One of the tasks I've been working on while my beta readers are "engrossed" in School Spirit, has been to compile a list of agents who read Godtalk, my last young adult novel, and prioritize who I was going to send School Spirit to first. These would be the people who said in their rejections something like, "This doesn't quite work for me, but if you ever have anything else. . ."
But a funny thing happened on the way to the Wi-Fi.
Through a combination of research and happenstance (and the following of a number agents' blogs), I discovered two new agents who have excellent reputations and who I felt might be a good fit for my writing and personality. Both of these agents, as it turns out, write very interesting, humorous, and user-friendly blogs.
The question, then, was this: Should I wait until my readers finish SS and work through another draft or two until it's ready to go out and, consequently, not contact these two new agents until--at best--sometime around November or December? Or should I give them a shot at Godtalk and, if they are even the least bit interested, send the School Spirit stuff by the end of the year?
One indicator, I thought, would be the quality of Godtalk, a manuscript I haven't looked at objectively for probably a year or so. So I dug it out, blew off the dust, and opened it up. And it held up. I was happy with the quality of the writing, knew the plot was well-structured, and the opening (the "hook," as they say) was better than I remembered. It's funny what three or four peer responses and five drafts can do!
So I thought, "Why not?" What do I have to lose?" Let's see what they have to say. Godtalk is a book that is very close to my heart and is just sitting there, anyway. If I thought that the book sucked, I would have left it in the closet, but the most common complaint I kept getting was that it was "just too religious." Since one of the two agents' website says that "quirky is good," I'm hoping that makes Godtalk a good fit for her. So I just finished sending out two queries and the first five pages, per their submissions guidelines. Wish me luck.
The bottom line, I figured, is as Nike once said, "Life's short. Play hard."
I'll keep you posted.
Wednesday, July 22, 2009
Friday, July 10, 2009
PEER RESPONSE
This blog hasn't heard a lot from me lately because, in terms of School Spirit, we've been in hiatus mode. The reason for this is that I finally revised the manuscript enough to feel comfortable sending it out into the world. Consequently, I sent the manuscript to a good writer friend of mine (her debut young adult novel comes out in a few weeks) and she has kindly agreed to read it and give me some feedback. I also gave another copy to one of my regular readers, a fellow teacher in my English department who has (also kindly) read every book length manuscript I've written in the last ten years and done it for nothing more than a few twelve packs of Pepsis and a couple jars of Red Vines.
And that's only because I insisted.
So, for now, it's time for to sit back and wait.
And plan the next novel.
And that's only because I insisted.
So, for now, it's time for to sit back and wait.
And plan the next novel.
Sunday, June 21, 2009
DANNY-ISMS
In my high school drama class, the teacher used to watch our scenes and monologues and comment on what she called our "-isms," which were our subconscious behaviors that we were completely unaware that we were doing while on stage. These actions, tics, quirks, and nervous behaviors identified us as individuals and interfered with our total transformation into whatever character we were trying to portray. To emphasize the point, she attached our first name to the "-ism." Consquently, my subconscious behaviors became "Dannyisms."
In writing, we also have our "-isms." These would be expressions, themes, patterns, fall back beats and character actions that identify our style. Recently, I marked up a manuscript for a writer friend of mine and noted how often her characters swallowed. During scenes of dialogue, the character were always swallowing. In that novel, that was her "-ism." I'm not picking on that writer; we all have our "-isms" and we do not realize we are doing them. In a 200-plus page manuscript, it's hard to keep track of every last little action we give our characters, especially in the heat of composition. That's what peer readers are for.
In reading the second draft of School Spirit, I noticed many of my Dannyisms. Namely, that people were always "exhaling." "He looked at her and exhaled." "I exhaled to release my tension." "She exhaled in relief." People were also always having "lights go on" when they realized something. "A light went on in his head." "The light went on in her head and then he realized what happened." And a variation: "A light came up in her eyes and then she knew." Or the like. It's okay to put these in a rough draft to keep the story moving. But eventually, we must go back and fix them. As a result, during a quick polish, after the second draft of SS, I tried to locate and surgically alter most or all of my "-isms."
The point here is that during at least one draft, it's important that we search for our "-isms," and kill them. Well, not all of them. There's nothing inherently wrong with swallowing, exhaling, or having lights go on. We don't need to kill them all. But if they appear as a noticeable pattern in an entire manuscript, we must hope that some compassionate reader will point them out (with an eye to helping us improve our novel) and then we must have the courage to make a pass through the book and exhange some of them with new, fresher, and more original actions and behaviors for our characters.
That care and attention to detail will not only improve our overall writing skill and make our novel better, but cannot help but increase our chances of getting an agent or finding our onto the shelves of the local Barnes and Noble.
At least that's the plan.
In writing, we also have our "-isms." These would be expressions, themes, patterns, fall back beats and character actions that identify our style. Recently, I marked up a manuscript for a writer friend of mine and noted how often her characters swallowed. During scenes of dialogue, the character were always swallowing. In that novel, that was her "-ism." I'm not picking on that writer; we all have our "-isms" and we do not realize we are doing them. In a 200-plus page manuscript, it's hard to keep track of every last little action we give our characters, especially in the heat of composition. That's what peer readers are for.
In reading the second draft of School Spirit, I noticed many of my Dannyisms. Namely, that people were always "exhaling." "He looked at her and exhaled." "I exhaled to release my tension." "She exhaled in relief." People were also always having "lights go on" when they realized something. "A light went on in his head." "The light went on in her head and then he realized what happened." And a variation: "A light came up in her eyes and then she knew." Or the like. It's okay to put these in a rough draft to keep the story moving. But eventually, we must go back and fix them. As a result, during a quick polish, after the second draft of SS, I tried to locate and surgically alter most or all of my "-isms."
The point here is that during at least one draft, it's important that we search for our "-isms," and kill them. Well, not all of them. There's nothing inherently wrong with swallowing, exhaling, or having lights go on. We don't need to kill them all. But if they appear as a noticeable pattern in an entire manuscript, we must hope that some compassionate reader will point them out (with an eye to helping us improve our novel) and then we must have the courage to make a pass through the book and exhange some of them with new, fresher, and more original actions and behaviors for our characters.
That care and attention to detail will not only improve our overall writing skill and make our novel better, but cannot help but increase our chances of getting an agent or finding our onto the shelves of the local Barnes and Noble.
At least that's the plan.
Sunday, June 14, 2009
AND THEY'RE OFF. . .
I've certainly heard enough in the past couple years, whether in reading books on writing or attending conferences, about how important it is for a book to come out of the gate strong and introduce its conflict right away and, in the case of YA, often on page one, sometimes paragraph one.
Hence my dilemma: how do I provide enough exposition to introduce the characters and allow the reader to develop some connection with them before hitting the reader with the main conflict. In this case, I do mention what the conflict is in the first line just to insure the reader hears about it, but what we might call the "inciting moment" doesn't actually occur until late on page 5. Is that too late in the game?
My very real fear is that the first four pages are all throat clearing and "telling" (as opposed to "showing), and that my story should start on page 5, right at the inciting moment. But if I do that, I know I will not have provided enough of a glimpse into the characters so that the reader will care about them.
What do I do?
I know there's no one answer, but maybe the one or two people who read this rag might have a suggestion or two?
I'm open.
Hence my dilemma: how do I provide enough exposition to introduce the characters and allow the reader to develop some connection with them before hitting the reader with the main conflict. In this case, I do mention what the conflict is in the first line just to insure the reader hears about it, but what we might call the "inciting moment" doesn't actually occur until late on page 5. Is that too late in the game?
My very real fear is that the first four pages are all throat clearing and "telling" (as opposed to "showing), and that my story should start on page 5, right at the inciting moment. But if I do that, I know I will not have provided enough of a glimpse into the characters so that the reader will care about them.
What do I do?
I know there's no one answer, but maybe the one or two people who read this rag might have a suggestion or two?
I'm open.
ROUND TWO
This past week was the first week of summer school. True to form, I spent the forty-five to fifty minutes before class begins at the keyboard again; in this case, working on the second draft of School Spirit. I was also lucky enough to bring home roughly fifty pages each night last week and red pencil them at the kitchen table (sometimes, when time permitted, giving them a few go rounds), so that I could return in the morning ready to edit. On great nights, I typed up the new stuff and e-mailed it to myself, so all I had to do was cut and paste in the morning and then was able to edit even more and get even further in the draft.
Very exciting stuff.
Revision is a very interesting process to me and, in truth and, typically, I enjoy it more than the actual composition. What I always say is that writers are like sculptors in that they take a block of clay (for writers, the rough draft) and carve out something that looks like art. The only difference, I've always pointed out, is that, unlike sculptors, writers have to start by creating their own block of clay (the rough draft).
Carving away at that block of clay, for me, meant refiguring the first fifty pages. Fifty pages is a good unit for a number of reasons. Fifty is a nice round number, for starters, but it is also the opening of your book (which should be flawless) and is frequently is the section that agents ask for as a partial. Consequently, getting the first fifty into fighting shape is critically important.
Here's how it went for me: a scene that I wrote two weeks into the process--give or take--and was situated in the middle of chapter three, was moved to the beginning and became my opening scene. The opening scene became the beginning of chapter two, and a scene with the protagonist's family that appeared in chapter four was surgically altered and moved to the end of chapter two. And so on.
