I will not be posting for a while due to a couple of knee surgeries and healing time. I expect this to last into the spring of 2019. When I am back, I will announce on FaceBook that my blog is open again for my usual irreverent remarks and pseudo-writing wisdom...
In advance, may you enjoy the harvest festivals and your December holidays with friends and family be filled with joy. My very best wishes for a happy 2019. May we all enjoy a world filled with greater peace, compassion, and understanding of humanity than we endured in 2018.
Thursday, October 11, 2018
Monday, October 8, 2018
Dialogue
Dialogue is fun, useful, and educational. Were it a food, it
would be a miracle, including every significant nutrient.
How better to understand your characters than to slip into
the phrases and word choices, jokes and images he/she uses? Someone even said
that understanding a nation’s humor teaches us most about the culture. It is
the same with characters. How does the character refer to others, perceived as
not quite like himself? What jokes does she find funny? What symbols do they
all use to explain life and its vagaries? All these things let both reader and
writer understand possible motivation, or lack thereof, for what the characters
do in the story.
Dialogue speeds action. Pick up any novel where there are at
least two or more pages of dialogue and consider just how fast that scene went.
If you want tension, have an argument. If you want a seduction scene, you can
raise the steam level and omit the mechanics of specific body parts, should you
so wish. You can set time, place and other details in the first chapter without
one paragraph of description. That technique grabs attention and keeps up the
pace. Bet that’s a book a reader will buy.
And finally, to keep this fairly short, dialogue is a
wonderful place to hide clues. What did the witness say—or not say? Want to
check out how this is done? Try The
Mousetrap by Agatha Christie. Or even consider that infamous Holmes detail
about whether or not the dog barked. Or go back to The Murder of Richard Ackroyd and that odd blank in the story. A
really skilled use of story-telling that hides clues right in front of you is
Lehane’s Shutter Island . Many do not like the book, but Lehane’s ability to manipulate
what the reader sees through the way the character tells the story is
masterful.
As for learning the art of dialogue, I go back to plays.
Reading them is not the same as watching how actors use ordinary words (OK so
Shakespeare’s speech wasn’t everyday stuff…) to convey all sorts of emotional
shadings, but some playwrights do have that gift of writing clever lines that is
worth studying by novelists. Think about Tennessee
Williams, Edward Albee, Oscar Wilde, or Shaw. Just a few. There are many more.
In any case, dialogue is the vascular system of any book.
Have fun with it.
Monday, September 24, 2018
The Book I Want To Write
The book I really want to write is the next one.
An odd choice? Well, I could hope for one to be a NYT best
seller (not without a movie deal, which ranks up there with hen’s teeth) or to
become a classic (hen’s teeth with diamonds). All quite reasonable “wants” for
any author. So why….
Easy peasy.
The next book is always perfect, a shining light, the
ultimate dream. It is, in short, Author’s Fantasy Work. It has not yet been
shoved in front of the reviewing wolves to be torn apart, revealing all the
faults and glitches. It has not yet garnered reviews from readers who say they
did not finish because it was boring or so disgusting it ought to be burned. Or
worse, it has not generated a note from someone who says, “On page X, you said
Y, and you are wrong because…” (signed: Revered Expert in All Things Mentioned
on Page X).
So what’s an author to do? Write it? Bronze it? Dream on?
Write the book. It will be wonderful in places (yay), not so
hot in others (live with it), contain groaners (groan) and garner both praise
and blame. The main thing is that, like babies, some progeny will be wonderful,
others not so much, but they are all our books and we love them. If we could
stop writing, we would. There are less angst-filled jobs after all—telemarketing
comes to mind. Instead of changing professions, we learn to live with
imperfection.
And, in the meantime, the book I really want to write is the
one just after…
Monday, September 10, 2018
Blending Genres
Blending genres? Why not? You’re asking that question of one
who cut her college teeth on genre smashing things like Nouveau Roman, Gertrude
Stein, Happenings, and foreign films at the Surf Theater in San Francisco.
My brain awakened in the 60s, but my feet were also firmly
planted in the immediate post-WW II era, a time when any belief in reason,
justice, or humanity was blasted into micro-bits of dust. Neat, logical boxes
were bad jokes at best, obscenities at worst. The world had to be reformed out
of chaos, and many believed that was no longer possible.
