Monday, November 30, 2009
As writers we are constantly rejected, even if we sign with agents, have our books published, and sell thousands of copies. In publishing, rejection slips are inevitable. Let's face it, even NY Times Best Selling Authors sill get rejections.
As writers, for the most part, we deal with it. We don't become depressed, crawl into a hole, or bury our head in the sand. We query the next agent, write the next book, and work on our craft. We have to, if we are committed to the craft of writing.
What brought failure to my attention is that I recently noticed (but it's likely been going on for a while) a disturbing trend among supposedly progressive schools. These schools are no longer testing and grading their students. The teacher writes a report at the end of the year discussing how well the student did. Excuse me? The students don't get an ongoing chance to fail?
Failure is good. Failure tells you where you suck. Failure tells you where you need to focus your efforts. Failure can provide the motivation to drive you to succeed. Without failure, you have no way of knowing whether what you've done is good or bad, and no motivation to fix what's wrong. You don't even know what to fix.
The problem that I foresee, is what happens when these students go out to face the real world. I can't imagine how they will feel when reality smacks them in the face. They are likely not equipped to handle it. They probably haven't developed the emotional armor (thick skin) needed to get through it. The end result is that the student may end up being more of an emotional wreck than if they were allowed to fail early in life, and learn how to deal with it.
I'm no sociologist, but I can't imagine this would be a good program to train our next generation of writers. It's likely that when they find out how hard publishing really is, they won't know how to deal with it, and simply give up.
What do you think? Should kids be taught to experience and learn to deal with failure?
Saturday, November 28, 2009
Friday, November 27, 2009
For Black Friday, my wife and I will be shopping in Spokane. Am I the only one who never knows what he wants for Christmas? My family asks me every year and I never have one thing to tell them. Not one! (Except for the new Lost Season on DVD). I'd love nothing more than for them to corner an agent in a restaurant and show them my manuscript, because landing one seems like the farthest star in the sky at this moment.
Plans for Black Friday? Have a good Thanksgiving? Don't want anything for Christmas? =).
Hope everyone's doing well and is ridiculously full.
Wednesday, November 25, 2009
Instead, I am going to write about women! Women and books! Ha ha!
So there I was, arguing with a female friend over books. Yes, I know, you would think someone with as much life experience such as me would know not argue with the fairer sex.
Damn it all, though, she just said something that really grated on my nerves. That’s what friends are for, snark.
But, I digress. Let’s call my friend Sheila. I changed her name to protect the guilty.
We were talking about romance novels, and Sheila flatly said, “I would never read a romance novel written by a man.” What follows is the paraphrased conversation:
“What does a man know about romance novels? It would be boring. Probably filled with too much sex.”
“What do you mean? Are you saying there are no romantic men?”
“No, I am just saying that a male writer would lack the oomph to write a romance novel.”
At this point, I thought Sheila was guilty of sexism, but she seemed sincere.
“Of course you do!”
“Look, writing characters is about experiences, right? So how many women have you romanced?”
Sheila narrowed her eyes. That was her version of the death glare. Plus, we were at work. She was probably wondering if I was hedging my language to avoid sitting in an office with frowny-face HR because someone overheard us talking.
“Are you asking me if I’ve slept with women?”
“No, I am talking about romance. Wooing. You know, courting.”
“Ah ha! Well, Ms. Smarty Pants, I’ve romanced more than one woman in my life, and I am here to tell you, they were all different.”
“Are you saying that each woman is different in bed?”
“Will you quit it about sex? I’m talking romance here. Flirting. Drippy stuff.”
“So, what’s your point?”
“My point is, an experienced romantic male writer could write a character-driven romance novel, and I bet the main character would be three-dimensional, above average.”
“So, more readers would be able to identify with his characterization because it’s more accurate. Unless, of course, we have the obscure scenario of a lesbian writing a hetero romance novel.”
Sheila did two things. She laughed and she rolled up the spec we were supposed to be talking about, and hit me with it.
“You’re such a dork.”
“Look, Writer Man, you don’t get it. You don’t get it at all.”
