Wow! That was an amazing experience, even if I am now exhausted. I haven't been this tired in years. It's the mental sort of tired where your brain feels like silly putty, and it takes you an extra three seconds to respond to what people are saying to you.
I fluctuated yesterday between rambling on and on about the classes I took at my writing seminar to my hapless family and staring into space processing everything.
I had hoped to post pictures from Dragon*Con (the place where the seminar was held) but my computer is so old (how old is it? You all yell) that I don't have the proper port for my memory card in my camera. So I have to snitch my dad's lap top soon, and upload my pictures, and then transfer them to a flash drive, and...you get the picture. But stay tuned for pictures, because among others, there was a shockingly good cosplay of a drow priestess.
I also took 23 pages of notes. There were 14 classes total, an hour each, with a half hour in between, and lasting Friday, Saturday, and Sunday. I will be blogging about some of the really cool bits of information I received, but first I have to actually sift through my notes (hence the Part 1 of this post's title).
The information I received from the two authors who gave the seminar--Michael Stackpole and Aaron Allston--was amazing. Even when they went over something I already knew about, they explained it in such a way that I gained new insight and understanding on the topic. I've been to writing classes before, but taking a class from a published author, one who actually knows how the real world works, made a huge difference.
If you get a chance to take a seminar by one of these guys, I would heartily recommend it. Michale Stackpole also has some short books on writing on his website Stormwolf.com up for sale, that I have bought and also heartily recommend.
If you are despairing that you'll never be able to go to a writing seminar because of time or money, then despair not! I am taking a writing class online by a well known published author, Holly Lisle, that has also been invaluable to my progress as a writer. The aspect I really enjoy about Holly's class is it's very easily adapted. If you already know how your writing style works, this class is very easy to shift and fold into other styles. Here is the link describing the class in case you're interested: How to Think Sideways. Scroll through the testimonials to read about what exactly you're getting in the class.
Both Holly's class and the seminar I just took taught me ways to write, not how that author in particular writes. It's a very subtle distinction, but it makes a huge difference. When an author teaches you *their* method of writing, you are left taking one or two pieces of what they are doing. When an author can break down the writing process and show you the nuts and bolts of writing, that's entirely different. You see why they are doing something a certain way, and you can adjust to your own methods accordingly.
In both the writing class and the seminar, I was learning from working writers. Writers who make their living...well, writing. The next time you look at taking a writing class, make sure to look into the author give the class. I am not saying that you should never take a class from someone who isn't a professional writer, but I think it's important that you realize there's a difference.
But ultimately, you all need to figure out what's best for you. I decided that writing classes and seminars were the next logical step for my writing career. You might decide differently. We're all working towards the same thing, but we might get there using a different path.
What do you think has helped you improve most as a writer? Was it a seminar or lecture? Reading every book your hands touched? Why do you think it helped you so much?
Monday, September 6, 2010
Wednesday, September 1, 2010
Ways to Effectively Use Constructed Languages in Fiction
Using a constructed language in fantasy and science fiction can add richness and depth to your plot. It could also add a colossal headache for your reader if you don't use your constructed words with care. In addition, some readers don't like fake words in fiction, just as some people can't stand books written in first person, so remember that you can't win them all.
For those of us who do appropriate judicious use of foreign words, here are some tips:
1) The conlang is used without any explanation at all, and you're supposed to infer from the context.
It's the most efficient use of a conword if you can sneak it in without any explanation, and the reader can infer what it means through the context.
Readers actually do this all the time. Most people have a decent vocabulary, but they still might encounter a real word in a book they don't know the meaning of. Rather than looking it up in the dictionary, the reader just figures out what it means in the context of the sentence.
The problem with this method is you can only do this with a word with a relatively simple meaning, and if you go too far and bombard the reader with a game of "figure this word out", they will get tired and put the book down.
Example:
“Derek turned around and nearly walked into the sojetha of the local tribe. ‘Excuse me! Sorry, sorry, hann ma, hann ma,’ Derek stammered. The surrounding members of the tribe didn’t look happy.”
a) I put the conwords in italics, so the reader has an easier time of picking the conwords from the real ones. If you decide to go this route, just remember to do it through out the rest of the novel.
b) 'Sojetha' means something very close to ‘chief’, which you may have inferred from the reaction of Derek and the other tribe members. For my purposes, it’s not really important that you know that “king and spiritual leader of his people” is the exact meaning of ‘sojetha’. This is a decision you should make for each conword you use. If it’s not super duper important that the readers understand the distinction, then you can leave it as is.
c) I snuck a conlang phrase in Derek’s speech, which you might have already guessed is an apology in their own language. You don’t have to do this, but I think if it’s believable, and you don’t over use it, you can do this to add some flavor. It works because Derek apologized in English, and then almost as afterthought, apologized in their own language. Your readers probably won’t analyze like that, but they will pick up on the nuances. Using some of the conlang depends upon whether Derek would actually know their language or not…but wouldn’t it be really funny if Derek thought he was using the appropriate apology, but in fact just grievously insulted the sojetha of the tribe by using the slang apology instead of the formal apology that is befitting a man of his station? :D Ahh, the many fun ways you can use your culture for conflict….
