Posted in Uncategorized

Rerun: Review of Les Edgerton’s HOOKED

I try not to run old blog posts too often, but I’m rereading a few chapters of Les Edgerton’s Hooked in preparation for starting to draft the YA, and I’m wowed all over again. So, here you have it–a worthwhile rerun: the review I wrote several years ago, when I first discovered the book.

Back in October, I talked about The Writer’s Journey, by Christopher Vogler. In that post, I mentioned Les Edgerton’s book Hooked: Write Fiction That Grabs Readers at Page One & Never Lets Them Go. I said I’d talk more about Edgerton’s book in another post.

So here we are.

With November and NaNoWriMo ending, and the new year heading our way fast, I thought this would be a good time to pick up this thread. Revision is, in a big part, about structure–about what happens when and which scenes go where. Edgerton’s book is solely and completely about the beginnings of a story, but (pardon the pun) that seems as good a place as any to start.

Edgerton talks about a lot of the same things Vogler does—at least in terms of the early part of the hero’s journey. Edgerton may not call everything by the same names, but in his chapters, you’ll find the ordinary world, the inciting incident, the threshold, etc. The big difference, though, between the two books is Edgerton’s emphasis on how quickly we, as writers, have to get those starting points onto the page.

I write fiction for kids–middle-grade and YA readers. These readers are not known for their patience with authors. You can blame it on action movies and video games, or you can credit these kids with the sense and intelligence to recognize and appreciate a tight, fast-moving opener. As someone who, in the past ten years went from reading (and loving) 700-page Victorian novels to devouring 250-page tense and terse, funny and furious YA books—I can say the decade has been a good education in writing.

Because it’s not just kids’ books that move more quickly today; it’s all books. At first, when you realize just how much Edgerton is asking you to do in the first chapter, first scene, first page, first paragraph, it’s intimidating. And part of your brain may go into the “I don’t have to” whine. But keep reading. And go back to the books you’ve lost most in the past couple of years. You’ll see that he’s right.

It’s not just that we’re told over and over that agents, if we’re lucky, read the first five pages. It’s not just that we know most book buyers skim the first page, maybe the last, then make their decision about whether to buy that book or leave it on the shelf where they found it. It’s that, these days, a good story sucks us in from Page 1, hooks us, and goes racing along so quickly that we have to grab on and ride, just to keep up.

This is the kind of story I want to be writing.

Thankfully, Edgerton doesn’t just point out the necessity of this kind of beginning. He gives thorough, detailed information about the big pieces of this skinny little beginning, and he follows up with seriously helpful (and funny) instructions for how to put those pieces together.

If you haven’t read Hooked, take a look. Especially, if you’re looking at a revision, post-NaNo or not, take a look. I think you’ll be glad.

Posted in Uncategorized

Zen and the Art of PiBoIdMo

True confession one: I’ve never read Zen and the Art of Motorcycle Maintenance. I know people who’ve read it, though, so that counts for something. Right? And I’m certainly no expert on zen as a practice. I think about it, though. So that counts…

Oh, never mind. It’s just a good title for my blog post.

I’m pretty sure that one aspect of Zen, at least, is the concept of living in the moment. Of not spending too much time or energy regretting the past and re-living things you can’t change or fix. Of not worrying about the future or grasping at events or opportunities or dreams that may be out of your control.

JUST LIKE PIBOIDMO!

What?

Okay, listen. Here’s how my morning went.

I took my notebook into work with me, and get three ideas for the day. So far. They were even “problem” ideas, which I’ve decided is what I’m shooting for–an idea that actually comes with a problem for some hero to solve.  And here’s what went through my mind as I wrote down the ideas.

