The theme of this week's tip is theme.
(I just had to write that sentence because I do love the sweet taste of irony.)
When I first began to write, I didn't focus on theme per se. I wrote the stories that spoke to me, focussed on characters I cared about, and the theme would emerge as the plot unfolded.
You might be screaming, "What?!" at me right now, because theme is so critical. Theme is the guts of the story, the filling in the Oreo, the sauce on the pasta.
How dare I write a story without the theme flashing like a neon sign in my frontal lobe?
The short answer is, "It depends."
Some stories explore a theme. These stories require me to know the theme upfront.
Some stories explore a character. Thus, I begin with a sketch of the character, their problem, their strengths, and their ultimate desires.
Some stories ask a question. Usually speculative fiction stories begin the question with, What if...?. In these cases, I require that question to be formed in intricate detail in my mind before I begin to write the rough draft.
Of course, some stories combine all of these elements together: exploring a theme that is based on a character who is thrust into a world where the "What if" is a reality. Generally speaking, these combo stories are the good ones that resonate and linger long after you finish reading them.
Combo stories win awards.
At least, we naive authors hope that they will at least be nominated. Because we want our stories to matter, I mean really matter.
If you have your theme solidly affixed in the front of your mind (or stuck to your laptop with a Post-It) then chances are the prose will be infused with meaning.
What is a theme, exactly?
The theme is the point of the story.
If you are unsure as to the theme of a story, try asking the question, "What's the point? Why am I telling this story? Why do the protagonist's problems matter?"
Oh no, Suzanne, don't you dare start sounding like my high school English teacher!
Fear not, young Padawan. I used to teach high school math, not high school English, so you're safe in my hands. Really.
I will not list books and their respective themes. If you found my blog, you're more than capable of using a search engine on the web to find them yourself.
I'll wait...
Keep looking...
Okay, are you with me now? Great, let's get to the good stuff.
Choose a theme that resonates with readers. You can go with the big emotion-themes like loss, or forgiveness, or love. Or choose character-centric-themes like coming-of-age and fate vs. free-will. Or choose morality-themes like good vs. evil, greed vs. selflessness, and optimism vs. pessimism.
Many tried and true themes exist, and you can take another break and search for them later.
For now, remember this:
Theme is what matters.
And thus, the corollary:
For your story to matter, it requires a deliberate theme.
Do it now
Do a search on books and themes. Choose three that you would like to explore.
For each of the three themes, write three 1-sentence story ideas. See if you can include a chunk of character and a dose of "What if" along with the theme in the ideas.
Tuesday, July 24, 2012
Tuesday, July 17, 2012
Caring For Your Instrument
Anyone who plays a musical instrument knows that lesson one, before you even learn how to pull the bow or wet the reed is learning how to care for the instrument--putting it together, cleaning it, tuning it, and carefully transporting it from one place to the next.
You might be thinking, I do care for my instrument! I carry my laptop in a padded bag and I do plenty of data backups, to sticks as well as CDs or external drives.
Bravo! Regular backups are important. Your computer is your lifeline, so you must take good care of it at all times.
But there's more to writing than your computer, or a nice fountain pen, or a beautiful PaperBlanks journal.
I'm talking about your body, mind, and soul.
Body: You need your fingers to type or write your story. You need a strong back to sit with butt-in-chair for long stretches. You need to be able to go anywhere or do anything to research the places your characters will go and the things your characters will do.
Mind: Writers are idea people. Every word we put to paper lives in our minds first. Every scenario we throw at our protagonist requires thought on our part.
Soul: This is the tricky one, because it involves abstract terms like faith and balance. I'm not going to get all preachy because writers come from every walk of life and every religion (or no religion at all if that's the way you lean). But without this vital piece of your psyche intact, the words might be as blocked as a gridlock-stalled highway.
So, you're wondering now, how to care for your instrument? The answer is simple: take care of yourself.
Warning:
For the next section of the post, I might sound like a cross between your doctor, your mother, and your coach, so writer beware.
Body
You must exercise, eat well, and get enough sleep.
Harrumph, you say, I don't have time. No one has time!
You must make time, just like you make time for writing.
Park the car in those empty sections at the back of the mall, skip the chip-and-pop aisle at the grocery store, and don't cheat sleep to get words on paper.
Many writers will use exercise to help move past writers' block. Any kind of exercise from going for a walk, to swimming, to cleaning the bathrooms. (The last one is double-helpful, because at the end of it, you'll have clean bathrooms!)
Mind
Stimulate your mind with every possible input.
Read, not only fiction (to see how the good writers do it) but non-fiction that will fill your plots with believable premises and your worlds with colourful and exotic locations.
Watch movies and television, but not passively. Think about what dialogue works and what doesn't, think about plot twists that excite you.
Surf the internet for cool facts and interesting stories.
Go to art galleries, museums, rock concerts, and live theatre.
I've touched on this mind-stimulation concept in my posts on Living in the Shrubs and Inspiration.
Spirit
This is the tricky/personal one.
