To Dream The Dream
Time passes in a flurry of hurried moments. Or so it seems. I have
achieved what I've set out to do. I stand, quietly, on the
precipice of publication. It is a glorious edge, looking out over the world, knowing that my name, my work, will be out there for all to see.
At present, I'm in the midst of international contract negotiations. My time has been diverted to that end, pursuing and following up leads in foreign countries and working with illustrators from around the world. It has been an exciting and interesting process that has taken me from Mexico to Italy and back.
I've come almost full circle, from aspiring writer to published author. When I can purchase a copy of my own book at the local bookstore, or from amazon.com, I will feel that I've finally made it.
As to my historic romance? I'm back on track. I've missed all of the goals I originally set for completing it, having gotten sidetracked by life and other writing projects, but I am not one to give up.
Which leads me to my final point and best advice I can give other aspiring writers. The difference between a published author and an aspiring one can be summed up in one word: PERSISTENCE.
Hold onto your dream with everything you have and see it through to the end. Good luck!
Once Upon A Writer
I used to be a writer. I long for those days. It is odd that when one writes and strives for publication, the reality of that dream coming true only complicates the writing life. Where once I could spend hours living vicariously through my characters triumphs and tragedies, now I have to focus on other matters––business mostly.
I used to have a special chunk of time carved out for writing. Now vying for that space is writing query letters and researching publishers. Soon to follow that is cataloging the received responses, reviewing comments, editing manuscripts, resubmitting them. And once publication is actually achieved, the whole world of self-marketing opens up. When, I ask, do I have time to write now that I’ve set my fledging manuscripts free to fend for themselves in the big, bad world of media-crazed publishing?
I once met an author at a book signing. He spoke eloquently about his life and his writing, about his long, arduous book tour for promoting his most recent book, about living on junk food and out of cheap cars and even cheaper motels. It left me wondering how he found the time and energy to write that next book!
The romanticism of the writing life slips away when the business reality sidles up next to it. Still, there isn’t anything I’d rather do, and receiving that first letter of acceptance is an like winning the lottery. Hell, it IS winning the lottery.
Writing Software
One of the things authors struggle with is how to organize their thoughts, not to mention their entire novels. I do this in many ways, some of which I’ve detailed in other entries. Some people work best with post-it notes, others with handwritten outlines. I think best when I’m typing, so all of my thoughts and ponderings are done on my computer.
There are two software packages that I’ve found that I like very much: yWriter (free) and SceneWriterPro ($20).
yWriter (http://www.spacejock.com/yWriter_Screens.html) was developed by a computer programmer and a sci-fi author. This free software allows you to write your entire novel in it. You can set up chapters and scenes within chapters and move things around as needed. You can define your characters, set the point of view, and rate and define conflict, goals, and outcomes. It allows you to view a storyboard of your novel based upon the times you entered. It also counts the number of times you’ve used each word in each scene/chapter; this can be useful if you find yourself using the same words over and over and over and over and over (over = 5, and = 4). In addition, there are many other neat features I have not listed here. The only negative I see to this software is that it does not incorporate a grammar/spell checker. Also, remember to set up a new directory for your files for each story otherwise it will think they are all the same novel and start combining your character files and scenes which can be confusing. I’d highly recommend this program for ease of use, flexibility, and utility.
SceneWriterPro (http://www.scenewriterpro.com/screenshots.htm) is a commercial software package for screen writing. The list price is $99, but every time I’ve checked their website, it is on sale for $19.99. I came across this software first and outlined my entire novel in it. It is simple and easy to use, though has less/different features than yWriter. There is a main window where you can type a synopsis of your scene. There is the scene list where you can drag and drop things around to reorder them. There is a characters window where you can set up your characters and write little bio’s on them. There is also some automatically generated info based on Acts I, II, and III (I don’t use this), as well as a Locations window for the various locations you will use in your script. Each scene is given a length of time, another feature I don’t use since I’m not writing a screen play. I use this software not to write my novel, but to organize it. The thing I don’t like about this program is that there is no graphical representation of the story, no storyboard or other means of seeing how one scene relates to the next.
However you write your story, the most important thing is that you actually write it. Outlining is good and necessary for some people, but nothing replaces actually writing the story.
A Labor Of Love
Writing is not always easy. Sometimes, it’s really hard. Sometimes, you really don’t want to do it. And sometimes, like any other job, you just have to sit down and make yourself write. As romantic as the life of a writer sounds, it is more often than not like any other job. It takes effort, self-discipline, and once in awhile, flat-out bribery.
As I’ve written here before, stories are a delicate balance of research and fiction, a world based in some loose framework of what we humans perceive as possible and real. Because I was so anxious to put my story to paper, I did not do all of my research upfront. In so doing, I missed a critical piece of history that made the first one-third of my book impossible for the era in which it was written. Readers are intelligent and unforgiving; an error such as this would make me lose credibility instantaneously in their eyes. And so I was faced with the grueling task of rethinking and rewriting a good portion of my book.