Of course, the world has been reformed in ways or we
wouldn’t even be having this discussion of blending genres. And, being a person
owning many decades beyond my college years, I have some thoughts, pro and con.
The concept of “genre” has merit. Cutting up bookstore stock
into divisions of form, style and subject matter is good business. Since I don’t
understand most poetry, I rarely read it. Much modern American “literary fiction”
doesn’t grab me for a variety of reasons so I skip past that segment. But label
a section “biography”, “plays”, or “mysteries” and I come running.
Besides, who has time to wander along the walls of an
unlabelled bookstore, picking up books because something just draws you? Yet I
remember when it was fun. I even picked up some poetry that way as I browsed
through the City of Paris basement (when I could still read French) and those
rickety-staired or below-the-sidewalk bookstores I haunted in my youth.
So, from a business perspective, keeping to the defined
genre is good. From an artistic or intellectual point of view, it is deadly. So
what’s a curious soul to do in an era when business loves boxes, but brains don’t?
Take the mystery. Make it a puzzle, as in the Golden Age,
and it is the literary form of the New York Times crossword, a challenge and a
delight. Turn it into a novel, like P.D. James, and you are reminded that murder
is brutal, ugly, and terrifying. Add the concise word choice and poetic lilt of
language, in the manner of Ken Bruen, and you face the insanity of violent
death and smell the foulness with the intensity of walking into the face of an
ice storm.
In short, the mystery is rarely just one genre. As a blend of
story, poetry, theater, and puzzle, it makes us think about justice, society
(ours and others), the lessons to be learned in history, and, like biography,
what forms one person into the creature they become. This blending has captured
me because it shakes up my preconceptions and makes me ponder stuff I might not
otherwise question. It is why I have learned to love mysteries best.
Monday, August 27, 2018
Characters
Let’s talk character evolution.
Part of the fun of a series is how events change a
character. As a reader, I want to settle in with my favorite fictionals, find
out what life flings at them, and learn how they handle it all. I
care—passionately. That is one reason I love long series, each book being just
a chapter in a very big novel. Peter Robinson’s Inspector Banks is a good
example. Each book is a small step in Banks’ evolution. We see the break-up of
his marriage, the growing up of his kids, the various love affairs and how he
handles the relationships afterward. There are lots of secondary characters we
care about. How will they change and will he ever get back together with… Well,
that’s a spoiler. And we care about the small stuff. I got upset when Banks
gave up (with good reason!) his favored whiskey, and, from the way Robinson has
handled that detail, I wasn’t the only one.
Sometimes a writer makes a mistake with a character, giving
them some quirk or past that doesn’t really work long-term. Even the best do
this. When I suspect this has happened, I want to see how the author gets around
it and applaud clever handling. Ian Rankin first drew Rebus as a detective with
a Bible always close to hand. For some reason this very Scottish Protestant
detail never rang true to me with the rest of Rebus. I don’t know if Rankin
began to think the same, but the book disappeared early on. This was linked to
Rebus’ growing disillusionment with the world, and that worked for me.
Minor characters are very important in this process as well,
not only in their relationship to the main guys but just for themselves. When I
started my own series, I peopled it with ongoing fictionals and some that show
up occasionally. As a reader, I often wonder whatever happened to “X”.
Sometimes it is good to let the reader fill in the blanks. Sometimes it is fun
to bring the character back. I have an anchoress who was introduced in the
second book, shows up again in the fifth, and may well drift through again.
Secondary characters take the heat off the main ones, and
good writers know how to do this. Other than Sherlock Holmes, most primary
characters welcome it when the spotlight shifts a bit to another intriguing
storyline. Pointing to Rebus again, he has no problem with his former sergeant,
now outranking him as an inspector, Siobhan Clarke taking front stage from time
to time.
I’m always disappointed when the author rushes character
development. Maybe that is why writers should plan a series arc. Even though I
love long ones, I am satisfied with a three or six book series if the character
has evolved fully. Sadly, series are so often dropped after just a few books
that authors are almost driven to trying too much in too short a time.
