Siegfried Sassoon, “In Barracks”

In Barracks

The barrack-square, washed clean with rain,
Shines wet and wintry-grey and cold.
Young Fusiliers, strong-legged and bold,
March and wheel and march again.
The sun looks over the barrack gate,
Warm and white with glaring shine,
To watch the soldiers of the Line
That life has hired to fight with fate.
Fall out: the long parades are done.
Up comes the dark; down goes the sun.
The square is walled with windowed light.
Sleep well, you lusty Fusiliers;
Shut your brave eyes on sense and sight,
And banish from your dreamless ears
The bugle’s dying notes that say,
‘Another night; another day.’
–Siegfried Sassoon, Counter-Attack and Other Poems, 1918

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Playing Dress-Up

The first romance novels I remember reading in my adolescence, or at least skimming, were Harlequin Presents. Few details stick with me now, but I still remember that getting dressed up was an important part of feminity in those novels. When the heroine was about to go on an outing, her outfit for the occasion would be described in terms like “a casual linen skirt with a trim blouse” or “sleek pumps and a crisp suit, accented with just a touch of lipstick.” So alien!

At that age, I knew nothing about “classic looks,” much less couture, so descriptions like that seemed just as alien to me as the world of jet-setting millionaires portrayed in these books. I parsed the clothing just as I parsed the appearance of alien beings in the science fiction novels I preferred, considering them part of the worldbuilding. Even today, I have a moment of pleased interest every time a heroine walks into an office in something like pleated trousers and a cashmere cardigan, because it signals to me that I’m about to enter a different world.

The illustration for this post is by artist Ashley David.

Happy Friday!

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The Art of Waiting


Publishing is all about waiting. Waiting for editors to respond to your submissions. Waiting for agents to respond to your queries. Waiting for your agent to call with news of your latest deal. Waiting to hear back from your editor on a submitted manuscript; waiting for her revision letter. Waiting to see your book in print. Waiting to find out how well it sold. Waiting, waiting, waiting.

The worst thing about waiting is that you can’t control it. Writing the book is under your control, but once the manuscript is out of your hands, your control over it is limited. Agents and editors have many demands on their time, some within the publishing business and some without. They don’t have time to hold your hand with constant updates. If they did, they’d have even less time to look at manuscripts. It’s better for all concerned if writers can develop coping strategies.

My number one strategy for coping with waiting is distraction. Sometimes the distraction results from working on the next project, or the one displaced by a revision letter. I’ve become so involved that I’ve forgotten I’m waiting for long stretches of time. I might also catch up on internet publicity, correspondence, tax documentation, and the like. Other times, such as when I’ve just turned in a completed draft, I’m too mentally exhausted to seriously begin writing a new book. In those cases, my distraction might include copious viewing of DVDs, or reading piles of books, or going on a trip, or simply emerging from my writerly garret and calling a few friends. Sitting still, though, is not an option. All that does is turn my brain into a hamster wheel, whirling round and round but going nowhere. For me, it’s best to have a focus.

What about you?

Related post:

Letters from a Publishing Professional.

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How To Learn to Write

I was reading an article about how to write scenes. The article provided a list of things that needed to be included in a scene. They were all very useful suggestions. There were a lot of them. I imagined being a beginning writer, trying to learn to write, reading this article; I imagined her memorizing that list of suggestions, and carefully checking each of her scenes to make sure each element was included in each of her scenes, and I rebelled.

No. Just, no.

Articles that break down story structure are great and useful, but I think, at the beginning, they don’t really help. Sure, you can build a scene from a numbered list, and that will give you a skeleton, but you’ll still need to do a lot more with that scene to make it live for the reader.

It’s my belief that there are too many variables involved in writing to learn them from a list. There’s only one way to learn to write, and that is to write.

And write and write and write. And finish something. Anything. It doesn’t have to be “good.” That’s not the point. The doing of it is the point.

Until you’ve written a certain amount of fiction, all those handy articles on writing can only give a surface understanding. Writing yourself is the only way to realize how difficult writing really is, and how complex. I firmly believe there’s no way to truly understand some problems inherent in writing unless you have the problems first, and struggle through to answers for those problems.

