Sixth Grade Style Queen (Not!)

Today is the day - official publication day, that is. I said that I would put up a poem every day this week from the novel (it's a verse novel) so here goes.

ALIEN
A lot of the time
I feel like I must be adopted
or my brain got wired wrong
or I’m secretly an alien
(but they didn’t tell me).

I don’t fit
in my family
or at school,
I have friends
but sometimes even they
think I’m weird.

I say dumb things
I wear stupid clothes
I can’t make my hair behave
some days the whole world
looks wrong to me.

I wish the space ship
would come back
and collect me.

(When I work out why the cover image isn't showing up, I'll post a link to the book on my site!)

Williamstown Literary Festival

(Crime Writers' panel above)
Have just spent a large amount of my weekend at the local Willy LitFest, putting up a display of stuff from the course I teach in (and talking in a session about the course, and about writing groups - doing a hat switching trick), and listening to people talk about writing and books.
Joan Kirner opened the festival and then 15-year-old Alexandra Adornetto spoke about the novel she wrote over summer when she was 13, which is now being published by HarperCollins. It's a fantasy of course, and sounds like fun. I realised that the strange sound I could hear was all the adult writers in the audience grinding their teeth. Of course, how hard is it to write a book and then get it published? Piece of cake. We all know that!
Later in the afternoon, the winners and final ten entries in the Ada Cambridge Writing Competition were announced. I say winners, because for the first time, they awarded a joint first prize. My writing group, Western Women Writers, did the shortlisting of the final ten, and I understand the judges' dilemma over two very different stories (but I know which one I would have given it to!). The AC is a different kind of story competition because it's for autobiographical/biographical work, so you get a lot of people entering life stories who might not normally write short fiction. Some terrific stories which are now published in the anthology.
Sunday was a mix - the most popular session by far was with William McInnes, sometimes TV and movie star and sometimes writer. I didn't get to this session but I believe the masturbation story was very entertaining.
I did attend the crime writers' session with Garry Disher, Adrian Hyland and Angela Savage, moderated by Carmel Shute. A good session as Carmel prepares her questions with experience and thought, and the writers all write quite different stuff. Later, I got a chance to chat with Adrian Hyland, who wrote "Diamond Dove". He is working on another novel with the same main character, while teaching at La Trobe. One of the things that came up during the session was whether a writer in Australia can write full-time - most can't. But Garry said when he made the decision to do it, although his income dropped dramatically, he felt suddenly free (funny that, since he was teaching creative writing!). Now he is in the position of being contracted for two books at a time, and having to often write what publishers dictate, so there are ups and downs in every option.
The day was finished off with a book launch - Shaun Micallef launching Claire Saxby's new picture book. And as I was late getting there, I missed the story about nudity in the swimming pool changing rooms. But I heard about it later. A good small literary festival means you end up hearing all about the sessions, even if you didn't make it there yourself!

Those Were the Days

The neighbours invited pirates in to celebrate their child's birthday (never mind the kid is only one - the other kids loved it). Did I get an invite? Even though I am the foremost pirate expert in the whole street? No. I was forced to peer over the fence and listen to the screams of glee...