If you're feeling "off" sometimes emotions like depression, grief, joy, longing, etc can help to strengthen your writing. But too much emotion, too much loss or confusion or regret can make the blank page haunt you day and night.
Do whatever you need to do to nurture your spirit.
Only you know what works best for you, but anything from attending church, synagogue, mosque, temple, to meditating, to seeing a therapist, to chatting with friends and/or family can help to keep your spirit balanced.
Most authors thank their spouse in the acknowledgement section and that's because your spouse/partner plays a large role in keeping your spirit balanced.
So take care of yourself. Your body, your mind, and your spirit.
Dump the booze, toss the cigarettes, turn out the light, and hug your significant other. Your writing instrument may work that much better tomorrow when you sit down to write.
Do it now
Write down everything you eat, all the exercise you get, and all of the sleep you manage for three consecutive days. Choose one area to improve and spend the next three days eating healthier, getting an extra hour of sleep, or going for a walk.
Spend the next week trying to learn one cool fact each day. To make it a little more fun, report your findings to your spouse, kids, mom, roommate etc each evening, so that you're accountable.
Try guided meditation. There are plenty of free podcasts on the internet. I've found these particularly helpful. Alternatively, attend a religious ceremony of your choosing, especially if you haven't done so in a long while and you miss it.
You might be thinking, I do care for my instrument! I carry my laptop in a padded bag and I do plenty of data backups, to sticks as well as CDs or external drives.
Bravo! Regular backups are important. Your computer is your lifeline, so you must take good care of it at all times.
But there's more to writing than your computer, or a nice fountain pen, or a beautiful PaperBlanks journal.
I'm talking about your body, mind, and soul.
Body: You need your fingers to type or write your story. You need a strong back to sit with butt-in-chair for long stretches. You need to be able to go anywhere or do anything to research the places your characters will go and the things your characters will do.
Mind: Writers are idea people. Every word we put to paper lives in our minds first. Every scenario we throw at our protagonist requires thought on our part.
Soul: This is the tricky one, because it involves abstract terms like faith and balance. I'm not going to get all preachy because writers come from every walk of life and every religion (or no religion at all if that's the way you lean). But without this vital piece of your psyche intact, the words might be as blocked as a gridlock-stalled highway.
So, you're wondering now, how to care for your instrument? The answer is simple: take care of yourself.
Warning:
For the next section of the post, I might sound like a cross between your doctor, your mother, and your coach, so writer beware.
Body
You must exercise, eat well, and get enough sleep.
Harrumph, you say, I don't have time. No one has time!
You must make time, just like you make time for writing.
Park the car in those empty sections at the back of the mall, skip the chip-and-pop aisle at the grocery store, and don't cheat sleep to get words on paper.
Many writers will use exercise to help move past writers' block. Any kind of exercise from going for a walk, to swimming, to cleaning the bathrooms. (The last one is double-helpful, because at the end of it, you'll have clean bathrooms!)
Mind
Stimulate your mind with every possible input.
Read, not only fiction (to see how the good writers do it) but non-fiction that will fill your plots with believable premises and your worlds with colourful and exotic locations.
Watch movies and television, but not passively. Think about what dialogue works and what doesn't, think about plot twists that excite you.
Surf the internet for cool facts and interesting stories.
Go to art galleries, museums, rock concerts, and live theatre.
I've touched on this mind-stimulation concept in my posts on Living in the Shrubs and Inspiration.
Spirit
This is the tricky/personal one.
If you're feeling "off" sometimes emotions like depression, grief, joy, longing, etc can help to strengthen your writing. But too much emotion, too much loss or confusion or regret can make the blank page haunt you day and night.
Do whatever you need to do to nurture your spirit.
Only you know what works best for you, but anything from attending church, synagogue, mosque, temple, to meditating, to seeing a therapist, to chatting with friends and/or family can help to keep your spirit balanced.
Most authors thank their spouse in the acknowledgement section and that's because your spouse/partner plays a large role in keeping your spirit balanced.
So take care of yourself. Your body, your mind, and your spirit.
Dump the booze, toss the cigarettes, turn out the light, and hug your significant other. Your writing instrument may work that much better tomorrow when you sit down to write.
Do it now
Write down everything you eat, all the exercise you get, and all of the sleep you manage for three consecutive days. Choose one area to improve and spend the next three days eating healthier, getting an extra hour of sleep, or going for a walk.
Spend the next week trying to learn one cool fact each day. To make it a little more fun, report your findings to your spouse, kids, mom, roommate etc each evening, so that you're accountable.
Try guided meditation. There are plenty of free podcasts on the internet. I've found these particularly helpful. Alternatively, attend a religious ceremony of your choosing, especially if you haven't done so in a long while and you miss it.
An Interview with SWG member Suzanne Church
Stop-Watch Gang writer Suzanne Church's Proust-questionnaire-style interview is now live at Open Book Ontario.
Tuesday, July 10, 2012
Recommended Books on Writing
Since it's the summer, and plenty of people catch up on summer reading, I figured this week's writing tip would include a list my favourite books on writing.
Why read books on writing when I should just write?