2) The conword is used, followed by a quick explanation, and then you move on. Further explanation of the foreign concept is explained as the book needs it.
There are some conwords you might want to use to convey concepts you can't convey as well in English or whatever language you’re writing in, but their meanings are either really complex, and or important for the reader to grasp.
Example:
Let's say that concept of a "sojetha" as not just the leader of the tribe, but their spiritual leader as well, was really important to my book. Maybe the sojetha's extra responsibilities of being his people's shaman was an important plot point. So I wanted to explain a little bit of this foreign word the first time I introduce it, and build on the explanation as the plot calls for it.
I could rewrite the sentence this ways in order to reflect this importance:
“Derek turned around and nearly walked into the sojetha of the local tribe. ‘Excuse me! Sorry, sorry, hann ma, hann ma,’ Derek stammered. The surrounding members of the tribe didn’t look happy that Derek stepped on their shaman and king's right foot.”
You can give the reader a tiny explanation, just enough for them to form an image, and buy yourself some time for further explanation later, should you need to do so.
3) The word is used without explanation, and you don't really need one.
Depending on how crazy you get with the foreign language, you could have all foreign character and place names.
Example:
Your characters names are Dalla, Ceje, and Lleves.
They live in the town of Faethan Jyth Street
Notice how I used the English words of “town” and “street” to give you some context clues of where to attach the names. You could also know what these foreign words mean in your language, and name other similar items appropriately.
Let’s say “jyth” means “brave”. You could name the military barracks “Fort Jythstan Jyth Street
You wouldn't ever have to tell the readers that "jyth" means brave, but it can give your world some really cool internal consistency. The reader might not know that "jyth" means "brave" but if the word appears in connection with the military and honor, the readers will start to associate it with those things, even if they don’t know the exact meaning.
This method works best if you're absolutely crazy about making up constructed languages like I am. You don't have to put a lot of effort into a conlang in order to get something that you can use with confidence in your book.
You can get as in-depth or as light as you want and still have a good conlang. I have half a dozen conlangs in various stages of building. Like anything else, you don't want to go crazy with the conlang, so I only build what I need or want from it.
I use one or all of these methods in a book, depending on what I need. I try to use English words when English words will do, but I also try to give the feeling that this is a real world, so I pick my foreign words carefully. I don't say "hega" when magic will do, but I will say "sojetha" to describe the special position in the elvish government if it's different enough from "king".
Speaking of elves, I do the same thing for fantasy races. I call my elves "elves", and gnomes "gnomes", but if I've made up a race, I'll call them by their made up name. I try to give the reader as many things they can understand and relate to as possible.
4) My one deadly sin for conlangs
Making up a word on the spot, just to make things look foreign. I know a lot of authors do this, and I am not trying to call them out, but this drives me crazy. I'd rather see the word in English if the author isn't going to use a conlang effectively. Making a word up on the spot just to make things look foreign usually shows in the book, and I think it has the opposite effect intended.
Obviously we're all making up word on the spot, but I try to have some sort of internal consistency with the language, even if I am not going so far as to develop the grammar of the language.
To me, this is just as bad as making up your magic system on the spot, without any sort of internal consistency.
Example:
"Sarah walked down the T’Reyutighj street, and into the Fg''ityufittt House. She sat down and drank some daimyu tea."
It's not that your conlang can't be brutal with consonants, but a language like that will have a certain look, and it gets obvious as the book goes on that the words are being made up on the spot. It’s also a good example of over-using conwords for no reason.
What about you? How do you approach constructed languages in your novels?
Monday, August 30, 2010
Make a Sequel
Today I am going talk about contemplative scenes, or sequels as they are often called.
Jordan Rosenfeld has an excellent book called “Make a Scene” that talks about the different types of scenes—Action, Contemplative, Suspense, Dialogue, etc. She talks about the problems inherent in each scene (Contemplative tend to slow the plot, Action scenes can be confusing), and some tips and tricks for each type of scene.
You hear a lot of talk about what NOT to do during a scene. Unless you want to put your readers to sleep. You’re not supposed have a scene where the character sits in the kitchen and thinks, you’re not supposed to let your characters have coffee and talk, etc…the list goes on.
