Developing novel

Making Characters interesting — Before they do anything.

image courtesy of Sias van Schalkwyk via stock.xchng

Lindorm, Part One, is essentially a Beauty-and-the-Beast story, where the beauty is teenage single mom, and the beast is a dragon.

Short story writer Kurt Vonnegut says that every character needs to want something, “Even if it is only a glass of water.”

In a novel, that wanting, the characters’ goals, usually corresponds to the plot of the book, and those goals are what make the action happen, but in this series of lectures (sorry, I don’t remember which one) the teacher urged pre-existing goals for your characters.

This concept brought a much-needed life into my main characters.

For one thing, pre-existing goals let them be proactive, interesting, believably awesome people before they get yanked into Story-Action. They act instead of (just) reacting.

If the original goals conflict with the (newer, more-compelling/unavoidable) Story-Goals, there’s bonus points in terms of conflict.

My main characters are Linnea (the beauty) and the Lindorm (the beast).

Image courtesy of Lotus Head via stock.xchng

I found this one step– giving them preexisting goals– was huge for giving them depth and dimension.

All of my novels (so far) have been seeded by folk tales, which means I’m starting from archetypes, stereotypes and puppets.  People do things because they DO things. It’s not like they have a motivation all the time.

Now, I am particularly gifted in mind-reading, and I’ve said more than once that my super-power is Instant Extrapolation.

So this starting place really works for me.

I’m not so great at the what-if game out of reality (what if you were investigating a crime and found evidence your daughter might be guilty?), or out of the news (one of James Scott Bell’s suggestions for story mining is taking a headline/newspaper article and milking it 10 different ways). My main problem with this is that they’re all too close to home.

I could really imagine this stuff happening, completely wig myself out, and be useless the next few days till I got over it.

I’m still very tender in the depression department.

I have to be nice to myself, and recognize when to stop pushing or just take another road.

This is where having the solidity of old stories really anchors me.

This is a pattern. This isn’t anything that I could’ve foreseen and prevented, or anything that I made happen with my freakish brain-power.

It’s got magic and crazies and just enough underhanded predictability (GA! I should have known!) that I can just play and enjoy some blatant non-reality.

Continue Reading →

Officially Sick of it {Just give me a day.}

But it’s a celebration, too:

 

Image courtesy of Wong Mei Teng via stock.xchng

The Lindorm Novel is once again making its rounds in the real world of real readers.

How did this finally happen? (You should ask.)

The last time I released LINDORM to betas was June 26, 2010.

(I know because I was so ecstatic about being done I had to try to dig up guilt at having no party ideas for my middle girl’s birthday.)

God provided so perfectly for that event that I felt its success as an extension of His pleasure in me, that I’d persisted in what he designed me to do.

That would be both momming AND writing.

Here was one glorious example of how I didn’t have to do everything, and God supplied for my deficiencies. *happy sigh*

She had a lovely, lovely 6th-birthday party with way more of what she wanted than if I’d put it together.

That was version 8.7.

Yesterday I released version 13.1, one paper copy and three kindle mailings. After Jay converts it to PDF, I have another four friends on the internets who will receive it for review. A couple more friends at church will get paper copies. This is the largest pool of beta readers I’ve yet had, so I’m excited, even though it is unknown how many will actually Finish & Respond.

Jay just started reading it this morning and came running out from wherever he was reading with a rushed, “You ready for feedback?”

And my skin crawled, but I said yes, and he said something really relevant and meaningful (translation: embarrassing to have someone else notice before me), and I reluctantly asked, “Should I correct that before you PDF and print it?”

He instantly went from intense to bland.

“It’s your book. Do whatever you want.”

GRRRR.

This is what I call emotional whiplash.

ETA: Jay clarified later– it wasn’t meant as emotional whiplash. There were more words than just that, and it was him challenging my response: Did I really want to change bits and pieces as feedback came in, or did I want to wait for the weight of everybody and make my decisions/revisions at that point.

It isn’t deadly, but sure as rain & taxes it’s disorienting.