  • Awesome! I already have my idea. I could stop right now and not bother thinking of any more ideas today. (Trying to make a decision about the future.)
  • Ha! Two ideas. I could count one for tomorrow, and then I could take a PiBoIdMo day off! (Again, projecting what I’ve just succeeded in doing into the future.)
  • Oh, shoot. I didn’t leave any space after that first idea. What if I have more thoughts on it, and then I don’t have any room to jot them down? (More future worry–definitely my particular skill.)
  • You know, that idea I wrote down an hour ago isn’t so hot. I mean what kind of kid would have a problem like that? What was I thinking? (Regret over a past action.)
  • This is feeling like last year, when I plopped down any old idea. Do I want to keep doing all November this year?. (Angst about past and future. I win the worry contest!)

Okay, I’m joking. Sort of. But, truthfully, the little, crazy, is-any-of-this-writing-stuff-really-good-enough voice did toss these thoughts into my head. No, they didn’t linger, because I know that voice, and I know better–usually–than to listen to it. Still, it made me realize–PiBoIdMo has to be about not just living in the moment, but about celebrating the moment. So, come to think about it, does NaNoWriMo. Because they’re both about speed and instant acceptance and randomocity. If you give credence to your doubt voice for more than that fleeting second, you risk throwing yourself off. You risk putting down the PiBoIdMo notebook or the NaNoWriMo file on your computer–putting down your project. You risk pulling the rug out from under yourself and just losing that all-important momentum.

So don’t. No, we can’t shut the voice up for good. But we can push it away, into the past or future if it has to go somewhere, but out of the now.  For all our writing, yes, it’s best to stay present, to be focused on the time we’re putting into our manuscripts at the moment. I think, though, that it’s even more critical for these events. Yes, they’re about quantity, rather than quality. Yes, they’re about racing to get words on the page. What they’re really about, though, is freeing our minds up in a way we rarely do, in a way that gets us out of the self-critical place and into the place of flowing creativity.

I still haven’t done NaNoWriMo. Some day. This is my second year for PiBoIdMo. And I’d like to say thanks, here, to both Chris Baty and Tara Lazar for bringing them both into my world. And wish the best of luck (and FUN!) to all of you participating this year.

Posted in Uncategorized

Friday Five: A Disorganized Week

Every hero has a flaw, and so does every writer with goals to get their hero onto the page. At least that’s what I tell myself when I look back at the week and wonder at all the moments when the writing didn’t happen. The one thing I know about myself and my writing patterns is that I do best with getting to the fiction when my life is running on an even keel, when the patterns of my days are consistent and predictable.

Yeah, I know. Because life is SO often like that.

Still, know oneself, right? I try not to beat myself up about a lag, and I try to give myself a little shake and remind myself that it’s gone on long enough. And I do try to give myself credit for the things, however small, that came along to shake up the routine and that, in their own way, demanded attention and time.

Hence this week’s Friday Five post.

1. Son is playing bass in the high school’s punk-rock production of Julius Caesar. It’s tech week, which means, in general, practice from the time school gets out until 10:00 at night. With a few modifications for the band itself (a bass, a guitar, and drums) which, of course, fluctuate on any given day. But pretty much mean that yours truly is VERY much up past her bedtime.

2. I’m driving the other car this week, seeing that my car is in pieces in the garage after breaking its timing belt. While it waits for donor organs (the new head parts husband will install), I’m driving around town in our old Vanagon. Which I love and which you can see from a mile away, although it takes more time than usual for me to drive that mile and get close enough for you to see that, yes, it’s really me. It’s kind of like riding in the shopping cart that you’ve stuck on the conveyor belt at the department store. It’s also a little like PARKING that shopping cart. But still, fun. Until you know, the brake light comes on and you have to call husband and start your conversation with the line, “Please don’t shoot the messenger.” More parts on order. I’m sure there’s a metaphor in here somewhere.

3. At work, I turned around a last-minute grant application that popped up out of nowhere and was a must. I tell you, it’s like those funders don’t know that I’m trying to keep a nice, neat grant calendar going! I also shifted hours a bit, because–hey, if you didn’t need to finish your work day in synch with that 3:30 school pick-up time, would YOU get up at 5:30 a.m. to go in early? I think not.

