On Writing – Page 8 – One Thousand And One Parsecs

…and they all lived evily ever after.

Today we had a quark writing group party, and it was lots of fun! We all went up to drek‘s new house, up in Draper, and read some of our really old, really bad first attempts at writing stories. Good times!

Drek, Nick, lexish, slipperyjim, jakeson, gamila, aneeka, and one of my friends from the FLSR writing group all came up. Jakeson and his crew got lost on the way, but we had a good time hanging out, chatting, eating the pita bread and hummous that I’d cooked (I figured everyone else would bring sugar-heavy treats, so I cooked something a little more on the healthy side–still delicious, as evidenced by how much everyone ate!), and talking about how we’d gotten started writing.

I think a lot of us had similar stories–while we all wrote for different reasons, we all tried to do something big in high school, something that marked a turning point of some sort. The other common thread that ran through our stories was…how laughably bad they were! There were gradations, of course (Nick’s story that started with the word “Gandalf” and only got worse was pretty ridiculously crazy), but all of our stuff was pretty bad.

It can be both fun and painful to look back on past stuff, especially the stuff you wrote back in high school. It’s like, all the painful awkwardness of high school is not limited to your social life, it seeps into your writing as well, especially if that’s when you first try out your hand at the craft. So many cliches, so much bad grammar, so many viewpoint errors and info dumps…ARGH!!!

Of course, that is precisely what made it so entertaining. The awkward, emo, immature teenage grasp of the universe, combined with dozens of stale cliches and atrocious grammar–brilliant! I’m glad we were all at a point where we could look back on this stuff and laugh. It can do you good to air out your closet and let go of some of the old stuff you are sure would destroy you if you ever let it saw the light of day.

My first writing attempt was a novel that has since been entirely lost. I printed up a hard copy, once a long time ago, but I’ve lost that one and really have no desire to try and dreg it up. Of course, all the digital copies haven’t survived. My second novel attempt, however, I have in both digital and hard copy. That’s the one that I dipped back into for this writing party.

I actually sent out a copy of this to my aunt in Washington DC, who is/was an editor for a magazine. She read about the first twenty or thirty pages and sent me this letter, which I will use to finish off this post. The only places I’ve used ellipses are when my aunt described problems specific to certain passages and quoted them.

October 14, 1999

Dear onelowerlight [name, obviously, has been changed 😛 ]

The manuscript your mom sent home with Evan has proven to be an interesting read in many ways. It is wonderful to see people take an interest in writing. This pastime has given me many hours of satisfaction. I find that the joy is in the journey and that the process is as important to me as the finished job. However, it is always satisfying to have a finished product that I feel good about.

What it looks like you have is a wonderful outline for a novel. Your language is colorful and descriptive. The battle scene held my interest and made me want to know what was going to happen next. My intent was to read the manuscript from beginning to end purely for the joy of reading it. The urge to edit, an urge that often gets in my way as I write a first draft, got in my way as I read. Hence I was not able to follow through. I have written on some of the pages. What follows are a few other observations.

A really good writer named John Gardner said that a piece of fiction opens up a dream to the reader. Anything that causes the reader to become aware of the author or that jolts him out of the fictive dream does not belong. It is always helpful to let a manuscript cool for several days and then begin to read it. This will help you be more objective. Sometimes the things that seem marvelous turn out to be less enchanting than one thought during the rapture of creation.

Titles are difficult. Would anyone have read Catch 22 by another name? Some people don’t think so. It has been postulated that the reason the story about The Man Who Went Up A Hill And Came Down A Mountain didn’t do better as a movie–and presumable a book–was because of the length of the title. For many authors the title is the last thing to be written.

Your first two or three pages contain a good deal of “throat clearing.” An opening needs to grab the reader so he will continue. There needs to be a problem, action and change. It should be action that is vital to the story. Someone is going on a trip. Someone is going into battle. someone is getting married. Someone is being born. Unless you want to write erotic literature it would be better not to start with conception. Work the background in later. In The Gospel of John the first few verses talk about the Word. Immediately the Word is identified with the Son of God and the story of his baptism. The problem of establishing himself as a teacher is presented. In episode IV of Star Wars the force is not explained to us at the beginning, rather we see what it can do. It isn’t until Solo talks about fools who believe in an ancient religion that we begin to have some idea th at the force is more than magic. The characters give all this information to us.

Point of view is the perspective that the story is told from. T he most difficult and therefore least used these days is the omniscient narrator. A good rule of thumb is to see the story through the eyes of the person with the problem. Many authors write in first person. One can also use second or third person. Third person is similar to first person except the pronoun I isn’t used as much. (Actually it is more complicated than that, but that will suffice for now.) Sometimes a narrator who doesn’t see into anyone’s mind tells a story. Most fiction that looks like omniscient narrator is actually being told from the point of view of one of the characters. The narrator can then see into the mind of one person and all the other action is viewed through his eyes. Sometimes a novel will contain oone person’s point of view in one chapter and that of another character in another. This seems to work. It is confusing when shifts occur without warning.

