Last week I tried out a new crime writer (from the library, of course) called Meg Gardiner. The book was "Jericho Point" and it was OK. Lots of action and I particularly liked the details when her main character was beaten up - it's hard to write fast, real action and injury scenes. But the beginning was a bit confusing. I know, it might just be I didn't pay enough attention again, but we talk a lot in class about opening chapters and what they need.
Obviously they need action and story questions to keep the reader hooked and wanting to know what happens next. They also need a sense of the main character and what is going on - I call this "situating the reader". You want to know where you are in the story, and feel confident that if you read on, the promise of bigger and better things will be kept. You don't want to feel like the writer is keeping you in the dark and trying to be deliberately mysterious or misleading. I don't, anyway. I think "Jericho Point" is the second book featuring this character, and the writer had chosen to only gradually reveal what she does for a job, and why she's involved in this situation. If I'd read the first book, I would have known a lot of that. But in this book I was floundering for a while.
Sue Grafton always tells her readers upfront who Kinsey is - in fact, in "O for Outlaw", which I picked off my shelf, she says on Page 2: "Those of you acquainted with my personal data can skip this paragraph." Then she goes on to give a potted life history of Kinsey to date. If the O book was the first Grafton novel you'd ever read, I imagine you'd appreciate the information and would read on, not needing anything more.
Some would argue that what Grafton does is throw in an info dump, but I think a new reader does want to know that stuff.
Fantasy is a different problem. Not only do you have to do all those first-chapter things, but you have to let the reader know lots about the world of the novel without big chunks of explanation. How much is too much? Too much is when it interferes with the flow of the story.
I also read "Allie McGregor's True Colours" by Sue Lawson this week. A younger YA novel, Australian, not heavy on plot but focused more on relationships and the family vs. friends thing. Who is a real friend? How can you tell? What happens when your family faces cancer? An enjoyable read, a bit emotional but very real without being soppy.
And finally, I finished Peter Temple's "Black Tide" last night (I've got to do something while I'm lying down doing this "resting" thing). Very snappy dialogue, and a plot with lots of twists and turns. I do like Jack Irish as a character.
Writing (which can be done very well sitting down, while thinking about writing can be done very well lying down) has proceeded this week to the point where I wrote what I think is the final dramatic scene. The climax. The end of the search for the grail, if you like Hero's Journey references. Now for the resolution, the tying up of loose ends.
And then the rewriting.
It takes a long time before I can truly write THE END on a story.
Tuesday, March 20, 2007
Wednesday, March 14, 2007
Too Much Information
How much do you tell the reader? How much can you assume they know? In a fantasy novel, for example, you pretty much have to tell them everything about the world they need to know in order for the plot and setting to work (e.g. if this society has an outcast system, the reader needs to know how it works and how it affects characters, motivations, plot elements etc.) But what about a genre such as crime where, in this day and age, much of the basic background information on forensics and detection would be known by the reader, either from other books or some of the dozens of crime TV shows such as CSI and SVU?
This was the question I puzzled over as I read "The Murderers' Club" by P.D. Martin. I read a lot of crime fiction, and I found the author's info dumps on things such as rigor mortis, how an autopsy is performed (yes, there was dialogue in that scene but it was contrived) and how a computer boots up and with what operating systems to be quite tedious.
Are there crime readers now who need these things explained? I'm not sure. As always on this blog, I put in the disclaimer Maybe it's just me!
And I know it's just me when I say - please stop writing in first person, present tense. Some kinds of novels suit fp/pt wonderfully well, but Patricia Cornwell's latest efforts in this style are clunky, and I felt Martin's fell into the same trap. Fp/pt doesn't always add immediacy and drama to a story, and it often means that if you aren't good at sentence construction and variation, you end up with an awful lot of sentences that start with I.
On the other hand, I did read a YA novel with pace, great voices and a story that kept surprising me. "The Long Night of Leo and Bree" by Ellen Wittlinger. It was short, but that was OK. Although the premise sounded familiar (rich girl meets violent poor boy), it defied predictability and was full of depth and complex insights that left me thinking afterwards - always a good sign.
Yes, my brain is returning to some semblance of working order at last. My feet are still up, I'm still walking very slowly, but that's OK. I feel like a living embodiment of the Slow Food Movement, with time to savour the small things for a change.
That's includes time to watch a movie or two. "The Good Shepherd" was slow but totally involving, and even had me pulling out the encyclopedia to check what happened with the Bay of Pigs and Cuban missile crisis. I liked it a lot.
This was the question I puzzled over as I read "The Murderers' Club" by P.D. Martin. I read a lot of crime fiction, and I found the author's info dumps on things such as rigor mortis, how an autopsy is performed (yes, there was dialogue in that scene but it was contrived) and how a computer boots up and with what operating systems to be quite tedious.
Are there crime readers now who need these things explained? I'm not sure. As always on this blog, I put in the disclaimer Maybe it's just me!
And I know it's just me when I say - please stop writing in first person, present tense. Some kinds of novels suit fp/pt wonderfully well, but Patricia Cornwell's latest efforts in this style are clunky, and I felt Martin's fell into the same trap. Fp/pt doesn't always add immediacy and drama to a story, and it often means that if you aren't good at sentence construction and variation, you end up with an awful lot of sentences that start with I.
On the other hand, I did read a YA novel with pace, great voices and a story that kept surprising me. "The Long Night of Leo and Bree" by Ellen Wittlinger. It was short, but that was OK. Although the premise sounded familiar (rich girl meets violent poor boy), it defied predictability and was full of depth and complex insights that left me thinking afterwards - always a good sign.
Yes, my brain is returning to some semblance of working order at last. My feet are still up, I'm still walking very slowly, but that's OK. I feel like a living embodiment of the Slow Food Movement, with time to savour the small things for a change.
That's includes time to watch a movie or two. "The Good Shepherd" was slow but totally involving, and even had me pulling out the encyclopedia to check what happened with the Bay of Pigs and Cuban missile crisis. I liked it a lot.
Monday, March 12, 2007
More (Unintentional) Research
You can tell when a writer is sick because if they are really, truly sick, they not only can't write, but they can't read either.
Imagine being stuck in a hospital bed for 3 days with nothing to do but stare at the wall. Perfect time to read and relax. Except my brain was mush, and the last thing I was capable of was creativity. Pity. I could've read at least one novel, or written a good 5000 words. Instead I lay there (with holes in me that connected to tubes with drips and medication) and did nothing. Well, I have to admit I did "listen" to dozens of conversations. Not eavesdrop, because it wasn't deliberate, but I was in an open ward where the only thing between me and all the others was a curtain. And voices carried quite clearly. Nothing I think I'd ever use in a story or novel, but impressions and emotions, and some funny incidents. Grist to the mill, as a writer friend said to me.
Other unintentional research? I got to ride in an ambulance, and see bunches of trainee doctors trailing around after the surgeon on rounds, just like on TV, and hear lots of medical terminology being used.
I also discovered that when you disappear unexpectedly for three days, all those things you had scheduled are suddenly up in the air. Discussing final editing/proofreading of your new book from your hospital bed is difficult. Deadlines sometimes can't wait.
If you ever have to rush off to hospital (public, not private), don't forget your toothbrush and toothpaste. It's not supplied. Not being able to brush my teeth was horribly disgusting, and it was the first thing I did (twice) when I was finally allowed to come home. And then I went looking for a good book to read.
Imagine being stuck in a hospital bed for 3 days with nothing to do but stare at the wall. Perfect time to read and relax. Except my brain was mush, and the last thing I was capable of was creativity. Pity. I could've read at least one novel, or written a good 5000 words. Instead I lay there (with holes in me that connected to tubes with drips and medication) and did nothing. Well, I have to admit I did "listen" to dozens of conversations. Not eavesdrop, because it wasn't deliberate, but I was in an open ward where the only thing between me and all the others was a curtain. And voices carried quite clearly. Nothing I think I'd ever use in a story or novel, but impressions and emotions, and some funny incidents. Grist to the mill, as a writer friend said to me.
Other unintentional research? I got to ride in an ambulance, and see bunches of trainee doctors trailing around after the surgeon on rounds, just like on TV, and hear lots of medical terminology being used.
I also discovered that when you disappear unexpectedly for three days, all those things you had scheduled are suddenly up in the air. Discussing final editing/proofreading of your new book from your hospital bed is difficult. Deadlines sometimes can't wait.
If you ever have to rush off to hospital (public, not private), don't forget your toothbrush and toothpaste. It's not supplied. Not being able to brush my teeth was horribly disgusting, and it was the first thing I did (twice) when I was finally allowed to come home. And then I went looking for a good book to read.
Tuesday, March 06, 2007
Truth in Fiction
Why do people read fiction? The most common answer I get (I ask this in class) is for entertainment or escape. But after that, people often answer that they are looking for the truth about the world - not necessarily their world, but a truth. Maybe it's a truth that they want to hear, as in crime fiction where the villain is always caught (and if he/she's not, the reader feels cheated!), or romance fiction where the girl always ends up with the hero who turns out to be perfect for her.
Books that tell the truth too clearly are often the ones that cause a stir and end up being widely acclaimed. I'm thinking of "We Need to Talk About Kevin", in which we have a mother's burning need to be totally honest about her son's life, and her relationship with him, in order to try and figure out why he became a mass murderer. It's a scary book, and I wonder how many people saw their own relationships reflected in the story, even if only in small ways.
How do we write something "true" when we are writing fiction? I still believe you have to write from what you feel deeply about, even though I know lots of people who don't, and are published. But maybe the books that make a mark in a reader's life come from somewhere else in the writer. Something that has to be expressed, a story that has to be told. Will Charles Frazier ever write something as good as "Cold Mountain"? Lionel Shriver wrote and published many novels before "Kevin". I think back over books I've read that had an impact on me, and very often that author has written others, but there is that one book that stands above the others.
Where does that book come from?
Another aspect of this is the need to produce, of course. A first novel can take years to write and rewrite, and it has to be really good to get published (the first-time author is, I believe, the marketing department's nightmare!). But then there is pressure to write another, and another. The next books don't receive the same care and incubation a lot of the time. Sue Grafton wrote a stinker half-way through her alphabet crime series, and she was able to say to the publisher, "Enough. I will write at my own speed from now on, thank you." (not a direct quote!)
One book does not earn you enough to quit your job and devote your life to writing, unless you like bread and water. That's another truth about fiction.
Note: The Varuna fellowships are announced today. This is the scheme where writers submit fiction manuscripts and five are selected by HarperCollins editors for an intensive 10-day workshop up in the Blue Mountains. This year, the editors received a shortlist of 26 manuscripts, and I bet most of them are publishable. However, Australia's literary fiction scene is getting smaller and smaller, and all of those writers not in the 5 will have to call on every ounce of that vital quality - perserverance - to keep going with their books.
That's another bit of truth in fiction!
Books that tell the truth too clearly are often the ones that cause a stir and end up being widely acclaimed. I'm thinking of "We Need to Talk About Kevin", in which we have a mother's burning need to be totally honest about her son's life, and her relationship with him, in order to try and figure out why he became a mass murderer. It's a scary book, and I wonder how many people saw their own relationships reflected in the story, even if only in small ways.
How do we write something "true" when we are writing fiction? I still believe you have to write from what you feel deeply about, even though I know lots of people who don't, and are published. But maybe the books that make a mark in a reader's life come from somewhere else in the writer. Something that has to be expressed, a story that has to be told. Will Charles Frazier ever write something as good as "Cold Mountain"? Lionel Shriver wrote and published many novels before "Kevin". I think back over books I've read that had an impact on me, and very often that author has written others, but there is that one book that stands above the others.
Where does that book come from?
Another aspect of this is the need to produce, of course. A first novel can take years to write and rewrite, and it has to be really good to get published (the first-time author is, I believe, the marketing department's nightmare!). But then there is pressure to write another, and another. The next books don't receive the same care and incubation a lot of the time. Sue Grafton wrote a stinker half-way through her alphabet crime series, and she was able to say to the publisher, "Enough. I will write at my own speed from now on, thank you." (not a direct quote!)
One book does not earn you enough to quit your job and devote your life to writing, unless you like bread and water. That's another truth about fiction.
Note: The Varuna fellowships are announced today. This is the scheme where writers submit fiction manuscripts and five are selected by HarperCollins editors for an intensive 10-day workshop up in the Blue Mountains. This year, the editors received a shortlist of 26 manuscripts, and I bet most of them are publishable. However, Australia's literary fiction scene is getting smaller and smaller, and all of those writers not in the 5 will have to call on every ounce of that vital quality - perserverance - to keep going with their books.
That's another bit of truth in fiction!
Friday, March 02, 2007
Research
If I had a choice of what I'd like in my research library, it would start with the Greater Oxford Dictionary (13 huge volumes) and two or three different encyclopaedias, include texts on every subject I was writing about (which would require an ongoing outlay of many dollars), and probably the entire set of Norton's anthologies. Just for starters.
But as a backup, the internet is a pretty good alternative these days, as long as you triple-check your information and learn which sites are likely to have errors. I've done a huge amount of research on pirates over the years, and there are lots of websites created by pirate fans, but quite a few of them are wrong. They repeat common assumptions rather than accurate facts. That's OK, I've learned to research widely enough to find out where the errors lie. Books can be wrong too. It depends who wrote them, and what their agenda was. There are different versions of Australian history, depending on whether the author believed that white settlers and soldiers massacred Aboriginal tribes or not.
What I love about the internet is that I can rustle up some needed information in a flash, and the kind of thing I often need is short and simple. This week it has included how the 'jaws of life' work, how the board game Cluedo is played and what the cards and playing pieces look like, at what age a child can be toilet-trained, and what are the stages and ages of little kids learning to understand and to talk.
So along the way I discovered that people are selling sets of the 'jaws of life' on Ebay, that Cluedo has been around since the 1940s and is still being made (I think it's even in a computer game version!) and that even in an article on toilet training, the Americans still talk about teaching a child to 'go to the bathroom'.
Just finished reading the fourth and last 'Sisterhood of the Travelling Pants' book. I think I'm glad it's the last one. I'm waiting for the pants to turn up in my mailbox. It would be lovely to have a pair of jeans that actually fitted me comfortably.
But as a backup, the internet is a pretty good alternative these days, as long as you triple-check your information and learn which sites are likely to have errors. I've done a huge amount of research on pirates over the years, and there are lots of websites created by pirate fans, but quite a few of them are wrong. They repeat common assumptions rather than accurate facts. That's OK, I've learned to research widely enough to find out where the errors lie. Books can be wrong too. It depends who wrote them, and what their agenda was. There are different versions of Australian history, depending on whether the author believed that white settlers and soldiers massacred Aboriginal tribes or not.
What I love about the internet is that I can rustle up some needed information in a flash, and the kind of thing I often need is short and simple. This week it has included how the 'jaws of life' work, how the board game Cluedo is played and what the cards and playing pieces look like, at what age a child can be toilet-trained, and what are the stages and ages of little kids learning to understand and to talk.
So along the way I discovered that people are selling sets of the 'jaws of life' on Ebay, that Cluedo has been around since the 1940s and is still being made (I think it's even in a computer game version!) and that even in an article on toilet training, the Americans still talk about teaching a child to 'go to the bathroom'.
Just finished reading the fourth and last 'Sisterhood of the Travelling Pants' book. I think I'm glad it's the last one. I'm waiting for the pants to turn up in my mailbox. It would be lovely to have a pair of jeans that actually fitted me comfortably.
Sunday, February 25, 2007
First Chapter, Next Book
Just finished Stuart MacBride's crime novel, "Dying Light". The kind of book that you read way too fast because it's so good you can't stop turning the pages. Then you get to the end and you hate the fact that you read it so fast because now it's over, there is no more, and it was only his second book so you can't go back and read the other 12 you missed...
MacBride does for Aberdeen what James Lee Burke does for the area around New Orleans. Yes, I've said this before but it does bear saying again. MacBride's books don't seem to be freely available in the bookshops here in Australia, but they're five stars in my little reading world.
That whole thing of wanting more as soon as the last page is read is what leads publishers (I think) to inserting what must be the most infuriating thing in publicity history. The first chapter of the next book. This usually only turns up in paperbacks, because the author is about to publish said next book in hardback, and this enticement is supposed to make you go out and buy the hardback in a fit of reader passion.
Not here, where hardcovers retail at $45. All that happens is if you give in to tempation and read that darned chapter, it gets you nowhere. Except in the waiting zone for many, many months while you wait for the paperback to appear.
