Hey everyone, just thought I'd let you know that we have a new feature on the Sisters' blog - the Sassy Correspondent. Jo Dixon is our correspondent and every Friday at the end of the month she will be doing a guest post. Today is her first post so do pop over and say hi. She is awesome and finalled with me in the RWAus High Five contest. She also has excellent taste in men. :-)
Oh and for those of you looking to achieve mastery in your writing, here is exactly how to do it (link courtesy of the most excellent Trish Wylie. Follow her on Twitter!).
The 30 Steps to Mastery.
For the record, I am at step 18.
Friday, February 25, 2011
Tuesday, February 22, 2011
Jackie's Character Defining Epiphany
Never let it be said that I am one to dwell (actually I do dwell but I am trying not to do so today). The R has happened, I am now officially over it. Moving right along.
And I am moving right along to a little epiphany I had while having coffee with an awesome writing friend last week. There I was, moaning about my R and generally having a good vent, and the conversation moved on - as it does with writers - to our latest WIPs. Well, I don't know about you but I could bore for New Zealand on the subject of my WIP. My poor friend probably couldn't get a word in edgeways about hers, I was too busy hogging the conversation with mine. Anyway, I digress...
This is my chess player WIP I'm talking about and it's a holiday fling/unexpected baby story. Now, the problem with these is that in order for the baby to happen you have to get the h&h together early (duh). And I could not get my h&h together. Lots of sexual tension but they just weren't feeling it - she wasn't feeling it actually. So my friend asked me a very sensible question. "Why would she sleep with him?" Simple huh? And you know what? All I could think of was 'because he's hot'. Can anyone see the dreaded 'sex without emotion' trap opening up to swallow me??
So, what I had to do was to think of a reason she would sleep with him. Why him, out of all the other hot guys in the world? Why is he the one who really floats her boat? What is it about him? And in thinking about this guy, I suddenly realised a problem that I have got into in the past year or so. I couldn't think of why the heroine would sleep with this guy because I hadn't defined him enough. He was hot, he was cerebral, he liked playing chess but that was about it. And that wasn't enough to make him special to the heroine.
And this is my problem. I've learned a lot of craft in the past year and to be honest, sometimes it paralyzes me. I've got my conflict simmering away in the back of my mind because I'm now deciding this before I write, and when I'm writing that vital first chapter I'm thinking 'now, here's this character's conflict, how does that make him the person he is today? How does he act? What does he think?'. So off I go, writing away, and then I write something down like 'He always hated people who were late'. Nice and definitive and - more importantly - character defining. But then, Jackie thinks 'hmmm, would his conflict make him hate people who are late? Or wouldn't he mind? I don't know'. And so I delete it so I can keep my options open, just in case it turns out that in fact, he doesn't mind people who are late. Can you see my problem here? Every one of these little sentences that define character and I am deleting them because I don't know whether that's how they would act or not. Which is why, when I'm halfway through, I run into the heinous problem of not knowing how my characters would act in a certain situation because I haven't defined them enough! Nightmare.
I like to keep my options open, that's why I've been doing it. What if I need the character to not mind someone being late? If I don't define it, then I can adjust it later. But you know what I'm doing? Dr Jax pointed it out to me - I am tweaking the character to suit the conflict. Making them be who I want them to be and not who they are. And in what are supposed to be character driven stories this is not a particularly good thing to do.
Another part of my worry is that perhaps the reader/editor won't accept a character's beliefs given their particular conflict. Thing is, at this point, I know everything about the character but the reader doesn't. All they know is what you choose to tell them. Hey, if your hero hates people being late then as far as they're concerned he does. They're not thinking 'hmmmm, not sure about that given his conflict.' As long as you give him a good enough reason for hating people who are late, then that's all good as far as the reader goes.
Which brings me to the part that I am hoping will go much better for me. If I define who my characters are - or at least signpost - in that first chapter, authoritatively and with confidence (not 'sometimes he didn't like people being late' or 'he kind of got annoyed with people being late'. Try 'he hated it when people were late') then I will know how they act in certain situations later on. I don't need to go 'wow, what would he do here?' and get stressed about the hundred different ways he could act because I left my options open. There is only one way he would act. The heroine is late and so the hero, because I told people in that first chapter that he hates people who are late, is annoyed with her. I don't need to think 'now, will he be annoyed? Or wouldn't he mind?'. Nope, he's annoyed.
Now, I do think about the mss that did well a lot. What did I do right that time and not in all the others? For the Hammer Pants that won that contest, I'm pretty sure part of it was because I defined the hero and heroine very strongly in those first five pages. Now I wrote that not caring about conflict, not worrying about keeping my options open. And clearly that worked. Of course, I ran into huge problems in chapter two because I hadn't got the conflict right but hey, I had two great characters in those first five pages!
So, what I need to do is find the happy medium. Have an idea of the conflict, but start with the characters. And when conflict and character meet up, tweak the conflict not fiddle with the character!
Dr Jax gave me this little thing piece of advice that probably many of you know already from school/university etc but I think it's great for writing. It serves as a good reminder to me that my job is to tell the reader about my characters right from the get go, so they will then want to read on, and do it in as clear and obvious a way as possible:
Tell them what you're going to tell them. Tell them. Then tell them what you've told them. :-)
And I am moving right along to a little epiphany I had while having coffee with an awesome writing friend last week. There I was, moaning about my R and generally having a good vent, and the conversation moved on - as it does with writers - to our latest WIPs. Well, I don't know about you but I could bore for New Zealand on the subject of my WIP. My poor friend probably couldn't get a word in edgeways about hers, I was too busy hogging the conversation with mine. Anyway, I digress...