Psychic distance has to do with how close you want your reader to be to the story. Stephen King wants to inspire terror. He gets his readers as close as he can. You hear breathing, feel sweat, hearts race. Jane Austin keeps her readers at a great distance. You see the lights, you hear the conversation, it is all very proper–no sweat, no breathing, no racing hearts. Just as with the point of view, the important thing is that the narrative remains consistent. It must not switch in the middle of a sentence, paragraph, or chapter.

Write in active voice as much as possible. Your English teacher will tell you all about this. Be aware that verbs ending in “ing” do not help your story. (Running up the hill after Jill and tripping over a rock Jack stumbled.) This slows the action of the story down but when used sparingly can add emphasis. The following construction works better (Jack ran up the hill after Jill. He tripped over a rock and stumbled. “D___!” he grumbled. Jill took water from her bucket and soap from her pocket and washed his mouth out.)…

…You have many long sentences. Your writing will be tighter and stronger with shorter sentences and fewer prepositional phrases…

…There are lots of ways to deal with dialogue. You can put the dialogue first and description second…you can put the dialogue at the end…you can break it up the way you have in your manuscript or you can put description on either sie of it…Like every other element of your story, you don’t want it to call attention to itself.

I believe you changed fonts to show a change in viewpoint or in who is speaking. For me this is very distracting. There are other good ways that work. Also it is easier for me to read when it is double-spaced.

Two books that I have found most helpful are John Gardner’s The Art of Fiction. It is out in paperback. John Gardner also wrote a wonderful fantasy called Grendal. It is not very long. It is told from the point of view of the monster. The other book is The Elements of Style by Strunk and White.

Thank you for sharing your manuscript with me. It takes great courage to share one’s work. I admire you for starting out early. Remember free advice is worth what you pay for and don’t let anybody discourage you. You learn to write by writinig. You have a good start.

Your’s truly,

Aunt Yvonne

Progress!

I’m sludging through the middle of Bringing Estella Home. I’ve heard people call this the “blue collar work” of writing, all the parts between the beginning chapters and climactic ending chapters. I believe it.

In particular, I was having some difficulty with chapter 7 last week. I have, basically, three separate plot threads tied up in four viewpoints. Sometimes, it can be frustrating to give them all equal time while putting the scenes together in such a way that they contrast and build off of each other. In particular, it’s difficult to get the chapters right.

I’ve heard that each chapter is supposed to be its own distinct sub-story, with its rising action, a mini-climax, and a falling action of some kind. I’m fairly confident that I can do this intuitively over one or two viewpoints, but over four viewpoints, with three different plot lines? It’s tough. Last time I tried was with my first novel, and when I went back for the rewrite I had to reorder several of the chapters, especially the first three ones.

The way I’m doing it for Bringing Estella Home is picking one of the plot lines to be the main subject, if you will, of the chapter. I build on the other plot lines as well, but the big climax, the big reveal, comes in the plot line that I’ve designated for that chapter. Typically, I’ll start each chapter with a viewpoint from the plot line that is central to the rising and falling action of that chapter–or, if I don’t start it with the viewpoint, I start it with the characters talking about the idea that is central to the climax of the chapter.

Originally, I thought that the climax / central aspect of chapter 7 would be the brainwashing / mind-altering procedures that Ben undergoes in becoming a soldier for the Hameji. I started with James discussing the Hameji with the other mercenaries on the ship and talking about various legends they’ve heard of mind-altering drugs that give the Hameji special powers. The next scene was Ben forced to take some of those drugs.

However, I really hadn’t figured out Ben’s part of the story at this point. I knew he’d take the drug, and I knew how it would change him, but I didn’t know what happened next. As a result, the rest of the chapter just felt like a chore, one that I accomplished over several late nights (probably to the detriment of the quality of the writing :P)

It wasn’t working. The chapter just didn’t feel like it held together.

Then, I had a genius idea–why not make the last scene of chapter 6 the first scene of chapter 7? The viewpoint was from Estella, meeting the jealous head wife of the Hameji overlord. That scene set up the conflict for the next two chapters of Estella’s story–in retrospect, why didn’t I make it an opening scene for that reason alone?

I don’t know. But it worked out wonderfully well! Once I shifted the central focus of the story to Estella, EVERYTHING fell into place! Her conflict at this point really was a lot more interesting than anything else in the chapter.