4. I did some of that non-writing writing work we all have. I took the plunge and started researching slush piles, having tested the agent waters with my picture book, getting some very positive response, but pretty much verifying my gut feel that one completed picture book is not the best route to agent representation. The picture book is now resting on one editor’s virtual desk, and I have several picture books published by another editor in my on-the-way-from-the-library pile. Another path along which I can only see to the first curve, with some fog along the way, but it goes in a direction that seems right for now.

5. I started physical therapy for my back. Just a minor strain or pull or something from not listening to my yoga teacher about props a few months ago, but it’s not going away, and it’s time to grow up and do something about it. Luckily, the PT place is two doors down from the high school, five minutes from home, five minutes from work. And also luckily, I really like the physical therapist herself. I mean, if you have to listen to things like “stability” and “flexibility” and “you’re trashing your back because you can’t bend,” you’d better be hearing them from someone nice. And I am being a very good client and actually DOING the exercises…TWO DAYS RUNNING! I can’t say they’re pleasant, and I’m still not sure I’m doing ANY of them right, they’re manageable and relatively uncomplicated and, like I said, part of being a responsible adult who’s trying to be supportive of the body she needs to use for several more decades.

Okay, there you have it: the things that came along new this week and said, “Hey! Fit us in! Schedule? We don’t need no stinkin’ schedule!” This weekend probably entails some moral support in the auto shop garage and, hopefully, the first Xmas shopping trip of the year. But now that I’ve recognized that my non-fatal flaw has reared its ugly head again, I’m hoping to tell it to shush and spend SOME time with the YA.

How’s your week been?

Posted in Uncategorized

My Next Big Thing

Last week (two weeks ago?!), Carol Baldwin tagged me in a meme about current WIPs. It’s Saturday, with no work looming, so I thought I’d finally get around to playing! Thanks, Carol!

What is the working title of your book? I have absolutely no working title. I would love to have a working title. OFFER me your working titles! At this point, I refer to the book in my head as Caro’s Story, but believe me, that will never show up on a cover or title page. Titles either come to me in a flash, or I struggle and struggle and…yeah, struggle.

Where did the idea for the book come from? I was reading a book–wish I could remember which one–that talked about the 1913 suffrage march on Washington, D.C. It described about the moment when the predominately white Chicago delegation asked Ida B. Wells and one other black woman to walk separately from them, at the back of the march. Wells went away, then later stepped into the march with the Chicago group and walked right in the middle of them. I had a flash that I wanted to write about a young girl who was at that march and who took two steps to the side as she walked to make a space for Wells. I worked on that story for a while, but during the research process I felt in love with Chicago and a different hero who started showing herself to me, one who I couldn’t fit into the first story. The girl who was developing on my computer was someone who didn’t live in a world that would take her to that spot, that moment, in D.C. She had a different journey to tell, one of discovering Jane Addams and Hull House and of living under the cloud of her immigrant mother’s depression and having to carve out a life of strength for herself, in Chicago. I wrote a first draft that had an obvious, huge crevice in the late middle–between the character of Caro and the very different hero who, I still hope, has a place with Wells somewhere in my writing future. These days, though, Caro and I, while complete suffragists, are focusing our energies on the Chicago immigrant world of the 1910s.

One to two sentence synopsis of the book:  I’m even worse at these than titles. Time enough to torture myself when I get to submission!

What else about the book might peak the readers’ interest? My goal is for this story to have the  high-energy, fast-paced feel I get when I read about the Chicago of these years. Caro is a strong character, a girl looking hard for her purpose, her thing. She lives in a narrow, too-quiet world, and when she steps out of that space into the city, her heart beats faster and she feels she like can do anything. I’m hoping the contrast between the pressure to damp herself down and the drive she has to burst out of that pressure and do something will jump off the page and suck readers in. The other connection I hope to make is this: I think many teens know what it’s life to be controlled by an adult, even an adult who–frankly–can barely control their own life, who is the worst possible judge for what their child should be doing. I want to give Caro credit for knowing what is best for her and the strength to realize what she has to do to get that. I’m hoping that readers will respond to and identify with her path and the steps she takes to stride freely along it. Dreaming this is, for me, the easy part. Now I just have to translate the dream onto the actual page!

