How to Keep From Being Influenced By Other Writers

Young Writer Writes: How do you end up creating an entirely new idea without basing the story off of any of the other books you have read?

If you steal from one author it's plagiarism; if you steal from many it's research.--Wilson Mizner 

The Writer’s Response: To put it bluntly, you can't. 

 We are all influenced by other writers. I learned most of what I know about writing by reading. Reading is like taking a private workshop with a master of the craft at minimal cost. My best advice is to read widely; that way, you're less likely to steal too much from any one person.

Don’t worry so much about coming up with a brand new idea. It’s been said that there are no new ideas—that all stories fall into a limited number of standard categories. Fear not! If you give two writers the same idea, they will write entirely different stories. Each writer brings to the page her own database of experience. Nobody has the exact same life experience as you do—they’ve not been the places you’ve been, met the people you’ve met. Even if they had, they would not view them through your unique filter. Writers are constantly gathering material for story just by living their lives.

Make each idea your own by incorporating your own experiences into the writing of it.

When I read another writer with a strong voice, that voice tends to leak into my own work. The best defense against that is writing practice. All artists do this--there is no substitute for practice. The more you write, the more likely you are to develop your own voice. Our first novels tend to be derivative; subsequent novels become more and more our own. 

How to Write in Alien

The Reader writes: What’s the best way to handle alien languages in a story? Do I put the translation in parentheses right after the sentences in Alien? Or do I use italics? Or maybe put a glossary in the back?

The Writer writes: Generally it's not a good idea to have lengthy passages/conversations in an alien, magical, or foreign language, even if translated. That slows down the pace and has the potential to send the reader elsewhere. Tolkien got away with it, but that was a while ago, he was a linguist, and even then, it was mostly in songs that readers could skip over if they chose.

Where alien or foreign languages are being used, if your viewpoint character understands the language, then it's already translated in his/her mind for the reader. If she doesn't understand the language, then it's just gibberish (no translation available.) 

A good way to indicate a foreign speaker through dialogue is by using sentence structure and word choice in English to indicate that it is someone who is speaking a foreign language, while throwing in the occasional key foreign word, where the meaning is clear from context.

I don't have any aliens in my books (yet!) but people do speak different languages, and that's usually handled this way:

"Get out of my way!" Han said in Common, a language that even an Ardenine would understand. 

Or "You're not going anywhere!" King Girard shouted in Ardenine, the harsh Southern syllables echoing in Raisa's ears. 

I also use quite a few magical terms and slang words, which are explained, usually by a character or by context. For instance, a character says, "It's aelf-aeling. Also called Wizard Flame. It's like an amplifier for power."

Or, through context, as when a character says, ana memorare. When the victim loses his memory, the reader figures it out. 

A glossary can be helpful for reference, in case a reader wants to double-check a meaning or takes delight in magical trivia (I have readers who do.) But glossaries, character lists, maps, and the like should be considered enrichment—an additional resource for the interested reader. The book should be readable without it.

It's Not About the Idea

The BLOG TOUR begins! Today I travel all the way to the UK, where I'm guesting with Thea and Ana, The Book Smugglers.


It’s Not About the Idea
I often hear from young writers despairing because they can’t come up with a totally new and unique idea. All the good ideas are taken, they say.
Here’s a secret: it’s not about the idea. It’s about the execution. Really, it is. All writers stand on the shoulders of other writers. Fantasy tropes persist because they work so well in story.
Wise old wizard mentor, anyone? Think Merlin. Think Gandalf. Think Dumbledore. Think Obi-Wan Kenobi.
Vampires keep coming back (ha!) because they’re scary and primitive and hot. Stephenie Meyer achieved extraordinary success with a new take on an old premise. Though she was pilloried by some for departing from vampiric convention, resulting in hilarious debates about whether “real” vampires could be “sparkly” or go out in the daylight.
Who made the vampire rules?
J.K. Rowling was not the first author to write about wizards. It was what she did with the premise that made her books so successful. Fortunately for us, there’s no copyright on wizardry.
There, now. Pressure’s off about the idea. Pressure’s on about the execution.
So how do you make a story your own?
On to The Book Smugglers for the rest. 

Finding Feedback

Young Writer Writes:

I write poetry and some stories, and I have been told a few of them are really good. Is there some place you recommend I send them to get a professional opinion? Someone you trust that won't claim them as their own? If you have any ideas, it would be greatly appreciated.

Finding good feedback is one of the greatest challenges for all writers—but especially for young writers. First and foremost, I recommend that writers of all ages who would like to improve their craft seek out a local or online critique group before they ever send it out into the world. Take your work as far as you can on your own. That will allow you to make the most of professional feedback.

Feedback from a critique group is different from what you can get from your friends, your Mom, or the next door neighbor. The best critique comes from other writers who are as serious about craft as you are. It’s a reciprocal thing—you read their work, they read yours—everybody benefits.

You can find several previous posts on critique on my livejournal blog.

When you are ready for a professional opinion on your work, the biggest problem isn’t having your work ripped off. It’s the risk of being scammed. There are lots of so-called vanity presses, writing consultants, sketchy contests and bogus anthologies who are ready to take your money.  It’s difficult to make money with short stories and poems—especially as an unknown. But you shouldn’t be paying for the privilege of being published.

It may occur to you to send your work to your favorite author for evaluation. While many authors find ways to mentor others—  through blogs,  websites,  school visits, and workshops, most cannot take on the task of reading and evaluating your work.

One way to access professional feedback on your work for a nominal sum is through a writing workshop or conference. There may be workshops in your area through a community college, writing organization, or arts program. Often, writing conferences offer one-on-one consultations with an agent, writer, or editor for a fee. The Society of Children’s Book Writers and Illustrators is a national organization whose affiliates often sponsor regional writing conferences. 