In my case, this is what really happens. Months later, I see the paperback in the shop, pick it up and read the first few pages (having forgotten about that pesky publicity chapter). I think ... Hmmm, this sounds really familiar. I think I've read this one. And I don't buy it.
Before you go thinking I'm entering early senility, everyone I know has this problem. I think everyone who reads a lot has this problem. That's why when you get a book out of the library, you see all these funny little marks in it. Page 72 circled, a tick on the top of the title page, tiny initials inside the cover - this is the avid reader's coded signal to themselves to say "I've read this one already". If you don't believe me, check it out next time you're in the library.
The excessive version of this is someone I met at a garage (yard) sale once who was buying romances. She had a little notebook in which she had written the series and number of every romance she'd ever read (apparently they are numbered, or they used to be).
How do you keep track of which books in a series you've read?
Postscript: Just checked out MacBride's website and he had posted this: "COLD GRANITE has been voted the best first novel published in the US 2005!"
Friday, February 23, 2007
Libraries - You've Gotta Love Them
Hmmm, the new Blogger doesn't like me. It's now taking me 3 attempts on different pages to log in, and sometimes it won't let me in at all. Hence this post has been delayed. I only like technology when it works.
I have just collected a reserve from my library - the second novel by Stuart MacBride (he of the crime novels set in Aberdeen where it rains all the time). I've never found any of his books in the bookshops here, so that's why I love the library. And why I shudder every time I read of funding cuts to libraries. Not just because it might affect me, although my local council is pretty good about our library funding so far, but because there are thousands and thousands of people who can't afford to buy books or even have the internet at home, and most of them are kids. You want your kids to learn stuff and love reading? Take them to the library, get them a library card, and then let them loose to choose whatever they want.
I discovered a new blog the other day, by accident, as we often do on the net. "When Dad Killed Mom" has long been a favourite book of mine, and then I found that its author, Julius Lester, has a website and a blog. His blog is wonderful, and is the kind of reading that keeps you thinking for some time after. The other day he was writing about silence and rest (ah yes, I kind of remember what they are!), and then about the way we are so obsessed with buying and selling stuff, and how commerce rules our world.
Have a look at http://acommonplacejbl.blogspot.com/
I've just finished reading a Peter Temple crime novel - Temple is one of Australia's best-known crime writers and wins lots of the local awards. I have been trying to track down some of the books by the newer female crime writers here but no luck so far. I belong to Sisters in Crime, and often read the reviews in their newsletter, but finding the books in the shops is not quite so easy.
Writing here continues, somewhat like wading through a bog in gumboots (galoshes? wellingtons?) that are a size too big for me. I sometimes talk to students about the middle-of-the-book-blues, but mostly we never get to that point because in a year of classes, most of them don't get beyond Chapter 3. So instead I talk a lot about perseverance and words on the page (regularly) and discipline and sticking at it and goal setting ... in the end it's up to them. You either have to really want to write that novel and tell that story, or you end up with odd chapters all over the place and nothing finished.
I agree with the people who say just finishing the first draft is worth a bottle of champagne!
I have just collected a reserve from my library - the second novel by Stuart MacBride (he of the crime novels set in Aberdeen where it rains all the time). I've never found any of his books in the bookshops here, so that's why I love the library. And why I shudder every time I read of funding cuts to libraries. Not just because it might affect me, although my local council is pretty good about our library funding so far, but because there are thousands and thousands of people who can't afford to buy books or even have the internet at home, and most of them are kids. You want your kids to learn stuff and love reading? Take them to the library, get them a library card, and then let them loose to choose whatever they want.
I discovered a new blog the other day, by accident, as we often do on the net. "When Dad Killed Mom" has long been a favourite book of mine, and then I found that its author, Julius Lester, has a website and a blog. His blog is wonderful, and is the kind of reading that keeps you thinking for some time after. The other day he was writing about silence and rest (ah yes, I kind of remember what they are!), and then about the way we are so obsessed with buying and selling stuff, and how commerce rules our world.
Have a look at http://acommonplacejbl.blogspot.com/
I've just finished reading a Peter Temple crime novel - Temple is one of Australia's best-known crime writers and wins lots of the local awards. I have been trying to track down some of the books by the newer female crime writers here but no luck so far. I belong to Sisters in Crime, and often read the reviews in their newsletter, but finding the books in the shops is not quite so easy.
Writing here continues, somewhat like wading through a bog in gumboots (galoshes? wellingtons?) that are a size too big for me. I sometimes talk to students about the middle-of-the-book-blues, but mostly we never get to that point because in a year of classes, most of them don't get beyond Chapter 3. So instead I talk a lot about perseverance and words on the page (regularly) and discipline and sticking at it and goal setting ... in the end it's up to them. You either have to really want to write that novel and tell that story, or you end up with odd chapters all over the place and nothing finished.
I agree with the people who say just finishing the first draft is worth a bottle of champagne!
Friday, February 16, 2007
It Has Rained
After two horrible hot days, we have just had a short thunderstorm and some rain. Rain is rare enough here these days to warrant a mention. Back to 38 degrees (C) tomorrow and Sunday. Erck.
The week has contained two Orientation days for students, one meeting with a local literary festival committee, much budgeting and paperwork, one interview with a police detective, one talk given by a Fraud Squad detective about identity theft (very interesting and now I want to buy a shredder), and one visit to my osteopath for acupuncture and various other treatments on the bits of me that have stopped working properly. And you're right - hardly any writing done.
But the research has been terrific, and I am currently reading another book written by an undercover cop which has some hilarious bits in it.
I also wrote a poem (yay!) and got a reply from an anthology publisher about a story of mine that made it right up to the final cut but not into the book (not so yay). And I found three boxes full of my old essays and stories and poems from my degree, which were a lot of fun to read. It was also very interesting to read their comments and compare them to the comments I make on my students' work. I think I'll leave that topic alone!
The festival is in Williamstown (in Melbourne, Victoria) and this will be the fourth year they've run it. They do a really good job and the festival gets better every year. Last year there was a session on Australian fiction publishing which was great, and because it's not a huge venue, the audiences are interested and keen to listen. I wish the Melbourne Writers' Festival had such a good atmosphere. There it tends to be extremely crowded and often the sessions are a bit boring because the speakers are 'playing safe'. Whereas at Willy last year we even had one of the comedy speakers strip and run around the hall!
Classes begin on Monday - I have boxes of stuff ready, and some notes, but I need still to organise the 'agenda' of what will happen when. That won't take long and then I will be writing.
The week has contained two Orientation days for students, one meeting with a local literary festival committee, much budgeting and paperwork, one interview with a police detective, one talk given by a Fraud Squad detective about identity theft (very interesting and now I want to buy a shredder), and one visit to my osteopath for acupuncture and various other treatments on the bits of me that have stopped working properly. And you're right - hardly any writing done.
But the research has been terrific, and I am currently reading another book written by an undercover cop which has some hilarious bits in it.
I also wrote a poem (yay!) and got a reply from an anthology publisher about a story of mine that made it right up to the final cut but not into the book (not so yay). And I found three boxes full of my old essays and stories and poems from my degree, which were a lot of fun to read. It was also very interesting to read their comments and compare them to the comments I make on my students' work. I think I'll leave that topic alone!
The festival is in Williamstown (in Melbourne, Victoria) and this will be the fourth year they've run it. They do a really good job and the festival gets better every year. Last year there was a session on Australian fiction publishing which was great, and because it's not a huge venue, the audiences are interested and keen to listen. I wish the Melbourne Writers' Festival had such a good atmosphere. There it tends to be extremely crowded and often the sessions are a bit boring because the speakers are 'playing safe'. Whereas at Willy last year we even had one of the comedy speakers strip and run around the hall!
Classes begin on Monday - I have boxes of stuff ready, and some notes, but I need still to organise the 'agenda' of what will happen when. That won't take long and then I will be writing.
Friday, February 09, 2007
Book Designs
My new book, "Sixth Grade Style Queen (Not!)", is coming out in May and we are up to page proofs. Normally I think I would have done these earlier, but the book has a very interesting page design and the publisher (which means the editors and designer) have been experimenting and trying out new things.
It's fascinating to see how this concept has developed, and then to see other publishers doing similar things. I picked up a copy of "Cathy's Book" a couple of weeks ago and it has been created to look like a girl's everyday school book, with a hard, black cover and the book inside like a notebook with doodles all over it, plus a pocket with other stuff inside the cover. I haven't read the book yet - it's a diary - so can't comment on the quality of the story. Yet.
I've just finished reading "Searching for the Secret River" by Kate Grenville, which is about the research and writing process for her novel "The Secret River". She details how she went about finding out information on her great-great-great grandfather, Solomon Wiseman, and how eventually the non-fiction book became a novel, in order to tell a story. A very interesting book if you like to write historical fiction. I have been to Wiseman's Ferry near Sydney and remember enough of it to be able to visualise what she writes about. It also helps that she is terrific at description!
Also have almost finished "The Silent War" - another of those books about crims and cops in Victoria in the 1980s and early 1990s (true crime). Quite a bit of the material has been in other books I've read, so the authors must be doing well from the same stories. It's one form of research, but the State Library newspaper files will probably be more useful. And interviewing a police detective is top of my list!
Went to see "Miss Potter" the other day and loved it. A five star movie for me.
Writing is in "struggle phase". It took me 5 hours to squeeze out 1700 words on Wednesday (admittedly there were interruptions, but still...) whereas on a good day I often write 2000 in an hour. But I am at that point where I need to make sure I'm not creating plot boo-boos that will affect the rest of the book, so slow and steady is probably the way to go.
And as it's only 9 days until teaching starts, I'm using the available brain power while it's there!
It's fascinating to see how this concept has developed, and then to see other publishers doing similar things. I picked up a copy of "Cathy's Book" a couple of weeks ago and it has been created to look like a girl's everyday school book, with a hard, black cover and the book inside like a notebook with doodles all over it, plus a pocket with other stuff inside the cover. I haven't read the book yet - it's a diary - so can't comment on the quality of the story. Yet.
I've just finished reading "Searching for the Secret River" by Kate Grenville, which is about the research and writing process for her novel "The Secret River". She details how she went about finding out information on her great-great-great grandfather, Solomon Wiseman, and how eventually the non-fiction book became a novel, in order to tell a story. A very interesting book if you like to write historical fiction. I have been to Wiseman's Ferry near Sydney and remember enough of it to be able to visualise what she writes about. It also helps that she is terrific at description!
Also have almost finished "The Silent War" - another of those books about crims and cops in Victoria in the 1980s and early 1990s (true crime). Quite a bit of the material has been in other books I've read, so the authors must be doing well from the same stories. It's one form of research, but the State Library newspaper files will probably be more useful. And interviewing a police detective is top of my list!
Went to see "Miss Potter" the other day and loved it. A five star movie for me.
Writing is in "struggle phase". It took me 5 hours to squeeze out 1700 words on Wednesday (admittedly there were interruptions, but still...) whereas on a good day I often write 2000 in an hour. But I am at that point where I need to make sure I'm not creating plot boo-boos that will affect the rest of the book, so slow and steady is probably the way to go.
And as it's only 9 days until teaching starts, I'm using the available brain power while it's there!
Saturday, February 03, 2007
Drought and Bushfire
This the Australian bush right now. Even the bracken is dead. The leaves, twigs, dead bracken and fallen branches make a thick layer of fuel - one lightning strike or pyromaniac is all it takes. The lightning we can't do anything about. The pyromaniacs? If you live near bushland, keep an eye on it.But amongst all the dead stuff, we are still getting bush flowers. I think these are orchids.
Giving It Away Too Soon
I'm writing. And plotting. And agonising. I stopped writing for five days because I had come to a crucial point in the story - do I give the reader and main character this information now? Or hold it back for a bit longer?
I gave it. And came to a grinding halt.
Why? Because a large part of the mystery had been tied into what was in the box. Once I revealed this, that story question was resolved - there was nowhere else to go with it. Do I have any new story questions? Well ... yes ... but none that are big and exciting and tension-filled enough to keep the stakes growing higher and higher as I work towards the conclusion. Can I go back and take that information out? No. It does feel as though it needed to come out at that point.
In the meantime my main character is dithering, thinking through her next decisions (which has taken up about 500 words and will have to be cut later, but for now, it keeps the words and ideas simmering). I'll have to get out my plot diagrams and do some doodling and "what iffing" and some detailed notes. Then the next part will emerge, I hope.
At the moment, I'm reading an old Nancy Kress novel involving genocide via deliberately infected mosquitos. It's not very riveting, but my next visit to the library is a few days away so I'm digging into old boxes of books that I've never got around to reading.
I'm beginning to think my sister's clothing credo (if you haven't worn it for more than a year, throw it out!) might also apply to books. If you haven't read it and it's been sitting there for more than two years (books last better than clothes, usually, unless you drop them in the bath), give it away.
My goal of cleaning out my office (thank you, Randy Ingermanson and Alison Bottke for showing me how to do this so it's not quite as painful) proceeds at a slow pace. I am doing it properly, and using files and archive boxes as well as the rubbish bin. Today I found my old passport, so of course everyone got to have a good laugh at the photo. Mostly, I am astounded at how much I have kept "just in case".
I thought that maybe when it's all done, and my ten-year-old computer that is no longer used has been sent to computer heaven, I might buy a new one. Then Windows Vista came out, and I don't want it. I can just imagine the arguement with the computer guy, trying to persuade him to load on XP instead.
OK, enough procrastinating here on the blog - back to the writing and plotting.
I gave it. And came to a grinding halt.
Why? Because a large part of the mystery had been tied into what was in the box. Once I revealed this, that story question was resolved - there was nowhere else to go with it. Do I have any new story questions? Well ... yes ... but none that are big and exciting and tension-filled enough to keep the stakes growing higher and higher as I work towards the conclusion. Can I go back and take that information out? No. It does feel as though it needed to come out at that point.
In the meantime my main character is dithering, thinking through her next decisions (which has taken up about 500 words and will have to be cut later, but for now, it keeps the words and ideas simmering). I'll have to get out my plot diagrams and do some doodling and "what iffing" and some detailed notes. Then the next part will emerge, I hope.
At the moment, I'm reading an old Nancy Kress novel involving genocide via deliberately infected mosquitos. It's not very riveting, but my next visit to the library is a few days away so I'm digging into old boxes of books that I've never got around to reading.
I'm beginning to think my sister's clothing credo (if you haven't worn it for more than a year, throw it out!) might also apply to books. If you haven't read it and it's been sitting there for more than two years (books last better than clothes, usually, unless you drop them in the bath), give it away.
My goal of cleaning out my office (thank you, Randy Ingermanson and Alison Bottke for showing me how to do this so it's not quite as painful) proceeds at a slow pace. I am doing it properly, and using files and archive boxes as well as the rubbish bin. Today I found my old passport, so of course everyone got to have a good laugh at the photo. Mostly, I am astounded at how much I have kept "just in case".
I thought that maybe when it's all done, and my ten-year-old computer that is no longer used has been sent to computer heaven, I might buy a new one. Then Windows Vista came out, and I don't want it. I can just imagine the arguement with the computer guy, trying to persuade him to load on XP instead.
OK, enough procrastinating here on the blog - back to the writing and plotting.
Sunday, January 28, 2007
The Info Dump
There are millions of people in the world who read Linda Fairstein's books and love them. Fairstein's main character is Alexandra Cooper, a prosecutor in NY, and she has two sidekicks who are policemen. I hadn't read any for a while so the library provided me with the most recent - "Bad Blood".
It begins with Cooper prosecuting a case against a guy who has killed his wife, probably using a hitman. Said hitman was never caught, so husband is on trial. I couldn't quite see how the evidence could ever prove him guilty, but ... I read on. And stopped around page 90.
Why? Two things (and they're both subjective, which goes to show that you will always have readers who just don't like the way you do things as a writer). One was I didn't find the sidekick's constant putdowns of Cooper funny. He calls her blondie, Coop, the princess and kid, all within about five pages. And likes to make cracks about her looks and makeup. OK, that's her problem, if she wants to put up with it (or the author wants to make her). But the thing that really made me put the book down was a severe case of "let's tell the reader a whole heap of information about New York's water supply system going back 300+ years and let's do it with about 10 pages of dialogue with some guy called Teddy". A couple of summary paragraphs would have done me, thanks, and then get on with the story.