Will your book be self-published or represented by an agency?
I would very much like to find an agent who falls in love with my writing and feels strongly enough about it to represent it to publishers. I realize that the publishing industry is changing every second of every minute of every day, but this still feels like the right choice for me.

How long did it take you to write the first draft of the story? Which first draft? Too long. It took me a whole draft to realize I’d been trying to fit two mismatched stories into one. Then I tried to write another first draft (and got pretty far along) without knowing my plot well enough. I don’t know what I was thinking–I know I need plot, but I got impatient and landed in the place where the Are-You-EVER-Going-to-Get-Published signs were flashing at me in neon, and I tried to rush past the process that works for me. I’ve been plotting for a while now, and it’s finally starting to come together. I will be starting the THIRD first draft by the end of this year or at the start of the next. I know what you’re thinking: “She must REALLY love this story.” And, yes, except for random moments of panicky frustration, I do.

What other books would you compare it to in this genre? I don’t really do comparisons–I think they’re a good way to get into a loop of worrying and feeling bad about yourself. BUT…I’ll share a few of the historical books for teens that I’m currently in love with, I would name Sherri L. Smith’s Flygirl, Diane Lee Wilson’s Black Storm Comin’, Joyce Moyer Hostetter’s Healing Water, Kathryn Fitzmaurice’s A Diamond in the Desert, and Kristin O’Donnell Tubb’s Selling Hope. I can’t and shouldn’t want to write like them, but if you told me that my name and book title (whatever that might be!) would someday show up in someone else’s list with these authors, you would make my day. My year.

What actors would you chose to play a movie rendition? Oh, I love doing this for other people’s books, but my own…I have a very clear image of Caro in my mind, but she doesn’t actually match any actresses that I know. If you took Natalie Portman, crossed her with Gina Torres and maybe a bit of Scarlett Johansson, then took, oh, 20-25 years off, you might start to get close.

I’m not going to tag any specific bloggers, but if you read this and want to carry the meme over to your blog, about your WIP, feel free to drop the link into the comments so we can all check it out!

Posted in Uncategorized

Changes: Or Being an Adult Writing for Teens

When I was nine, we moved to a new house. The house we’d been living in was a basic tract home, in which I shared a bedroom with one of my sisters. It was pretty much a nice-sized box, with some remodels my dad had one and a smallish backyard with a swing-set for us. Nothing super fancy. The house we moved into was one my parents had designed by an architect to their vision, it was on top of a hill with an awesome view of the ocean, and it had a huge yard (already being filled with the fruit trees I would have to weed around for the next 9 years, but we won’t go there…). It had bedrooms for all of us, for which we each got to pick a new bedspread and hanging lamp (It was the seventies, barely, so I won’t go into the gruesome details of my choices). Three stories, big rooms, you name it.

I liked the old house better.

I can’t remember how long it actually took between the time my parents bought the lot and when we moved into the completed house. It had to have been at least a year, right? Plenty of time to adjust. But to me, at the time (okay, possibly still a little), the change felt sudden, dramatic, and even traumatic. I can remember walking along the framed-in rooms, everybody else excited and happy, and me thinking nothing but, “I’m going to have to move here.” I may have pouted. A lot.

Obviously, I didn’t do change well, as a child. I’m pretty sure my sisters did it a lot better, at least that time. I pretty much hated change–I always felt things were okay, fine, safe, happy–whatever, the way they were, and then…boom! Someone or something would come along, and I’d have to step out of my comfort zone and take risks.