A legitimate writing contest can be a way to see how your work measures up against other submissions. But, again—beware! Some contests have high entrance fees or are fronts for vanity anthologies.

InkPop is a networking site for writers and readers sponsored by Harper-Collins which provides an opportunity to have your work evaluated by Harper-Collins editors.

TeenInk sponsors a number of contests for teen writers.

And here’s a site with a list of teen writing contests.

Another way to get feedback on your work is to submit it for publication. Be aware, however, that book and magazine editors are not in the business of mentoring writers. If your work is accepted by a legitimate publication, you will get lots of feedback! In other words, it will be edited. If it is rejected, it is usually through a form letter that doesn’t tell you what is wrong or how to fix it. Most writers—myself included—have a whole file folder full of those.

There are markets that specifically seek teen writers. Here are some links to get you started.

Teen Ink is an online and print magazine written exclusively by teens 13-17. 

This is a Google directory search for resources for young writers and a site that lists best websites for young writers. 

            Again, do your due diligence in checking out any of these opportunities, and  Good luck!        

          

Real Writers Write

Young Writer writes: My friend… just died at the age of 12, writing has basicly been my escape portal, but I worry that I'll never be a real writer, like you. I really want to make other people happy, by spinning tales and stories, so, what do I do?--Grace

Grace, if you are writing, you are already a real writer. It's tempting to want to please others, but you must first please yourself. We are like singers who sing for the joy of it, even if no one is listening. The writers that last are the ones who understand that it is the writing that matters. That's the only way to survive the cruel and capricious nature of the publishing world.

So write to escape, as I did in fourth grade, when my mother was seven weeks in the hospital. Write to nail down that image or experience that might otherwise slip through the net of memory. Write to seize hold of the people you are not willing to give up. Write to give shape to concepts and arguments and to capture those sharp edges of the spirit that are worn away by time and weariness. You may find an audience, if that is what you want, but that is the only way to begin and continue. Good luck.

On Plot

Young Writer Writes:

I’m in eighth grade, and I’m supposed to write a 50,000-word novel for English class, and I’m having trouble coming up with a plot. Do you have any advice?

Dear Young Writer: Whoa, the bar’s been raised since I was your age.  I had to write four-paragraph persuasive essays. Of course, sticking to four paras isn’t easy for a fantasy writer.

Well, you know I’m not going to hand you a plot line, because writing is difficult enough without having to write somebody else’s story. But I will give you some advice.

1.     Writers get ideas from their own experiences. We are all constantly collecting experiences that can be used in story. There are lots and lots of writing prompts out there that can stimulate story.

2.     Many writers are stopped by the notion that they have to have everything figured out before they begin. If you’ve read my Plungers vs. Plotters post, you know that I don’t outline ahead or time, though I do have a rather loose framework. The writing process spawns story.

3.     If you do your work with character, plot comes naturally. Every story starts with a character, her desires, and the obstacles in the way. That’s where conflict comes from. If you do your work with character up front, plot will follow. Your job as a writer will be easier.

4.     Once you have a character and her desires and obstacles, think how you can make matters worse. At the opening of the Harry Potter novels, Harry’s biggest problem is those nasty Dursleys. But soon, more and more problems are piling on.  Fantasy is especially good for that. Not only does Buffy the Vampire Slayer have to navigate the minefield of high school, she’s living on the Hellmouth.

5.     While writing a first draft, stay open to serendipity, to new ideas, even if you do outline ahead of time. As you write, connections and complications will surface that you didn’t anticipate. Don’t be afraid to go with them, and clean up after. That’s why writing in the computer age is so much easier than, say, woodworking. It’s a lot easier to undo and redo.

6.     I’ve said this before, but I’ll say it again—the first draft is where you lay the framework of plot. In order to do that, turn off the editor in your head. I have writer friends who will put a note in the middle of a chapter—WRITE AN AWESOME DESCRIPTION HERE or SHOW HOW NASTY TABITHA IS or GET THEM BACK TO SCHOOL SOMEHOW. Don’t lose momentum by figuring out every detail.

7.     Hopefully, these guidelines will help you finish a first draft. But understand that a first draft is just a start. Just because you’re done doesn’t mean you’re done. Learn to love revision.

So You Want to Find A Publisher

Young Writer Writes: I would like to try to get my books published eventually and so was wondering does it cost anything to publish a book? Do you need to get your own editor or does the company provide one?

Young Writer,

Cool that you're making plans for publication. The very first thing to do is to make sure your manuscript is as strong as it possibly can be. Many writers (including me, at the beginning) tend to rush to the business of publication before their manuscripts are really ready. Many writers write several novels before they write one that is ready for publication.

Most successful writers revise numerous times and also submit their work for critique so that other readers can read it and offer suggestions. Those readers will usually be other writers. 

You’ll find posts on finding critique partners here. http://cindachima.livejournal.com/tag/critique

You may find a number of other posts on my blog helpful, including this one called "What to Do with That Diamond in the Rough." 

http://cindachima.livejournal.com/8400.html

To read all my writing-related posts, go to my LiveJournal and use the tag, Young Writer Q&A. You'll find my writing-related posts here. http://cindachima.livejournal.com/tag/young%20writer%20q%20%26%20a

On my website, follow this link

http://cindachima.com/Resources/tips.htm

and read all of the documents on there, including Getting Started in Writing, which has many links to useful information. 

In my opinion, anyone who is seeking to publish a novel will benefit from having representation from a literary agent. A literary agent sells your work to publishers and collects a commission of 15% for domestic sales and 20% for overseas sales. Many publishers—my own included—accept submissions only from literary agents. Without an agent, you will be shut off from the largest publishers.