Talk about hard work. Thursday was the day. Come hell or high water (a little cliché, don’t you think?), I was going to bridge my book once and for all. It was a task that had been hanging over my head for far too long. On Thursday, I sat down in front of my computer and I started to write. And then I thought: I should pay bills. I’m hungry. I should call that friend from college I haven’t talked to in ages. I really should walk the dogs. The house is a mess. Hey, what about that pile of laundry? I’m still hungry. I wonder if that cool website has been updated lately? The procrastination demon was alive and well inside of my head. It took a lot of strength and fortitude to say, “No, today is the day I will write. Today I will forgo everything else in life. Today I MUST bridge this story.”
And so with each new temptation, I waged a bloody internal battle. It was NOT easy. I didn’t want to write. I didn’t want to sit in the same place all day long and force my story back into line. But I did it. And when I was done, it was an incredible high. It reminded me why I so love to write. When the story comes alive and the characters speak to me, everything feels right in the world. I was high for a week with my accomplishment. It didn’t matter that it wasn’t perfect or that it would take more work; I had finally bridged my story. I had won.
I Know Something You Don't Know (Yet)
As part of a writer’s group that reads and critiques my book chapter by chapter, I struggle with what they don’t yet know, and what I do. What I wonder is, will they still feel the same way once they know how the story turns out? Unlike someone who buys my book and can read it from cover to cover, my writer’s group suffers a 2-week lag time between chapters.
I tweak the foreshadowing, lay hints throughout, and wonder—did anyone catch that? Will they remember this seemingly insignificant piece of information? Do they realize how important this little tidbit is? Or what a remarkable difference this will make later to the story?
It is the art of storytelling, I decide. Gifted authors do it well; not-so-gifted authors lose you halfway through. It is an intricate web woven throughout a story that ties it all together. If it is done well, the web is firm and unbreakable. It springs back when you touch it, new knowledge warbling through your fingers with each inspection of the fine threads that hold it together. If it is weak, it breaks apart; its dangling strands leaving the reader stranded and confused in its wake.
Tiny treads
woven together
A silken story forms;
A web of illusions,
deceptions galore,
telling a tale:
its core.
The Art of Juggling
The art of storytelling can be compared to juggling many, many balls all at once. How each author keeps track of their numerous plot lines, characters, foreshadowing events, items not-to-be-forgotten, and other important story elements alludes most people, the authors themselves included.
I use several mechanisms, some seemingly brilliant, and others crude and barely workable. The two I rely on most, though, include the plot outline and the “Forget Me Not” file. The plot outline is the forward-looking mechanism; the “Forget Me Not” file is the retrospective mechanism. In the plot outline, I document what I plan to put where. This is where I have all of the important story elements in my head and I sprinkle them across my scenes. The “Forget Me Not” file is the tome I check when I’m writing the critical “revealing” scenes.
Don’t forget he stole that precious gem back in scene 6 while impersonating the wife, just before he caught the husband in bed with his lover! These are the pieces that tie the whole story together and can not be forgotten or lost track of.
A story is not a stagnant piece of work. As much as you plot beforehand, other ideas and thoughts and twists arise. They may have found their way into your story, but not your plot outline. They definitely need to be remembered, though, and these are always added to my “Forget Me Not” file.
Other authors print their manuscripts as they write and highlight things in different colors: pink for foreshadowing elements, yellow for critical pieces of the story that need to be revisited in later scenes, blue for storylines that need to be followed-up on, green for budding ideas that might go somewhere, but if they don’t, they need to be deleted later on, etc.
There are as many different ways to write as there are authors. In all likelihood, authors themselves change their own methods over time until they find the one that works best for them. In addition, these methods may vary depending on the genre. A mystery or suspense novel has different requirements than a biography or a romance novel. So however you keep your balls in the air, make sure you catch them all before the story comes to a close.
Plotting Along
Each author writes differently. Some authors outline their entire story first, others write their hearts out knowing it will all come together in the end. I think most of us, though, choose a middle ground. I write until I hit a snag or a plot hole, and then I have to think about where my story is going. If I find myself struggling to move forward, it tells me that I need to take a break from the writing and analyze the plot.
This is where I have been lately. I never struggle to write; writing comes easily for me. Sometimes, though, I struggle to fit all of the pieces together in the “right” way. Each scene needs to be carefully crafted. What pieces of information are parceled out in this scene that are essential to the plot? If there aren’t any, then this scene needn’t exist.
When moving forward becomes a struggle, I look back to my scene outline. Maybe I didn’t even have one up until this point, but if I find myself stalling, I create one. I look at it to see what has happened so far, what happens later in the book, and what needs to happen to bridge the gap between the present and the future.
Thus, to move from here to there, I write one line summaries of each scene. These summaries include what will happen in the scene, what information is presented that is essential to the plot, and who the POV character will be. I can then put these scenes in whatever order makes the most sense.
With a renewed sense of clarity, I write each scene according to my plot outline. Now, my story is moving forward again and I am “plotting” along.
Backstory Test
Having just finished an article on "backstory" for my writer's group, I thought I'd include The Backstory Test I developed. Backstory is all the stuff that happened to your character before your story begins. It is what defines that character, what makes them who they are. It is what makes them scream when they see a spider or smile when they hear a certain song on the radio. All of these things make up a character, but to include each of them in a story would make for a boring and tedious narrative. So, what of your backstory should you include?
THE BACKSTORY TEST________________________
Is it really needed?