Because learning the craft is at least as important as practicing the craft. When you learn to play piano you take lessons, right? When you take up knitting, you chat with the experts at the craft store. And when you become a new parent, you read plenty of books and magazines to ensure you're not doing a horrible job. (Even if it feels like you are!)
The book that is ALWAYS my number one recommendation for writers is written by my favourite author:
On Writing by Stephen King
Not only is this book fun to read, it provides essential and fun advice to keep you motivated. In fact, I plan on reading it again this week, to remind me what I'm doing right and what I need to improve.
My number two recommendation is a book that also comes with a companion workbook. I have been using both to try and improve the novel I'm currently writing and I also highly recommend it for all writers:
Writing the Breakout Novel by Donald Maass
This book is fantastic, but the workbook is also excellent because it gives you exercises to put Mr. Maass's advice into practice. I carry the workbook with me almost all the time.
Now that I have extolled the virtues of these two fabulous and essential books, let's move on to more great recommendations.
For ALL Writers:
Word Work - Surviving and Thriving as a Writer by Bruce Holland Rogers
Save the Cat by Blake Snyder (aimed at screenwriters, but useful for all writers)
The Successful Novelist by David Morrell
Characters and Viewpoint by Orson Scott Card
I Have This Nifty Idea...Now What Do I Do With It? by Mike Resnick
For Science Fiction Writers:
The Science of Science-Fiction Writing by James Gunn
How to Write Science Fiction by Orson Scott Card
The Complete Idiot's Guide to Publishing Science Fiction by Cory Doctorow and Karl Schroeder
For Fantasy Writers:
The Writer's Complete Fantasy Reference by Terry Brooks, Daniel A. Clark, Sherrilyn Kenyon, Allan Maurer, P. Andrew Miller, Michael J. Varhola, and Renee Wright
For Horror Writers:
On Writing Horror Edited by Mort Castle
For Mystery Writers:
Don't Murder Your Mystery by Chris Roerden
I also have several books in my "to read" pile that are on writing which I, personally, have not yet read, but they were recommended to me by other writers, so they may be of use to you.
Many Genres One Craft - Lessons in Writing Popular Fiction Edited by Michael A. Arnzen and Heidi Ruby Miller
Techniques of the Selling Writer by Dwight V. Swain
Self-Editing for Fiction Writers by Renni Browne and Dave King
So that's my list. I hope one or more of these books help you to be a better writer.
Do it now
Buy On Writing by Stephen King and Writing the Breakout Novel by Donald Maass. I mean it. Look them up on Amazon or Indigo or wherever you shop and get these two books shipped to your house as quickly as you can afford to. You will not regret the purchase!
If you know of a good book on writing that isn't on my list, please include the title and author in the comments section.
Why read books on writing when I should just write?
Because learning the craft is at least as important as practicing the craft. When you learn to play piano you take lessons, right? When you take up knitting, you chat with the experts at the craft store. And when you become a new parent, you read plenty of books and magazines to ensure you're not doing a horrible job. (Even if it feels like you are!)
The book that is ALWAYS my number one recommendation for writers is written by my favourite author:
On Writing by Stephen King
Not only is this book fun to read, it provides essential and fun advice to keep you motivated. In fact, I plan on reading it again this week, to remind me what I'm doing right and what I need to improve.
My number two recommendation is a book that also comes with a companion workbook. I have been using both to try and improve the novel I'm currently writing and I also highly recommend it for all writers:
Writing the Breakout Novel by Donald Maass
This book is fantastic, but the workbook is also excellent because it gives you exercises to put Mr. Maass's advice into practice. I carry the workbook with me almost all the time.
Now that I have extolled the virtues of these two fabulous and essential books, let's move on to more great recommendations.
For ALL Writers:
Word Work - Surviving and Thriving as a Writer by Bruce Holland Rogers
Save the Cat by Blake Snyder (aimed at screenwriters, but useful for all writers)
The Successful Novelist by David Morrell
Characters and Viewpoint by Orson Scott Card
I Have This Nifty Idea...Now What Do I Do With It? by Mike Resnick
For Science Fiction Writers:
The Science of Science-Fiction Writing by James Gunn
How to Write Science Fiction by Orson Scott Card
The Complete Idiot's Guide to Publishing Science Fiction by Cory Doctorow and Karl Schroeder
For Fantasy Writers:
The Writer's Complete Fantasy Reference by Terry Brooks, Daniel A. Clark, Sherrilyn Kenyon, Allan Maurer, P. Andrew Miller, Michael J. Varhola, and Renee Wright
For Horror Writers:
On Writing Horror Edited by Mort Castle
For Mystery Writers:
Don't Murder Your Mystery by Chris Roerden
I also have several books in my "to read" pile that are on writing which I, personally, have not yet read, but they were recommended to me by other writers, so they may be of use to you.
Many Genres One Craft - Lessons in Writing Popular Fiction Edited by Michael A. Arnzen and Heidi Ruby Miller
Techniques of the Selling Writer by Dwight V. Swain
Self-Editing for Fiction Writers by Renni Browne and Dave King
So that's my list. I hope one or more of these books help you to be a better writer.
