Never Save Anything for Your Next Book

That is a point emphasized in one of the bossiest and most point-by-point practical books I’ve read on novel-writing.

You Can Write a Novel by James V. Smith Jr.

He approaches the process from a strictly utilitarian point of view; if you are hoping to be published, think in those terms from the beginning: Here, let’s rate your idea.  Is it strong enough to sell?  No?  Throw it out and try again!

~

Anyway, I’ve been thinking in terms of two books for months now, but Book Two has been much more hazy than Book One that is getting more-done every week.

Seeking to re-clarify things for myself I backed up and tried to name my three story strands– the magic number, remember?– and actually found them this time.

  • Linnea’s journey from abused single mother to strong defender and cherished wife
  • The journey of the mysterious stranger from slavery and isolation to freedom and community
  • The almost love-story of another pair of secondary characters (yes, I’m sure anybody will guess.  It’s part of the fun of prediction, isn’t it?  Knowing you’re right).

Once I had these clearly before me I could look at what I had bumped to Book Two for the wrong reasons.  When those pieces were added/returned to my current document it suddenly clarified the question of what Book Two was actually about.

Currently it’s nearly a complete thematic opposite, which is fascinating to me, considering how important I see the original themes.

It also made this finishing process a bit easier because now all of my three strands are happening where we are now, and the time line of the second book may be fitted to this one, rather than trying to write them simultaneously (I was drowning).

As a side-note the compilation bumped my word-count by a solid 10%.  This can be good or bad, but I’ve determined I’m not going back to iron out the added sections until I reach *The End* of my current track.

Progress Report

Added ~ 2500 words in the last week.  It took that much to update the last of my (p)reworked scenes.

One of the noveling books I’ve read (probably more than one) emphasized that each character should be multi-purpose.  The doorman should never be just open the door.  He should also be the one who holds some essential clue.

~

I recently made a connection that catapulted a minor character of this novel into a major character in the next, swishing motivations and appearances all over the map.  So I went back (hand-slap if you have too) and brought the cleaned up portions up to date.

I must say, it was amazing how much faster the clean chapters were to update than they were to clean up in the first place.  Wow.

Anyway, the first 17 scenes are now current with my “3.4” version of the plot.  One particular advantage of flying through these scenes was feeling the overall tone of the piece and knowing (*quite* clearly) which chapters were out of sync.

Two out of 17 doesn’t seem so threatening; and noticing those two indicates that I actually have some measure of cohesion in the rest of it.  Very encouraging.

Hero as Mother?

What a fascinating thought!  LitLove at Tales from the Reading Room analyzed Twilight with this view I’d never seen before; basically that the ideal romantic partner is as all-powerful, all-providing, all-protective, and all-loving as a good mother is to her young child.

So naturally I had to return to my story and see if that is in my “ideal” world as well, because, however well it worked for Twilight and vampire romance it’s not something I want to promote.

Even so, my main trouble with the idea of calling these romantic notions “maternal” is finding (or defining) the line between the healthy mutual dependence and the unhealthy.  I completely reject the idea of hubris and total autonomy (it’s actually one of my novel’s themes).

~ ~ ~

A quick mental review of my story does show a bit more give-and-take than I would imagine for the maternal model:  Yes, the husband rescues the wife, but she’s already saved his life too, so I see it as a reciprocal relationship.

At one point early in the relationship he actually scolds her for depending too wholly on his (underprepared) judgment.

“Tykone didn’t want us to go,” said Kennett.“He thought the king and queen would come up with some solution for a useless crown prince.”

“He didn’t call you useless, and you said you wanted to go.”Linnea was shivering and angry, wishing the sun would hurry up and rise so she wouldn’t be so cold.They had moved away from the warmth of their fire and shelter so they wouldn’t waken Hale, but the ground of the barren clearing was completely frozen where they stood and Linnea could feel the cold seeping up through the soles of her simple boots.

