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Archive for the ‘Writing’ Category

When I first started blogging seriously back in 2010, I read so many blogs. I wanted to see what other people were doing, and I wanted to get ideas of what to talk about, and I followed lots of blogs from which I read almost all the entries.

Then at some point I stopped. I can’t remember if it was early this year, or sometime last year, but I do remember I was falling behind and I decided to take a break to catch up with life. And then I found I wasn’t missing most of the blogs I read, so I never came back to my blog reading in the same way.

Nala also doesn't read many blog posts. But she does have incredibly fluffy paws!

Nala also doesn’t read many blog posts. But she does have incredibly fluffy paws!

I still read a few blogs regularly. I read my friend Rahul’s blog because he is always making interesting observations and giving great book recommendations. I read my friend Ferrett’s blog because he is always doing strange things and giving great insight on social interactions. I read Theodora Goss’s blog because I feel like she’s teaching me how to lead a modern fairy tale life. I read Captain Awkward because I went so long wishing for an advice column that actually gave healthy advice and now I have one and it is so interesting and sometimes applicable to my life.  I read Nick Mamatas’s blog because he’s such an iconoclast online and that is fascinating to me. (Also, iconoclast was my new vocabulary word last week! I would probably pronounce it wrong if I tried to say it out loud.) I read Stina Leicht’s Feminist Mondays because she compiles a great list of links and backs them up with relevant commentary.

Other than that, I check in on an economics blog a few times a week, and I click on posts that people share with me on Twitter and Facebook. I’m more likely to click on said links if they’re for essays by Kameron Hurley and Robert Jackson Bennett or if they’re on io9 or if they’re shared by Mary Anne Mohanraj or Juliette Wade, but I end up clicking on all kinds of stuff.

I stopped reading some blogs because they got repetitive. I stopped reading other blogs because it was obvious the blogger was pretty messed up, which was compelling at first but then eventually mostly made me feel tired. I stopped reading most writing advice because most of it I either already knew or had nothing to do with me. I cut back on book blog reading because I’m so far behind on my to-read list (although I am hoping to catch some of the Book Smuggler’s Smugglivus this month because I do love year-end lists and reflections, what Rahul calls wrap-up season).

I still hear writers saying that they should really start their own blogs, but now I tend to respond, “Well, if you think you’ll like it.” Because it’s becoming more and more clear to me that blogs are driven by having a unique voice, just as much good fiction is. But I don’t think having a unique voice for one of those things necessarily means you’ll have it for the other. I mean, there might be some correlation, I don’t know. What I do know is that the short essay, suitable for most blogs, is its own form and as such, requires study and practice. So if you aren’t compelled to write it, I don’t know that there’s a strong argument for doing so anyway.

As we all know, I am compelled to write in this form, and all of this does beg the question of my own blogging. “What if I’m getting boring?” I wailed to my friend this weekend. He obligingly told me I wasn’t getting boring, thus proving his awesome quality of friend supportiveness, but it’s a question that is always in the back of my mind. That being said, none of the blogs I’ve stopped reading seem to be in any jeopardy, so I suppose the answer is that readers cycle in and they cycle out, and that’s as it should be.

I don’t miss the blogs I no longer read, but I do on the whole still enjoy blogs with a strong sense of voice. Perhaps I’ll stumble across some different ones that will enchant me all over again.

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It’s time for me to start work on a new writing project, aka a new novel. And this endeavor has forced me into taking a look at the writing angst I’ve been feeling for the last month or so. It hit pretty much the moment I finished the previous novel.

Something I’m fond of saying is that one of the most important parts of being a writer is learning how to emotionally manage yourself. Because being a writer can be emotionally brutal (as can being a musician, as can being most kinds of artist). So if you want to be in it for the long haul, you’re going to have to learn how to deal with all the fun experiences that go along with it: the rejection, the waiting, the insecurity, the criticism, the solitary nature of the work, working on big, long-term projects, being able to finish, finding self-discipline, finding focus, handling the inner critic, etc., etc.

I had such a lovely time writing BEAST GIRL that most of my writer neuroses have been exceptionally quiet all year. My biggest worry was that my moving would derail the rough draft, and once I got over that hump okay, I had a relatively easy time focusing on the writing and revising in a calm fashion. A calm that shattered once I no longer had any work to do.

Suddenly the decision of the next project seemed a lot more weighty than it had before. I came up with a bunch of ideas, and then I came up with a bunch of reasons why I shouldn’t do any of them, or why I should do all of them, just so I could spend a nice period of time dithering and working out all that pent-up writing stress. (This makes it sound like I did this on purpose, but I can assure you it was entirely accidental.)