At this point, chapter one alone has gone through at least fifteen separate drafts and I've used a ton of toner and paper both at school and at home trying to polish the first six pages to a high sheen. First, to make certain it's good writing and second to insure that it will work as the opening (more on that later).
The bottom line is that this process has gone much faster and more smoothly than I ever could have anticipated, due in part to the time I had to work at home. I should actually be finished with the second draft early next week. One more quick pass to tighten up some time line issues and I'll be in the market for Beta readers.
Come back here. I see you trying to sneak out the back. You can't get away that easily.
Very exciting stuff.
Revision is a very interesting process to me and, in truth and, typically, I enjoy it more than the actual composition. What I always say is that writers are like sculptors in that they take a block of clay (for writers, the rough draft) and carve out something that looks like art. The only difference, I've always pointed out, is that, unlike sculptors, writers have to start by creating their own block of clay (the rough draft).
Carving away at that block of clay, for me, meant refiguring the first fifty pages. Fifty pages is a good unit for a number of reasons. Fifty is a nice round number, for starters, but it is also the opening of your book (which should be flawless) and is frequently is the section that agents ask for as a partial. Consequently, getting the first fifty into fighting shape is critically important.
Here's how it went for me: a scene that I wrote two weeks into the process--give or take--and was situated in the middle of chapter three, was moved to the beginning and became my opening scene. The opening scene became the beginning of chapter two, and a scene with the protagonist's family that appeared in chapter four was surgically altered and moved to the end of chapter two. And so on.
At this point, chapter one alone has gone through at least fifteen separate drafts and I've used a ton of toner and paper both at school and at home trying to polish the first six pages to a high sheen. First, to make certain it's good writing and second to insure that it will work as the opening (more on that later).
The bottom line is that this process has gone much faster and more smoothly than I ever could have anticipated, due in part to the time I had to work at home. I should actually be finished with the second draft early next week. One more quick pass to tighten up some time line issues and I'll be in the market for Beta readers.
Come back here. I see you trying to sneak out the back. You can't get away that easily.
Wednesday, June 3, 2009
THE CAREER NOVELIST OR, DONALD MAASS II
I noticed in the "About the Author" section of Donald Maass' book The Fire in Fiction, that he offers a free downloadable version of his book The Career Novelist, that came out about ten years ago, and which is now available on the Donald Maass Literary Agency website (www.maassagency.com).
I investigated the possibility and here's what I discovered:
I investigated the possibility and here's what I discovered:
- Once again, Donald Maass gives an insightful, considered, and highly informed look into the agenting/publishing/authoring business. His writing, as always, is stunningly down-to-earth and easy to access, and often more funny than you might expect.
- Maass gives insider secrets away as if they are candy and helps writers who want to create novels over the long haul develop a healthy self-image, and workable business/career plan, and a college graduate's understanding of the industry.
- This possibly out-of-print book is probably not available in stores and was listed new on eBay starting at $79.99 (!), but is yours free for the cost of the paper and toner to print it (although it is 268 pages).
- This book, along with Maass' other books has, without a doubt, made me a better and better-informed writer.
Monday, June 1, 2009
DONALD MAASS, YOU DA BOSS!
In another blog I extolled the virtues of a number of writing books that I said were the equivalent of a fiction writing MFA and at a fraction of the cost. They were Bob Mayer's The Novel Writer's Toolkit, Noah Lukeman's The First Five Pages, Renni Browne and Dave King's Self-Editing for Fiction Writers, and Donald Maass' Writing the Breakout Novel, both book and companion workbook.
Well, Donald Maass has done it again. At my local Barnes and Noble recently, I picked up his latest manual on fiction writing called The Fire in Fiction, and it was--bar none--the best (and most applicable) book on writing excellent novels I've ever read. It sounds impossible, but Maass literally takes what I would call the "intangibles," the elements of great novels that seem to be just a part of a writer's magic, and then says, "Here's how you do that." Elements like micro-tension, first lines/last lines, creating unique and compelling minor characters, and imbuing setting with emotion and resonance are discussed in a very accessible manner and, amazingly, every chapter is followed by clear and helpful exercises to apply to a current manuscript. In this perfect balance of theory and practice, author and agent Maass has given fiction writers a manual they cannot ignore. And considering his history and experience in the publishing industry, this is a man to listen to.
I CANNOT wait to tackle the second draft of School Spirit having learned these new techniques from The Fire in Fiction. Just by reading it, I know I've become a better writer. In short, this is stunning stuff.
Go now to your local bookstore and pick up Donald Maass' The Fire in Fiction and become a better writer, possibly by the time you reach the checkout counter.
Perhaps I was unclear. I mean, stop reading this pathetic attempt at written expression, do not pause to turn off your computer, and go to the bookstore and buy is book!
Right now!
Ahem. If you're a serious novelist, you won't be sorry.
(And if you aren't a serious novelist, it just might make you one).
Well, Donald Maass has done it again. At my local Barnes and Noble recently, I picked up his latest manual on fiction writing called The Fire in Fiction, and it was--bar none--the best (and most applicable) book on writing excellent novels I've ever read. It sounds impossible, but Maass literally takes what I would call the "intangibles," the elements of great novels that seem to be just a part of a writer's magic, and then says, "Here's how you do that." Elements like micro-tension, first lines/last lines, creating unique and compelling minor characters, and imbuing setting with emotion and resonance are discussed in a very accessible manner and, amazingly, every chapter is followed by clear and helpful exercises to apply to a current manuscript. In this perfect balance of theory and practice, author and agent Maass has given fiction writers a manual they cannot ignore. And considering his history and experience in the publishing industry, this is a man to listen to.
I CANNOT wait to tackle the second draft of School Spirit having learned these new techniques from The Fire in Fiction. Just by reading it, I know I've become a better writer. In short, this is stunning stuff.
Go now to your local bookstore and pick up Donald Maass' The Fire in Fiction and become a better writer, possibly by the time you reach the checkout counter.
Perhaps I was unclear. I mean, stop reading this pathetic attempt at written expression, do not pause to turn off your computer, and go to the bookstore and buy is book!
Right now!
Ahem. If you're a serious novelist, you won't be sorry.
(And if you aren't a serious novelist, it just might make you one).
Friday, May 29, 2009
THE END
Yesterday, at 2:55 p.m., when my last class was watching the 1963 version of Lord of the Flies, I tapped out the last scene in School Spirit and typed "The End."
I made my goal of five months with one day to spare! The first draft came in at 226 pages.
Now I'll let it sit for a week or so and start revisions during summer school. I hope to have the second draft done by the end of summer school (six or seven weeks from now). In the meantime, I'm rethinking the opening of the book and I may work on the synopsis or query. At that point, I will give the second draft to some carefully selected readers for feedback and make more revisions.
With luck, I'll be sending out queries by the end of the year. Now that the book is officially done, the real work begins!
I made my goal of five months with one day to spare! The first draft came in at 226 pages.
Now I'll let it sit for a week or so and start revisions during summer school. I hope to have the second draft done by the end of summer school (six or seven weeks from now). In the meantime, I'm rethinking the opening of the book and I may work on the synopsis or query. At that point, I will give the second draft to some carefully selected readers for feedback and make more revisions.
With luck, I'll be sending out queries by the end of the year. Now that the book is officially done, the real work begins!
Thursday, May 28, 2009
DANNY CAN'T COME TO THE PHONE RIGHT NOW
All writers take notes. And I try to have a writing implement and notebook handy most times. But that's not always possible. So I thought I'd mention here one method I use for recording--literally--those brainstorms that occur when a pen and paper aren't so handy.
Typically, I have my cell phone with me and/or I'm close to the home phone (yes, we are the household that still has a landline. I think it's hooked up to Sara, the operator, in Mayberry, North Carolina). Since I do my writing at work before the school day begins, whenever I get a brainstorm that I can't immediately write down (while driving around town, for example), I just ring up my office phone and leave a message on my voicemail with whatever note I have about character, plot line, structure, detail, etc. Yesterday, for example, I called my voicemail because I realized now that the dream the main character has in the beginning of the book should echo how the bad guy is dispatched at the end of the book. So I called and left a message and, when checking messages the next morning, I wrote it down and put with my School Spirit materials.
This is an amazingly effective method for capturing those hard-to-capture thoughts.
Typically, I have my cell phone with me and/or I'm close to the home phone (yes, we are the household that still has a landline. I think it's hooked up to Sara, the operator, in Mayberry, North Carolina). Since I do my writing at work before the school day begins, whenever I get a brainstorm that I can't immediately write down (while driving around town, for example), I just ring up my office phone and leave a message on my voicemail with whatever note I have about character, plot line, structure, detail, etc. Yesterday, for example, I called my voicemail because I realized now that the dream the main character has in the beginning of the book should echo how the bad guy is dispatched at the end of the book. So I called and left a message and, when checking messages the next morning, I wrote it down and put with my School Spirit materials.
This is an amazingly effective method for capturing those hard-to-capture thoughts.
Wednesday, May 27, 2009
THE SMALL SUCCESSES. . .
Not everyone in the world wants to write a book. So writing one, to some people, isn't that big of a deal. So you have over 200 white pages sitting on your desk with little black squiggles on them. So what?
But I do want to write a book. I might even like to someday publish a book. And so, for better or worse, those 2oo plus pages represent a percent of my labor for the past five months of my life.
Finishing such a project, then, is something of an accomplishment. At least to me.
I've always thought that when we have the small successes in our life, such as reaching the small goals we set for ourselves, that we should stop, reflect on those successes, and yes, even celebrate.