Then I picked up another library choice, a writer I'd never heard of before - that's the joy of the library. The book was "Cold Granite" by Stuart Macbride. It's set in cold, miserable Aberdeen where it never stops raining, and has a main character called Logan McRae who's just back from a year off after being nearly stabbed to death by a killer. Yes, it's a serial killer story, but with lots of twists and turns (not all the deaths of the children are caused by the one person) and stuff-ups by the police. It's Macbride's first novel, and I'll be looking out now for the next one which was due out last year.
And I know lots about Aberdeen and its horrible weather now, and I don't think I noticed one info dump. Just a lot of characters being rained on and frozen!
It's a hard call when you're writing, especially when you are trying to evoke a world or a city or a village most of your readers will be unfamiliar with - how much is an info dump? How else can you provide information about the setting that's important to the story without going overboard?
We're told "show don't tell" so many times, and certainly dialogue is one way of getting across info for the reader, but even then, it can be overdone and obvious. Michael Connelly talks about "the telling detail" and how one truly evocative, short description can do the work of a paragraph. But a short summary can sometimes work too. It's knowing how to use it effectively and concisely. And keep the story moving at the same time.
It's another one of those things you start to see by simply reading with a writer's eye.
By the way, Amazon.com, where's my copy of "Reading Like a Writer"? Surely it's not still on that slow boat from China?
It begins with Cooper prosecuting a case against a guy who has killed his wife, probably using a hitman. Said hitman was never caught, so husband is on trial. I couldn't quite see how the evidence could ever prove him guilty, but ... I read on. And stopped around page 90.
Why? Two things (and they're both subjective, which goes to show that you will always have readers who just don't like the way you do things as a writer). One was I didn't find the sidekick's constant putdowns of Cooper funny. He calls her blondie, Coop, the princess and kid, all within about five pages. And likes to make cracks about her looks and makeup. OK, that's her problem, if she wants to put up with it (or the author wants to make her). But the thing that really made me put the book down was a severe case of "let's tell the reader a whole heap of information about New York's water supply system going back 300+ years and let's do it with about 10 pages of dialogue with some guy called Teddy". A couple of summary paragraphs would have done me, thanks, and then get on with the story.
Then I picked up another library choice, a writer I'd never heard of before - that's the joy of the library. The book was "Cold Granite" by Stuart Macbride. It's set in cold, miserable Aberdeen where it never stops raining, and has a main character called Logan McRae who's just back from a year off after being nearly stabbed to death by a killer. Yes, it's a serial killer story, but with lots of twists and turns (not all the deaths of the children are caused by the one person) and stuff-ups by the police. It's Macbride's first novel, and I'll be looking out now for the next one which was due out last year.
And I know lots about Aberdeen and its horrible weather now, and I don't think I noticed one info dump. Just a lot of characters being rained on and frozen!
It's a hard call when you're writing, especially when you are trying to evoke a world or a city or a village most of your readers will be unfamiliar with - how much is an info dump? How else can you provide information about the setting that's important to the story without going overboard?
We're told "show don't tell" so many times, and certainly dialogue is one way of getting across info for the reader, but even then, it can be overdone and obvious. Michael Connelly talks about "the telling detail" and how one truly evocative, short description can do the work of a paragraph. But a short summary can sometimes work too. It's knowing how to use it effectively and concisely. And keep the story moving at the same time.
It's another one of those things you start to see by simply reading with a writer's eye.
By the way, Amazon.com, where's my copy of "Reading Like a Writer"? Surely it's not still on that slow boat from China?
Tuesday, January 23, 2007
Book of the Week
I read two books on Sunday - and no writing, but I needed a short break after 3000 words on Saturday.
One book was a YA romance (I'm teaching Writing for YA this year) that I skimmed, then I picked up a book I'd bought last week. And read it almost in one sitting.
The blurb starts: "I buy one pig a month. I can't afford any more. I've no idea whether this is enough, but it keeps the Beast alive. He's grown so big. I'm going crazy with worry that someone will discover him." That and the first two pages were enough to convince me to buy it. And I wasn't sorry. It's not just that you don't find out what the Beast is until halfway through - that's only part of the suspense - or that right up to the end you have no idea how he is going to solve the growing problem. It's more the the author has created a flawed main character, a 17-year-old boy who's got a terrible family and has been in foster homes for years, and who is the kind of boy to whom bad things happen without him having any control over them. Then when things go wrong, he is always the first accused, and he fights back as best he can.
But the Beast is a whole different kind of problem. Enough of the commendations from me! It's called "Beast" by Ally Kennen (Marion Lloyd Books).
BTW, Marion Lloyd was one of the publishers who came out to the Sydney Writers' Festival in 2005, along with Sharyn November and David Fickling. A great bunch of publishers, who all said very interesting things about the books they wanted to publish.
One book was a YA romance (I'm teaching Writing for YA this year) that I skimmed, then I picked up a book I'd bought last week. And read it almost in one sitting.
The blurb starts: "I buy one pig a month. I can't afford any more. I've no idea whether this is enough, but it keeps the Beast alive. He's grown so big. I'm going crazy with worry that someone will discover him." That and the first two pages were enough to convince me to buy it. And I wasn't sorry. It's not just that you don't find out what the Beast is until halfway through - that's only part of the suspense - or that right up to the end you have no idea how he is going to solve the growing problem. It's more the the author has created a flawed main character, a 17-year-old boy who's got a terrible family and has been in foster homes for years, and who is the kind of boy to whom bad things happen without him having any control over them. Then when things go wrong, he is always the first accused, and he fights back as best he can.
But the Beast is a whole different kind of problem. Enough of the commendations from me! It's called "Beast" by Ally Kennen (Marion Lloyd Books).
BTW, Marion Lloyd was one of the publishers who came out to the Sydney Writers' Festival in 2005, along with Sharyn November and David Fickling. A great bunch of publishers, who all said very interesting things about the books they wanted to publish.
Saturday, January 20, 2007
Feedback and Research
I took the challenge before Christmas and submitted a 250 word hook to Miss Snark, ready for her to tear my words to shreds. Amazingly, I got to Stage 2, submitting the first 750 words of my novel.
While she was accepting children's and YA novels, I went for broke and sent adult crime. I read a huge amount of crime fiction, and have always been in awe of the plotting skills of crime writers. I wrote one crime novel about 10 years ago but it wasn't very good and I realised it in time to avoid lots of postage costs and rejection letters.
So why am I writing a crime novel? For fun. Because I had a great idea for the story about three years ago that just would not let go. And for the challenge - the plotting challenge. It's all there but does it work? Do I give the solution away too soon? Do the main character's personal demons intrude on the crime/mystery element too much? Who knows? Only critical readers can tell me, and I'm not up to that yet. More rewriting to do.
Anyway, did Miss Snark like my 750 words? Kind of. She said too much of it was setup, but the characterisation was good. And I did receive a huge number of comments on the Comments trail. Enough people liked it to make me think I was doing OK.
We all know that doesn't mean it will eventually be publishable! But it helps.
What I did learn was how to edit and cut more ruthlessly. When you only have 750 words in which to get the story moving, show character, and hopefully get to a point where the reader will say 'I want more' ... that means cutting out backstory, explanations and info dumps, tightening dialogue and making every word count. Even doing this for the first two pages is a great lesson in how it can be done for the whole book.
Kristin Nelson's blog this week has a great post on points to watch out for in genre fiction - things that are taking your story nowhere, such as characters sitting around talking about what happened.
It's here at http://pubrants.blogspot.com/2007/01/glitch-take-two.html
What am I reading right now? I whizzed through another old Patricia Cornwell - I was re-reading them in order of publication, and I'm over it now.
So off to the library, and I came home with, among other things, a couple of true crime books - Australian true crime focusing on Melbourne gangland and undercover cops. I need to read these a bit at a time. They're somewhat overpowering otherwise. No wonder I love fiction so much - real crime that's happening around me, even if I don't directly experience it, is scary. Try one of these books and you'll see what I mean (the Underbelly series by two Age journalists is a good starting point).
On the other side of research, I have to thank the two ambulance officers (paramedics) who were having a quiet coffee break in Borders the other day and barely flinched when I approached them and asked if I could get some information from them. They gave me on-the-spot info about what happens when they attend a scene when someone has been stabbed and bashed (my character), what their procedures are, etc. It's called 'primary source' material, but it's important to get this stuff right. Thanks!
Now all I need is a detective in our police force for the next bit of research.
While she was accepting children's and YA novels, I went for broke and sent adult crime. I read a huge amount of crime fiction, and have always been in awe of the plotting skills of crime writers. I wrote one crime novel about 10 years ago but it wasn't very good and I realised it in time to avoid lots of postage costs and rejection letters.
So why am I writing a crime novel? For fun. Because I had a great idea for the story about three years ago that just would not let go. And for the challenge - the plotting challenge. It's all there but does it work? Do I give the solution away too soon? Do the main character's personal demons intrude on the crime/mystery element too much? Who knows? Only critical readers can tell me, and I'm not up to that yet. More rewriting to do.
Anyway, did Miss Snark like my 750 words? Kind of. She said too much of it was setup, but the characterisation was good. And I did receive a huge number of comments on the Comments trail. Enough people liked it to make me think I was doing OK.
We all know that doesn't mean it will eventually be publishable! But it helps.
What I did learn was how to edit and cut more ruthlessly. When you only have 750 words in which to get the story moving, show character, and hopefully get to a point where the reader will say 'I want more' ... that means cutting out backstory, explanations and info dumps, tightening dialogue and making every word count. Even doing this for the first two pages is a great lesson in how it can be done for the whole book.
Kristin Nelson's blog this week has a great post on points to watch out for in genre fiction - things that are taking your story nowhere, such as characters sitting around talking about what happened.
It's here at http://pubrants.blogspot.com/2007/01/glitch-take-two.html
What am I reading right now? I whizzed through another old Patricia Cornwell - I was re-reading them in order of publication, and I'm over it now.
So off to the library, and I came home with, among other things, a couple of true crime books - Australian true crime focusing on Melbourne gangland and undercover cops. I need to read these a bit at a time. They're somewhat overpowering otherwise. No wonder I love fiction so much - real crime that's happening around me, even if I don't directly experience it, is scary. Try one of these books and you'll see what I mean (the Underbelly series by two Age journalists is a good starting point).
On the other side of research, I have to thank the two ambulance officers (paramedics) who were having a quiet coffee break in Borders the other day and barely flinched when I approached them and asked if I could get some information from them. They gave me on-the-spot info about what happens when they attend a scene when someone has been stabbed and bashed (my character), what their procedures are, etc. It's called 'primary source' material, but it's important to get this stuff right. Thanks!
Now all I need is a detective in our police force for the next bit of research.
Friday, January 12, 2007
NY Resolutions
Every year I vow "No resolutions, just goals". What's the difference? Resolutions for me tend to be things that aren't to do with writing but more things like staying healthy, going to the gym, walking more ... and they don't last long, sad to say.
Goals are the things I write down and pursue. I've been doing this for years, and my writers' group also does goals together in February. Usually I have the same list all round - no point having two! I also keep most of my goals to myself (I share them with my group, because they understand what writer's goals are, whereas other people like my family might want to ship me off to the funny farm). I put things on my goals list that are steps towards publication - simple jobs such as sending out my work regularly. If you have ever sat down to send out query letters or manuscripts to publishers or magazines, you'll know how that will eat up a whole morning without even trying. It's part of the job, but often a part that I don't focus on as much as I should. That's because I'm usually writing in the spare hours!
But my big goal right now is to clean out my office. That's BIG. That's not a two-day job. It's a two-month project, at least, that will require a hard heart and a large rubbish/recycling bin. Not to mention some boxes for all those books that will be going to the charity shop.
It's not that I'm a hoarder (I am, a bit) but more that I tend to keep stuff in case I can use it in class for teaching. I'm not organised enough to tear articles out of magazines and file them, so I keep the whole magazine. I also firmly believe that if I had room for one more large bookcase in my house, I could get rid of the piles of books everywhere. Yes, I also know that if I stopped buying books, I'd begin to solve the problem, but there is just nowhere to fit another bookcase right now.
The whole project is so overwhelming that I decided to approach it the way I do other things - one little step at a time on a regular basis. Yesterday I did one shelf on my main bookcase, and managed to throw out one-third of what was there. Onward and upward!
I'm also keeping track of words written this month, which I don't normally do in a formal way. Maybe I'm mentally setting a benchmark for the other months of the year?
Goals are the things I write down and pursue. I've been doing this for years, and my writers' group also does goals together in February. Usually I have the same list all round - no point having two! I also keep most of my goals to myself (I share them with my group, because they understand what writer's goals are, whereas other people like my family might want to ship me off to the funny farm). I put things on my goals list that are steps towards publication - simple jobs such as sending out my work regularly. If you have ever sat down to send out query letters or manuscripts to publishers or magazines, you'll know how that will eat up a whole morning without even trying. It's part of the job, but often a part that I don't focus on as much as I should. That's because I'm usually writing in the spare hours!
But my big goal right now is to clean out my office. That's BIG. That's not a two-day job. It's a two-month project, at least, that will require a hard heart and a large rubbish/recycling bin. Not to mention some boxes for all those books that will be going to the charity shop.
It's not that I'm a hoarder (I am, a bit) but more that I tend to keep stuff in case I can use it in class for teaching. I'm not organised enough to tear articles out of magazines and file them, so I keep the whole magazine. I also firmly believe that if I had room for one more large bookcase in my house, I could get rid of the piles of books everywhere. Yes, I also know that if I stopped buying books, I'd begin to solve the problem, but there is just nowhere to fit another bookcase right now.
The whole project is so overwhelming that I decided to approach it the way I do other things - one little step at a time on a regular basis. Yesterday I did one shelf on my main bookcase, and managed to throw out one-third of what was there. Onward and upward!
I'm also keeping track of words written this month, which I don't normally do in a formal way. Maybe I'm mentally setting a benchmark for the other months of the year?
Tuesday, January 09, 2007
We're Off and ... Writing
I always know when the holidays have truly kicked in because I am writing regularly again. Not just putting words on the page (I do a fair bit of that anyway) but holding the novel in my head, thinking about the characters and the plot, letting the back of my brain do some of the work too, and generally feeling like I am in the writing zone.
Other times of year, I'm either not able to write at all for a couple of weeks at a time (usually when I am marking student writing or workshopping it - it kind of sucks the urge to make your own words right out of you), or I work on shorter things that have a smaller focus.
I also read more in the holidays, and am able to think more about what I'm reading. Yes, I am still examining Lionel Shriver's sentence constructions!
"We Need to Talk About Kevin" is a very scary book, especially if you've had kids. The idea that you might give birth to someone who ends up murdering eight people is bad enough, but then to seriously consider how you might have contributed to that outcome ...
Here in Australia, "The West Wing" is into series 6, thanks to the ABC (taxpayers' channel) who got hold of it and are providing us with two episodes a week. We still haven't got up to the episodes I saw in Tucson in Sept 05! But last night's episode on Iran and nuclear plants was eerily echoed by the news broadcast straight afterwards. It's the one thing about watching the show so long after it was originally made - the news has caught up with the fiction.
Other times of year, I'm either not able to write at all for a couple of weeks at a time (usually when I am marking student writing or workshopping it - it kind of sucks the urge to make your own words right out of you), or I work on shorter things that have a smaller focus.
I also read more in the holidays, and am able to think more about what I'm reading. Yes, I am still examining Lionel Shriver's sentence constructions!
"We Need to Talk About Kevin" is a very scary book, especially if you've had kids. The idea that you might give birth to someone who ends up murdering eight people is bad enough, but then to seriously consider how you might have contributed to that outcome ...
Here in Australia, "The West Wing" is into series 6, thanks to the ABC (taxpayers' channel) who got hold of it and are providing us with two episodes a week. We still haven't got up to the episodes I saw in Tucson in Sept 05! But last night's episode on Iran and nuclear plants was eerily echoed by the news broadcast straight afterwards. It's the one thing about watching the show so long after it was originally made - the news has caught up with the fiction.
Friday, January 05, 2007
That Fish
My friend Snail, who is the expert around my way on all things in the animal and insect world, may be able to tell me what this is.
I said puffer or toad fish. But I was guessing.
And the bit at the front (mouth end) is bait and hook. Said fish was safely released into the briny when hook had been removed.