The Pesky Novella

Last night, I went to a session at Readings in Port Melbourne, where the guest speakers were Cate Kennedy and Paddy O'Reilly. They were there to talk about novellas, principally because Five Mile Press has just published a collection of four, including the one that won the Meanjin Novella Competition. Cate edited the collection and Paddy's was one of the four in it.
It's called Love and Desire because that was the theme of the competition - at the time (June last year) it seemed like everyone I knew was writing a novella to enter. Prize was a few thousand dollars and promise of publication. I even thought about it! But didn't.
The discussion was very interesting and quite wide-ranging, involving the audience (we were all gathered in the coffee shop so it was cosy and easy to chip in) and throwing up some good quotes which I will endeavour to include here. Cate began by saying, "In the novella, it's like the short story - there is nowhere to hide. In a novel you can write your way out of trouble." Paddy's story was 45,000 words to start with, and was cut down to around 25,000. She only achieved this by taking out huge chunks rather than cutting sentences and paragraphs, leaving her with a story that has almost-self-contained chapters.
Cate, as editor, also had to cut one of the other stories quite a lot and work with the author. She said, "With the novella, you need to have the same satisfying experience as with the novel, but with less words. You also need to have your hands on the wheel in terms of imagery and metaphor when working with shorter prose." They both agreed that imagery and metaphor help you to say a lot more with less words, an essential in short fiction.
There was also discussion about what is the difference between a novella and a YA novel, if they are both of a similar length? Various comments included that a YA novel has a teen protagonist, more plot, plenty of pace, less sophistication, a theme that is more about identity and rite-of-passage. I guess I would agree with most of that - except you can find all of those things in a novella for adults as well. I think most novellas (at least the ones that were discussed last night) are literary fiction, and therefore the author's purpose and audience is different, right from the first word written. That changes language, theme, complexity - everything the writer is trying to achieve. Often people look at the finished book and say it is this or that, based on a judgement of what they see, yet they forget that the writer had to have an intention right from the beginning, so isn't it more useful to ask what that might have been?
Anyway, towards the end Cate talked about all the novellas she read for selecting the final three (plus the competition winner) - her one criteria that stood above the others was "Which stories stayed with me? Which one was I still thinking about in the shower, or the car? Which ones energised or inspired me?"
When asked, she said that too many of them were really novels - that writers had started with concepts or stories that were too big for the word limit, and so there was too much telling, too much trying to cram in a lot of information. Someone asked about cutting words - how do you learn to self-edit like that? Cate's answer - take one of your short stories and cut it by half. Be ruthless and see what you end up with.
Paddy added that you should take off the beginning and the end and see what you are left with in the middle - if there's nothing there, well ...
It was a very good session, with lots of great input from the audience and some useful comments and questions (including from the publisher and sales people from Five Mile Press, who were also there).

Away with the Penguins

I have been away. At Phillip Island, which is about 2 hours south-east of Melbourne, and is famous for its Penguin Parade, where thousands of Japanese tourists (and lots of others too) go down to the beach and watch the penguins waddle in at dusk, heading for their burrows.
I was originally asked to run a writing workshop at the inaugural Ibis Writers' Festival, and then organised a school visit to Cowes Primary School. The whole weekend was given over to the writers' festival and people came from all over the area for workshops on writing for children (me), writing poetry (Kristin Henry), writing fiction (Bruce Pascoe) and writing plays (Ian Robinson). I first ran a writing workshop in Cowes about 16 years ago, and there were people at this weekend who attended that original workshop of mine. Amazing.
On Friday night, we went to a dinner featuring Dorothy Porter as the guest speaker. Her new book Eldorado has just been published, and it's another crime novel in verse. I've heard her read from it twice now, and it sounds fantastic.
Dorothy also talked about what poetry can do that fiction can't, and some of the other themes and subjects she has tackled. A great presentation.
On Saturday night, local performer Maggie Millar was to give a presentation of fairy tales for adults, but she bowed out due to illness so Kristin "dobbed in" herself and me to fill in. Now, fairy tales for adults is not our thing, so we decided to continue on with the theme of the afternoon forum - Identity and Family Storytelling. The forum ended up being more about stories as a way of perceiving and understanding national identity, so Kristin and I brought it back to the personal, reading our own poems about family and discussing where they came from and why and how we write them.
I read a few poems from my new book Sixth Grade Style Queen (Not!) and got an excellent response from the audience.
Did I do any writing while I was down there? No. I did nearly lose my voice, mainly through getting a bit carried away with the school kids on Friday with practicing our pirate Arrrrrrs. And I have a new idea for a series of poems, but haven't started yet. Still thinking.
And still reading Extremely Loud and Incredibly Close by Jonathan Safran Foer. It is amazing. Some of the typographical images alone provoke much thought, let alone the characters and story.
I did get to mark a great pile of student assignments while sitting in a nice coffee shop down near the water. And hear a lot of rain falling on the roof on Friday night. Yaaayy!