________________________
* Is this piece of information critical to the plot?
* Does it move the story forward?
* Does this piece of information define the character / add depth to the character / make the character unique / memorable?
* Does it give cause to a character’s motivation?
* Does it relate to a character’s future goals?
* Does it create conflict or the potential for conflict?
* Does it evoke the emotional response you want the reader to feel for that character?
* Does it raise the stakes for the character/ the plot?
* Is it cute/funny/interesting, but otherwise irrelevant?
* Do we really need to know the motivation/reason behind this event/action/feeling? Or is just knowing that it exists enough?
* Is this really important? Or do you, the author, just really like this bit of information and hate to leave it out?
________________________
Is it needed right now?
________________________
* Does the reader need to know this right now? Or can it be left for later?
* Would it enhance suspense to wait to reveal this bit of information?
* Can it be broken into pieces to enhance the suspense?
____________________________________________
Did you incorporate it in the best possible way?
____________________________________________
* Does this piece of backstory stop the forward momentum of the story?
* Have you included it in such a way that the reader hardly notices it is there?
* Could you do anything to shorten / tighten the section where this information is introduced?
* Is there a more creative way to introduce this?
* Is there a more transparent way to introduce this?
* Does it invoke the emotional response you were looking for?
* Have you shown or told?
* Could you reveal it in a less obvious way, thereby making the reader work for the knowledge a little?
* Is this backstory in Chapter 1? If so, try to move it later in the book.
* Have you already told your reader this through your character’s actions/ responses/ thoughts/ feelings/ speech patterns/ behaviors/ etc?
* Can you use your character’s mannerisms / speech patterns / responses/ behaviors to show this instead?
Writing Doesn’t Happen in a Vacuum
Every writer has their own style of writing. Some writers do the equivalent of a core-dump on paper, letting their thoughts spill freely onto the page. Other writers plan out every word in their head before they commit even a syllable to paper. I fall into the first category; I write without looking back. I write and write and write until I can’t write anymore. When I am finished, I review what I’ve written and make changes.
But telling a good story does not happen in a vacuum. When one is so intimately tied to their work, it is hard to see the bigger picture. You may know that your character has moved from the back porch to the bedroom, but did you let your audience know this? Details can get lost in the emotional maelstrom that is your character’s life. How do you avoid this? You have others review your work.
For some this can be done as they write the book. For others, it should be done when the book is complete. If your project is just getting started, critiques early on may cause you to lose your momentum. For others, it may inspire them to write more and write better.
And what do you do when you don’t agree with your reviewer? This is the rule of thumb I use. If one person does not like something I wrote, but I still like it, my opinion always wins. However, if two people do not like the same thing, as hard as it is to admit, I must be wrong. If the same thing bothers two people, I change it.
There is no “right way to write.” The only way to write is the way that works for you. That said, if your way is not working for you, you need to change it.
Writer's Conference Gems
The two most memorable sessions of the 16th Annual Writers’ Institute were “First Draft in Thirty Days” with Karen Wiesner and “Loglines” with Laurel Yourke.
“First Draft in Thirty Days” is a marketing wizard’s title for Karen Wiesner’s method of writing a novel. First, she outlines her entire book in a manner that fleshes out the characters, plot lines, and scenes. Her outline consists of the following items: character sketches; setting sketches; a plot sketch; beginning, middle, and end summaries; and research. Then, when it’s time to write the book, there are no loose ends so to speak. Everything has been worked out in the outline stage. This highly structured method eliminates rewrites and multiple drafts and allows Karen to write entire novels in less than 2 months (1 month for the outline, 1 to 2 weeks to write the book). For more information, see her website: http://www.angelfire.com/stars4/kswiesner/FD2.html
The loglines workshop by Laurel Yourke encouraged the published and aspiring author alike to use loglines to define and track their work. These catchy one- to two-sentence descriptions can be done for each chapter and later used as the basis for the synopsis. A logline for the entire book can help keep an author focused on what the book is about. In our session, we were asked to write a catchy logline for “The Three Little Pigs.” One participant suggested, “Three pigs. One wolf. A story of survival.” Loglines should not only summarize the story, they should also have an emotional impact and draw the reader in. While loglines have traditionally been recognized in the screenplay writing industry, they are being adopted more and more by novelists as a way to market their work.
Last, but not least, one book was recommended above all others by the various speakers at this conference. “The Writer’s Journey: Mythic Structures for Writers” by Christopher Vogler explores the relationship between mythology and story telling. It is based on the work of Joseph Campbell and details myth-inspired paradigms as well as guidelines for plot and character development.
Prologues and Starting Over
I have rewritten the story summary to encompass a back story / premise that is much more realistic for the times than I originally wrote. In so doing, though, I will pretty much have to start my story over from scratch. The mid-section will not change, but the beginning will need to be rewritten.
And what about prologues? I’ve read in many places that prologues are mostly fluff, that editors will often delete them, and that readers many times skip them. That leads me to wonder if I should keep my prologue. Is there anything so critically important in there that I couldn’t do without it? Do I show anything so unique that it can’t be shown elsewhere in the story? Could a simple sentence such as, “Luke remembered when Susanna was knee high to a grasshopper and riding bareback, rebelling even then against society by refusing to ride with a saddle.” Does that one reflection, that one remembrance, serve the same purpose as a lengthy prologue? It just might.