“When I read a romance novel, I’m only indentifying with the main character up to a shallow point.”
“In a romance novel, I’m the main character. That’s me. I’m projecting myself in the book. As long as the main isn’t a total bitch or some vapid mouse, the book takes me away. So, in a romance novel, I’m much more interested in the men.”
“So, how many men have you romanced?”
Sheila, by the way, is a smart woman and the kind of reader an author could only dream of having, she spends twice as much on books as my entire immediate family combined.
I frequently look back on this conversation. Her observation, as an avid reader, was dead-on for the genre she was intimately familiar with (ha ha, get it, romance novel, intimate? Never mind). My assumption was genre differences were more about setting and plot. This was wrong.
This is where I also learned that writing is not easy. Details and nuances are killers. Is it more important to write a rich, literary character that comes alive on the page, or should the writer go for, not an empty shell, but an identifiable main a reader could use to project herself into the story?
That’s when I learned about voicing. I’ve made my decision and skirt the edge between richness and entertainment. My minimalist style attempts to flirt with both, I try to reveal a character’s dimensions only by her actions and what she says, either to herself or other people.
To this day, I’m not sure if Sheila and I were talking about the same thing, but when I insert a character in a novel, man, do I ever pause and think just what I’m doing. There’s character motivation, and then there is writer motivation. Which path do I choose? Am I inserting this character merely to cause conflict, or is she real? Is this someone the average person knows, and does her motivations in the novel actually conform to some standard of reality?
This week, I’m thankful to readers. We, as writers, hear all the time we need to keep up with reading books and blah, blah, blah. This advice has gotten insipid and threadbare. I learn more about writing by talking to well-read people then I ever got from reading. Reading is part of my job, what I do to not epic fail my novel writing. Reaching out to my potential audience and picking their brains?
Yeah, give me more of that.
Tuesday, November 24, 2009
When you're on your deathbed, looking back over your life, you're not going to remember how much money you made or how many promotions you earned. You're not going to think about the goals you achieved or the places you've gone. You're only going to be thinking about the people who have loved you -- and the people you love.
Thankfulness, too, is a virtue. When we take the time to reflect upon the the people who matter most and the things that bring us joy, we are being thankful. I am thankful for many things, not the least of which is you, the readers who interact with this blog, who teach me on a daily basis, who touch lives with your words. Happy Thanksgiving Week -- and may God bless you and keep you and cause His face to shine upon you.
- Crisp mornings, when the air is clear and the scent is autumn
- Translucent disk of moon, rose-petal pink
- Embrace of husband, his warmth enfolding me without question
- Brave men (& supportive wives) who sacrifice(d) everything for the "Great Experiment"
- Imaginative toddler nephew who tells me stories of his own
- Moments of absolute solitude, perched on the cliff overlooking the ranch
Monday, November 23, 2009
Most of the time these books are supposed classics, or deemed important for one reason or another. I almost feel that if I don't read them, I am not as literate as I feel I need to be.
However the fact that I have forced myself to read them, rarely makes them worth it in the end. It's rare that the ending makes up for the work of reading the book, and most of the time I am just glad that it's finally over.
Usually the books I force myself to read are deemed literary classics.
There are a number of classics that I truly love, such as Tom Sawyer, White Fang, and Lord of the Rings. I don't feel I'm forcing myself to finish.
The books that I have a hard time reading seem to have one thing in common, they try to be different, just to be different. They have characters that I would never in a million years see walking down the street, but are there to be different.
I understand that characters have to be different, but in some ways they also have to be done in a way that I can relate to them. Coming up with a new character is like coming up with a new flavor of ice cream. You can combine different types of berries or fruit and chocolate to get new and exciting flavors, but if you suddenly add garlic and onions to the mix, sorry I'm not going to eat that. It's different, but it's too different. I really can't imagine myself eating strawberry-mango-chocolate-garlic and onion flavored ice cream, over a filet mignon. Sorry, it's not happening.
I think this is where most of these literary works lose me. I cannot relate in any way to the thinking or acting of the characters and I end up rolling my eyes at their behavior. These works are meant to expand my thinking, but usually I wonder, "what were they thinking?", when they wrote that.