Rain

Yesterday and today, it has been raining. Not a huge amount, but enough so that when I went for a walk today, people's lawns and gardens looked thoroughly soaked. And the birds and butterflies were going berserk! I'm used to going up the bush and having butterflies drift around me or rise up from in front of me as I walk. Not so much in the city.
Yesterday, in the bush, before it rained, all we saw/heard were two kookaburras. But there's been some earlier rain up there because where we've cleared away some dead bracken, green things are growing!
Finished Jonathan Kellerman's new book "Obsession" while sitting under the gum tree. It's good - I liked how the villain developed, how the story started as a possible crime and grew into something so much worse. But this book did a lot of what the last one did - characters sitting around talking the investigation out. I enjoy the actual investigating and questioning of the minor characters so much more. Kellerman has some great minor villains in this book, including a nose-picking sleazy PI and a tattooed guy who is a health nut.
It's easy to become so involved with your protagonist and antagonist that you forget about the other characters and they end up being one-dimensional. On the other hand, some writing books warn you against minor characters that are too colourful because they can take over the story. After reading Kellerman, I vote for the colour and variety - they can add extra layers to the plot and the theme and make the story so much richer.
I'm now back reading "Extremely Loud and Incredibly Close" by Jonathan Safran Foer. I've kept at this book because it's written in such an interesting way (also has pictures and graphics) but I'm at the point right now where the dialogue is giving me the irrits. He doesn't use paragraphing for a lot of it, so there are long blocks of short dialogue with "" all jammed in together. Example (main character talking to Grandma on walkie-talkie): "Are you home? Over." "Yes. Over." "Have you had dinner? Over." "Not yet. Over." "Where is your mom? Over." "Don't know. Over."
OK, so I actually made up that dialogue but that's how it reads on the page. And it goes on and on, and a lot of it is of the "please pass the butter" variety. I'm waiting to see if this has any other purpose than saving pages.
My friend G listened to this book as an audio, so I will ask her how it came across without the speech marks and jamming together. Probably a very different experience.

A couple of good blogs/sites

There's nothing I like more than to spend a little time (not too much) following interesting links on the internet and finding new sites and blogs.
Julius Lester is a terrific writer whose book "When Dad Killed Mom" is one of my favourite middle grade novels. He has a regular blog, but this one: http://acommonplacejblolio.blogspot.com/
is an offshoot, just one entry where he talks about the importance of children's and YA books, and how it is possible to change a child's or teenager's life with a book. He also talks about the concerted efforts of many adults to control what kids read.
The other thing I found is a website devoted to Australian crime fiction, which also includes an online crime fiction magazine (short stories). For someone like me, who likes to use the library to try out new writers, this site is going to be very useful.
http://www.crimedownunder.com/index.html

The Value of Silence

I love silence. Silence is usually what I get in the bush. No phones, no television, no cars roaring past, no neighbours fighting, no kids screaming. Occasionally I get motorbikes or chainsaws. And last weekend I got wasps. Lots of buzzing. Quite lulling really, as long as they didn't hang around being annoying. European wasps here are a blight. We seem to have a nest that may need eradicating. If I ever find it.
Sharon Gray is a columnist for the Age newspaper and her piece this week was on silence. She did a 10 day silence retreat over New Year - I try to imagine that but I can't! But she quotes a saying which I am requoting here: "Before you speak, ask yourself: is it kind, is it necessary, is it true, does it improve on the silence?"
Thinking back over some things I've heard people say recently, I reckon that's a very good question.
In fiction, I often see student writers who forget the value of silence in dialogue. Silence can be an effective powerplay in an arguement, it can be a turning point, it can win or lose the fight. If you watch too much "talking heads TV", the kind where words just fill in all the airtime and give the glamorous heads something to do other than exchange long, smouldering looks, I think you can fall into the trap of thinking that your characters have to do the same thing. But I do love great dialogue in a book. Snappy. Smart. Funny.
I've read two of my three "desperate shelf picks" from the library so far. Interestingly, both had main characters who lived on the fringes. "Keeping Bad Company" by Ann Granger features a young woman who has been living in squats and gets involved in a kidnapping via a conversation with a homeless man. "Beautiful Lies" by Lisa Unger has a young woman who is a freelance writer (although she seems to get pretty good writing assignments!) and lives in a crumby part of New York, in a building that is falling down. Apart from an incredibly slow beginning, where Chapters 2 and 3 are nearly all backstory and explanation, the novel was a good read. Lots of twists and turns and surprises. A lot of it felt guessable but I resisted. I don't like having the solution too easy to work out. I have to say, though, that now I've finished it, I can't remember exactly who the villain turned out to be. There was more than one, but who was the real baddie?
I am currently making lists of questions for my crime novel rewrite. The kinds of questions that you ask a policeman or a doctor. Luckily I will be able to ask the right people. And then I need to go for a drive to some of my locations and take photos and make description notes. It may mean I have to rewrite some parts of the novel if I guessed wrong in the first draft, but that's part of creating a credible world.
Now if only I could travel to Charleston and North Carolina for location research for my historical novel...