A Hierarchy of Files
Stories come to me in streams of thought. They consume my every moment, making me think endlessly through their twists and turns. This is the first step to a story. I sit down at my computer and type up everything running through my mind. I love computers for this; I can cut, paste, and edit to my heart’s content.
When it’s time to write that particular story, I typically have five running files: Characters, Summary, Research Notes, Story, and Forget Me Not. These files all have a “ – r # ” after them to denote the revision number of the file. I never know when an old idea (a previous version of the file) might be useful to me and I’d hate to lose them.
The Characters file lists all of my characters and a description of them. My primary characters have a much more in-depth discussion of their personality traits than my secondary and tertiary characters. I also list how my characters know/relate to one another and the major changes they go through in the story.
The Summary file is a synopsis of the story plus all the backstory. It lists all major plot points, how the story progresses relative to the timeline of the story, all major character interactions, and the main story turning points. It also details the backstory which may or may even show up in the novel, but is information that I need to know to write the story. Lastly, anything that I may or may not include in the story is put in
italics, a reminder to me that that piece of plot is still being thought out.
The Research Notes file details all of the research I’ve done on any part of the story that requires research. For this book, this includes historical notes about 1790’s England, title hierarchy and land ownership, a typical voyage across the Atlantic, traveling across the new world, and interactions between white people and Native Americans.
The Story file is where I write the story. This has the most revision levels by far as I’m constantly rethinking what I’m doing and how I’m doing it, yet I’m leery of just deleting the scenes I’ve written. Sometimes I add them back in later. Sometimes I just look back to see how I originally dealt with a situation.
The Forget Me Not file contains all the little tidbits I’m afraid I might forget such as foreshadowing elements, elements I introduced early in the story that I need to refer to later, etc. It also contains questions I still have about the story that I don't want to forget to check on (such as whether an aunt who was a Dutchess would be addressed in a familiar way, "aunt," or in a more respectful way, "your grace"). Lastly, this file contains things that need to be changed in the final revision such as names that are too similar and might confuse the reader.
At the moment, I need to update my Synopsis file with my current storyline so that I can start rewriting the beginning of my novel to incorporate those changes and eliminate the incorrect backstory that is currently plaguing the first part of my novel.
Going Back on My Word
My original intention was to write this book from beginning to end. Beginning to end. And half way though, when I realized that one of my premises was incorrect, I decided to finish it anyway and rewrite the beginning as an edit. I didn’t think anything could sway me from this persuasion; however, something has.
I’ve joined a small group of serious writers. One of the ways we will use our time is to critique each other’s work. The best way to do this is to start which Chapter 1 and go forward. But right now, my Chapter 1 is incorrect as it stands. One member of the group pointed out that, even though the story needs to be rewritten, some benefit could be gained by me in the others making comments about my style of writing. This is true; however, I think I will do myself a greater disservice by sticking with my “beginning to end” concept than I will by rewriting the beginning now and running it by this group. As a part of this group, we will be accountable to one another. Each of us will be up once a month to show what progress we have made. This in and of itself will motivate me to keep moving forward on the story.
In essence, whether I do it now or later, the rewriting needs to be done. Therefore, I’ve decided to take advantage of this group and have them help me see this book through from beginning to end. Beginning to end.
Patience, Persistence, and Passion
Many times people have said to me, “You’re writing a novel? That must take a lot of patience.” “Not patience,” I say, “Persistence.”
Persistence is the key to writing. For me, persistence in writing is the easy part. Writing is my passion. If I’m not working on my novel, I’m writing a short story, or some poetry. And when I’m not writing, my mind constantly wanders to my writing. I think, “Oh, this would be a good idea for a story,” or “look at that beautiful rose,” and suddenly I’m reciting poetry in my mind.
Persistence in sticking with ONE story, now that is my problem. Since my mind is always running off on tangents, creating new stories, delving into the lives of newly forming characters, I tend to stray from my purpose from time to time. I’m already writing novels two and three in my head, when novel one isn’t even finished.
In the end, though, I will finish my novel. And this time that I spend away from it, working on other writing projects, I remind myself that every word I write hones my craft and makes me a better writer. And, after all, isn’t that what writing is all about?
War of the Sexes
It is always difficult as a writer to portray the opposite sex. As a woman, I worry about making my men too emotional or too feminine. With a limited frame of reference, this will always be an issue. I know when I read a work of fiction with characters that are the opposite sex of the writer, sometimes, those characters just don’t “feel right.” I can’t always put my finger on it, but instinctively something feels amiss.
There are several ways I address this issue. First, if I have a question, I ask the men I know how they would react in a given situation. I explain to them my characters actions and ask them if they sound true to life. I listen to their feedback and make changes accordingly. More often than not, the issues I ask them about do not raise any red flags. Instead, they pick up on things I wouldn’t have even thought of. For instance, I may ask if a man would use such a word in conversation. My male friend says, “Sure, but that thing you’ve got him doing with his hands while he’s speaking? No way. That’s gotta go.”
I’ve recently joined a writer’s critique group as well. It provides a broad spectrum of viewpoints, backgrounds, and opinions which help to hone my writing and my character portrayals. It also provides a social outlet for writers; unique creatures that we are.