I’m not a child anymore. Obviously, I know change still happens out of nowhere–unfortunately, it’s usually the bad things. And I think I’ve probably been lucky in the last couple of decades, just about all the changes in my life (although not all) have been of my choice, of my making, and with all the lead-up time I needed to feel right and, if not always happy, at least accepting of them. Still…things also feel, I don’t know, as if they  have more context. This week, a very good friend is moving out-of-state. As much as I’ll miss her, I think this change has been coming for a while. THINGS have led up to it, and the things she’ll be doing in her new place are, I think, building on the person she’s been becoming. Also, while there are going to be losses and nervousnesses, I can see (and I know she can) the good things that will be coming to her from this change she’s making.

Is it just that, as an adult, the changes are more often in my own court? I don’t (completely) blame my parents for making the move without consulting me. But, obviously, every time I’ve moved as an adult, I’ve been–if not in charge–definitely one of the active participators in the decision. Or is it that, when things do change, I have more of a life to set them against–more past to reassure me that change can be okay, even good, and maybe even a longer view into the future to know there may be some excitement and even fun coming from this change? Was I, as a child and teen, less able to step out of the moment when change hit and less able to experience it as anything but a shock?

Either way, I think it’s a place of difference for me, now, and for the teen characters I’m writing about. Yes, obviously, change has to happen more dramatically in adult novels or we’d put them all down and just read MG and YA (Oh, wait…). But I wonder if this construct of fiction isn’t even more so in writing for and about teens. It may be why I so love the genre–because change at that age is so much more…more extreme, more sudden, more impacting. I always feel, when I’m reading a really good book for teens, that this hero is on the edge of something, of a moment that has the capacity for awakening, decisiveness, transformation. As much as I believe that I, at my age, am still very capable of growing and changing, it’s all based on a history of having done it before. It’s part of a continuum. Perhaps change, to teens, feels much more like a first. And perhaps that’s why the books are so engaging to readers. To me.

What do you think? How do you see change in your life versus change in the books you’re writing? Do you have to find a way to consciously shift from your older point of view, back to the time when you didn’t want your own bedroom, thank you very much, or does it come naturally when you sit down at the keyboard? It’s not a matter of vocabulary or sentence length, I don’t think, but an entire perspective/feel. A challenge to achieve, yes, but worth it.

Posted in Uncategorized

Popping in For an Update

Wow, when I said I’d be posting less, I didn’t expect that to send me into a “Blog? What’s a blog?” state of mind. But it’s been a while, that’s for sure.

Here’s what I’ve been up to.

Digging deeper into the new job. Working on balance out accomplishing specific tasks and putting out daily fires with seeing the big, long-term picture and pulling things together into some form of organization. Getting good news, even about the bad news, as I learn more about how to do this development thing. Stopping off at The Mmoon on the way from one museum to the other to pick up empanadas for myself and whoever else wants to text me their order. I know it’s not traditional, but I can highly recommend the macaroni, ham, and cheese empanada.

Outside those hours, I’ve been very productive in letting the house stay messier, the laundry stay unfolded, and saying yes when the guys suggest a dessert run to Trader Joes–and then sneaking in a short list of other stuff we need, hence eliminating one of my own grocery runs for the week. Yep.

I’ve also been making serious progress on the YA plot. I’m telling you, if I thought I could balance the new schedule with my first-ever NaNoWriMo, I’d be signing up right now. I’m pretty sure, though, that I’d also be signing up for a slightly insane breakdown, so I’m just shooting for getting the plot done by our next critique session, which we’ve all decided will be a writing session, so we can GET some stuff out to critique! I think I’m that close. It’s still slow, but I’m finding that the concentrated time on my days off and weekends really makes me push myself to figure things out. I hit stalls, and then I force myself back to the laptop to THINK about that gap or that block or that imbalance. And I’m finding solutions. Oh, I know I’ll still face questions and make big changes when I start writing, but the links are starting to click closed on each other, and the characters are starting to say yes to the storylines I’m offering.