Nothing at the Library

It was time for a library visit (this usually means if I don't get my books back right now they will charge me a humungous amount of money, commonly known as "late fines") so away I went, anticipating many shelves full of books I just had to read.
Nothing.
Not that there were no books - there were just no books that I wanted to read. I wandered, I picked up books at random, I looked for familiar names in case I found something new, I even got desperate enough to check out the Large Print section. Nothing appealed. Nothing jumped out and said "Read me! I'll be good, I'll keep you hooked for hours on end!" So I came home with three kind-of-OK-maybe-readable books. At least when this happens in the bookshop, you can go home feeling virtuous about how you didn't spend any money (for a change).
Maybe I'm anticipating my trip to Tucson next month where there are not only several Borders and Barnes & Nobles, but three branches of a second-hand bookshop chain called Bookmans. And a great independent bookshop called Antigones.
On another tack, maybe I was put off the library because the first book I picked up inside the door (it was on a display) was "The Idiot's Guide to Branding". There are writers' conferences now where they run sessions on branding. I know it's becoming part of publishing now, I know for lots of authors it helps them to sell more books, but I haven't got to grips with it yet. I equate it to words like "pigeonholing" and "nice little box" and "you shouldn't write anything else". But I guess that's why pseudonyms were invented.
A couple of days ago, I started "Best American Short Stories 2006". I say started because this yearly feast is not something to be raced through, it's like a 20-course meal. I like to read two or three stories, then put it down for a few days. Then two or three more. The stories are so different, and often demand time and reflection. What I also like about BASS is that in the back of the book, each writer has a bit that explains where the story came from, how it was written. I never read this until I've read the story. Other friends of mine always read that bit first.
Short stories ... here in Australia it seems there are a million competitions (usually with a 3000 word limit, which can act like a garotte) and not many publishing outlets. Another handy extra in BASS is a list of magazines/journals and their submission addresses.
Long live the short story!

Lunching and Present Tense

This being the mid-semester break and all, it was time for a literary lunch. A real literary lunch, not one of those ones where you pay $55 for a big plate with a little bit of food on it, a glass of wine and a famous writer who seems too bored to prepare an interesting talk and instead does a ten minute self-promo and then waits to sign a billion books (all right, I've only been to one of those but it was pretty disappointing, especially when the book was only available in hardback so I didn't buy it).
By a real literary lunch, I mean eating nice food, drinking champagne (to celebrate my new book) and then spending nearly three hours talking books, books, books and writing, writing, writing, and a little bit of other stuff for variety.
My friend G and I love to swap recommendations (today we had a great discussion about "We Need to Talk About Kevin") and I often come away with my notebook filled with titles and authors to find at the library or buy. I introduced her daughter to Louise Rennison, and G has just given me "Extremely Loud and Incredibly Close" - Jonathan Safran Foer. I had to take it to lunch with me to show her the internal layout of text and photos/illustrations as she had experienced the book as an audio book.
And we talked about this first person/present tense thing. Having recently read M.J. Hyland's novel that was shortlisted for the Man-Booker "Carry Me Down", G made a really good point about why she found the fp/pt in this novel so difficult to read. It's relentless. Everything has to happen in the now, and so everything has equal weight. Pouring a cup of tea is as important as demanding a divorce (as a quick example). The reader never gets a break from being "always in the now". Things go on and on.
Simple past tense seems to allow for more variation in pace and tension, and events are able to be given their proper importance in the scheme of things.
Now, of course there are writers who use fp/pt to great effect. Anything can be used to great effect if you understand what and why you're doing it. I think a lot of YA is written in fp/pt for exactly that reason - adolescent angst/rite of passage stuff can be portrayed extremely well in fp/pt. But not always. And it also tends to "disallow" genuine reflection by the main character or narrator. Instant analysis of current or just-past action tends to be fleeting or shallow - time and some distance is what allows us to think more deeply about meaning and consequence.
OK, this was a small topic in a lunch spanning many books and writing quandaries and challenges. G is off to find "The Red Shoe" by Ursula Dubosarsky, and I will be hunting down M.J. Hyland's first novel, "How the Light Gets In", which she did recommend.