The Grand Opening
Here is it; the first paragraph of my novel. The question is, after reading the first paragraph, would you keep reading? Have I whet your appetite enough?
Susanna Manchester closed her hand around the gold pocket watch that had been in her family for generations. She ran her thumb over the intricate engraving, feeling the shallow, winding fissures weave into a design as familiar to her as her own skin. She didn't need to see the elaborate etching to know what it was: the single, newly budded rose, two swords crossed over its thorned stem, the whole wreathed by ivy. The cool, crisp edges transported her to another place, another time. She could still see the dust motes dancing in the sunbeams flitting through her father's study. She could see her father, a large, imposing man with a great fondness for his only daughter, sitting behind his huge mahogany desk, pouring over Whispering Willows's ledgers. She was perched on his lap, intently studying the intricacies of the very same timepiece, the simple but compelling artistry on the outside, the enchanting mechanism that marked time on the inside. It held mechanical mysteries her young mind wasn't yet privy to, and secrets that her father told her would come to her with age. Whatever those secrets might have been, they had long since gone to the grave with him. Now, this precious pocket watch held nothing but the bleak procession of time marching forward towards an uncertain future. It was but a small comfort when everything else that was safe and familiar in her life had vanished.
Runaway Storyline
I have a secondary character who is in need of a love interest. It took me awhile to come up with one, but when I did, that story took off like a bat out of hell (who came up what that expression anyway?) I had to reign myself back in to focus on my two main characters and their story, even though the other storyline was tugging on me like the naughty devil sitting on the other shoulder shouting “Temptation! Temptation!”
I haven’t decided yet if I’ll incorporate an abbreviated version of the secondary character’s storyline into this story, or perhaps make a sequel to this novel with his story; or, maybe I’ll do both.
Focus is the key for me to finish my story. And there are always sources tempting me away, especially when I’m in a skinny story spot (thin on plot).
The Proverbial Impasse
I am at an impasse right now. The year is 1793. My characters are on a ship to the new United States. Head’s are rolling in France (literally) and the political culture is charged. I’ve done what I wanted to do onboard the sailing ship: the emotional scenes are done, the framework carefully laid. But now what to do? I need to get my characters off the ship, onto land, and traveling West into the interior of the new world. But what to do in the meantime?
My readers need a break from the emotional turmoil they just suffered. Yet I don’t quite know what to give them. I have found a romantic interest for a secondary character which was bothering me for quite some time, but that doesn’t come until a bit later in the story either. So I have to get everyone off the ship, but I can’t very well just say, “The last three weeks of the journey were not noteworthy. Land appeared and all was good.” I have to think of something to pull the story farther along, the reader too. Something to tie up loose-ends and give them more romance to look forward too.
I’m not one who usually suffers from writer’s block. I have the story’s framework in my mind at all times. I don’t have a nugget to mine here though. I will have to search for one. If all else fails, I just start writing and see what comes on its own. I’m 62,000+ words into the story and going strong. Here’s to finishing!
Half Way and Holding
I have reached the half-way point: 45,000+ words! Hurrah! And now I'm in a holding pattern. My couple will be traveling to America from England on a sailing vessel in the 1790's. Therefore I must learn about making that passage at that time, as well as about ships since I know very little. I've found a wonderful book about it and am also reading up on immigrant accounts. As soon as I have some knowledge before me, I will continue writing my story.
I am struggling a bit with an impulsive suicide attempt and wondering if its too melodramatic for my story. I think I can get away with it if I work up to it properly. Still, I hesitate to stretch the credibility of the story. I'd hate to have the reader say, "Oh, come on! This is a bit much, don't you think?"
Character Portraits
The fun stuff! Last night I put together a scrapbook of my characters. I clip out pictures of men and women from magazines and save them. Then, when I'm in a need of a character, I go through the pictures in search of the evil husband, the dorky looking neighbor, the shy little girl next door.
I do this for several reasons. It helps me to feel more connected to my characters. It also helps me to remember that Susanna is really only 17! That seems young in today's world, but in 1790, 17 was not too young to marry at all. That she should have to go through so much at that young an age makes me often think of her as older than she is. In addition, it helps me to remember that the bad guy has dark brown hair and evil eyes, while her cousin is a blond-haired, blue-eyed dimwit. It would not be good to start switching hair and eye color midway through.
I look for more than hair and eye color when I search through my files of magazine clippings though. More than that, I'm looking for character. Does the person in the picture have kind eyes? An open, honest look about them? Or is there something darker about their persona? The picture I chose for Luke is a bit fuzzy. The atmosphere that portrays suits my purposes just fine as Luke is a bit mysterious and defintely soft around the edges. My picture for Susanna is a bit edgy. This works well as she is a spirited girl. She has a mind of her own. She stands out from other women of her time. I wanted an image to remind me that she is a unique individual, one who isn't afraid to say what she thinks. One who acts impulsively and throws caution to the wind at times.
I had fun putting this together. All of the main characters have pictures now as well as some of the more important minor characters. Interestingly, the magazine Luke's picture came from was a clothing magazine. Due to camera angles, lighting, and different hair styles, I was able to get three pictures of the same male model that looked sufficiently different enough that I could use one for Luke and two others for his two younger brothers.