Do it now
Buy On Writing by Stephen King and Writing the Breakout Novel by Donald Maass. I mean it. Look them up on Amazon or Indigo or wherever you shop and get these two books shipped to your house as quickly as you can afford to. You will not regret the purchase!
If you know of a good book on writing that isn't on my list, please include the title and author in the comments section.
Tuesday, July 03, 2012
She Ran Her Fingers Through Her Long, Blonde Hair
I don't know about you, but I feel as though I've been doused with a dose of something between annoying and ridiculous when I read a sentence like the title of this post. And let's face it, when a character, "runs her fingers through her long, blonde hair," the reader feels as though they've been transported into the book trailer for a second-rate romance novel.
Not that there's anything wrong with well written romance novels.
Some of my friends write romance. It's a huge industry. Women all over the world read romances religiously, so don't write a flaming rant in the comments section about how I'm demeaning the genre because I'm not.
What I am trying to do is break novice writers of the habit of describing a character's physical traits using second-rate techniques.
When I write short stories, I often don't describe my characters' physical traits. As a matter of fact, I purposely leave out details such as skin colour, eye colour, hair colour (okay, pretty much all of the colours) from the equation. But that's my preference. My writing style hovers closer to the minimalist side of writing than the purple prose side, right or wrong.
Maybe that's why my ratio of rejection-to-acceptance is pretty high. But I can live with the ratio, because that's how I roll.
Ways to Include Character Attributes
Let's use the example from the title of the post.
She ran her fingers through her long, blonde hair.
Rather than telling the reader, directly, have another character in the scene do the talking. For example:
Her hair was the colour of sunlight. The way she kept it tied up in that pony tail, all I could think about was pulling it free, running my fingers through it, and taking a whiff.
Wait, that's fine for the protagonist to daydream about, but what if I'm writing from a tight point of view (POV)? How can I include what another character is thinking without breaking POV?
Avoiding jumping heads is often important. (If you're unsure about all of this POV-business, read the detailed explanations in my posts POV1 and POV2)
When you can't use internal dialogue, use the full-blown version. For example:
"I like your hair," said Jeff. His face turned a bright shade of red.
"Thanks," said Stephanie. "I get so many negative comments about it."
"Like what?" he said.
"You know, 'Dumb blonde,' or 'What a blonde moment,' that sort of thing."
"Right. Sorry. I mean, not sorry that your hair is blonde, but that you get teased, because it's a nice colour."
In this example, although it takes a while for us to learn that Stephanie's hair is blonde, we also learn about Jeff, specifically that he likes her, and he struggles with embarrassment when he talks to her.
The hardest POV + Description combination is trying to illustrate a character's attributes when the story is told in first person POV, because the main character is rarely going to talk about how they look to themselves. Then again, from personal experience, when I'm obsessing over how I look before an important event, I might stand in front of a mirror and ridicule the parts of my appearance that are not cooperating -- like a cowlick, or uncooperative mascara, or those last few inches I can't seem to burn away from my butt. (I'm sure guys worry about similar issues.)
So in some situations, if your first person POV character is about to go to a job interview, or on a first date then they might take a moment in-front-of-a-mirror. Keep in mind that mirror scenes can be terrible or trite, so be very careful with mirrors.
The last tool you can use is straight description, but use it sparingly. Too much and your reader will feel like they're reading catalogue descriptions for mail order brides or sperm donors, not your compelling and insightful prose. For example:
Stephanie wore her blonde hair long, to emphasize her curls when the need arose, or to straighten them when they required taming. Like every starlet in Hollywood, she had come to the conclusion that long hair can be a magnet for attention, and she definitely craved attention. Even if attention did not always entirely present itself.
Here I've given one physical trait, but also included details about how the character reacts to the trait. Ultimately, the reader finds it easier to picture the character's physical attributes while being interested in the feelings and adventures of the character.
Most readers want to know how to imagine your characters. So give them a few nibbles. Squeeze the details in the most natural and unobtrusive way possible.
A good way to determine whether the text is working or feels ridiculous is to read the section out loud, either to yourself or to someone else. If they roll their eyes or groan in frustration then you know you've got some editing to do.
Do it now
Grab a book that you've read and thoroughly enjoyed and then skim it for the parts when the characters' features are described. Jot down what worked and what might have felt a bit over-the-top to you.
Write a paragraph that describes your personal characteristics in an entertaining way. Massage the prose until you feel as though it's as natural and entertaining as possible.
Not that there's anything wrong with well written romance novels.
Some of my friends write romance. It's a huge industry. Women all over the world read romances religiously, so don't write a flaming rant in the comments section about how I'm demeaning the genre because I'm not.
What I am trying to do is break novice writers of the habit of describing a character's physical traits using second-rate techniques.
When I write short stories, I often don't describe my characters' physical traits. As a matter of fact, I purposely leave out details such as skin colour, eye colour, hair colour (okay, pretty much all of the colours) from the equation. But that's my preference. My writing style hovers closer to the minimalist side of writing than the purple prose side, right or wrong.
