (Anyone wants to use that line, take it, it’s a gift. ;) )
Now we’ve hit on the most important reason for writing sex; you can use it to give the reader important insight into your characters. The calculating become impetuous. The bold become timid. The reserved become wanton. Normally hidden character traits can be revealed and explored during sex. You can use those traits later to justify some unexpected action.
You can also use sex as a motivation. Once a person has been intimate with another, their relationship changes. They can become dangerously jealous or overly protective. You can turn cowards into heroes with sex. You can pit friends and siblings against one another. You can incite murder and betrayal. You can inspire greatness, forge alliances, topple governments or conquer the universe with sex. Sex is powerful. But for it to be all that it can be, ya gotta write it.
Long, long ago, in a coffee shop not so far away, I had a protagonist going along with a dangerous plan because he was attracted to a girl, maybe even falling in love with her. Her motivation was helping the creatures they had encountered, his was helping and protecting her. My critique partners weren’t buying it because he’d only known her a couple days. “He could die,” they said. Sex to the rescue. I wrote my first sex scene and his motivation was no longer in doubt. They’d had sex, he thought he was in love, he would go along to protect her.
However, the scene, in the opinion of one partner, was purple, whatever that means. So I rewrote it. Made it more detail oriented and submitted it again. The critiques I got on it were very short, punctuated by pauses, and accompanied by pink faces. Exactly what I was going for. One more reason to write sex; the fun of it. I still have that scene, maybe I’ll post it in my stories tab.
Thursday, May 5, 2011
Critique Groups, what's up with them?
Critique Groups what’s up with them.
Hello everybody,
How many blogs, forum posts, articles, chapters in writing books and rants have been dedicated to critique groups? I don’t know either, but here’s one more.
First, the four of us who inhabit this blog, plus one more, are a critique group. We meet once a week, usually on Thursday at 5:30. So, if at that time you feel a strange current in the ether, it’s just us. Not that we’re strange. Well, not all of us are strange. Okay, you got me.
So, what’s up with crit groups? Mayhem! Irritation! Hurt feelings! Anger! Exasperation!
Critique groups have their problems but, in my opinion, they are the best tool you’ll ever find to hone your craft. Books, seminars, workshops, conferences and even college are nothing but flimsy bargain basement screwdrivers compared to a sturdy critique group crowbar. Why? Because none of them are as specific to your writing as a crit group. The others give you examples. In a crit group, your stuff is the example.
If that doesn’t convince you, nothing will. Moving on. How do you make a crit group work? Well, you can write up a bunch of rules, make copies, distribute them and appoint someone sheriff. You might also make up a mission statement and recite it in unison at the start of every session. You laugh but I have met people who would love that. If you are a person who would love that, do that with other people who love that and God bless. But our group evolved in a different way.
Long, long ago in a coffee shop not so far away Marne, Vicki, and I belonged to a crit group that had a rule or two written down. The group split. How and why is not important. What is important is that three fast friends were freed from written rule constraints. (That sentence is tongue-twister poetic.) Bravely we walked, arm in arm, into the dark, dank night.
Okay, if I don’t stop, this blog post will go on forever.
Anyway, we three found other writers and brought them into our group. We had, and still have some unwritten core beliefs that some got and some didn’t. The ones that didn’t were either asked to leave or left of their own accord. Of the others, some stayed for awhile and one is still here. Eventually, one member of the old group snuck under the wire and joined us. We three are now five and have been for several years. And we all get it. And that’s the secret; find people who get it. What is it? It will vary from person to person, group to group but here is our basic IT:
We offer positive along with the constructive. We offer solutions if we can. We give honest feedback and encourage discussion during the crit. And we do it all naked.
Alright, I made that last one up. So, that’s it. All you have to do is let it happen and kick out the nuts.
Oh, by the way, Marne has a publishing contract. And, I believe the rest of us aren’t far behind. We just have to put it out there like Marne.
Hello everybody,
How many blogs, forum posts, articles, chapters in writing books and rants have been dedicated to critique groups? I don’t know either, but here’s one more.
First, the four of us who inhabit this blog, plus one more, are a critique group. We meet once a week, usually on Thursday at 5:30. So, if at that time you feel a strange current in the ether, it’s just us. Not that we’re strange. Well, not all of us are strange. Okay, you got me.