Thursday, January 04, 2007
Running Out of Books
Nothing worse than a holiday where you run out of books to read and (gasp!) there are no bookshops nearby. I was reduced to the bookshelf at the holiday house and am now convinced that what you will inevitably find on such shelves are all the books other people bought to read on holiday and, discovering they are terrible and not worth reading, leave them behind for the next desperate reader. It's not often I give up on a book but I will if the main character is unlikeable. Such was the case with "Before You Sleep" by Linn Ullman. While I'm not averse to a character who feels compelled to seduce men she sets eyes on at weddings and in supermarkets, I do want to feel at least some sympathy for her. This girl was awful. So mean-spirited and mealy-mouthed. So I didn't care what happened to her. Bang! The book went back to the shelf.
Then I discovered that I had another book in my suitcase that I had forgotten about! "We Need to Talk About Kevin" by Lionel Shriver. It had been on my pile, waiting to be read, for months. Now was the time! So far I am finding it very interesting and engaging, all the while taking note of her sentence constructions (sounds boring and anal but I'm sure other writers know what I mean).
Miss Snark did finally reach my entry for the Crapometer, and amazingly enough, I was asked for 750 words. So not only did I not get totally Snarked, but I have another chance at having my writing eviscerated by the inestimable MS. I think that blew all my other Xmas presents out of the water!
New Zealand was cool and changeable, and I managed to acquire a minimal tan, all the while feeling very un-PC, because having a tan now is considered foolhardy and silly, thanks to the hole in our ozone layer and the prevalence of skin cancer. I also managed to survive a boating accident, where a rock suddenly materialised in front of us too quickly to avoid. Boat suffered gouges in the hull (thank goodness we were aluminium, not fibreglass) and a bent propellor. We were able to head for home and reach it OK. I doubt I could have swum 6km back to the beach.
On the other hand, I did catch a few fish, including a glorious fish with spikes that one person said was a toad fish and another said was a puffer fish. Either way, it was fat and ugly. I also caught a schnapper, a cod, a pink maumau, a terakihi, a trevally and some leatherjackets, most of which went back in the water because they were too small. A veritable marine aquarium!
And best of all, I wrote. As most of my family now accept that I am a writer and I do get stuff published, they more or less left me to get on with it. Although the strange looks I received when I wasn't writing (but was gazing out to sea for long periods), and I explained that I was plotting ... well, I guess they all thought I should be typing!
Then I discovered that I had another book in my suitcase that I had forgotten about! "We Need to Talk About Kevin" by Lionel Shriver. It had been on my pile, waiting to be read, for months. Now was the time! So far I am finding it very interesting and engaging, all the while taking note of her sentence constructions (sounds boring and anal but I'm sure other writers know what I mean).
Miss Snark did finally reach my entry for the Crapometer, and amazingly enough, I was asked for 750 words. So not only did I not get totally Snarked, but I have another chance at having my writing eviscerated by the inestimable MS. I think that blew all my other Xmas presents out of the water!
New Zealand was cool and changeable, and I managed to acquire a minimal tan, all the while feeling very un-PC, because having a tan now is considered foolhardy and silly, thanks to the hole in our ozone layer and the prevalence of skin cancer. I also managed to survive a boating accident, where a rock suddenly materialised in front of us too quickly to avoid. Boat suffered gouges in the hull (thank goodness we were aluminium, not fibreglass) and a bent propellor. We were able to head for home and reach it OK. I doubt I could have swum 6km back to the beach.
On the other hand, I did catch a few fish, including a glorious fish with spikes that one person said was a toad fish and another said was a puffer fish. Either way, it was fat and ugly. I also caught a schnapper, a cod, a pink maumau, a terakihi, a trevally and some leatherjackets, most of which went back in the water because they were too small. A veritable marine aquarium!
And best of all, I wrote. As most of my family now accept that I am a writer and I do get stuff published, they more or less left me to get on with it. Although the strange looks I received when I wasn't writing (but was gazing out to sea for long periods), and I explained that I was plotting ... well, I guess they all thought I should be typing!
Thursday, December 21, 2006
Finished ... shopping
I finished the last of my Xmas shopping on Wednesday. The feeling of relief was immense.
Today in Melbourne it is very hot and dusty, but not as smoky as yesterday, when we had the highest pollution reading ever (I think), comprised mostly of airborne particles, i.e. smoke from the bushfires. Right here in the middle of Melbourne, my house is not likely to catch on fire (unless someone is silly enough to leave Xmas lights going and they short out). But there are a lot of people out in the bush who have been on high alert for more than a week. As one said yesterday, "I wish the bloody thing would just come so we could fight it and be done."
Our house seems to be suffering from pre-Christmas bah and humbug (not me, I'm hiding from them all and writing). You would think the joy of being on holiday and not having to go to work would cause some level of happiness. Apparently not.
Having spent many $$ on gifts, I was reluctant to spend more on books (a good reason to hate Xmas actually) so I decided to do something I'd been considering for a while - get out some old Patricia Cornwells and read them and try to work out why I dislike the last two Scarpetta books. And I think I've figured it out. The recent books have been written in first person/present tense. The old ones are in first person/simple past tense. She seems to be one of those writers who can't handle present tense. She's not alone. It can be clunky, slow and verbose, the opposite of the immediacy you might be trying to achieve.
Go back to simple past, Ms Cornwell. Do us all a favour.
And I also read (in one day - you can tell I'm on holiday!) "Small Steps" by Louis Sachar. Terrific book. Great example of raising the stakes for the main character, making things gradually worse and worse, while you're biting your nails, hoping that this time the guy makes the right decision.
OK, back to the rewrite I'm working on. I've read Miss Snark's crapometer for the day - it'll be days and days before she gets to my entry. I can wait.
Today in Melbourne it is very hot and dusty, but not as smoky as yesterday, when we had the highest pollution reading ever (I think), comprised mostly of airborne particles, i.e. smoke from the bushfires. Right here in the middle of Melbourne, my house is not likely to catch on fire (unless someone is silly enough to leave Xmas lights going and they short out). But there are a lot of people out in the bush who have been on high alert for more than a week. As one said yesterday, "I wish the bloody thing would just come so we could fight it and be done."
Our house seems to be suffering from pre-Christmas bah and humbug (not me, I'm hiding from them all and writing). You would think the joy of being on holiday and not having to go to work would cause some level of happiness. Apparently not.
Having spent many $$ on gifts, I was reluctant to spend more on books (a good reason to hate Xmas actually) so I decided to do something I'd been considering for a while - get out some old Patricia Cornwells and read them and try to work out why I dislike the last two Scarpetta books. And I think I've figured it out. The recent books have been written in first person/present tense. The old ones are in first person/simple past tense. She seems to be one of those writers who can't handle present tense. She's not alone. It can be clunky, slow and verbose, the opposite of the immediacy you might be trying to achieve.
Go back to simple past, Ms Cornwell. Do us all a favour.
And I also read (in one day - you can tell I'm on holiday!) "Small Steps" by Louis Sachar. Terrific book. Great example of raising the stakes for the main character, making things gradually worse and worse, while you're biting your nails, hoping that this time the guy makes the right decision.
OK, back to the rewrite I'm working on. I've read Miss Snark's crapometer for the day - it'll be days and days before she gets to my entry. I can wait.
Wednesday, December 13, 2006
This Writing Job
Most jobs in life are noted for their sameness - you do the same thing day after day, week after week, or things go in cycles but are usually predictable. While many people declare they hate their jobs (95% according to a recent survey), they would probably say what they hate is the boredom and sameness. Yet, paradoxically, this is the very reason why they don't quit. Sameness is safe, predictable, secure. You work your hours and you go home at the end of the week with a nice paycheck that pays the bills and buys food.
Writing? Never the same. Just because one story or novel worked out well, that's no guarantee that the next one will be easier, or even work at all. If you write the same story over and over, the critics will lay into you and you'll be labelled unadventurous or boring or predictable. If the new book is deemed of a lesser quality than the previous, you'll get it in the neck for that too.
Money comes and goes. Usually, it goes. Last year's bestseller is this year's remainder, and that healthy royalty cheque dwindles alarmingly, so that you start to think about going back to waitressing or driving taxis.
Output surges and dies. One year you produce three books, the next year(s) you strike a story that just won't work and several years later you have to abandon it. No product, no sales, no advances, no royalties.
The exciting flush of the first draft dies under rewrite after rewrite after rewrite. Your agent stops answering your calls. But you have to keep writing. What else can you do?
Actually, you can stop. I've known several writers who have written three or four novels, then gone off to do something else. I've known talented writers who decided it was all too hard. No one is knocking on your door, begging for your latest manuscript. No one cares much whether you write or not. Your mother keeps hinting that you should get a real job.
Depressed yet?
Not me. Not right now. Oh, there are times when I yearn after my old waitressing job (except now I'm such a cranky person I'd probably be a reincarnation of Carla from 'Cheers', only worse). But the lure and promise of the story idea not yet written, the vision of the story that haunts me for several years until I just have to write it no matter what, the high that comes from having written, the way in which my own words can surprise me at times as if it wasn't really me who wrote them ... there are a million reasons not to give up, and they are all to do with writing. Not with getting published. That's the honey bee on the hibiscus (well, you didn't think I was going to say 'icing on the cake', did you?).
That's my quiet Wednesday evening rumination after lunch today with my writers' group, the best group of women writers I'll ever know. They're my Christmas present every Wednesday afternoon, all year.
Write on, girls.
Writing? Never the same. Just because one story or novel worked out well, that's no guarantee that the next one will be easier, or even work at all. If you write the same story over and over, the critics will lay into you and you'll be labelled unadventurous or boring or predictable. If the new book is deemed of a lesser quality than the previous, you'll get it in the neck for that too.
Money comes and goes. Usually, it goes. Last year's bestseller is this year's remainder, and that healthy royalty cheque dwindles alarmingly, so that you start to think about going back to waitressing or driving taxis.
Output surges and dies. One year you produce three books, the next year(s) you strike a story that just won't work and several years later you have to abandon it. No product, no sales, no advances, no royalties.
The exciting flush of the first draft dies under rewrite after rewrite after rewrite. Your agent stops answering your calls. But you have to keep writing. What else can you do?
Actually, you can stop. I've known several writers who have written three or four novels, then gone off to do something else. I've known talented writers who decided it was all too hard. No one is knocking on your door, begging for your latest manuscript. No one cares much whether you write or not. Your mother keeps hinting that you should get a real job.
Depressed yet?
Not me. Not right now. Oh, there are times when I yearn after my old waitressing job (except now I'm such a cranky person I'd probably be a reincarnation of Carla from 'Cheers', only worse). But the lure and promise of the story idea not yet written, the vision of the story that haunts me for several years until I just have to write it no matter what, the high that comes from having written, the way in which my own words can surprise me at times as if it wasn't really me who wrote them ... there are a million reasons not to give up, and they are all to do with writing. Not with getting published. That's the honey bee on the hibiscus (well, you didn't think I was going to say 'icing on the cake', did you?).
That's my quiet Wednesday evening rumination after lunch today with my writers' group, the best group of women writers I'll ever know. They're my Christmas present every Wednesday afternoon, all year.
Write on, girls.
Sunday, December 10, 2006
Bookshop Addiction
A lot of writers I know suffer from the inability to walk past a bookshop. Even worse, many of us cannot enter and then leave a bookshop without buying at least one book. This is only partly solved by visiting the library more often, as they have this unfortunate rule that you have to take the books back to them (and they even fine you when you're late!).
But there is nothing more joyful than wandering along the shelves and finding a new book by one of your favourite authors. Such was the case last week when I discovered a new book from Louise Rennison. First of all I had to check it really was new (her books are often released in the UK and US with different titles, and here in Australia we get both), and then because it was hardcover, I had to hold my breath and check the price. US and UK hardcovers here often cost AU$35-40, which puts them out of my reach.
Lo and behold (a suitable Christmas expression), it was a "cheap" version at only $20. So it went into my shopping basket immediately. If you want a good laugh, try her books - YA humour written in diary form - they are guaranteed to make me laugh out loud.
I'm still waiting for Kate di Camillo's book, "The Miraculous Journey of Edward Tulane", to come out here in paperback. That's one HC that does pass the $35 mark.
My holidays are looming so now is when I start stockpiling "good reads" for my time off. Christmas? What Christmas? Don't bug me, I'm reading. Yes, and writing lots instead of little bits. Headspace is gradually returning, filling with words instead of admin and chores and grading and enrolment stuff-ups.
Books I would recommend from this year's reading? I tend to go with the ones that stay in my head - to me that means they were strong enough to be memorable. "Whale Talk" by Chris Crutcher, "Dairy Queen" by Catherine Murdock, "Kira-Kira" by Cynthia Kadohata, are three I can think of right now.
I've enjoyed the new Ian Rankin, James Lee Burke and Tess Gerritson. And my binge on literary fiction in the middle of the year was great for thinking and writing. I've also got "We Have to Talk About Kevin" on my stockpile, along with "Thirteen Moons" by Charles Frazier.
All that reading will be wonderful, and it will keep me away from the computer which has caused my neck and shoulder to seize up again (serves me right for not doing something about the ergonomics). The laptop will be allowed on holidays with me as long as it stays on my lap and doesn't sneak up to the table (too high and screen at bad angle). I have to get this ergo stuff right, because the dictation software programs all hate my voice and make millions of errors.
But there is nothing more joyful than wandering along the shelves and finding a new book by one of your favourite authors. Such was the case last week when I discovered a new book from Louise Rennison. First of all I had to check it really was new (her books are often released in the UK and US with different titles, and here in Australia we get both), and then because it was hardcover, I had to hold my breath and check the price. US and UK hardcovers here often cost AU$35-40, which puts them out of my reach.
Lo and behold (a suitable Christmas expression), it was a "cheap" version at only $20. So it went into my shopping basket immediately. If you want a good laugh, try her books - YA humour written in diary form - they are guaranteed to make me laugh out loud.
I'm still waiting for Kate di Camillo's book, "The Miraculous Journey of Edward Tulane", to come out here in paperback. That's one HC that does pass the $35 mark.
My holidays are looming so now is when I start stockpiling "good reads" for my time off. Christmas? What Christmas? Don't bug me, I'm reading. Yes, and writing lots instead of little bits. Headspace is gradually returning, filling with words instead of admin and chores and grading and enrolment stuff-ups.
Books I would recommend from this year's reading? I tend to go with the ones that stay in my head - to me that means they were strong enough to be memorable. "Whale Talk" by Chris Crutcher, "Dairy Queen" by Catherine Murdock, "Kira-Kira" by Cynthia Kadohata, are three I can think of right now.
I've enjoyed the new Ian Rankin, James Lee Burke and Tess Gerritson. And my binge on literary fiction in the middle of the year was great for thinking and writing. I've also got "We Have to Talk About Kevin" on my stockpile, along with "Thirteen Moons" by Charles Frazier.
All that reading will be wonderful, and it will keep me away from the computer which has caused my neck and shoulder to seize up again (serves me right for not doing something about the ergonomics). The laptop will be allowed on holidays with me as long as it stays on my lap and doesn't sneak up to the table (too high and screen at bad angle). I have to get this ergo stuff right, because the dictation software programs all hate my voice and make millions of errors.
Thursday, December 07, 2006
Nearing the End of the Year
No time to catch up on all the blogs I missed while I was away (other people's, that is) so have skimmed a few and discovered that we are coming up to the Dead Zone in publishing. Agent Kristin Nelson says she is madly submitting this week because after that, most editors are off on early Christmas breaks or trying to clear their desks. Useful to know, if you are about to submit something yourself.
Where I work, we are madly interviewing new applicants for 2007, and it's a very interesting process. These are people who want to be writers or editors or something like that (we once listed 34 different jobs our students could do after completing the Diploma, and novel writer was only one), but we have learned the hard way that we need to screen more effectively. So we created a grammar and punctuation test. One page long, three short sections. Some people still manage to make more than 20 errors. We have also learned the hard way that these people do really badly in our course and often either fail or drop out.
The bald, unvarnished truth is - if you want to be a writer or an editor, you have to know how to use the English language, how to make it work to its ultimate best, and if you can't punctuate properly or keep your verb tenses consistent or spell reasonably well (and know how to use a dictionary for the tricky ones), you haven't got much chance.
I sometimes feel very lucky to have gone to school when all that stuff was taught - I see young people coming out of high school who didn't get the early grounding and have very little idea of even where to put a full stop and end a sentence. I've come to believe that if you don't get it early on, it's five, or even ten, times harder to learn it later on. I have seen a few who have managed it, but not easily.