Finally, late last week, I decided to talk out my decision-making problem with any writer friends who were willing to listen. I talked and I dithered, I wrote summaries and dithered some more. I’m quite exceptional at the practice of dithering. And by the end of the day, it struck me.

This wasn’t about choosing which novel to write next. It seemed to be about that. That was certainly mostly what I was talking about. But that wasn’t my problem. My problem was in managing my writing-inspired emotions. My problem was FEAR.

I am underneath a giant spider. It is scary.

I am underneath a giant spider. It is scary. And also reminds me of LOTR and Harry Potter simultaneously.

Once I realized this, I was actually much more cheerful, as I have confidence in my ability to wrangle neurotic writer feelings. I was afraid agents wouldn’t like BEAST GIRL. I was afraid no one would like the next novel I wrote either. I was afraid it would be hard, and maybe I’d get stuck, or else I’d just be writing very badly, or I’d finish only to have all the agents say, sorry but I already have several manuscripts just like this one. Which is all fine and good, and the fear is real enough, but there’s nothing I can do about any of those things. I can’t control whether anyone likes BEAST GIRL. I can’t control how smoothly (or not) the next novel goes, or whether it ends up being like other novels that hit agents’ desks a year from now.

Recognizing the lack of control gives freedom. If my problem with choosing the next novel project was fear, then there was a simple solution. Choose anyway, go for it, be flexible, and see how it goes.

In conclusion, I am now hard at work at the brainstorming/researching/outlining/ figuring out stage of my next novel. Am I scared? Yes. Gloriously so.

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This week I’m going to the World Fantasy Convention, and I’ve sat here trying not to write about it and to write about something else instead, but my focus is already over there in DC, so I’ve decided to embrace that.

I’ve been making something of a point of spending a bit more time with writers locally for the last several months, so I am not in dire need of writer time stat, which has definitely been true in the past. But even so, there is something special about WFC, having so many friends that matter to me all under one roof.

I’ve been thinking about why the writer community has been such a robust presence in my life. I don’t have any solid answers, but I think it helps that it encompasses many people and is spread out geographically. And of course, we have our passion for writing in common with each other. And they aren’t as often a part of my daily concerns, which means they enjoy the benefit of perspective.

Perhaps it also matters that writers tend to be people who have thought about harder aspects of life. I mean, we spend tons of time crafting crises for our characters to live through (or not), so it’s much harder to avoid thinking about grief or disappointment or betrayal or what happens to a person when under pressure. As a result, I wonder if there is less fear when someone else brings up one of these topics because we’ve already been forced to take a look at the issues we have with them.

Or perhaps I just meet a lot of writers and therefore a lot of the wonderful, supportive people I know are writers.

Writers in action! Photo by Andrew Williams.

Writers in action! Photo by Andrew Williams.

Regardless, whenever something goes off track in my life, whether it be writing-related or health-related or social-related or something else, I turn to my writer friends and they are there. They give me advice, they offer support, and sometimes they just listen and give me the space to be me in all my messy glory. I share my news with them, both good and bad, and it feels like we’re in this together, this not being publishing or other writing-related things so much as life in general.

All communities have problems, of course, and the writing community of which I am a part is no exception. We talk about the problems a lot, and that is as it should be. And all individuals have their strengths and weaknesses. I am not trying to paint a picture of a perfect utopia here.

But on an individual level, these are people who have my back. They are indignant on my behalf when I am poorly treated, they send me care packages, they are generous and happy to help when they are able to do so. When I am sick, they send me nice tweets. When I am sad, they text with me. When I have great news, they celebrate with me. And I strive to do the same for them.

It might not sound like much: a tweet, a text, a book in the mail. Many of them live far away, and I don’t get to see them in person very often at all. But you all have heard enough of my theories about life by now to know how important I think the little things are. They matter.

So I guess the writer community is a robust presence in my life because I choose to make it so. It makes me happy. And it is filled with people who think the little things matter, just like me.

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My friend Danielle suggested that I write a post about my novel revision process, and since I just completed revising my most recent novel, now seemed like a good time. And while I’m at it, I’m going to talk about the submission process too. And then you will understand more about how my life works.

I revise very little while I’m writing my rough draft. My main goal is to keep writing and finish the draft. Occasionally I’ll go back and fix some little thing because it’s distracting me. And if something major breaks, then I might have to do more (like add a few scenes or even start over). But in general, my rough draft is not revised as I go.

