I was talking to a fellow writer the other day who is struggling a bit with her first draft. She’s an amazing writer but sometimes has a hard time putting down that crappy first draft because she’s a self-proclaimed perfectionist. No matter how many people say, “Just write it. It’s a first draft, it’s supposed to suck!” she just hates leaving behind any ugly sentence structures, even the slightest bland-ish character, or stilted dialogue and therefore doesn’t always feel excited about getting back to the work.
We came to the conclusion that what she needed was a payoff. And not just any payoff—a daily, paragraph to paragraph, sentence to sentence payoff.
So what’s a payoff? Something that excites us about the sometimes not-so-beautiful work-in-progress that brings us back to it day after day, month after month until it can be completed and therefore edited to perfection.
I hadn’t actually thought about it until this conversation and I realized that I have a payoff in place for myself. Sometimes I’ll find myself writing some beautiful prose that I wouldn’t mind reading again and marveling at my brilliance, but most often it’s simply the dialogue.
I love dialogue with all my heart. I like writing conversations and arguments. I love the act of communication and how it can drive a scene either by characters learning more about each other or miscommunication that leads to blows (I like the blows a lot. Ask anyone.). I like speaking dialogue I’m considering for a scene to myself in the mirror while I get ready in the morning (don’t judge, you do it too...erm, maybe) and therefore even in my first drafts, my dialogue tends to shine. Everything else is an atrocious lump but, hey, I have fancy dialogue.
That’s my payoff. I don’t move onto another scene if I feel that the dialogue is even a little off. So the next day, after letting my mind be filled with other (more important) things, I’m still excited to come back and see what my characters said to each other, and what they might say next.
What’s your payoff to keep you writing?
Tuesday, September 6, 2011
Thursday, September 1, 2011
I'm guest posting at another blog today!!
As the title states, I'm doing my very first ever guest post on another blog today. This is super cool on many levels, the first of which is I adore the author of this blog (Michelle Argyle). I have even been privileged to obtain an advanced reading copy of her novel MONARCH and will be reviewing it right here in October.
My guest post is pretty much the same post as this one I did last week but I added one more tip concerning the "Starting Syndrome".
Go check it out when you get the chance and spend some time browsing Michelle's blog as well. You won't be sorry.
The Innocent Flower
My guest post is pretty much the same post as this one I did last week but I added one more tip concerning the "Starting Syndrome".
Go check it out when you get the chance and spend some time browsing Michelle's blog as well. You won't be sorry.
The Innocent Flower
Wednesday, August 31, 2011
Character Motivations
I’ve recently finished the second draft of the second book in my 12th Dimension series (RISK). The first draft was too horrible to be seen by any eyes save my own and one other person. That one other person (thanks Kate!) was able to read it and point out holes the size of Belgium and therefore put poor RISK onto the second draft track. So when the second draft was complete it went out to my other Alpha readers for their evaluation.
Now reading this manuscript was no small task, as I understand. I’m sure it was a sight easier than what poor Kate had to read but there were still problems with the manuscript that no public reader should ever have to witness. My biggest problem: character motivations.
I am a discovery writer so by nature I write wonderfully from point A to point B. I create darn good action sequences (usually involving a lot of electricity and firearms) and my dialogue (IMHO) rocks. However, since I am the aforementioned discovery writer, I don’t always know what my characters want at the moment I’m writing that slam-bang action sequence. I usually don’t even know what my characters want until I’ve written “the end” and then had a group of Alpha readers read the manuscript and we stay up until two in the morning hashing over what the devil my characters want.
This doesn’t mean they are completely directionless. I’m pretty good at the small motivations, i.e. Rose doesn’t want to be shot by that guy so she hides behind that rock and volts him the second she gets a chance. I’m not even too bad with motivations that span several chapters, i.e. Thurmond sees that Rose is in trouble and will go to the ends of the earth (or Arches National Park) to find her and help her out. The place I really struggle is the manuscript-spanning motivations, i.e. Rose is sad at the beginning of the manuscript and has to do something deliberate over the course to 100 thousand + words to make her not sad anymore.