This is what I experience when I get in (say) a stylistic or story-question debate with someone about a movie/book/television show, and it gets a little intense, diffuses, and then the person I was just as loggerheads with shrugs and says, It doesn’t matter.

It doesn’t matter?

What were we just arguing about then?!

And I’m reminded that some people really do argue recreationally

(Jay’s not one of them, thank God, but this exchange reminded me of similar, less peaceful interactions).

Now, I enjoy a good argument– if it’s clear, and I think I can win, and I think it’s worth the effort– but part of what makes it worth the effort is that I actually care about the thing we’re discussing.

Anyway.

Image courtesy of pixaio via stock.xchng

I proof-read the first 35 pages of LINDORM after I printed out the whole thing, and in the 2nd chapter I found a bunch of pronouns that needed correcting.

I tried to continue the read-through after Page 37, but didn’t get far. I was just tired.

Then I figured, you know, I’m not publishing-publishing now. I’m doubtless going to make corrections/revisions in response to my Betas’ responses. So enough with the line-editing. Put it away. Let the ashes fall where they will.

And that felt really good.

One of my efforts at present is to be content with less-than-perfect.

Not strictly to celebrate sloppy (I don’t see that as any sort of need), but to keep things moving by accepting limitations.

This novel is being released now because I let some stuff go.

The second part of the story, to be specific. The Huge Second Part that refused to be wrestled into submission or structure or anything like coherence within acceptable word-counts.

Version 13.1 is 74,000 words.

Compared to version 8.7, it stops at chapter 21 of 45. Version 8.7 was 88,000 words.

All along this journey I’ve had people tell me I needed to break up the story, that it was too big for one book.  And I agreed, but I couldn’t give you two *whole* books out of this story, either.

“Whole” being defined as at least 65,000 words–  and that seemed short anyway.  I knew my genre, or the closest thing to it, and few of those books are tiny. I imagined the challenge it would be to connect with that type of reader when my book looked different from what was familiar.

Image courtesy of Verzon via stock.xchng

Revision #13 was going really well, and at some point I realized I was well past the natural break between the “set up” story (Modified Beauty & the Beast, where the Beauty is a single mom and the Beast is a dragon-sized serpent) and the *BIG* story of the second part.

I had already decided to indulge myself and “just see how the story flows” with word-count not a factor. With all the scenes left in.

I’ve also been reading (even re-reading!) a lot this year, and that added to the amalgam that has been my intense life over the last year. I saw things in this story I had only sensed before. I had words for feelings I’d never recognized.

And I put everything I could think of into my work.

The effectiveness of this new vision yet to be tested (figuratively biting my nails, waiting on reader responses), but my favorite addition to bulk/meaning in the story is the addition of non-story goals. Or, put a different way, Pre-Story Goals.

More on that tomorrow.

The Fine Balance in Growth

What could possibly threaten something of your size?”

“My size.”

“Yes, frej, of your size. Surely there is no predator larger than you?”

Lindorm turned his head from side to side, hungry to speak, but wondering how he dared. This would be used against him.

“Every lindorm continues to grow all his life,” he whispered, hoping she was the only one to hear. “If the creature is foolish enough to stay on land his own weight will crush the life out of him.”

~

The  life-cycle of the Lindorm (limbless dragon, or giant snake, for those of you just joining the story) has an awkward twist, in that here is a creature that is a terror both on land and in the water.  Best as I can piece together, the females must navigate as far up the rivers as their bulk will allow them to travel, and leave their offspring on the shores to disseminate into the nearby terrain.

Ostensibly this will give them a better chance of survival, considering the always-increasing size of the long-lived water lindorm.

But being the brilliant, master-predators that they are on land, how do you get them back in the water, where the average human will have less of a chance to run into them? (This is the challenge of the cryptozoologist– to explain both the unlikely creatures plausible existence, and why they’re not seen more clearly or frequently.) Well, you have my lindorm’s explanation there above: as the mass of the monster increases, so does the strain of living on land.

Some instinct, therefore, calls him to the water.

But too soon, and the young lindorm will become Chiclets for the established sea creatures.

So this keeps the population in check, but also shows why the ones that remain are the cleverest (in a definitely-creepy way) of the species.