This is my chess player WIP I'm talking about and it's a holiday fling/unexpected baby story. Now, the problem with these is that in order for the baby to happen you have to get the h&h together early (duh). And I could not get my h&h together. Lots of sexual tension but they just weren't feeling it - she wasn't feeling it actually. So my friend asked me a very sensible question. "Why would she sleep with him?" Simple huh? And you know what? All I could think of was 'because he's hot'. Can anyone see the dreaded 'sex without emotion' trap opening up to swallow me??
So, what I had to do was to think of a reason she would sleep with him. Why him, out of all the other hot guys in the world? Why is he the one who really floats her boat? What is it about him? And in thinking about this guy, I suddenly realised a problem that I have got into in the past year or so. I couldn't think of why the heroine would sleep with this guy because I hadn't defined him enough. He was hot, he was cerebral, he liked playing chess but that was about it. And that wasn't enough to make him special to the heroine.
And this is my problem. I've learned a lot of craft in the past year and to be honest, sometimes it paralyzes me. I've got my conflict simmering away in the back of my mind because I'm now deciding this before I write, and when I'm writing that vital first chapter I'm thinking 'now, here's this character's conflict, how does that make him the person he is today? How does he act? What does he think?'. So off I go, writing away, and then I write something down like 'He always hated people who were late'. Nice and definitive and - more importantly - character defining. But then, Jackie thinks 'hmmm, would his conflict make him hate people who are late? Or wouldn't he mind? I don't know'. And so I delete it so I can keep my options open, just in case it turns out that in fact, he doesn't mind people who are late. Can you see my problem here? Every one of these little sentences that define character and I am deleting them because I don't know whether that's how they would act or not. Which is why, when I'm halfway through, I run into the heinous problem of not knowing how my characters would act in a certain situation because I haven't defined them enough! Nightmare.
I like to keep my options open, that's why I've been doing it. What if I need the character to not mind someone being late? If I don't define it, then I can adjust it later. But you know what I'm doing? Dr Jax pointed it out to me - I am tweaking the character to suit the conflict. Making them be who I want them to be and not who they are. And in what are supposed to be character driven stories this is not a particularly good thing to do.
Another part of my worry is that perhaps the reader/editor won't accept a character's beliefs given their particular conflict. Thing is, at this point, I know everything about the character but the reader doesn't. All they know is what you choose to tell them. Hey, if your hero hates people being late then as far as they're concerned he does. They're not thinking 'hmmmm, not sure about that given his conflict.' As long as you give him a good enough reason for hating people who are late, then that's all good as far as the reader goes.
Which brings me to the part that I am hoping will go much better for me. If I define who my characters are - or at least signpost - in that first chapter, authoritatively and with confidence (not 'sometimes he didn't like people being late' or 'he kind of got annoyed with people being late'. Try 'he hated it when people were late') then I will know how they act in certain situations later on. I don't need to go 'wow, what would he do here?' and get stressed about the hundred different ways he could act because I left my options open. There is only one way he would act. The heroine is late and so the hero, because I told people in that first chapter that he hates people who are late, is annoyed with her. I don't need to think 'now, will he be annoyed? Or wouldn't he mind?'. Nope, he's annoyed.
Now, I do think about the mss that did well a lot. What did I do right that time and not in all the others? For the Hammer Pants that won that contest, I'm pretty sure part of it was because I defined the hero and heroine very strongly in those first five pages. Now I wrote that not caring about conflict, not worrying about keeping my options open. And clearly that worked. Of course, I ran into huge problems in chapter two because I hadn't got the conflict right but hey, I had two great characters in those first five pages!
So, what I need to do is find the happy medium. Have an idea of the conflict, but start with the characters. And when conflict and character meet up, tweak the conflict not fiddle with the character!
Dr Jax gave me this little thing piece of advice that probably many of you know already from school/university etc but I think it's great for writing. It serves as a good reminder to me that my job is to tell the reader about my characters right from the get go, so they will then want to read on, and do it in as clear and obvious a way as possible:
Tell them what you're going to tell them. Tell them. Then tell them what you've told them. :-)
Saturday, February 19, 2011
SYTYCW - The Aftermath
Things to do with your form R:
1. Print it out then burn it.
2. Print it out, pull it to pieces very, very slowly. Then burn it piece by piece.
3. Print it out, frame it, stick it on your wall and stare at it every day, brooding on your revenge.
4. Print it out, put it on the ground and stamp all over it in sharp stilettos.
5. Print it out, wave your recent contest win certificate in its face screaming 'in your face, form rejection!'
6. Hit the delete key and send it to your Recycle bin, then take out the trash, baby.
7. Do nothing with it. Leave it in your inbox and never think of it again.
Okay, we can safely say that I did not do number 7.
First up, big heaping thanks, gratitude and endless supplies of your favourite tipple to all you lovely people for the hugs and suppportive comments. You guys are - honest to god - the reason I am still here, still writing, still waiting in Unpublished Author Waiting Limbo (UAWL). Without you and the CPs I would have given up and gone home.
Still, I won't lie. Getting a form R for SYTYCW has made me a stupid, blubbery, hopeless mess. It's made me feel like I haven't learned a thing. that I'm going backwards. Now, I know this isn't true. I know there are a hundred and one different reasons for forms, that they can have nothing to do with your writing or your story. That you can't let them get you down, that you need to get over it. I do know all those things. But those are all intellectual responses. It's the feelings that are the tough part to deal with because I am an emotional drama-queen kind of person.