The trouble with not knowing character motivations is that you have characters who are for the most part reactive. Someone does this and so they need to do that. They are not able to drive the story. They don’t engender the same trust as you would give a character who, I don’t know, has a plan and you get to see them implement it. Don’t you just love a character you can trust will always get out of the situation? For example, Dr. Who is fantastic at this. You know his motivation (save Earth, or the girl or both) and so you can trust that no matter how bad things get he has a plan to get everyone out of it.
That doesn’t mean that characters can’t have moments of directionlessness (I know that’s not a word, the red underline is screaming at me), but they should be few and far between. They should be that low point right before the character turns things around and gets back on their motivation horse.
As my editor told me recently, “Just remember that the character must want something ‘even if it's a glass of water.’ (Kurt Vonneghut, Jr.)”
So tell me, discovery writers and outline writers alike, do you ever have problems with your character’s motivations?
Now reading this manuscript was no small task, as I understand. I’m sure it was a sight easier than what poor Kate had to read but there were still problems with the manuscript that no public reader should ever have to witness. My biggest problem: character motivations.
I am a discovery writer so by nature I write wonderfully from point A to point B. I create darn good action sequences (usually involving a lot of electricity and firearms) and my dialogue (IMHO) rocks. However, since I am the aforementioned discovery writer, I don’t always know what my characters want at the moment I’m writing that slam-bang action sequence. I usually don’t even know what my characters want until I’ve written “the end” and then had a group of Alpha readers read the manuscript and we stay up until two in the morning hashing over what the devil my characters want.
This doesn’t mean they are completely directionless. I’m pretty good at the small motivations, i.e. Rose doesn’t want to be shot by that guy so she hides behind that rock and volts him the second she gets a chance. I’m not even too bad with motivations that span several chapters, i.e. Thurmond sees that Rose is in trouble and will go to the ends of the earth (or Arches National Park) to find her and help her out. The place I really struggle is the manuscript-spanning motivations, i.e. Rose is sad at the beginning of the manuscript and has to do something deliberate over the course to 100 thousand + words to make her not sad anymore.
The trouble with not knowing character motivations is that you have characters who are for the most part reactive. Someone does this and so they need to do that. They are not able to drive the story. They don’t engender the same trust as you would give a character who, I don’t know, has a plan and you get to see them implement it. Don’t you just love a character you can trust will always get out of the situation? For example, Dr. Who is fantastic at this. You know his motivation (save Earth, or the girl or both) and so you can trust that no matter how bad things get he has a plan to get everyone out of it.
That doesn’t mean that characters can’t have moments of directionlessness (I know that’s not a word, the red underline is screaming at me), but they should be few and far between. They should be that low point right before the character turns things around and gets back on their motivation horse.
As my editor told me recently, “Just remember that the character must want something ‘even if it's a glass of water.’ (Kurt Vonneghut, Jr.)”
So tell me, discovery writers and outline writers alike, do you ever have problems with your character’s motivations?
Saturday, August 27, 2011
Things I now know about writing
May I just start by saying my editor, Sheryl, is brilliant. I received my first edits from her this week which only went to show me how much I didn't know. It never fails--feel like you know everything about a subject and the universe will make sure you discover that you don't.
So I open the edited document and my first reaction was, "HOLY BLOOD RED PENCIL, BATMAN!"
Now I'll have to admit this didn't shake me up like it would have a year ago, or if I'd received the same information by someone a bit less trustworthy. I was delighted, not only that I hadn't self-published (not that I'm opposed to self-publishing but in R.A.G.E.'s case I would have just been shooting myself in the foot), but that at last I had been handed the tools by a brilliant professional (have I mentioned that yet? Brilliant, I tell you) to give R.A.G.E. the greatest chance out there in the big, scary world.
So after my original reaction and then my secondary reaction and perhaps a couple more reactions, (NONE of which involved any tears or welling about the eyes of any kind) I planted myself in front of my computer and went about learning what I probably should have already known.
