Experiments and Doubts

So I am getting down to the wire on my WiP. I've decided to experiment in several ways with this novel, and although I'd like to say I am totally confident about these choices that's not exactly true.

Have you ever done that? Tried a new method of writing or preparing that made you a little squirmy? I'm open for experimentation. I am always trying to find better ways to hone my craft, to prep and write a novel. Sometimes the results are spectacular. Sometimes things go splat. I am hoping my latest experiments will be wildly successful, or at least not ruin the book, but again, I still feel nervous.

My first experiment will be in the form of an extended plot outline. I didn't think I would ever use one, but the need seems to call for it. I am trying plot out the events I have to know to make the novel work, but leave a lot of ground left to explore. Since the story's main driving plot is very close to a murder mystery, there are certain things I need to know ahead of time. Like how the two main characters collect evidence from immaterial objects, like ghosts. Fun, I know. 

So while I don't have who's going to live and die planned out to a T, and only a sketchy idea of how things are going to get solved, I still have to know how their methods work. Enter the extended plot outline. It's a really detailed plot outline, that lets you be as specific or vague as you want. So one chapter might read "Bast discovers dead body" another chapter that I have more ideas for might even have a piece of dialogue I thought of and don't want to forget. 

This will allow me to plan out the nitpicky details ahead of time, without ruining the fun of creativity. This doesn't mean I won't have to smooth things out in revision, but at least it gives me something to stand on. I also intend to plan the first few scenes out in great detail, and use only the broadest strokes for the middle and end. Just the scenes that have to be there to make the basic plot work. Then, after I write through the scenes I have planned out on notecards, I will then plan the middle, incorporating anything that has changed since the outlining stage. I've never plotting this way, but it sounds like an excellent way to have some stepping stones in the plot without having to incorporate your new elements completely in the first revision.

The other great experiment with this book is my POV choice, and the one that's making me extremely nervous.

It's going to be multiple first person point of view. 

First person is a bit of a change for me. I usually save first person for the books I know are only going to be from one character's perspective, and when I have an excellent feel for their character. I've never finished a novel in first person, but I have two half finished novels from first person, both with totally different voices.

When I started working on my WiP, I already had Bast's voice talking in my head, and she was definitely going to be from first person. When I added another main character, I didn't think much of it, because I also had an excellent feel for that character's voice. The characters are polar opposites and have different roles in the story. 

I realized that I would need a way to tell the reader that the POV has changed, because most people assume a book written in first person is from only one person's perspective.I considered my options.
 

I don't like naming the chapter after the POV character, because it feels a little...clunky. I usually don't name chapters anyway, because it can break the flow of the book. Don't get me wrong; I've seen both techniques used well, but I just didn't think either work for my book. I also decided that I would change POV with each chapter, and any scene break I wanted to do within the chapter would be indicated by *** marks.

When I went to the writing seminar at Dragon*Con, I asked the writers giving the seminar, Michael Stackpole and Aaron Allston, how you would make sure the reader knew who's head you were in without naming the chapter after the character. To my delight Michael Stackpole and Aaron Allston did not tell me I was a naive fool for trying to pull off this perspective. 

Instead, they advised me to make sure each voice was unique, so there was absolutely no doubt who was talking (Which is a good habit to get into, even when you're writing third person). I told them about my chapter plans, and they thought it was also a good idea, because eventually the reader would pick up on the fact that a chapter means I am changing character perspectives.  


That settled, I didn't think too much more about my POV choices until yesterday.

Yesterday I ran across a story about a guy who tried to get him multiple first person novel published, but couldn't because the publishers didn't like the POV. I read several other articles talking about badly used multiple first person. The general wisdom for multiple first person is don't do it. I know there have been books utilizing this perspective, but it's really hard to pull off. You have to make extra, extra sure that the character's voices really ARE unique and different. You have to make sure the characters are relaying a different view on the world to justify their having a POV at all.

You're supposed to do this with a POV character anyway. No matter if you're writing in third, first, single or multiple, you're supposed to make sure your POV characters each have something important to contribute to the story. You're supposed to make sure they all are unique and sound like real people. 