I had a hard time reading Cat's Cradle, I didn't get the point. I forced myself to read Catch-22, but gave up after a third of the way in, because one of the characters ranted about things I didn't care about, and I got tired of it. I finished Atlas Shrugged, but felt it was waaaaaaay too long.
Are there any books that you have read that were forced because they were "important"?
Friday, November 20, 2009
As you know, I've been revising a MS for my agent, per request. And she had some very instructive, insightful things to say about it, but she pointed out (and it was immediately clear) that certain aspects of some of my characters were not fully imagined.
As you can think, this filled me with chagrin. Those darn secondary characters. They played good parts in the story, but I only showed the parts they played, and not their motivations. And this was hurting the story more than I ever suspected it could do.
So I thought. And thought. And finally I came up with how I could deal with this solution. I made a character sheet for each. I know. Uncool. I always mocked those types of things, but here I am using it. And you know what? It helped enormously.
In fact, I think it improved the story beyond what I had already thought was a darn good one. It was fantastic!
So just for reference, I'm including my main questions here for my secondary characters in case it might help you:
1. Character name
2. Character motivation in story
3. Character conflict
4. Character conflict with POV
5. Character resolution
Hope this helps you as much as it helped me! And tell me - do you do something like this at the end, in your revision process?
Wednesday, November 18, 2009
Scratch that. Perhaps writing makes me weird.
It is a known literary phenomenon that some people, after reading a great character-driven story, will start daydreaming about the characters in the book, putting them in new and different situations. People’s minds will start to wander, and, in essence, these books are literally imagination fuel.
I’ve talked to several people who sheepishly admitted to this, and read about it a few times on the interwebs. I used to think this was a writing side effect of letting one’s ego run amok. Now, I know better.
Fan Fiction, the honest kind, not the creepy sex kind, is a good example. Some people just get high on words and can’t come down, so they write on others intellectually property and share it.
That’s awesome, by the way. Many people pooh-pooh fan fiction. I would love to be in a position to pooh-pooh fan fic off my intellectual property.
But I digress.
This internalization of characters is now driving my writing process. If I don’t think about the main characters like this, this is my mind telling me I’ve boofed it. Boofed, by the way, is a technical term.
In a way, I feel blessed. I have an internal boof sensor. If I’m not daydreaming, the main character isn’t working. As a reader, I’ve also started recognizing I’ll daydream about great literary characters, but simply enjoy a “good” book and move on.
Is this making sense or did I go off the deep end?
Daydreaming, by the way, is the brain acting normal in the absence of problems to solve.So maybe I’m not so weird after all.
Tuesday, November 17, 2009
I rarely do. The photos rarely see the light of day. Embarrassingly, several thousand are up-loaded to my computer but unprinted. Another 1000+ reside on my camera. Yet untouched. There's always something more to see, something else to capture.
Tomorrow I head for Philadelphia for a conference. I'm excited. I know I'll spend the rest of the week snapping pictures -- and all for what?
My hope is that all of those views and angles and shimmers and flashes reside somewhere in my head. I may not pluck one out, pristine and unsullied, to insert into a scene -- but the things I see, hear, experience all bubble & simmer in my brain somewhere, ready to be used when called upon. I may not spread the photos out around me, waiting for inspiration, but the act of catching the last leaf on a tree leaves me with something inexplicable. And that's what I try to insert into my WIP.
Where do you get your details? How do you reveal a scene or find inspiration? On another note, what do you do with all of your photographs? (And no, I don't scrapbook!)
Monday, November 16, 2009
It really is a different experience. Most of the books that I read (I still call it reading) are read by professionals that make the reading a performance, not simply reading the words. If there is emotion in a sentence, they provide that emotion. If a passage is conveying a quiet scene, they will read softer. When they change from character to character, they modify their voice, so that you the listener can easily distinguish whom is talking. The effect for me, is a greater enjoyment of the work.