Now I'm going to pass it along to you. Chances are you already know all this and you are welcome to roll your eyes at me and go find something more interesting to do. If you don't, however, go ahead and apply these techniques to your own work and you'll be surprised how much it tightens the writing.
1. The "ING" trap. This is what my editor calls it and you can read all about it here.
In my manuscript I'd call if more of a disease. Once I started it just seemed to spread. This is when (usually in an attempt to start your sentence with something other than he/she/ I/my or your character's name) you instead start with the verb. Example from R.A.G.E. "Trembling fingers touched my neck, searching for comfort from my dad." Urgh! Okay, this sentence is horrendous in many ways but let me fix it really quick so I can copy and paste it in my manuscript. How about. "My trembling fingers touched my neck, searching for the pendant that always gave me comfort from my father." Not great, but better, and it doesn't start with an "ing" word. Click on the link for more detailed info with examples and how to fix them. I understand it but I'm not sure I can explain it well enough.
2. ‘there is/there are' and ‘it is/it was' constructions. An example from my own work. "It was my leg, of all things, that hurt the worst." I mean seriously isn't it just better to write something like, "My leg, of all things, hurt the worst." I went and did a "find" (but not replace because you're going to have to use your brain to fix these ones) of all the "it was"'s. Amazing! And tightened. Done. You can read all about it here.
3. And last (at least for the moment until I receive more edits) The watching syndrome. Check for detailed info here.
This has to do with your character seeing things, hearing things and feeling things. Yes, we should have our characters using their five senses but it should be invisible. Here's an example from RISK this time, because I already went back and fixed the ones in R.A.G.E.: "I heard Max click a magazine into the M203 and start peppering bullets into the darkness." So much easier just to say, "Max clicked a magazine into the M203 and started peppering bullets into the darkness." Yes? Nod your head if you agree...did you just nod? And how about (also from RISK): "I saw the man lunging across the bed toward me, hands outstretched." How about instead: "The man lunged across the bed toward me, hands outstretched." Easy peasy and so much better.
I love all these little things in the editing phase and watching R.A.G.E. come together. Go ahead and read the other writing tips on the Shelfstealers website. You'll be happy you did and your manuscript as well as future (or current) editors will thank you.
My editor said, and I'm going to quote her because she's...(come on, you already know what I'm going to say because, admit it, you're clicking over to your own manuscripts right now and applying these things)...brilliant. She said, "when we eliminate some of the weaknesses in our writing, other weaknesses that were hiding, rise to the surface. I liken it to the sculptor's or wood-carver's process: carve away the awkward bits to reveal the grain, and then work with that grain to bring out its richness."
With those words I'm going to work on my sculpture...erm manuscript.
So I open the edited document and my first reaction was, "HOLY BLOOD RED PENCIL, BATMAN!"
Now I'll have to admit this didn't shake me up like it would have a year ago, or if I'd received the same information by someone a bit less trustworthy. I was delighted, not only that I hadn't self-published (not that I'm opposed to self-publishing but in R.A.G.E.'s case I would have just been shooting myself in the foot), but that at last I had been handed the tools by a brilliant professional (have I mentioned that yet? Brilliant, I tell you) to give R.A.G.E. the greatest chance out there in the big, scary world.
So after my original reaction and then my secondary reaction and perhaps a couple more reactions, (NONE of which involved any tears or welling about the eyes of any kind) I planted myself in front of my computer and went about learning what I probably should have already known.
Now I'm going to pass it along to you. Chances are you already know all this and you are welcome to roll your eyes at me and go find something more interesting to do. If you don't, however, go ahead and apply these techniques to your own work and you'll be surprised how much it tightens the writing.