This doesn't always happen though, and never is it more obvious than multiple first person.  Now I wonder if I am kidding myself. I mean, I'm not even published yet. Should I wait until I have a few published novels under my belt before embarking on such an ambitious endeavor? If my POV choice bars me from getting published, it will feel like a waste, because that's something that can be fixed. 

But.

If I can pull off the POV choice, I think it will rocks your socks. The events of the books are character driven, and very personal. Both characters are put into uncomfortable moral situations where they have to choose which is the lesser evil, and deal with the outcome of their actions. The character themselves are polar opposites.

I guess at the end of the day, I just need to make sure that the characters come across as unique and different. I have thought of this book as a multiple first person for so long, I have a hard time imagining it any other way. In order to make sure this really is the POV that will do my book the best service, I will rewrite a chapter from each character in third person, just to make sure. But I am still slightly nervous.

Have you ever had something like this happen to you? Where you thought you had things under control and then you read or hear something, and suddenly you're questioning your choices? How do you decide which is fear talking and what is good common sense? How did you decide what to do? Does anyone have any advice on multiple first person perspective? 

A Neccessary Evil

Yesterday I had so much fun, and it wasn't even writing related. Weird, I know. I did something revolutionary, something I never do, and while I regret it later, it was fun at the time.

I watched The Grudge with my best friend Melissa and Joe (who is Melissa's boyfriend). It was his birthday this past Sunday and we celebrated it yesterday. I told Joe he was allowed to pick the movie we watched, yes even a horror movie. I normally stay away from horror movies like they carried the plague. Because I am a sissy and when I watch them I scream and jump, and usually have a nightmare or two afterward. I am just a little too imaginative for my own good sometimes.

But there's must be something seriously wrong with Melissa and Joe, for they LOVE horror movies. They've watched tons of them, and are considers "buffs" in the genre. They really don't discriminate either, and will watch something big budget or what they found in the dollar bin at the supermarket. 

So yesterday after apartment hunting (I am moving in about a month) I went over to their apartment and we cleaned up a bit, and got some Chinese food (YUM), and then settled in to play some Guitar Hero: Warriors of Rock.


A brief digression into my nerdiness: Warriors of Rock is so unbelievably awesome. You can give your avatar red glowing eyes, and all kinds of rock paraphernalia. It's like the dark fantasy version of the game, complete with zombie make up. I managed to unlock myself a set of angel wings to compliment my red demon glowing eyes and Egyptian eye make up. I am still working on my succubus horns, but those are really high level, and I play infrequently at best. 

We had loads of fun, hopped up on strawberry cake with cream cheese frosting and Monster energy drinks, which curiously like alcohol, taste terrible the first few sips until you numb your taste buds. Then it was time for the movie. Joe picked out The Grudge, which Melissa hadn't even seen yet. We watched the remake, the one with Buffy in it. I know, I know. Purists would shoot me, because the Japenese original, named Ju-on, is supposed to be waaay scarier. Well, if that's the case, I don't think I could watch the original. The remake nearly killed me. By the end of the movie Melissa and I had shifted towards Joe until we were in a tiny clump of unbridled terror.

Thank you Wikimedia for setting the mood for this post.

Overall, there was something cathartic being that terrified for an hour an a half. Afterward I felt a giddy sense of euphoria. I just have to not think about the movie AT ALL if I ever want to sleep again. I think the concept of a hungry ghost is really cool, and I even have a few in my WIP so that helped keep my interest in the movie. I think sometimes watching a movie outside of my comfort zone is a necessary evil. Cathartic, at the least. The last outside of my comfort zone movie was We Were Soldiers, which had me balling my eyes out through half the movie.


Today I feel refreshed and energetic, ready to take on the world, or at least my plot outline. But that could be the leftover cake talking.


I would like to thank my new followers! Hi new followers! It's nice to still be acquiring followers. I've stayed between the 30-40 mark for a while now, and I wondered if my breath stank or something. But that's how blogs go, and I know a massive legion of followers will come in time. Just as soon as I learn how to make zombies...


Anyway! Have a great day everyone, and maybe try something new? Something you think you won't like. You never know how it will make you feel.

