Saturday, January 4, 1851: P.P.P. is implored, for mercy’s sake, to WRITE AGAIN. If not, your wretched father will be a maniac, and your poor unhappy mother will die brokenhearted.
Monday, January 27, 1851: To C.—it’s all right; the danger you apprehended is stopped; nothing is known; every difficulty shall be removed; you are freely forgiven; come without a moment’s delay.—J.
Tuesday, July 1, 1851: YES, ELLEN.
Friday, November 18, 1853: A.G.B., 50th.—The POPLARS are Desolate now, and Dangerous Point very unattractive. You see we fulfill the promise.—A—a A—s.
Thursday, Janaury 12, 1854: WHY SHAVE?
Saturday, October 6, 1855: J.B.R.—The MONKEY is HOME. Where is the Man of Ross.—G.G.
I recently read a novel manuscript for an experienced novelist; this novelist has turned the manuscript in to the editor, but it’s not yet in its final version. That made me think about critiquing, and all the different shades of critique depending on what the author needs.
How deeply do you read? What aspects of the story do you focus upon?
First and foremost, I tailor the critique to what the author has asked for, which is often related to the state of the manuscript. In this case, it’s at a very late stage; moreover, the book is second in a series. I thus didn’t read with the idea of suggesting big, sweeping plot changes. Nor did I read for typographical errors, since hopefully the publisher will take care of that further down the road.
Primarily, I looked at one aspect of the story about which I was specifically asked. I used that lens to scrutinize every bit of characterization and plot, to see if any of them came up wanting, or perhaps even went too far. It’s an off-center way to look at things, but I knew the author has other readers, some of whom will likely be looking at the story more generally.
Secondarily, I looked at the story more generally myself, because I can’t help but do so when in a critical frame of mind: what flowed, what didn’t; what confused me; in the worldbuilding, what was reiterated too often and what wasn’t mentioned enough. And all of that is also a lens, since it’s my eyes that are looking and not anyone else’s.
I hadn’t been writing for a while when I started up again a week or so ago. There are a lot of reasons, among them needing a break, coming up with my next big project (still working on that!), and achieving distance from a project so I could rework it into another form.
All those things take up a lot of my backbrain, which means that I haven’t been consciously thinking about writing very much, lately. Which is why I haven’t been writing about it much lately, either.
It’s hard for me to write about writing when I’m, well, writing. I’m not sure if it’s because I am incapable of it or, as seems more likely, thinking consciously about writing inhibits me psychologically when it comes to writing fiction.
I do have some ideas for writing craft posts, but I also wanted to ask: if you’re reading this, do you have a craft issue you’d like me to post about? Be as general or as specific as you like.
Cry out on Time that he may take away
Your cold philosophies that give no hint
Of spirit-quickened flesh; fall down and pray
That Death come never with a face of flint:
Death is our heritage; with Life we share
The sunlight that must own his darkening hour:
Within his very presence yet we dare
To gather gladness like a fading flower.
For even as this, our joy not long may live
Perfect; and most in change the heart can trace
The miracle of life and human things:
All we have held to destiny we give;
Dawn glimmers on the soul-forsaken face;
Not we, but others, hear the bird that sings.
–Siegfried Sassoon, The Old Huntsman and Other Poems, 1918
The Philadelphia Fantastic Authors and Editors Series invite you to join us to meet author Victoria Janssen reading from her latest erotic novel, The Duke & the Pirate Queen, published by Harlequin
Spice.
Friday, January 28, 2011
7:30 PM
The Moonstone Arts Center
110 A South 13th Street (13th and Sansom Streets)
Philadelphia, PA
Signing of the work will immediately follow the event.
Come escape the winter doldrums and join us as one of the most exciting authors in the field of romantic fantasy entertains us!
PHILADELPHIA FANTASTIC
Philadelphia Fantastic presents a series of readings and informal discussions by and with local and regional writers of speculative fiction on the fourth Friday of the month. The events are free and dinner with the guest afterwards is at a local restaurant on a pay as you go basis.