I also save pictures of anything that might later inspire me. Whether that be a couple holding hands, an ocean scene that inspires romance, or a fuzzy shadow that might someday become the scene of a murder, I save them all. If they inspire me once, they are bound to provide future inspiration.
Going Forward
Well my novel is proceeding at break neck speed. I toy with the idea of going back and revising the beginning to incorporate my modified plot points. But I've decided the most important thing is to drive forward and finish the first draft--no matter how rough it is. Once that is complete, I will edit and revise to my heart's content.
That said, I'm 32,000 words in and moving strong. I'm all about action right now, dialogue too. I think I'll need to go back and put in some more character self-reflection, but that can be added later.
I also find myself creating a separate file of "don't forgets." Don't forget if they both take the ship, that leaves the houses unaccounted for. Don't forget she has a cast on her wrist that will need to be removed at some point. Don't forget about the mysterious key.
I bought a guide to enhancing your plots and whatnot. I think it looks interesting, but again, with this first novel, that may just be a diversion. I plan to write it out first and then go back and do major revising. With future novels this may not be necessary as I'm sure I will learn lots just writing this first one.
So forward I go!
Research and Rewriting
I am 30,000 words into my novel. I made the decision to do my research concurrent with my writing since I so dislike research. Well, that may or may not have been a good idea since my plot had a premise which turns out to be extraordinarily unlikely (i.e., impossible) in the time period it was set. That leaves me two options: (1) admit and rationalize the unlikelihood as part of the story in order to maintain authenticity, or (2) revise the plot. I chose the later.
The story between the two characters has not changed, only the back story has. I will still have to do a substantial amount of rewriting. However, I feel this revised plot is both more feasible and lends to a much better story.
The Way Things Were
I plotted my novel in advance, seeing my characters actions and the scenes in which they lived clearly in my mind. Yet as they come to life on the page, they change, growing in ways I hadn't anticipated. In some instances, this conflicts with how I had seen them developing. In that way, I am as surprised as my reader as to how the story will end.
My damsel in distress is handling her situation much better than I had anticipated. She's stronger than I gave her credit for. It will be interesting to see how this affects the story overall. She is not the weak, broken-spirited creature I had envisioned, and this is good, because that would not have jived at all with the strong-willed woman she began as.
I'm up to 20,000 words at present. That's 1/5 of the way there! Onwards and upwards, as they say.
The Solitary Life
Writing is a rather solitary life, one which exists only in your mind. While there, you will find your companions to be your characters. Their problems become yours, their worries your headaches, their dilemnas your plot points to resolve. And although I long for more social contact at times, I do enjoy living in my character's world and seeing things through their eyes. It is the only time I can be a 27 year old man sailing on a ship across the ocean, or a 17 year old girl living in 1790's England.
Nonetheless, one does need to get out at times. I attended a writer's group today. It was okay. At other times, I chat online with other writers. That is fun too, but it would be even better if we could see each other in person. I long to be able to beam about as in Star Trek. Until then, though, I'll have to suffice with my electronic friends and the alternate universe of my characters.
Learn How to Write - Buy a Book
There are tons of books on how to write: how to create fiction that sells, how to outline, how to plot, how to write witty dialogue, how to create memorable characters, how to schedule your kids around your potential writing career, etc. But you know what? None of them will write your book for you. I tend to shy away from these books. Not because they aren't any good, but because for me, they are just one more avenue of procrastination. The best way to learn to write a novel is this: WRITE ONE. Granted your first novel may be awful. But so what? Get it on paper and then go back and revise, rewrite, polish. Learn by doing. You could spend your whole life reading books on how to become a writer, without ever putting a word on paper yourself. That is the danger of "learn how to write" books. If you must, read one. And then, get to work!
On Standby
I am currently stepping back from my novel to do some research. The book is divided into three parts: (1) England, (2) The ship to America, (3) Settling in America. I'm working on the first part right now. I've decided, though, that I can't do it justice without having a better understanding of eighteenth century England.
I tend to be a summary writer. I concentrate on the emotions, but not on the scenery. In so doing, my writing lacks atmosphere. This is okay for the very first rough draft as it gets my ideas down on paper. I do end up going back and reworking a lot though to add that element. I'm hoping in doing the research upfront, when I do write, I will be able to incorporate everything and reduce rewrites.
My characters are still fresh in my mind, which is good. I still hope to have a draft by May, but that may be a bit ambitious.
Excerpt
Here is an excerpt from the novel I'm working on, just to wet your appetite.
Susanna sat on edge of the bed facing away from him, her hands clasped tightly together, her whole body trembling as tears streaming silently down her cheeks. It broke his heart to see her like this. She had not lost her innocence, it had been taken from her––brutally. And although he could not give it back to her, he would do what he could to ease the pain and the memories, to replace them with something softer, something kinder. He could only hope that it would be enough. But first, he had to reach her in that place of desolation and despair.
It was their wedding night. He had no intention of demanding his martial rights, for he didn’t view them as rights at all, but a mutual coming together––heart, body, and soul. He would accept no less. And if that meant waiting a day, a month, or a year; so be it. When they did come together, it would be something that neither of them would ever forget.