Rocks and Writing

After waterfalls, I have to say I like rocks. I like the coast and the beach too (especially in New Zealand) but there's something about rocks that appeals to me. These are three at Lancefield, about an hour north of Melbourne, and there are quite a few more of them around the place. Some much bigger. These rocks looked very patient, and old, and rugged. Many of the rocks in this area are rounded - I'm not a geologist but I imagine this is from glacier movement a very long time ago.
It's a calming experience to sit by these rocks and listen to the birds and think about whatever comes into my head.
The rest of the time that I spent near these rocks in the past two days went on reading, staring at gum trees, looking at birds through binoculars, and reading a finished novel draft that now needs rewriting. Thinking time is writing time just as much as typing time is. I like to ponder a draft as I read it through and look for holes and glitches in the plot, and weaknesses in description, character motivation and dialogue. And write comments to myself for later in-depth re-thinking. This is just the first stage but it gets me going on the long road of revision.

Blogging about writing

My friend and fellow writer, Tracey, now has her own blog - Speculating About Fiction - and it's interesting to see what people you know choose to blog about. Tracey has been posting about things we have done together, such as shortlisting for a local writing competition, and the joys of submissions.
Another writer friend, who is also a scientist and naturalist (and teacher), blogs about all of those things. I always enjoy her posts on birds and insects - not so keen on the spider photos, but at least I know what to avoid in the garden - and her comments on teaching and writing are fun for me too.
Both blogs are listed in the side column here.
Other blogs by agents are always useful for current information and advice. Kristin Nelson has just been in New York and commented on what children's editors are looking for at the moment. Miss Snark covered stamps and postage rates this week, among other things! And for something to make me think, I read Julius Lester's blog.
I still subscribe to Writer's Digest magazine, despite some disparaging comments recently on various blogs about their advertising policies. I find the articles are useful for my students to read, and this month's issue listed 101 top websites for writers - also very useful when you don't have time to trawl the vast reaches of the internet.
One comment in an article about writers promoting themselves and their books caught my eye - the writer said that blogs are no longer seen as a promotional tool for writers because there are so many of them now. They've lost their novelty (or something like that). I'm not so sure about that. Particularly when another article in the same issue was by a writer who had been connecting with book clubs via phone links and visits. He talked about the desire of a reader to connect to the writer, to understand more about the book, to be able to ask questions and receive answers that helped them to engage more deeply. To me, a blog can provide something of this experience via the comments column, if you want a blog that works that way.
Years ago, I hosted a community radio show called "Writers At Work", which gave me the perfect opportunity to ask writers, not just about their recent book, but about their writing practise, their ideas, their ups and downs, their problems and challenges. In seven years I must have interviewed 400+ writers, and had a wonderful time along the way.
This is what I look for at writers' festivals - not the writer and interviewer who collude to put on a big promo-fest for the new book, but an interviewer who is able to draw out the writer, ask them interesting and involving questions about writing and craft, and a writer who is willing to be honest and open. (And then, of course, an audience who asks good questions too instead of pontificating, "look at me" dumb question/statements!)
And I now take this opportunity to warn you in advance - very shortly I will be shamelessly promoting my new book on this blog!
Title? "Sixth Grade Style Queen (Not!)"
Coming soon to a bookshop near you - I hope.

More on Books about Writing

I always say to students: "Have a good look through a writing book before you buy. They often cover similar topics but in different formats or with a different style. See what 'speaks' to you before you hand over your $." For example, some people love Kate Grenville's "The Writing Book", whereas I don't. I find it too "bitsy" and I'm not keen on books that use dozens of quotes to illustrate points.
Robert Olen Butler's "From Where You Dream" is a series of transcripts of his talks to students, many of which I find kind of interesting, but the best part is a story he wrote twenty years ago (one which he considers stinks) and the new version written twenty years later. The new version is not a simple rewrite - it's a whole new re-visioning of the material, the idea, the characters and the POV. When we looked at this in class last year, some people could see nothing wrong with the first story, until we began picking it to pieces. Principally, the main fault was that too much was told, and there was little depth in the story.
The new version required the reader to think more, to work things out; there was less telling, and the style was definitely more literary. The class was divided over whether they liked it or not, but most could at least see what Butler had done with the material.
What have I read this week? A crime novel from Erica Spindler, "In Silence", which I think would be labelled a cosy. The main character was a journalist, returning to her small home town and getting involved with solving murders. I did look up the definition of a cosy, and it seems to have expanded from the traditional "set in a small village with puzzle/murder to solve" into something much wider. I enjoyed this particular book although I guessed the villain before the end (which I don't like to do - I love being surprised - but not tricked).
I'm also reading "The Red Shoe" by Ursula Dubosarsky - great voice and characters, and it gives a real sense of the era - 1950s Australia.
On Saturday my poetry class and I visited the National Gallery of Victoria to write poems about artworks - these are called ekphrasis, to give them the correct term. You are now allowed to take photos of the paintings and sculptures (new rule) as long as you don't use a flash. This is a great help if you want to write a poem, although the gallery shop also has postcards of quite a few of the paintings.
It was quite strange to see the "Weeping Woman" by Picasso, just hanging on the wall along with all the others. (It was stolen a few years ago and eventually found in a left-luggage locker.) Somehow I expected it to be huge, but it's not so big after all! In the Contemporary Art area there was a very long painting by New Zealand artist Colin McCahon. It's all in black, with lots of writing on it (all of his work that I've seen has words on it) but this one began with a panel that was subtitled "Rain in Northland". Seeing as how my family live in Northland in New Zealand, and they've just had the worst floods in 200 years, I thought that was very apt. And took a photo for them!
It's posted here at the top (the glass over the painting means you get a silhouette of me too).