1. The "ING" trap. This is what my editor calls it and you can read all about it here.
In my manuscript I'd call if more of a disease. Once I started it just seemed to spread. This is when (usually in an attempt to start your sentence with something other than he/she/ I/my or your character's name) you instead start with the verb. Example from R.A.G.E. "Trembling fingers touched my neck, searching for comfort from my dad." Urgh! Okay, this sentence is horrendous in many ways but let me fix it really quick so I can copy and paste it in my manuscript. How about. "My trembling fingers touched my neck, searching for the pendant that always gave me comfort from my father." Not great, but better, and it doesn't start with an "ing" word. Click on the link for more detailed info with examples and how to fix them. I understand it but I'm not sure I can explain it well enough.
2. ‘there is/there are' and ‘it is/it was' constructions. An example from my own work. "It was my leg, of all things, that hurt the worst." I mean seriously isn't it just better to write something like, "My leg, of all things, hurt the worst." I went and did a "find" (but not replace because you're going to have to use your brain to fix these ones) of all the "it was"'s. Amazing! And tightened. Done. You can read all about it here.
3. And last (at least for the moment until I receive more edits) The watching syndrome. Check for detailed info here.
This has to do with your character seeing things, hearing things and feeling things. Yes, we should have our characters using their five senses but it should be invisible. Here's an example from RISK this time, because I already went back and fixed the ones in R.A.G.E.: "I heard Max click a magazine into the M203 and start peppering bullets into the darkness." So much easier just to say, "Max clicked a magazine into the M203 and started peppering bullets into the darkness." Yes? Nod your head if you agree...did you just nod? And how about (also from RISK): "I saw the man lunging across the bed toward me, hands outstretched." How about instead: "The man lunged across the bed toward me, hands outstretched." Easy peasy and so much better.
I love all these little things in the editing phase and watching R.A.G.E. come together. Go ahead and read the other writing tips on the Shelfstealers website. You'll be happy you did and your manuscript as well as future (or current) editors will thank you.
My editor said, and I'm going to quote her because she's...(come on, you already know what I'm going to say because, admit it, you're clicking over to your own manuscripts right now and applying these things)...brilliant. She said, "when we eliminate some of the weaknesses in our writing, other weaknesses that were hiding, rise to the surface. I liken it to the sculptor's or wood-carver's process: carve away the awkward bits to reveal the grain, and then work with that grain to bring out its richness."
With those words I'm going to work on my sculpture...erm manuscript.
Thursday, June 2, 2011
Sunday, April 24, 2011
The Joys of Easter and Gallbladder Surgery
You know how busy weeks usually start. Weeks before this alleged busy week you simply scratch in a single activity on a calendar. Little did you know, that while you are living the days up until that single activity, the activity has been quietly and militaristically recruiting under the sly. Now suddenly at the beginning of the week you look at your calendar, remembering scratching in that single activity only to see twelve others also scratched in (No way is that your handwriting!) and voila! The busy week hath birthed.
Well such a busy week appeared on my calendar early last week. It started out innocently enough with friends over for lunch on Tuesday before blossoming into a full fledged 9-year-old birthday party, soccer/hip-hop/football practice and Easter weekend. Now lest you scoff at this week and say you've seen worse let me add one more:
Wednesday night (the day before the birthday party) this poor mother found herself in such pain that she couldn't even begin to imagine laying down and sleeping that night, much less throwing a birthday party for nine squealing 9-y/olds. A late night visit to the ER and a friendly visit from Mr. Morphine and suddenly, that heavily laden table that was my week suddenly became someone else's heavily laden table.
I will admit right here and right now to a bright sappy look that must have crossed my face as the sleepy ER Doc told me that I needed emergency surgery to remove my gallbladder. There may or may not have been tears of gratitude and an attempted sloppy kiss (remember the morphine) that had mostly to do with the fact that I wasn't dying anymore--although there might have been a secondary moment where I saw my busy week suddenly (and with no need for guilt on my part) become someone else's. I got to spend the next two days in relative peace and quiet at the hospital playing "You know you're a writer when... 1. You analyze every pain and put it into a descriptive sentence. 2. The drug-induced dream becomes your new favorite idea for a book 3. That thing the nurse just said about your dressing is not only poetic but inspirational and must be written down(remember the morphine)."