But this stuff happens in books all the time, and somehow, the book is not boring. How?
Because a sequel is not just a character soaking in the bathtub thinking about the new boy in school who happens to be a Yeti, and how their love would never work. Or a character sitting at the kitchen table, thinking about how awful it is now that the zombie apocalypse has occurred.
A sequel is:
*a scene that often follows action in the book. For example, a car accident. If you get hit by a car (the action) you are going to have a reaction to these events. Another way to look at a sequel is as a Reaction Scene. It’s my opinion that the heart of your book comes from these Reactions. How a character reacts and responses to the crap you throw at him is very revealing about his personal morals and motivation.
*A sequel can occasionally take place during an action scene. A great example is Star Wars: "Luke, I am your father." "NOOOOOOOOOOO!" That’s reaction, not action. And I suspect this Big Reveal is the entire reason for the scene’s place in the movie, not the cool lightsaber fight. Though the lightsaber fight doesn’t hurt.
*Another good use of a sequel is the How Are We Going to Get Out of This Mess? The classic scene of characters in the library talking. Sequels are a good way to show the character’s planning their next step, whether it’s how to get the handsome Yeti in school to notice them, or how they will survive the zombie apocalypse with only a Snickers bar left as food.
*Sequels are not an excuse to slow down the action, or a better word would be, tension of the book. Most writers fail a sequel where the character eats toast and thinks about their problems, not because there isn’t any explosions in the scene, but because there is no tension. You have a great book cooking, action is happening, things are moving, and then WAHM! A wall of boring happens.
The trick is to not let the tension drop during these scenes. If you can keep the tension going, you might even get away with the character taking a shower or doing some other boring task. I wouldn’t try this until you are REALLY confident though. I’ve seen it done well in books, and I’ve seen the scene fall flat on it’s face because there simply wasn’t enough tension to sustain the mundane task.
*A good sequel must continue to move the plot along. The character must make a decision, comes to grips with their crippling depression, realize they don’t want end up like their father, or something! Just like in a scene, the character must have changed from one state to another by the end of the sequel. They can go from scared of the zombies, to determined to kill them all. They could decide to change their evil ways and open up a bakery. They could realize they are madly in love with the Yeti boy and his copious amounts of hair, and decide to stop shaving as a sign of her affection.
*As you can see, the line between a Contemplative Scene, and a Sequel can be really blurry. Really blurry. Personally, I prefer to think of my sequels as Contemplative scenes. It helps me make sure they belong in the book, and gives me the piece of mind that I haven’t written a half scene that doesn’t belong in the book.
*When you’re writing a sequel, the main purpose or goal is the inner turmoil that leads to change. Luke being told that this evil man is his father is the entire point of that lightsaber scene. Notice how the action stops for a moment, while Darth Vader gives him the news. You don’t want external action to get in the way of the inner turmoil of your character, especially if this is occurring mid-action scene. Imagine what that reveal would have been like if Vader breathlessly intoned, “Oh” –duck—“By the way” –slash—“I am your father.”
This is why most sequel scenes have characters doing something boring. They don’t want to take away from the importance of the character’s reveal or decision or gut wrenching horror over what their life has become. So while you probably want to steer clear of super boring tasks like cleaning, washing the dishes, showering, etc, also make sure the physical action in your sequel isn’t too overbearing. Otherwise, it’s just unbelievable. If you’ve ever had the misfortune of reading an action scene where the character is having an emotional war with themselves while they are getting shot at, you’ll know what I am talking about. Hanging from a cliff isn’t a good time for the character to start pondering why they are attracted to abusive men.
*A good way to learn how to increase the tension in subtle ways is read a book that doesn’t have a lot of overt action in it. “The Lovely Bones” comes to mind…I was on the edge of my seat through the entire book, but there were barely any action-type scenes at all. No one got shot, no explosions, no zombies, and only one person died. But the entire book is fraught with tension. Other books that come to my mind are “She’s Come Undone”, “The Book of Ruth”, and “Midwives”. These books might not be your cup of tea, so try to find a book that doesn’t have an overly actiony plot that is. I am not saying read boring fiction that doesn’t seem to have a purpose, but a book where the tension is more subtle than A BOMB IS ABOUT TO EXPLODE! Figure out why you keep reading, and why the scene isn’t a snoozefest. If the scene IS a snoozefest, try to figure out what it’s not interesting to you.
*Finally, if you go through your conflict, specifically the organic conflict, you should have enough stuff going on in the character's life that the scene won't be boring just because they aren't getting shot at. Sequels are a great way to increase the stakes, or complicate the internal and external plot further.