You might argue that the emotion that the reader puts into the work, might be different than what I might experience if I were reading the book myself, and that's probably true. But I know that the reader discusses the book with the author before the performance, to get the true feeling of the book, so in some ways, the experience could be a richer one.
What audiobooks does for me is to enrich what would normally be wasted time, with entertainment and learning. Listening to fiction, I learn how another author dealt with scene, characterization, pacing, and flow. Listening to nonfiction, I learn something new about a topic that might never have explored before. The point is, I get a lot more done with time that previously was used only for mundane tasks such as commuting to work, or working out at the gym.
There are a number of places to get audiobooks on the internet. There are free sites such as librivox.com, but these are usually read by a bunch of different individuals and the quality is spotty at best. Your local library may have some audiobooks that you can borrow, and you can get books from most of the MP3 providers such as iTunes, Amazon.com, etc.
The best provider of high quality recent books is Audible.com. They have different plans for one or two books a month, and there is a monthly cost, but they have an excellent product. I highly recommend it.
So what about you? Do you listen to audiobooks?
Sunday, November 15, 2009
This fact shows that publishers are gambling when they put out a new author. Who would gamble with the odds being 80% against success? This begs the question of why bother. Why should we, individual authors, go for it, and why should publishers believe in us?
Well, one word comes to mind--investment.
My brother-in-law and I attended a publishing seminar awhile ago and afterwords I made a comment about how seminars and conferences just seem to drain money, even if they are good. His response was that they are an investment and that any new business would have to put up a similar investment.
Given that he is a successful nonfiction writer and editor, I took his advice to heart. I think the question then becomes one of what kind of an investment are we as writers making. Given the odds, I'm not sure that it is wise to bet everything on the financial investment piece paying off. Perhaps there is something beyond money that we as writers are investing in.
I invest money in marathon events. Why? Because it's a great experience and it makes me a better person. The training and the racing combines to make me a better person than I would be if I did not run.
I think that writing is similar to that. Now, it may be that you want and/or need to make money at writng. Perhaps you even feel a moral obligation to make at least as much money as you have spent on paper, ink, coffee, pastries, and conferences. I sometimes feel that way.
I don't suppose that I have any great answers today, but I am interested to know what you are investing in with your writing if it is something beyond money. Don't get me wrong, money and an author's life are worthy goals, but it seems like there needs to be something beyond that to keep one going when the going gets tough and the money is not rolling in.
What if you did get published, but the amount of money that you made was still less than the amount of money you invested in conferences and the like to get your book out there? Would you still be happy? If the answer is yes, what is it that you invested in that paid off?
Saturday, November 14, 2009
Are writers especially prone to money woes?
Thursday, November 12, 2009
Currently I'm plowing through Andre Agassi's Open, which, perhaps thanks to a Pulitzer-Prize winning ghost writers, reads brilliantly in the present tense.
Any books you're reading that you'd like to recommend?
Wednesday, November 11, 2009
Here’s the modern murder mystery round up that wound find me pulling my hair and tossing the book:
- Humble but sexy woman with obvious hawtness characteristics gets involved with a dead body because her lover/friend/brother/mom/employee is the main suspect. She has a cat, runs some business around food, or is the happy proprietor of a B&B that barely makes enough money to pay the rent. Sometimes all three.
- Hawtness has run-ins with the Salty Detective on the case who blames her for “meddeling.” Secretly, these two want to shag, and the reader can practically smell the sexual tension on the page.
- Instead of giving into carnal desires like normal single people, each has sex with someone else in a bad case of projection.
- Hawtness finds clues because she is a smart, stubborn woman. Who’s hawt.
- Hawtness has personal problems as a side plot.
- The murderer comes for Hawtness because she is too smart for her own good, and monologs.
- Salty Detective saves the day, but only because Hawtness showed him the real clues, which he was conveniently coming back to discuss, thereby interrupting Hawtness’s impending murder.
- Hawtness has more celebratory sex (which may or may not be torrid), but not with Salty Detective, because the next book needs to start with some TENSION BY GOD!