Where I work, we are madly interviewing new applicants for 2007, and it's a very interesting process. These are people who want to be writers or editors or something like that (we once listed 34 different jobs our students could do after completing the Diploma, and novel writer was only one), but we have learned the hard way that we need to screen more effectively. So we created a grammar and punctuation test. One page long, three short sections. Some people still manage to make more than 20 errors. We have also learned the hard way that these people do really badly in our course and often either fail or drop out.
The bald, unvarnished truth is - if you want to be a writer or an editor, you have to know how to use the English language, how to make it work to its ultimate best, and if you can't punctuate properly or keep your verb tenses consistent or spell reasonably well (and know how to use a dictionary for the tricky ones), you haven't got much chance.
I sometimes feel very lucky to have gone to school when all that stuff was taught - I see young people coming out of high school who didn't get the early grounding and have very little idea of even where to put a full stop and end a sentence. I've come to believe that if you don't get it early on, it's five, or even ten, times harder to learn it later on. I have seen a few who have managed it, but not easily.
Hong Kong Pics
Fish shop in Wanchai on the left- most things are still alive (and moving - if something isn't moving, apparently you bargain for a cheaper price). And the other photo is of Tai O, a fishing village on the south end of Lantau Island. I caught the fast ferry to Lantau - a half hour trip - and then the local bus to Tai O. The village is famous for its shrimp paste.
Friday, December 01, 2006
All Business?
Have returned from Hong Kong, and Melbourne seems quite sedate. I had to do grocery shopping today at my local centre (mall) and found myself greeting people and being very friendly - a HK hangover, as everyone there is so polite and helpful, even if you are asking dumb questions (such as "where is the tram stop?" and they point just behind you).
We packed in a huge amount while we were there, running a wide range of classes and seminars, building our "client base" (feels strange saying that - I still think of everyone as students or fellow teachers or trainers - the difference between business and education, I guess, but don't get me started on the new university culture where business takes precedence over education).
We had classes at the YWCA, training sessions in editing and writing with Women in Publishing, more training in creative writing with secondary students with Chinese-school teachers, I had a great day with the Grades 4, 5 and 6 at Peak School and another inspiring day writing with kids in Repulse Bay. Also spoke to SCBWI members one night. Time off? Well...
One day in Shenzen, shopping in the madness that is Wo Lu - a building filled with five floors of little shops, all with sales people who follow you and tug at your arm while trying to persuade you to buy something (and offering lower and lower prices the further you go from their shop). We had a shopping guide book that helped us to find our way around what must have been at least 1500 shops.
Another day at Hong Kong Park in the huge bird aviary (and by the turtle pond), then over to Kowloon to look at clothes, ones which I was more likely to afford. The branches of Gucci, Versace, Chanel etc were avoided.
One afternoon at Stanley Market, which was a welcome change as no one pursues you down the street and you rarely need to think about haggling. I think only the strong and the brave can endure more than two full-on haggling days.
My favourite place was Wanchai, where our hotel was - lots of lanes filled with the local market stalls selling everything from live fish to dried seafood, all kinds of vegetables and fruit, and live chickens beheaded and plucked while you wait (no, don't look, Sue!). Once again, I ate many bowls of noodles and drank my favourite ginger tea with black honey.
My last night was spent at the Happy Valley race track with the EMB social club outing. All my chosen horses did dismally, so I came home with a lighter purse but a happy heart.
We packed in a huge amount while we were there, running a wide range of classes and seminars, building our "client base" (feels strange saying that - I still think of everyone as students or fellow teachers or trainers - the difference between business and education, I guess, but don't get me started on the new university culture where business takes precedence over education).
We had classes at the YWCA, training sessions in editing and writing with Women in Publishing, more training in creative writing with secondary students with Chinese-school teachers, I had a great day with the Grades 4, 5 and 6 at Peak School and another inspiring day writing with kids in Repulse Bay. Also spoke to SCBWI members one night. Time off? Well...
One day in Shenzen, shopping in the madness that is Wo Lu - a building filled with five floors of little shops, all with sales people who follow you and tug at your arm while trying to persuade you to buy something (and offering lower and lower prices the further you go from their shop). We had a shopping guide book that helped us to find our way around what must have been at least 1500 shops.
Another day at Hong Kong Park in the huge bird aviary (and by the turtle pond), then over to Kowloon to look at clothes, ones which I was more likely to afford. The branches of Gucci, Versace, Chanel etc were avoided.
One afternoon at Stanley Market, which was a welcome change as no one pursues you down the street and you rarely need to think about haggling. I think only the strong and the brave can endure more than two full-on haggling days.
My favourite place was Wanchai, where our hotel was - lots of lanes filled with the local market stalls selling everything from live fish to dried seafood, all kinds of vegetables and fruit, and live chickens beheaded and plucked while you wait (no, don't look, Sue!). Once again, I ate many bowls of noodles and drank my favourite ginger tea with black honey.
My last night was spent at the Happy Valley race track with the EMB social club outing. All my chosen horses did dismally, so I came home with a lighter purse but a happy heart.
Wednesday, November 29, 2006
Missive from Hong Kong
Have now been here nearly two weeks and am getting ready to return to Australia. It's been a long haul this time, with lots of training and meetings and discussions. Too tired even to read most nights! And although I did discover a local cyber place, I can only come here in school hours as after school, the place fills with screaming teenagers playing online games.
The Blogger site is in Chinese so I'm not sure how to use it - am guessing most of the time!
The weather has been mostly grey with a bit of rain. Everyone keeps telling us how unusual it is, and we should be having cool sunny days. Hmmm. And the pollution is a huge issue. I went out to Lantau Island yesterday (climbed the 260 steps to the big Buddha, with lots of rest stops) and it was so hazy you could hardly see two kilometres. Apart from the fact that people living here are starting to think about leaving, and some big companies are looking at relocating so they don't get sued by sick employees, they will kill tourism if they don't do something. No point going up the Peak if you can't see a thing.
A lot of Hong Kong-owned factories have apparently relocated into China and the pollution is coming from there where there are few emission controls.
But Hong Kong itself is as lively as ever. I'm staying in Wanchai and have wandered through the local markets a few times, staring at live fish in tanks, meat being cut up and displayed on the street, huge piles of dried seafood and flower shops that sell a bunch of orchids for the equivalent of AU$1.20.
The tourist markets are the same - lots of Americans here this time, and not just because the Kittyhawk is in the bay and sailors are everywhere (you can tell them by the really short hair). I have become used to eating noodles nearly every day, haven't missed coffee at all, and haven't been brave enough to try duck tongues or pig's knuckles.
Bought a collection of Chinese short stories but haven't read them yet. I've been deep in Louisiana, reading James Lee Burke's new Robicheaux novel. As always, fantastic description and a good story with lots of flawed characters that make you think about who is who in the world, and how do we really know the inner workings of most people.
Food for thought.
The Blogger site is in Chinese so I'm not sure how to use it - am guessing most of the time!
The weather has been mostly grey with a bit of rain. Everyone keeps telling us how unusual it is, and we should be having cool sunny days. Hmmm. And the pollution is a huge issue. I went out to Lantau Island yesterday (climbed the 260 steps to the big Buddha, with lots of rest stops) and it was so hazy you could hardly see two kilometres. Apart from the fact that people living here are starting to think about leaving, and some big companies are looking at relocating so they don't get sued by sick employees, they will kill tourism if they don't do something. No point going up the Peak if you can't see a thing.
A lot of Hong Kong-owned factories have apparently relocated into China and the pollution is coming from there where there are few emission controls.
But Hong Kong itself is as lively as ever. I'm staying in Wanchai and have wandered through the local markets a few times, staring at live fish in tanks, meat being cut up and displayed on the street, huge piles of dried seafood and flower shops that sell a bunch of orchids for the equivalent of AU$1.20.
The tourist markets are the same - lots of Americans here this time, and not just because the Kittyhawk is in the bay and sailors are everywhere (you can tell them by the really short hair). I have become used to eating noodles nearly every day, haven't missed coffee at all, and haven't been brave enough to try duck tongues or pig's knuckles.
Bought a collection of Chinese short stories but haven't read them yet. I've been deep in Louisiana, reading James Lee Burke's new Robicheaux novel. As always, fantastic description and a good story with lots of flawed characters that make you think about who is who in the world, and how do we really know the inner workings of most people.
Food for thought.
Sunday, November 19, 2006
Blogging in Chinese
Hmmm how to use Blogger when all the instructions and labels are in Chinese? You guess and hope the right buttons are in the same places.
Cyber cafes where a million kids and teenagers playing online computer games and smoking and shouting and shooting each other via the computer doesn't make for concentration or focus.
Two days of seminars and thick pollution so far - can't see the Xmas lights across the harbour because of the fog/smog.
Not enough sleeping hours. Hotel sends wake up call 6am first morning - good. Leave it in the system. Second morning 6am again. No sleeping in here.
TV viewing - a documentary on plastic surgery of film and pop stars. Horribly riveting.
Dinner beckons. Smoke in here is awful. Gotta go.
Cyber cafes where a million kids and teenagers playing online computer games and smoking and shouting and shooting each other via the computer doesn't make for concentration or focus.
Two days of seminars and thick pollution so far - can't see the Xmas lights across the harbour because of the fog/smog.
Not enough sleeping hours. Hotel sends wake up call 6am first morning - good. Leave it in the system. Second morning 6am again. No sleeping in here.
TV viewing - a documentary on plastic surgery of film and pop stars. Horribly riveting.
Dinner beckons. Smoke in here is awful. Gotta go.
Saturday, November 11, 2006
Launches, Reviews and Grey Hair
This is what you like to see at a magazine or book launch - the magazine arrives and everyone dives for a copy and is engrossed for the next ten minutes (ignoring the wine and food!). This is the launch yesterday of our new magazine "Lizard" - not a fiction and poetry mag but a collection of great articles about teaching and learning. You might think it sounds a little boring, but there's all sorts of topics - exchanges, the Clarion South workshop, model cars, the oldest student in the world, immigrant students experiences, just to name a few. And terrific images from our graphic arts students. By "our" I mean Victoria University. The launch was at Iramoo on our campus - Iramoo is where we have a sustainable environment precinct with 35 hectares of protected grasslands and also where we have a number of live-in lizards - the endangered legless lizard to be exact. Those people who have been to Building 10 on the campus will remember the strange yellow and brown exterior which is meant to represent the lizard also. And that's why the magazine is called "Lizard". If you live in Australia and would like a copy (yes, free!) just email Sue at profwritingtafe@vu.edu.au
Onto other bookish things - not surprisingly (to me) "On the Jellicoe Road" has just been favourably reviewed in the latest edition of Magpies, a journal of books for children/YA. The reviewer said, "Taylor's story is interspersed with out-of-sequence excerpts from Hannah's manuscript, weaving together the events of past and present - an effective technique that foreshadows events and builds reader interest." See - told you it was just me! The reviewer was obviously far more on the ball than I was ... no, actually I stand by my original comments.
And when I read a book like "Dairy Queen", which I did in one night this week (could not put it down!), I know that there are still books out there in the world that will capture me and hold me fast and give me huge pleasure and excitement to read. Quick synopsis - DJ lives on a dairy farm and is doing nearly all the farm work because Dad is injured. She's failing high school, feeling pretty unhappy (but not in a whiny, "why me" kind of way, which is why the voice works so well) and then Brian arrives. An arrogant football player from the neighbouring town who is sent to work on the farm as a test. DJ ends up training him in spite of herself, and discovers she is really good at it, and good enough at football to try out for her own school team. The only girl. Sounds unlikely? Catherine Gilbert Murdock makes it work, through the character and the voice, and also the details of farm life and footy training. Loved it. 5 stars.
I'm now reading Ian Rankin's latest, "Naming of the Dead". It was my bribe to get me through all that marking of student work. Nothing like Rebus waiting at the end of a million hours of reading, commenting and grading. I then dyed my hair to cheer myself up (hate to think how many new grey hairs I got from all that terrible grammar and punctuation) and dived into the Rankin novel. I mean, how hard is it to punctuate "I hate bad punctuation," she said. In case you're wondering, if I had a dollar for every time I saw a full stop after punctuation instead of a comma... and then, of course, Word gives she a capital S - She. Grrrr.
Am I writing? A new draft of a picture book - Draft No. 17 but who's counting? All that marking does give me a very critical eye to take back to my own manuscripts, if nothing else!
Saturday, November 04, 2006
Jellicoe Road etc
I finished "On the Jellicoe Road" a few days ago, and the second half (thankfully) was much better. Then I thought about my earlier comments - had I started reading it at the wrong time, and therefore wasn't concentrating properly? (I read the first 30 pages while waiting to go in for a small operation, but I don't think the anaesthetic was the problem.)
So I went back and re-read the first few pages again, and decided it was a bit of both. No, I hadn't really been giving the book 100%, but I also felt the author could have made it so much clearer what was going on. For those of you contemplating reading this book, here are some useful clues:
1. The parts in italics are not the main character dreaming or talking or writing something. They are actually a novel written by another character about things that happened 22 years ago. I'm not spoiling the story by telling you this - I'm ensuring that you don't get totally confused.
2. The main character is in a boarding school for kids no one wants. One of the school girls is from the nearby town. Nobody else in the school is.
3. The whole basis of the action in the story is this kind of wargame between the boarding school kids, the town kids and another bunch of boys on cadet camp. Why 18-year-olds would be playing the kind of game that 12-year-olds get off on was a bit beyond me. That's my main "credibility gripe".
4. The main character, even though she seems to be the "dead loss/hopeless case" of the school, is somehow made the head honcho of all the kids (by vote). Another credibility issue.
I have no doubt that lots of readers will disagree with me on this book, but I really don't see what is the point of not making simple things clear to the reader.
Enough grumping and groaning. I've just finished last year's Newbery Award winner, "Kira-Kira" by Cynthia Kadohata, and totally enjoyed the voice and character of Katie. The story is mostly set in Georgia in the 1950s, and Katie is the younger daughter in a Japanese family. Mum and Dad work in the chicken factories, saving for a house, and the older girl, Lynnie, is Katie's idol. The voice is terrific - naive but genuine - and Katie's journey to understanding how to survive in a difficult world is gentle but profound. Good example of 'less is more' - very little overwriting (if any).
Marking? About 60% achieved so far. 30 short stories to go. It's a little like being a magazine editor, only instead of rejections or acceptances, I have to give feedback on what I think is or is not working. The kind of thing we secretly wish all editors would do for our submissions.
In the last class, I gave the students something I had written about getting published, what it means to write or just call yourself a writer (there's a big difference), how to improve, how to survive after you give up the support of classes and constant, immediate feedback, what perseverance really means - all that stuff. I might put it up on my website, if I can work out how to create my circles diagram in Word.
And in response to someone in the newspaper recently who criticised the use of the word "stuff" - it's a very handy word, useful in all situations. A bit like "thingy" - right, Sue?
So I went back and re-read the first few pages again, and decided it was a bit of both. No, I hadn't really been giving the book 100%, but I also felt the author could have made it so much clearer what was going on. For those of you contemplating reading this book, here are some useful clues:
1. The parts in italics are not the main character dreaming or talking or writing something. They are actually a novel written by another character about things that happened 22 years ago. I'm not spoiling the story by telling you this - I'm ensuring that you don't get totally confused.
2. The main character is in a boarding school for kids no one wants. One of the school girls is from the nearby town. Nobody else in the school is.
3. The whole basis of the action in the story is this kind of wargame between the boarding school kids, the town kids and another bunch of boys on cadet camp. Why 18-year-olds would be playing the kind of game that 12-year-olds get off on was a bit beyond me. That's my main "credibility gripe".
4. The main character, even though she seems to be the "dead loss/hopeless case" of the school, is somehow made the head honcho of all the kids (by vote). Another credibility issue.
I have no doubt that lots of readers will disagree with me on this book, but I really don't see what is the point of not making simple things clear to the reader.
Enough grumping and groaning. I've just finished last year's Newbery Award winner, "Kira-Kira" by Cynthia Kadohata, and totally enjoyed the voice and character of Katie. The story is mostly set in Georgia in the 1950s, and Katie is the younger daughter in a Japanese family. Mum and Dad work in the chicken factories, saving for a house, and the older girl, Lynnie, is Katie's idol. The voice is terrific - naive but genuine - and Katie's journey to understanding how to survive in a difficult world is gentle but profound. Good example of 'less is more' - very little overwriting (if any).