Nightmares and Dreamscapes

Last night was not very restful. I had a hard time falling asleep, and I woke up at three in the morning from a nightmare. It's vague and fuzzy now, but there was something about a guy who was possessing people and I had to stop him, and save the people he was hurting. There were spirits and demons involved. It doesn't sound like it (nightmare never do) but it was scary. I woke up, certain there was a demon in the room with me.

I got up to use the bathroom, and had to avoid the mirror. I have this weird thing with mirrors. Most of the time, I think nothing of them. They are just there. But after a nightmare I can't look at them, because I am afraid I will see someone standing behind me, or something will reach out and grab me. I NEVER played "Bloody Mary", even as a kid.

Because here's the thing: when you're a writer, you tell yourself stories. Even if you're writing literary fiction, you are still making stuff up. I write fantasy, so believing in what isn't real goes double for me. During the day, when I am rational, I know elves and fairies and ghosts and demons don't exist. At least, I sort of know that. I am willing to concede that there is a possibility there are things out there we don't know about, but I don't actively search for it.

But at three in the morning, when it's pitch black out and no one's awake? That certainty goes straight out the window. No matter what I tell myself as I lay there in bed, I still think there *might* be something under my bed that is going to reach up and grab my ankle. And no amount of rationale will change that.

I think this is a negative side effect to writing. Or being creative in general. I spend so much time thinking about people and events that are a product of my imagination, and believing in them, giving them words and weight, that sometimes after I just wake up, this flexibility in my suspension of disbelief turns out to be a hinderance.

As a result, I am sooooo tired today. The thought of going to work makes me tired. I have a list of things I need to do, and I am doing them, but S-L-O-W-L-Y. I was hoping to be extra productive today, but things aren't looking so great. Unless of course I add to my list of things to do. For example, I already took a shower today. Check. Ate breakfast. Check. Wrote a blog post. Check. Go to work. Check soon enough. I guess if I extend my creativity further, I could add even more things to my list of things to do. Breathe. Check. Brush hair. Check. Get dressed. Check. Read other people's blogs. Check. 


See?! I am feeling more productive already! I guess it's time to do what I actually need to do--work on my notecard outline--though. I am getting so close to being ready, that it's tantalizing me. But yesterday I made chicken pot pie for my parents from scratch. They loved it, but it took longer than I thought it would. 

Hey, I can add to my list! Make dinner for parents; have enough for leftovers today. Check.


What do you guys do when you have bad dreams? Am I the only one who think is has to do with being creative?

Monday Update: Where do you get your inspiration?

One of the most frustrating thing for writers is anything having do to with inspiration. Whether it's for a completely new book idea, a character, or the solution to your plot problem, inspiration doesn't come by flipping a switch. And if it did, I think it's safe to say we would be flicking that switch ALL DAY LONG.

It's almost a little frightening if you really think about it. Your entire writing career depends on you getting good, usable ideas on a regular basis. You can force a plot, setting, and characters together, but many of us forget just how much inspiration plays a part into meshing the various elements of your book together. Your working on your character, and you suddenly decide she does pottery, and then you move on. It's not a big sudden "OH MY GOODNESS WHAT IF I DID THAT?" moment like I had last week, but it still fleshes out your character in your own mind, as well as the reader.

You can't force these moments of inspiration, big or small, but you can make conditions suitable for inspiration to want to come and play. These conditions vary from writer to writer, and they sadly do not usually include laying around doing nothing. You will occasionally be struck by brilliance while you're thinking about getting your oil changed, but this doesn't happen that often, at least for me. And it usually follows a session where I was actively brainstorming.

Most of the time inspirtation comes when you go after it with a big stick. If you sit around all day waiting to have ideas, the chances of this happening are very slim. If instead you engage in activities that you find interesting and stimulating, the chances of coming up with what you need increase. And even if you don't have an idea, you still got work done on your novel so that's hardly time wasted, right?

Some ideal conditions might include any number and combination of the following: chocolate, reading a good book, watch a well written TV program, caffeine, talking to a friend, talking to your pet, staring out the window watching the birds, nightmares, music, arguing with a friend, looking at artwork, reading a bad book, working on your novel, dreams, watching an awful TV program, reading the newspaper, taking a walk, swimming, repealing a zombie invasion, and reading one of those Pocket muse books that people rave about, but never seem to do a thing for me.