Finding an agent isn’t easy, though. I have a number of posts on my website relating to finding an agent.

http://cindachima.com/Resources/tips.htm

To answer your question, a commercial or traditional publisher does not charge to publish your book and will provide an editor for you. A commercial publisher is one who makes money through selling your books through an established distribution network. Remember--money flows from the publisher to the writer and not the other way around. 

Some people are choosing to self-publish these days; in that case you pay the cost of publishing your book. There are many new ways to self-publish, including digital editions that do not cost much to make available online.

However, because anybody can self-publish a book, many of the books published are of very poor quality. Even if your book is great, it can be difficult for readers to find it. While there are notable exceptions, most self-published books never sell more than a few hundred copies, mostly to family and friends.

There are a few situations in which self-publishing makes sense, e.g. in some non-fiction categories, or where you have a "platform" or opportunity to promote your books.

For example, let's say you travel the country teaching seminars on making money in publishing. You might self-publish a handbook and sell it at your seminars. Otherwise, I still think it's best to pursue commercial or traditional publishing, especially for fiction. 

Why I Write Fantasy Fiction

Why I Write Fantasy Fiction

I don’t know which is worse in the eyes of some readers and writers of SERIOUS BOOKS—writing fantasy fiction, or writing for teens. In the tone of voice an adult might use when admiring a two-year-old’s childish drawing, they say, “Keep at it, and maybe one day you’ll get to write a real book.”

I’ve previously discussed being dissed as a writer of fantasy fiction by the literati. I’ve also explained why I write for teens.

Truth be told, writers don’t need to seek out more opportunities for humiliation—our lives are humbling enough as is. So why write fantasy?

1.  The easy answer is that fantasy sells, and has been selling for years, especially to young readers. On a recent New York Times bestseller list (October 1, 2010) eight of ten bestselling chapter books and five of ten bestselling series books were fantasy novels of one kind or another. Fantasy these days is such a broad genre that there’s room for a broad range of readers and writers.

That said, I think it’s a mistake to follow trends. Writing a novel is difficult enough if you like what you’re writing. I think readers can tell when you’re just going through the motions. So, keep an eye on the market but write from the heart. Not every genre suits me, but fantasy does. Therefore I write it. That’s not to say I always will.

2.  Fantasy expands options when it comes to plot and conflict. The element of magic is one more weapon in the writer’s arsenal. Not only is Buffy the Vampire Slayer forced to navigate the social minefield of high school—but there’s a hell-hole under the cafeteria.

In The Demon King, Han Alister is an orphaned  streetgang leader who’s being hunted for murders he didn’t commit. Also, he’s carrying a magical amulet that could destroy him.

Princess Raisa ana’Marianna stands to inherit a political snakepit of a queendom from her mother the queen—if she can manage to hold off a rebellion of powerful wizards desperate to regain power.

In The Warrior Heir, Jack Swift is a high school student whose girlfriend just broke up with him. The principal hates him and he’s worried he won’t make the soccer team. Also, two powerful wizard houses are hunting him, meaning to play him in a deadly magical tournament.  

Alternative worlds expand options as well. The Seven Realms series takes place in a quasi-medieval world. In medieval times, sixteen-year-olds were adults, for all intents and purposes. And so, as a writer, I can put my teenage characters into dire and dangerous situations; I can shovel heavy responsibility onto their shoulders and send them out on the road without worrying about Children’s Protective Services.

3. Fantasy provides a forum in which to explore Big Ideas in a safe place. I don’t mean safe for the characters—I mean safe for the reader. Long ago and/or far away provides a certain distance.  It’s clearly a created world, even if I manage to entice the reader into it.

In the Queendom of the Fells, I can address environmental and gender issues without the distractions of contemporary politics. I can explore revisionist history without pointing any fingers. I can put the conflict between good and evil into stark relief in an ecumenical way.

            Fantasy can free the reader of pre-conceived notions, expectations, and biases and allow them to experience a different sensibility—new ways of looking at the world.

4. All fiction provides escape from real life, if only briefly. The reader chooses the escape that suits him or her best. A gritty contemporary novel may not offer escape from a gritty contemporary world.             Fantasy does.

5. Finally, and perhaps most important, fantasy is fun. In a world that seems bent on the destruction of pleasure reading, fantasy satisfies.

Forming Successful Critique Partnerships

Great—you’ve found a critique partner, or a group, or an ongoing workshop. Yes! You think. This is just what I need to reach the next level.
But there’s trouble from the start. Cassie submits a hundred pages every month, but does a perfunctory read of your 850-word picture book. Roy only shows up when he is on the schedule for critique. Roy’s erotica embarrasses Tom, who writes “clean teen” fiction.
Bitsy gets defensive whenever anyone makes a suggestion about her work, and it always turns into a big argument. She thinks the only person qualified to comment is Miranda, because she’s the only published author in the group. Bitsy is hoping Miranda will refer her to her agent. Of course, nobody ever has any suggestions about Miranda’s work, because it is just PERFECT.
Miranda quits after the first meeting. And within a month or two, everyone else does, too. What went wrong?
I’ve belonged to a number of critique groups over the years. Some lasted for years, others either imploded or were not a good fit for me.
I am currently active in three very different groups. One is online, the other two are in-person.

There are many different ways to structure a critique group, but making it effective and fair takes planning and effort on everyone’s part. It’s important to establish some rules and expectations from the start. You may need less structure than this, but here are some issues to consider up front.

Who will be in the group? Can anyone join or are there criteria as to genre, audience, or experience level? Is the group open to the public, e.g., new members can join at any time, or closed, to maintain continuity? Is there a limit as to size? How are new members admitted? Does the group have to agree or can any member invite someone? Do prospective members have to submit a writing sample?
Some groups include a mixture of new and established writers, which allows more experienced writers to mentor newbies. But there’s also the risk of losing pro-level writers who are not getting value back in the form of helpful critique. Long-lived groups depend on reciprocity—where all members have their needs met. I think it’s best to seek group members who exhibit the same level of focus and professionalism about the work.
It is not necessary for all members of a critique group to write in the same genre, but it is necessary for all members to take submissions seriously and offer useful critique, whether they write that genre or not. It is not helpful for another member to throw up his hands and say, “Well, I don’t feel qualified to read this because I just don’t get science fiction.” Good fiction, no matter the genre, has more commonalities than differences.