So now, with chapter 7 under my belt, I am WAY excited for chapter 8! While I was walking back from school one day, I figured out exactly what needs to happen next in his story, and it is amazing! Brutal, violent, and torturous, but it is amazing! And this is the perfect chapter to insert James’s philosophical discussion with Danica, the one that I wrote down nearly a month ago just because I had to get it out! I’m excited. Maybe I’ll even finish it before Saturday.

Anyways, it is 2:30 am, and I am way tired. Time to get some sleep. Thank goodness my first class doesn’t start until noon! 🙂

LTUE 2009

Wow. Life, the Universe, and Everything 2009 is over, and it’s hard to believe that only three days have passed. It feels as if this symposium has been going on for a week, and that’s a good thing. Friday and Saturday, I spent practically every waking moment in the Wilk, the student center where the symposium was held. By the end, I think some of the professionals there were starting to recognize me and strike up conversations with me instead of the other way around. Kind of interesting. Way fun. Loads and loads of helpful advice and information to process. I’ll be lucky if I can soak it all in before the end of the year.

I’m glad to say I was able to open up and talk with a lot of people these past few days–in fact, I got a chance to talk with just about everyone who was on a panel that I’d attended. It was fun to shake their hands, compliment them on what they said, and strike up a conversation around that. It was surprisingly non-threatening, to be honest. I definitely feel more prepared for World Fantasy 2009 now–definitely.

By far, my favorite part of the convention was Tracy Hickman’s main address. It was titled Creative Reading 201, and it was all about how the reader and the writer are both collaborators in the creative experience, something that’s fascinated me for a long time. The implications of this simple fact are tremendous. First of all, it means that a story does not come to life until it is read. Anyone can get published, especially with the technology today, but all of those words are empty symbols until someone takes the time to read it. Second, it means that the spirit speaks to us in the white spaces between the lines. Just as people with different needs take the unique message they need from the scriptures through the power of the holy spirit, so each work of fiction speaks differently to us. Finally, all of this means that stories change as we change, even as they inevitably change us. As we grow, the stories that touched us the most simultaneously grow with us even as they help us to become better people.

Tracy Hickman then shared an incredible story about a book signing he and collaborator Margaret Weis had recently at a veteran’s home. A man in a wheelchair came up to them with an extremely tattered copy of one of their earlier works, about a knight who sacrifices his life in battle to save the order, even though all of his fellow knights in the order look down on him as less than a true knight. This wounded soldier then told them that this tattered book had traveled with him in his pocket throughout his military career, through parajumps, underwater operations, and into war theaters like Afghanistan. While fighting in Afghanistan, this soldier was shot in the lower back. As he went down, his first thought was “what would the knight in Tracy’s book do?” He saw the Taliban forces setting up a mortar on the opposite ridge, and in spite of his wounds and the risk to his life, he took down the enemy and saved twelve of his fellow soldiers fighting in that battle. The soldier then presented his purple heart and bronze star to Margaret Weis and Tracy Hickman, for writing the story that inspired him to be a hero.

Sometimes, as I’m sludging away with my writing and wondering what I’m going to do in 2010 when I finally graduate, I wonder if I’m somehow being lazy. I worry that I’m somehow being irresponsible by not going into some other profession, some kind of respectable 9 to 5 job in an office, the kind of thing that everyone else goes into. I wonder if I’ll ultimately become some kind of a parasite on society, trying to make it big as a writer. In the worst moments, I worry that even if I make it big, I’ll still be some kind of parasite, not really producing anything respectable or useful. After all, fiction is entertainment, especially in genre fiction–don’t we have enough of that already?

Then I remember the impact that one good book can have on people–the way it changes us, the way it opens our eyes and helps us to become better people than we were before we picked up the book. Then I realize: what could possibly be more respectable than telling good, honest, life-changing stories? And then, as I think about it a little more, I realize that that 9 to 5 office job isn’t what I think it is. I realize that I’m not slacking off by trying to be something more than a cog in the corporate machine, producing widgets.

If I strive to tell the truth as a storyteller, and to write the kinds of stories that truly inspire people to do marvelous things and become better people, what greater career is there than that? Teaching, I suppose, comes close to having a similar impact, as well as some kinds of therapy work. Certainly there are other careers that have tremendous opportunities to sacrifice and have a meaningful impact on one’s fellow men. However, my talent is in writing and telling in stories–and it’s a talent that I cannot suppress, from which I cannot escape. So long as I live, I will always tell stories–it’s just hardwired into who I am. Certainly I can use this talent to serve my fellow men in a way that is both respectable and meaningful. And really, for me personally, what else could be better?

It doesn’t mean that it isn’t scary. However, thanks to LTUE this year, I feel that I’ve learned a lot that can help me break in and make it. Whether it was something said in one of the panels or just the experience of attending, it was a truly awesome experience for an aspiring writer like myself.