So, what’s up with crit groups? Mayhem! Irritation! Hurt feelings! Anger! Exasperation!
Critique groups have their problems but, in my opinion, they are the best tool you’ll ever find to hone your craft. Books, seminars, workshops, conferences and even college are nothing but flimsy bargain basement screwdrivers compared to a sturdy critique group crowbar. Why? Because none of them are as specific to your writing as a crit group. The others give you examples. In a crit group, your stuff is the example.
If that doesn’t convince you, nothing will. Moving on. How do you make a crit group work? Well, you can write up a bunch of rules, make copies, distribute them and appoint someone sheriff. You might also make up a mission statement and recite it in unison at the start of every session. You laugh but I have met people who would love that. If you are a person who would love that, do that with other people who love that and God bless. But our group evolved in a different way.
Long, long ago in a coffee shop not so far away Marne, Vicki, and I belonged to a crit group that had a rule or two written down. The group split. How and why is not important. What is important is that three fast friends were freed from written rule constraints. (That sentence is tongue-twister poetic.) Bravely we walked, arm in arm, into the dark, dank night.
Okay, if I don’t stop, this blog post will go on forever.
Anyway, we three found other writers and brought them into our group. We had, and still have some unwritten core beliefs that some got and some didn’t. The ones that didn’t were either asked to leave or left of their own accord. Of the others, some stayed for awhile and one is still here. Eventually, one member of the old group snuck under the wire and joined us. We three are now five and have been for several years. And we all get it. And that’s the secret; find people who get it. What is it? It will vary from person to person, group to group but here is our basic IT:
We offer positive along with the constructive. We offer solutions if we can. We give honest feedback and encourage discussion during the crit. And we do it all naked.
Alright, I made that last one up. So, that’s it. All you have to do is let it happen and kick out the nuts.
Oh, by the way, Marne has a publishing contract. And, I believe the rest of us aren’t far behind. We just have to put it out there like Marne.
Sunday, May 1, 2011
Creature Feature
Hi Everybody,
This is for all the fantasy fans out there but I suspect there may be a bit of character building information in here also. I say, I suspect, because I haven't written it yet and I just don't know.
So, do you prefer building your own creatures or going with the tried and true? Little of both maybe? That's me, a little of both. I use dragons and wyverns because they are just so cool. Bad-ass, usually sentient, able to attack from the air or ground, how can you top a dragon? They are almost too cool to be really scary. Fascination gets in the way of the fear. Also, how many times can your guys battle a dragon and win? Once? Okay, maybe, but more than that and it's not believable. We need other, less formidable foes. But, there is one quality these lessers must have.
I need stuff that scares the hell out of my good guys.
It's for their own good. How could they think of themselves as courageous if they never faced something that made them want to run home screaming and waving their hands? And I need them to know they are courageous or they will not do courageous things. (I used courageous three times in that paragraph to illustrate the usefulness of repeating a word deliberately. For impact or some such thing they told me. Just don't spread them out all over the page. They need to be close together or it looks like you don't have a good vocabulary. That's the theory anyway.)
Back to building scary creatures. How do you make them scary? Their method of killing is one component. What's more frightening than being eaten alive? Nothing. So I built a creature to do just that. I started with an octopus. They have a nasty beak at the center of their arms, perfect for biting off bits. Ouch! Then, I made the body the size of a sheep. Uh-oh. Then I gave it claws like a sloth's and put it up in the trees where it hangs upside down. As it turns out, the supot is a mindless solitary ambush hunter that drops on its victim from above, wraps it up like eight constrictors, bites repeatedly to get blood flowing then presses its fleshy outer lips to the wound and sucks the prey dry. You'll want to be very careful wandering the woods in supot country.
What else is scary? Big, big is scary. In this case, I borrowed a creature from my friend, Marne. She invented a disgusting, smelly, gargantuan, man-like thing called a golgea. It's similar to the cave-troll in 'Lord of the Rings'. Great for cooperative heroics on the part of my protags. However, mine are dwarf golgea, only seven feet tall.
Sneaky and stealthy is a worrisome thing in an opponent. Nepdak change the color and texture of their skin to match their surroundings. And, they attack in groups. Like camouflaged werewolves in a pack.