How will the work be submitted? Will it be distributed in hard copy to members for review at the next meeting? Emailed to members ahead of time? Read aloud at the critique meeting? There are pros and cons to each method. For instance, reading work at the meeting means there is little work to be done outside of the meeting, except for the writing. But it also means that time at the meeting will be taken up by reading. You may need to limit the number of works critiqued at a meeting, and the length of each work critiqued.
If submissions are read aloud, a good or bad reader can affect how the work is perceived. And “hearing” a work is different from reading it.

What will the process be? Will you meet in person or submit critiques online at your convenience? If in person, will critiques be written? Verbal? Both? Do members want line edits or global feedback only? Can a member submit every month or is there a schedule? Are all group members expected to critique every submission? At the meeting, will you go around the circle, making sure everyone is heard from, or will it be a matter of who speaks up? Is the author expected to remain silent during the critique or not? You may think, why shouldn’t the author be allowed to speak? But it can shut down feedback (not to mention take up a lot of time) if the author argues and defends and explains every point. Will there be a discussion leader at the meetings? That can help keep the meeting on track, on time, and discourage off-topic side conversations. Is it the same leader at every meeting, or does it rotate? Is social time planned into the meeting, or is it all business?

What are the expectations of group members? Will the group meet at the same time and day each month or will it vary depending on member schedules? Are all members expected to be at the meetings, except in unusual circumstances, or can they come and go, depending on their interest in the work at hand? If members don’t attend the meeting, are they still expected to forward critique to the submitters for that month? Are all members expected to submit, intermittently at least? (This may seem obvious, but I once belonged to a group that broke up because some members critiqued, but never submitted.) We learn both by giving critique and receiving it.
Finally, it may take several tries to find a group that is a good fit for you in terms of membership, process, genre, and work ethic. One group may be primarily a social group, another may be a nest of literary barracudas, a third may focus almost exclusively on a genre that you don’t write. If you write novels, a monthly critique meeting with a ten-page limit is not going to work well for you in terms of getting feedback on the entire work.
Be persistent. If you want critique, find a path that works for you, even if it means organizing a group yourself.

Critique Links
You will notice that a lot of these resources are related to science fiction and fantasy writing. That’s because SFF writers have a long history of workshop critiquing.
Longridge Writers Group
This site covers rules of critique as well as guidelines for managing critique group problems
http://www.longridgewritersgroup.com/rx/st01/starting_a_critique_group.shtml
Turkey City Lexicon
Site directed at science fiction and fantasy writers, but all writers will see themselves here (and have a good laugh too)
http://www.sfwa.org/writing/turkeycity.html
http://www.fictionfactor.com/articles/critiquing.html Tips for the actual process of critiquing
James Patrick Kelly’s article on Writing Workshops
http://www.sfwa.org/bulletin/articles/workshop.htm

When and Where to Find Critique

In  a previous post, I discussed the benefits of getting feedback on your work before you take it to an agent or editor. 
There are a number of ways to get feedback on your work, including hiring a freelance editor or signing up for a writing class or paid workshop with a writing professional. But here I’m talking about peer critique—a reciprocal process where writers read and critique each other’s work and so improve through the process.

When should you seek feedback/critique on your work?

For some writers, early critique can be a story killer. Writing a first draft and revising it are two separate skills. Those writers will want to finish the entire project and do a first revision before showing it to anyone else.

For others, early feedback can help set them on the right path. The right critique group can help them see the potential in their story.

In order to make the most of a critique opportunity, I think it’s best to honor your readers with fairly polished work. You don’t want your expert readers to spend their time on line edits, grammar and spelling. Take your work as far as you can on your own—then seek help from others.

If you are actively publishing, deadlines must be considered also. If you want the benefit of critique before you submit your final manuscript to that editor or agent, that timing will be a factor.

Where can you find feedback?

Writing organizations, such as the Society for Children’s Book Writers and Illustrators, the Romance Writers of America, the Mystery Writers of America, and the International Women’s Writing Guild often sponsor local chapter meetings and online and in-person critique groups.  These groups may require membership in those organizations, but should welcome visitors for a few meetings.

A Google search on “writers Cleveland OH” turned up links to the Lit, a home-grown writing organization that sponsors book clubs, workshops, and classes, the Ohioana Library, which focuses on Ohio writers, and the Ohio Center for the Book, associated with Cleveland Public Library.

            Local libraries and bookstores often host writing workshops and meetings, and may know of writers meeting in your area. Sometimes a workshop can grow out of a writing class or program. One of my first critique groups grew out of a fiction-writing class I took at a library. We continued to meet for more than ten years.

Some writers don’t belong to a formal critique group at all. They may have a few trusted readers who provide that service. It may be tempting to ask your spouse or siblings to read, since they are conveniently at hand, and may be willing and interested. As a writing professional, however, ask yourself whether they are the best readers for your work. And whether the feedback from that reading might damage a valuable relationship.

Future post: Strategies for Successful Critique

Links to Writing Organizations

Here are some links to get you started.