Maybe that's why my ratio of rejection-to-acceptance is pretty high. But I can live with the ratio, because that's how I roll.
Ways to Include Character Attributes
Let's use the example from the title of the post.
She ran her fingers through her long, blonde hair.
Rather than telling the reader, directly, have another character in the scene do the talking. For example:
Her hair was the colour of sunlight. The way she kept it tied up in that pony tail, all I could think about was pulling it free, running my fingers through it, and taking a whiff.
Wait, that's fine for the protagonist to daydream about, but what if I'm writing from a tight point of view (POV)? How can I include what another character is thinking without breaking POV?
Avoiding jumping heads is often important. (If you're unsure about all of this POV-business, read the detailed explanations in my posts POV1 and POV2)
When you can't use internal dialogue, use the full-blown version. For example:
"I like your hair," said Jeff. His face turned a bright shade of red.
"Thanks," said Stephanie. "I get so many negative comments about it."
"Like what?" he said.
"You know, 'Dumb blonde,' or 'What a blonde moment,' that sort of thing."
"Right. Sorry. I mean, not sorry that your hair is blonde, but that you get teased, because it's a nice colour."
In this example, although it takes a while for us to learn that Stephanie's hair is blonde, we also learn about Jeff, specifically that he likes her, and he struggles with embarrassment when he talks to her.
The hardest POV + Description combination is trying to illustrate a character's attributes when the story is told in first person POV, because the main character is rarely going to talk about how they look to themselves. Then again, from personal experience, when I'm obsessing over how I look before an important event, I might stand in front of a mirror and ridicule the parts of my appearance that are not cooperating -- like a cowlick, or uncooperative mascara, or those last few inches I can't seem to burn away from my butt. (I'm sure guys worry about similar issues.)
So in some situations, if your first person POV character is about to go to a job interview, or on a first date then they might take a moment in-front-of-a-mirror. Keep in mind that mirror scenes can be terrible or trite, so be very careful with mirrors.
The last tool you can use is straight description, but use it sparingly. Too much and your reader will feel like they're reading catalogue descriptions for mail order brides or sperm donors, not your compelling and insightful prose. For example:
Stephanie wore her blonde hair long, to emphasize her curls when the need arose, or to straighten them when they required taming. Like every starlet in Hollywood, she had come to the conclusion that long hair can be a magnet for attention, and she definitely craved attention. Even if attention did not always entirely present itself.
Here I've given one physical trait, but also included details about how the character reacts to the trait. Ultimately, the reader finds it easier to picture the character's physical attributes while being interested in the feelings and adventures of the character.
Most readers want to know how to imagine your characters. So give them a few nibbles. Squeeze the details in the most natural and unobtrusive way possible.
A good way to determine whether the text is working or feels ridiculous is to read the section out loud, either to yourself or to someone else. If they roll their eyes or groan in frustration then you know you've got some editing to do.
Do it now
Grab a book that you've read and thoroughly enjoyed and then skim it for the parts when the characters' features are described. Jot down what worked and what might have felt a bit over-the-top to you.
Write a paragraph that describes your personal characteristics in an entertaining way. Massage the prose until you feel as though it's as natural and entertaining as possible.
Tuesday, June 26, 2012
Living in the Shrubs
You might be wondering what "Living in the Shrubs" has to do with writing advice.
For me, the phase has plenty of meaning.
Writers spend a good portion of their time reading. This reading can be research (reading non-fiction that helps us to ensure the doctor character in our current story spews dialogue of medical terminology that makes sense). The reading can also be fiction, by writers we respect (who we want to emulate) or other writers who we might not respect, per se, but we might want to at least understand.
Now we're almost in the shrubs.
Over the last couple of weeks, I've been reading fiction that I find somewhat embarrassing. We're talking books I keep upside down in my car so if a passerby happens to glance in, they won't see the cover and judge me for reading such "drivel." And no, I most certainly will not admit which books or authors I have been reading.
When I read these books, I'm trying to figure out some vital information:
Why is this book and/or author so popular?
What in this book appeals to such a broad audience?
What do I personally find appealing in the book (if anything)?
How can I capture some of this money-making-brilliance and stuff it into my novel?
When I perform this sort of research, I feel like I'm living in the shrubs, hiding from society, ready to pounce on the unsuspecting public.
Don't be too creeped out. I don't actually live in the shrubs. I am not a serial killer or anything interesting like that. But I am a bit of a serial observer.
Writers are watching and listening (maybe even taking notes) all of the time. That means that we should be theoretically living in the shrubs, where we have a better view of everything around us. Now I'm not suggesting you actually live in the shrubs, because that's just plain wrong, but I believe I've made my point.
So what are we writers observing?
- mannerisms
- conversational dynamics
- clothing
- eating and drinking habits
- architectural and decorating details
- car models and driving habits
- reading habits
- development and use of technology
Okay, the list is getting long already, and I'm only scratching the tip of the iceberg's surface at this point. Because we really are observing anything and everything we are able to absorb. Because if we wish to infuse our characters with believable characteristics, and we long for our settings to come alive in the readers' minds, and we aim to build believable worlds then we need a foundation of details with which to generate these details.