With Rs, I know I have to get to the bottom before I can climb back up the other side. I have to wallow in the sense of failure, the doubt, and, yeah, the jealousy that others are doing better than I am. If I'm lucky my CPs will bear with me while I vent a little bit - because I have to do this as well otherwise it'll eat me up inside. But it's only once I've done all this that I can let it go and start feeling better about it. No, it's not an easy process but it's the way I am and I just have to go with it. Most of the time I come out the other side feeling positive and ready to tackle things again but sometimes the process goes on for longer than a couple of days and it takes me a while to let go of it.
Anyway, it's taken a while for me to let go of this. And I probably still haven't quite yet. It's thrown me into a huge spiral of doubt about my other submissions too. Because how can it not? If you don't get a reason for why something was rejected, then how do you know you haven't repeated it in your other submissions? But that aside, I've had lots of great advice from very wise people about what I should do with this particular sub. I'm still not quite sure where I'm going to take it just yet. I've heard that it's wise to change it if you're going to resub but as I don't know what's wrong with it in the first place, I'm not sure what to change. The writing I'm assuming is not the issue since (yes, I shall blow my own trumpet) the writing has netted several contest placings and a revisions on a full. So I can only assume it was the conflict/characters. Which means changing everything. And I don't know that I want to do that.
I guess I shouldn't pout too much about it though. The sub was me trying a new line, always a bit of a gamble. And it probably didn't help that I was trying to do things a bit differently. It's something I always try and think of when I'm writing a new story - how can I make my story different? The problem with doing different is that sometimes it works and sometimes it doesn't. Most of the time it hasn't but I guess the fact that I've still got an ed willing to work with me means that somewhere along the track, doing things differently has been a good thing.
In the meantime I have finished the rough draft of another partial, my chess player. Yes, that's something a bit different again, which will either work or it won't. But I guess that's my way of challenging myself. Anyway, that brings the grand total of rough partials to five. How's that for not giving up?
As for that form R, which of those options do you think I did? ;-)
1. Print it out then burn it.
2. Print it out, pull it to pieces very, very slowly. Then burn it piece by piece.
3. Print it out, frame it, stick it on your wall and stare at it every day, brooding on your revenge.
4. Print it out, put it on the ground and stamp all over it in sharp stilettos.
5. Print it out, wave your recent contest win certificate in its face screaming 'in your face, form rejection!'
6. Hit the delete key and send it to your Recycle bin, then take out the trash, baby.
7. Do nothing with it. Leave it in your inbox and never think of it again.
Okay, we can safely say that I did not do number 7.
First up, big heaping thanks, gratitude and endless supplies of your favourite tipple to all you lovely people for the hugs and suppportive comments. You guys are - honest to god - the reason I am still here, still writing, still waiting in Unpublished Author Waiting Limbo (UAWL). Without you and the CPs I would have given up and gone home.
Still, I won't lie. Getting a form R for SYTYCW has made me a stupid, blubbery, hopeless mess. It's made me feel like I haven't learned a thing. that I'm going backwards. Now, I know this isn't true. I know there are a hundred and one different reasons for forms, that they can have nothing to do with your writing or your story. That you can't let them get you down, that you need to get over it. I do know all those things. But those are all intellectual responses. It's the feelings that are the tough part to deal with because I am an emotional drama-queen kind of person.
With Rs, I know I have to get to the bottom before I can climb back up the other side. I have to wallow in the sense of failure, the doubt, and, yeah, the jealousy that others are doing better than I am. If I'm lucky my CPs will bear with me while I vent a little bit - because I have to do this as well otherwise it'll eat me up inside. But it's only once I've done all this that I can let it go and start feeling better about it. No, it's not an easy process but it's the way I am and I just have to go with it. Most of the time I come out the other side feeling positive and ready to tackle things again but sometimes the process goes on for longer than a couple of days and it takes me a while to let go of it.
Anyway, it's taken a while for me to let go of this. And I probably still haven't quite yet. It's thrown me into a huge spiral of doubt about my other submissions too. Because how can it not? If you don't get a reason for why something was rejected, then how do you know you haven't repeated it in your other submissions? But that aside, I've had lots of great advice from very wise people about what I should do with this particular sub. I'm still not quite sure where I'm going to take it just yet. I've heard that it's wise to change it if you're going to resub but as I don't know what's wrong with it in the first place, I'm not sure what to change. The writing I'm assuming is not the issue since (yes, I shall blow my own trumpet) the writing has netted several contest placings and a revisions on a full. So I can only assume it was the conflict/characters. Which means changing everything. And I don't know that I want to do that.
I guess I shouldn't pout too much about it though. The sub was me trying a new line, always a bit of a gamble. And it probably didn't help that I was trying to do things a bit differently. It's something I always try and think of when I'm writing a new story - how can I make my story different? The problem with doing different is that sometimes it works and sometimes it doesn't. Most of the time it hasn't but I guess the fact that I've still got an ed willing to work with me means that somewhere along the track, doing things differently has been a good thing.
In the meantime I have finished the rough draft of another partial, my chess player. Yes, that's something a bit different again, which will either work or it won't. But I guess that's my way of challenging myself. Anyway, that brings the grand total of rough partials to five. How's that for not giving up?
As for that form R, which of those options do you think I did? ;-)
Tuesday, February 15, 2011
SYTYCW? No, Apparently I Can't
Which means I got an R and a bog standard R at that. Thanks but no thanks, your story was 'not strong enough'. Now, of course, Rs are not new to me. But this has the dubious honour of being the first form R I've ever had. No, I've never had one. Welcome to the jungle, I hear you say. And fair enough, it's probably about time the negative karma comes round to me and balances things out. I have to be honest with you though, I like my own jungle where all my Rs have feedback!