As far as the files, I’ll post links to the audio files from the conference after I get them uploaded. I should be able to do that sometime within the next 24 to 48 hours, so look out for that.

Assessment

Well, it’s a new year now, and English 318 has started! We had a wonderful class yesterday, getting things set up, figuring out our writing groups and all that. I am so looking forward to this semester!

With all of these changes happening, I thought I’d do a little recap and assessment of the last six months. I tried out a lot of new things over this time, and learned quite a bit about myself as a writer. I wish I could say that all of my experiments were successful, but at least I know a little bit better what works for me and what doesn’t. Here goes.

Experiment #1: Extensive planning and prewriting

About three months before I started Hero In Exile (the book I was writing last semester), I downloaded wikidpad and wrote a huge collection of articles, all about the world and the story plot. I spent a lot of time in worldbuilding before I’d even written a single word. I wanted to try this because I’m a discovery writer, and in my previous writing I tended to figure out the details of my world on the fly, as I wrote out the story.

This experiment was largely a failure, I think. I stopped writing Hero In Exile because it became too massive to write. As I wrote the story, I kept receiving story ideas and tried to integrate those, but towards the end of the first part, I realized that I was trying to doo too much. Planning didn’t stop me from discovery writing like I always do, and by the end everything was just too cluttered.

Experiment #2: Extensive prewriting of characters using Meyers Briggs personality types

I remember how a few months ago how I wrote a long post describing my characters using the Meyers Briggs typology (INTP, ESFJ, etc). I did this because I wanted more depth to my characters, and I supposed that by planning them out a little more, I would be in a better position to fully develop them.

My assessment on this is mixed, but overall I would tend to call it a failure. There were a handful of descriptions in the personality profiles that helped me to better understand these characters, but once I sat down and started writing, the characters started to do things that surprised me and that didn’t fit into what I had planned. By trying to describe their character before writing them, I wasn’t giving them enough room to show me who they really were; I didn’t give them enough space to act on their own and surprise me.

Studying the personality profiles was good in that it got me thinking more about my characters, but not a good way for me to conceptualize them before writing. I was simply trying to structure too much and not giving myself enough room to discover them and let them act on their own. By the end, I felt as if I were forcing my characters too much, and that made things very difficult.

Experiment #3: Waiting for the ideas to accumulate critical mass

For Hero in Exile, I felt all of my ideas reach a critical mass and converge while I was studying in Jordan. I then waited for nearly a month before sitting down and writing chapter 1. I did this for a couple of reasons: first, it simply wasn’t practical to start the project while I was studying abroad, and second, I had heard that a good novel is built out of a synthesis of several ideas, not just one, and I wanted to have all my ducks in a row before I started.

This also proved to be a mistake. Yes, it takes more than one idea to make a novel, but you don’t have to have all the ideas lined up before you start. I guess that planners do, but I’m not much of a planner, I’m more of a discovery writer. By waiting too long to start the book, I had too many ideas to work with.

However, with Genesis Earth, I had the exact opposite problem. I started way too early, before I had enough ideas to work with. Now, a year later, I’m struggling to wrap it up. The ideas have come, but the writing process was very choppy.

How do you judge when you’re ready to start? I have no idea how to measure it. It’s very touchy feely. I think I started Phoenix at the right time, but Hero was too late and Genesis was too early. At least I’m in a better place now to tell when is a good time to start.

Experiment #4: Spend more effort on detailed physical descriptions

When I wrote Hero in Exile, I found myself spending a lot of time on the aesthetics and physical descriptions of the world. I did the same in Genesis Earth. In doing so, I always tried to show, not tell, by giving some visceral or sensuous detail of something the viewpoint character was sensing.

I think this was a success. Whenever I brought in an excerpt from Hero into the quark writing group, everyone always complimented me on how how full and engaging my world was. The descriptions really added to the sense of wonder and helped them to feel that they were there.

Experiment #5: Avoid info dumps at all costs

Related to #4 was my decision to completely excise all info dumps from my writing. Anytime I found myself telling instead of showing, I stopped and focused on what was happening in the here and now of the story. I also withheld information to create curiosity and intrigue within the reader’s mind. Throughout this, of course, I always tried to keep my writing as clear as possible.

This, also, was a success, I think. At times, the readers became confused, but the withholding of information did create a lot of curiosity and desire to read more. Many times in the quark writing group, people said that they were sucked in by the writing and very much wanted to read on to find out what happened next!

Experiment #6: Create difficult ethical dilemmas and have the characters wrestle with them

I wanted to try writing stories that are more thematic and deal with controversial and difficult issues. For Hero, I had the main character struggle to keep his honor and chastity, where the people he trusted and loved the most try to manipulate him by tempting him to give in to his sexual urges.