To that end, since I know that by next Monday I should very likely be finished with the first draft of School Spirit, I have planned a small celebration.
To wit, I will be bringing in a box of donuts to share with some of my colleagues at work who know what I've been up to and have been kind enough to listen to me as I've talked about my trials.
You have, too, of course, but I'm not sure how to get you donuts.
But the point is: when we reach the small goals in life, when we have the small successes, the merry-go-round should stop, if only for a moment, and they should be acknowledged in some way.
But I do want to write a book. I might even like to someday publish a book. And so, for better or worse, those 2oo plus pages represent a percent of my labor for the past five months of my life.
Finishing such a project, then, is something of an accomplishment. At least to me.
I've always thought that when we have the small successes in our life, such as reaching the small goals we set for ourselves, that we should stop, reflect on those successes, and yes, even celebrate.
To that end, since I know that by next Monday I should very likely be finished with the first draft of School Spirit, I have planned a small celebration.
To wit, I will be bringing in a box of donuts to share with some of my colleagues at work who know what I've been up to and have been kind enough to listen to me as I've talked about my trials.
You have, too, of course, but I'm not sure how to get you donuts.
But the point is: when we reach the small goals in life, when we have the small successes, the merry-go-round should stop, if only for a moment, and they should be acknowledged in some way.
DENOUEMENT. . .WHATEVER THAT MEANS
I was so excited this weekend because I knew that I had only two chapters left in School Spirit and I knew what was going to happen and I couldn't wait to get to the keyboard. It was especially difficult to withstand the excitement, though, as Monday was a holiday.
Chapter 19 would be comprised of two scenes: 1) the end of the climactic car chase and 2) the main character saying good-bye for all time to his ghost girlfriend. On Tuesday I wrote scene one and today I wrote scene two. Today's writing was very sad, actually. Finally, I spell-checked and printed up chapter 19, hole-punched it, and added it to the blue notebook.
That leaves Chapter 20, also slated to be comprised of two scenes. I expect it to take two days (one scene each day--Thursday and Friday) and then I will enjoy, as I have five other times in my life, typing the words "The End."
And then my work will be roughly 35% done.
Sigh.
Chapter 19 would be comprised of two scenes: 1) the end of the climactic car chase and 2) the main character saying good-bye for all time to his ghost girlfriend. On Tuesday I wrote scene one and today I wrote scene two. Today's writing was very sad, actually. Finally, I spell-checked and printed up chapter 19, hole-punched it, and added it to the blue notebook.
That leaves Chapter 20, also slated to be comprised of two scenes. I expect it to take two days (one scene each day--Thursday and Friday) and then I will enjoy, as I have five other times in my life, typing the words "The End."
And then my work will be roughly 35% done.
Sigh.
Friday, May 22, 2009
DOWN TO THE WIRE
I finished, spell-checked, and printed chapter 18 this morning.
This is the officially the climax--the big finish that takes place in an old revival house theater. The hero finds out what's going on and goes after the bad guy.
I have also officially passed 200 pages--211, to be exact.
I have exactly two more (relatively short) chapters to write.
My goal was end of May for the first draft. It's gonna be tight, but I might make it.
First part of June would suit me just fine, though, and that's a lock!
Then it's time to celebrate.
Thanks for staying tuned.
This is the officially the climax--the big finish that takes place in an old revival house theater. The hero finds out what's going on and goes after the bad guy.
I have also officially passed 200 pages--211, to be exact.
I have exactly two more (relatively short) chapters to write.
My goal was end of May for the first draft. It's gonna be tight, but I might make it.
First part of June would suit me just fine, though, and that's a lock!
Then it's time to celebrate.
Thanks for staying tuned.
Wednesday, May 20, 2009
KNIT ONE, PEARL TWO
Two days ago, I sat down to write the fifth and final visitation of the ghost girl, as she attempts to guide her earthly boyfriend toward her killers. The good news is that it went very well: it was engaging (at least to me), deepened the relationship between the characters, and employed a fairly creative and artistic use of language (syntax, vocab, tone, etc.).
On the other hand, the scene went in a slightly different direction than I was planning and it ended much sooner than I was anticipating. But I didn't really want to change it because I liked it. The problem, however, was that I knew what was coming next and what this scene needed to do to connect me to the next section, but what I had written hadn't done that. So I looked at my outline (which was no help) and I thought and thought: how, I wondered, am I going to get from what I wrote that I didn't want to change to where I needed to go? After much thought, I realized I did need another short scene to follow in that chapter. At first, I was only able to generate a few scene ideas that might be covered in a way that could make that connection. I was concerned though that, being so close to the climax and the end of the book, that I might be sacrificing pace.
I went home for the day and, as usual, percolated subconsciously on what I would be writing the next morning. I had a few more ideas before arriving at school the next morning at my usual time, but still hadn't come up with any solid answers. I still wasn't completely sure what direction to go in as I walked across the campus.
Then, as if by magic, right as I was arriving at my classroom door, the entire structure of the scene knitting together several issues, popped in my head completely spontaneously. Usually I don't like scenes that designed to be entirely utilitarian, but this one seemed fully formed and virtually seamless. I sat down and wrote that bad boy during my thirty minute writing time that morning and it turned out pretty well.
The moral?
You never where or when inspiration will (or won't) strike and sometimes writing answers come--if they come at all--at the last possible moment.
On the other hand, the scene went in a slightly different direction than I was planning and it ended much sooner than I was anticipating. But I didn't really want to change it because I liked it. The problem, however, was that I knew what was coming next and what this scene needed to do to connect me to the next section, but what I had written hadn't done that. So I looked at my outline (which was no help) and I thought and thought: how, I wondered, am I going to get from what I wrote that I didn't want to change to where I needed to go? After much thought, I realized I did need another short scene to follow in that chapter. At first, I was only able to generate a few scene ideas that might be covered in a way that could make that connection. I was concerned though that, being so close to the climax and the end of the book, that I might be sacrificing pace.
I went home for the day and, as usual, percolated subconsciously on what I would be writing the next morning. I had a few more ideas before arriving at school the next morning at my usual time, but still hadn't come up with any solid answers. I still wasn't completely sure what direction to go in as I walked across the campus.
Then, as if by magic, right as I was arriving at my classroom door, the entire structure of the scene knitting together several issues, popped in my head completely spontaneously. Usually I don't like scenes that designed to be entirely utilitarian, but this one seemed fully formed and virtually seamless. I sat down and wrote that bad boy during my thirty minute writing time that morning and it turned out pretty well.
The moral?
You never where or when inspiration will (or won't) strike and sometimes writing answers come--if they come at all--at the last possible moment.
Monday, May 18, 2009
COLORS, REVISITED. . .
As I said once in another forum, teaching Lord of the Flies to ninth graders is a bit redundant. That said, I've learned something new about the book during my most recent trip--probably my 15th or 16th journey into Golding's abyss with the English schoolboys run amok.
I had no idea that Golding used so many colors in his writing. This time through I noticed that, on almost every page, Golding uses color to create a more vivid experience for the reader.
Here are some examples:
Describing the conch shell: "In color the shell was deep cream, touched here and there with fading pink " (16)
Describing Jack: "Power lay in the brown swell of his forearms " (150).
Describing the destruction of the conch: ". . .the conch exploded into a thousand white fragments and ceased to exist" (181). And in the same paragraph:
Describing the death of Piggy; "His head opened and stuff came out and turned red" (181).
There are a thousand other examples I could cull from, as I said, most every page. I have been sensitive lately to the use of color in writing since heeding my colleague's advice to add more color to my own writing, especially in School Spirit. In subsequent drafts, I plan to write the word "colors" at the top of the chapter I'm revising and look for strategic places just to add a color or two to make the scene more visual, vivid, and, well, colorful.
"You need more colors," my colleague said.
He was right.
Golding novel proves it.
I had no idea that Golding used so many colors in his writing. This time through I noticed that, on almost every page, Golding uses color to create a more vivid experience for the reader.
Here are some examples:
Describing the conch shell: "In color the shell was deep cream, touched here and there with fading pink " (16)
Describing Jack: "Power lay in the brown swell of his forearms " (150).
Describing the destruction of the conch: ". . .the conch exploded into a thousand white fragments and ceased to exist" (181). And in the same paragraph:
Describing the death of Piggy; "His head opened and stuff came out and turned red" (181).
There are a thousand other examples I could cull from, as I said, most every page. I have been sensitive lately to the use of color in writing since heeding my colleague's advice to add more color to my own writing, especially in School Spirit. In subsequent drafts, I plan to write the word "colors" at the top of the chapter I'm revising and look for strategic places just to add a color or two to make the scene more visual, vivid, and, well, colorful.
"You need more colors," my colleague said.
He was right.
Golding novel proves it.
Thursday, May 14, 2009
FOUR CHAPTERS AND COUNTING. . .
I finished typing, spell-checking, printing out, and page-numbering chapter sixteen.
I know, for a fact, that I have exactly four chapters left in the first draft.
As of the next chapter, seventeen, we are officially involved in the Big Finish.
And, since chapter sixteen makes 189 pages, I know that I will make my goal of just over 200 pages. With editing--both addition, subtractions, and general tightening--I hope to end up with a tight 200 pages to peddle to the agents.