Run Away Story
Often times I have an idea of how a story will progress. Perhaps I have outlined the plot and planned the scenes. But when I sit down to write, the story and the characters take on a life of their own. They may or may not follow the course I have set for them. I once set out to write a romance between Characters A and B. Character C played into the drama. As I wrote, though, Character C took over. The story became a drama between Characters A and C with Character B running interference. It turned out to be a great story, but not at all what I had originally intended. Later, I wrote a sequel which contained the romance between Characters A and B.
I find it quite useful to let the characters move the story in the direction they see fit. I let them come alive. I think my writing is better for it. Some say this is a bad idea; as the author, you are supposed to be in control of the story and handing that control over to the characters is dangerous. Perhaps. But my writing is better for it. If my characters come to life enough to take over the story and tell their own, all within the confines of some literary work, then the end result is not forced, it is flowing, glowing, burning with its own essence. And for that, I am grateful.
A Story is Born
Where do my book ideas come from?
My first idea for a novel came from a dream. I woke up from that dream and the story, the characters, played over and over in my mind. They had a grip on me and refused to let go. I couldn’t stop thinking about them or their plight. Day in and day out they would haunt me. Finally, I wrote them down just to get them out of my head! All of my story ideas are like that. They play through my mind, weaving in and out of my thoughts, transforming, mutating, coalescing into something workable. And in the end, I have a plot for a novel. Night dreams and day dreams are my most common source of inspiration.
My other source of inspiration is reading books. Often times, I’ll read a story and think, that’s not how I would have done it. So I run the “revised” story through my head. Soon, new characters emerge, new storylines emerge, and based on a story I once read, I have a whole new story of my own. Such is the case with the historical romance I’m currently working on. I read a good short story with a bad ending. I twisted it and turned it and made it my own. Soon it will be a novel with no resemblance to that original short story that prompted my own musings.
Walking through Walls and Conquering Demons
I am thinking about attending a writer's critique group in my area. However, I fear that if I let people critique my work as I write my chapters, I might get discouraged from too much “constructive” criticism and quit writing. My first and foremost goal is to get this first book written in full. Anything that could possibly detract from that goal has to be set aside. So I'm still debating.
The wall that holds me back is nondescript and blurry. Still, it’s there and it’s strong. I’m at the point now where nothing else matters but finishing the book. It doesn’t matter if the book sucks. It doesn’t matter if its not salable. What matters is that I break through this wall and finish it. After I’ve broken down that mysterious barrier, I can worry about revising, editing, rewriting. If I have to start all over and write it from scratch, so be it. The point is I will have conquered the demon that’s kept my works at bay for the last 6 years. That is what is important.
To conquering demons!
Wading through Concrete
Today I thought about returning to the contemporary romance I was working on before I switched to the historical romance. I won’t do it though. I see that line of thought, that desire, for what it is––a diversionary tactic. Another means of stalling. I wonder what it is that holds me back. A fear of failure? A fear or success? I’m not sure. What I do know is that I am a good writer. Yet when it comes to completing a novel, something holds me back. I get a great start, work out the plot, visit with the characters in my mind, do research, and start writing. And then, going any further feels like walking through concrete. I start thinking about other books on my plate, other things I could be researching, other stories I could be writing, other responsibilities in my life I should be tending to. This time, though, I’m determined to push through that invisible boundary.
I’m not quite sure how I’m going to do it, other than to just keep on writing, even when everything in me is holding me back. For the near future, I will be an ardent subscriber to the Nike motto: JUST DO IT.
It Came Upon a Midnight Clear
Another scene came to me around midnight last night. I replayed that scene all night long, as I lay awake, and as I slept. It is an interesting scene, although a bit melodramatic. It may or may not end up in the final script. It will depend upon if I can work up to it sufficiently and make it believable enough that it won’t fall on the reader like an author stretching for drama for its own sake. Or worse, that it won’t make my character look too weak or pathetic.
The last he knew her, she was but a child. A lot of things have happened to her since then, not many of them nice or good. When they meet again, she is a woman, and a woman badly bruised. All of the things he loved about her––her wild streak, her abhorrence of social rules and requirements, her outlandish dreams––have been overshadowed by an unforgiving fate. The woman before him is reserved, afraid, and entirely too accommodating for his own tastes.
So today I will rework my outline to incorporate my plot changes from yesterday and my new scenes from today. In general, an idea for a book comes to me and I summarize it, lest I forget any key details. Later, I go back and loosely outline it, adding scenes here and there, bits of dialogue I’m afraid I might lose if I don't record them, etc. Then I write. And update my outline. And rework my plot as needed (although this is not optimal; updating your plot later can mean lots of rewriting).
Tonight, imagine you are on a ship to a new, mostly undiscovered land. You are leaving your home, probably forever, to embark on a life unknown. More importantly, you have little choice in the matter. As you stare out over the endless expanse between here and there, you are left to consider the choices you’ve made that landed you in this untenable position. Looking back, what would you have done differently? And what resolutions will you take with you to this place that awaits you?
Plotting Along
Plot: one of the most important elements of a story.