I’m not sure if this was a success or not. I think that it was, but it was like pulling teeth, and some of the scenes are a little bit graphic. I guess that without giving my story out to some alpha readers, I have no idea whether it was a success or not. I have learned, however, that it’s not a good idea to sacrifice entertainment for a message. It’s possible to do both, and if your own story is something you’re not excited to tell, it’s not going to be easy to write it.

In short, last semester I wrote about 75,000 words total, without much to show for it except the unfinished rough draft of a flawed book, and a partially finished novel that I started last year. Still, I think I’ve learned quite a bit from the experience.

What does your muse look like?

I’m reading this interesting book by Stephen King that is a mix of personal memoir and writing advice. It’s a very interesting book, even if the language is much more colorful than anything you hear in Provo (except while in traffic, that is).

At one point, Stephen King got off on a tangent and described what his muse would look and act like if he were a living, breathing human being. Interestingly enough, he described his muse as a scruffy, disheveled old man who hangs out in basements and grunts more often than he talks.

That got me to thinking: if my muse were a living, breathing human being, what would she/he look like?

First of all, my muse would definitely be female. Even though women’s minds constantly baffle me, my muse helps me to write and understand my female characters a lot better than most of my male characters. Even though the protagonists in both of the novels I’m writing are male, I think I have a preference for female characters.

My muse is about five years younger than me and three thousand years older. She listens to my intellectual inquiries and philosophical dabblings like a younger sister, but is a lot closer to the pulse and rhythm of this world than I have ever been.

She has a soft spot for Homer and the old Greek epics (I suppose that’s right around the time when she got her start at being a muse), but she’s been deeply in love with space epics since the days of Heinlein, Herbert, and Asimov. In fact, her love of the stars must have started sometime back in the days of the Greeks and Romans, because that seems to be the only thing that’s ever on her mind. She’s definitely a night owl and I think she spends her nights stargazing while I’m asleep.

In contrast with my blunt, forward, and sometimes aggressive manner, she doesn’t really speak to me unless she knows that I’m listening. She doesn’t slap me upside the head to get me working, and she usually doesn’t come to me until I’ve been slaving away for at least half an hour. If I choose not to listen to her, she goes away without an argument.

As much as I love to toy with ideas and systems, she likes to touch, taste, see, and smell things directly with her own senses. She’s the kind of person who would take off her shoes to walk barefoot in the grass, even if it makes her late to where she’s going. She’s easily distracted and she never really lets me know where she’s going until we get there. If I listen to her and follow her, however, she almost always leads me someplace worthwhile.

My muse is very mischievous. Her favorite thing is to inconveniently interrupt me when I’m in the middle of something else to give me flashes of inspiration. I can’t tell you how many crazy ideas I’ve had in the middle of class, or a test, or general conference, or some other important thing. She teases me, too; if I don’t write down what she tells me, she won’t tell it to me a second time until I’ve racked my brain and beaten myself up several times.

My muse looks young and innocent, but don’t be deceived. It’s an act. She’s a wanderer who isn’t likely to settle down anytime soon. Blood, violence, battle, and death excite her. She thinks edgy stories are sexy and gleefully urges me to torture and confuse my characters as much as I can. Still, deep down, I think she wants the good to win out in the end, and the evil to be revealed for what it really is.

I have no idea why she came to me or why she stays with me, but she’s faithfully been with me as long as I can remember. Even though she won’t push me, she won’t let me ignore her either, and I know that whatever I do in life, she’ll be there with me. In some ways, that’s quite a burden, but in other ways, it’s very reassuring.

2,850 words more than I thought I could write today

Yes, that’s true. I wrote 2,850 words today, and it’s more than I thought I could do.

I’m trying to finish up Genesis Earth, but it’s difficult because I haven’t been with these characters in a long time and I’ve forgotten a lot of their motivations. I look at what I’ve written before and I see all these inconsistencies in the things they say and do. Not that regular human beings are without inconsistencies, but I just worried that these ones were too…inconsistent.

Eventually, I had to come back down on that cardinal rule that you have to allow your first draft to suck. Yes, not everything they say or do really runs together, but I’ll be in a better position to make sense of it once the first draft is done than while it’s still mostly a cloud of ideas in my head.

Today, I just kept on putting off writing, and I started wondering why I was doing it. Was it because my characters aren’t making sense? Was it because I’m finding my own story to be unbearably boring? Am I really cut out to do this for a living when I’m struggling with these things? Those are some disturbing questions.

I took some time to watch The Empire Strikes Back, on the twenty five year old VHS copy my parents taped it on when it came to HBO, with all the wavy lines and fuzzy resolution–the one that captivated me when I was nine years old. It’s such a classic! Space opera at some of its finest! Yeah, there were holes all through the science, and the romance is kind of cheesy at parts, but the script, the overall story, the buildup and the climaxes–so classic! In some ways, I think that Empire is the best movie of the entire series.