And I’m mentally prepping myself to add one more thing to my life in November. I may not be up for NaNo, but I will totally be doing PiBoIdMo. This, too, intimidates me a bit. Last year was INSANE, with my son being hospitalized for pneumonia that month, and me and husband getting the bug that was going to turn into bronchitis (me-TWICE) and pneumonia (him-ONCE!) in the next month. Still, I persisted, and I’ve told them both they canNOT get sick this year. I did get my 30 ideas (more), and while I only developed two of them fully this year, I now have two in-some-revision-stage picture book manuscripts that I am in love with. The intimidation comes mostly from the idea that I still want to finish up THESE books at the same time as I run as-much-full-blast-as-possible on the YA, and YOU tell ME where all the time to do these things plus MORE picture-books is going to come from!

Not a reason to avoid getting the ideas, though. *stifles mad giggle*

So there you go. That’s what’s new with me, and it’s all good and all a little crazy, and maybe those are the same things, right? What’s keeping you (happily) busy these days? Drop a comment in and share!

And Happy Autumn–my favorite season!

Posted in Uncategorized

Waky, Wakies: Stirring Up the Little Gray Cells

A few days ago, Joyce Moyer Hostetter, posted on Facebook that she was looking for something new to do, a skill that would stretch her brain. She got lots of ideas, and I can picture her now–with those little cartoon lightning bolts shooting around her head.

I think we forget how much we need this new stuff, some activity that’s different from our norm, even when the norm is what we absolutely love to do. Patterns get created, then grooved, then–too often–settled into concrete that hardens around them. It does take a new hobby or exercise to shake things  up.

I’ve got this new job, and a lot of little bits of it are doing that shake-up for me. Sharing an office, mixing up steady work with the putting out of small fires, meetings! and lots more. But the biggie–the one that’s turning out to be the most fun–has totally caught me by surprise.

You might want to cover your ears just a bit for this one. Or, you know, duck down behind the nearest bunker.

I’ll whisper it…budgets

I know! I can hear you now: Budgets?! But that’s…MATH!

The thing is, it’s “creative” math. 🙂

Actually, I think what’s going on is that right now, with this job, a budget has become a tool I need to understand and actively use. It’s also a thing that, when you have a specific purpose for working with it, becomes actually understandable and real. (Unlike, you know, geometry, since I have never once had to, as an adult, actually figure out the surface area of a cylinder. Just saying.) And I am perfectly capable of adding and subtracting, even–with a little refresher “google”–calculating percentages.

I’ll share another little secret. A huge percentage (see how I snuck that in?) of nonprofit people working in the arts are former English majors. Or artists. Or theater people. Or dancers. And guess how they talk about budgets and numbers. Like this:

“You need to use those numbers to tell a story.”

“Look at what your budget narrative is saying.”

“Think about who’s going to read that budget and what they’re looking for.”

I tell you…I’m home.

Still, I’m not saying it’s coming easily. I’m having to stay awake and listen. I have to stop taking notes for later and concentrate on what the teachers are telling me now. I have to do little scribbles of math in my notebook (yes, me!) to make sure I have things right. I raise my hand and describe my situation–you know, as an example to help everybody else in the class–to get confirmation that I’m on the right track.

And, yes, it’s waking up my brain. Instead of coming home from a days’ training workshop dull and lethargic, I come home tired, but amped up. I’ve talked to people who have been doing this kind of work for decades, and they say this is the stuff you keep learning–this is the stuff that keeps the job new and interesting. And I’m willing to bet a WHOLE lot that they didn’t start from as early a stage of financial understanding as yours truly.

What’s new for you? What have you recently added to your life that’s stretching your brain and catalyzing those neural chemicals? (And, no, I don’t care if there aren’t actually any neural chemicals to catalyze–I don’t have to know that to write a budget!) What are you thinking about trying out?

Posted in Uncategorized

The Story of a Symbol

All-righty. This tale may take a few moments in the telling, and may also feel rather Becky-centered. BUT…I swear, there is a lesson in here for us writers. For this one, anyway.