Anyway, there are various negative ways of looking at this:
1. I have learned nothing in the three years I have been honing my craft.
2. My synopsis was NOT the best one I'd ever done, even though I thought it was pretty good (see number 1).
3. I got the line completely wrong.
4. I got the voice completely wrong.
5. The chapter sucked. The synopsis sucked. My writing sucks. I suck.
Or there are the positive ways:
1. They had so many entries and since mine was one of the last, they wanted to get rid of it as quickly as possible so a form was quickest.
2. The wrong editor read it and perhaps someone from the UK office would have been more favourable to it.
3. It was a gamble and it didn't work. Still have two other subs in...
Notice how the negatives outweigh the positives? Still trying to come up with some more positives!
What didn't help is that the ed I have been working with for my Riva subs let me know that she won't be able to get back to me till mid-March. It's not her fault and I'm really happy that she let me know but....man, I'm getting really sick of being in Unpublished Author Waiting Limbo!
Okay, so sucky day for me today. I'm still at the bottom of the well and currently have no idea how to climb out. Hugs appreciated though.
Anyway, there are various negative ways of looking at this:
1. I have learned nothing in the three years I have been honing my craft.
2. My synopsis was NOT the best one I'd ever done, even though I thought it was pretty good (see number 1).
3. I got the line completely wrong.
4. I got the voice completely wrong.
5. The chapter sucked. The synopsis sucked. My writing sucks. I suck.
Or there are the positive ways:
1. They had so many entries and since mine was one of the last, they wanted to get rid of it as quickly as possible so a form was quickest.
2. The wrong editor read it and perhaps someone from the UK office would have been more favourable to it.
3. It was a gamble and it didn't work. Still have two other subs in...
Notice how the negatives outweigh the positives? Still trying to come up with some more positives!
What didn't help is that the ed I have been working with for my Riva subs let me know that she won't be able to get back to me till mid-March. It's not her fault and I'm really happy that she let me know but....man, I'm getting really sick of being in Unpublished Author Waiting Limbo!
Okay, so sucky day for me today. I'm still at the bottom of the well and currently have no idea how to climb out. Hugs appreciated though.
Monday, February 14, 2011
Valentine's Day in Limbo
Okay, so, since Elissa nailed shut the escape door in Unpublished Author Waiting Limbo, I am now trapped here. Which means you will all have to put up with me moaning about it until I manage to swim the lakes of fire, slay the two-headed dogs, manage to scale the nine hundred million mile high barbed-wire fence, and somehow unlock the fabulous double doors that lead to Published Author Waiting Limbo. So if you all get sick of me, blame her. ;-)
In the meantime, since it's Valentine's Day I am going to give all you wonderful blog friends a little gift for making Unpublished Author Waiting Limbo just a little more bearable (not to mention blocking all my cunning escape routes you evil wenches, hehe).
Now, I'm not feeling very Valentiney since all I got this morning was a cup of coffee and a stale croissant. However, the day is still young(ish) and Dr Jax may yet redeem himself. So, to that end, please enjoy this small inspiration on me. Hoo is making cocktails (Sex on the Beach if you must know) so feel free to settle in. For those of you who have already seen it (and I'm sure most of you have, do indulge again. Personally I think you can never have too much of a good thing. Especially if that good thing is David Gandy wearing next to nothing.
And I think it decides the argument about white speedos quite conclusively. Yes, they are sexy.
Happy Freaking Valentine's everyone. :-)
In the meantime, since it's Valentine's Day I am going to give all you wonderful blog friends a little gift for making Unpublished Author Waiting Limbo just a little more bearable (not to mention blocking all my cunning escape routes you evil wenches, hehe).
Now, I'm not feeling very Valentiney since all I got this morning was a cup of coffee and a stale croissant. However, the day is still young(ish) and Dr Jax may yet redeem himself. So, to that end, please enjoy this small inspiration on me. Hoo is making cocktails (Sex on the Beach if you must know) so feel free to settle in. For those of you who have already seen it (and I'm sure most of you have, do indulge again. Personally I think you can never have too much of a good thing. Especially if that good thing is David Gandy wearing next to nothing.
And I think it decides the argument about white speedos quite conclusively. Yes, they are sexy.
Happy Freaking Valentine's everyone. :-)
Saturday, February 12, 2011
The View from the Bar in Unpublished Author Waiting Limbo
There is a special place that all unpublished authors wanting to submit to a publisher evenutally congregate in. It's called Unpublished Author Waiting Limbo. It's really not either heaven or hell but I'm going to designate it hell and give it it's very own special circle because Unpubbed Author Waiting Limbo can be torture. And it's not because Unpubbed Author Waiting Limbo is full of devils with pitchforks and crows pecking your eyes out. It's actually quite a nice place. There are comfy couches and seats. Magazines to read. A little library of books. There's a bar and music. A nice fire going. It seems comfortable. But that's just on the outside. Inside, every single author is torturing themselves with "what's happening to my submission?" Because that's the problem with Unpubbed Author Waiting Limbo. You don't know. And when we don't know, our brain makes up all kinds of stories about what is happening with your sub. Maybe it's taking so long because the ed loves it and is getting a second opinion? Maybe it's taking so long because the ms has gone missing? Maybe it's taking so long because the ed hasn't got to it yet? Maybe she hates it and it's gone in the bin and I didn't get the rejection email?
There are thousands of stories in Upubbed Author Waiting Limbo, all happening inside the authors heads. The human brain abhors not knowing and so when we don't know what's happening, it just goes ahead and makes stuff up for us.
Yay for brains.
