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    And I Thought All I Lacked Was a Beret…


    2010 - 03.24

    Like many daydreaming youths, I once pictured the life of a writer as a dance between cool genius and raving eccentricity.  Writers spent their time in the hippest (defined as such by their lack of appeal to the general public) cafes, smoking fags and savoring espresso.  Discerning eyes would people-watch from the narrow shadow of a beret, “knowing” a passerby with breath-catching intimacy in the span of two blinks.

    A year ago, I decided to be a Writer.

    • I can’t bring myself to smoke.  Tried it once in high school, desperately fought to not puke afterwards.
    • Sipping espresso: Check.  In fact, I drink twice as much as I imagined Writers should — you know, to make up for the whole not smoking thing.
    • People-watching is natural, as I am naturally nosey.  Breath-catching intimacy?  Maybe not, but I adeptly read most body language, and I’m quite good at imagining stories for strangers.
    • I never could bring myself to buy a beret.  I just don’t have the bone structure for it.  (And they leave those forehead lines — girls know what I mean).

    Imagine my surprise when, just last evening, I found myself diagraming speech patterns for my characters.  ”Oh dear,” I said to Bandit, “I’ve crossed over into eccentricity.”  My cat blinked casually; she rarely responds once she’s weaseled dinner from me.

    I wiped dust from my copy of “Martha and Bob,” adding it to the nightstand book pile (if that thing ever falls, I’m sure to lose an eye).  It’s been too long; I need to brush up on my grammar (I’m sure I could give an editor fits with my reckless use of punctuation and clauses!) and there’s no point putting it off when I can layer it in *somewhere.*

    Thus far, I dare say that diagramming speech patterns is the most unexpected thing I’ve done while writing/revising my novel.

    What’s the oddest or least expected thing you’ve done when writing?

    Paging Dr. Morris, Please. I Have a Grammar Question!


    2010 - 03.20

    As part of attending a local writing workshop, I’m expected to share two examples of my work.  At first, I blithely determined I would take in a few random pages for feedback.  Yet the night before my turn to share, it dawned on me: most of the other workshop attendees are poets.  Not only are they poets accustomed to a type of writing, they’ve never even *read* fantasy.  Their genre deals in stanzas.  Mine deals in trilogies.  Aaaaaaaaand you see why I suddenly freak out when tasked with finding a 500 word or less sample of my writing (attempts at math tell me this is roughly 0.0036% of my first draft) that will make “sense” to this particular audience (several of whom, quite innocently, asked if I had properly explained to my audience why a Faie’s body would be stronger than a human’s.  Well, yes, actually — I do explain that eventually, but it’s one of those things that fantasy readers just *accept* until the author sees fit to extrapolate; it’s a convention of the genre that I take for granted, but which concerned this particular audience).

    So the night before our meeting, I settled on a few text fragments that I’m *considering* using at the beginning of chapters, since they are supposed to be somewhat ambiguous and, if nothing else, I can get a gauge for what type of questions or emotions they stir in a reader.

    Despite my anxiety, I received some helpful insight/feedback, but there was ONE grammar criticism that I just couldn’t agree with, even though several of the other writers emphatically supported the correction.  I humbly ask that, if it does need correcting, SOMEone explain more thoroughly, in grammar-ese, please!

    Should it be:

    “Our worlds in balance is now but a dream, for we have thrust together two distinct Creations…”

    or:

    “Our worlds in balance are now but a dream, for we have thrust together two distinct Creations…”

    ?

    The critic’s justification was that “worlds” is my subject (plural), thus my “be” verb should be plural (“are”).  I completely understand why he would make this argument, but I don’t consider “worlds” to be my subject, I think “balance” is.  In my head, when I diagram this out, there’s an elliptical article (“a balance”); if I untangled the sentence, a more traditional way of writing it would be “A balance in our worlds is now but a dream,” but that’s not how the speaker of this passage would say such things.

    The subject/verb is critical here because it drastically affects the meaning of my sentence.  If “worlds” WERE my subject, then the sentence would convey that the worlds are now a dream, or essentially non-existent, which implies the story takes place outside the realm of space/time.  If “balance” is my subject, I imply that balance is no longer attainable, but the worlds still exist.  Two very different beginnings, indeed!