So have some fun with your contemplative scene. It doesn’t have to be boring after all.
Jordan Rosenfeld has an excellent book called “Make a Scene” that talks about the different types of scenes—Action, Contemplative, Suspense, Dialogue, etc. She talks about the problems inherent in each scene (Contemplative tend to slow the plot, Action scenes can be confusing), and some tips and tricks for each type of scene.
You hear a lot of talk about what NOT to do during a scene. Unless you want to put your readers to sleep. You’re not supposed have a scene where the character sits in the kitchen and thinks, you’re not supposed to let your characters have coffee and talk, etc…the list goes on.
But this stuff happens in books all the time, and somehow, the book is not boring. How?
Because a sequel is not just a character soaking in the bathtub thinking about the new boy in school who happens to be a Yeti, and how their love would never work. Or a character sitting at the kitchen table, thinking about how awful it is now that the zombie apocalypse has occurred.
A sequel is:
*a scene that often follows action in the book. For example, a car accident. If you get hit by a car (the action) you are going to have a reaction to these events. Another way to look at a sequel is as a Reaction Scene. It’s my opinion that the heart of your book comes from these Reactions. How a character reacts and responses to the crap you throw at him is very revealing about his personal morals and motivation.
*A sequel can occasionally take place during an action scene. A great example is Star Wars: "Luke, I am your father." "NOOOOOOOOOOO!" That’s reaction, not action. And I suspect this Big Reveal is the entire reason for the scene’s place in the movie, not the cool lightsaber fight. Though the lightsaber fight doesn’t hurt.
*Another good use of a sequel is the How Are We Going to Get Out of This Mess? The classic scene of characters in the library talking. Sequels are a good way to show the character’s planning their next step, whether it’s how to get the handsome Yeti in school to notice them, or how they will survive the zombie apocalypse with only a Snickers bar left as food.
*Sequels are not an excuse to slow down the action, or a better word would be, tension of the book. Most writers fail a sequel where the character eats toast and thinks about their problems, not because there isn’t any explosions in the scene, but because there is no tension. You have a great book cooking, action is happening, things are moving, and then WAHM! A wall of boring happens.
The trick is to not let the tension drop during these scenes. If you can keep the tension going, you might even get away with the character taking a shower or doing some other boring task. I wouldn’t try this until you are REALLY confident though. I’ve seen it done well in books, and I’ve seen the scene fall flat on it’s face because there simply wasn’t enough tension to sustain the mundane task.
*A good sequel must continue to move the plot along. The character must make a decision, comes to grips with their crippling depression, realize they don’t want end up like their father, or something! Just like in a scene, the character must have changed from one state to another by the end of the sequel. They can go from scared of the zombies, to determined to kill them all. They could decide to change their evil ways and open up a bakery. They could realize they are madly in love with the Yeti boy and his copious amounts of hair, and decide to stop shaving as a sign of her affection.
*As you can see, the line between a Contemplative Scene, and a Sequel can be really blurry. Really blurry. Personally, I prefer to think of my sequels as Contemplative scenes. It helps me make sure they belong in the book, and gives me the piece of mind that I haven’t written a half scene that doesn’t belong in the book.
*When you’re writing a sequel, the main purpose or goal is the inner turmoil that leads to change. Luke being told that this evil man is his father is the entire point of that lightsaber scene. Notice how the action stops for a moment, while Darth Vader gives him the news. You don’t want external action to get in the way of the inner turmoil of your character, especially if this is occurring mid-action scene. Imagine what that reveal would have been like if Vader breathlessly intoned, “Oh” –duck—“By the way” –slash—“I am your father.”
This is why most sequel scenes have characters doing something boring. They don’t want to take away from the importance of the character’s reveal or decision or gut wrenching horror over what their life has become. So while you probably want to steer clear of super boring tasks like cleaning, washing the dishes, showering, etc, also make sure the physical action in your sequel isn’t too overbearing. Otherwise, it’s just unbelievable. If you’ve ever had the misfortune of reading an action scene where the character is having an emotional war with themselves while they are getting shot at, you’ll know what I am talking about. Hanging from a cliff isn’t a good time for the character to start pondering why they are attracted to abusive men.
*A good way to learn how to increase the tension in subtle ways is read a book that doesn’t have a lot of overt action in it. “The Lovely Bones” comes to mind…I was on the edge of my seat through the entire book, but there were barely any action-type scenes at all. No one got shot, no explosions, no zombies, and only one person died. But the entire book is fraught with tension. Other books that come to my mind are “She’s Come Undone”, “The Book of Ruth”, and “Midwives”. These books might not be your cup of tea, so try to find a book that doesn’t have an overly actiony plot that is. I am not saying read boring fiction that doesn’t seem to have a purpose, but a book where the tension is more subtle than A BOMB IS ABOUT TO EXPLODE! Figure out why you keep reading, and why the scene isn’t a snoozefest. If the scene IS a snoozefest, try to figure out what it’s not interesting to you.