You said you would go where I go.That’s all you said.You’ve been human longer than me.You knew you’d be cold out here without the proper gear.Why didn’t you say so?”

Linnea closed her eyes, pinching out tears of cold.“It’s that— I thought you knew what you were doing?”

She looked over her shoulder and saw Kennett staring at her, open mouthed.“You can’t be serious,” he said, finally.She looked away.

Now it was Kennett’s turn to sound angry.“As soon as Tykone was gone I told you I have no idea what I’m doing.You’re the one with all the experience being human!”

In contrast it’s the fellow she’s forced to depend on while in hiding who takes the (more controlling) role that might be labeled maternal.

~ ~ ~

Speaking of relationships in general, my limited education/experience leads me to mistrust such one-sided power/surrender in a relationship.   Not because I believe men and women are the same (I believe there are distinct roles), but because I see that one-sided relationship as half a step from a controlling, then abusive, relationship.

And either could look the same from the outside.

But for all that I still see couples for whom the “total dependance” model seems to be working for.  Whether or not that stems from elements missing from her childhood could be irrelevant.  After all, “compatible neuroses” seems to be an utterly sufficient alternative to two “healthy” people when looking at the levels of peace and happiness in a marriage.

Novel Magna Cartas

This was one of my favorite concepts from the book No Plot?  No Problem!

The idea is to make two lists, one of the things you love to find in your novel reading, the other things you absolutely hate.

As I recall, he pointed out that we tend to think in terms of the yuck stuff being good for us, and when we feel that what we’re doing is not ________ enough we reach into the yuck pile and act as though that can fill in the blank for us.

How true any of that is can be saved for some indeterminate point in the future.  What I want to do is share the lists I started before I began writing my Lindorm story

Magna Carta I (The stuff I like)

  1. Physical (especially trans-species) transformation
  2. Music as part of story
  3. Well behaved animals (impeccably trained or sentient)
  4. “Convenient” sleeping and awake times from the babies/kids
  5. Mysteries that go deep into folklore
  6. Making necessary elements of folk/fairy tales natural
  7. Genuine peril
  8. Threatening villain
  9. Uncertainty of friends (sometimes)
  10. Genuine friends (other times)
  11. A thinking character watching the process of his or her thought.
  12. Mixing folk elements from various cultures and seeing it “work”
  13. Complexity (lack of obvious predictability)
  14. Surprising twists and secrets that the reader discovers with the protagonist
  15. Cleverness
  16. Characters out-thinking one another
  17. Courtesy among enemies
  18. Truth-telling as a form of riddling and testing
  19. Witty banter
  20. Good conversations
  21. The protective defender
  22. Dramatic rescues
  23. Endurance through fear
  24. Acts of evil are shocking offenses to the way things should be.
  25. Misunderstood identity/”fish out of water”
  26. Build on characteristics the protagonist(s) have to begin with, but doesn’t imagine any of them are already complete
  27. Overcoming an old enemy through what they’ve learned on their journey
  28. More than one character changes
  29. Acknowledge (and explore to some extent) the power of relationship
  30. Thought-provoking observations

Magna Carta II (the stuff I don’t like)

  1. Not-talking being the reason something bad happens
  2. Smart characters acting clueless
  3. Sex without significance (i.e., without the benefits or the consequences)
  4. Defiant/disobedient/“mischievous” children being portrayed as cute and entertaining (I find them irritating)
  5. *Angst*
  6. Daily details that don’t advance the story (setting is fine, day-in-the-life-of, not interested).
  7. Over-hinting
  8. Dragging the There’s-something-important-you-don’t-know wait too long
  9. *everything* stacked against the protagonist
  10. Too much time is spent on the meaningless, to no end
  11. I can tell where this is going, it will end badly (and frequently was utterly avoidable)
  12. Cruelty (a villain chooses a particular evil *because* it strikes so hard and deeply into his/her victim’s psyche) — honestly I go back and forth on this one; I see its usefulness, too.
  13. The fate/destiny/end of the characters is utterly outside of their own control–can’t be changed or improved by wise choices or good counsel
  14. Conflict simply to wrack up the tension
  15. How do your likes/dislikes line up? If you make a set of your own lists, leave a comment with a link– I’d love to read it.