Call it “finger exercise” if you want.

Writing isn’t that much different from being a musician or an athlete. There’s a certain level of the work that takes place below the surface of your brain, and you can’t reach that ability until you’ve practiced enough to lay the paths for it. Reading articles can help you interpret what you’ve been doing, and writing can help you interpret articles, but if you don’t actually write, then the process is stymied.

The only way to learn to write is to write.

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Siegfried Sassoon, “How to Die”

How to Die

Dark clouds are smouldering into red
While down the craters morning burns.
The dying soldier shifts his head
To watch the glory that returns;
He lifts his fingers toward the skies
Where holy brightness breaks in flame;
Radiance reflected in his eyes,
And on his lips a whispered name.

You’d think, to hear some people talk,
That lads go West with sobs and curses,
And sullen faces white as chalk,
Hankering for wreaths and tombs and hearses.
But they’ve been taught the way to do it
Like Christian soldiers; not with haste
And shuddering groans; but passing through it
With due regard for decent taste.

–Siegfried Sassoon, Counter-Attack and Other Poems, 1918

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Raymond Chandler on prose style

“The most durable thing in writing is style, and style is the most valuable investment a writer can make with his time. It pays off slowly, your agent will sneer at it, your publisher will misunderstand it, and it will take people you have never heard of to convince them by slow degrees that the writer who puts his individual mark on the way he writes will always pay off.”

–Raymond Chandler

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Siegfried Sassoon, "Invocation"

Invocation

Come down from heaven to meet me when my breath
Chokes, and through drumming shafts of stifling death
I stumble toward escape, to find the door
Opening on morn where I may breathe once more
Clear cock-crow airs across some valley dim
With whispering trees. While dawn along the rim
Of night’s horizon flows in lakes of fire,
Come down from heaven’s bright hill, my song’s desire.

Belov’d and faithful, teach my soul to wake
In glades deep-ranked with flowers that gleam and shake
And flock your paths with wonder. In your gaze
Show me the vanquished vigil of my days.
Mute in that golden silence hung with green,
Come down from heaven and bring me in your eyes
Remembrance of all beauty that has been,
And stillness from the pools of Paradise.

–Siegfried Sassoon, Counter-Attack and Other Poems, 1918

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Underwriting

When I draft a story, I am almost always an underwriter.

I write less than I could; I write less than a reader might need to fully comprehend a character or setting. Then, when I go back and read over what I’ve read, I fill in some of the gaps. I add action or bits of description into sections of dialogue, I add description into action. At the same time I’m cutting, of course–I often tighten conversations two or three times–but mostly, I add. My zero drafts aren’t outlines, but they have some things in common with them.

Others are overwriters. To figure things out, they must write everything down. Every bit of the world they imagine, every action, they must put down, and figure out later if it’s needed or not. In the end, this works just as well, but it doesn’t seem to be my method.

Somebody out there has to be a “just right” writer, but I’ve never yet met anyone that would admit to it.

Related Posts: How To Write a Novel (in 72 Easy Steps!) and Zero Drafting.

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Carol Queen quotes

The Burning Pen: Sex Writers on Sex Writing, from Carol Queen’s essay.

“When I sit down to write, the creative world I access includes not just my experiences and fantasies…but also the entire social discussion about female sexuality.”

“I explore an erotic realm in which women mostly do not have the constraints of correctness and propriety, in which the “you own your own body” ideal of feminism is a done deal, and women mostly are free to do things that nice girls don’t do. For one thing, this is a crucial cultural function of erotic literature: It always serves as a kind of protest literature exploring (and exploding) taboos, gender roles, and socially imposed notions of appropriate sexuality.”

“I suppose I could be setting these explorations on another planet, but to me the erotic stories I write work best as literature when they exist in and even grapple with existing taboos. That way the tension lives within the story….”

Related Posts: Making It Good and Preliminary Thoughts on Two Types of Erotic Novels.

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World Frog Day!

Happy World Frog Day!

Yes, it really is.

You never find World Frog Day-themed romances, though. Despite all those hunky and/or gorgeous herpetologists out there.

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