*Finally, if you go through your conflict, specifically the organic conflict, you should have enough stuff going on in the character's life that the scene won't be boring just because they aren't getting shot at. Sequels are a great way to increase the stakes, or complicate the internal and external plot further.
So have some fun with your contemplative scene. It doesn’t have to be boring after all.
Friday, August 27, 2010
A Rose by Any Other Age
I thought I had grown out of it. I thought once I got married, and had a real job for a while I would no longer get into these situations.
I was wrong.
Mom and I were at Kmart, making a sock run for my Dad. While we were checking out, we were making conversation with the check out lady. She was a nice lady in her mid-forties. We talked about coupons and the unbearably hot weather, because Mom and I are the type of people who can have long conversations with complete strangers.
Then the lady asks me, “So how are you liking school?”
I cocked my head, momentarily confused.
“Are you a junior or a senior this year?” She continues.
I just grin at her. Mom looks at me and shakes her head.
“Actually,” I said, “I’m 25 so…I’m not in high school. So school’s great!”
The lady laughed and apologizes. I shrug it off. It happens a lot.
I have decided it’s a matter of context. At work, most people know I can’t be in high school, so they correctly guess I am in my twenties.
Without the context of work, and the age is implies, I still look like I am 17. Dad says I will be thankful when I am older, but it doesn’t really bother me. I think it’s funny.
Now, when I have kids, it’s going to be extra interesting. People will shake their heads, silently thinking, “Teen pregnancy is on the rise.”
I wish I could blame it on being really short, but I know it’s not just that. I have a very youthful face apparently.
I wish I could say I made lots of progress on my WIP yesterday, but I slept terribly, so I went through the day in a haze. I was just tired enough to not be able to concentrate on anything, but not sleepy enough to be able to take a nap. Me and naps don’t get along. I usually just lay there, thinking about the things I could be doing with my day off. It feels like a waste.
Today I slept better, which is good because I have a very busy day at work ahead of me.
I hope everyone has a great weekend, and I shall see you all on Monday. In the meantime, try to have some fun!
Thursday, August 26, 2010
Wheee! Going to a Writing Seminar!
I am extremely excited to report that yours truly is officially going to a writing seminar two weekends from now.
Dragon*Con is hosted every year in Atlanta, and I usually don't have the money to go, even though I do love me some nerd conventions. This year I found out about their writer's track. They have three full days of classes on improving your writing.
I don't usually make a point to go to the local seminars here because they are very vague about their programming. They talk about teaching you how to be a better writer, and learning techniques on plot and structure, but I never know if it's going to be new information for me.
Not that I know everything. Far from it. But you reach a certain point where the plotting basics just don't teach you anything. It's what sucks about being in the intermediate stage of writing.
However, Dragon*Con has a list here about the different classes being held, and what each of them entails. It's three full days of writing goodness! I know for a fact I can use what they are teaching in those classes.
I managed to switch days with people at work, and I just paid for it. I am so so so so excited I can hardly sit still.
My only problem is I have an urge to cosplay. It IS Dragon*Con after all. I have to represent my fellow nerds. But I also want to look somewhat professional, and somehow, I am thinking dying my hair neon purple and wearing a costume doesn't exactly scream that.
I think I will compromise and wear my Full Metal Alchemist t-shirt. I would wear my Last Airbender shirt, but I am afraid of being stoned to death. That movie destroyed the tv series, and some of the fans are more angry about it than I am.
What do you guys have going on? Ever been to a writing seminar? Any tips for me?
Dragon*Con is hosted every year in Atlanta, and I usually don't have the money to go, even though I do love me some nerd conventions. This year I found out about their writer's track. They have three full days of classes on improving your writing.
I don't usually make a point to go to the local seminars here because they are very vague about their programming. They talk about teaching you how to be a better writer, and learning techniques on plot and structure, but I never know if it's going to be new information for me.
Not that I know everything. Far from it. But you reach a certain point where the plotting basics just don't teach you anything. It's what sucks about being in the intermediate stage of writing.
However, Dragon*Con has a list here about the different classes being held, and what each of them entails. It's three full days of writing goodness! I know for a fact I can use what they are teaching in those classes.
I managed to switch days with people at work, and I just paid for it. I am so so so so excited I can hardly sit still.