It got me thinking, maybe I just need to get interested in my story again. Maybe that’s what’s holding me back. Genesis Earth, while still being a primarily character driven story, has a lot more hard science to it than the epic space opera that I tend to write. Maybe I’m more cut out for space opera than the hard stuff.

I got about a thousand words in, watched a movie with my family (it was Elf–reminded me of everything I hate about Christmas and Hollywood, simultaneously), and sat down to blog and go to bed, but I noticed that I’d only done 1,190 words, and decided I’d at least finish the chapter.

I’d no sooner picked up the story than the characters started to take on lives of their own. Yeah, I might not have them figured out before this point, but I can fix that later. Better to focus on what they’re doing right now.

And as I did, things got really interesting. They went from almost killing each other (especially scary, considering that they’re both alone on a small spaceship twenty light years from anyone else) to rolling on the floor together, laughing and giggling and letting loose with all the things they wanted to say back at home but couldn’t because of what everybody else would think. When you’re alone on a spaceship, you’re free from a lot of social norms and pressures.

It goes to show that the way to get out of writer’s block, or writer’s avoidance, is to ignore all the doubts, worries, and negative thoughts in your head and just write. Those doubts and worries are all just illusions anyways. The story is still there, underneath it all. Give yourself to the story and you’ll figure it out.

Genesis Earth is now around 27.7k words. I’m making progress but I want this thing to be a full blown novel, so I’ve got at least 22.3k words to go. That’s roughly 2,000 words a day before school starts. My goal is 3,000 words a day from now to January 5th. That should be enough to tie up all the loose ends and finish it up.

And when that’s done, I can focus on rewriting The Phoenix of Nova Terra! I’m really excited for that!

No writing yesterday…but there is a reason

Well, as you may notice, I didn’t write at all yesterday. My wordcount meters are both down significantly, especially the 7 day one. Grr…I will get them back up before too long! New goal: get both meters in the red by the end of the week.

However, I have a reason for not writing, and it’s not a lame excuse that such-and-such happened outside my control and I had to put my writing on hold. It’s a lot more complex than that.

Basically, the scene that I’m stopped at has some graphic content, and I didn’t feel that it would be appropriate to write that scene on a Sunday. At the same time, I’m starting to wonder if I shouldn’t write this scene at all. In terms of the story, I think that this scene is necessary, but I can see people taking it the wrong way when they read it. I can also see myself feeling somewhat embarrassed when my friends read it. I’m not usually the kind of person that avoids controversy, but this is something where I’m not sure how to proceed.

Basically, here’s what I have in mind: Tristen, the main character, is on a mission to find his birth family. He’s left behind this futuristic Bedouin camp that’s raised him, except that the sheikh of this camp will do anything to get Tristen to stay. The first leg of Tristen’s journey is a pilgrimage to this famous temple, and the sheikh sends his daughter with Tristen, ostensibly because she want’s to make the pilgrimage too, but won’t have the opportunity in the future. Really, though, the girl has conspired with the Sheikh to try and seduce Tristen to convince him to stay.

That’s the background, but it really has nothing to do with this specific scene. In the scene I have in mind, Tristen and the girl are in a bar/restaurant halfway around the world, way far away from home, when this graphic performance occurs on the stage at this place. Basically, there is this major religious cult in this part of the world whose priestesses are basically holy prostitutes, like many Ancient Near East goddess cults.

The scene would involve some suggestive nudity and would raise the already existing sexual tension between Tristen and the daughter of this Sheikh. Basically, he’s been raised in this ultra-moralistic conservative environment, so the dance of this temple prostitute shocks him to the point where he doesn’t know what to think about it. He gets these images in his mind that he can’t get out, and he feels confused, guilty, passionate, and just…well, weird. This confusion gets him to the point where he doesn’t know what he’s doing with this girl who’s supposed to seduce him, so that she is able to break through his resistance and almost succeed in getting him to stay (and all that that implies).

Also, I want to throw this scene in to show the moral depravity of the society that Tristen passes through. By demonstrating just how graphically immoral the mainstream society has become, I’m hoping to show who Tristen really is–a morally upright person. I want to have this contrast in the story, even if it does mean writing a scene that might cause a lot of LDS readers (and even some of my friends) to throw the book across the room.

So how do I do this? How can I write a scene that is graphic and yet not pornographic? What do you think about my ideas here? What should I do–and not do? Why?

Grr…

Man, I’ve been busy this week. I have been making progress–750 words isn’t bad, even if it is lower than I’d like–but I haven’t moved past this one scene. It’s kind of frustrating.