POV Comparison

I (currently) have only one 1st-person POV scene.  And that’s just not right.  So I’ve been considering my options.

  1. Change it to a close 3rd (to match the rest)
  2. Change Tyko’s close-3rd POV to 1st person (bearing in mind he is… well, the short description is he’s an “unreliable narrator” as well as inarticulate.  He’s a good observer but he acts on what he observes rather than thinking on it.  Not a useful narrator, either.)

So I lean toward #1, but in rewriting the scene it seems to lose something.

Continue reading »

The Solution

Another excerpt from where I’ve been working lately.

This one takes place in the fitting room, where Linnea, the Lindorm‘s Bride-to-be has been fussed over for hours.  She, of course, has to wonder if her wedding dress will also be her shroud, until a mysterious old woman comes to her while she (Linnea) is alone.

When the queen and Prince Torbjorn return to the room, the king and Hjalmar (special forces) captains are with them.   The captain Tykone is a friend of Linnea’s from childhood and tried to protect her from being offered to the monster.  Rickard, the other captain, has reasons to think less of Linnea.

As mentioned before, Sarsé is this kingdom’s female title of respect and/or rank.  The prince has just told Linnea to say exactly what she means, despite his mother’s objection.

Continue reading »

Timers really are magical

We would do this during NaNoWriMo and it was effective but I never really tried it on my own.  But it works.

Sunday afternoon Natasha kept begging me to come play dolls with her, so I set my timer for ten minutes and told her I’d come when it went off.

Knowing I’ve only got a few minutes to cram as much creativity into as possible really worked for me.

And while I’m on the topic of “You already have the truth within you” I’m having to remind myself about the whole “box up your editor” advice.  Being in the awkward place of simultaneously creating and editing (yes, I know this is horrible, I don’t currently know an alternative that won’t increase my work later) I’m having to remind myself about letting go of perfect on this new material.

~ ~ ~

It makes me think of a line that horrified my sensibilities when I first heard it:

“Cs get degrees.”

The guy who shared this bit of wisdom with me was pointing out that no one cares that you killed yourself maintaining a 4.0 once you’re holding that piece of paper.  At least for the field he was interested in.

It makes me think of conversations I’ve had, or interviews I’ve read, where another writer will boast that he gets it “right” (or so close to right) the first time that revision is virtually unnecessary.

Here I see the finished piece of writing in the role of the degree.

No one cares how few drafts it took to bring the piece to this level of quality.  They look– consciously or not– at what it is, not what it is for only x-drafts.

And that (mostly) eliminates my sense of competitiveness.

Sure, being quick helps (especially when you’re blogging and want to get your thoughts down quickly so they quit cluttering your brain while you’re trying to write fiction…) but speed is so far from my primary goal as a growing writer that I don’t want to be tricked into releasing something too soon.

More Than a Victim of Circumstance

My favorite show this year of is Chuck.

Disclaimer: While the violence (people are shot, occasionally) is incongruously “clean,” the producers haven’t tried to shift away from the standard draw of the sexy female spy, so if that’s gonna bug you, know yourself.  Nevertheless, I appreciate that the male MCs are remarkably appropriate in their spectrum of reactions to her.

This show is a delight both comedicly and for the storytelling.  Our sweet, bumbling, ah shucks title character is smart enough to think on his feet, even when the computer in his brain (roll with me here) doesn’t give him any practical answers for getting out of the trouble “knowing too much” gets one into.

Latest great line: “Wow.  Those 7 years of MacGyver finally paid off.”

Every episode this season (and I do mean every episode– I checked) has had me embarrassingly on the edge of my seat and has resolved (however implausibly) from elements solidly presented beforehand and belonging in that world.