I used to hate this kind of book but I have grown to appreciate it for what it is: bubblegum. On occasion, I like bubblegum. Some days I want to mindlessly chomp on something sugary and fun and blow bubbles.
Now, at my house, this leads to a sticky mess because my kids really, really, really, (really) want to blow bubbles and it bothers them to no end that I can blow these monster bubbles and they can’t. So they practice.
Hey, the Old Man is good for something. Sometimes I go for a drive so I can chew bubblegum without explaining for the tenth time it is not necessarily to blow so hard the bubblegum sticks to the ceiling. The vaulted ceiling.
But, I digress.
My problem with these types of murder mysteries was just that: my problem. Instead of appreciating the fun little romps that they are, I just moved on. The Wife Unit was the mystery reader, not I.
Then I started reading one of the WU’s Falco books, A Body in the Bathhouse, by Lindsey Davis.
This book is good!
That’s when I learned in any given genre, there are sub-genres, and like science fiction and fantasy, there are types of books for every mood. Some are so much better than others are, some are bubblegum and some make you cry your eyes out as they press all your buttons.
The moral of this story, Dearest Readers, is if you pooh-pooh a genre, perhaps your narrow vision needs work, and it’s not so much the genre as a lack of research into finding the sub-genre that interests you.
In the end, I decided I love a good murder mystery, which is not just character driven, but also thought provoking. If it has a great setting, so much the better, and I found out I like the historical murder mystery. I like it a lot.
There is certain purity in a dead body. The stakes are high. Someone died. The murderer my kill again. It’s up to the main character to come to grips with this death and solve the mystery. And boy-howdy (boy-howdy is a technical term), a good book when the stakes are high is the cat’s meow.
My name is Anthony Pacheco, and I thought I would never, ever say this: I write murder mysteries. It’s what I do. I have other book projects, but from a writer’s perspective, seeing the dead body on the floor in my mind’s eye sends chills down my spine. I type as fast as I can, because I can’t wait to find out how the main character solves the mystery!
Tuesday, November 10, 2009
Monday, November 9, 2009
I know, I could probably train myself not to do that, but my process is working for me, so why change.
There are a number of advantages to writing this way, for instance I can write anywhere, literally, and I have. Waiting in the doctor's office, waiting for an oil change, on an airplane with the seat in front of me almost touching the tip of my nose, and I don't have to worry whether my battery is charged or not.
For me, it starts with the right pen. I have to use a fine point rollerball. The one that I use is the Pilot Dr. Grip. I have tried using other types and brands, but this one works so well I don't have to think about it.
I like the fact the way that the ink flows freely across the page, and the contrast level that the gel ink provides. I used to use a pencil, but I found that the contrast didn't always work in all kinds of light levels.
Next is the notebook. At first I used to use composition books because the paper is lined, they are cheap, and again very portable. However what I found is that they are hard to type from. They act like a book, in that they try to self close, so I had to always use a paperweight to keep them open.
I switched over to a spiral bound notebook so that I can lay it flat while I type in the text.
I write the text on the right side only. I just let the words flow out. I try to describe the scene that I see in my mind, from a setting point of view, and what the characters say to one another.
If I decide the scene is going the wrong way, I simply scribble out what I've written, or if I think I might want to bring it back later, I draw a line through it.
In between lines, I will add corrections, or more words, and to the right if there is enough room I may add more dialog, description, etc.
The left side is reserved for notes, points to emphasize later, other scenes, and anything that I may need to jog my memory later. I think this goes a long way to obviate my need for an outline.
Sometimes I may decide that I need a lot more text than there is room available on the right. For instance I may have to insert a part of a scene that I hadn't thought of before or embellish more details of what's already been written . In that case I draw lines where the extra text is supposed to go, and write it on the left side.
After I get the text written, I type it all in. For me this is the most difficult part. It's the part that I enjoy the least. I could probably hire someone to do this, but here's the deal, I do a lot of my first pass edits when I type it in. I don't just type in what I've written, I try to make sure that by the time I've typed it in, it is a pretty darn good first draft.