I have the next couple of scenes figured out in my head, and I’m really excited to get to them (they’ve got all kinds of action and explosions and such), but the more I try to get there, the longer and longer the current scene becomes.

It’s not a bad scene. It’s just…unexpected. The plan was to quickly show Mira and Tristen entering one of the planetary domes for the first time and their awe at the lush, rolling agricultural land inside. Instead, it’s morphed into a confrontation with customs and security at the entrance to the dome.

I considered cutting it all out, but as I read over it I realized that it seems to be working. I sat down tonight, hoping to get past there so I could start tomorrow with the exciting stuff, but now it looks like other characters are getting drawn in. Grr…

In all reality, though, this is probably a good thing. The story is starting to take on a life of its own, and the characters are starting to act for themselves instead of having me pull the marionet strings all the way.

At least, that’s what I hope is happening. I still worry that Tristen is a little too flat.

In the meantime, I saw something interesting on the Publisher’s Lunch email for today. A minor publisher is offering to give away free books to bloggers who promise to post reviews of the book on their blogs and on Amazon. Free books, eh?

I checked the list of books available to review so far, and it looks like most of them are either non-fiction and/or mainstream Christian, but the concept is very interesting. If a minor sf/f publisher were to do the same thing, I’d be all over it.

Oh, and this made me laugh today. I still need to figure out what I’m going to be for Halloween…

Wrestling with my novel

Grrr…writing was so hard today.

It probably didn’t help that I was operating on only four hours of sleep, or recovering from a sickness, or constantly allowing myself to be distracted, but for some combination of these and other reasons, it was just really hard to write today.

I usually love revising. I think it comes naturally to me, in some ways. However, I’m well past the beginning of Phoenix and just starting to get to the part where I got muddled the first time I wrote it

Last year, I started to stall and sputter at this point because I had followed several of my initial ideas from the beginning to their preliminary conclusions and had to start adding new ideas to enrich the main story. I still didn’t know the ending, so I was basically throwing all sorts of ideas in at random and waiting for the magical reaction to happen.

That reaction did happen, but it didn’t really take off until around page 300. By that point, I’d thrown in enough random story elements that I had the start of a causal chain that would carry the story to an ending that excited me. I let things take off and rode the story to its conclusion, having a wonderful adventure right up to the last page.

Trouble is, now I have to clean up the mess I left behind–all those other random elements I threw in that never really mixed well with the others. Loose and frayed ends that I need to cut out or tie back in. At the same time, I need to isolate and strengthen the elements that ended up being important. That involves restructuring sections within chapters as well as paragraphs within sections, and it is bloody annoying.

It’s more than cutting and strengthening existing narrative. It’s cutting and pasting from multiple places, reorganizing it, and then throwing it all out and totally rewriting it in a way that actually works. It is so difficult, I’m probably going to get it wrong and have to rewrite the whole novel again to get it right.

(If I hadn’t taken a step back a few days ago and started outlining each section and chapter from a more macro view, I wouldn’t know what I need to do to fix this story. I’d see the problems and know that they exist, but I wouldn’t know how to restructure things so that the novel works together as a whole. So thanks, Reigheena, for helping me to step back and look at the wider picture.)

The most frustrating thing about this process, by far, is the choppiness.

When you have a blank page in front of you and you’re forging ahead with the first draft, it’s difficult but fairly linear. Everything flows out in a relatively streamlined progression. When you’re fixing the relatively minor details, it’s deliciously linear because you’re going going from paragraph to paragraph.

But when you’re revising the novel on a more macro level, overhauling the major story elements, you have to look at the story as a whole, transforming stuff on page 120 and introducing it in its new form on page 90, or adding new stuff between pages 80 and 100 to make the stuff before and after flow more smoothly from one to the other. You get a whole section full of dialogue and you realize it’s not working, because you’ve developed your character deeper than you had at this point in the original draft, and so you end up throwing out and rewriting everything.

Because the process is so choppy, I find it really easy to be distracted. I’ll have the exact sentence in my mind that I want to say, but the urge to get just a few moments of relief will be so strong that I’ll switch over and check my email, or check Facebook chat, or check my blog aggregator, or play a game for a little while, etc etc. So then, when I get back to work, it takes time to readjust, and that sentence that I had will be buried under half a dozen other ideas, so then I have to dig it out. Grrrr…

I’m tired, it’s late, I’ve had a miserable time wrestling with this novel today, and I’m going to bed. But before I do, I want to link to this highly interesting and well written blog post I saw on A Motley Vision, a Mormon arts and culture blog. The blogger tells the story of how she picked a controversial LDS fiction novel by Virginia Sorenson for her ward’s book club. Both her reactions and her friends’ reactions to the novel were really interesting, especially because they were so different. The ensuing discussion on the blog is really interesting because it’s all about the pros and cons of controversial, edgy LDS fiction, both to the readers as well as to the LDS publishing industry and LDS society in general. At least, I found it interesting. You can check it out and see for yourself.