Finally, there is an equal problem when character evolution
stalls but the series goes on. That is a subject I want to tackle but will put
off to another blog.
Monday, August 13, 2018
Writing Routine
OK, now I’m embarrassed. Just how many of us want to admit
that we (male or female) write in our nightgowns (loose waist = creative
freedom) or have a wee quart, near to hand, of a libation with an alcohol
content banned during Prohibition? Do we become the Mr. Hyde of Creativity,
snarling at loved ones and demanding trays at our locked door, which are often
ignored because we are chained to the Muse? Or must we confess that… Oh, you
mean “how do you schedule your day”?
Whew!
With a few books now under my preferably very loose belt, I
have developed a comfortable routine. I must know location, theme, and a first
scene plus last scene as well as whodunit/whydunit before starting any new book.
A quote to give the story focus and a title come next. Then I scrape parchment,
sharpen quill, and spend one to two months scratching out a chapter-by-chapter
synopsis without regard to logic, grammar, or even any changes of names in
minor characters. In short, if I die during this process, even the computer on
which the thing has been composed
must be burned.
I own some pride.
This mess does have value. The chapter-by-chapter synopsis is
an outline of the book for both me and my editor. (Her idea. A bow of
gratitude.) Before sending it off, I move chapters around, add chapters to fill
plot holes or adjust tension, fire pointless characters, correct names, and
otherwise strengthen the story bones. Once the synopsis returns, I make my
editor’s suggested changes in the synopsis itself. Thus I end up with an
outline from which a mystery can be crafted.
The remaining process takes six to eight months. I am an
excruciatingly slow writer, sweating blood to reach the 65,000 word publisher
minimum while knowing I must still cut. If interrupted in mid-scratch, I must restart
two or three chapters back because I have lost the flow of the story.
Unfortunately for the family member who cooks, I work in the kitchen with a
view of the untamed backyard. Unfortunately for my waist, I work near the refrigerator,
requiring that need for little binding about the middle. Part of my routine is
to diet after a book is done and ban Mr. Hyde style howling except during
football.
Much has been made of a daily routine. In principle, I
agree. In practice, I’m flexible. I write between lunch and dinner or four to
six hours. There are days I write myself into corners or toss dreck into the
computer. Conventional wisdom says to write through this. I opt for lunch in
the wine country. There is merit in shutting off the louder brain and
delegating work to the sub-conscious, a function often ignored in a 24/7 world.
Some of my best solutions have come when I was falling asleep.
Bottom line: find a routine that works for you, keeps you
creative, and keep to it. As for other quirks we have, I suggest you always
thank the loved one who leaves that tray by your door…
Monday, July 30, 2018
Villains
I’ve never liked the term “good vs. evil”. Not that I don’t
want justice to be rendered, the world freed from violence, or wish I didn’t
have to lock my door at night. But I worry that “good vs. evil” is misleading,
luring us into believing that “evil” is easily recognizable and that the child-abuser
or murderer couldn’t possibly be a pillar of his church or that lovely lady who
bakes cookies for the neighborhood. And, of course, the person I see in the
mirror every morning would never commit a violent act…
I wish violence and villainy were that simple, but, if the reasons
for violence were clear, why would we write books that ask why murder happens?
Now that I have perhaps presented myself as a (name your coffee store) card
carrying, latte liberal (actually prefer mochas, full-fat, with whipped), let
me also say that I do not think murderers just need a group hug to resolve
their issues.
But despite our rather odd legal definition of sanity, I think any act of violence is a
moment of insanity, whether the pressure has been mounting for decades or the impetus
occurred five seconds ago. Villains run a range of types including the ethically
challenged (OK so gang-bangers have a code but let’s leave that to another time),
the emotionally disturbed, and the nice guy/gal suffering unendurable stress.
In short, they are complicated people, not just mustachioed fellows who tie
Pauline to the railroad tracks and sneak off, saying hee hee. That doesn’t excuse them from punishment, although some
violence may qualify as self-defense, but it does suggest that we cannot be
simplistic in how easily it is recognized or defined.
But enough rant—hope this elicits some good debate!
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