So why am I thinking of this just now?

Well, I’m approximately one week away from returning to my novel, and shooting to have it submittable by the end of the year. Continue Reading →

Story Beyond the Chase

Feeling chatty today? I’m feeling chatty.

Ruth, over at Booktalk & More, recently started a discussion about the novel heroine Marguerite, where she pointed out our culture’s obsession with the “chase” part of a romance, to the extent that we expect the story to trickle away once the chase is over.

In a sense this blog title is already a misnomer, because movement is required for any story, and chasing is a fun movement before or after the relationship is solidified.

I’ve mentioned before that “the moonlighting curse” isn’t strictly logical, and I appreciate how that (2nd link) article puts the focus clearly on the skill (and guts) of the shows’ writers, rather than what the actors do onscreen (Seriously, EVERYTHING is being done on television now to some critical acclaim, and it’s all about the Story and the way the it’s told).

But I digress.

Continue Reading →

Tykone and Rickard

Did I mention I met some of my characters in real life?

Here’s Tykone. A smidge older, perhaps, than in the book. And lacking context. He was not a lot taller than me, which was part of what flagged me I’d found Tyko.

Yes, I told him why I wanted his picture. I’m sure that contributed to the bemused face (and this is the second one. I barely had the nerve to ask him to take off his work hat, but this was the look I wanted). How many times do you get someone saying (yes, I was squirming inside) “Can I have your picture? You look just like one of the characters in my novel.”

And I totally guessed this guy’s right-age based on Rickard’s story-age.

The light was bad, but I was just glad to see him and get the nerve again to ask for a picture.

This guy asked (which I actually appreciated) if his character was good. And I (not wanting to lie, but also not wanting him to change his mind) said that Rickard tries to be. That his methods aren’t always the best, but he really does mean well.

Which is completely true.

It would totally be a Fear Factor kind of experiment, but I’ve considered bringing my good camera (and an official card/photo release) to the fair this year.  Once I snapped the second guy (all I had was my old iPhone, and the light was dismal) I kept noticing all the fabulous faces around me.  So much more interesting and deep than the stuff you find in a magazine.

And good-looking, too.  I mean, both these guys are good-looking, but I’ve never seen either of them (or their types) in print so I was thrilled to see them in person.

Maybe my natural enthusiasm/gratitude would make other people feel special?

I hope it could.

The only problem, of course, is that no one sees themselves as a supporting character…

 

Speaking of Swans

Did you know there are black swans?

I was playing with the idea before I knew it was real, then Google informed me it wasn’t all in my head.

I’ve switched noveling focus, from Lindorm to Shadow Swan (I imagine I’ll get a page up for it, next), while I wait for more of the complex issues of the first novel to settle.

That’s one cool thing about noveling around a busy life: confusing stuff often works itself out with time, so I re-engage with as much a sense of relief (at new discovery) as of guilt (at my neglect).

Shadow Swan is based on the Russian epic poem Tsar Saltan by Alexander Pushkin.

Here we have another multi-part story with loads of traditional folktale elements (the three siblings, with the youngest “winning”; transformations; talking animals; magical gifts; epic “misunderstandings”) and especially the great images. The best stories beg to be illustrated, and make me wish I were a visual artist.

~

I first played with this story (eventually working up to about 14,000 words) in the summer of ’05.  I thought that number fairly impressive (though I stopped working on it) until my first NaNoWriMo in November of ’06, when I galloped past that mark on day 8 or 9.

It really helped my perspective. Until you’ve done more and bigger, there’s no reason for 14,000 to seem small. But now that I’ve cut *thousands* of words from my (still) 100,000-word novel, I have a very different perspective on word-count:

14,000 is worth celebrating, but it’s not enough to tell this story, so it’s not a stopping point.

Anyway, I’d been reading about industry trends in the year before I tried NaNo again, and while fantasy (roughly defined as stories with magical elements) is still very popular (i.e., selling), in the YA market these tend to be stories happening in our world.

That is, “ordinary,” modern children/teens from Earth contend with or participate in magically-influenced adventures (think Harry Potter) more than adventurers or “ordinary folk” take on danger in other worlds and times (think Eragon or Lord of the Rings).