The interesting thing to me is how Chuck (the character) has grown from the first season.  At the very beginning he was little more than a victim of (highly improbable) circumstance.  Anything he did well was basically stopgap (“It’s never. safe. in the car!”) or a fluke.

Now the writers have matured him into a mostly pro-active component of the team, allowing his actions to be both effective and detrimental to the case of the week.

~ ~ ~

I am thinking of this just now because I’ve been mentally compiling a collection of information that highlights my novel’s biggest weakness just now.

Linnea (my MC) is in this folktale where stuff happens to her: throwing her world wildly upside down anytime she starts to get comfortable.  I would despair at how ever to reconcile this to the “proactive” model of MC if I didn’t have the example of Chuck.

Trust me, the stuff he’s yanked into is improbable– but his reactions and what he precipitates as he talks his way out of them most definately is his own.

So as cheezey as it sounds (to the TV snobs), I have been using the examples of planting and set-up from Chuck to remind myself I can have both improbability and cohesive “self-determination” in the same story.  It’s becoming a fun combination.

Seven Quick Takes (Vol. 3)

Again, from Jen’s idea.

~ ~ 1 ~ ~

Jay’s talking about wanting a pellet-burning stove.  I’m asking where it will go.

I’m asking for a double bed with drawers.  It will take up less room (in our little room) than the queen-sized bed (we never use all that space anyway), and let us get rid of at least one dresser.

Both changes will make more room for book cases ;)  Eventually.

~ ~ 2 ~ ~

The cast list was sent out last week, and my name was by “doting mother,” which comes just before a list of “my” seven children (a boy, three girls and my own three kids).  This might have seemed really cool, except just a couple days before Jay had fielded a call while I was out, inviting me to play “the matron.”

Leaving aside the self-image rearrangement that I looked more like a “matron” than a lady (hmmm?) the description of the role he was given created some questions that have yet to be cleared up.

  • The role was described as comic relief
    • I’ve never actually done “comic relief” before.  My humor is more about situational stuff and wordplay.  It would be a new thing to learn.
  • Am I the “doting mother” or the “matron” who’s constantly dumping her seven kids on Cinderella (highlighting her helpless plight)?
    • The compatibility of the two alludes me
  • What is the behavior of these 7 children?
    • I have yet to see a comedy where the children behave properly
    • I e-mailed the director and said I would be willing to herd 7 children, but not 7 brats (I suppose that was horrid, but it’s true.)
    • I’ve often thought that more intimidating than unruliness (and less-frequently explored, perhaps because it’s more complex) is the “perfectly behaved” children who are positively devious and make their digs by cunning rather than brute-brattyness.
      • This possibility actually creeps me out more than spiders.  Or at least as much.

~ ~ 3 ~ ~

I have my latest project (with Christmas for the deadline): dollhouse dolls.

I was so excited to see Barbara Curtis‘s post about the hugely discounted M&D dollhouse that I bought it the same day (it’s still going for under-retail now, but then it was $47.99, I think).  Local retailers ended up being out of the little dolls, so now I am in the process of making little flexible family members to live in said house.

It may even turn into an “entrepreneurial opportunity” as one owner of a sold-out shop emphatically affirmed her store would be very happy to offer locally made dolls.

(We’ll see how interested I am after I finish our own bundle)

~ ~ 4 ~ ~

I was at Barnes and Noble yesterday, considering all the delicious ways to spend a gift card, and the oddest thing happened as I cruised the section of the children’s department where I read the most.

I felt a claustrophobic tightening in my chest.  Just standing and looking at books was making me dizzy, and not in a good way.

This I’ve noticed only once before: when perusing the Lloyd Alexander section in my local library.  Dude’s got a gobzillion books out!

I can only suppose the feeling is a goulash of emotions: anticipation (someday I’ll be there), anxiety (when will that be?  When will I be done?), overwhelmed-ness (at the prolific-ness of other writers), and maybe even jealousy (at the freedom they seem to have in order to be prolific…)

I had to make myself be still and pray, waiting for God settle my mind and emotions before I could finish looking for the book I wanted that day.