    So help me out here — if you were reading this sentence, would the verb “is” drive you nuts?

    What You Say!?*


    2009 - 10.12

    *(It’s a reference to “All Your Base…Are Belong To Us.”  Ah, the classics.)

    Dialogue question.  I recently joined a new writing group (I’m going to use this as a quick opportunity to toot my horn [because I almost cried when they told me this] but the group actually said my descriptions were “literary” and they loved my metaphors.  On a first draft!  Having started this journey with my descriptions completely sucking, I’m treasuring this as a mark of progress) and we had a lengthy discussion on depicting dialect in prose.  My character Mevy uses some heavy dialect, but it affects her verb tense and word choice, not really her pronunciation.  A newer character, Vouri, speaks in a manner that is inspired by Russian accents, but since there is no “Russia” in my world, I can’t just reference the country.

    Some writers insist that all misspellings are no no’s, and others use them with reckless abandon.  I *could* just pepper a phonetic spelling here and there as a reminder; there are so many opinions out there!  I’d like some feedback on what is a “turn-off” for you as a reader when it comes to this issue.  I included the introduction to Vouri as an example of what (little?) I’ve done to represent his manner of speaking, which can be used for an example if you like (and because it’s a shameless way to get more feedback on my writing).  Also, though I’ve read several novels on writing, if anyone can suggest a book that deals specifically with the issue of dialect (bonus for published examples), I’d be very grateful.  Always room to learn more.

    (Sorry the indent is all screwy.)

    . A single man waited at the table, his face hidden in the shadow of a hat.  The hat was a curious thing: fashioned with a sleek material the color of ripe plums, the crown dimpled inward on either side of the front like two scornful eyes, their empty sockets scrutinizing Branvick’s approach.  The wide brim tapered to a slender point that curled downward like a cloth nose.  Beneath the hat, a man wordlessly gestured towards the seat opposite himself before pressing his thickly-jointed fingers into a steeple.  Branvick nodded to the man as he sat, but kept his own hands hidden in his lap.  The stranger chuckled, the curious hat bobbing with amusement.

    .. “Cautious, that is good thing!  Makes my money easier,” said the stranger from behind the floppy purple nose.  His voice was roughly accented, as if he were coughing words from his throat, only to bite into them with a buzzing sound.  “I am Vuori.  I have few questions before I take job.  Yes?”

    . “Such as?”

    . “Trolls mean nothing; your destination is Mysted Veil, yes?”

    . “Yes.”

    . “If I take you there, do you expect me to protect you from them?”

    . Branvick didn’t need to ask who the stranger meant.  “I’m hoping to avoid the Mystians.”

    . The hat bobbed again, the sightless eyes boring holes into Branvick.  “They may avoid you, but you cannot avoid them.”  The hanging nose swung back and forth adamantly.  “That is not how things work in Mysted Veil.”

    . “I can take care of myself if you can get me there,” Branvick replied, carefully placing a purse on the table.  Thick knuckles burrowed into the leather pouch, fishing out a coin for inspection.

    . “I have cousin, Ureche, I call him Uri,” said Vuori.  “He once had dog he could not make go to ground.  Dog was not scared, it just could not find holes, so it would run around and around like it was playing game.  It was very good dog, but maybe it was hit in head when it was puppy.  So I tell my cousin, ‘Uri!  Just leave it be!  Your dog is not meant to go to ground!’  But Uri is stubborn man, and finally he make dog go to ground.”

    . Vuori leaned back then, throwing his right arm over the back of the chair while rubbing his left thumb over the surface of the silver coin.  His face bore an odd resemblance to the purple hat.  Two dark eyes glittered beneath bushy brows that arched so sternly it was as if the man’s face was frozen in an emotion between anger and surprise.  Just below the droop of a long aquiline nose, the man’s mouth cut a thin line across the wiry grayness of a well-trimmed mustache and goatee.

    . “Problem with dog going to ground,” Vuori continued, a smile cracking his thin lips as the purple hat began to bob, “is that he could not find way back out!”

    Honestly?