These latter are two very popular examples, and show there are clearly readers out there, but the article I’m referencing was discussing ‘trends.’

Well, I had already written one from the latter category (Lindorm), so I was interested in trying out the other kind.

Now, as a fairly literal Bible-reader (by this I do mean both that I am fairly literal, and that I accept the Bible pretty much as-written) and Christian, I am stuck with that (uniquely?) Christian challenge of writing a story containing magic, when the Bible prohibits sorcery.

One writing/Christian friend of mine says this made her consciously choose Science Fiction as her genre: iNtuitive types like us prefer speculative fiction; she’s not into horror, and didn’t want to deal with the theological questions of magic, so that left SciFi.

Easy peasy.

I dealt with the question at first mostly by ignoring it, then, thankfully, came across thinkers and writers who articulated very well my own (albeit foggy) justifications.

The short version is that I (like Lewis in his Narnia stories) mostly confine magic to a non-Earth realm,  and while it might stretch a little, magic used in unsafe ways is always by negitive (bad guy) characters.

It becomes a metaphor for power in general, and thereby shows my feelings about power more clearly than my feelings about magic: namely that  it isn’t something that healthy, humble people take on themselves, collect for themselves, or use just because they can. And it has the tendency (no matter its origin) to corrupt.

Shadow Swan is about a princess, rescued from another world and brought to our Earth, only to find that rescuing is not the same as restoring, and that danger has followed her.

My original description is here, and sometime soon I expect I’ll create a page for Shadow like I did for Lindorm.

 

Reveling in Rest

I had a very, um, productive second-half of the week, and a corresponding sense of accomplishment and pride (and relief) in what I’ve completed.

This week I’ve been hauling feed bags, carrying loads of straw, and shoveling chicken poop. I’ve joked with people that I’m getting fit the old-fashioned way– though manual labor. And I have had that tired satisfaction that comes from muscles used correctly without overdoing it.

And I had the weird experience yesterday of getting in bed for a rest and shaking worse after an hour horizontal than I did before I lay down.

I think I get the biological element of that: Most bodies can give more than we expect, especially when there’s a real need. But once those same bodies are taken off *imperative* status, the reality of physical limitations becomes unignorable.

Getting half or two-thirds the amount of sleep my body needs will catch up with me. Using muscles to exhaustion will mean an enforced time of rest before they will be effective again.

And this is so reassuring in my mothering, because I’ve often got this voice in my head insisting, But look what you haven’t done yet! And that voice is not lying or saying anything that is impossible or even that I’m not good enough.

At times it’s even this sweet little, Oops! I’m sure you didn’t mean to forget, since we both know it’s so easy if you’ll just get started…

I had four hours last night without kids. (Mom picked them up after dinner to spend the night.)

I could have (in theory) gotten a lot done on my messy messy house. But I was physically empty. And I knew it.

I could have (in theory) gotten a lot done on a novel, or another writing project. But I was about 8-hours in the hole sleep-wise, so connections and focus just were not coming.

So I rested.

I sat with my sick goat (I think she’s been pining for human contact. She’s gotten better with more attention).

I listened to music.

I looked at my novel, and there was a moment (of deep relief, I must say) when things finally began to click and I was able to give it a solid hour of productive attention.

But all that was after rest. Nothingness in measurable productivity.

~ ~ ~

I’ve decided that my desire to write isn’t just (or even really) an indicator that running a household isn’t “enough” for my “personal fulfillment.”

At this season of my life, it is largely an indicator of fatigue.

I like to work. I love to see things *completed* or progress made. But I have to rotate, to cycle through the different muscle groups. Just like arms or back or legs, focusing on one thing wears it out faster. And using them all means greater endurance (usually) but also demands a fuller rest in the end.

And this awareness gives me a new respect for my need of rest. Rest for more than just my body.

“It’s this simple: you and I have an inescapable need for rest.
The lie the taskmasters want you to swallow is that you cannot rest until your work’s all done, and done better than you’re currently doing it.
But the truth is, the work’s never done, and never done quite right. It’s always more than you can finish and less than you had hoped for.