When I sit down to a writing session, I start by re-reading the last few pages so that I can get into the flow of the story. While going through I find and fix things, so that when I type it in, it's close to what I want, but still maybe not perfect yet.
After I get the entire manuscript typed in, I print out a copy, get out my red pen, and start editing. I make all the changes, and go through it a second time. Then, I put the manuscript on the shelf for at least three months. I will go through it a couple more times after that, and it's finally ready to build a query letter, and start the selling process.
So did I convince any of you to go back to writing with a pen and paper? Yeah, didn't think so.
But, how does my process compare to yours?
Sunday, November 8, 2009
Saturday, November 7, 2009
A week goes by. A month. Two months. Nine. The story's cool now. It's stone-cold. It's also - ahem - older.
So are you.
But still you sit and still you wait, without excuses now.
Bah! A sign that you will never go back to the story!
A sign that you are just another lazy, unserious bum, lacking dedication and afraid of hard work!
Of course, I am describing myself here, but I'm guessing (just guessing) that maybe this is not an uncommon thing.
Come on, guys, 'fess up. Who has been sitting on an unrevised story for months or years? And how do you feel about it?
Personally, I feel awful. Just awful. Now where did I put that remote control?
Friday, November 6, 2009
How are you all doing on your NaNo projects? Your writing, even if you were working on a not-so-new MS or a completely brand spankin' new idea?
Here is the NaNo girl, come to stare at you until you confess to me.
I kid, I kid.
Actually I've had a very interesting time of it here lately. My agent got back to me at the end of October and had a request: could I please revise a particular book she had in her possession.
Of course, said I.
And then I wondered about PDS: what would happen to my Sparkly New Idea as I revised the older one? Would it sit quietly? What would I do about NaNo?
Happily, it all works out. Since I am revising hefty chunks of the old MS, plus writing the new MS at the same time (It sounds insane but it's not) I'm managing to get twice the work done in half the time.
So at the end of November I might very well have a completed revised MS as well as an almost finished new MS. Which I love with the fury of a thousand lifetimes; one I haven't loved this much since the MS that got me Super Agent.
And you? Where you at?
Thursday, November 5, 2009
Just a question to anyone out there about how long to wait before contacting a magazine? 4 months? 6 months?
Two literary magazines, quite reputable, have kept my stories for both of those times. Should I just accept that they perhaps rejected it and forgot to inform me? Or is there still hope?
Just wondering if anyone out there has gotten an acceptance after six months of waiting? Or any stories (frustrating or inspiring) about submissions to a lit mag would be greatly appreciated.
Wednesday, November 4, 2009
I find this a very odd phenomenon. Clearly, NaNoWriMo is mainstream.
With that said, I don’t do NaNoWriMo. I already am a very prolific writer. Literally, for me to write a novel, all I need is time to type. That’s it. I can go from start to finish along my meager, but effective, outline. When I am done with my current work in progress, I have two more novels waiting to get out. I come up with complete ideas and outlines faster than I can type.
By the way, this drives me absolutely nuts.
But I digress. This is why I do not do NaNoWriMo. It serves no purpose for me. A novel, for me, is twenty percent writing, and eighty percent editing. The editing gets me. If there were a NaNoEdMo, I would seriously consider signing up for that!
When we took a poll, many of you responded that you had indeed written a novel. I am curious: are revisions such a brain-chore for you?
Don’t get me wrong—I’m not complaining. I love the revision process. If I was to measure the brainpower required to revise versus the brainpower I expend to write, the revision process requires more thought and skill.
What say you? Reply with your thoughts on revising, and, if you are NaNoWriMo-ing, how it’s going!
Tuesday, November 3, 2009
But first, one should note that there are as many archetypes as there are flavors of ice cream. And, yes, some are nutty. Christopher Vogler, who amended Campbell's work to more closely align with the writer's journey, identifies the most common and useful archetypes as the following:
- Threshold Guardian
Every time I teach The Odyssey, I notice that Odysseus' son, Telemachus, is aided by a character named Mentor (who is, in fact, Athena -- the goddess of wisdom!), and I wonder: which came first, the name or the word? Well, wonder no more. Vogler tells us that the word did indeed come from the story. Campbell's name for this "figure who aids or trains the hero" is Wise Old Man or Wise Old Woman (39).