Marking? About 60% achieved so far. 30 short stories to go. It's a little like being a magazine editor, only instead of rejections or acceptances, I have to give feedback on what I think is or is not working. The kind of thing we secretly wish all editors would do for our submissions.
In the last class, I gave the students something I had written about getting published, what it means to write or just call yourself a writer (there's a big difference), how to improve, how to survive after you give up the support of classes and constant, immediate feedback, what perseverance really means - all that stuff. I might put it up on my website, if I can work out how to create my circles diagram in Word.
And in response to someone in the newspaper recently who criticised the use of the word "stuff" - it's a very handy word, useful in all situations. A bit like "thingy" - right, Sue?
Saturday, October 28, 2006
Something Happens to Someone
It's coming up to that time of year when I have three classes worth of writing assignments to mark and give comments on. Around 100,000 words worth of short stories, about 100 poems (which can take as long as stories to comment on), and probably 30-40,000 words of children's chapter books.
We've been through the workshop mill. Each student has workshopped their piece and received comments. But what happens in the rewriting? It can be difficult to sort out which comments are useful, and sometimes people go off in the wrong direction. I often think the purpose of workshopping/critiquing is simply to develop your gut instinct - that thing that tells you when a story or part of a novel is not working.
John Marsden said once that he reads through a draft quite quickly, marker pen in hand, and just highlights anything that doesn't 'feel right' as he goes. He doesn't stop to analyse, but comes back later and looks at each marked sentence or paragraph (or even word) and tries to work out where the 'not right' feeling came from. It's a good way to work on your own.
I have a couple of students who are having to start their stories all over again. Editing and fiddling is not going to fix the central problem, which is nothing happens. We all do it. Get carried away with the writing, the character, the voice, the pleasure of putting down lots of words. But the story still needs to be about something, it still needs movement forward, in most cases it still needs plot and story questions to keep the reader engaged.
I talked to the class a little about epiphanies and revelations, and it seems to me that many short stories these days focus on those two things. Not only 'something happens to someone' but whatever happens leads to an epiphany for the main character. It may only be a small epiphany, but that's what the story hangs on. Even genre stories can work this way, weaving revelation/realisation into plot.
I have finished reading 'Leadbelly' - the book about the doings of Melbourne's underworld crime figures. A scary book. With scary photos. But it did give me good background information and ideas for something I'm working on.
At the moment, I'm reading Marlena Marchetta's new book 'On the Jellicoe Road'. And I just can't get into it. I'm up to page 100 and ... and ... I keep thinking it must be me. Maybe I'm not paying attention so that's why I don't understand half the time what is going on, who the characters are. I feel like she has been so deliberately mysterious that she's left me almost completely in the dark. I will persevere (because I paid $$ for this book) but by page 100 I expected more!
We've been through the workshop mill. Each student has workshopped their piece and received comments. But what happens in the rewriting? It can be difficult to sort out which comments are useful, and sometimes people go off in the wrong direction. I often think the purpose of workshopping/critiquing is simply to develop your gut instinct - that thing that tells you when a story or part of a novel is not working.
John Marsden said once that he reads through a draft quite quickly, marker pen in hand, and just highlights anything that doesn't 'feel right' as he goes. He doesn't stop to analyse, but comes back later and looks at each marked sentence or paragraph (or even word) and tries to work out where the 'not right' feeling came from. It's a good way to work on your own.
I have a couple of students who are having to start their stories all over again. Editing and fiddling is not going to fix the central problem, which is nothing happens. We all do it. Get carried away with the writing, the character, the voice, the pleasure of putting down lots of words. But the story still needs to be about something, it still needs movement forward, in most cases it still needs plot and story questions to keep the reader engaged.
I talked to the class a little about epiphanies and revelations, and it seems to me that many short stories these days focus on those two things. Not only 'something happens to someone' but whatever happens leads to an epiphany for the main character. It may only be a small epiphany, but that's what the story hangs on. Even genre stories can work this way, weaving revelation/realisation into plot.
I have finished reading 'Leadbelly' - the book about the doings of Melbourne's underworld crime figures. A scary book. With scary photos. But it did give me good background information and ideas for something I'm working on.
At the moment, I'm reading Marlena Marchetta's new book 'On the Jellicoe Road'. And I just can't get into it. I'm up to page 100 and ... and ... I keep thinking it must be me. Maybe I'm not paying attention so that's why I don't understand half the time what is going on, who the characters are. I feel like she has been so deliberately mysterious that she's left me almost completely in the dark. I will persevere (because I paid $$ for this book) but by page 100 I expected more!
Wednesday, October 25, 2006
The Whole Research Thing
Recently there was an article in the weekend newspaper about Kate Grenville and her novel "The Secret River" - apparently she has upset some historians by claiming her book is a new kind of history. One comment focused on how Grenville used a small anecdote from Governor Phillips' diary and transposed it 25 years ahead to give it to her main character.
The historians seem to hate this kind of "licence" that fiction writers take. The other end of this spectrum is James Frey and his ilk who present their writing as the truth and then are caught out in a big way. What is truth in fiction? To me, a fictional world is "true" when the writer makes it so for me. I read Michael Connolly's books set in LA and the city comes alive in my head. "The Secret River" was the same, especially as I had been up the Hawkesbury River and could then imagine it 200 years ago through the book.
A good way to consider this issue is to think about the difference between historical fiction and historical fiction. The first is fiction set in a historical time and place - the author researches that era, and tries to make the setting as accurate as possible (to create the world of that novel), but many of the characters are made up, and some things may be changed to make the story better.
The second is history related as a story - all of the characters were real people - so it's reality via a narrative. This kind of historical novel requires a bibliography when used in schools (or at least the publisher requires a bibliography to ensure the writer got it right).
But let's face it - no matter how well researched a book is, how can you ever prove one way or another that people back then spoke, behaved and thought like that? That's fiction!
And no matter which end you start from, there is a huge grey area in the middle where anything can happen, where a good writer can work without rules and boundaries and create a terrific story.
The critics come later.
The historians seem to hate this kind of "licence" that fiction writers take. The other end of this spectrum is James Frey and his ilk who present their writing as the truth and then are caught out in a big way. What is truth in fiction? To me, a fictional world is "true" when the writer makes it so for me. I read Michael Connolly's books set in LA and the city comes alive in my head. "The Secret River" was the same, especially as I had been up the Hawkesbury River and could then imagine it 200 years ago through the book.
A good way to consider this issue is to think about the difference between historical fiction and historical fiction. The first is fiction set in a historical time and place - the author researches that era, and tries to make the setting as accurate as possible (to create the world of that novel), but many of the characters are made up, and some things may be changed to make the story better.
The second is history related as a story - all of the characters were real people - so it's reality via a narrative. This kind of historical novel requires a bibliography when used in schools (or at least the publisher requires a bibliography to ensure the writer got it right).
But let's face it - no matter how well researched a book is, how can you ever prove one way or another that people back then spoke, behaved and thought like that? That's fiction!
And no matter which end you start from, there is a huge grey area in the middle where anything can happen, where a good writer can work without rules and boundaries and create a terrific story.
The critics come later.
Friday, October 20, 2006
Rebus and Rankin
If you like Ian Rankin's Rebus crime novels, try this site:
http://www.publishingnews.co.uk/bookbeat/orion/rebus/exclusive.asp?#
(You might have to add the ?# yourself - it won't go in the URL here). There's a little video of Rankin plugging his new book, but what is much more interesting (especially for writers and long-time readers of Rebus) is an audio recording of Rankin talking about his first Rebus book "Knots and Crosses" and how it was written. I especially liked how he talks about his writer's diary.
I've tried to get students to write a reflective writer's diary - it's interesting to hear Rankin relate what he wrote in his back then.
http://www.publishingnews.co.uk/bookbeat/orion/rebus/exclusive.asp?#
(You might have to add the ?# yourself - it won't go in the URL here). There's a little video of Rankin plugging his new book, but what is much more interesting (especially for writers and long-time readers of Rebus) is an audio recording of Rankin talking about his first Rebus book "Knots and Crosses" and how it was written. I especially liked how he talks about his writer's diary.
I've tried to get students to write a reflective writer's diary - it's interesting to hear Rankin relate what he wrote in his back then.
Thursday, October 19, 2006
Horses for Courses
I've been trying to read a Martha Grimes novel, "The Blue Last". It's not doing it for me. Slow. A thousand seemingly irrelevant sub-plots (no doubt she'll weave them in sooner or later but I skipped a whole chapter to avoid one sub-plot I thought was stupid and pointless). A main character who seems to be the world's most dithering, inactive policeman, and whose idea of investigation is to put his friend, Lord Something-or-other, on the property (undercover) as a forelock-tugging gardener.
I talk to students about credibility in fiction - the gardener thing was the last straw. Back to the library it goes.
And thank heavens for libraries where you can try out authors before you buy!
I talk to students about credibility in fiction - the gardener thing was the last straw. Back to the library it goes.
And thank heavens for libraries where you can try out authors before you buy!
Wednesday, October 18, 2006
RSI never went away...
Another day of procrastination on the rewriting. Instead I did my tax. I must be getting desperate.
I have been spending a substantial amount of time and money lately visiting an osteopath. This came about because of neck problems (and shoulder problems, and lower back problems) and I finally decided it was time to take action.
Turns out that one of my significant problems is a knot of fibrous stuff on a muscle that, funnily enough, is the muscle most likely to be used when ... clicking a computer mouse. About 15 years ago, I managed to get RSI when I was working as a typesetter for a small printing company. A lot of rest, exercise, strength building, and care about keyboard use meant that the RSI has subsided to nearly nothing. Except ... now because I use the mouse a lot more for things like clicking on internet sites, email, online courses, discussion boards etc, I have managed to develop another problem.
And I've known for a long time that I tend to get "computer scrunch" which is generally caused by laptop use (bending the head forward over the keyboard while squinting at the screen). That cliche - all the chickens come home to roost - is taking on new meaning.
So now I will go and read my books on back care and Buddhism (because my stress/tension issues are making things worse), and then I will read my book on wombats (because we have one in the bush - poo piles are the evidence - and because I have a picture book about a wombat that I am working on).
I have been spending a substantial amount of time and money lately visiting an osteopath. This came about because of neck problems (and shoulder problems, and lower back problems) and I finally decided it was time to take action.
Turns out that one of my significant problems is a knot of fibrous stuff on a muscle that, funnily enough, is the muscle most likely to be used when ... clicking a computer mouse. About 15 years ago, I managed to get RSI when I was working as a typesetter for a small printing company. A lot of rest, exercise, strength building, and care about keyboard use meant that the RSI has subsided to nearly nothing. Except ... now because I use the mouse a lot more for things like clicking on internet sites, email, online courses, discussion boards etc, I have managed to develop another problem.
And I've known for a long time that I tend to get "computer scrunch" which is generally caused by laptop use (bending the head forward over the keyboard while squinting at the screen). That cliche - all the chickens come home to roost - is taking on new meaning.
So now I will go and read my books on back care and Buddhism (because my stress/tension issues are making things worse), and then I will read my book on wombats (because we have one in the bush - poo piles are the evidence - and because I have a picture book about a wombat that I am working on).
Monday, October 16, 2006
Floods of Words
I think I'm having a mental revolt against rewriting. I have at least two things I need to be looking at seriously right now and rewriting, and I can't bear to go near them. Not that the rewrites are necessarily that difficult (especially when you have comments to help you along) but I just feel like I have spent nearly all of this year on rewrites. So I keep launching off into new stuff.
Finished a short story for the 'Age' newspaper short story competition. This is big deal stuff here. Writers who win this competition get asked by publishers for their (unpublished) manuscripts. Entry is free. The 'Age' is getting more and more secretive about advertising the closing date, hence this year they had to extend it because nobody knew about it.
Then a couple of different friends sent me information about a fantasy publisher in the US who is open to submissions of pirate short stories (for adults) for an anthology. I went to check out their website and discovered that they have another anthology/competition open right now, closing 15 October. I happened to have a short story that fitted their category guidelines, only it was barely half-finished. It had been sitting on my laptop for 6 months or more. Aha! I could surely write the other 1500 words and finish it in time?
Certainly could. Except when I started writing, it grew ... and grew ... and finished up at nearly 8000 words. Luckily their word limit was 10,000 - and I made the deadline!
Aren't deadlines wonderful things?
Now someone needs to give me deadlines for those rewrites.
On Saturday I ran another Children's Writers' forum at the uni where I work. We had 28 writers come along to listen to Lorraine Marwood talk about writing children's poetry (and teaching it), Carmel Heron from Harcourt Educational Publishers, and then a Picture Book Slam. That's where writers stand up and have three minutes (not a second more) to read their picture book to an audience who then vote for the winner.
It was a lot of fun, and was also a very interesting session.
The notes from Carmel Heron's talk will be up soon at our website:
www.staff.vu.edu.au/profwriting
Follow the links for the forum - other publisher's notes already up from previous days.
At the moment, for a little bit of research, I'm reading a few different books about Melbourne's underworld crime scene. There's a never-ending series called "Underbelly" by John Silvester and Andrew Rule, as a starting point. They cover other crimes as well as the "Melbourne mafia" stuff. I have to say the books are not nearly as well-written as the feature articles that both writers publish in the Melbourne newspapers. Makes me wonder if they've "dumbed down" the books for some reason.
However, they're perfect for taking into my Short Story 2 class as examples of straight non-fiction writing as compared to "creative non-fiction" and personal essays, especially in terms of style and language.
Finished a short story for the 'Age' newspaper short story competition. This is big deal stuff here. Writers who win this competition get asked by publishers for their (unpublished) manuscripts. Entry is free. The 'Age' is getting more and more secretive about advertising the closing date, hence this year they had to extend it because nobody knew about it.
Then a couple of different friends sent me information about a fantasy publisher in the US who is open to submissions of pirate short stories (for adults) for an anthology. I went to check out their website and discovered that they have another anthology/competition open right now, closing 15 October. I happened to have a short story that fitted their category guidelines, only it was barely half-finished. It had been sitting on my laptop for 6 months or more. Aha! I could surely write the other 1500 words and finish it in time?
Certainly could. Except when I started writing, it grew ... and grew ... and finished up at nearly 8000 words. Luckily their word limit was 10,000 - and I made the deadline!
Aren't deadlines wonderful things?
Now someone needs to give me deadlines for those rewrites.
On Saturday I ran another Children's Writers' forum at the uni where I work. We had 28 writers come along to listen to Lorraine Marwood talk about writing children's poetry (and teaching it), Carmel Heron from Harcourt Educational Publishers, and then a Picture Book Slam. That's where writers stand up and have three minutes (not a second more) to read their picture book to an audience who then vote for the winner.
It was a lot of fun, and was also a very interesting session.
The notes from Carmel Heron's talk will be up soon at our website:
www.staff.vu.edu.au/profwriting
Follow the links for the forum - other publisher's notes already up from previous days.
At the moment, for a little bit of research, I'm reading a few different books about Melbourne's underworld crime scene. There's a never-ending series called "Underbelly" by John Silvester and Andrew Rule, as a starting point. They cover other crimes as well as the "Melbourne mafia" stuff. I have to say the books are not nearly as well-written as the feature articles that both writers publish in the Melbourne newspapers. Makes me wonder if they've "dumbed down" the books for some reason.
However, they're perfect for taking into my Short Story 2 class as examples of straight non-fiction writing as compared to "creative non-fiction" and personal essays, especially in terms of style and language.
Tuesday, October 10, 2006
What is Good/Bad Writing?
In 2002 I went to a summer school at California State Uni at Fresno. It was two weeks devoted to children's writing, with tutors such as Janet Wong, Bruce Coville and Pam Munoz Ryan, among others. A fabulous two weeks, during which I learned much and was inspired to later write my first verse novel for children.
I also wrote 7,500 words of a YA novel while I was there, and workshopped some of it. The greatest surprise to me was when Alexandria LaFaye, the course leader, told me, "You write well but with not enough variety and style - look at the actual words and sentences you are using." So my next question was - how? How can you do that using a method that will then change and enhance your own writing?
As a class, we did some close reading, examining two pieces of writing, word by word. I have since researched this more and developed it into a method I use with my second year classes. But I also worked out a method of how to use it on my own writing, and do this also with classes. Each time, I test a piece of my own writing and am always very interested to see what comes out of it.