Local Writing Organizations by state on Squidoo: http://www.squidoo.com/localwritersassociationsbystate

List of  National Writing Organizations on Novelspot:

http://novelspot.net/node/1154

And ebook crossroads:

http://www.ebookcrossroads.com/writers-associations.html

Some Genre-Related Writing Organizations

http://www.mysterywriters.org/

http://www.rwanational.org/

http://www.sfwa.org/

http://www.scbwi.org/

The Importance of Critique

When advising aspiring writers, I always suggest that they find a way to get feedback on their work. There’s only so far you can take your work all by yourself.
And better you deal with that adverb addiction or propensity for purple prose before your work goes to an editor or agent. They most likely won’t offer critique—they’ll just say no.
You may be tempted to send your manuscript to an author you admire and ask for feedback. But as I pointed out in a previous post, most authors simply cannot take this on.

That said, finding the right kind of feedback is easier said than done. First of all, you have to be honest with yourself about what it is you want. And then you and your critique partners need to be on the same page, so to speak. If you want somebody to tell you what a genius you are, well, there’s always Mom (you take after her, after all.)
If you want to improve as a writer, you’re looking for something a little more directive than that. Something that will let you know very clearly what is and isn’t working, without breaking your writer’s heart.
What is often overlooked is that critiquing other writers’ work and hearing other viewpoints and voices also helps you grow as a writer. One important lesson to learn, early on, is that readers bring their own tastes, skills, and sensibilities to the table. And that not everyone will connect with what you write.
More than that, writing is a lonely and potentially soul-shattering business. Spouses may be supportive, friends empathetic, but sometimes only another writer can understand what it’s like to receive a seven-page editorial letter on the novel it took you five years to write. Or have your heart’s work rejected for the sixteenth time. Or have an agent tell you, “I didn’t love it.”
They can answer those questions that begin with, “Is it just me or…?”
Only another writer knows that your troubles aren’t over when you find an agent; when you find a publisher; when your first book is successful.
Other writers can help you recognize and celebrate your successes—even if that success is a personal note from an editor or agent scribbled on a rejection. Your spouse may say, “Um. But it’s still a rejection, right?” Your critique partners will know that it represents progress along the continuum to publication.

I used to belong to a critique group that had a little Snuffleupagus totem we passed around to the writer who’d received the most humiliating rejection that month. For example, it might be the one who had been rejected by the publisher with the lowest standards, had received the most impersonal, crooked, multiply-copied form letter or the most caustic scribbled remark. Like the newspaper editor who scrawled, “I DON’T THINK SO, MRS CHIMA!!!” across the article I’d submitted on spec. Or the editor who told my friend, “If it were possible to publish everything, we would have published yours.”


In a future post: where to find critique.

Life, Edited

I am a fiend with a digital camera. I come from the desperation school of photography—take enough photos, and a few are sure to come out. In the old days of film cameras, each decision to shoot was an economic one—how much do I really want a picture of Aunt Milly in the flower garden? So-called snapshots were rare. If you didn’t have time to actually frame and compose a photograph, you didn’t take it, because who wanted to pay to develop a blurred image of a roadrunner’s butt?

Now that I am free to shoot away, I do. I’ve taken photography classes several times, but find that many of the principles sieve through my mind like sand through a colander. Likely cameras, like cable television, are too sophisticated for me. But I’ve learned enough about my little digital camera to take some pleasing shots. Out of a hundred or so. Happy accidents that capture the truth of a place.
I use my camera as a substitute for my imperfect memory. I can remember things from childhood like the fifty states in alpha order or Frost’s “Stopping By Woods on a Snowy Evening.” But when writing in my journal, I find myself calling over to my long-suffering spouse, “What was it we did today?”
When I use a camera, it’s all about story telling. What photographs do I need to tell this story? How can I recapture the atmosphere, the light, the scents, the experience of being in Taos, NM.? Little things—what were those flowers along the river that smelled so good? Who were the innkeepers and what was their story? What were the colors that smacked my eyes—the browns, the oranges, the multiple shades of gray—so different from the greens of home?
The mountains are called the Sangre de Cristo Mountains—the blood of Christ. How do I capture that?
I take dozens of photographs, because I am acutely aware of the limitations of the camera lens compared to the human eye, with its filters of emotion and memory, the other senses layered onto the images it captures. I am always a little disappointed in my photographs. But it was better than that, I think. I can’t always get at the truth in a photograph. It doesn’t produce the same emotional experience as the real thing.

We saw the Georgia O’Keefe Abstraction exhibit at the O’Keefe Museum in Santa Fe. Quotes from O’Keefe annotated the paintings, most done early in her career. Much of what she said seemed to apply to writing, too.
One can't paint New York as it is, but rather as it is felt.
I had to create an equivalent for what I felt about what I was looking at - not copy it.
I often painted fragments of things because it seemed to make my statement as well as or better than the whole could.
Objective painting is not good painting unless it is good in the abstract sense. A hill or tree cannot make a good painting just because it is a hill or tree. It is lines and colors put together so that they may say something.
Reading is collaboration between the writer and the reader. It’s not so much the story you’ve written, but the story that the reader creates in response to it—the emotional truth of it.
Sometimes the truth of a thing is different from its exact reproduction on the page. In the best writing, the truth we capture is both more and less than a transcript of life. It is life, edited to reveal truth.

BEGINNINGS

Q: I am always curious what first goes through an author's mind when they begin to write a book.

 A: Pure, unadulterated panic!

 Q: No, I’m serious! I’m just not sure how to go about it. I have character names, as well as the general plot. I’m just always confused as to how to ‘start’ a book.

 A: In two previous posts, I discussed why some writers may begin with great enthusiasm, but lose momentum along the way. They run out of story before they have enough pages to make a book.

But sometimes the problem is getting started. Nothing happens until you put something down on the page. But how?

The cool thing about writing as opposed to, say, building brick walls, is that writing is easy to revise and reshape. Sometimes at first, you can’t really tell where your story begins. My advice: don’t obsess about it. Get something down, and then make your decision in revision. Slash away at the fat at the beginning into you cut into the muscle of the story. That’s the beginning.