So what? Get this straight: The rest of God – the rest God gladly gives so that we might discover that part of God we’re missing – is not a reward for finishing. It’s not a bonus for work well done. It’s sheer gift. It is a stop-work order in the midst of work that’s never complete, never polished. Sabbath is not the break we’re allotted at the tail end of completing all our tasks and chores, the fulfillment of all our obligations. It’s the rest we take smack-dab in the middle of them, without apology, without guilt, and for no better reason than God told us we could.”   

-Mark Buchanan, in The Rest of God: Restoring Your Soul by Restoring Sabbath (via Laura Ziesal)

So, here I go into the rest of the day, continuing to let many things I could be doing just hang. And I am inexpressibly thankful to even have  tasks that can wait. And I feel joy too, because I am being obedient by resting, which means (and I almost get choked up thinking about this) My rest is worship.

My restoration brings God glory, just as my service does.

Getting Personally Practical

Sometimes I think the reason I continually return to the idea of Storytelling is because I am looking for ways to  tie my story-compulsive brain back to my real life as the dedicated mother of three brilliant, sensitive children who need me to be connected to them.

So, with this in mind, yesterday I engaged my imagination as if my real life were a novel.

That is, I threw back to my earliest memories (sorry-in-advance to the loving adults in my world; this is not a reflection on you) and looked for concrete things that made me feel less, to feel insecure.

This was genuinely not a pity party. I was looking for specific ways I might be missing to affirm and encourage my kids. I think it could be a useful tool for any parent, I just applied it first in my writing, because that’s where it came naturally.

We had just had a tragedy that resulted in Melody *certain* she needed a band-aid, and as I did not share her certainty, I delayed my verdict to finish my task.

As I wrapped up, I had this memory of feeling completely useless.  Unnecessary.

All my life– including now– I have been surrounded by amazingly competent people.  And all my life– including now– I’ve had a painfully accurate awareness of how small my contribution is in ratio to the needs around me.

*Unnecessary* is a terrible thing for any child to feel.

I was on to the next project before I remembered I’d gone soft and decided to get a band-aid.  So, stopping when Melody walked by (and secretly hoping she’d noticed the interruption so I’d get Attentiveness points) I invited her back to the First-Aid basket where we bandaged her wound.

Continue Reading →

There’s More Than One Kind of Writers’ Block

I don’t know why I never thought of it before, but it’s true.

For the longest time I enjoyed a smugly self-satisfied sense that (due to my limited writing time or imagination or some wonderful gift) I almost never suffered from writers’ block.

I made this determination based on the fact that I was never at a loss for words.

Because I assumed that writers’ block was like artists’ block: the literary equivalent of staring at a blank canvas and not knowing where or how to start.

Hint: for writing– especially with a computer– you just start. Put words down.  Make a muddle.  Build of your chunk of marble so that you have something solid from which to carve out your masterpiece.

But I was wrong.  Because I have struggled with finishing. With delivering.

I like to say (just because it sounds cool) that my Super Power is instant extrapolation. But what that really means (as I hinted in the last post) is that I react to things before I need to.  I anticipate, flinch, before the burn.  I call that way of life exhausting! because it is, but didn’t really see an alternative and got a bit fixated on the exhausting! (Because it really made me feel like I was working hard.  That’s what makes you tired, right?)

Well, here’s one alternative to consider.  It’s in a free ebook called The Flinch, and can be summarized like this:

  • Name this gut-reaction that is not very (if at all) useful. They call it The Flinch.
  • Recognize that the purpose it serves (keeping you safe), done too well, can hold you back from anything meaningful. Can keep you from taking good risks that will grow you.
  • Overcome the fear of The Flinch by reminding yourself failure isn’t permanent, and pain doesn’t last forever.
  • Use the momentum, the speed and impulse of The Flinch to react forward rather than cringe away.

Anyway, it was a short read, and brought up some good thoughts.

Best question it raised for me:

“Have you ever asked yourself why your stomach tenses up and your can’t watch imaginary characters on a television screen to awkward, embarrassing things? You should.”

Continue Reading →