Wait a minute. I thought fiction was about making stuff up. About lying for a living.
True.
I don't like shrubs, and I don't want to get my outfit dirty.
It's a metaphor. Weren't you listening?
This is a blog. Listening doesn't apply.
Enough with the clever quips, Suzanne. Get back to your point.
My point:
Fiction comes alive when it is infused with truths.
So go out and buy that bestseller that you think is lame and poorly written (lock yourself in the bathroom while you read it, if you don't want anyone else to know). Shamelessly eavesdrop on conversations at the coffee shop, on the subway, in the mall, at the office, wherever. Pay attention to how everyone dresses and carries themselves, from old ladies at the synagogue to teenagers at the bus stop, to moms at the grocery store. Notice whether everyone who drives a pickup changes lanes without signalling. Remember how your mechanic wipes his nose. File away how the housekeeper at your hotel sways her hips while she pushes her cart.
Absorb and catalogue it all for later.
So the next time you're walking past the neighbour's shrubs, imagine how much you could garner from an afternoon spent hiding amongst them.
Do it now
Look up, right now, and watch whatever is in front of you for five minutes. (If you're alone in your office, look out the window and watch the grass grow, or the squirrels scampering.)
The next time you're at the grocery store, write down five different character types you encounter.
The next time you're a passenger in a car, watch and study how different people in different cars behave. I said a passenger! Don't be distracted while you're ACTUALLY driving. Safety first!
Read a book you think you'll hate, just to see what other people might see in it.
For me, the phase has plenty of meaning.
Writers spend a good portion of their time reading. This reading can be research (reading non-fiction that helps us to ensure the doctor character in our current story spews dialogue of medical terminology that makes sense). The reading can also be fiction, by writers we respect (who we want to emulate) or other writers who we might not respect, per se, but we might want to at least understand.
Now we're almost in the shrubs.
Over the last couple of weeks, I've been reading fiction that I find somewhat embarrassing. We're talking books I keep upside down in my car so if a passerby happens to glance in, they won't see the cover and judge me for reading such "drivel." And no, I most certainly will not admit which books or authors I have been reading.
When I read these books, I'm trying to figure out some vital information:
Why is this book and/or author so popular?
What in this book appeals to such a broad audience?
What do I personally find appealing in the book (if anything)?
How can I capture some of this money-making-brilliance and stuff it into my novel?
When I perform this sort of research, I feel like I'm living in the shrubs, hiding from society, ready to pounce on the unsuspecting public.
Don't be too creeped out. I don't actually live in the shrubs. I am not a serial killer or anything interesting like that. But I am a bit of a serial observer.
Writers are watching and listening (maybe even taking notes) all of the time. That means that we should be theoretically living in the shrubs, where we have a better view of everything around us. Now I'm not suggesting you actually live in the shrubs, because that's just plain wrong, but I believe I've made my point.
So what are we writers observing?
- mannerisms
- conversational dynamics
- clothing
- eating and drinking habits
- architectural and decorating details
- car models and driving habits
- reading habits
- development and use of technology
Okay, the list is getting long already, and I'm only scratching the tip of the iceberg's surface at this point. Because we really are observing anything and everything we are able to absorb. Because if we wish to infuse our characters with believable characteristics, and we long for our settings to come alive in the readers' minds, and we aim to build believable worlds then we need a foundation of details with which to generate these details.
Wait a minute. I thought fiction was about making stuff up. About lying for a living.
True.
I don't like shrubs, and I don't want to get my outfit dirty.
It's a metaphor. Weren't you listening?
This is a blog. Listening doesn't apply.
Enough with the clever quips, Suzanne. Get back to your point.
My point:
Fiction comes alive when it is infused with truths.
So go out and buy that bestseller that you think is lame and poorly written (lock yourself in the bathroom while you read it, if you don't want anyone else to know). Shamelessly eavesdrop on conversations at the coffee shop, on the subway, in the mall, at the office, wherever. Pay attention to how everyone dresses and carries themselves, from old ladies at the synagogue to teenagers at the bus stop, to moms at the grocery store. Notice whether everyone who drives a pickup changes lanes without signalling. Remember how your mechanic wipes his nose. File away how the housekeeper at your hotel sways her hips while she pushes her cart.
Absorb and catalogue it all for later.
So the next time you're walking past the neighbour's shrubs, imagine how much you could garner from an afternoon spent hiding amongst them.
Do it now
Look up, right now, and watch whatever is in front of you for five minutes. (If you're alone in your office, look out the window and watch the grass grow, or the squirrels scampering.)
The next time you're at the grocery store, write down five different character types you encounter.
The next time you're a passenger in a car, watch and study how different people in different cars behave. I said a passenger! Don't be distracted while you're ACTUALLY driving. Safety first!
Read a book you think you'll hate, just to see what other people might see in it.
Tuesday, June 19, 2012
Persistence
I can't remember who said it, but for a writer to succeed they need two of three things: persistence, skill, and luck.
Notice, I said that you only need two. Not necessarily all three. How cool is that?