Interestingly, a little bit of life got in the way yesterday. Some of my papers from school were piling up, and we are nearing the end of not only the grading period, but the entire school year, so I needed to take my writing time to grade and enter student work. In an unprecedented move, I took my laptop home and did about thirty minutes of work on chapter 16, effectively finishing it up so I could print it up today. I expect to get back to the keyboard before school next Monday to start the climax of School Spirit. It will be close, but I might still make my goal of finishing the first draft by the end of May.
I will be happy, of course, to finish it even a bit past that, but I'm shooting for end of May.
Wish me luck.
I know, for a fact, that I have exactly four chapters left in the first draft.
As of the next chapter, seventeen, we are officially involved in the Big Finish.
And, since chapter sixteen makes 189 pages, I know that I will make my goal of just over 200 pages. With editing--both addition, subtractions, and general tightening--I hope to end up with a tight 200 pages to peddle to the agents.
Interestingly, a little bit of life got in the way yesterday. Some of my papers from school were piling up, and we are nearing the end of not only the grading period, but the entire school year, so I needed to take my writing time to grade and enter student work. In an unprecedented move, I took my laptop home and did about thirty minutes of work on chapter 16, effectively finishing it up so I could print it up today. I expect to get back to the keyboard before school next Monday to start the climax of School Spirit. It will be close, but I might still make my goal of finishing the first draft by the end of May.
I will be happy, of course, to finish it even a bit past that, but I'm shooting for end of May.
Wish me luck.
Thursday, May 7, 2009
RAISING THE STAKES
In most every writing manual, writers are admonished to "raise the stakes" if they want their readers riveted tot he words on the page. This is communicated nowhere as well as in Donald Maas' excellent Writing the Breakout Novel. In fact, Mr. Maas goes a step further and talks about the difference between "public" stakes and "personal" stakes as a way to deepen and intensify the plot. Public stakes refers what the character stands to lose externally if things don't go the way he or she wants, while personal stakes refers to what a character stands to lose internally. In short, want to captivate your reader? Make it clear that something--something BIG, in fact (or even better MANY BIG), things are at stake. Put something at risk.
Just the other day, I put this very concept to work in School Spirit. I had been reading a murder mystery called Darkness, Take My Hand by the very talented Dennis Lehane. In the climax, the detective faces down the killer, an old friend and neighborhood local as it turns out, who had been killing people for decades. Certainly, on the surface, fairly typical fair for the climax of a mystery novel. But then the killer opens the trunk of his car and removes two hostages, a mother and her small baby who is in a pouch that the killer puts around himself, right next to the 12-gauge shotgun. Lehane has just raised the stakes. Endangering the woman would have raised the stakes plenty, but to then put a BABY in danger puts the reader on the edge of his seat and compelled to find out what will happen to the poor infant. At least it did for me.
During my next writing session, the main character is cornered by the bullies in the story and pushed around a little bit. He's not completely beat up (I'm writing THAT scene tomorrow!), but they try to scare him. Having finished Lehane's novel, and realizing how he raised the stakes in his climax, I was wondering how I could raise the stakes in the scene I was currently writing. So, learning from Lehane--and also remembering what a good writing friend told me during the revision of my last book that I should put more family in the story because people have families and that needs to be reflected--I made it so that the main character was picking up his brother at guitar lessons and the bullies hassle the little brother as well. I raised the stakes by having the main character worried that the bullies might hurt his brother, too.
After writing the scene, I realized, quite simply, that Maas (as well as all those other books) were right.
Get Maas' book. It's like an fiction writing MFA between two covers.
Just the other day, I put this very concept to work in School Spirit. I had been reading a murder mystery called Darkness, Take My Hand by the very talented Dennis Lehane. In the climax, the detective faces down the killer, an old friend and neighborhood local as it turns out, who had been killing people for decades. Certainly, on the surface, fairly typical fair for the climax of a mystery novel. But then the killer opens the trunk of his car and removes two hostages, a mother and her small baby who is in a pouch that the killer puts around himself, right next to the 12-gauge shotgun. Lehane has just raised the stakes. Endangering the woman would have raised the stakes plenty, but to then put a BABY in danger puts the reader on the edge of his seat and compelled to find out what will happen to the poor infant. At least it did for me.
During my next writing session, the main character is cornered by the bullies in the story and pushed around a little bit. He's not completely beat up (I'm writing THAT scene tomorrow!), but they try to scare him. Having finished Lehane's novel, and realizing how he raised the stakes in his climax, I was wondering how I could raise the stakes in the scene I was currently writing. So, learning from Lehane--and also remembering what a good writing friend told me during the revision of my last book that I should put more family in the story because people have families and that needs to be reflected--I made it so that the main character was picking up his brother at guitar lessons and the bullies hassle the little brother as well. I raised the stakes by having the main character worried that the bullies might hurt his brother, too.
After writing the scene, I realized, quite simply, that Maas (as well as all those other books) were right.
Get Maas' book. It's like an fiction writing MFA between two covers.
Friday, April 24, 2009
LIGHT AT THE END OF THE TUNNEL. . .
Yesterday, I talked about how I didn't get much writing done--ninety-nine words to be exact. It was the first paragraph of Chapter thirteen.
Today, however, as a result of our crazy testing schedule, I got to work at the same time (6:15 a.m.), but I didn't need to stop writing until almost 8 o'clock. I wrote for over an hour and a half. In essence, I completed the rest of the scene that began with the first paragraph I created yesterday and continued on until I reached the cliffhanger that rounded out the scene. And upon reflection, for a first draft, it holds up pretty well.
word count goal: 500. final word count: 1,367.
Furthermore, just before I finished the writing session, I created a list of bullet items outlining what had to happen between now and the end of the book. A little polishing later in the morning (while my fourth period, or as I call them "my dream class," tested), and I could envision the entire end of the book more clearly than I ever had before. Once printed, I took the list of bullet items and penciled in possible chapter breaks to get a sense of the structure. And, as if by magic, they broke down into a very neat and orderly progression of scenes.
It was a thrill not only to get in the zone and produce an entire scene--that didn't completely suck--but it was also very exciting to see the light at the end of the tunnel of the entire project.
Overall, a very productive and successful writing day!
Today, however, as a result of our crazy testing schedule, I got to work at the same time (6:15 a.m.), but I didn't need to stop writing until almost 8 o'clock. I wrote for over an hour and a half. In essence, I completed the rest of the scene that began with the first paragraph I created yesterday and continued on until I reached the cliffhanger that rounded out the scene. And upon reflection, for a first draft, it holds up pretty well.
word count goal: 500. final word count: 1,367.
Furthermore, just before I finished the writing session, I created a list of bullet items outlining what had to happen between now and the end of the book. A little polishing later in the morning (while my fourth period, or as I call them "my dream class," tested), and I could envision the entire end of the book more clearly than I ever had before. Once printed, I took the list of bullet items and penciled in possible chapter breaks to get a sense of the structure. And, as if by magic, they broke down into a very neat and orderly progression of scenes.
It was a thrill not only to get in the zone and produce an entire scene--that didn't completely suck--but it was also very exciting to see the light at the end of the tunnel of the entire project.
Overall, a very productive and successful writing day!
Thursday, April 23, 2009
DAVID SEDARIS, 99 WORDS, AND WHY I WRITE
Recently, though a strange succession of events, I actually read a complete book by humor essayist David Sedaris. For years I've been flipping through his books at the bookstore and laughing out loud so hard I have to put the book back on the shelf because people start to look and I am embarrassed. At that point I usually think, "I have to buy one of his books sometime."
But until recently, I never had. When I finally did, and read through a collection of his essays, he became one of my new favorite writers. Sure, he was funny, but when you were least expecting it, he would lay in an image or a detail or make a connection or share an idea that would make your breath leave your body or, quite simply, break your heart.
Through Sedaris, I was reminded of what a profound pleasure it was to read really good writing. I was reminded about how black marks on the page, elements like word choice, detail, syntax, and structure could ultimately have an escalating and then, all at once collective emotional impact on you. Not to mention, reading good writing was like eating dessert to me-- think hot caramel sundae, New York cheesecake, creme brulee.
It was that good.
And in the same way that a good dessert makes you want to cook or bake, good writing makes you want to write.
***
So I came in today to do my 500 words on School Spirit. But my head wasn't really in the game. There were some things on my mind, some work called to me, and we're in the middle of a crazy and especially stressful testing schedule at the school where I work. But in an attempt to be a self-disciplined writer, I sat down to do my job. 500 words in thirty minutes. That's my goal. That's my mantra. So I began Chapter Thirteen and I wrote ninety-nine words. Not fifteen hundred or one thousand words, but ninety-nine. And I sat back and I looked at those ninety-nine words and thought, okay, interesting syntax, a couple passable images, a smooth style. Not so bad. I didn't meet my quota, but what I wrote didn't completely suck. And that counts for something, I thought.
And I do, truly believe that.
***
For whatever reason, it was just the other day when my wife committed to a middle grade novel that she had had for years. My wife has no desire, as far as I know, to be a fiction writer. That said, I've always told her that I knew she was a fine writer and an avid enough reader to put the two together and tell some excellent stories if she so chose. On top of that, the idea she came up with was pure money.
In an effort to help, I was digging through a box of old writing books I have to see if I had any manuals that would help her. In doing so, I found an old book of essays called Why I Write, and I read an essay by short story writer Thom Jones, a writer I've always admired. His writing was so passionate and electric and, at the same, so down-to-earth and so real, that it made me think back to the ninety-nine words I'd written earlier in the morning and want to pitch them in the trash.
That's the paradox: good writing makes you both want to write and makes you feel that there is absolutely NO POSSIBLE WAY that you could match what you're seeing in print.