Since I last added words to my manuscript, I learned some things through my research. I knew a bit of rewriting would be necessary. Still, as I read through what I'd already written, I couldn't go on. I had hoped to flesh out some more of chapter one. Instead, I knew I had to revise my outline and rethink my plot.
Several things make a good story: characters, plot, pacing, etc. If any of the main elements are failing, the whole story can fall short. I had the major items in the plot down and several of the smaller items as well, but one key point was missing. When the herione escapes from the bad guy, why does the bad guy pursue her? What's in it for him? Why doesn't he just let her go and move on? Even though this plot point doesn't occur until two-thirds into the book, and even though it doens't seem to impact the prologue and the first chapter of the novel, it most certainly does. It affects how I build the characters, how I lay the framework, how I present the clues.
So, I spent my writing day flushing out the plot. I think I'm on the right track now. It's 1793 and my herione is running away, far far away. Away from England. To America. With a man that isn't her husband (did I mention she's already married?). Scandalous! Of course the bad guy is giving chase. It would be pretty boring otherwise. Still, all the small details in-between are what make the story, and more importantly to my mind, the *emotion*. I want you to feel what my characters feel. I want you to feel regret, remorse, pain, pleasure, hope, joy. I want you to root for the good guys and seek justice for the bad guys. And I want to keep you guessing. As I get farther along, I'll post snippets from my story, give you insight into my characters, and hopefully take you on a long and wild ride.
Tonight, when you go to sleep, imagine losing everything that's valuable to you in the blink of an eye. The only thing you have left is your pride and your sense of self-preservation. What would you do?
To Write or To Research
Nearly every writing project requires some research. Even an autobiography requires some fact checking, cross-referencing of dates, looking at old photos, etc. A historic romance requires a lot of research. My novel takes place in the 1790’s, a time loosely categorized as the Regency period in England. So while the characters are clear in my mind, I must still gain an understanding of what type of clothing they wore (especially since it’s a romance and those clothes have to come off at some point), what type of house they lived in, what servants they had, etc. The question becomes, “How much research do I do before I begin to write?”
The answer: As much as you need to do, but no more. The reason I say this is because if you do all of your research upfront, you’ll never write a thing. Research is time-consuming and leads to more research. My method is this. Do some initial research to get started, then write. You can always revise later. Research can easily become a black hole. Even if you don’t quite have all of the details, you still have your characters emotions, and they don’t change much over time. Almost all parents would be distraught over the death of a beloved child or spouse, regardless of the year. Furthermore, research is an ongoing process and one I do concurrently with my writing. When I’m not writing, I’m reviewing my research materials, looking for new angles, making sure I haven’t written anything inaccurate. Lastly, remember, research can be a good excuse NOT to write. So use what you know and get started!
Where do you start to do research? Here’s what I do. First, if I have a knowledgeable friend who wouldn’t mind the imposition, I ask them. Second, I surf the internet. Third, I utilize the library for books, videos, magazines, newspapers, etc. Ask your librarian for help, that’s what they are there for. Fourth, when I have built up a good background knowledge, I approach an expert. That may be a company employee, a city official, or a university professor. Since people’s time is valuable and they may or may not be interested in helping, I make sure I know everything I can before I impose on them. That way, their help is the most useful to me and they take me more seriously.
Currently, I’m reading “Sense and Sensibility” by Jane Austen as her book took place around the time my story does, reviewing several “Writer’s Guide to the XYZ Years” which are immensely helpful in giving an overview of various time periods, and trying to imagine being my character in those various settings. When I go to sleep at night, I imagine myself being rocked by an unforgiving sea, struggling to fall asleep on a heap of straw in a built-in bunk on a late-18th century sailing ship on my way to an unknown land--America.
Why Write a Blog on Writing?
Writing a blog is like writing a novel one day at time, except that the ensuing drama is haphazard and the finished story is most likely unpublishable.
I am writing this blog to document my journey from writer to novelist. More importantly, I am writing this blog to give me a sense of accountability to you, my reader. It is my hope that we can make this journey together. For my friends, who have asked me what it's like to be a writer. For my family, who have asked me what it takes to write a novel. For everyone who's ever wanted to know what a writer struggles with on a daily basis. For fellow writers who will soon realize they are not alone in their ponderings or worries. And simply, for the pure joy of writing.
I've written everything from fantasy fiction to highly technical nonfiction. I've published fanfiction on the internet to good reviews. I have 15 novels outlined and ready to be written, and three that have been started. The novel that this blog is about is a historical romance. I never wanted to work in that genre, it requires way too much research. And yet, I find that the story picks the author, not the other way around. The characters haunt me during the day, and live vividly in my dreams at night. The prologue is written as is part of the first chapter. The names have been chosen. The story is outlined with a few areas still needing work. The research has commenced. And still, I am at the very beginning of this journey.
This blog will be about writing, and writing alone. It will not be about the weather, or the state of my personal affairs, or who's winning what election (although room will be made for major catastrophe's and other life-altering events). It will be about creating characters, following multiple storylines, eeking out bits of information through research. It will also be the musings of a writer striving and struggling to accomplish a dream.
Join me as I embark on this journey through winding roads and twisting turns, through joyous discoveries and dismal disappointments. And in the end, join me as I celebrate the birth of a novel.
I look forward to your comments.
Chris.