Anyway, my brain is a master of making stuff up for me in the absence of not knowing. Currently, I have three subs out. Sub number one has been gone four and a half months now and since I have been passed to a new editor, I fear my Unpubbed Author Waiting Limbo clock has been reset back to sub number two, which has been gone six weeks. Sub number 3 is SYTYCW and two weeks after everyone else has had responses, I am still waiting for mine. I do not know why I haven't heard but currently my brain is telling me they either never got my entry or they've lost it. This is making Unpubbed Author Waiting Limbo a very unpleasant place to be right now and I wish I wasn't here.
I've got quite familiar with Unpubbed Author Waiting Limbo. It's actually become like home. I'm starting to put up pictures and photos, put a nice rug down, got my special pillow. But you know, it's not really home. I see people who have been here less time than me get that magical response which fires them up to heaven or down to hell, and I am jealous. I don't want to be here anymore. I want to move on to Published Author Waiting Limbo which is just through the fabulous double doors down the end of the hallway. The doors that are guarded by two-headed dogs, a lake of fire, and a 900 million foot high barbed wire fence.
Some days I am okay with being in UnPubbed Author Waiting Limbo. I've got friends here and the vodka is cheap and plentiful. But today is not one of those days. There is a way out though. There's a small doorway behind the bar that will let you crawl to freedom and I'm sitting at the bar contemplating that doorway right now. It's in the opposite direction to Published Author Waiting Limbo of course but there aren't any two-headed dogs or lakes of fire or fences. Just five minutes walk and I can open it and be free of Unpubbed Author Waiting Limbo forever. And it's starting look very, very attractive.
Yes, I know the best way to handle it is to write, and yes, some days that's what I do. But Unpubbed Author Waiting Limbo wears you down. It can sap your creativity. And no matter how hard you try, you just can't get your brain to stop thinking about why you haven't heard yet and devising various hideous scenarios about how lame your sub is and how your email filter is somehow deleting every email that could possibly be from an editor.
Today, as I am waiting for some sort of SYTYCW news and failing to get any, is a day of no creativity or inspiration. It's a day of frustration. It's a day where I think I will NEVER escape this place. I will be here for ever and ever and ever. It's a day of thinking that it isn't worth it and that it would be so easy to end the torture and just walk out the doorway at the back of the bar.
And right at this moment I want to.
There are thousands of stories in Upubbed Author Waiting Limbo, all happening inside the authors heads. The human brain abhors not knowing and so when we don't know what's happening, it just goes ahead and makes stuff up for us.
Yay for brains.
Anyway, my brain is a master of making stuff up for me in the absence of not knowing. Currently, I have three subs out. Sub number one has been gone four and a half months now and since I have been passed to a new editor, I fear my Unpubbed Author Waiting Limbo clock has been reset back to sub number two, which has been gone six weeks. Sub number 3 is SYTYCW and two weeks after everyone else has had responses, I am still waiting for mine. I do not know why I haven't heard but currently my brain is telling me they either never got my entry or they've lost it. This is making Unpubbed Author Waiting Limbo a very unpleasant place to be right now and I wish I wasn't here.
I've got quite familiar with Unpubbed Author Waiting Limbo. It's actually become like home. I'm starting to put up pictures and photos, put a nice rug down, got my special pillow. But you know, it's not really home. I see people who have been here less time than me get that magical response which fires them up to heaven or down to hell, and I am jealous. I don't want to be here anymore. I want to move on to Published Author Waiting Limbo which is just through the fabulous double doors down the end of the hallway. The doors that are guarded by two-headed dogs, a lake of fire, and a 900 million foot high barbed wire fence.
Some days I am okay with being in UnPubbed Author Waiting Limbo. I've got friends here and the vodka is cheap and plentiful. But today is not one of those days. There is a way out though. There's a small doorway behind the bar that will let you crawl to freedom and I'm sitting at the bar contemplating that doorway right now. It's in the opposite direction to Published Author Waiting Limbo of course but there aren't any two-headed dogs or lakes of fire or fences. Just five minutes walk and I can open it and be free of Unpubbed Author Waiting Limbo forever. And it's starting look very, very attractive.
Yes, I know the best way to handle it is to write, and yes, some days that's what I do. But Unpubbed Author Waiting Limbo wears you down. It can sap your creativity. And no matter how hard you try, you just can't get your brain to stop thinking about why you haven't heard yet and devising various hideous scenarios about how lame your sub is and how your email filter is somehow deleting every email that could possibly be from an editor.
Today, as I am waiting for some sort of SYTYCW news and failing to get any, is a day of no creativity or inspiration. It's a day of frustration. It's a day where I think I will NEVER escape this place. I will be here for ever and ever and ever. It's a day of thinking that it isn't worth it and that it would be so easy to end the torture and just walk out the doorway at the back of the bar.
And right at this moment I want to.
Wednesday, February 9, 2011
Ten Ways to Make Your Hero Suffer
Still nothing from SYTYCW but apparently the last responses are going to be sent out this week. I am feeling extremely nervous as some Rs without feedback have already gone out so - like everything in this business - there are no guarantees.
Anyway, as a kind of distraction, I thought I'd turn my thoughts to torture. As you do. Hero torture in particular. Now call me a sadist but torturing my characters is one of my all time favourite things to do, especially torturing my heroes because let's face it, who doesn't love a tortured hero? Yeah, there is such a thing as too much angst, I know, so it's a fine line. But still....tortured heroes....mmmm...*drools*...
Ahem.
So, how does one torture one's hero? Well here's my top ten list of ways to get the best out of your hero's emotional pain. :)
1. Give him a heroine who is the antithesis of everything he believes in but then give her a couple of qualities that the he can't help admiring. Watch his agonies as he tries to tell himself he doesn't like her. Or admire her. No freaking (or other suitable F word) way!