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I recently wrote a couple of posts about moderating panels at conventions and conferences, one on preparing and one on procedures. I realized I should say something about being a panelist, as well.
1. Prepare.
At the very least, read over the panel description and decide how you would answer the questions it poses. If the description asks for things, such as a list of recommendations, it helps me to write them down. I can’t always remember book titles and the like once a discussion gets going. If you don’t know enough about the topic, some research might be in order.
2. It isn’t all about you.
Panels are a team effort. You are very likely there to publicize something: your books, yourself as someone employable, a particular cause. If you have interesting, thought-provoking contributions to the topic at hand, people will generally go away with a good impression, and might want to learn more about you.
If you repeatedly interrupt others or drag the discussion off-topic (or towards your own work), you’re likely giving a very bad impression. Everyone gets caught up in talking once in a while; hopefully, the moderator will help to keep this from happening. But it helps to try and keep track for yourself, as well.
Remember that most people will come to hear a panel for the topic, not the participants, so staying on topic is always a priority. If they do come to hear a particular participant, they should get that chance rather than listening to you describe your book’s plot for the seventh time, or how your cat always vomits on your copy of the novel you’re discussing. (Well…okay, maybe, if you happen to be good at making people laugh…maybe. But only say it once.)
3. Be courteous.
Most of #2 was about being courteous, but I think it’s important to reiterate. In general, people paid to come and hear this panel. Panels are more for the audience than the panelists. Don’t waste their time and money.
Okay, I eat first, and brush my teeth, things like that. But I don’t give myself a chance to see that the laundry needs to be done, or remember that I was going to buy groceries. If necessary, I leave the house so I won’t be distracted by those things. They can wait. Writing can’t. 2. Prepare to start writing first thing.
For this, you need a time machine. Or, failing that, every time you stop writing, give a little thought to where you will begin the next time. Make notes if you need to. This saves fumbling around once you start writing again.
It’s also good to make sure your equipment is ready to go–laptop is charged, pencils sharpened, notebook not about to run out of paper, whatever.
3. Don’t futz around.
This one is a bit like #1, but applies to once you’ve gotten started. If you find yourself at a natural stopping place, use that time to visit the restroom, get a drink, stretch. But don’t get distracted. Before you get up from writing, apply #2 and figure out what you’ll work on when you get back from your break.
4. Turn off your phone and internet.
You’ve heard it before. It’s still good advice.
5. If you must read first, read something boring.
This advice might only apply to me…but I have a hard time eating breakfast without reading something, so I’ve developed a strategy so I can still start right in on the writing. I don’t take my current exciting reading with me when I go to write. I bring a nonfiction book that I’m reading ver-e-ry slowly, or a light novel that I don’t think will involve me too deeply. The key is to put the book down as soon as I’ve finished eating. And then I write.
One of my favorite songs as a kid was Merle Haggard’s Mama Tried, which was released in 1968. Recently, I listened to it again. And again. And realized how the complex structure of the song helped to tell a story with a lot of depth.
Since I’m always looking for new ways to think about plot, I thought I’d share my analysis.
First, the narrator sets the scene: the way he does it tells us this story is about memory, and the memories are going to be poignant.
“The first thing I remember knowing,
Was a lonesome whistle blowing,
And a young un’s dream of growing up to ride;”
Those poignant emotions seize the listener’s attention, and make us feel emotion along with the narrator and be interested in what happens to him.
“Lonesome whistle” is, I think, the key to the emotion. (It’s a common way of describing a train whistle, but as a side note, that phrase also appears in an earlier Johnny Cash song, Folsom Prison Blues, that I’m pretty sure Haggard must have heard at some point, so there might have been unconscious reference.)
Next, no longer a child, we learn the narrator did something, and the something was likely bad, or at least something his mother didn’t approve of! Foreshadowing: your key to quality literature.