Okay, there are three creatures I built for my current project. There are more but you get the point; pick something scary and make a creature to fit. What's scary? Getting strangled. What strangles? A snake. Can't be just a snake. How about a two hundred pound carnivorous squirrel with a long muscular prehensile tail. It clings to the trunk of a tree or bough and whips its tail down around the neck of unsuspecting prey then hauls them up the tree, hanging the unfortunate animal...or person.
You can do this with your human characters too. What would be frightening in a person? A fascination with edged weapons. Okay, but it can't just be a guy with a knife collection. How about a skinny pencil necked guy with an overbearing mother and a collection of vintage surgical tools?
Got creatures? Tell me about them.
This is for all the fantasy fans out there but I suspect there may be a bit of character building information in here also. I say, I suspect, because I haven't written it yet and I just don't know.
So, do you prefer building your own creatures or going with the tried and true? Little of both maybe? That's me, a little of both. I use dragons and wyverns because they are just so cool. Bad-ass, usually sentient, able to attack from the air or ground, how can you top a dragon? They are almost too cool to be really scary. Fascination gets in the way of the fear. Also, how many times can your guys battle a dragon and win? Once? Okay, maybe, but more than that and it's not believable. We need other, less formidable foes. But, there is one quality these lessers must have.
I need stuff that scares the hell out of my good guys.
It's for their own good. How could they think of themselves as courageous if they never faced something that made them want to run home screaming and waving their hands? And I need them to know they are courageous or they will not do courageous things. (I used courageous three times in that paragraph to illustrate the usefulness of repeating a word deliberately. For impact or some such thing they told me. Just don't spread them out all over the page. They need to be close together or it looks like you don't have a good vocabulary. That's the theory anyway.)
Back to building scary creatures. How do you make them scary? Their method of killing is one component. What's more frightening than being eaten alive? Nothing. So I built a creature to do just that. I started with an octopus. They have a nasty beak at the center of their arms, perfect for biting off bits. Ouch! Then, I made the body the size of a sheep. Uh-oh. Then I gave it claws like a sloth's and put it up in the trees where it hangs upside down. As it turns out, the supot is a mindless solitary ambush hunter that drops on its victim from above, wraps it up like eight constrictors, bites repeatedly to get blood flowing then presses its fleshy outer lips to the wound and sucks the prey dry. You'll want to be very careful wandering the woods in supot country.
What else is scary? Big, big is scary. In this case, I borrowed a creature from my friend, Marne. She invented a disgusting, smelly, gargantuan, man-like thing called a golgea. It's similar to the cave-troll in 'Lord of the Rings'. Great for cooperative heroics on the part of my protags. However, mine are dwarf golgea, only seven feet tall.
Sneaky and stealthy is a worrisome thing in an opponent. Nepdak change the color and texture of their skin to match their surroundings. And, they attack in groups. Like camouflaged werewolves in a pack.
Okay, there are three creatures I built for my current project. There are more but you get the point; pick something scary and make a creature to fit. What's scary? Getting strangled. What strangles? A snake. Can't be just a snake. How about a two hundred pound carnivorous squirrel with a long muscular prehensile tail. It clings to the trunk of a tree or bough and whips its tail down around the neck of unsuspecting prey then hauls them up the tree, hanging the unfortunate animal...or person.
You can do this with your human characters too. What would be frightening in a person? A fascination with edged weapons. Okay, but it can't just be a guy with a knife collection. How about a skinny pencil necked guy with an overbearing mother and a collection of vintage surgical tools?
Got creatures? Tell me about them.
Thursday, April 21, 2011
Torture Can Be Fun
Hey all,
What sort of stuff do you do to your characters?
Do you torture your characters? Do you pull the rug out just when they are about to make some progress? When they're celebrating some small victory, do you visit disaster upon them? You should.
As you know, I'm a pantser. I write by the seat of my pants, the characters tell the story to me and I write it down. That is not to say I don't have input. I do, for I am their god. I don't think they realize that, probably a good thing. Better to be a secret god. That way I don't have to be bothered with their whiny prayers and righteous indignation. I won't be asked, "How can you let this happen? Or, "Haven't I always believed in you? No, no, better they don't know about me because I am a sneaky, rotten, no-good s.o.b. I don't want to have to answer for that.
I once, just when my protagonist amassed enough men and weapons to pose a serious threat to my poor little disturbed, misunderstood, antagonist, I whispered in her ear, "Time to ride the dragon." She did, discovered the army and wiped out three quarters of them. I could only shake my head. "Egon, Egon, Egon, why was no one watching for Katerina and her dragon?" It's sad, but some lessons are really, really hard.