For me, books begin with a character, what the character wants, and the obstacles in the way.  For example, in Twilight, Edward and Bella want to be together, but the fact that he is a vampire and wants to kill her from time to time is an obstacle. Then other obstacles surface—Jacob, for instance.

In The Demon King, reformed thief Han Alister wants to earn a living for himself and his family without returning to the gang life. What’s in the way? It’s really hard to make a living in Fellsmarch, because of the ongoing wars, he’s been accused of a series of murders, his mother thinks he’s demon-cursed, and the most powerful wizard family in the Fells is out to get him.

Usually, a book begins with an inciting incident. In The Demon King, Han Alister encounters three young wizards setting fire to his hunting grounds. He takes an amulet from one of them, and that brings a whole load of trouble down on his head.

I think it’s best to begin your story in scene, with characters on the stage, ensnaring us in their story.  The opening of your story should establish voice and point of view, introduce conflict, and make a promise to the reader about the story to come.

It may be helpful to try reading opening scenes in books in your genre. How does the author begin? What does he or she choose to include, right up front?

As I said in my post on plunging vs plotting, you don’t have to have everything figured out in order to begin. Just know that there may be considerable clean-up at the end.

The New England SCBWI Conference or Why Writing is Like Dying

I spent the weekend at the awesome New England SCBWI conference. Mostly fielding reactions like, “You drove ALL the way from OHIO? Don’t they have conferences in Ohio?” (Typical East Coast attitude.)
It was rather rash. You see, eleven hours in the car didn’t sound so bad three months ago, at registration time. It looked kind of misty and romantic, like a far-away, blurry photograph of yourself. I thought, “Road trip! I’ll be driving through the Berkshires in May; how lovely!” And it IS lovely. But still a long way. Even with the Rent soundtrack blasting through the speakers.
I ran into Paula Kay McLaughlin at the luncheon buffet. She lives in Connecticut, but I first met her at the Central Ohio SCBWI conference, where she was busy explaining why she’d driven all the way from Connecticut to Ohio for a conference. “Don’t they have conferences in Connecticut?”
This is Kindling Words East territory, so of course I saw lot of my writing buds from there, including Kathleen Blasi, Sibby Falk, and Toni Buzzeo. Some of us still smell like woodsmoke. Kathleen and Sibby and I celebrated by getting lost in the twisting roads surrounding the Fitchburg Courtyard by Marriott. As Sibby said, “Lock the doors! I think I hear the banjos starting up.”
Here are Carolyn Scoppettone, Libby, and Kathleen in happier times.

I finally met online friends Jo Knowles and Stacy DeKeyser in person—yay! They were both on faculty for the conference.
Made lots of new friends at dinner Friday night

and rubbed shoulders with Cindy Lord at dinner Saturday night. Maybe some of her Newbury-worthiness will rub off on me.

Lest you think I spent my entire time eating, Cynthia Leitich-Smith’s keynote was incredible. That girl has the Native-American equivalent of chutzpah. She told the story of her journey into print. She was living in Chicago and working as a lawyer when an epiphany hit—she wanted to be a children’s writer. At this point she had absolutely nothing on the page. So she and her husband both quit their jobs and moved to Austin. Two years later, Cynthia published her first book.
Cynthia and I put our heads together after her interview on Sunday. Actually, I was hoping some of her chutzpah would rub off on me.

In Liza Ketcham’s Dialogue workshop, we organized into groups of three and wrote a scene together, each contributing a character that was voiced by another group member. Our group ended up crafting a scene involving a wizard, a gossip girl, and an eleven-year-old boy with a disabled brother. I came away convinced that I am unlikely to survive a collaboration.
I also attended the presentation on school visits offered by Cindy Lord and Toni Buzzeo. Cindy had great suggestions for dealing with teens reluctant to share their work. And Toni’s strategies for managing active children in the classroom were golden. Let me tell you, anyone who acts up in Toni’s workshops has no idea what he’s in for.

When the conference was over, the hotel emptied out quickly. I stayed overnight so I could leave early in the morning. Still resonating from our comingled spirits, I sat in my hotel room and drank wine and wrote. As my husband would say, something I could easily do at home.
And, maybe it was weariness, or the wine, but it occurred to me that writing is like dying—in the end we are always alone with that page. But our writer and illustrator friends are like a choir of angels, singing us into heaven.

Chima's Rules for the Writing Life

OK, in my last post I shared Ten Rules of Fiction Writing related to craft. Today I’ll post my rules for The Writing Life.

ON THE WRITING LIFE
1. Don’t be a writer unless you absolutely have to. To paraphrase Red Smith: Writing is easy; all you have to do is sit down at the keyboard and open a vein.
2. Nothing really happens until you put your butt in the chair and get the words down. If everyone who wanted to write a book actually did, the earth would be denuded of trees.
3. Never read your work once it’s published. There will always be something you wish you’d done differently.
4. Three hours on the Internet can save you a good ten minutes in the library.
5. If you cannot make a living through writing alone, find a day job that will not suck the marrow out of you.
6. Figure out when your best writing time is, and spend it writing, not Googling yourself, watching Cash Cab or researching agents.
7. There are too many arbitrary divisions in fiction—between young adult and adult lit, and between the genres and so-called “literary fiction.” All good writing has more in common than you think.
8. Never judge a genre by its worst example.
9. Don’t believe your best reviews—or your worst reviews.
10. Not everybody is going to like what you write. It doesn’t matter how good it is.

There you go. When it comes to sex and similes, you’re on your own.

Ten Rules of Writing Fiction

Recently the Guardian newspaper asked established novelists to share their Ten Rules of Writing Fiction. Twenty-eight authors responded with guidance on everything from adverbs (a mortal sin) to sex (abstain from sex and similes) to travel (Margaret Atwood suggests that you take a pencil to write on “aeroplanes,” since pens leak.)  Philip Pullman rather snippily said that his main rule is to say no to requests that take him away from his proper work.