Unreal, but making me again thankful I have a God who’s bigger than my emotions.

~ ~ 5 ~ ~

Once that was over I propped myself in one of the cushy chairs by their circular fireplace and worked some more on the timeline of my novel.  I had two distinct packages emerge in the process, and solved a squished-time dilemma (I’ve needed an extra day and just found where it belonged).

So, I have to give Jay’s fireplace idea some credence.  There’s a lot to be said for watching the flames.  It’s like a shower for your brain.  At least for me, having something visual and real, but inconcrete, was very useful.

~ ~ 6 ~ ~

I’ve decided I like to eat too much for weights or Pilates to be enough exercise.

Not that I eat a lot (I imagine I’ve got that under control) I just like, a lot, to eat.  And the stuff I want to eat, that I’ve been eating, has maintained me 13-lbs above my target weight (trust me when I say my target is not unrealistic, or even low, for my height).

The trick, as with all exercise, is finding something sustainable.

Free weights and Pilates are doable because I can take from books and do them in my living room.  The walking with my dog has been put on-hold because sub-zero walks are far from the motivating delight “normal” walks are.

I’ve considered a step, as I like the space requirements and exercising to music, but I’ve not taken the plunge yet.

We did see one in the same place Jay noticed a pull-up bar he wanted, so we may end up getting both together.  Maybe for a new-year’s project.

~ ~ 7 ~ ~

After looking yesterday at all three furniture stores in-town, Jay decided he wants to build the bed frame himself.

His goal is to get the main support and frame built this weekend (so we can buy a mattress and get our bed off the floor) and to design it so that a later-constructed set of drawers may be slid under it whenever they are completed.

This was the design we liked best out of what we saw, only most of these drawers were simple “friction” drawers, where you needed to drag a wooden box out of a wooden hole.

Jay knows he can do better than that, though he/we might not even have bothered, truly, if it weren’t for the exorbitant cost of new furniture.  If I’m paying over a thousand dollars for an item (we’re pushing a house-payment here!) I expect to get *exactly* what I need.

I suppose we could be considered unreasonable consumers.  But there you are: Jay will take on a project, same as me, when he knows he can do it as well, or better, then what is otherwise available.

So the bed will come before the fireplace– but I expect the next time we’ve saved some house money the fireplace will be next.

Getting Ever Closer!

Ahhh!  There’s something so *fresh* about creating whole new scenes.

Put up another 1500 words tonight.  Finished another “pink” section.

~

In case anybody cares, I came up with a new color system before I left Bermuda.  It was there I had another “reorganization” that caused me to shuffle around a bunch of my second half and necessitated creating a half a dozen new scenes.  Creating place-holders, that is.  Scenes that still needed to be written to complete the story properly.

I have the scenes numbered and titled (some with self-amusing or inside-joke sorts of titles) in Excel:

  • The stuff I got done (updated the Version-3.1 storyline) is coded light yellow.
    • Old Friends and… Others
    • Unwilling Rescue
    • The Fitting
    • Awakening
  • The stuff I haven’t yet updated is light green.
    • Second Tokens
    • The Next Battle
  • The scenes that still need to be written are vivid pink.
    • Discovered

It is exciting to watch the overview change to a solid block of color.

Left to-do (before the whole book is at the same level, and I start the “real” revising/proofreading part):

  • 3 pink
  • 6 green

This might sound like a lot, but that is only 9 out of 29 scenes, which emphasizes I’m 2/3 done.  Or caught up, or however you want to say it.

This time I’m only energized.

The last time, you may recall, I choked as I thought I was nearing the end.  It just didn’t feel *right.*  And it wasn’t right.  This time everything seems to fit together ever better as I go along.

It’s a good thing I don’t believe in jinxes, or I wouldn’t dare be so delighted.