2. Have your heroine be utterly irresistable physically to him so that he can't helping wanting badly, no matter how much his brain tells him don't go there. Oh wants...but shouldn't...but I do...but I can't...etc...
3. Make the heroine totally indifferent/unaware/derisive of his usual slick moves so that he has to behave differently and thus be out of his comfort zone if he wants this fabulous, fascinating woman. Dammit!
4. Have him tell himself that he doesn't really want her, that it's just physical. And then put him in a situation where he realises that actually, it isn't. Oh noes!!
5. If he's being overly alpha, have the heroine tell him he's being a jerk and if he doesn't stop behaving like an ass, she's outta there. No one tells me what to do! Ever! But she's leaving and I'll never... Double dammit!
6. Get him in a situation where he has to talk about his feelings with the heroine. Hey, he's a guy. Worst. Thing. Ever.
7. Make sure he's totally comfortable with the relationship he has with the heroine. It's just about sex. It's just about being friends. It's just about being work colleagues. It's cool. It's fine. Everything's dandy. Then watch him squirm when you make him realise that he's falling in love.
8. Put him in a scene where he thinks he's doing something nice for the heroine and then have it backfire on him because a) he's misjudged the heroine or b) the heroine's conflict means it's actually the worst possible thing he could have done (see heroine torture) or c) he still hasn't learned that he has to do things differently from the way he's always done them if he wants this, particular woman. Lots of bleeding potential here. Can also lead into number 6 for added torture. Or number 10 for maximum angst.
9. This is a risky maneouvre but you can have him do something alpha that makes the heroine laugh at him. This can be good for uptight, buttoned up heroes. And in fact, can be a real growing moment if he figures out that actually, being laughed at won't kill him and that sometimes laughing at oneself can be a good thing. Who doesn't love a hero who knows when he's being a d*ckhead?
10. Have him realise he's in love with the heroine and know that there is no way that he will ever - EVER! - be with her. (Unless he does something totally and completely way out like risking his heart and telling her he loves her).
Naturally all of this depends on the hero, his conflict and his motivation. And some of these may not apply to some heroes. Hey, there are guys who actually quite like talking about their feelings! But usually I find that if I put my heroes in any one of these situations, they don't like it. Don't like it at all. Just being cruel to be kind though. Because the more you torture your characters, the more emotion you get from your story, the more your characters learn and the more wonderful your HEA. :-) In this case, the end justifies the means. Hehe.
Anyone else got any good torture suggestions? Bring 'em on!
Anyway, as a kind of distraction, I thought I'd turn my thoughts to torture. As you do. Hero torture in particular. Now call me a sadist but torturing my characters is one of my all time favourite things to do, especially torturing my heroes because let's face it, who doesn't love a tortured hero? Yeah, there is such a thing as too much angst, I know, so it's a fine line. But still....tortured heroes....mmmm...*drools*...
Ahem.
So, how does one torture one's hero? Well here's my top ten list of ways to get the best out of your hero's emotional pain. :)
1. Give him a heroine who is the antithesis of everything he believes in but then give her a couple of qualities that the he can't help admiring. Watch his agonies as he tries to tell himself he doesn't like her. Or admire her. No freaking (or other suitable F word) way!
2. Have your heroine be utterly irresistable physically to him so that he can't helping wanting badly, no matter how much his brain tells him don't go there. Oh wants...but shouldn't...but I do...but I can't...etc...
3. Make the heroine totally indifferent/unaware/derisive of his usual slick moves so that he has to behave differently and thus be out of his comfort zone if he wants this fabulous, fascinating woman. Dammit!
4. Have him tell himself that he doesn't really want her, that it's just physical. And then put him in a situation where he realises that actually, it isn't. Oh noes!!
5. If he's being overly alpha, have the heroine tell him he's being a jerk and if he doesn't stop behaving like an ass, she's outta there. No one tells me what to do! Ever! But she's leaving and I'll never... Double dammit!
6. Get him in a situation where he has to talk about his feelings with the heroine. Hey, he's a guy. Worst. Thing. Ever.
7. Make sure he's totally comfortable with the relationship he has with the heroine. It's just about sex. It's just about being friends. It's just about being work colleagues. It's cool. It's fine. Everything's dandy. Then watch him squirm when you make him realise that he's falling in love.
8. Put him in a scene where he thinks he's doing something nice for the heroine and then have it backfire on him because a) he's misjudged the heroine or b) the heroine's conflict means it's actually the worst possible thing he could have done (see heroine torture) or c) he still hasn't learned that he has to do things differently from the way he's always done them if he wants this, particular woman. Lots of bleeding potential here. Can also lead into number 6 for added torture. Or number 10 for maximum angst.
9. This is a risky maneouvre but you can have him do something alpha that makes the heroine laugh at him. This can be good for uptight, buttoned up heroes. And in fact, can be a real growing moment if he figures out that actually, being laughed at won't kill him and that sometimes laughing at oneself can be a good thing. Who doesn't love a hero who knows when he's being a d*ckhead?
10. Have him realise he's in love with the heroine and know that there is no way that he will ever - EVER! - be with her. (Unless he does something totally and completely way out like risking his heart and telling her he loves her).
Naturally all of this depends on the hero, his conflict and his motivation. And some of these may not apply to some heroes. Hey, there are guys who actually quite like talking about their feelings! But usually I find that if I put my heroes in any one of these situations, they don't like it. Don't like it at all. Just being cruel to be kind though. Because the more you torture your characters, the more emotion you get from your story, the more your characters learn and the more wonderful your HEA. :-) In this case, the end justifies the means. Hehe.
Anyone else got any good torture suggestions? Bring 'em on!