The crux of the matter is what make your brain tickle with joy will not always make another person's brain tickle with joy. For me, music has always been a reliable source of inspiration, but I know there are plenty of people out there that find it wildly distracting.

I think it would behoove writers to not only keep track of the ideas that come from these sudden brilliant brainstorms, but what they were doing in the first place. It won't work every time, but it certainly doesn't hurt to know what conditions are favorable for your Muse.

There are also the epiphanies that come when you're not looking for one. Last Wednesday I had an amazing epiphany that made my novel so much cooler, and I wasn't even worried about that area of my plot. Actually, I thought I had that part all squared away. But the combination of listening to a new CD by Kamelot, and browsing through some fantasy artwork was enough to send fireworks off in my brain. That high of "OH MY GOODNESS I JUST HAD THE BESTEST IDEA EVAR!" is one of the reasons why I will always be a writer. It's just too much fun to ever stop. And it's legal. ;)

Here are the two songs in particular, in case anyone is curious (Each part is broken into one separate track on the CD, but this Youtube video conveniently puts them all together): Kamelot--Poetry for the Posioned Pt I, II, III, IV

And here is the picture, to support the artist and show you what I mean: Phantom Link by Kirsi Salonen

I took one look at that picture and wanted to know the reason why he has skeleton pets, and I wanted a reason that didn't involve him being evil or a necromancer. 

I got my answer, and the soul of my book.

How do you guys get ideas? Any tricks up your sleeves? What is one of the best "OMG!" moments you've had? 

Oh Happy Day

Some days it's crappy being a writer. You can't get the words right, or to come out at all. You can't figure out how to make your plot work, and every idea you have feels trite and tired. You think maybe being a postman or a chocolate quality control worker must surely be a better way to go about your life.

That is not this day, in the immortal words of Aragorn.

These past few days are the sort that remind me why I am a writer, why I have always wanted to BE a writer even as a small child (after I gave up my dream of being a doctor-nurse-dentist). I had an idea, a simple "What if this character switched places with that character?", that totally changed my WIP.


Five front and back handwritten pages later, and my WIP has become more awesome than even I thought possible. Just one little question, and I managed to work in several elements that I never thought I would be able to work into a book, and an idea I discarded early on in the development process as "not going to work this time".  The excellent news is my WIP has not really changed from what I had before, it's just deeper now.


I realized that as a writer you need to question everything. Readers are going to make assumptions about your novel, and that's okay. Heck, it's necessary, and allows you to make some cool twists based on these assumptions. But you are the writer and can't assume anything. Just because your idea has X, Y, and Z going on doesn't mean it's in your better interest to accept that at face value. Either during the development process or after you're done with the first draft, check your novel for any assumptions you may have made. 


Because you might have some really awesome ideas lurking beneath the surface.


Happy Friday everyone, and have a great weekend.

PSA: Character Chemistry

This post shall be brief, because I would like to get back to my authorial duties of working on my WIP. I thought I would share some awesome gems I've recently turned up during the course of the past few days.

*Don't be afraid to play around with your cast of characters.

I don't know about you, but most of the time my cast of characters arrive in the story intact. It's usually because I have an idea for characters in a certain situation first, and from there the story spins out. In the case of my current WIP however, the characters have evolved and changed, as the story idea revolved and changed. At first, this was very scary. I didn't have a good handle on the characters, which is new for me. But as I pushed deeper and harder when developing my characters, wonderful things have happened.

Namely, I struck the right combination of characters yesterday and the plot is sizzling from it. This should be a test: if your plot is not creating sparks between the events and the characters, you should consider changing some things up. Most of the time you don't need a drastic change either, just some fine tuning of back story, motivation, and personality traits. My characters are mostly the same as they were last week, but now they are MORE.


*Don't be afraid to let your story morph as you develop and write it.