If you're reading my writing tips, then you're probably striving hard for skill (by learning all about your craft and improving whenever and however you are able). And let's face it, we don't have much power over luck.
Luck happens.
So that leaves me with persistence, which is the focus of this week's post.
Looking back on previous posts, I've skirted the issue of persistence. To be persistent, you need drive. I can't teach you drive, you must make it for yourself. Do it! Get up off that couch. Sit at your computer. Set a timer, and don't get up until you've accomplished what you strived for.
Simple right?
So you send your short story to a market or you send a query to an agent, and they reject you.
What? Did you say, "They reject you??" Because that's a lie. (Okay, I was going for effect. Did it work?)
Technically, they reject YOUR STORY not YOU.
Hold up your manuscript/cover letter/submission package and repeat after me:
"I am not my story!
Now say it again. I mean it! I'll wait...
...
"I am not my story!
...
Feel better?
Part of persistence is not giving up. Sending out your story over and over (and over) again until it finds a home.
Should I edit the story before I send it out again?
That depends on a few factors. If you received feedback that resonates with you then feel free to adjust the story accordingly.
Has it been months (or years) since you submitted? Chances are you're a better writer now, or it's been so long since you read it that your editing eye will be fresh-as-a-daisy so a quick editing pass might improve the story.
Don't be discouraged. Rejection is part of the gig. According to my short story tracking spreadsheet, as of today, I've had 18 acceptances and 285 rejections for my 304 submissions. (Wait, that doesn't add up. Yes, that's because one story is out at a market and I haven't heard back yet.)
One story out at a market? Is that all? You slacker!!
Guilty. After this blog post, I should probably listen to my own advice and send out a couple of submissions.
Now, you may be asking, "But I'm working on novels, and it'll be months before I'm ready to submit. How does persistence affect me? How do I maintain focus?"
The answer: a bunch of different ways.
Strategies for Persistence
- making resolutions
- establishing the habit
- external motivations
- internal motivations
- structure
Wait a minute...those first two sound awfully familiar!
Guilty again. Yes, those were the first two topics of my writing tips this year: making writing resolutions and establishing the habit of writing every day. They are so important, that I blogged about them first! And I'm re-emphasizing them now because they are a big part of persistence.
Making Resolutions
If you promise yourself that you will meet a certain list of goals, then every day, when you sit down to write, you will have a place to start. Do I need to submit a few stories to meet my goals? Have I written today's word count goal?
Establishing the Habit
If you have been working hard to establish the habit of writing, then you will be sitting down at some point, every day, to write. Make sure you do write. Every day. Really.
External Motivations
We all need a push sometimes. So set up a posse of people who will nudge you when you need it. Did you talk to your partner today about your writing? Is your mother on your case to make something of yourself? Do you have a writers' group meeting in a week and a half and you promised to deliver a story?
Many motivational events for writers occur online. In June and July, a band of writers are participating in the Clarion West Write-a-thon. In March, there is National Novel Editing Month (NaNoEdMo). In April, there is Script Frenzy. In November, there is National Novel Writing Month (NaNoWriMo). Most of these events are designed to motivate you, to get you setting goals and to meet them.
Internal Motivations
Promise yourself a treat if you meet your goal. The reward can be as simple as: I will go to Starbucks to write, and that means drinking my favourite beverage. Yum! (This one works for me, big time!) Or more long term: If I meet my NaNoWriMo goal, I will buy myself that expensive hardcover book, the one whose plot calls to me, and I cannot wait another year for the paperback edition.
Or swing in the other direction with a little punishment-for-the-crime: If I don't meet my word count today, I can't eat my favourite peanut-butter-cup ice cream for dessert. If I don't submit a story today, I won't be able to watch an hour of TV from my PVR. :(
Structure
I've mentioned before, it's the structure that saves us.
At many conventions, I've heard this advice: make up a series of ready-to-mail envelopes with SASE's inside. Keep a copy of your cover letter on file for each story, so that you can change the editor/publisher info and print a new one quickly. If/when your story comes back rejected, send it right back out again, using your ready-to-sub kit.
Of course, for e-subs, the process is pretty similar.
In my tracking spreadsheet, I list a variety of markets for each story, ready to submit to if/when the story comes back rejected. To decide where to send a story next, I open the spreadsheet, check out which magazine is next, and send the story out.
At this point, you're thinking, "Wow, Suzanne, you've linked to a bunch of previous posts this week!" And you're right. I have. Because so many of the topics I've discussed so far are structural tools that facilitate persistence.
That's right, you need to remember all of the previous content to solve this latest problem. (I used to teach high school math, remember? Yes, this will all be on the test!)
So grit your teeth, rub your hands together, and be persistent. Don't allow lack of motivation, lack of organization, or rejection to stop you from reaching your writing goals.
Do it now
- Stop surfing the internet and write at least 100 new words.
- If you have a story or query letter ready to go, submit it to a market. If it's an e-sub, then send it today. If it's a postal submission, prepare the envelope/package and take it to the post office at your earliest opportunity.