Once I have the rough, then I print out the entire manuscript and read it to see what I’ve got. While I’m reading, I make a new chapter-by-chapter outline of everything that happens and how many pages each chapter is. (I do this when I’m reading a novel for critique as well. It makes it so much easier to keep track of everything.) I also take a lot of notes. I’ve also probably taken a lot of notes while I was writing the rough draft of things to check on and things to change. So I take care of all those notes and clean the prose up a bit (enough so it won’t be completely embarrassing) and that’s draft 2.

This is the point where I give it to my first reader. He reads for larger scale issues; he is a structure genius, and he also reads for plot, character, world-building, theme, voice, etc., etc. I use his notes to generate a third draft.

Then I hand it to a few more readers. They too read with the big picture in mind, although they also give me more scene-scale notes (and sometimes even smaller scale stuff). They also sanity check how my changes worked out between drafts 2 and 3, which is super helpful since I can’t always tell if I’ve gone too far or not far enough with changes (or nailed them, which does occasionally happen). From their notes, I plan and execute draft 4.

If I’m feeling unsure of draft 4, I will give the novel to a few more readers and make more changes. Once I am confident about the strength of the book, I do final clean up. This involves a novel-wide search for adverbs and another search for the word “that.” I sometimes search for other overused words as well. For this novel, I read the entire book out loud to assist my search for errors and check rhythm, especially of dialogue.

While I’m doing this last clean-up pass, I’m also starting my query letter and my synopsis. The query letter is basically a sales pitch of the novel, sometimes similar to what one would find on the back cover of a book, one page or less. The synopsis summarizes the entire novel, also ideally in about a page. I’m also updating my agent spreadsheet.

Once I am finished with the novel, the query, and the synopsis, I begin querying agents. This means I email my query package to agents (which depends on the agent’s guidelines, but usually includes a customized query letter and perhaps some sample novel pages and/or the synopsis) and keep track of submissions and responses. Depending on how things go, I could spend many months doing this. At the same time, I am beginning my next novel project, generally by doing whatever work I need to do to select the project, and then brainstorming, researching, and outlining.

The length of time all of this takes can vary a lot depending on the length of the manuscript, the extent and number of revisions, the schedules of readers, and how smoothly the rough draft goes. I do have some target dates in mind by the time I begin a rough draft, based on the premise that the project will go fairly smoothly. And since I don’t write a huge amount of words every day, I can generally adapt as I go when there are snags. A lot of my writing time is actually spent thinking.

So this is my writing, revision, and submitting process. Each writer has their own process: some revise a lot as they go, some have readers as they go, some use a lot more readers in the revision process, some use less. The important thing is figuring out what works.

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I’ve been writing about death a lot. Since my friend Jay died at the beginning of June. Then writer Graham Joyce died about a month ago, and I wrote about that.

Then writer Eugie Foster died a few weeks ago (also from cancer, all three of them from cancer), and I didn’t write about it. Because I felt like I’d been writing about death death death, and also I’d never met her. But her novelette Sinner, Baker, Fabulist, Priest; Red Mask, Black Mask, Gentleman, Beast was one of the first pieces of short fiction that I completely fell in love with after starting to write short fiction myself. It was one of the stories that made me realize how powerful short fiction can be. And also, the title! (Also you can totally go read it right now because it is super good.) So I felt a real sense of loss.

And then a few days ago, Zilpha Keatley Snyder died. I was trying not to write so much about death and grief, but I mean, I have to write about this. So. I tried. And this is what you’re getting.

Zilpha Keatley Snyder was the author I wanted to be when I grew up. She was one of my first author crushes. I loved her name; I loved how dignified it sounded, how I’d never heard the name Zilpha before, how it had three parts instead of only two, and how I could never shorten it because otherwise it didn’t have the right ring. I loved that she lived in the same county that I lived in, which meant writers were real people who lived in real places and I could be one of them someday.

Below the Root, how I love you!

Below the Root, how I love you!

And most of all, I loved her work. I devoured her work. I shared her work with my mom; I’m pretty sure my mom read The Velvet Room out loud to me at some point, and maybe also The Egypt Game, but I can’t remember. I loved the Below the Root series so much, it was one of the books I tried to copy in my own young writing, along with The Wizard of Oz and Anne of Green Gables. I spent about a million hours playing the impossible adventure computer game based on Below the Root. I never beat it, but I got pretty far. Well, at least I thought I did at the time.

And then, just when I might have been getting a little too old to be completely enamored with Zilpha Keatley Snyder’s work (I was probably around 12), I found Libby on Wednesday, which I read repeatedly. Because it was about a girl like me, a girl who was too smart for her own good and didn’t really understand the social maze of middle school and, most of all, wanted to be a writer. I loved that book so hard.

My collection of Zilpha Keatley Snyder novels.