My only problem is I have an urge to cosplay. It IS Dragon*Con after all. I have to represent my fellow nerds. But I also want to look somewhat professional, and somehow, I am thinking dying my hair neon purple and wearing a costume doesn't exactly scream that.
I think I will compromise and wear my Full Metal Alchemist t-shirt. I would wear my Last Airbender shirt, but I am afraid of being stoned to death. That movie destroyed the tv series, and some of the fans are more angry about it than I am.
What do you guys have going on? Ever been to a writing seminar? Any tips for me?
Monday, August 23, 2010
Monday Update and New Skin
I bet you can’t guess what I mean by “New Skin”. Am I talking about growing a thicker skin as a writer? Was I a burn victim, and now I have skin grafts?
No, but close. See, I was peeling potatoes yesterday. I am left handed. Let me tell you something: you right handed people have it made. You take so many tiny things for granted.
Like how your notebooks are bound (switch your pen/pencil to the other hand and see how much you like bearing down on a metallic spiral), what side of the car all the important stuff is (CD player, gear shift, the GAS PEDAL), all they way down to small kitchen appliances.
Like potato peelers. I can hold one in my left hand, but it’s always a little awkward, and when I get a particularly juicy potato, I almost always wind up peeling some of my skin off. Which is exactly what happened yesterday; I peeled part of my right pinky tip off. The peeler is relatively sharp, so I broke right into the nail and half way into the tip of my pinky.
It bled like a head wound. And it’s on the tip of my pinky, so a Band-Aid has no hope of staying on. The thing is, when you massage for a living, people don’t want you to touch them with your scabby hands (for some reason). My Dad suggested using New Skin. It’s from the makers of Band Aid, and it’s basically a liquid Band-Aid. It’s also antiseptic, and stings like a mother when you apply it to a fresh wound. But it did it’s job; the wound is closed and I was able to work today without having to massage with my pinky stuck up in the air, like we were having high tea or something.
I can also type without having an annoying lump on the end of my pinky and hitting all the wrong keys. Which makes writing this post so much easier, let me tell you.
In the progress front, I am doing very well. I seem to be building steam with my WIP, but I am neither frazzled with working on it, nor am I going so slow it threatens to become boring. This time around I am really paying attention to the pre-planning aspect of writing.
I am trying to find that elusive happy middle ground, between knowing nothing about the book, so when I get 30K into the book I run out of steam, but I don’t over plan the novel so much I don’t actually want to write it. Both of those scenarios have happened to me, several times.
The balancing act makes me a little nervous, but you don’t know until you try. I am trying to figure out critical information to make the plot run, and then I plan to drive right into writing.
The critical information, as I have deemed, is:
Main characters: The two protagonists, the antagonist, and two supporting characters.
Their compelling needs, what they would sacrifice anything for and what they wouldn’t sacrifice, names, and some basic description personality traits. Just enough to get a feel for the character, and be able to write a scene about them, but not so detailed that I can still get to know them through the story.
Setting: Since I am writing straight fantasy here, I have to do more worldbuilding on this project.
The city the novel will be set in, it’s basic cultural outlook, an extremely rough map, the overall climate and means of income for the population. I am avoiding, even though I am sorely tempted, of spending a month working on the planet, the city, the history, the flora, the fauna, and so on. I do have a basic idea of where the other cities are, but only because that’s relevant plot information.
History: Since the recent wars on the planet play a key part in the current events of the novel, I am also going to develop a rough sketch of key events in the past hundred years or so.
What war started when, and why. What affects this had on the population and the neighboring countries. When peace was declared and what fallout affects the war had on the subsequent generations.
Main plot: Summed up in one sentence including the protagonist, antagonist, conflict, setting, and one interesting detail that makes me excited about the plot. I learned how to do this sentence in the novel writing class I am taking at the moment, called How to Think Sideways, and it’s really helped bring my novel into focus without over planning.
I am also going to work out the key scenes that make the main plot run, the ending. For example, a murder mystery plot would have a few key scenes, the protagonist being assigned to the murder, two or three scenes of the protagonist trying to solve the crime, but being mislead/hindered, and when the protagonist captures the antagonist in the end.
Races: I have a slew of non-human races in this fantasy novel. But since only two races are featured prominently, I am just going to jot down some basics on the biology and culture of these races.
All of these categories are just broad strokes. The key is to figure out what you have to know to make the novel work. If you’re writing a haunted house mystery novel, you have to know how the haunting works. Is it sentient? Does the ghost of a child who died of Scarlet fever have to be put to rest? You don’t have to know the exact political hierarchy of the School Board for this particular novel (unless of course, the protagonist had something to do with it).