Notice, I said that you only need two. Not necessarily all three. How cool is that?
If you're reading my writing tips, then you're probably striving hard for skill (by learning all about your craft and improving whenever and however you are able). And let's face it, we don't have much power over luck.
Luck happens.
So that leaves me with persistence, which is the focus of this week's post.
Looking back on previous posts, I've skirted the issue of persistence. To be persistent, you need drive. I can't teach you drive, you must make it for yourself. Do it! Get up off that couch. Sit at your computer. Set a timer, and don't get up until you've accomplished what you strived for.
Simple right?
So you send your short story to a market or you send a query to an agent, and they reject you.
What? Did you say, "They reject you??" Because that's a lie. (Okay, I was going for effect. Did it work?)
Technically, they reject YOUR STORY not YOU.
Hold up your manuscript/cover letter/submission package and repeat after me:
"I am not my story!
Now say it again. I mean it! I'll wait...
...
"I am not my story!
...
Feel better?
Part of persistence is not giving up. Sending out your story over and over (and over) again until it finds a home.
Should I edit the story before I send it out again?
That depends on a few factors. If you received feedback that resonates with you then feel free to adjust the story accordingly.
Has it been months (or years) since you submitted? Chances are you're a better writer now, or it's been so long since you read it that your editing eye will be fresh-as-a-daisy so a quick editing pass might improve the story.
Don't be discouraged. Rejection is part of the gig. According to my short story tracking spreadsheet, as of today, I've had 18 acceptances and 285 rejections for my 304 submissions. (Wait, that doesn't add up. Yes, that's because one story is out at a market and I haven't heard back yet.)
One story out at a market? Is that all? You slacker!!
Guilty. After this blog post, I should probably listen to my own advice and send out a couple of submissions.
Now, you may be asking, "But I'm working on novels, and it'll be months before I'm ready to submit. How does persistence affect me? How do I maintain focus?"
The answer: a bunch of different ways.
Strategies for Persistence
- making resolutions
- establishing the habit
- external motivations
- internal motivations
- structure
Wait a minute...those first two sound awfully familiar!
Guilty again. Yes, those were the first two topics of my writing tips this year: making writing resolutions and establishing the habit of writing every day. They are so important, that I blogged about them first! And I'm re-emphasizing them now because they are a big part of persistence.
Making Resolutions
If you promise yourself that you will meet a certain list of goals, then every day, when you sit down to write, you will have a place to start. Do I need to submit a few stories to meet my goals? Have I written today's word count goal?
Establishing the Habit
If you have been working hard to establish the habit of writing, then you will be sitting down at some point, every day, to write. Make sure you do write. Every day. Really.
External Motivations
We all need a push sometimes. So set up a posse of people who will nudge you when you need it. Did you talk to your partner today about your writing? Is your mother on your case to make something of yourself? Do you have a writers' group meeting in a week and a half and you promised to deliver a story?
Many motivational events for writers occur online. In June and July, a band of writers are participating in the Clarion West Write-a-thon. In March, there is National Novel Editing Month (NaNoEdMo). In April, there is Script Frenzy. In November, there is National Novel Writing Month (NaNoWriMo). Most of these events are designed to motivate you, to get you setting goals and to meet them.
Internal Motivations
Promise yourself a treat if you meet your goal. The reward can be as simple as: I will go to Starbucks to write, and that means drinking my favourite beverage. Yum! (This one works for me, big time!) Or more long term: If I meet my NaNoWriMo goal, I will buy myself that expensive hardcover book, the one whose plot calls to me, and I cannot wait another year for the paperback edition.
Or swing in the other direction with a little punishment-for-the-crime: If I don't meet my word count today, I can't eat my favourite peanut-butter-cup ice cream for dessert. If I don't submit a story today, I won't be able to watch an hour of TV from my PVR. :(
Structure
I've mentioned before, it's the structure that saves us.
At many conventions, I've heard this advice: make up a series of ready-to-mail envelopes with SASE's inside. Keep a copy of your cover letter on file for each story, so that you can change the editor/publisher info and print a new one quickly. If/when your story comes back rejected, send it right back out again, using your ready-to-sub kit.
Of course, for e-subs, the process is pretty similar.
In my tracking spreadsheet, I list a variety of markets for each story, ready to submit to if/when the story comes back rejected. To decide where to send a story next, I open the spreadsheet, check out which magazine is next, and send the story out.
At this point, you're thinking, "Wow, Suzanne, you've linked to a bunch of previous posts this week!" And you're right. I have. Because so many of the topics I've discussed so far are structural tools that facilitate persistence.
That's right, you need to remember all of the previous content to solve this latest problem. (I used to teach high school math, remember? Yes, this will all be on the test!)
So grit your teeth, rub your hands together, and be persistent. Don't allow lack of motivation, lack of organization, or rejection to stop you from reaching your writing goals.
Do it now
- Stop surfing the internet and write at least 100 new words.
- If you have a story or query letter ready to go, submit it to a market. If it's an e-sub, then send it today. If it's a postal submission, prepare the envelope/package and take it to the post office at your earliest opportunity.
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