In terms of my writing and my reading, I’m not usually a big fan of symbols. Or maybe I’m just not a big fan of when they’re, oh….let’s just say it: Not Used With Skill. I know, as we come up the literary-analysis ladder in school and on into college (and maybe book clubs?!), symbols are something we learn about and something we look for in books and weave into our essays. I always thought, though, that the emphasis that gets placed on them as a big deal can get a little heavy, and that symbols themselves often end up feeling something like that cartoon anvil landing on your head.

This morning, I got a little punch in the gut about how symbols can actually sneak up on us in life and–to extrapolate–that maybe I’ve been a little dismissive of their reality and the power they can carry in a story. You know, when they Are Used With Skill.

Going back in time a ways–a few years ago, my husband and I switched banks, opening up a new checking and savings account. As is pretty typical, the bank official asked us if we’d like credit cards to go with the account. We sort of did the Why Not thing, which–smart or not–is not the actual story. The story starts when the very nice official told me…ME…that I didn’t qualify for a credit card.

There were plenty of logical reasons, the most prominent being that I hadn’t had a work-for-an-actual-company job for ten years. I’d been freelancing, and–you know–the income wasn’t seriously high. (If it had been, I might very well still be doing it!) So, yeah, I got it–on paper, not such a great credit risk.

Still…

I felt like a stereotype. Like a woman who was living in the 1950s, not the 2010s. I felt like, as much as I love my husband, this was tying my identity just a bit too much to his. Honestly, I had to take a few breaths to take down the slight, but actual nausea I was feeling.

Anyway, guess what I did today. I had to get some cash from the bank ATM, and I had a few extra minutes, so I popped inside and talked to a teller about whether, having had a p/t time for a few months, I might actually qualify for a credit card. Of. My. Own.

According to the teller, yes, I do. Now I know I haven’t filled out the paperwork. I know I haven’t submitted it, received approval, or got the card yet. But I walked out of the bank with an application.

I walked out with a symbol.

That symbol carried a lot of thoughts and feelings with it. Independence. Security. Pride. A sense of starting over at a not-so-young age actually mixed in with a little bit of that much younger Wow! that I remember when I got my actual first card decades ago. Frustration and some anger that I had been in a place where the application wasn’t a possibility, even though I went into that place for reasons that I thought then and still think were good.

A whole mix of shades and layers.

And I thought, Oh. And I thought of the automobile in my WIP. It’s been playing its way through the plot and character development work I’ve been doing. It’s connected to my MC, but is it the right one for my MC? Does it carry enough weight in her personal story? Does it have the weight and resonance of, oh, say…a simple, little credit-card application?

Symbols. Yeah. They’re a part of life. And maybe I need to be a little more open about letting them be a part of my writing.

Posted in Uncategorized

Where I’ve Been

Here, really.

Well, not here-on-the-blog here. You may have noticed that! But here, as in my usual area on the planet. Which just occupies a bit more physical space these days and a little less virtual space than before.

I knew things were going to shift when I took my job. Basically, it’s all shifting in a good way–the work is busy and interesting and challenging and being done in the midst of great people. I’m making slow, but steadier progress on my writing. I’m sticking with yoga and even adding back a little more other exercise than I’d been doing. And the sanity-management is going fairly well, I’d say.

Still reading plenty, of course!

But, yeah, the blog has suffered.

I’m not letting it get to me. I love all my blogging friends who show up every few weeks just as much as those who post multiple times a week. I check in plenty, even if I’m commenting less (another less-free-time hit for me). Also, I started blogging Way Back When I realized that my comments on other blogs were getting long enough to be considered…posts. I started for me, because I do love thrashing out ideas about writing and reactions to books I’ve read and, oh, yeah, just ho-humming about life stuff. And I do still enjoy putting up posts.

It’s just not, obviously, going to happen as often.

I am fairly sure that–at some point in the future–my posting will pick up the pace again. Something will come into my life, or I’ll see a sparkle that needs to be followed down a path–and all of a sudden, the ideas will be popping, the need to share and question and clarify will bubble up, and the posts will fly. Knowing this (as I never did when I was young) is one of the things that is making life so interesting these days. And it’s one of those things that keeps me from panicking at the lulls in any one specific activities or from pushing myself to get everything done. At once. Immediately.