According to Vogler, the Mentor represents the god within -- the part that is connected with all things -- who is there to protect the hero or tell her right from wrong. Often times, mentors are former heroes who have survived the journey and are now passing down invaluable information to the fledgling one.
The Function of a Mentor:
Mentors serve important functions as well: they teach, give gifts (usually ones that have been earned by the hero), invent needed items, serve as the hero's conscience, motivate, plant ideas or props for later use, and, sometimes, initiate the hero into the mysteries of love and sex.
Examples that populate our cultural stories or mythologies include the fairy godmother or Merlin or Obi Wan Kenobi or Jiminy Cricket or James Bond's "Q."
Types of Mentors:
- Dark Mentor: can be used to mislead the audience (and the hero); often a decoy to lure the hero into danger. Rather than motivating, this mentor can actually become an obstacle.
- Fallen Mentor: still on the hero journey himself; usually experiencing a crisis of faith and has fallen far from grace. This character often parallels the hero in his own journey.
- Continuing Mentor: the butler or the boss in a series or trilogy; they can give assignments or set stories into motion.
- Multiple Mentors: when one just isn't enough! usually this tends to be a series of training steps that the hero needs to undergo; each mentor will focus on a different aspect.
- Comic Mentor: tends to be in romantic comedies; often provides advice that seems wrong at the outset but turns out to be just fine in the end.
- Mentor as Shaman: healer who can help the hero in her vision quest to another world.
- Inner Mentor: seen most often as a code of ethics or a long dead entity whose advice still lingers.
In my Conscripted series, I have a character who serves as a mentor to Eliahna. He is a healer who trains her, adds to her knowledge, and sets her on a vision quest. In fact, he provides many skills and tricks she'll need later on just to survive her journey. But he also serves as a dark mentor, one who betrays her, holds her captive, and destroys her ability to trust. He dies a horrible death at the hands of another victim, but he will haunt her every decision from this point forward. Thus, in the ways that matter, he is very much alive.
Eliahna's new abilities, tainted by this experience, will be used for good -- but she will always question her ability to recognize evil. And because she cannot trust, she latches on to weak individuals who need her healing and her help. In the ordeal or "all is lost" stage, she realizes that she has followed the path of her mentor, sans the capture and rape, because she cannot set her newly healed free. Unwittingly, she has ensured their dependence upon her -- and this knowledge nearly destroys her. How is she any different from the man who betrayed her?
I wrestled with this idea of dark mentor for quite awhile, actually, wondering if it was too much or over the top or even doable. It made sense in my head, it worked on paper, but I was skittish about audience response. (I know, I know: one shouldn't write with such concerns popping about one's head. The subconscious is a delightful thing, untamed and unrepentant.)
Who are your mentor characters? Do they serve multiple functions? Do you have multiple mentors? Minor or major? Do they influence the hero's character development, motivations, or decisions? Pick one from a past work or a current WIP, and please leave a description of character, role, function in the comment section.
Monday, November 2, 2009
I am in the middle of my new WIP and feeling extremely stressed. This work is by far my best, and I want to finish it. I feel like I've finally found my voice, and I just want to let it flow, but my day job is getting in the way.
I cannot afford to quit my day job, or worse, lose it, so of course all of my effort has to go to getting things done at work, and that has been my focus for quite a while.
As most of you probably know, my day job is as a software engineering manager. I lead a group of engineers writing tools for a new chip. We have a huge opportunity in the short term if we can showcase our capabilities to a massive semiconductor company.
I've been pushing the guys really hard to meet the schedule, and I am starting to see some signs of burnout. This is the worst possible time, because our deadline is approaching.
My boss meanwhile, has been relentless in hammering on us to meet the schedule. Since we are a small startup, it really is a make or break effort.
As I'm writing this on Friday afternoon, I'm looking forward to the weekend, to at least a few hours of uninterrupted writing, but we'll see. The weekend presents it's own set of family challenges.