I'm reminded of all this by a post on a blog called Lit Agent X, where X lays out the common elements of bad writing, i.e. writing that is not yet publishable.
Go to http://raleva31.livejournal.com/ and have a look at the entry "Not ready for representation...?"
I plan to show this to my students, as it's a really good list of the kinds of stuff we see all the time, yet find it hard to "pin down". Although maybe that's because we see it over and over, and just haven't had the time to compile it as a list. Whereas this agent has offered information that cuts to the core of what is going wrong.
Thanks, Agent X!
I also wrote 7,500 words of a YA novel while I was there, and workshopped some of it. The greatest surprise to me was when Alexandria LaFaye, the course leader, told me, "You write well but with not enough variety and style - look at the actual words and sentences you are using." So my next question was - how? How can you do that using a method that will then change and enhance your own writing?
As a class, we did some close reading, examining two pieces of writing, word by word. I have since researched this more and developed it into a method I use with my second year classes. But I also worked out a method of how to use it on my own writing, and do this also with classes. Each time, I test a piece of my own writing and am always very interested to see what comes out of it.
I'm reminded of all this by a post on a blog called Lit Agent X, where X lays out the common elements of bad writing, i.e. writing that is not yet publishable.
Go to http://raleva31.livejournal.com/ and have a look at the entry "Not ready for representation...?"
I plan to show this to my students, as it's a really good list of the kinds of stuff we see all the time, yet find it hard to "pin down". Although maybe that's because we see it over and over, and just haven't had the time to compile it as a list. Whereas this agent has offered information that cuts to the core of what is going wrong.
Thanks, Agent X!
Friday, October 06, 2006
Celebrity Picture Books
First Madonna, now Kylie. And this latest from Publishers Weekly (4/10/06):
'Terrell Owens, the troubled wide receiver for the Dallas Cowboys, is the latest celebrity to stamp his name on a book for children. BenBella Books, the four-year old independent publisher in Dallas, has scored his series, dubbed T.O.’s Time Out, and is crashing the first title, Little T Learns to Share, to reach stores on November 15, the height of football season.
Little T Learns to Share, which is co-authored by the television writer Courtney Parker, depicts the travails of Owens as a boy learning to share his new football with friends. The initial print run will be 10,000 copies, with a $20,000 publicity budget. IPG is distributing the book and handling publicity. "
I'm sorry, but Little T Learns to Share? In Australia, our version would have to be Big Famous AFL Footy Player Learns Not to Assault a Member of the General Public (Especially a Female).
All of you writers who've been told over and over not to write moralistic stories for kids? Obviously if you're famous, you get to tell anyone you like how to be a "good" person.
Hmm, it's Friday. You'd think I'd be in a better mood, wouldn't you?
'Terrell Owens, the troubled wide receiver for the Dallas Cowboys, is the latest celebrity to stamp his name on a book for children. BenBella Books, the four-year old independent publisher in Dallas, has scored his series, dubbed T.O.’s Time Out, and is crashing the first title, Little T Learns to Share, to reach stores on November 15, the height of football season.
Little T Learns to Share, which is co-authored by the television writer Courtney Parker, depicts the travails of Owens as a boy learning to share his new football with friends. The initial print run will be 10,000 copies, with a $20,000 publicity budget. IPG is distributing the book and handling publicity. "
I'm sorry, but Little T Learns to Share? In Australia, our version would have to be Big Famous AFL Footy Player Learns Not to Assault a Member of the General Public (Especially a Female).
All of you writers who've been told over and over not to write moralistic stories for kids? Obviously if you're famous, you get to tell anyone you like how to be a "good" person.
Hmm, it's Friday. You'd think I'd be in a better mood, wouldn't you?
Thursday, October 05, 2006
Spring in the Australian Bush
Australian bush is mostly gum trees (in central Victoria, anyway). These photos are taken at Lancefield, about an hour north of Melbourne. Despite the green stuff, the government has just declared the bush fire season is off to an early start, and yesterday was our first total fire ban day.
The top photo shows you why gum trees suddenly keel over and land on stuff (including people) without warning. Inside the trunk, insects have been solidly at work. I could draw an analogy with writers in garrets, but I won't. Instead I have posted below about Voice.
When Your Voice Changes
Voice in fiction is a strange thing, almost nebulous. You hear editors say, 'I'm looking for a strong voice,' but they can't define exactly what it is. I've tried to define it in an article I wrote - needless to say the article is still in draft form because I'm not happy with what I came up with.
Some would say it's a combination of tone and style. Yep, OK. But it's deeper than that, I think. It brings in elements of the writer's own voice as well. Some writers deliberately change their voice in each work - others don't worry about it because it becomes part of how readers recognise them. And when you are writing in first person, in particular, how do you separate the narrator's voice from the voice of the writing? Can you?
Our obsession with first person these days both muddies the water and adds to the possibilities of what voice can do. What if you can't change your voice through style and tone? Can you change it via a different kind of narrator?
A novel gives you a lot of time and words to experiment with voice, and a lot of space in which to be inconsistent if you haven't nailed your character well enough. In short fiction and poetry, one story or poem can have a very distinctive voice. It's when you put a lot of them together that problems might arise. The following is a comment from a review of Cate Kennedy's new collection of short stories (Kennedy is well known here in Victoria, if nowhere else, for winning nearly every short story competition, including the Age twice, over a period of 2-3 years):
This is from a review by Delia Falconer which you can read at http://home.vicnet.net.au/~abr/Sept06/Falconer%20review.htm
You may be very accomplished at writing short fiction, but when a bunch of stories are read together, what can sometimes happen is a 'sameness' of voice emerges. In poetry, it tends to be a sameness of phrasing, chosen words, similar subject matter rehashed.
What originally led me to think about this was reading 'Just In Case' by Meg Rosoff this week. Like many others, I really liked her first novel 'How I Live Now'. In HILN, the point of view is first person and the story is being told by a narrator looking back. The language is often lovely in its descriptions, and emotion is created with a tight rein that makes it more effective. 'In 'Just In Case', however, Rosoff has apparently decided to change horses and gone for omniscient POV, moving between characters' thoughts and emotions yet always keeping the reader at arm's length. This may well have been a sensible choice, as the main character, Justin, dives into madness and first person POV could have been both smothering and unbelievable. But it left me feeling disgruntled with the book, quite distant from the characters and the story and often tempted to put it down and give up. I'll be interested to read reviews of it, especially after the first book was very positively reviewed by all except those who objected to the narrator having an affair with her first cousin!
A writer friend is currently struggling with the new Barry Maitland crime novel, quoting sentences which are truly awful to read, despite the precise punctuation (Question: how many clauses can a writer fit into one sentence and still make sense? A: depends - if you're Annie Proulx, as many as you like). I, on the other hand, found a Maitland I hadn't read in the library book sale for 50 cents, and thoroughly enjoyed it, up until the last thirty pages. Then the author seemed to suddenly decide he was short of a plot twist or two and piled in two more that seemed rather ludicrous, and then a character who proceeded to do the 'now, dear reader, here is the explanation of how it all happened'. Tsk tsk.
Some would say it's a combination of tone and style. Yep, OK. But it's deeper than that, I think. It brings in elements of the writer's own voice as well. Some writers deliberately change their voice in each work - others don't worry about it because it becomes part of how readers recognise them. And when you are writing in first person, in particular, how do you separate the narrator's voice from the voice of the writing? Can you?
Our obsession with first person these days both muddies the water and adds to the possibilities of what voice can do. What if you can't change your voice through style and tone? Can you change it via a different kind of narrator?
A novel gives you a lot of time and words to experiment with voice, and a lot of space in which to be inconsistent if you haven't nailed your character well enough. In short fiction and poetry, one story or poem can have a very distinctive voice. It's when you put a lot of them together that problems might arise. The following is a comment from a review of Cate Kennedy's new collection of short stories (Kennedy is well known here in Victoria, if nowhere else, for winning nearly every short story competition, including the Age twice, over a period of 2-3 years):
This is the problem with collections. Placed together, stories can rub together to create chemistry and a cumulative sense of ‘life’, but the risk is that their proximity can reveal shared flaws.
This is from a review by Delia Falconer which you can read at http://home.vicnet.net.au/~abr/Sept06/Falconer%20review.htm
You may be very accomplished at writing short fiction, but when a bunch of stories are read together, what can sometimes happen is a 'sameness' of voice emerges. In poetry, it tends to be a sameness of phrasing, chosen words, similar subject matter rehashed.
What originally led me to think about this was reading 'Just In Case' by Meg Rosoff this week. Like many others, I really liked her first novel 'How I Live Now'. In HILN, the point of view is first person and the story is being told by a narrator looking back. The language is often lovely in its descriptions, and emotion is created with a tight rein that makes it more effective. 'In 'Just In Case', however, Rosoff has apparently decided to change horses and gone for omniscient POV, moving between characters' thoughts and emotions yet always keeping the reader at arm's length. This may well have been a sensible choice, as the main character, Justin, dives into madness and first person POV could have been both smothering and unbelievable. But it left me feeling disgruntled with the book, quite distant from the characters and the story and often tempted to put it down and give up. I'll be interested to read reviews of it, especially after the first book was very positively reviewed by all except those who objected to the narrator having an affair with her first cousin!
A writer friend is currently struggling with the new Barry Maitland crime novel, quoting sentences which are truly awful to read, despite the precise punctuation (Question: how many clauses can a writer fit into one sentence and still make sense? A: depends - if you're Annie Proulx, as many as you like). I, on the other hand, found a Maitland I hadn't read in the library book sale for 50 cents, and thoroughly enjoyed it, up until the last thirty pages. Then the author seemed to suddenly decide he was short of a plot twist or two and piled in two more that seemed rather ludicrous, and then a character who proceeded to do the 'now, dear reader, here is the explanation of how it all happened'. Tsk tsk.
Wednesday, September 27, 2006
Talking Dialogue
Dialogue is one of those things that gets newer writers in a knot. "I can't write dialogue," they say. I don't get it. If you have ears and you can eavesdrop, you can begin to work on your dialogue. Eavesdropping tells you a few things - how people really speak (repetition, half-sentences, ums and ers, more 'likes' than you can poke a stick at, cliches, rambling) for one. So you learn not to write dialogue like this (no, not even if you have a mentally deranged character - readers will only put up with so much stylistic rubbish like that - get on with the story!) But you can get some great story ideas from those half-heard, half-unspoken conversations. The writer in you just fills in the gaps.
Listening to daytime soaps will also teach you about dialogue - how to be boring and repetitious and explain everything three times. That's the job of dialogue in soaps. It's not what you do on the page, because a reader who fell asleep and missed a bit can just flick back a couple of pages and read them again.
Watching movies with lots of silence in them - that's often very useful. Why? Because usually when there is some dialogue, it's packed with meaning and subtext.
Dialogue has a lot of jobs to do. I think that's why people freak out about it. It has to show character, provide information, move the story along, show emotion (so you don't need all those adverbial tags) and create action/reaction. And more. One way of looking at it is to think, Wow, dialogue is such a great tool. I can use it for all that stuff and I can avoid the dastardly disaster commonly known as [telling].
Why am I thinking about dialogue this week? Because this novel I'm playing with seems to have an awful lot of dialogue in it, and the suspicious, editorly part of me is shaking its head and saying, You need to watch that - remember how you complained about Jonathan Kellerman's last novel (Rage) because it told too much of the story through the characters chatting to each other?
Not to worry. I've run out of things to write for now, so I'm going to let that bit of fun and frivolity sit and contemplate its own toenails for a while. And go back to working on a rhyming picture book, just to make myself feel creative (not).
Finished Kathy Reichs (very enjoyable, apart from a bit at the end where the sheriff did a big explanation/info dump so us readers would know what happened - clunky). Am now reading "Fragrant Harbour" by John Lanchester. I've had it there for ages - lost under a pile of other stuff, like many things in my house - and suddenly found it the other day and thought Hong Kong! I have to read this. Because I am going back to HK in November to do more things with our new training business (writing and editing mainly) and would really like to know more about the history of the place.
How are my Mandarin lessons going? Very good (hen hao) thank you (xiexie). In last week's class I learned how to ask where the ladies' toilet is. And I know how to order two beers. Two vital sentences.
Maybe I should write my picture book in Mandarin. It might improve it.
Listening to daytime soaps will also teach you about dialogue - how to be boring and repetitious and explain everything three times. That's the job of dialogue in soaps. It's not what you do on the page, because a reader who fell asleep and missed a bit can just flick back a couple of pages and read them again.
Watching movies with lots of silence in them - that's often very useful. Why? Because usually when there is some dialogue, it's packed with meaning and subtext.
Dialogue has a lot of jobs to do. I think that's why people freak out about it. It has to show character, provide information, move the story along, show emotion (so you don't need all those adverbial tags) and create action/reaction. And more. One way of looking at it is to think, Wow, dialogue is such a great tool. I can use it for all that stuff and I can avoid the dastardly disaster commonly known as [telling].
Why am I thinking about dialogue this week? Because this novel I'm playing with seems to have an awful lot of dialogue in it, and the suspicious, editorly part of me is shaking its head and saying, You need to watch that - remember how you complained about Jonathan Kellerman's last novel (Rage) because it told too much of the story through the characters chatting to each other?
Not to worry. I've run out of things to write for now, so I'm going to let that bit of fun and frivolity sit and contemplate its own toenails for a while. And go back to working on a rhyming picture book, just to make myself feel creative (not).
Finished Kathy Reichs (very enjoyable, apart from a bit at the end where the sheriff did a big explanation/info dump so us readers would know what happened - clunky). Am now reading "Fragrant Harbour" by John Lanchester. I've had it there for ages - lost under a pile of other stuff, like many things in my house - and suddenly found it the other day and thought Hong Kong! I have to read this. Because I am going back to HK in November to do more things with our new training business (writing and editing mainly) and would really like to know more about the history of the place.
How are my Mandarin lessons going? Very good (hen hao) thank you (xiexie). In last week's class I learned how to ask where the ladies' toilet is. And I know how to order two beers. Two vital sentences.
Maybe I should write my picture book in Mandarin. It might improve it.
Saturday, September 23, 2006
Problem Child Novels
When do you abandon a novel, or a story, or a poem? A poem is easy to let go - and by let go I mean give up on it and put it away, probably forever. There are many poems that I write just for me. Sometimes they are warm-up poems - I might not have written any for a little while, and I need to write a couple of awful, cliched ones to get back into the language and the rhythms. Then I'll write one that I'm happy with, that I'll keep reworking.
Short stories take more time. Often with a story what I will have is a beginning, and the abandonment happens because I can never come up with the rest of it - the middle and the end - in a way that satisfies me. If you read enough short fiction, you come to see how much has been done before and I find now that unless I can create a story that feels different to me in some way, that is at least new for me, it won't hold my interest long enough to be completed and reworked.
The other problem story is the one that starts well, moves into the middle, then launches off into something that threatens to become a novel and I can't figure out how to rein it in. Or if I want to. That kind of story (I have one that's been sitting on my laptop for about six months now) becomes "I'll tackle that one tomorrow".
But what to do about the problem child novel? If it's not working because you don't care about it enough to wrestle through the problems, it's easy to put away and forget about.
It's when you've written six or eight drafts of it, the story still won't leave you alone, but you believe that you've done everything possible to fix whatever is wrong with it - and somehow it still is not working ... What then?
One solution is to put it away for a couple of years. Then read it and decide if it's worth another draft.
Another solution is to re-vision it - make it into something else entirely so you can see it with new eyes. This might mean changing from first to third person (or vice versa), changing the POV character, changing the genre, taking out the first three chapters and starting in the middle. What is sometimes needed is a huge shift in how the novel is going to work. A huge shift in the writer's own perception of it. Not always possible.
A novel contains a huge number of words, a huge investment of time. You look at the pile of pages and remember all the hundreds of hours you spent on it. How can it not be "right"? It must be, you think. It's just little things that another edit will fix.
But your heart and/or your gut tell you that it's something fundamental, something that maybe is not fixable. The voice is not convincing, the concept is laboured or boring or been done a million times before, the characters never really come to life. These are major problems. The kind that cause abandonment.
Hmmm, that all sounds very heavy and depressing for a Saturday morning.