    2009 - 09.03

    This is a jumbled rant.  I repeat, the following is a rumblin’, stumblin’, bumblin’ attempt at working through my negative feelings about the writing process via (ironically) a written sob-fest.  The following is not going to be graceful, and in all likelihood will run in zig-zagging circles around the concept of “a point.”

    Many of you know I’m working on a novel.  I say that in all seriousness while trying to not take myself too seriously.  I can’t help but feel silly when I say it (one gets a lot of indulgent, mildly-amused smiles when admitting to working on a novel), but since I’ve actually got a box of index cards detailing the chain of events and I’ve written over 200 pages of actual story (that’s not counting all the character, world, and race histories), I have to soothe my insecurities by telling myself that I’ve at least “done” something.

    But my creation is an evil and petty thing.  Characters decided to “be” different people than I first imagined when plotting an outline, and sometimes they’ve just flat out decided to do something I hadn’t planned for.  It’s maddening, firstly because I find it annoying that I don’t have complete control and secondly because I feel a little weird admitting my characters “do” things that I don’t tell them to do.

    It exacerbates my (already significant) insecurities.  (As a note, there are things I feel confident about: walking in ridiculously high heels, controlling a 75 pd. German Shepherd, wearing whatever odd outfit that strikes my fancy, reaching a logical conclusion when faced with a moral delimma, among other things.  Didn’t want anyone to feel bad for me, the insecurity is pretty much focused within the realm of my writing).  I no longer trust my husband’s opinion.  I mean, after pg. 120 or so he just started telling me the story was great (with the exception of some details here and there) and that just can’t be true.  It must suck, because it is first draft.  I know the first 100pgs. sucked, because I’ve never written creative fiction before and my inexperience alone would demand that I pay a hefty fee of embarrassment to the Deity of Fiction before I stopped being completely god-awful.  After the first 100pgs., I could look over sections with the confidence that, “well, this isn’t TOO bad–this is useable, with several revisions. . .”

    By pg. 150 or so, I started thinking the whole process was doable.  A ton of work, but I realized that before I started.  I still feel utterly lost when I try to wrap my brain around the idea of “finishing” the project, but I feel much better about sitting down and writing a couple pages a day.  And then my characters throw me a curve ball, and I get paranoid about what Reader will say when he/she looks at this, and then I talk to Bandit because my head has suddenly become this super-highway of babbling characters playing bumper cars with my self-loathing.

    “Free honest-feedback” is a false promise, and it discourages me more than anything.  People offer help, but I either get an “I like it,” or *silence.*  I don’t know how many times I need to reassure people that I expect this to need work–plenty of work!–to make them believe me enough to say, “this right here. . .sucks.”  I’ve gotten a few pages of red from ONE person and I’m pretty sure I almost peed my pants with joy.  The Negative Nancy in my head listens to the silence and then starts buzzing in my ear that the silence is indicative of one of two possibilities: 1) They got bored and never read it, and don’t want to tell me as much because they’re afraid I’ll get mad/hurt/etc., OR 2) They read it and it sucked, but they don’t want to tell me because they’re afraid I’ll get mad/hurt/etc.

    *Sigh*

    Hubby tells me this is why I have so few *close* friends.  Very few people, apparently, believe that blunt honesty is a truer sign of friendship than a kind half-truth.  Being completely honest, when that honesty hurts, is somehow thought to be cruel.  I don’t get that.  If someone looks like a hot mess and their breath reeks, you’re not doing them any kindness by letting them go to an interview where their potential employer will note on their resume, “hot mess, stinky breath.”  If my writing is horribad, and I someday manage to package my baby up and send it to an editor, the editor isn’t going to say, “Aw, I bet she’s a nice persona and she tried hard,” and send me a letter of encouragement–he’s just gonna lob that failscript into the nearest trash can (and I’ve read that so much of the industry relies on chance that I don’t want to throw away–no pun intended–a single chance at acceptance).

    I don’t know.  It’s frustrating.  The best I can do for myself is to continue to completely ignore the execution of what I’ve written beyond the most recent 10pgs., and then later I can attempt to go back with the mindset of Reader and tear the thing to bits.  I don’t trust myself to not be blind to many of my personal flaws, but hey–it’s another skill I can work on adding to my repertoire, right?