So today is Easter Sunday. I've been out of the hospital since Friday (although in a narcotic haze that tends to amplify not only the dog barking two miles away, but the child crying right in my ear) and all I can think to say is how grateful I am.
First: The birthday party was a success in that, even though I wasn't able to make the Barbie Cake my 9 y/o wanted, or draw the picture for pin-the-crown-on-the-princess, she and her squealing little friends had a wonderful time (thanks to a resourceful husband and a copy of Tangled) proven by the huge smile I got from her when I saw her later that night in the hospital.
Second: The doctors were able to not only quickly diagnose my problem but also get me into surgery quickly, thus successfully curing the mystery illness I've had for the last couple of years.
Third: I have the most wonderful family, friends and neighbors. From the phone calls, text messages and dinners brought over for my family, I feel so cherished and taken care of. Even today, Easter Sunday, we were surprised by the most amazing Easter ham with all the accessories and even a get well card.
And last: My husband, Brett, who did the work of both a dad and a mom-with-a-super-busy-week. It's hard for me to take time just for myself and he managed to make me feel completely comfortable and secure that my children are being well taken care of so that I have been able to sleep and heal.
Happy Easter.
Well such a busy week appeared on my calendar early last week. It started out innocently enough with friends over for lunch on Tuesday before blossoming into a full fledged 9-year-old birthday party, soccer/hip-hop/football practice and Easter weekend. Now lest you scoff at this week and say you've seen worse let me add one more:
Wednesday night (the day before the birthday party) this poor mother found herself in such pain that she couldn't even begin to imagine laying down and sleeping that night, much less throwing a birthday party for nine squealing 9-y/olds. A late night visit to the ER and a friendly visit from Mr. Morphine and suddenly, that heavily laden table that was my week suddenly became someone else's heavily laden table.
I will admit right here and right now to a bright sappy look that must have crossed my face as the sleepy ER Doc told me that I needed emergency surgery to remove my gallbladder. There may or may not have been tears of gratitude and an attempted sloppy kiss (remember the morphine) that had mostly to do with the fact that I wasn't dying anymore--although there might have been a secondary moment where I saw my busy week suddenly (and with no need for guilt on my part) become someone else's. I got to spend the next two days in relative peace and quiet at the hospital playing "You know you're a writer when... 1. You analyze every pain and put it into a descriptive sentence. 2. The drug-induced dream becomes your new favorite idea for a book 3. That thing the nurse just said about your dressing is not only poetic but inspirational and must be written down(remember the morphine)."
So today is Easter Sunday. I've been out of the hospital since Friday (although in a narcotic haze that tends to amplify not only the dog barking two miles away, but the child crying right in my ear) and all I can think to say is how grateful I am.
First: The birthday party was a success in that, even though I wasn't able to make the Barbie Cake my 9 y/o wanted, or draw the picture for pin-the-crown-on-the-princess, she and her squealing little friends had a wonderful time (thanks to a resourceful husband and a copy of Tangled) proven by the huge smile I got from her when I saw her later that night in the hospital.
Second: The doctors were able to not only quickly diagnose my problem but also get me into surgery quickly, thus successfully curing the mystery illness I've had for the last couple of years.
Third: I have the most wonderful family, friends and neighbors. From the phone calls, text messages and dinners brought over for my family, I feel so cherished and taken care of. Even today, Easter Sunday, we were surprised by the most amazing Easter ham with all the accessories and even a get well card.
And last: My husband, Brett, who did the work of both a dad and a mom-with-a-super-busy-week. It's hard for me to take time just for myself and he managed to make me feel completely comfortable and secure that my children are being well taken care of so that I have been able to sleep and heal.
Happy Easter.
Tuesday, April 5, 2011
Writer's Group Givin' Nothin' But Love
I may or may not have mentioned in past posts some very important people in my life. My writer's group (aka Once Upon a Keyboard), are what I would consider the Godparents on my novel. And yes, they give me nothing but love.