Lest you think I only do bad things to protagonists, I let an arrow shot by Egon part the collar holding the charm that allowed Katerina to control the dragon. That is a horrible sentence but I'm letting it stand to underscore the importance of reading your work out loud. Give it a try. Now I can hear you thinking, 'Egon shot the arrow. This lunatic with the god complex didn't do anything.'
That's exactly the point; I didn't do anything, I allowed it to happen. I could have summoned a gust of wind to blow it off course. But, I let catastrophe befall poor Katerina. She had to leap from the angry dragon, turn herself into a crow to save herself and spend the night in the mud under a bush because she didn't know how to get airborne. More importantly, the dragon was lost to her.
Okay, I told you all that because, 'Do bad things to your characters to make your story more interesting.' would be a very short blog post. That's it in a nutshell though.You have to be evil for the sake of the story. You must make your characters suffer, sometimes die. In my first manuscript, I killed the title character two thirds of the way through. Albert actually killed him but it was because of my tinkering. Overcoming disaster, tragedy, insurmountable odds and well meaning idiots builds character in protagonists and antagonists alike. And that's what we're after; strong, interesting characters.
It's up to you, as their god, to forge them with pain, disappointment and sorrow. You control their world, use that: floods, earthquakes, meteors, a rolling boulder, a toppling tree. You can arrange circumstances to rouse their greatest fears, use that: a loose lion, a raging river, an unstable rope bridge over a chasm. You can foster misunderstanding, paranoia, and hate. You can make their lives a living hell, and you must. It's for their own good.
So, tell me some of the things you've done to your characters. Or, some of the favorites you've read.
What sort of stuff do you do to your characters?
Do you torture your characters? Do you pull the rug out just when they are about to make some progress? When they're celebrating some small victory, do you visit disaster upon them? You should.
As you know, I'm a pantser. I write by the seat of my pants, the characters tell the story to me and I write it down. That is not to say I don't have input. I do, for I am their god. I don't think they realize that, probably a good thing. Better to be a secret god. That way I don't have to be bothered with their whiny prayers and righteous indignation. I won't be asked, "How can you let this happen? Or, "Haven't I always believed in you? No, no, better they don't know about me because I am a sneaky, rotten, no-good s.o.b. I don't want to have to answer for that.
I once, just when my protagonist amassed enough men and weapons to pose a serious threat to my poor little disturbed, misunderstood, antagonist, I whispered in her ear, "Time to ride the dragon." She did, discovered the army and wiped out three quarters of them. I could only shake my head. "Egon, Egon, Egon, why was no one watching for Katerina and her dragon?" It's sad, but some lessons are really, really hard.
Lest you think I only do bad things to protagonists, I let an arrow shot by Egon part the collar holding the charm that allowed Katerina to control the dragon. That is a horrible sentence but I'm letting it stand to underscore the importance of reading your work out loud. Give it a try. Now I can hear you thinking, 'Egon shot the arrow. This lunatic with the god complex didn't do anything.'
That's exactly the point; I didn't do anything, I allowed it to happen. I could have summoned a gust of wind to blow it off course. But, I let catastrophe befall poor Katerina. She had to leap from the angry dragon, turn herself into a crow to save herself and spend the night in the mud under a bush because she didn't know how to get airborne. More importantly, the dragon was lost to her.
Okay, I told you all that because, 'Do bad things to your characters to make your story more interesting.' would be a very short blog post. That's it in a nutshell though.You have to be evil for the sake of the story. You must make your characters suffer, sometimes die. In my first manuscript, I killed the title character two thirds of the way through. Albert actually killed him but it was because of my tinkering. Overcoming disaster, tragedy, insurmountable odds and well meaning idiots builds character in protagonists and antagonists alike. And that's what we're after; strong, interesting characters.
It's up to you, as their god, to forge them with pain, disappointment and sorrow. You control their world, use that: floods, earthquakes, meteors, a rolling boulder, a toppling tree. You can arrange circumstances to rouse their greatest fears, use that: a loose lion, a raging river, an unstable rope bridge over a chasm. You can foster misunderstanding, paranoia, and hate. You can make their lives a living hell, and you must. It's for their own good.
So, tell me some of the things you've done to your characters. Or, some of the favorites you've read.
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