Great writing inspires, but it also paralyzes.
The bottom line?
You must write anyway.
You must, always, sit in the chair and type.
End of story.
But until recently, I never had. When I finally did, and read through a collection of his essays, he became one of my new favorite writers. Sure, he was funny, but when you were least expecting it, he would lay in an image or a detail or make a connection or share an idea that would make your breath leave your body or, quite simply, break your heart.
Through Sedaris, I was reminded of what a profound pleasure it was to read really good writing. I was reminded about how black marks on the page, elements like word choice, detail, syntax, and structure could ultimately have an escalating and then, all at once collective emotional impact on you. Not to mention, reading good writing was like eating dessert to me-- think hot caramel sundae, New York cheesecake, creme brulee.
It was that good.
And in the same way that a good dessert makes you want to cook or bake, good writing makes you want to write.
***
So I came in today to do my 500 words on School Spirit. But my head wasn't really in the game. There were some things on my mind, some work called to me, and we're in the middle of a crazy and especially stressful testing schedule at the school where I work. But in an attempt to be a self-disciplined writer, I sat down to do my job. 500 words in thirty minutes. That's my goal. That's my mantra. So I began Chapter Thirteen and I wrote ninety-nine words. Not fifteen hundred or one thousand words, but ninety-nine. And I sat back and I looked at those ninety-nine words and thought, okay, interesting syntax, a couple passable images, a smooth style. Not so bad. I didn't meet my quota, but what I wrote didn't completely suck. And that counts for something, I thought.
And I do, truly believe that.
***
For whatever reason, it was just the other day when my wife committed to a middle grade novel that she had had for years. My wife has no desire, as far as I know, to be a fiction writer. That said, I've always told her that I knew she was a fine writer and an avid enough reader to put the two together and tell some excellent stories if she so chose. On top of that, the idea she came up with was pure money.
In an effort to help, I was digging through a box of old writing books I have to see if I had any manuals that would help her. In doing so, I found an old book of essays called Why I Write, and I read an essay by short story writer Thom Jones, a writer I've always admired. His writing was so passionate and electric and, at the same, so down-to-earth and so real, that it made me think back to the ninety-nine words I'd written earlier in the morning and want to pitch them in the trash.
That's the paradox: good writing makes you both want to write and makes you feel that there is absolutely NO POSSIBLE WAY that you could match what you're seeing in print.
Great writing inspires, but it also paralyzes.
The bottom line?
You must write anyway.
You must, always, sit in the chair and type.
End of story.
Wednesday, April 22, 2009
PACING CONCERNS
As I said in the last post, the manuscript is weighing in at 138 pages. I was hoping for a first draft of between 200-220 pages, but in my outline, I don't forsee having another 62 pages of material, and I don't want to pad--especially toward the end and heading into the climax.
I'm hoping things get worked out in the second draft. This is, after all, the least-outlined book I've ever written. I've been trusting that the process will take me somewhere worth going and that I can add what I need to stitch it together later, tightening up the plot and pacing sometime after the first draft.
At least that's the plan. We'll see how it goes.
I'm still enjoying pushing nouns and verbs together, though, and I guess that's the whole point.
I'm hoping things get worked out in the second draft. This is, after all, the least-outlined book I've ever written. I've been trusting that the process will take me somewhere worth going and that I can add what I need to stitch it together later, tightening up the plot and pacing sometime after the first draft.
At least that's the plan. We'll see how it goes.
I'm still enjoying pushing nouns and verbs together, though, and I guess that's the whole point.
SPRING BREAK AND BEYOND
Intending to get some work done on the novel, I lugged my school laptop home over our two week Spring Break. At the time, I was in the middle of Chapter 12, where Drew and his best friend Ben visit the makeshift shrine people constructed in honor of Drew's dead girlfriend. The shrine is situated at the guardrail where her car went over and into the canyon.
Even though it was a basically leisurely and relaxing Spring Break, I took the laptop out only once and cleaned up a little bit of what was already written. Consequently, I lost about two weeks of writing time.
Today is our third day back from vacation and, although I didn't write Monday in deference to preparing for teaching re-entry, I did write yesterday and today, finishing and printing chapter 12.
The manuscript is now at a respectable 138 pages.
Even though it was a basically leisurely and relaxing Spring Break, I took the laptop out only once and cleaned up a little bit of what was already written. Consequently, I lost about two weeks of writing time.
Today is our third day back from vacation and, although I didn't write Monday in deference to preparing for teaching re-entry, I did write yesterday and today, finishing and printing chapter 12.
The manuscript is now at a respectable 138 pages.
Wednesday, April 1, 2009
THE NEWEST MILESTONE. . .
I just spell-checked and printed chapter 11.
I now have 126 pages of completed manuscript.
This means I'm more than halfway through the first draft which, at the outside, I expect to come in at about 220 pages.
I'M AT THE HALFWAY POINT!!
I'm most of the way through the rising action and hurtling toward the climax.
And if you've ever hurtled toward a climax, you know exciting that can be.
Disclaimer: The management apologizes for that cheap and tasteless, and thoroughly politically incorrect, reference--despite how it made me giggle like a little girl to write it.
I now have 126 pages of completed manuscript.
This means I'm more than halfway through the first draft which, at the outside, I expect to come in at about 220 pages.
I'M AT THE HALFWAY POINT!!
I'm most of the way through the rising action and hurtling toward the climax.
And if you've ever hurtled toward a climax, you know exciting that can be.
Disclaimer: The management apologizes for that cheap and tasteless, and thoroughly politically incorrect, reference--despite how it made me giggle like a little girl to write it.
Monday, March 30, 2009
THAT'S LIFE. . .(PART II)
Due to health issues in my family, problems at home, added job responsibilities, and the end of our school's grading period, it's been about three weeks since I've been able to write word one on School Spirit.
As life intervenes, writers must certainly learn to forgive themselves for not getting to the keyboard and realize that, at times, there are issues that are justifiably more important than writing 200 plus papers of a novel manuscript that may never see the light of a Barnes and Noble bookshelf. We often feel guilty, nevertheless. All of the aforementioned issues, however, were clearly pressing and unavoidable. As a result, the book-on-spec was temporarily put on hold.
The good news is that I came out of the gate with such a strong burst that, even having missed three weeks, I'm probably still up-to-speed and will meet my goal of a first draft by the end of May, end of June at the latest. I am currently hovering around 122 pages and I figure the story will take just over 200 pages to complete. It shouldn't be that difficult to crank out another 80-90 pages in the next month or so, even if it is the climax/finale of the whole book.
Today, for the first time in nearly a month, I sat down and surpassed my daily goal of 500 words per session. I figure I came in somewhere around 700. Good enough for the first day back.
I might have missed an inning or two, but I'm still in the game.
That's a metaphor.
As life intervenes, writers must certainly learn to forgive themselves for not getting to the keyboard and realize that, at times, there are issues that are justifiably more important than writing 200 plus papers of a novel manuscript that may never see the light of a Barnes and Noble bookshelf. We often feel guilty, nevertheless. All of the aforementioned issues, however, were clearly pressing and unavoidable. As a result, the book-on-spec was temporarily put on hold.
The good news is that I came out of the gate with such a strong burst that, even having missed three weeks, I'm probably still up-to-speed and will meet my goal of a first draft by the end of May, end of June at the latest. I am currently hovering around 122 pages and I figure the story will take just over 200 pages to complete. It shouldn't be that difficult to crank out another 80-90 pages in the next month or so, even if it is the climax/finale of the whole book.
Today, for the first time in nearly a month, I sat down and surpassed my daily goal of 500 words per session. I figure I came in somewhere around 700. Good enough for the first day back.
I might have missed an inning or two, but I'm still in the game.
That's a metaphor.
Tuesday, March 3, 2009
LOSING THREADS
I am hovering around 115 pages and now that I'm well into the machinations of plot, the story is dashing along at a swift clip, but I've noticed something interesting. As I try to tie the plot points together and as the story picks up momentum, I've started to lose certain threads that I started with that I intended to use to give the novel some voice and tone.
It's been awhile, for example, since I've mentioned The Beatles. I've also neglected to bring up Alison's cello playing for quite some time. I've written one scene with Drew's therapist, but nothing since. I haven't touched on Ben's ability with technology, namely computers, lately, and I'm afraid that I'll forget to say something important. Or that I'll lose the threads that make the book interesting while I'm trying to make the book have "events."
But what I'm deathly afraid of is of killing the pace with unnecessary breaks in the plot to go on diversions about computers, therapists, or classic rock and roll bands. The key must be to lay in just the right detail or a quick reference here and there to make the reader feel you haven't forgotten the thread, but that it needn't kill the action to be important or to be mentioned. I guess that's the finesse and art of writing fiction.
It's also, I suspect, what second drafts are for.
It's been awhile, for example, since I've mentioned The Beatles. I've also neglected to bring up Alison's cello playing for quite some time. I've written one scene with Drew's therapist, but nothing since. I haven't touched on Ben's ability with technology, namely computers, lately, and I'm afraid that I'll forget to say something important. Or that I'll lose the threads that make the book interesting while I'm trying to make the book have "events."
But what I'm deathly afraid of is of killing the pace with unnecessary breaks in the plot to go on diversions about computers, therapists, or classic rock and roll bands. The key must be to lay in just the right detail or a quick reference here and there to make the reader feel you haven't forgotten the thread, but that it needn't kill the action to be important or to be mentioned. I guess that's the finesse and art of writing fiction.