And I got to thinking: I teach a lot of writing workshops, and I correspond with many young and newbie writers. Wouldn’t it be efficient to be able to sum up all of my wisdom in a few key rules? Is it even possible? Could I tell you all you need to know about writing in ten Tweets?

OK, I’m a fantasy writer. Ten rules is so not enough. With ten rules, I’m just clearing my throat.

Let’s begin with craft, and I’ll follow on tomorrow with ten rules for The Writing Life.

ON CRAFT

1.     If you get your characters right, they’ll write the book for you while you cheer them on.

2.     The most important thing to know about your characters is what they want, and what’s in the way.

3.     Be kind to yourself when you are writing a first draft. It’s a scary business.

4.     It’s always best to write a first draft when the editor in your head is asleep.

5.     When it’s time for revision, shake her awake and give her a strong cup of coffee.

6.     If you want to be a writer, you’d better learn to love revision.

7.     You can learn a lot about writing novels from the movies. In a movie, story is delivered in scene, through action and dialogue. There’s no author getting in the way, explaining what needs no explanation.

8.      Trust your readers and give them room. Readers and writers are partners in story—both contribute to the final work.

9.     In real life, we get to know people through what they do and say. Allow your readers to get to know your characters in the same way.

10. It’s not about the idea. It’s about the execution. Really, it is.

Never Too Late

My posts are often targeted at young writers—the ones that contact me most often with questions. But today I’m talking to writers of a certain age. Yes, you. You may not even be that old—but you’re old enough to ask yourself whether it’s too late to become a writer.
If this doesn’t apply to you—well, then, go write something!
All of my life I have been transforming myself, and each time I did, I asked myself, 'Am I too old to be doing this?'
Even when I was only 27, and thinking about going back to school to become a dietitian. I wondered--should I spend three years in school at MY age? And I thought to myself, in three years, you'll be thirty, whether you do this or not. And so I did it.
I began writing in third grade, and continued through high school. But I got away from the writing habit in college, when I was buried under school work and a nearly full time job. I wrote term papers and case studies and eventually papers for professional journals. But I left poetry and fiction behind.
I got back into writing as a working mother of young children. I was still busy, but I had something to say. I found out that I still had a lot to learn. So I made time to write and learn my craft.
Eventually, I became a fairly successful freelance writer. But I knew that freelance writing would always be a part-time gig, and I longed to go back to fiction. So about ten or twelve years ago, I made a conscious decision to focus on novels. Given that I also had a day job, it meant giving up some freelance work. And I asked myself, "Am I too old to be doing this?" But I did.
I published my first novel four years ago, and I’ve released a book a year since then. I have been a full time writer for two years now.
In my opinion, it’s never too late to transform yourself, if you focus on process instead of outcome. Writing isn’t like ballet--it’s never too late to begin. I intend to keep at it until they pry my cold, dead hands from the keyboard.
What you shouldn't do is wait until the perfect time to do it. There are easier seasons in your life to launch into a new endeavor, but there will never be a perfect time. So don't wait until you finish school, until you retire, until the children are all grown, until your life magically untangles itself. It takes time to become the best writer you can be. Start now.
On the one hand, I know I will never live long enough to write all my stories down. I regret that. On the other hand, maybe that’s how long it took to gain the skill and life experience I needed to be the writer I am.

ON MENTORSHIP

Young Writer Writes:
Why aren’t more successful writers willing to mentor others? I mean, no offense, but we could use some help.

No offense taken. I have been where you are. This is a heart-breaking, frustrating business.
I think most writers do mentor others in a way that allows them to meet their other obligations. But what they can do may not match up with what another writer needs, wants, or expects.
I'm fortunate enough to be a full time writer (finally.) Believe me, I AM SO FRICKING HAPPY TO BE ABLE TO MAKE A LIVING AT THIS. Most writers—even published writers—have day jobs and many have families. For my first twenty-three years as a writer, I had a day job. I got up at 4 in the morning and fell asleep with my face on the keyboard at night. And then I used to hike three miles in my flip-flops through waist-high snow to the mailbox to mail off my manuscripts. Only to be blown off by publishers and agents alike. Year after year after year. With no guarantee that I would ever make any money.
I did get some help from other writers along the way, but it was mostly a reciprocal kind of thing—through critique groups, conferences, and blogs. I gave, and I got, and we all learned together. Participating in the community of writers is extremely important, if only because you will finally fit in.
I have learned the most from reading other writers’ books. That’s the best kind of mentorship. Reading really good books is like taking a workshop with a master—for free (if you get the book at the library.) But you have to learn to read like a writer, which is very different from pleasure reading.
I also read many, many books on craft. I have a shelf-full over my desk and still refer to them from time to time.
Many aspiring writers believe that published writers have more power than we do. My opinion is just that—one opinion, one set of biases. I’m not an editor—I’m a writer. Editing is a very different skill, believe me. In my one editing gig, it was always easier for me to rewrite something than to edit someone else’s work. That is not the kind of help you need.
I still work seven days a week (I’m trying to change that) but I do try to give back., while protecting my writing time. I blog on writing technique, teach writing workshops, do school visits, and try to answer emails from writers, either directly or through the blogs. I belong to three critique groups, one online, the other two in person. That’s what I can do, and meet my deadlines, and give my honey a hug now and then.
What most writers can’t do—for a multitude of reasons, legal and otherwise—is read your manuscript, edit it, and get you an editor or an agent. We can’t give you the magical shortcut to publishing success. Trust me—If I knew what that was, I would have used it myself.