Again, it's a little scary when you're writing and things start to slide sideways. You don't quite know how it happened, but one minute you're writing lighthearted crime fiction, and the next minute the story has taken a side step into deeper paranormal something. This is generally a good thing. You want your story to develop and grow, first while you're building the world and plot, and then as you're writing it. Trust me, this organic chemestry can make or break your story. 


The trick here is to weed out the directions that are totally different from what you're writing. If you're writing a comedy of manners, and suddenly a brutal double homicide subplot shows up, chances are this new thread isn't going to fit. You need to recognize the twists that come from inspiration that helps your story, and the twists that hurt this story. You could always save them for another story if it doesn't work for the current story you're writing. 


Most of the time the story morphs and changes as I write it. For this WIP, it's morphing and changing as I am developing it, and I suspect it's not done. Not done until after the first draft is done, and not even then. 


Of course, you should also have fun and try not to worry too much about this sorts of occurrences. But I thought I would blog about this event, since it was very scary at first. I thought maybe I was messing things up, but I saw the new twists through and now my story is better for it. So when in doubt, see it out! (yes, I just made a corny rhyme. So sue me, half of my brain is one a distant planet, working out the details of the dead...)


Have a great evening folks and feel free to share similar tales of woe and wonder!

Old School Query Letter

I am still not feeling 100% on the account of the strep throat my sister in law passed on to me, but I at least feel like a human being again.

Last week I took part in a wonderful webinar hosted by the fabulous Kristin Nelson. She gave a great discussion on query letters and how not to suck at them (my words, not hers). Ms. Nelson has some great resources for query letter writing on her blog that will start you off, but the webinar expounded upon those gems. 

Ms. Nelson approaches the query letter process in a slightly different way than I've ever seen. She suggests looking at your inciting incident, the plot event that kicks off your entire plot, and building the query letter around that. It gives the agents a taste of the plot without drowning them in details and irrelevant bits. 

This is not as easy as it sounds. I started out with a terrible query letter, mostly because I was trying to cram too much information in there. So I took a step back, and wrote down with a pencil and piece of paper the three most interesting parts of my novel. Three things I thought made my novel unique. I then crafted those bits into three sentences. From there, I worked out how to make those three pieces connect, and only then did I have something that vaguely resembled a query letter. I also chose to add a little detail about a subplot, to flesh out the query letter better.

I then rewrote those sentences a bajillion times. Or that's how many times it felt like. I wrote the same handful of sentences over and over, playing around with my word choice, and reading it out loud to see if it made sense or not. I didn't just erase when I made a mistake either, I started over. I worked on each sentence by itself until it read the way I wanted it to.

Why all the bother? Because with the webinar I get a free pitch paragraph critique from Ms. Nelson. I am literally jumping for joy with the thought. So, I made my pitch paragraphs (the paragraphs that talk about your novel) as awesome as I could so when Ms. Nelson looks them over she'll catch the real mistakes, and not something I could have fixed myself. 

It really surprised me how different writing those paragraphs out long hand felt. I almost wish I had the time to write a novel like that. I've tried, but I think too fast for a first draft to be written by long hand. A friend of mine wants to re type her manuscript while editing it, and I am considering doing that the next time I edit.

Here are some lessons I learned from the webinar, and the subsequent rewriting of my pitch paragraphs:


*Make sure the information in the pitch paragraphs is new and interesting. Don't say what was a normal day or event for your character--tell us the extraordinary stuff that happens to her. 

*Pick out three to four details about your novel that makes it unique. Expand upon these details and how it affects the main character. Don't try to talk about too much as once. Remember, show don't tell works just as well here as your novel.

*Space is a premium in your pitch paragraphs. Don't waste it by saying things like "It was a normal day until..." or repeating what you've already covered.

*Make sure each sentence builds on the last, and connects in a way that makes sense. Read the backs of novels to get a sense of how novels are pitched in a short period of time. Given enough to whet their appetite and leave them wanting more. Wanting more means a request for partials!


*Write the query letter out by hand. Everyone has time for this. Your query letter is your first impression to an agent. You can take the time to write it out long hand and pay attention to every single word you're putting into the paragraphs. 


These are some tips I've picked up along the way. What other techniques have helped you write a good query letter?