My goal is to have enough information to give me the barest of bones of a novel, while still allowing plenty of room for change and discovery. Then, after the novel is written, I plan to go back and flesh out what feels sparse.
It’s a little scary, honestly. I like to over plan, it makes me feel safe. There’s a stupid part of my brain that insists if I know the exact shade of blue the Crimiran Army wore three hundred years ago, my novel won’t suck. Pages and pages of character sketches, worldbuilding, plotting, outlining, maps, and drawings are my life raft while adrift on the ocean of writing.
But sometimes this planning turns out to be less of a life raft, and more a cement block.
We’ll see how it turns out. In the meantime, I am enjoying myself.
What about you guys? Have you tinkered with how much planning you do ahead of a novel? How did that turn out?
No, but close. See, I was peeling potatoes yesterday. I am left handed. Let me tell you something: you right handed people have it made. You take so many tiny things for granted.
Like how your notebooks are bound (switch your pen/pencil to the other hand and see how much you like bearing down on a metallic spiral), what side of the car all the important stuff is (CD player, gear shift, the GAS PEDAL), all they way down to small kitchen appliances.
Like potato peelers. I can hold one in my left hand, but it’s always a little awkward, and when I get a particularly juicy potato, I almost always wind up peeling some of my skin off. Which is exactly what happened yesterday; I peeled part of my right pinky tip off. The peeler is relatively sharp, so I broke right into the nail and half way into the tip of my pinky.
It bled like a head wound. And it’s on the tip of my pinky, so a Band-Aid has no hope of staying on. The thing is, when you massage for a living, people don’t want you to touch them with your scabby hands (for some reason). My Dad suggested using New Skin. It’s from the makers of Band Aid, and it’s basically a liquid Band-Aid. It’s also antiseptic, and stings like a mother when you apply it to a fresh wound. But it did it’s job; the wound is closed and I was able to work today without having to massage with my pinky stuck up in the air, like we were having high tea or something.
I can also type without having an annoying lump on the end of my pinky and hitting all the wrong keys. Which makes writing this post so much easier, let me tell you.
In the progress front, I am doing very well. I seem to be building steam with my WIP, but I am neither frazzled with working on it, nor am I going so slow it threatens to become boring. This time around I am really paying attention to the pre-planning aspect of writing.
I am trying to find that elusive happy middle ground, between knowing nothing about the book, so when I get 30K into the book I run out of steam, but I don’t over plan the novel so much I don’t actually want to write it. Both of those scenarios have happened to me, several times.
The balancing act makes me a little nervous, but you don’t know until you try. I am trying to figure out critical information to make the plot run, and then I plan to drive right into writing.
The critical information, as I have deemed, is:
Main characters: The two protagonists, the antagonist, and two supporting characters.
Their compelling needs, what they would sacrifice anything for and what they wouldn’t sacrifice, names, and some basic description personality traits. Just enough to get a feel for the character, and be able to write a scene about them, but not so detailed that I can still get to know them through the story.
Setting: Since I am writing straight fantasy here, I have to do more worldbuilding on this project.
The city the novel will be set in, it’s basic cultural outlook, an extremely rough map, the overall climate and means of income for the population. I am avoiding, even though I am sorely tempted, of spending a month working on the planet, the city, the history, the flora, the fauna, and so on. I do have a basic idea of where the other cities are, but only because that’s relevant plot information.
History: Since the recent wars on the planet play a key part in the current events of the novel, I am also going to develop a rough sketch of key events in the past hundred years or so.
What war started when, and why. What affects this had on the population and the neighboring countries. When peace was declared and what fallout affects the war had on the subsequent generations.
Main plot: Summed up in one sentence including the protagonist, antagonist, conflict, setting, and one interesting detail that makes me excited about the plot. I learned how to do this sentence in the novel writing class I am taking at the moment, called How to Think Sideways, and it’s really helped bring my novel into focus without over planning.
I am also going to work out the key scenes that make the main plot run, the ending. For example, a murder mystery plot would have a few key scenes, the protagonist being assigned to the murder, two or three scenes of the protagonist trying to solve the crime, but being mislead/hindered, and when the protagonist captures the antagonist in the end.
Races: I have a slew of non-human races in this fantasy novel. But since only two races are featured prominently, I am just going to jot down some basics on the biology and culture of these races.
All of these categories are just broad strokes. The key is to figure out what you have to know to make the novel work. If you’re writing a haunted house mystery novel, you have to know how the haunting works. Is it sentient? Does the ghost of a child who died of Scarlet fever have to be put to rest? You don’t have to know the exact political hierarchy of the School Board for this particular novel (unless of course, the protagonist had something to do with it).