On a lighter note, a writer friend and I have been discussing, via email, two stories recently published in the New Yorker. One is "Black Ice" by Cate Kennedy (an Australian short fiction writer whose first collection is just out) and the other is "Kansas" by Antonya Nelson. We've had opposite reactions to both stories! Email comments such as competent but not totally engaging, too much telling, characterisation too obvious, have been really interesting - and a good reminder of how everyone engages with stories in different ways. This often happens in class. A story can divide everyone down the middle, sometimes into hate and love!
I've just started the new Kathy Reichs novel, and am very relieved that she's moved away from the current obsession with religious artefacts and "what they really mean". Ergh. Wasn't the Da Vinci Code enough for anyone's lifetime?
Short stories take more time. Often with a story what I will have is a beginning, and the abandonment happens because I can never come up with the rest of it - the middle and the end - in a way that satisfies me. If you read enough short fiction, you come to see how much has been done before and I find now that unless I can create a story that feels different to me in some way, that is at least new for me, it won't hold my interest long enough to be completed and reworked.
The other problem story is the one that starts well, moves into the middle, then launches off into something that threatens to become a novel and I can't figure out how to rein it in. Or if I want to. That kind of story (I have one that's been sitting on my laptop for about six months now) becomes "I'll tackle that one tomorrow".
But what to do about the problem child novel? If it's not working because you don't care about it enough to wrestle through the problems, it's easy to put away and forget about.
It's when you've written six or eight drafts of it, the story still won't leave you alone, but you believe that you've done everything possible to fix whatever is wrong with it - and somehow it still is not working ... What then?
One solution is to put it away for a couple of years. Then read it and decide if it's worth another draft.
Another solution is to re-vision it - make it into something else entirely so you can see it with new eyes. This might mean changing from first to third person (or vice versa), changing the POV character, changing the genre, taking out the first three chapters and starting in the middle. What is sometimes needed is a huge shift in how the novel is going to work. A huge shift in the writer's own perception of it. Not always possible.
A novel contains a huge number of words, a huge investment of time. You look at the pile of pages and remember all the hundreds of hours you spent on it. How can it not be "right"? It must be, you think. It's just little things that another edit will fix.
But your heart and/or your gut tell you that it's something fundamental, something that maybe is not fixable. The voice is not convincing, the concept is laboured or boring or been done a million times before, the characters never really come to life. These are major problems. The kind that cause abandonment.
Hmmm, that all sounds very heavy and depressing for a Saturday morning.
On a lighter note, a writer friend and I have been discussing, via email, two stories recently published in the New Yorker. One is "Black Ice" by Cate Kennedy (an Australian short fiction writer whose first collection is just out) and the other is "Kansas" by Antonya Nelson. We've had opposite reactions to both stories! Email comments such as competent but not totally engaging, too much telling, characterisation too obvious, have been really interesting - and a good reminder of how everyone engages with stories in different ways. This often happens in class. A story can divide everyone down the middle, sometimes into hate and love!
I've just started the new Kathy Reichs novel, and am very relieved that she's moved away from the current obsession with religious artefacts and "what they really mean". Ergh. Wasn't the Da Vinci Code enough for anyone's lifetime?
Tuesday, September 19, 2006
What Else I Do
Ah, the holidays. Time to dust off the pile of books waiting to be read, put up my feet and read, read, read.
If only. In fact, I have been writing, but it's a letter to a planning officer about an application, and it's one of those things you have to psyche yourself up to, because it has to be diplomatic, direct yet polite, clear and concise - and all the while I just want to have a screaming hissy fit about it. But I guess that's one of the things that's good about being a writer - I can usually use words as my swords - the death of a thousand paper cuts. That's probably a cliche (two cliches, but who's counting?), but it fits.
I've also been finalising my tax (always a joy), and then having a little splurge at the wine supermarket to celebrate when all the icky, boring, stressful things are finished.
Writing? Yes. An adult novel. Just for a complete change. I have no expectations of it, I just like the main character, I have a good plot idea as a starting point (with a novel it's always just a starting point) and I am seeing where it might go. No pressure, just words when I feel like it. If I get stuck, I leave it alone for a while until a new idea emerges or the next scene develops in my head.
Unlike a certain other middle-grade novel of mine that a very kind, very experienced writer has just read for me and confirmed what I knew in my guts - start again.
But I have been reading - a book I have been meaning to get to for ages, ever since I heard its author, Kate Grenville, read it at last year's Melbourne Writers' Festival. Only took me a year. It is as good as I thought when I heard her read an excerpt - "The Secret River". Of course, it's already won tons of prizes but that's not something that makes me want to read something urgently. It was the words I heard last August. Fabulous language, strong voice, great description. A historical novel that totally captures the time and the people.
I am also still thinking about the Elizabeth George novel I read last week - "What Came Before He Shot Her". It is not an Inspector Lynley novel, so at first I thought, Huh? But once I got into it, it was amazing. Such an eye-opener about life in London in North Kensington - if I ever get to London again, I'll make sure that's one place I avoid. When a book and its characters stay with you for weeks afterward ... what more can I say?
If only. In fact, I have been writing, but it's a letter to a planning officer about an application, and it's one of those things you have to psyche yourself up to, because it has to be diplomatic, direct yet polite, clear and concise - and all the while I just want to have a screaming hissy fit about it. But I guess that's one of the things that's good about being a writer - I can usually use words as my swords - the death of a thousand paper cuts. That's probably a cliche (two cliches, but who's counting?), but it fits.
I've also been finalising my tax (always a joy), and then having a little splurge at the wine supermarket to celebrate when all the icky, boring, stressful things are finished.
Writing? Yes. An adult novel. Just for a complete change. I have no expectations of it, I just like the main character, I have a good plot idea as a starting point (with a novel it's always just a starting point) and I am seeing where it might go. No pressure, just words when I feel like it. If I get stuck, I leave it alone for a while until a new idea emerges or the next scene develops in my head.
Unlike a certain other middle-grade novel of mine that a very kind, very experienced writer has just read for me and confirmed what I knew in my guts - start again.
But I have been reading - a book I have been meaning to get to for ages, ever since I heard its author, Kate Grenville, read it at last year's Melbourne Writers' Festival. Only took me a year. It is as good as I thought when I heard her read an excerpt - "The Secret River". Of course, it's already won tons of prizes but that's not something that makes me want to read something urgently. It was the words I heard last August. Fabulous language, strong voice, great description. A historical novel that totally captures the time and the people.
I am also still thinking about the Elizabeth George novel I read last week - "What Came Before He Shot Her". It is not an Inspector Lynley novel, so at first I thought, Huh? But once I got into it, it was amazing. Such an eye-opener about life in London in North Kensington - if I ever get to London again, I'll make sure that's one place I avoid. When a book and its characters stay with you for weeks afterward ... what more can I say?
Friday, September 15, 2006
Thursday, September 14, 2006
Living as a Writer
Don't be alarmed - this is not a post about trying to make a living as a writer. I don't have that many funny jokes in me this week. But my previous post about would-be writers not reading led one reader of this blog to send me a link to a Washington Post article. This was by a uni teacher who was astounded by the number of students who didn't know what relatively simple words meant - words such as affliction, for example. The guy put it down to a lack of reading - if you don't read enough, you simply don't come across these words in context and so you never get to "experience" them.
I've been having similar problems, and the most recent example was having to explain to a class what a canon of literature was. However, although I do see this as a problem for students who want to be writers, it's not a problem for me. I actually enjoy having to pull a definition out of my head (can't always guarantee one will be there, but then that's what dictionaries are for). I think where the issue lies for young writers is that without a good knowledge of the words that are available to them in creating their stories and novels, how are they going to write things that are a pleasure to read? Where do imagery, metaphors, similes, great description, style, tone etc come from, if not from your use of language? You can't argue that genre writers don't have to worry about that stuff, because the really good genre writers are doing exactly that!
In Short Story 2 I have recently inflicted a series of close reading and editing exercises on the students, amidst complaints. The exercises have been about examining language and sentence construction initially, delving into how a writer creates what is on the page by looking at a short excerpt, word by word (if you want to know how to do this, take a look at http://www.fas.harvard.edu/~wricntr/documents/CloseReading.html and also at http://www.mantex.co.uk/samples/closeread.htm )
One of the excerpts I used, which they had to examine in minute detail, was from the latest Janet Evanovich. It had plenty of description, a great voice, and interesting, varied sentence constructions. Evanovich might be writing humorous crime but she knows how to write well and dismissing her as a simple genre writer is a mistake.
This week I made them do close editing on their own work, just one page. I probably sound like a pedantic, boring nit-picker, but I am convinced that until you engage with what a writer is doing at the micro-level (and that includes your own writing), you won't be able to improve your use of language, your understanding of how good writing works, and raise your writing to the next level. I did get the feeling that when I told them this, there were still disbelievers around the room, but at least I tried!
The other thing that we discussed briefly was what I call "living as a writer". What you do in order to become a better writer. Under this heading, I listed: reading widely and critically; writing lots and then writing more; being in a good critique group; being aware of the world around you and finding ideas in it; giving up other things in your life in order to have a decent amount of time for writing; informing yourself about the world of publishing, how it works, who does what and why, and then updating your information regularly; researching markets for your work so you don't waste your time and money or the publisher's.
I also know from experience that people don't take in information and knowledge until they are ready for it (usually at the moment when they need it), so I recommend a good library of books about writing. Not to read slavishly, but to delve into when I want someone else's point of view on point of view, or setting or dialogue.
It can take a few years to build up to a point where all these things become a natural part of your writer's life, but it's worth the effort.
P.S. One of my favourite student misuses of language is still the novel where the main character put moose in her hair. After a rewrite, the character then proceeded to put mouse in her hair.
I've been having similar problems, and the most recent example was having to explain to a class what a canon of literature was. However, although I do see this as a problem for students who want to be writers, it's not a problem for me. I actually enjoy having to pull a definition out of my head (can't always guarantee one will be there, but then that's what dictionaries are for). I think where the issue lies for young writers is that without a good knowledge of the words that are available to them in creating their stories and novels, how are they going to write things that are a pleasure to read? Where do imagery, metaphors, similes, great description, style, tone etc come from, if not from your use of language? You can't argue that genre writers don't have to worry about that stuff, because the really good genre writers are doing exactly that!
In Short Story 2 I have recently inflicted a series of close reading and editing exercises on the students, amidst complaints. The exercises have been about examining language and sentence construction initially, delving into how a writer creates what is on the page by looking at a short excerpt, word by word (if you want to know how to do this, take a look at http://www.fas.harvard.edu/~wricntr/documents/CloseReading.html and also at http://www.mantex.co.uk/samples/closeread.htm )
One of the excerpts I used, which they had to examine in minute detail, was from the latest Janet Evanovich. It had plenty of description, a great voice, and interesting, varied sentence constructions. Evanovich might be writing humorous crime but she knows how to write well and dismissing her as a simple genre writer is a mistake.
This week I made them do close editing on their own work, just one page. I probably sound like a pedantic, boring nit-picker, but I am convinced that until you engage with what a writer is doing at the micro-level (and that includes your own writing), you won't be able to improve your use of language, your understanding of how good writing works, and raise your writing to the next level. I did get the feeling that when I told them this, there were still disbelievers around the room, but at least I tried!
The other thing that we discussed briefly was what I call "living as a writer". What you do in order to become a better writer. Under this heading, I listed: reading widely and critically; writing lots and then writing more; being in a good critique group; being aware of the world around you and finding ideas in it; giving up other things in your life in order to have a decent amount of time for writing; informing yourself about the world of publishing, how it works, who does what and why, and then updating your information regularly; researching markets for your work so you don't waste your time and money or the publisher's.
I also know from experience that people don't take in information and knowledge until they are ready for it (usually at the moment when they need it), so I recommend a good library of books about writing. Not to read slavishly, but to delve into when I want someone else's point of view on point of view, or setting or dialogue.
It can take a few years to build up to a point where all these things become a natural part of your writer's life, but it's worth the effort.
P.S. One of my favourite student misuses of language is still the novel where the main character put moose in her hair. After a rewrite, the character then proceeded to put mouse in her hair.
Friday, September 08, 2006
Reading for What?
I've been on a literary fiction reading jag for about two months now, initially reading "The Dogs of Babel" and then moving on to other recommended books, including a list from Miss Snark's blog. Latest Snark book was "Winter's Bone" by Daniel Woodrell. Not what I expected at all. It's set in the Ozarks and is a stark novel about a girl trapped by her family and the environment - the family includes a crazy mother and two younger brothers, a father who has disappeared so that they are about to lose their house, and an extended family and community of hillbillies (sorry, can't think of another word to describe them but think Ozarks, isolation, closely-linked families), most of whom are high on crank. Reading this straight after "Diamond Dove", which was a similarly stark novel set in Aboriginal communities and an outback town, I needed a break. Both of these novels, by the way, were terrific in their own way, not what I thought they'd be, and strong reminders of what a writer can create when they really know the places and people they are writing about.
So I've launched into "Twelve Sharp", the new Janet Evanovich. The writing is clean, tight, funny (no, doesn't have great amounts of imagery but she does a great job of making me feel I'm right in that doughnut shop) and a welcome break for my brain.
It never fails to amaze me when someone who wants to be a writer says they don't read. I shouldn't be amazed because it happens regularly. Sometimes in classes I feel like I want to chain the students to a shelf of books and not let them go until they've read every one. Instead I set assignments where they have to read at least 3-4 books before they can write reviews or analyses or whatever, but hey - 3-4 books is so minimal as to be laughable. There are so many things that I gain, as a writer, from reading that I just don't understand those who refuse to take it on board. And the complaint (also heard a few times) that they don't want to be influenced accidentally is also wasted on me - the more widely you read, the less likely you are to accidentally "copy" someone. It's actually quite beneficial to deliberately try to copy someone's style as a writing "lesson". Hey, I had a Sylvia Plath period just like a lot of other poets I know!
What do I gain? Insights about style, about how writers use words differently, how sentences can be put together, how description can be threaded into a story without bogging it down, how dialogue can show character, how pacing works, how cliffhangers work, how much to put into a chapter, how to use different narrative devices and structures, how characters can be shown effectively, how to foreshadow, how to subplot ... need I go on?
The trick is to read like a writer. No, it doesn't destroy your reading enjoyment. Well, OK, it might for a while, but then you just get used to reading differently, and suddenly you are seeing all these other things behind the story - you're seeing the bones the writer used to hold up the flesh of "what happens". For me, it increases what I get from the book tenfold.
And when Miss Snark runs her Crapometer, it helps me see what is not working with those submissions, and why, and how I might fix that kind of problem if it comes up in my own writing.
As for the dreaded query letter, if nothing else, the current 100 victims of Miss Snark prove that less is definitely more. Now, if only my submission had been one of the 100...
So I've launched into "Twelve Sharp", the new Janet Evanovich. The writing is clean, tight, funny (no, doesn't have great amounts of imagery but she does a great job of making me feel I'm right in that doughnut shop) and a welcome break for my brain.
It never fails to amaze me when someone who wants to be a writer says they don't read. I shouldn't be amazed because it happens regularly. Sometimes in classes I feel like I want to chain the students to a shelf of books and not let them go until they've read every one. Instead I set assignments where they have to read at least 3-4 books before they can write reviews or analyses or whatever, but hey - 3-4 books is so minimal as to be laughable. There are so many things that I gain, as a writer, from reading that I just don't understand those who refuse to take it on board. And the complaint (also heard a few times) that they don't want to be influenced accidentally is also wasted on me - the more widely you read, the less likely you are to accidentally "copy" someone. It's actually quite beneficial to deliberately try to copy someone's style as a writing "lesson". Hey, I had a Sylvia Plath period just like a lot of other poets I know!
What do I gain? Insights about style, about how writers use words differently, how sentences can be put together, how description can be threaded into a story without bogging it down, how dialogue can show character, how pacing works, how cliffhangers work, how much to put into a chapter, how to use different narrative devices and structures, how characters can be shown effectively, how to foreshadow, how to subplot ... need I go on?
The trick is to read like a writer. No, it doesn't destroy your reading enjoyment. Well, OK, it might for a while, but then you just get used to reading differently, and suddenly you are seeing all these other things behind the story - you're seeing the bones the writer used to hold up the flesh of "what happens". For me, it increases what I get from the book tenfold.
And when Miss Snark runs her Crapometer, it helps me see what is not working with those submissions, and why, and how I might fix that kind of problem if it comes up in my own writing.
As for the dreaded query letter, if nothing else, the current 100 victims of Miss Snark prove that less is definitely more. Now, if only my submission had been one of the 100...
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