It's also, I suspect, what second drafts are for.
Tuesday, February 24, 2009
ONE HUNDRED SEVEN PAGES
The milestone I hit this morning was to finish writing, spell check, and print out chapter nine, bringing me to a whopping 107 page manuscript so far.
The other cool thing is that about two years ago, while I was working up the preliminary material for this book, I jotted down some notes on a passage I wanted to include--snippets of dialogue and the like.
And then it sat in the background folder for two years.
But today I hit the part where those notes made sense, so I wrote them into the book--finally. That was fun because, even though I punched it up some as I wrote,
I was always sure it would be a funny section and it still seems to work.
I feel that I am still about roughly halfway through the first draft.
Not bad for just over seven weeks.
I feel just a bit ahead of schedule.
The other cool thing is that about two years ago, while I was working up the preliminary material for this book, I jotted down some notes on a passage I wanted to include--snippets of dialogue and the like.
And then it sat in the background folder for two years.
But today I hit the part where those notes made sense, so I wrote them into the book--finally. That was fun because, even though I punched it up some as I wrote,
I was always sure it would be a funny section and it still seems to work.
I feel that I am still about roughly halfway through the first draft.
Not bad for just over seven weeks.
I feel just a bit ahead of schedule.
Thursday, February 19, 2009
INSPIRED BY OR PLAGIARISM?
I am this close (thumb and forefinger are almost touching) to reaching an important milestone: 100 pages! Nearly halfway through the story. I'll let you know in a couple days when I hit it.
It would have been tomorrow, but I am going to be off campus and so will not get my regular writing session in. That would bother me, but I am planning some non-writing, writing work.
As I've worked through this idea, it has occurred to me that I might be somewhat subconsciously influenced by the movie Ghost, which I saw only once a hundred years ago when it first came out. Consequently, I need to do some research and/or actually see the movie to ensure that I am not unintentionally "borrowing" scenes/ideas/lines etc. Considering that I just busted a young lady in class today for copying her essay--word for word--from another student's paper, it would hypocritical of me not to check this out.
There can be certain similarities I suppose--there are only so many notes in the ghost archetype that can be played--but I certainly want my work to be original.
***
Note:
1) To my friend who works in Mission Valley: I'll call you soon. It's been a month.
2) Hi, Val. Let me know if you have any questions.
It would have been tomorrow, but I am going to be off campus and so will not get my regular writing session in. That would bother me, but I am planning some non-writing, writing work.
As I've worked through this idea, it has occurred to me that I might be somewhat subconsciously influenced by the movie Ghost, which I saw only once a hundred years ago when it first came out. Consequently, I need to do some research and/or actually see the movie to ensure that I am not unintentionally "borrowing" scenes/ideas/lines etc. Considering that I just busted a young lady in class today for copying her essay--word for word--from another student's paper, it would hypocritical of me not to check this out.
There can be certain similarities I suppose--there are only so many notes in the ghost archetype that can be played--but I certainly want my work to be original.
***
Note:
1) To my friend who works in Mission Valley: I'll call you soon. It's been a month.
2) Hi, Val. Let me know if you have any questions.
Monday, February 9, 2009
GET BACK
When creating characters, it is important to find specific and individual details that set those characters apart and make them special. Since music always figures prominently in my writing (as well as my life), I thought it might be interesting to make my main characters fans of The Beatles.
Why would you make present-day teenagers fans of The Beatles, you ask? Three reasons. One, I thought that having my main characters be fans might make them stand out as individuals (as well as bonding them within the universe of the story). Two, because they are music icons that I can write about confidently because I know their work. Third, in a perfect world, if and when the book was a huge success, it would be great if I was in some small way responsible for introducing a new generation of fans to The Beatles.
As it turns out, number three was completely unnecessary.
My one concern was that today's teens would have any idea who The Beatles were. So I took a poll in each of my six classes, asking, "Raise your hand if you know who The Beatles are?" Not only did nearly all the hands go up, but they went up enthuastically.
My next question, "Can you name any of their songs" was immediately met with a storm of responses: "Let it Be," "Yellow Submarine," "Rocky Raccoon," "I Am the Walrus."
It was positively validating. I could write confidently about The Fab Four and my intended audience would know who I was talking about.
As a side note: another teacher who assists me in one of the classes noticed something that got past me. She pointed out, "at least they know the older songs." No one mentioned, "She Loves You," "Please, Please Me," or "I Want to Hold Your Hand."
Interesting.
Why would you make present-day teenagers fans of The Beatles, you ask? Three reasons. One, I thought that having my main characters be fans might make them stand out as individuals (as well as bonding them within the universe of the story). Two, because they are music icons that I can write about confidently because I know their work. Third, in a perfect world, if and when the book was a huge success, it would be great if I was in some small way responsible for introducing a new generation of fans to The Beatles.
As it turns out, number three was completely unnecessary.
My one concern was that today's teens would have any idea who The Beatles were. So I took a poll in each of my six classes, asking, "Raise your hand if you know who The Beatles are?" Not only did nearly all the hands go up, but they went up enthuastically.
My next question, "Can you name any of their songs" was immediately met with a storm of responses: "Let it Be," "Yellow Submarine," "Rocky Raccoon," "I Am the Walrus."
It was positively validating. I could write confidently about The Fab Four and my intended audience would know who I was talking about.
As a side note: another teacher who assists me in one of the classes noticed something that got past me. She pointed out, "at least they know the older songs." No one mentioned, "She Loves You," "Please, Please Me," or "I Want to Hold Your Hand."
Interesting.
Thursday, February 5, 2009
THAT'S LIFE. . .(CUE MUSIC HERE). . .
Today was the first day since I started School Spirit where the words came slowly and I was worried about not meeting my quota. I knew what had just happened and I knew what was supposed to happen a few scenes down the road, but I didn't know how to get there. So I spent a lot of time pacing, thinking, and making quick and dirty notes. But the writing itself came very slowly. It was like pulling teeth (hey, that's catchy. I should write that down!).
But that's not what I want to write about here.
I was reminded of another of those mysterious aspects of writing that defy explanation. It is how life can often inform your writing when you least expect it. Here is my case in point:
One of my writing friends (Lara Zielin, author of Donut Days) has--as many of us do these days--a facebook page that I frequently check for updates on her life. She had posted
a link about how some mischievous computer geeks had hacked into a traffic caution sign and written "Zombies Ahead. Run!" Lara has a killer sense of humor and so, naturally, this struck me as very funny.
Today, as I was writing a scene between the main character and his best friend, who happens to be a computer whiz with a bit of a mischievous streak, I needed a joke to help build to the climax of the scene. Without consciously thinking of it, I remembered this story and worked it into the scene. Here's what I wrote (be kind: this is a first draft):
“You coming over after school?” Ben asked.
All I could think about was the pile of homework that I’d let go the past few days.
“Maybe,” I said. “I’ve got—“
“’Cause you know those signs on the freeway that tell you the road conditions?”
“Yeah?” I said.
I couldn’t help it; I was intrigued.
“I figured out how to hack into them,” Ben said. “So yesterday I told drivers to avoid 5
North because there were Zombies in Tustin.”
“Brilliant, Ben,” I said. “Remind me to come visit you in San Quentin. You’ll be the one going to the prison prom with the drug runner named Spike.”
Ben looked pensive for a moment.
“Vest or cummerbund?” he asked.
The two point I wish to make are these:
1) As writers, we borrow shamelessly and liberally from whatever is around us in life and use it as material in our work. Everything is on-limits. Furthermore, if we listen carefully to our muse, something that has been simmering in our subconscious recently might just bubble up and be exactly what we needed in a scene on a day when the words weren't coming so fluidly. So thank you, Lara.
2) And now a few words about comedy. First of all, the freeway sign story is funny all by itself. Secondly, I tried to write short sentences which quickens the pace, hopefully intensifiying the humor. Thirdly, I admittedly went for the easy laugh on the prison joke--guilty as charged (no pun intended. Yeah, right). Fourthly (is that a word?), individual words are often funny by themselves, and I tried to use a number of them in this passage. They are, in order: Zombies, Tustin, Quentin, drug runner, Spike, and cummerbund. I also pleased with the alliteration of "prison prom." It think it works.
Tomorrow's scene stars the titular ghost. The writing should come more easily, I would think.
And come on, admit it, the word "titular" is just funny.
But that's not what I want to write about here.
I was reminded of another of those mysterious aspects of writing that defy explanation. It is how life can often inform your writing when you least expect it. Here is my case in point:
One of my writing friends (Lara Zielin, author of Donut Days) has--as many of us do these days--a facebook page that I frequently check for updates on her life. She had posted
a link about how some mischievous computer geeks had hacked into a traffic caution sign and written "Zombies Ahead. Run!" Lara has a killer sense of humor and so, naturally, this struck me as very funny.
Today, as I was writing a scene between the main character and his best friend, who happens to be a computer whiz with a bit of a mischievous streak, I needed a joke to help build to the climax of the scene. Without consciously thinking of it, I remembered this story and worked it into the scene. Here's what I wrote (be kind: this is a first draft):
“You coming over after school?” Ben asked.
All I could think about was the pile of homework that I’d let go the past few days.
“Maybe,” I said. “I’ve got—“
“’Cause you know those signs on the freeway that tell you the road conditions?”
“Yeah?” I said.
I couldn’t help it; I was intrigued.