My collection of Zilpha Keatley Snyder novels.

I never met Zilpha Keatley Snyder. But her books meant, and still mean, the world to me. They are a crucial element of my personal book collection. They influenced me both as a writer and as a human being.

I will miss you, Zilpha Keatley Snyder. And I still want to be you when I grow up.

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I want to write about solitude today, and finding myself uncertain as to how to begin, I looked up some famous quotations on solitude.

From these, I ascertained that people are very divided about the idea of solitude. Some people love solitude, finding it absolutely essential to their well-being, while other people wouldn’t choose solitude if they had another choice. Solitude is simultaneously viewed as exalting and painful, beautiful and tragic.

I found a reference to Rainer Maria Rilke’s Letters to a Young Poet, and I located my copy, given to me when I was a young artist myself, and started flipping through it, and now I want to read the whole thing again. He references solitude several times in its pages. I particularly like this passage:

“Therefore, dear Sir, love your solitude and try to sing out with the pain it causes you. For those who are near you are far away, you write, and this shows that the space around you is beginning to grow vast…be happy about your growth, in which of course you can’t take anyone with you.”

Photo Credit: h.koppdelaney via Compfight cc

Photo Credit: h.koppdelaney via Compfight cc

There is this common idea that solitude is helpful and perhaps even necessary for artists to develop their own voices (and visions) and do the work required of them. Certainly writers have to sit and be focused inside their own heads while writing, even if they are physically surrounded by people. For some other types of artists, solitude is perhaps less critical.

We each have our own capacity for solitude, and that capacity can change over time and in different circumstances. It can be deliberately expanded (meditation retreats, anyone?) and it can be deliberately contracted. Within limits, of course.

I have been craving more solitude recently. I hit the point far more quickly than usual when I must take time for myself. It’s not simply laziness or fatigue, although I am tired; it’s a strong need for the space to introspect and just be. There is so much going on inside of my head right now, and it’s not that it’s so very private in nature but rather that it feels like the kind of thing I need to sort out for myself, with the occasional helping hand along the way.

Perhaps solitude is important not just for creative work but also for personal change. It’s almost as if I need some time to get to know myself again.

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I read some writing advice recently that I think is useful both for writers, and for the people who would like to understand what our lives are like a bit more clearly:

“Don’t quit. It’s very easy to quit during the first 10 years. Nobody cares whether you write or not, and it’s very hard to write when nobody cares one way or the other. You can’t get fired if you don’t write, and most of the time you don’t get rewarded if you do. But don’t quit.”

–ANDRE DUBUS

This is so very true. Nobody cares deeply about my writing except me. Which is why I can be kind of a hard-ass when it comes to my schedule. And why I care so very much about my priorities and goals. Because if I don’t care, that’s it. They will never happen. End of story.

Becoming good at things takes a long time. Even if some of it comes easy to you, it takes a long time, just less of a long time. It took me twelve years to become as good at singing as I wanted to be, and really more like fifteen to get it completely secured. I took off maybe a year during that period of my life, and the rest of the time, I sang and sang and sang some more. Even when I knew I sucked. Particularly when I knew I sucked.

This is how Nala practices getting better at writing. Or maybe how she practices becoming even cuter? Unclear.

This is how Nala practices getting better at writing. Or maybe how she practices becoming even cuter? Unclear.

When I first started writing, I wasn’t in it for the long haul. I don’t know if you can be, really, right when you’re starting out. There’s an experimental phase, when you try something out. See if you like it. See if you’re at all good at it. See if it has any meaning to you. See if this is a thing to which you can devote yourself. Because not everything will be. And if it’s not for you, then it’s not only okay to quit but a good idea. This level of commitment is not for everyone.

I noticed the shift when this changed for me. When writing became a true calling. When I realized I’d be writing anyway, even if I couldn’t turn it into a career. When writing became less about the desperation of wanting a particular project to sell and more about doing the work. When the writing became more interesting and all-consuming than what would happen afterwards. When whether this novel sells or not became less important because I’m already thinking about the next several potential novels to write.

Mind you, I’m not saying that I don’t care about my career or that I don’t care about publishing my novels. I do care, and I take the necessary steps towards that goal. But I care about the writing itself more, and knowing this makes doing the business and career stuff much easier. I want to become better not so I will then become published (although that would be great) but because I’m interested in becoming better for its own sake. I no longer have to look for external validation to reinforce my commitment. I’m committed, full stop.

The early stages of becoming a writer are so very much about not quitting. And putting in time and practice, and finishing things. And finding a way to hang in there through the rejection and the failure and the process of becoming better. And falling in love with telling stories, over and over again.

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