“On a freight train leaving town,
Not knowing where I’m bound,
No-one could change my mind but Mama tried.” [important first iteration of the song title]
The protagonist then gives his backstory. This isn’t boring, because we know it’s important to where he is now, and we have hints things will turn bad. How? He told us, by foreshadowing.
“One and only rebel child,
From a family, meek and mild:
My Mama seemed to know what lay in store.” [more foreshadowing]
“Despite all my Sunday learning,
Towards the bad, I kept on turning.
‘Til Mama couldn’t hold me anymore.” [note repetition of important thematic element, the mother]
Then the chorus, which repeats more than once. This is where he is now. This is the high point of the story, and when things change. The repetition of “Mama tried” implies that the narrator regrets his actions. He regrets not doing as his mother asked. His regret signals a change in his character. Even as he describes his current situation, it’s a turning point.
“And I turned twenty-one in prison doing life without parole.
No-one could steer me right but Mama tried, Mama tried.
Mama tried to raise me better, but her pleading, I denied.
That leaves only me to blame ‘cos Mama tried.”
The narrator has just accepted responsibility for his actions, and now he begins to reflect on why he should have taken his mother’s advice.
“Dear old Daddy, rest his soul,
Left my Mom a heavy load;
She tried so very hard to fill his shoes.
Working hours without rest,
Wanted me to have the best.
She tried to raise me right but I refused.”
The song ends with another repetition of the chorus. But I think we the listeners are meant to believe that the narrator will change, or is in the process of changing. He has a character arc, even if some of it is only implied.
I’m left to wonder about the ways I can apply this to a story rather than a song.
The background behind him is…interesting. This is a 1968 live television performance:
I tend to have a lot of different playlists. This is the one that, right now, says “writing” to me.
1. “This is the Life,” Amy Macdonald
2. “Heroes & Thieves,” Vanessa Carlton
3. “The Garden’s End,” Sarah Blasko
4. “There Is No Light,” Wildbirds & Peacedrums
5. “Have You Got It in You?” Imogen Heap
6. “Window,” Fiona Apple
7. “Seamstress,” Dessa
8. “So-Called Chaos,” Alanis Morissette
9. “Choking the Cherry,” Poe
10. “So What,” Pink
11. “Consider This,” Anna Nalick
12. “Hard,” Rihanna
13. “Dance or Die,” f. Saul Williams, Janelle Monae
14. “We Are,” Ana Johnsson
15. “Soft Place to Land,” Mary Gauthier
16. “Daybreaker,” Beth Orton
17. “Dark Room,” Sarah Slean
18. “C.S. Lewis Song,” Brooke Fraser
19. “Dance to the Drummer Again,” Cassandra Wilson
I think of this one as the “inspirations” playlist. It’s sort of generic cheer-me-up songs.
1. “Crawling in the Dark,” Hoobastank
2. “Song of Choice,” Solas (Peggy Seeger cover)
3. “Rise Up,” Yves Larock
4. “One-Trick Pony,” Nelly Furtado
5. “Virus of the Mind,” Heather Nova
6. “Another Train,” The Poozies (Phil Ochs cover)
7. “Mainstream,” Thea Gilmore
8. “Walk the Walk,” Poe
9. “Hammer and a Nail,” Indigo Girls
10. “Don’t Fence Me In,” David Byrne (Cole Porter cover)
11. “Learning to Fly,” Tom Petty
12. “In These Shoes,” Kirsty Maccoll
13. “Unwritten,” Natasha Bedingfield
14. “Turn the World Around,” Harry Belafonte
15. “It’s Not Easy Being Green,” Ray Charles (Kermit the Frog cover)
16. “Resurrection,” Brian May with Cozy Powell
17. “Finale (Allegro giacoso, ma non troppo),” Concerto for Violin & Orchestra in A min Op_53, Dvorak, performed by Itzhak Perlman
You? Any particular playlists you’d like to share?