Saturday, February 5, 2011
So You Think You Can Wait Part 2
I'm still in waiting room hell. Have heard nothing re SYTYCW this week. I'm almost wishing I'd got one of the Rs they sent out last week because then at least I'd know. But the worst part is that after waiting another week after everyone else, I STILL could get an R. Groan. Poor eds, they had flu and then a snow day, and no doubt are up to their eyeballs in lots of other stuff, but the timing sure does suck. At least I'm not the only one though. There are a bunch of us who haven't heard so that's something. Means I won't be getting too paranoid about whether they even received my entry!
Anyway, now I have to wait until NZ Tuesday before I find out anything. I know, drama queen right? Well, I'm afraid that's me. Drama queen extraordinaire. And when you know you're going to hear about a sub 'any day' you just can't just forget about it. At least, I can't. It has made writing this week very difficult (waking up at 5am every day to check your email gets a little tiring - and no, I didn't purposefully wake up at that time!). I've got 'waiting paralysis' basically. Plenty of stuff I should be getting on with but I keep coming up against the 'will they even want the rest of this?' barrier. Same with all my new ideas, especially since - when you're targeting Riva - you have no idea whether what they're looking for...
Well, that's my vent of the month. Anyone got any tips as to good distraction techniques?
Anyway, now I have to wait until NZ Tuesday before I find out anything. I know, drama queen right? Well, I'm afraid that's me. Drama queen extraordinaire. And when you know you're going to hear about a sub 'any day' you just can't just forget about it. At least, I can't. It has made writing this week very difficult (waking up at 5am every day to check your email gets a little tiring - and no, I didn't purposefully wake up at that time!). I've got 'waiting paralysis' basically. Plenty of stuff I should be getting on with but I keep coming up against the 'will they even want the rest of this?' barrier. Same with all my new ideas, especially since - when you're targeting Riva - you have no idea whether what they're looking for...
Well, that's my vent of the month. Anyone got any tips as to good distraction techniques?
Tuesday, February 1, 2011
Portrait of the Artist as a Young(ish) Romance Writer (TM)
In the absence of SYTYCW news (yes, still waiting), here's a picture of me being stupid.
A day or two ago, Joanne Coles suggested on Twitter that Maisey Yates needed bons bons and champagne and then she'd be a real romance writer. Following a discussion about stereotypes, Maisey instantly came back with this gorgeous pic of her as 'The Romance Writer'.
And since imitation is the sincerest form of flattery, here is Jackie Ashenden lounging on her day bed while she drinks champagne and eats chocolate, her faithful lapdog by her side.
Note: She is not wearing a gauzy dress but a gauzy top is de rigeur. She also had gold shoes. Ignore the jeans, though they are more Riva aren't they? Purists also may note that her glass is empty. That's because she's waiting for her buff and oiled manservant to pour her another. :-)
So, tell me faithful blog readers, what do you wear while you're writing? A gauzy, flowy dress? Chick-lit strappy sandals? Do you drink pink champagne and pet your toy poodle while you dictate to a minion? Or do you - heaven forfend - slop around in your pyjamas while you tap away?
A day or two ago, Joanne Coles suggested on Twitter that Maisey Yates needed bons bons and champagne and then she'd be a real romance writer. Following a discussion about stereotypes, Maisey instantly came back with this gorgeous pic of her as 'The Romance Writer'.
And since imitation is the sincerest form of flattery, here is Jackie Ashenden lounging on her day bed while she drinks champagne and eats chocolate, her faithful lapdog by her side.
Note: She is not wearing a gauzy dress but a gauzy top is de rigeur. She also had gold shoes. Ignore the jeans, though they are more Riva aren't they? Purists also may note that her glass is empty. That's because she's waiting for her buff and oiled manservant to pour her another. :-)
So, tell me faithful blog readers, what do you wear while you're writing? A gauzy, flowy dress? Chick-lit strappy sandals? Do you drink pink champagne and pet your toy poodle while you dictate to a minion? Or do you - heaven forfend - slop around in your pyjamas while you tap away?
My Chapter 8 Horror
In the absence of news from SYTYCW (due to a badly timed bout of flu - poor eds!) and, indeed, any news from anywhere else, I thought I'd do a post on that tricky beast pace.
First, let me set the scene:
Due to difficulties with a scene, Jackie asks Dr Jax to read the Hammer Pants ms for his opinion.
Dr Jax reads the entire thing and comes back with: "Chapter 8 is flat."
Jackie (hears 'your ms sucks completely and all of it is crap): "But there's some really important stuff in that chapter!" querelously.
Dr Jax: "There's too much exterraneous detail."
Jackie (hears: 'your dialogue sucks and so does your conflict'): "But I have to get over the conflict, the romantic connection, the past in that chapter! And they talk about important things!" reflects on awesome, emotional dialogue now deemed exterraneous detail.
Dr Jax: "Yeah but you could do all of that in half a paragraph."
Jackie (hears: 'The whole ms is terrible, you're a terrible writer, you'll never get this crap published'): "But how can I do that? I don't know what to do!!" wails, soul destroyed.
Dr Jax: "I don't know, you're the writer." callously.
Jackie flounces off in a huff.
Dr Jax: "But what about that scene you wanted to discuss?"
End of conversation.
Oh yes, I had lots of fun this weekend. But you know the real kicker? He was right!!! Chapter 8 was as flat as a pancake. There was no pace.
So what's pace? It's actually a tricky thing to describe and better people than me can say it better than I can but for me it's the sense of movement you get when you read something, the sense that the characters are driving you on to find out what's going to happen to them. There you go, see, I suck at explaining but when there is no pace, the scene feels like watching a dull play. Lots of people standing around talking and not much of anything happening.