“I figured out how to hack into them,” Ben said. “So yesterday I told drivers to avoid 5
North because there were Zombies in Tustin.”
“Brilliant, Ben,” I said. “Remind me to come visit you in San Quentin. You’ll be the one going to the prison prom with the drug runner named Spike.”
Ben looked pensive for a moment.
“Vest or cummerbund?” he asked.
The two point I wish to make are these:
1) As writers, we borrow shamelessly and liberally from whatever is around us in life and use it as material in our work. Everything is on-limits. Furthermore, if we listen carefully to our muse, something that has been simmering in our subconscious recently might just bubble up and be exactly what we needed in a scene on a day when the words weren't coming so fluidly. So thank you, Lara.
2) And now a few words about comedy. First of all, the freeway sign story is funny all by itself. Secondly, I tried to write short sentences which quickens the pace, hopefully intensifiying the humor. Thirdly, I admittedly went for the easy laugh on the prison joke--guilty as charged (no pun intended. Yeah, right). Fourthly (is that a word?), individual words are often funny by themselves, and I tried to use a number of them in this passage. They are, in order: Zombies, Tustin, Quentin, drug runner, Spike, and cummerbund. I also pleased with the alliteration of "prison prom." It think it works.
Tomorrow's scene stars the titular ghost. The writing should come more easily, I would think.
And come on, admit it, the word "titular" is just funny.
Tuesday, February 3, 2009
WE'VE GOT SPIRIT! YES WE DO!
I spelled checked and printed out chapter 5 today at the beginning
of my writing session. The book is now 59 pages. I was very excited about that. Since many agents ask for the first 50 pages (presumably because that usually seems to be a turning point in the plot), reaching that milestone always feels like some kind of accomplishment.
The other thing worth mentioning is that ghost that the title refers to made her first appearance today. She was the main character's girlfriend in life and she shows up in a dream he has. During their conversation, we find out that she needs something from him. So I guess the idea that there is often a major plot point around page 50 is not only true, but that with some editing, my pacing looks about right.
Thirdly, I was so happy with the way this four page scene turned out, I printed it out even before the chapter was finished, breaking a cardinal rule of mine: no printing until at least one draft of the chapter is complete. This rule is in place to make sure I keep writing and don't go into editing mode prematurely.
Finally, the idea that I printed out this fairly involving scene (if I may say so myself) about a ghost and her living boyfriend at 7 a.m. and that it didn't exist when I sat down at 6:15 is an amazing thought to me and one of the reasons I love to write.
of my writing session. The book is now 59 pages. I was very excited about that. Since many agents ask for the first 50 pages (presumably because that usually seems to be a turning point in the plot), reaching that milestone always feels like some kind of accomplishment.
The other thing worth mentioning is that ghost that the title refers to made her first appearance today. She was the main character's girlfriend in life and she shows up in a dream he has. During their conversation, we find out that she needs something from him. So I guess the idea that there is often a major plot point around page 50 is not only true, but that with some editing, my pacing looks about right.
Thirdly, I was so happy with the way this four page scene turned out, I printed it out even before the chapter was finished, breaking a cardinal rule of mine: no printing until at least one draft of the chapter is complete. This rule is in place to make sure I keep writing and don't go into editing mode prematurely.
Finally, the idea that I printed out this fairly involving scene (if I may say so myself) about a ghost and her living boyfriend at 7 a.m. and that it didn't exist when I sat down at 6:15 is an amazing thought to me and one of the reasons I love to write.
Tuesday, January 27, 2009
DIALOGUE VERSUS NARRATION
The good news is that I still haven't missed a day of writing in the four weeks I've been at this--averaging thirty-forty minutes a session--but I noticed something today worth mentioning.
In fiction (or the fiction I've written, anyway), the scenes with two or more characters where there is much dialogue seem to flow very quickly--even if there is action or inner monologue interspersed--and fill up pages very quickly. But since this book is, essentially, a ghost story, there are parts where the main character is alone and establishing an eerie or mysterious mood is critical.
This results in a lot of narration, with very little dialogue.
This is a much slower process because I actually HAVE TO WRITE!
I hit one of these parts today where the main character is up in the middle of the night and can't sleep. He is about to have a supernatural experience, but no one else is around--hence, no dialogue. I'm going to try to throw some other things in there to break up the dense sections of text, however. On the other hand, that might be a second draft thing.
I still try to be aware of pace, though, but also seem to constantly worry
that one)I'm not writing enough and two)I'm bogging things down.
As they say in Hollywood, I guess we'll work it out in post-production.
In fiction (or the fiction I've written, anyway), the scenes with two or more characters where there is much dialogue seem to flow very quickly--even if there is action or inner monologue interspersed--and fill up pages very quickly. But since this book is, essentially, a ghost story, there are parts where the main character is alone and establishing an eerie or mysterious mood is critical.
This results in a lot of narration, with very little dialogue.
This is a much slower process because I actually HAVE TO WRITE!
I hit one of these parts today where the main character is up in the middle of the night and can't sleep. He is about to have a supernatural experience, but no one else is around--hence, no dialogue. I'm going to try to throw some other things in there to break up the dense sections of text, however. On the other hand, that might be a second draft thing.
I still try to be aware of pace, though, but also seem to constantly worry
that one)I'm not writing enough and two)I'm bogging things down.
As they say in Hollywood, I guess we'll work it out in post-production.
Thursday, January 22, 2009
WEEK THREE
I will probably not do a status check at the end of every week--especially if I feel I am on track. But since it's still early in the process, I thought I should. As tomorrow is the end of week three, I wanted to see if I was close to the 30 page mark. Again, if I count the first four pages I wrote (which amounted to not much more than a literary throat-clearing), I have--as of today, Thursday--written the first thirty-eight pages of School Spirit.
And that's one day short of the full week and starting the week with a holiday and no writing at all.
38 pages. Nearly a full week ahead of my goal of 10 pages per day.
It may ALL be crap, but it's making a nice neat stack on the top of my file cabinet in the office.
That's the way these things start.
I may get there yet.
And that's one day short of the full week and starting the week with a holiday and no writing at all.
38 pages. Nearly a full week ahead of my goal of 10 pages per day.
It may ALL be crap, but it's making a nice neat stack on the top of my file cabinet in the office.
That's the way these things start.
I may get there yet.
Wednesday, January 21, 2009
POINTS TO PONDER
- While I am grateful for a day off work, it is a writer's nature to feel guilty when he's not writing and, since I write exclusively at work, I was a little agitated during last Monday's Martin Luther King, Jr. holiday. I tried to recognize that it was normal, though, and forgive myself.
- I finished, spellchecked, and printed Chapter Two. 25 pages and counting.
- I'm already recognizing certain structural problems with the beginning of the book, like the fact that I'm starting Chapter Three and, so far, we've still only seen two characters (Drew and Ben). That's a problem. Not insurmountable, but problematic, nonetheless. I understand that this book is more of a mood piece--in theater we used to call them chamber pieces--but that doesn't excuse it being claustrophobic in terms of character.
- I just finished Twilight, Stephanie Meyer's YA sensation. While I give her props for great details, an unerring understanding of the history and lives of the characters, and a killer (literally) story, in terms of the structure, I'm surprised, quite frankly, that this book was ever published. About halfway through it just takes off in a completely new direction and follows this new tangent throughout the remainder of the book (maybe I shouldn't use the word "remainder" in a blog about my novel, hmmm.). The new direction was very tense and exciting but felt unrelated to what came before, as characters and story threads were dropped or ignored. I know that there are other variables--timing, social climate, luck, ,etc. But I'm still surprised an agent found this structural schizophrenia was acceptable.
- Another area that I'm operating on a ton of faith is this: School Spirit is the most "un-outlined" book I've ever written. I have a ton of background material, including a detailed treatment (what they use for screenplays), but there are still parts of the story that to quote an old colleague "have not yet been revealed to me."
- Got some good work done today, though--1,125 words in about 45 minutes.
Friday, January 16, 2009
STATUS CHECK
Disclaimer: This post is about quantity, not quality. Let's remember that, shall we?
My goal, as you may recall, was 500 w0rds a day and/or 2 pages a day, for a total of 10 pages per week. At the end of the first week, though, I neglected to check my progress. I just didn't think of it for some reason.
But today is the end of week 2. I figured I should have written about 20 pages, and that sounds pretty good to me.
If you include--and why wouldn't you?--the four pages (double-spaced) at the beginning that I was calling a prologue (and now think of more as a warm-up, really, that I already know I won't be using), then my two week total comes to 25 pages. Even without that, we'll call it 21 pages.
Still over the goal.
Twenty-five pages in two weeks, baby.
Not too shabby.
Note: In a related issue, my daily goal has been 500 words. Today I managed a longer writing session than usual--it ended up being about fifty minutes--and when I did the word count at the end, I was pleasantly surprised.
Final count: 1,812 words. Over three times my goal.
My goal, as you may recall, was 500 w0rds a day and/or 2 pages a day, for a total of 10 pages per week. At the end of the first week, though, I neglected to check my progress. I just didn't think of it for some reason.
But today is the end of week 2. I figured I should have written about 20 pages, and that sounds pretty good to me.
If you include--and why wouldn't you?--the four pages (double-spaced) at the beginning that I was calling a prologue (and now think of more as a warm-up, really, that I already know I won't be using), then my two week total comes to 25 pages. Even without that, we'll call it 21 pages.
Still over the goal.
Twenty-five pages in two weeks, baby.