I am so going to be in bed twenty seconds after I finish this sentence! Gnight!

Posting story ideas

My friend Steve posted a comment on my last post that I thought was deserving of a post all to itself. He said:

Joe,
If you have a good idea, you shouldn’t put it up on your website, man. Someone is gonna’ steal it. Take your flower idea and hoard it, man. Because, I’m gonna’ be honest with you, Victorian women using flowers to fight with in that punk setting is awesome. And you need to protect your kids, dude.

I can understand why people would be wary of sharing their best story ideas in a public place. For a long time, that was my philosophy as well: that good ideas should be hoarded and protected, lest anyone should “steal” them and run away with all the credit.

However, I know what I’m doing. My perspectives have changed, and I have several reasons for posting my story ideas up here publicly. Here are a few of them:

1) Ideas are cheap.

There are a ton of really good story ideas floating around in the sf/f publishing world. In English 318, Brandon Sanderson said that any given editor sees dozens of fascinating, imaginative, stupendous ideas in any given day. The thing that gets you the contract, though, is the quality of your writing. There are just so many amazing story ideas out there that even the most amazing ideas are relatively common.

2) Everyone has a different take on the same idea.

Two authors, writing essentially the same story, will come at it so differently that both books will be unique. Heinlein’s take on space travel is very different from Frank Herbert’s or Arthur C. Clarke’s, and Haldeman’s take on galactic war and colonization is radically different from Scalzi’s. Trantor is not Coruscanth, and Arrakis is not Tatooine.

All these story elements, though based on similar ideas, differ radically from each other because each author had a different take on things. When we write fiction, we bring all our personal beliefs, values, experiences, and perspectives to the story, whether consciously or subconsciously. It’s unavoidable. And since all of us are unique and different, so long as we’re honest in our writing our stories are going to reflect that uniqueness.

I’m not afraid of someone “stealing” my ideas because I know that my approach is different enough that my stories (so long as they’re honest) will be very different.

3) It takes several ideas, combined in a unique way, to make a full novel.

I used to think that you could write a novel based off of two or three really good ideas. Maybe that’s why I never finished anything. I’ve learned over the last year that, in fact, it takes somewhere around fifteen or twenty ideas, minimum, to come up with a good story. And that’s just for starters. Once you sit down and start writing it, new ideas erupt as the story progresses, and you find yourself taking things in unplanned directions. Adjusting your plans and integrating the new ideas with the old ones is part of good writing.

Brandon Sanderson said this in English 318, and I believe it: a novel is not found in the ideas by themselves, it’s found in the synergy that happens as you combine them together. As ingredients, your ideas may be powerful by themselves, but when you combine them together, the end result is much more powerful than the mere sum of them all. It’s all in how the ideas intermix.

4) Ideas grow and develop when you bounce them off of other people.

I do not believe that story ideas are static. They are not like Lego blocks that you stack together to make a construct. They are dynamic–they change and grow over time, like plants in a garden. If you take a plant and hide it in a closet, it will die. Similarly, I believe that if you “hoard” your story ideas, showing them to nobody and putting off writing them until you can write the best novel possible, those ideas will become weaker.

I tried to hoard one of my story ideas a few years ago, thinking that it was the best idea I’d ever come up with and that I needed to wait until I was experienced enough to include it in my magnus opus. Now, the idea doesn’t even interest me that much. I’ve grown, but the idea hasn’t, and I’ve moved on to other things.

My goal in sharing my story ideas here on this blog is to bounce them off of other creative minds and start a discussion. From that discussion, I think that my ideas will grow and become stronger. Other people often see things that I miss, and their take on things can really spark my imagination and help me to take my ideas to a new level. Discussing my ideas, not hoarding them, is what I need.

5) It’s easier to lose a notebook than it is to lose data stored on your website.

This last idea is purely practical. I keep a notebook with me at all times and scribble down story ideas in it as they come to me. Over the summer, I lost a notebook that I’d been keeping for several months. It had maybe thirty or forty story ideas in it, and now those are lost. From that, I learned the importance of keeping a backup. This website, in a way, is my backup.

So those are the main reasons why I’ve decided to blog about my story ideas and make them public. If my story ideas inspire you, then by all means go ahead and run with them. We live in an open source world, and besides, your take on the idea is still going to be very different from mine. And if you have any thoughts to share, please do! I welcome comments, especially for these posts on my story ideas. My goal is to bounce ideas off of you as the reader, because interaction is one of the things that makes blogging so useful.