Now before you scream foul, and whisper behind your hands that only positive feedback is the worst thing a novel can have (unless it's been written by a supreme being and therefore has no flaws...and I guarantee that's not the case with R.A.G.E.), let me expound.
My writer's group are some of the most positive people I know (sure), with nothing but great ideas backed by intelligence, deeply grounded personal opinions, and the type of affection for their poor, flailing Godchild that tends to bring out the criticism.
Yes...I said criticism. From the beginning there has been a lot of pats on the back, lots of praise and lots of that hard-to-take-but-necessary-if-Godchild-has-any-chance-of-surviving criticism.
Example: even with R.A.G.E. out with the professional editors for Shelfstealers, I still handed it back around to my Keyboardians for last chance critiques. And you know what they found? Mistakes!! *gasp* I know, how embarrassing! Some were small easy fixes. However, I know of at least one case a major mistake was pointed out. It had to do with the dialogue of my Main Character that, it was agreed on, made her sound too childish. The problem was presented to me in the best way possible (i.e. with hesitation, downcast eyes, and a nerve of steel) and it took a good twenty minutes for fellow Keyboardian Terra Luft, to get her point across. Once I understood what she was trying to say, I responded in the best way possible (with a bit of welling about the eyes, a growl of frustration, and a resolve to ignore her). However, when I didn't sleep well that night, (thinking psuedo cuss words at aforementioned Terra Luft that my MC said too much of) I went back and looked at R.A.G.E. again with fresh eyes.
It was true, my writer's group loved me enough to anger me into taking a drastic action that succeeded in making my Main Character sound like an adult rather than a teenybopper. Bullet dodged.
Have I mentioned how much I love my writer's group? They took me out to dinner the other night to celebrate the publishing contract and also gave me the best gift a writer/reader could ask for--a gift card to Barnes and Noble. :) So here in front of the fifty six followers I have, I would just publicly like to thank the Godparents of R.A.G.E.
Keyboardians, you guys are amazing. Thanks for showing the love!
Do you have a group willing to say the hard stuff? How's that going for you?
Now before you scream foul, and whisper behind your hands that only positive feedback is the worst thing a novel can have (unless it's been written by a supreme being and therefore has no flaws...and I guarantee that's not the case with R.A.G.E.), let me expound.
My writer's group are some of the most positive people I know (sure), with nothing but great ideas backed by intelligence, deeply grounded personal opinions, and the type of affection for their poor, flailing Godchild that tends to bring out the criticism.
Yes...I said criticism. From the beginning there has been a lot of pats on the back, lots of praise and lots of that hard-to-take-but-necessary-if-Godchild-has-any-chance-of-surviving criticism.
Example: even with R.A.G.E. out with the professional editors for Shelfstealers, I still handed it back around to my Keyboardians for last chance critiques. And you know what they found? Mistakes!! *gasp* I know, how embarrassing! Some were small easy fixes. However, I know of at least one case a major mistake was pointed out. It had to do with the dialogue of my Main Character that, it was agreed on, made her sound too childish. The problem was presented to me in the best way possible (i.e. with hesitation, downcast eyes, and a nerve of steel) and it took a good twenty minutes for fellow Keyboardian Terra Luft, to get her point across. Once I understood what she was trying to say, I responded in the best way possible (with a bit of welling about the eyes, a growl of frustration, and a resolve to ignore her). However, when I didn't sleep well that night, (thinking psuedo cuss words at aforementioned Terra Luft that my MC said too much of) I went back and looked at R.A.G.E. again with fresh eyes.
It was true, my writer's group loved me enough to anger me into taking a drastic action that succeeded in making my Main Character sound like an adult rather than a teenybopper. Bullet dodged.
Have I mentioned how much I love my writer's group? They took me out to dinner the other night to celebrate the publishing contract and also gave me the best gift a writer/reader could ask for--a gift card to Barnes and Noble. :) So here in front of the fifty six followers I have, I would just publicly like to thank the Godparents of R.A.G.E.
Keyboardians, you guys are amazing. Thanks for showing the love!
Do you have a group willing to say the hard stuff? How's that going for you?
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