Not too shabby.
Note: In a related issue, my daily goal has been 500 words. Today I managed a longer writing session than usual--it ended up being about fifty minutes--and when I did the word count at the end, I was pleasantly surprised.
Final count: 1,812 words. Over three times my goal.
Wednesday, January 14, 2009
FIRST MILESTONE
Today I finished, spell checked, and printed out Chapter One.
It took me about five days and turned out to be 13 pages.
My plan now is to write a chapter about every three days or so.
I also typed up a title page. Then I put it on top of Chapter One.
It' s officially, sort of, kind of almost, starting to look like a real book.
Did I say book? I meant manuscript.
It took me about five days and turned out to be 13 pages.
My plan now is to write a chapter about every three days or so.
I also typed up a title page. Then I put it on top of Chapter One.
It' s officially, sort of, kind of almost, starting to look like a real book.
Did I say book? I meant manuscript.
Tuesday, January 13, 2009
COLORS
One day, when I was lamenting to a work friend about the lack of success of my young adult novel Godtalk, and wondering how I might make it more accessible to teens and less "adult, " my colleague looked at me on our way out to the parking lot, and said, "More colors."
Such simple, yet wise advice from someone who, although he is a great writer, isn't particularly interested in writing anything himself. But I never forgot his advice. His point was quite literal. Young people like visual imagery, and as my friend suggested, by simply including more colors--saying it was a blue bathrobe, for example, or a red sports car--you are creating more visual imagery for your readers to hang their hat on.
In School Spirit, I am already heeding his advice. I have not only included much more visual imagery, but focused specifically on adding more colors.
I am already seeing the positive results.
Another thing I learned from this same colleague? Well, a few months ago, freshly stung, tired, and spent from the latest rejection from Godtalk, I was ready to give up writing forever. But when I started on this new project last week, I realized once more that it is the writing process that matters, not the publication. Easy to say, I realize, but hard to believe. Yet so true. The act of writing made me happier than I'd been in quite some time, and it reminded of something this friend of mine and I had talked about many times: the key to happiness is to find something TO FOCUS on that makes you happy. It is critical to find some hobby, pastime, or diversion that gives you purpose and focus. It just makes life better. If success (a volume on the shelves of the local Barnes and Noble, say) comes, then it comes. If not, then you've still at least had the benefit of having some purpose to which you are committed.
It will, I suspect, give your life "more colors."
Just a thought.
Such simple, yet wise advice from someone who, although he is a great writer, isn't particularly interested in writing anything himself. But I never forgot his advice. His point was quite literal. Young people like visual imagery, and as my friend suggested, by simply including more colors--saying it was a blue bathrobe, for example, or a red sports car--you are creating more visual imagery for your readers to hang their hat on.
In School Spirit, I am already heeding his advice. I have not only included much more visual imagery, but focused specifically on adding more colors.
I am already seeing the positive results.
Another thing I learned from this same colleague? Well, a few months ago, freshly stung, tired, and spent from the latest rejection from Godtalk, I was ready to give up writing forever. But when I started on this new project last week, I realized once more that it is the writing process that matters, not the publication. Easy to say, I realize, but hard to believe. Yet so true. The act of writing made me happier than I'd been in quite some time, and it reminded of something this friend of mine and I had talked about many times: the key to happiness is to find something TO FOCUS on that makes you happy. It is critical to find some hobby, pastime, or diversion that gives you purpose and focus. It just makes life better. If success (a volume on the shelves of the local Barnes and Noble, say) comes, then it comes. If not, then you've still at least had the benefit of having some purpose to which you are committed.
It will, I suspect, give your life "more colors."
Just a thought.
Friday, January 9, 2009
AND WE'RE OFF. . .
Figuring that my goal was to write two pages a day, and a page of manuscript contains an average of 250 words, my word count goal was about 500 words a day.
The first two or three days I worked for the thirty or forty minutes and barely met my goal--510, 520, something like that. I was getting to know the characters and trying to shake the cobwebs out of my keyboard (from lack of use and practice), and striving to get toward the beginning of the story.
Today, though, I hit what I call the inciting moment--the moment that gets the story going--and typing started to take off.
Today's forty-minute word count? 1,075.
The first two or three days I worked for the thirty or forty minutes and barely met my goal--510, 520, something like that. I was getting to know the characters and trying to shake the cobwebs out of my keyboard (from lack of use and practice), and striving to get toward the beginning of the story.
Today, though, I hit what I call the inciting moment--the moment that gets the story going--and typing started to take off.
Today's forty-minute word count? 1,075.
Thursday, January 8, 2009
AND ON THE THIRD DAY. . .
Starting this book was difficult because of the infinite number of questions that need to be answered about things like backstory, point of view, prologue or no prologue (no, if you can avoid it), etc. So I did write a few pages in the last few days that I'm sure I will eventually be cut--almost certainly--or, at the very least, end up somewhere else in the book. The other benefit is that I get to meet the characters and listen to their voices for awhile.
But for the most part, what I've written so far has been complete crap.
But today, the third day, I started what I suspect might be the beginning of chapter 2 (or possibly chapter one--the opening of the book--if I have no prologue). I described a dream that the main character--Drew Bacino--has that mirrors the way his girlfriend died.
And it wasn't complete crap.
In my previous writing experiences, I was usually pretty good at presenting the visual imagery (i.e., what the character saw or description of what was around. . .). But I've been noticing that I'm now better at including the other senses in the first draft--smell, taste, touch, and sound.
I'm hoping this bodes well for a better first draft.
But for the most part, what I've written so far has been complete crap.
But today, the third day, I started what I suspect might be the beginning of chapter 2 (or possibly chapter one--the opening of the book--if I have no prologue). I described a dream that the main character--Drew Bacino--has that mirrors the way his girlfriend died.
And it wasn't complete crap.
In my previous writing experiences, I was usually pretty good at presenting the visual imagery (i.e., what the character saw or description of what was around. . .). But I've been noticing that I'm now better at including the other senses in the first draft--smell, taste, touch, and sound.
I'm hoping this bodes well for a better first draft.
Monday, January 5, 2009
DAY ONE
The background work for School Spirit has been completed for nearly two years, believe it or not. A series of circumstances prevented me from beginning the novel sooner, including continued revision of Godtalk.
But now it's time.
So I came to work this morning, set my School Spirit folder with all the background work by my computer, got a cup of hot coffee, opened up a blank Word document, took a deep breath, and then just sat there, completely unsure of what to write.
I haven't started a fresh piece of writing in almost two years--at least not fiction. And even though I'm aware of the paralysis that sometimes occurs when a writer stares at the blank page, I still felt all of the usual insecurities of "What if I can't think of anything?" "What if it's terrible?" "Where do I start?"
Eventually, though, after quieting my mind, taking a few more deep breathes, and attempting to envision what was happening to my main character--where he was, what his sensory experience was, how he felt--I began to type.
Before my half an hour was up, I had at least one full page typed, maybe even a little bit more. Whatever I wrote will almost certainly not be what I end up as my beginning with in the finished (and revised) product, but the key is I got something down.
It's on.
But now it's time.
So I came to work this morning, set my School Spirit folder with all the background work by my computer, got a cup of hot coffee, opened up a blank Word document, took a deep breath, and then just sat there, completely unsure of what to write.
I haven't started a fresh piece of writing in almost two years--at least not fiction. And even though I'm aware of the paralysis that sometimes occurs when a writer stares at the blank page, I still felt all of the usual insecurities of "What if I can't think of anything?" "What if it's terrible?" "Where do I start?"
Eventually, though, after quieting my mind, taking a few more deep breathes, and attempting to envision what was happening to my main character--where he was, what his sensory experience was, how he felt--I began to type.
Before my half an hour was up, I had at least one full page typed, maybe even a little bit more. Whatever I wrote will almost certainly not be what I end up as my beginning with in the finished (and revised) product, but the key is I got something down.
It's on.
SCHEDULE
Without any particular plan, it took me five months to write the first draft of Godtalk. Keeping that in mind (and doing the math), I'm scheduling five months to crank out the first draft of School Spirit. I figure that works out to about ten pages a week, forty pages a month, for a total of a 200 page manuscript--give or take. This seems like a completely reasonable and manageable goal. I have about a half an hour every morning before work to get some writing down. That means roughly two pages every session. Although when you put it like that, it seems like quite a bit. But I've been known to be "in the zone" and work through four or five pages in that half an hour, so we'll see what happens.
WELCOME
Hello. As the description above indicates, this blog will be a chronicle of my journey through my composition of a young adult novel entitled School Spirit. This is not the first book I've written, however. I wrote a non-fiction teaching methods book entitled You're a Teacher. . .So Act Like One! Improving Your Stage Presence in the Classroom, which I self-published through iUniverse. I also wrote a mystery novel called Bad Moon Rising, which was mostly my education in how to write (and submit) fiction. Finally, I wrote my first "real" book, a young adult novel entitled Godtalk, which has come the closest to seeing the light of day. Four or five big time New York agents have read the entire manuscript and said very nice things about the book (and my writing), but so far no one has been willing to commit to representation. The most common feedback I've received is that Godtalk is "too religious." Mainly, what Godtalk has taught me is that although I can write well enough to be published, my first time out of the gate may just not be with that book.
Consequently, it's time to go back to the keyboard and try again with School Spirit.
Wish me luck.
Consequently, it's time to go back to the keyboard and try again with School Spirit.
Wish me luck.
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