I really feel that this work is going to be the one that I finally break through with, and I think that's what is stressing me the most. I want to finish it.
Given the current market conditions, it's probably just as well that it isn't done today, but I want to make sure that I'm ready when things finally turn the corner.
Any of you feeling stressed to finish your latest WIP these days? How do you cope with it?
Sunday, November 1, 2009
I've been running on low fuel lately. I felt like I needed to start chucking the cargo out of the plane in order to make it to the next refueling station, but what I found was that comments left last week helped to refuel me midair. Thanks to everyone who left a comment!
I've decided to continue on, at least until the new year.
Here are some reasons that I have to continue with blogging. Perhaps they will help inspire you when you get to feeling like you are running low on fuel and need to lighten your load.
Seven Reasons To Continue Blogging
1. Talented and Inspiring People in the Network
I've benefited by reading the blogs, poetry, and stories of others.
I've also benefited by seeing how people use images and talk about taking them.
Everyone who leaves a comment and posts about the struggle to continue on with writing, and makes little victories, is an inspiration.
2. Opportunity to Write for a Live Audience
There's nothing so depressing as having nobody read your stuff. I love the feedback from others and the ability to improve my writing style based on how people respond.
I don't post creative nonfiction or stories often, but I've been encouraged as a writer because of those times.
By the way, I've loved reading other people's short stories and creative pieces. Anthony's bit on stalking the pro golfer stands out as one of the funniest things I've read in a long time.
3. Depth of Communication and Interconnectivity is Possible
The mere fact that I can refer to Anthony's funny story (or anyone else's really good post) shows that depth of communication and interconnectivity is possible. We, as bloggers, have the opportunity to surpass magazine writers because of this interactivity. We can go deeper into issues if we bounce off of each other and carry on a conversation or friendly debate.
My favorite part of blogging is when posts and/or comments take an issue or experience deeper and deeper.
4. Opportunity to read posts that are humorous, hopeful, exciting, agonizing, joyful, or informative
Jen's latest post on writing a mystery made me feel excited, because I could feel her excitement. Patrick's latest post triggered a feeling that is a mixture of hope and agony. It is great to have a manuscript in the hands of an agent, and agonizing to wait and wonder what will happen as each day passes in silence. That's the kind of stuff I'm talking about.
5. Agent/Industry Advice
I've read some good agent and industry advice on this blog and others. I've even had an agent (who has stopped by and posted a couple of times on our blog) send me an email that gave me the name of an industry person who has an interest in the kind of stuff I write. That was exceptionally cool of her, and shows how good natured people can be when you network in and communicate professionally.
6. Opportunity to Inform, Entertain, and Inspire Others
I may or may not succeed at getting published. That's not 100% within my control, as other people get to make the decisions, but I can say that some people have moved me by telling me how something that I wrote made them feel or interested them. Connecting with others through my writing, which includes informative blogs and creative nonfiction posts, is rewarding.
I suppose that if I felt that connection more I would feel more highly inspired to blog. I sometimes wonder what it means when I see just two or three comments on a blog post, whether it is a writer from this blog or elsewhere. It could relate to the quality or form of the post or it could relate to how connected one is with other bloggers. What do you think?
7. Blogging is an Evolving Form that Appeals to Fast Paced Readers
I want to continue learning the form. Sometimes I stick to the guidelines I've read, and other times I don't. It is interesting to see what works and what does not.
Failure to connect with readers teaches lessons, as does connecting.
Lady Glamis and Alex have both posted exceptionally good advice on how to blog. This advice, and the experience of blogging, has helped me to develop a new style of writing which extends from the blogosphere to the memoir I am writing on a decade of running and not.
In the end, getting refueled midair is what matters most. The irony is that the way blogging works it's not all about how good of a writer you are. It's also about how good you are at refueling others. That's an area that I can certainly improve on. I need to be the fuel plane, as well as the jet.
Questions of the Day:
Notice what I did not put on the list: building a platform. Do you think it should be on there?
What do you think? Which of these reasons resonates the most with you?