My goal is to have enough information to give me the barest of bones of a novel, while still allowing plenty of room for change and discovery. Then, after the novel is written, I plan to go back and flesh out what feels sparse.
It’s a little scary, honestly. I like to over plan, it makes me feel safe. There’s a stupid part of my brain that insists if I know the exact shade of blue the Crimiran Army wore three hundred years ago, my novel won’t suck. Pages and pages of character sketches, worldbuilding, plotting, outlining, maps, and drawings are my life raft while adrift on the ocean of writing.
But sometimes this planning turns out to be less of a life raft, and more a cement block.
We’ll see how it turns out. In the meantime, I am enjoying myself.
What about you guys? Have you tinkered with how much planning you do ahead of a novel? How did that turn out?
Thursday, August 19, 2010
Blogging About Blogging
Good afternoon/evening/morning everyone!
Sorry I haven’t been blogging regularly as of late. I really try to blog on a regular basis, and every day that passes without a post I always give myself a horrible guilt trip for. It sort of spirals out of control until I am left staring at the computer screen with a voice in my head screaming, “You must write SOMETHING!”
But then I freeze up and I don’t know what to write, and I hope something will come to me, but nothing does, and it gets late, so I think I will write something tomorrow.
Lather rinse repeat until the guilt builds and I think I will just post: gkhdfgkjhsgkjrshgtkjgnfkjbghoitydklh,senke just to say I posted something.
But my friend Lena and I have brainstormed some topics for blogging, so never fear, I am now armed with blogging topics galore.
I think my main problem with blogging is I always want to write these long, informative posts. Which can be problematic, because most people don’t want to read long posts, and I don’t always have the time/energy to write long posts. So I think I should write something shorter, but in case you’re new to me, I am very long winded. I rarely say something in ten words that I can say in ten words, plus an interesting aside.
My other problem is I think what I have to say should be brand new and interesting. Even if I do have insights in characters and plot, I think to myself that it’s not exactly new information, so why bore my blog readers (whom I love very much and would never want to bore)?
It was pointed out to me that even if the subject itself has been done to death, it still doesn’t mean that I don’t have a different way of explaining it that could help someone else. Personally, I still read blog posts on character development and plotting, and all the staples of a writer, not because I don’t know, but because I am curious about that person’s process and take. If for no other reason, sometimes it doesn’t hurt to be reminded of the basics.
So armed with ideas and knowledge, I now feel more confident about being able to blog on a regular basis. I think I will shoot for three times a week, Monday, Wednesday, and Friday, but I might be able to do more. We’ll see.
In the meantime, I wondered how in the world you guys come up with stuff to blog about. How? Do you just sit down and write? Do you always have a subject in mind? Secret blogging genie? If so, where can I get one?
Sorry I haven’t been blogging regularly as of late. I really try to blog on a regular basis, and every day that passes without a post I always give myself a horrible guilt trip for. It sort of spirals out of control until I am left staring at the computer screen with a voice in my head screaming, “You must write SOMETHING!”
But then I freeze up and I don’t know what to write, and I hope something will come to me, but nothing does, and it gets late, so I think I will write something tomorrow.
Lather rinse repeat until the guilt builds and I think I will just post: gkhdfgkjhsgkjrshgtkjgnfkjbghoitydklh,senke just to say I posted something.
But my friend Lena and I have brainstormed some topics for blogging, so never fear, I am now armed with blogging topics galore.
I think my main problem with blogging is I always want to write these long, informative posts. Which can be problematic, because most people don’t want to read long posts, and I don’t always have the time/energy to write long posts. So I think I should write something shorter, but in case you’re new to me, I am very long winded. I rarely say something in ten words that I can say in ten words, plus an interesting aside.
My other problem is I think what I have to say should be brand new and interesting. Even if I do have insights in characters and plot, I think to myself that it’s not exactly new information, so why bore my blog readers (whom I love very much and would never want to bore)?
It was pointed out to me that even if the subject itself has been done to death, it still doesn’t mean that I don’t have a different way of explaining it that could help someone else. Personally, I still read blog posts on character development and plotting, and all the staples of a writer, not because I don’t know, but because I am curious about that person’s process and take. If for no other reason, sometimes it doesn’t hurt to be reminded of the basics.
So armed with ideas and knowledge, I now feel more confident about being able to blog on a regular basis. I think I will shoot for three times a week, Monday, Wednesday, and Friday, but I might be able to do more. We’ll see.
In the meantime, I wondered how in the world you guys come up with stuff to blog about. How? Do you just sit down and write? Do you always have a subject in mind? Secret blogging genie? If so, where can I get one?
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