And my chapter 8 was pretty much like that. The h&h were standing around discussing things but nothing was happening. Oh, they were discovering things about each other but really, the conflict wasn't being furthered in any way, shape or form. It kind of sucked.
How to fix it? Well, I've been steadily taking on board craft stuff for the past year and a half but the one thing I couldn't seem to get a handle on was Goal, Motivation, Conflict. I mean, I got the conflict part, and then I could understand motivation, but goal? Nope, that part of the jigsaw wouldn't fit. Until about the end of last year and you know when you have a lightbulb moment? Yep, I had one of those.
Anyway, chapter 8? No goals. The characters had nothing to strive for, no expectations about each other. This is not the big goals I'm talking about here, just the little ones. What did my heroine expect when she flew off to meet the hero? What did my hero expect when he came to meet her? I have no idea because I didn't put it in! He met her at the airport and they went straight to his house and had a lovely time. Oh and talked. Lots. But nothing really happened. Bah.
So, after a lovely chat with the CPs (who ARE writers so boo to you, Dr Jax!) I finally got a plan. I needed to figure out what my hero/heroine wanted/expected at the beginning of the chapter and how a response from one or the other of them would confound and frustrate those expectations. Example, what if the hero didn't meet the heroine at the airport like he'd told her? How would she feel/respond? And what would he do in response to that? And how would this change the relationship by the end of the chapter? Already I can think of a number of ways this would change things and make the chapter a lot more dynamic.
You notice that I'm doing this in retrospect? A good plotter would probaby have worked all this stuff out beforehand but I am a pantser from way back and this is just the way it has to be. Interestingly, this is the chapter that has always felt a bit lacklustre to me and thanks to Dr Jax and his crit, I now know why and thanks to the CPs, how!
Poor old Hammer Pants. It may not even get past the partial stage but it's been great in terms of learning stuff and identifying problems, I'll give it that.
Anyone else have any difficulties with pace? Do you know what you're doing when you write it or are you like me and only see it after the stupid thing is finished?
BTW, Kate Walker has done a fabulous post on voice. Go check it out if you're still unsure about what constitutes an author's voice.
First, let me set the scene:
Due to difficulties with a scene, Jackie asks Dr Jax to read the Hammer Pants ms for his opinion.
Dr Jax reads the entire thing and comes back with: "Chapter 8 is flat."
Jackie (hears 'your ms sucks completely and all of it is crap): "But there's some really important stuff in that chapter!" querelously.
Dr Jax: "There's too much exterraneous detail."
Jackie (hears: 'your dialogue sucks and so does your conflict'): "But I have to get over the conflict, the romantic connection, the past in that chapter! And they talk about important things!" reflects on awesome, emotional dialogue now deemed exterraneous detail.
Dr Jax: "Yeah but you could do all of that in half a paragraph."
Jackie (hears: 'The whole ms is terrible, you're a terrible writer, you'll never get this crap published'): "But how can I do that? I don't know what to do!!" wails, soul destroyed.
Dr Jax: "I don't know, you're the writer." callously.
Jackie flounces off in a huff.
Dr Jax: "But what about that scene you wanted to discuss?"
End of conversation.
Oh yes, I had lots of fun this weekend. But you know the real kicker? He was right!!! Chapter 8 was as flat as a pancake. There was no pace.
So what's pace? It's actually a tricky thing to describe and better people than me can say it better than I can but for me it's the sense of movement you get when you read something, the sense that the characters are driving you on to find out what's going to happen to them. There you go, see, I suck at explaining but when there is no pace, the scene feels like watching a dull play. Lots of people standing around talking and not much of anything happening.
And my chapter 8 was pretty much like that. The h&h were standing around discussing things but nothing was happening. Oh, they were discovering things about each other but really, the conflict wasn't being furthered in any way, shape or form. It kind of sucked.
How to fix it? Well, I've been steadily taking on board craft stuff for the past year and a half but the one thing I couldn't seem to get a handle on was Goal, Motivation, Conflict. I mean, I got the conflict part, and then I could understand motivation, but goal? Nope, that part of the jigsaw wouldn't fit. Until about the end of last year and you know when you have a lightbulb moment? Yep, I had one of those.
Anyway, chapter 8? No goals. The characters had nothing to strive for, no expectations about each other. This is not the big goals I'm talking about here, just the little ones. What did my heroine expect when she flew off to meet the hero? What did my hero expect when he came to meet her? I have no idea because I didn't put it in! He met her at the airport and they went straight to his house and had a lovely time. Oh and talked. Lots. But nothing really happened. Bah.
So, after a lovely chat with the CPs (who ARE writers so boo to you, Dr Jax!) I finally got a plan. I needed to figure out what my hero/heroine wanted/expected at the beginning of the chapter and how a response from one or the other of them would confound and frustrate those expectations. Example, what if the hero didn't meet the heroine at the airport like he'd told her? How would she feel/respond? And what would he do in response to that? And how would this change the relationship by the end of the chapter? Already I can think of a number of ways this would change things and make the chapter a lot more dynamic.
You notice that I'm doing this in retrospect? A good plotter would probaby have worked all this stuff out beforehand but I am a pantser from way back and this is just the way it has to be. Interestingly, this is the chapter that has always felt a bit lacklustre to me and thanks to Dr Jax and his crit, I now know why and thanks to the CPs, how!
Poor old Hammer Pants. It may not even get past the partial stage but it's been great in terms of learning stuff and identifying problems, I'll give it that.
Anyone else have any difficulties with pace? Do you know what you're doing when you write it or are you like me and only see it after the stupid thing is finished?
BTW, Kate Walker has done a fabulous post on voice. Go check it out if you're still unsure about what constitutes an author's voice.
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