Books about writing

There are really only two places to get books about writing in Melbourne - one is Borders, the other is Amazon.com. A few other bookshops like Readings have a small stock but Borders usually has about 8 shelves of them.
However there are new ones coming out all the time. Writer's Digest Books publishes a lot of them, but I've noticed there are more now from small presses. Most books about writing are good, some are very good, and some are the ones you return to again and again. Even though Lee Wyndham's "Writing for Children and Teenagers" has been around for years (and has been through three editions), it is still a staple on my shelf. Her twelve points for plotting is a simple blueprint that is great as a starter or as a check when your story is not quite working.
Others on my shelf that I use often are "The Art and Craft of Poetry" by Michael Bujega, "Scene and Structure" by Jack Bickham, "Write From Life" by Meg Files, and "Solutions for Novelists" by Sol Stein.
One of my all-time favourites, though, is "Write Away" by Elizabeth George. Why? Because after reading this, in particular her chapter on plotting, I was able to come up with a method of my own to help me plot effectively at last.
What more could you ask?

Writing Time

The perennial problem of writing time has come up again this week, not just for me but for several writers I know. Most writers have to work at some kind of job to pay the bills and keep a roof over their heads. The average yearly income for a writer in Australia is around $6000 (I imagine that's for writers who file tax returns as writers - it wouldn't include those the Tax Office consider to be hobbyists). $6000 would barely pay the rent on a small apartment. So we work at "real" jobs, ones our families acknowledge because we get money for them each week.
Therein lies part of the problem. Families (including spouses, children and parents) usually consider writing to be either a waste of time, a nice little hobby, or something annoying that takes the person away from what they should be doing - looking after everyone else. Women suffer this more than men (and you can argue with me about that until the cows come home, if you want, but it's true).
How do you carve out writing time in a day that is probably filled with work, cooking dinner, cleaning up, paying bills, organising things to be fixed, quality time with family, relaxation ... you can add your own time-consumers. I've read lots of those articles where famous writers talk about writing their first novel by getting up an hour earlier, or writing on the train, or running away on weekends - snatching any kind of time they can to put words on the page. And it's true. Until you sell your first novel/book, that is exactly what you have to do.
No one is going to knock on your door and offer you two hours a day to write. If only. It's also unlikely that your family is going to offer to go away and entertain themselves for two hours a day, or do half of your chores and errands for you (oh, if only!). The only person who can find that time to write - wrestle it barehandedly out of the 24 - is you. You have to want and need it badly enough to do it, or it won't happen.
I probably learned this lesson through participating in NaNoWriMo a couple of years ago. Suddenly, because I had to write 50,000 words in a month, I found the time. Half an hour here, an hour there. Leaving my computer on with the file open helped a lot. No down-time waiting for things to boot up - I could just sit and go.
But I still have to remind myself of this lesson every so often. Especially when life crowds in and it becomes almost easier to give in, to say "maybe next week I'll find time to write". No, you won't. That's like saying "I have a big bill to pay - maybe next week I'll find $200 lying around". Won't happen.
By the way, we've started a blog for our writing students, a place for them to post their writing or thoughts about writing. We've given them some jumping-off points, and hope they will all contribute - that includes our fellow writing students in Tucson, AZ.
Check it out at http://pwe2007.wordpress.com

Beginnings

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.

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.

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.

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!

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.

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!"

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!

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.

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!

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.

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?

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.

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.

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?

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.

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.

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!

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.

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.

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.

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.

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.

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.

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.

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.

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!