Life changes. And then it changes again.  I’m not usually one for sports metaphors, but–better to ride the wave than get bonked in the head with your surfboard, right?

Posted in Uncategorized

Scene Goals: Getting Back to What My Hero Wants to Make Happen

Many authors say the writing process is different for each book they write. I’ve certainly found that to be true, in many ways. Let’s not even talk about how much longer this novel has taken me to write–to draft–than anything else I’ve worked on. Let’s not talk about finding out your hero wasn’t who you thought she was, or that the historical event you thought you were writing around wasn’t actually part of this story.

BUT…this week, I’m coming back to a piece of the process that has been a true and necessary part of every story I’ve successfully told. I’m not talking about success in terms of publication, but in terms of writing The End as many times as needed and getting that story to the point where it feels submittable. Writing and “finishing” a book.

And that’s setting down for each scene (or for each “bit” in a picture book) what the hero is trying to make happen. Their goal, yes,  but specifically a goal that means they have to execute steps to reach that goal. The thing I always come back to, and the thing that I think actually helps me write the scenes, is that the goal doesn’t have to be a big one. Maybe it even shouldn’t be, although I’m very unfond of anything to do with “shoulds.” But I find that the smaller goals, the ones that are driven by everyday things like hunger or tiredness or anticipation or selfishness, are also more personal and, consequently, perhaps more engaging. Obviously, as you get further toward the crisis and climax (or climax and crisis–I always get the order mixed up!), the goals may get bigger. Still, I think a goal of say, Finding the Code (to disarm the bomb) is a more immediate, more relatable-to goal, than Disarming the Bomb and even more so than Saving the World (by disarming the bomb).

Today, after spending all these months working through Donald Maass’ Writing the Breakout Novel Workbook and developing a basic plot from Blake Snyder’s Save the Cat, I finally started opening up each scene card in Scrivener and writing down Caro’s goal. I don’t have any bombs in my story (okay…yet!), but I do have big, emotional problems that she’ll have to face. Even saving-the-world type problems. Today, though, in Act I, here (with some names/elements changed to protect the innocent) are the scene goals I wrote down for Caro.

  • To ride in an automobile (circle 1912)
  • To get her father on her side about the automobile ride
  • To persuade, argue, or negotiate her mother into letting them go in the automobile
  • To have fun on her first automobile drive
  • To call her brother on his bluff
  • To get her (injured) brother out of the automobile
  • To see her brother at the hospital

So, okay, yes, you can see that there are bigger problems at stake than just the action. But if you look at the part she can actually try to impact, the actions are things like taking a drive,  embarrassing her brother, and getting him out of a car. Underneath it, sure, are things like being in charge of her own life, rescuing a loved one, and taking a stand. Those, however, aren’t her scene goals. They’re themes or big story threads or needs that have to be resolved, somehow, by the end of the book.

They’re not specific, personal actions.

Along with each goal, I add a few notes about obstacles: Who does what and why to get in her way? Who does what and why to help her, but–perhaps–make problems for her later? What does she herself do to create the problem? And does she achieve or not achieve the goal by the end of the scene?

I’m sure these goals and–oh, yeah–those obstacles will change. The whole danged plot will change. But…

I think I’ll be able to write the scenes. This is the story for which I’ve started a first draft twice, gone pretty far along in the page count, and then realized I was struggling with a hairball-mess of a tangle I didn’t know how to clean up. That’s why I’ve backed up and replotted and why, this week, I’m retrying that step of the process that’s worked for me in the past. Maybe it’s the one part I need to follow for every book I write, or at least for every book I write until structure becomes more automatic and natural for me. (Some day?)

All I know is that it feels at once familiar and reassuring, that it’s helping me visualize Caro out there, doing her thing, fighting her battles, and living her story. And possibly, just possibly, helping me tell it.