When You Run Out of Story Part 2

In my last post, I responded to a young writer who asked what to do when you hit the wall after 25-50 pages. I discussed how layering conflict and characters can expand the scope of story from novelette to novel.
A second reason your story may fall short is if you are delivering your story too much in narrative instead of scene. Your story may involve lots of characters and lots of conflict, but you are not allowing your reader to experience it properly.
Consider a movie, and then consider somebody telling you about that movie. It takes a lot less time to have someone tell you the movie than to experience it. Not only that, it’s boring, right?
Make sure the important events in your story happen onstage, with a full cast and dialogue. It takes more space, but it’s much more effective.

Here’s a pivotal scene delivered in narrative:
Raisa was just getting ready to leave Jemson’s office when a scruffy-looking boy burst in. Amon recognized him as Han “Cuffs” Alister, streetlord of the Raggers gang, who was suspected of several murders. But when Amon tried to arrest Cuffs, the streetlord grabbed Raisa and threatened to cut her throat.

That doesn’t take much space, does it? Not very interesting, is it?

Here’s the same events in scene:
They turned toward the door, but before they could reach it somebody barreled through it. It was a young man, Raisa’s age, or a little older, with muddy red-brown hair, dressed in clan leggings and shirt.
“Jemson! Three of the Raggers have been nabbed by the bluejackets. Seems they mean to make an example of….” His voice trailed off when he saw the people gathered in the room. “Oh. Sorry, Sir. I didn’t know you had company.”
His eyes flicked to Averill, then Amon, and widened in alarm.
He recognizes them, Raisa thought.
“Let’s discuss this later, Hanson,” Jemson said quickly, jerking his head toward the door.
Hanson began backing from the room, but Amon said, “Wait! What’s that about Raggers?”
The boy blinked at him, blank-faced. “Raggers? I didn’t say nothing about Raggers.”
“Yes, you did,” Amon said, walking purposefully toward Hanson. “Have we met? You look familiar.”
“Ah, no,” the boy said. “Not likely.” He was tall, nearly as tall as Amon, though more slender in build, with brilliant blue eyes. His face bore evidence of a recent beating. His right eye was blackened and there was a blue and yellow bruise over one cheekbone. His right forearm was splinted, but he didn’t favor it. He seemed to be trying to keep his face turned away from them, as if he was embarrassed by his injuries.
This must be one of Jemson’s students, Raisa thought, with a rush of sympathy.
“What happened to you?” she asked, moving closer so she could examine his face at close range. She touched his arm. “Who did this?”
Hanson flushed. “Wasn’t nothing. Just…my da. Gets mean sometimes when he’s in his cups.”
Just then Amon’s hand snaked forward. He gripped the boy’s splinted arm and raked back his sleeve, exposing a wide silver cuff. “So, Hanson,” he said. “I think we have met, after all. You ever go by the name Cuffs?” he said.
Cuffs? Raisa looked from Amon to the other boy. Wasn’t that the gangleader who’d killed all those people?
Then it seemed like everything happened at once. The boy slammed his free fist into Amon’s face and twisted away with the ease of long practice. Amon drew his sword and stepped between the boy and the door, yelling for the guard. And then the boy called Cuffs grabbed hold of Raisa, drawing her back tight against him. She felt the prick of a blade at her throat and tried hard not to swallow.
“Hanson, no!” Speaker Jemson shouted, pale with horror.
“Now then,” Cuffs said, close to her ear. “Back off or I cut the girlie’s throat.” His voice shook a little, with fear or nerves or excitement—Raisa couldn’t tell.
Raisa thought of the six, dead in the street. Tortured, they said. Done by this pretty blue-eyed boy holding the knife. –The Demon King

Which is more interesting?
Delivering action in scene will not only make your work longer, but will engage readers more effectively.

Young Writer Writes,
I recently started writing about a year ago. All my friends say i have really good ideas but I keep hitting a wall. I plan everything out but for some odd reason at like 35- 50 pages i run out of ideas....It is very frustrating... :/ Do you have any advice?

Dear YW,
This malady is common in writers, old and young, and it may happen for several different reasons. You may find my earlier post on Writer’s Block helpful.
If you run out of plot before your novel is of publishable length, you may be writing a short story. There may not be enough characters and conflict to warrant a novel-length work.
If you want to write a novel, you will need to introduce more conflict, characters, and subplots. New writers tend to be very linear in their thinking. This is the character, this is the problem, and this is what happens. It doesn’t take much space to deliver that kind of story. In writing a first draft, allow your mind the freedom to create connections and conflicts that you hadn’t anticipated or planned at the front end.
Play the “what-if” game. What if, in addition to being besieged by wizards at home, Raisa’s mother plans to marry her off as soon as she turns 16 to a suitor who might cause a civil war? Plus, the young soldier Raisa is in love with is ignoring her, and the ambitious prince of a neighboring country is threatening to invade?
What if Jack’s aunt actually turns out to be….
Consider yourself—your life is full of dramas, big and small. Consider your friends. They all have their own agendas, relationships, conflicts, and desires.
Layer those other conflicts and subplots onto your skeleton of story in order to flesh it out.
Here are some examples:
In addition to being the last of a guild of magical warriors being hunted by wizards to play in a magical tournament to the death, Jack’s girlfriend just broke up with him and the town bully is out to get him, and he doesn’t get along with the principal at the high school, and he doesn’t know if he’s going to make the soccer team. –The Warrior Heir
Not only is Seph a wizard who can’t control his powers, he’s been booted out of every school he’s attended, he’s an orphan who has recently lost his foster mother, and he’s responsible for the death of a friend. –The Wizard Heir
Madison Moss wants to be an artist, but there’s no money for college and her mother is flighty and irresponsible, leaving Madison to care for her younger siblings. A local coal company wants to force her off the mountain she loves. Plus Madison is thought to be a witch in her home town. –The Wizard Heir
More on this topic in my next post.