the stages of building story

I’m between voices. As my latest draft of Blackdirt lies drying in the sun, and a desire to give another polish to both Raising Cheer and The Empress Chronicles pokes out like a tulip, my head is a ping-pong match, and the ensuing (disparate) imagery that accompanies the characters’ voices is keeping me in a sort of la-la land.

Here’s what it looks like: Lily (who, just to complicate matters has a split personality—so she’s really three voices) Liz, Sisi and Brady, when they whisper ideas to me, yanking me into their settings and conundrums, there’s this lovely period of disequilibrium. I’m in the broad expanse of an onion field. A quiet front porch of a summer-swollen farmhouse. I’m deep in Forest Park, damp from a spring hailstorm. I’m in a cold Bavarian castle.

In the POV class I just finished teaching one of the students made an interesting discovery about his process. He realized that how he develops a scene starts with plot point, and then invites a distant third-person assessment of the plot point:

When I hit a plot point that could be told from any one of a number of povs I start by dashing down the scene in objective 3rd and stay out of anyone's head. The scene sketch is rather thin this way, of course. Until this class I had no idea I was doing this--I only registered annoyance  at the thinness of some scenes. 

Now I see that I have just been delaying the move to 3rd limited until I understand the needs of the story and can dive into the right head. What's freeing is that now I don't feel like I'm "doing it wrong"--more that I'm doing it in stages.

I love that he shared this, and it made me think of my own process, which I always assumed was character-driven, but diving into the real chicken/egg scenario, I now see that it’s really landscape-driven. The sensual aspects of a scene tend to appear first, followed by a voicey commentary on those aspects, and through those elements, eventually an action emerges. An intent. So if we’re talking “stages” – that’s my natural process.

However, some of you remember that Raising Cheer was my plotboard experiment, right? I had this action-oriented framework into which I flowed the actual story. In retrospect, I’d have to say that a plot board may be a compensatory device I’ll need to rely on in order to force me into conflict, lest I hang out in the woods, the castle or the fields with Brady, Liz, Lily and Sisi all the live long and never take them to uncomfortable places.

So what does this mean in terms of “approach” to narrative? How can one blend a natural approach with a framework that leads to a satisfying outcome? Is this, after all, what is meant by craft? Interesting to ponder.

What’s your natural approach to story? What appears first?

get in while the door's still open

Hey all! My brand new class at LitReactor class kicks off tomorrow. As of this morning, there are still nine eight seven seats left, and the ones that are filled, I guarantee, contain the smartest, voiciest, kindest writing peers ever. I can't wait to jump in the deep end.

The subject we're covering this next ten days is point of view. Before you yawn too loudly, listen up. We're going deep with it. Really looking at the effect on the reader when we choose to filter our stories through a particular stance or voice.

Also, in this class you'll get a special treat. Those popular Portland authors (Chuck, Chelsea, Monica and LitReactor perennial fave, Lidia) have kindly revealed their own reasons/rules for choosing one POV over another, and those insights alone, I believe, are worth the price of admission (a very affordable price, imho).

A couple of other things. Eight "chances" for instructor critique on your pages, astoundingly generous peer critique throughout, one big assignment and several optional "mini" exercises, and a chance to win a signed copy of Monica Drake's THE STUD BOOK!

More info here!

blackdirt

Am three hours from popping off to holiday. A week of R & R with my sweetheart which begins with a soccer tournament for Carson later today, a hand-off to Carson's dad, then bring on the M&Ms 'cause it's road trip time!

This spring break couldn't be more welcome. It's been a rough winter. Kirk's been sick half of it, and I'm coming off some horrendous stomach/head thing (mixed with a particularly heinous "monthly" sitch--God, bring on menopause for real, this perimenopause crap is like giving birth to eight pounds of placenta. ok, tmi. But it's my blog, so fuck it).

Ahem.

So I just finished a rewrite of a project I began in, uh, 1993. Yes, 20 years ago. This project, a novel, has gone by the name BLACKDIRT lo these decades, and it's chock full of homage to the grotesque (in particular, grotesque's intersection with Old World Catholicism), as well as more than a few erotic elements, along with a smattering of, well, let's call it twisted girl-power.  I'm pretty sure the period from hell is nature's way of sage-sticking the project from my uterus. A 20 year pregnancy (albeit, many of those years dormant, you know, like a virus that hides in a rat?), followed by six weeks of labor.

Want to know more about this baby? Of course you do!

Here's my elevator speech-in-progress:

Lily’s father is a second-generation Austrian immigrant, second-generation small town physician, at the mercy of a proud and spiteful mother and a dutiful, sickly father. Lily’s mother, an orphan raised by Polish onion farmers in the fertile Hudson Valley black dirt, slowly dissolves into madness. Lily’s world view develops in the spaces between her Polish grandparent’s onion fields and the mahogany halls of her paternal Oma and Opa’s house.

Brought up in a dying Catholic culture by parents who are torn apart with longing they can neither satisfy nor transcend, dyslexic Lily falls prey to the nefarious elements of a collapsing rural landscape, and slowly sinks into the voices of Rue and Camellia, a duo that acts as both guide and the bridge to dark family secrets. Once Lily discovers the haunting truth of her existence, the voices take over and propel her to seek revenge and transcendence.

Framed with a thriller overlay, Blackdirt edges into magical realism and allegory, where myth and reality merge, the edges blur, and Lily becomes a symbol of pagan transfiguration on the cusp of a contemporary fin-de-siècle. 

Okay, guys, I'm packing the car. What's your favorite road trip food? 

last words

Hey, writer friends, let's play a game! 

A few years ago some pals and I decided to do NaNoWriMo and encourage one another by emailing our "last paragraph of the day" each day. We thought it might be fun to create some additional deliverables beyond the daily word count.

No other rules, no other context, no "what you need to know," simply, the last paragraph you write before tucking yourself into bed.

Our investment in each others' writing blossomed, as did our enthusiasm for our own projects. There was that little "whip" you know? And the feeling that if we didn't submit our paragraphs, we were letting our readers down. Plus, there were some HILARIOUS paragraphs that had us aching for more, more, MORE!

And, hello, it ensured we all were writing every single day.

Do you want to play with me??

Here's how it'll work. Each day, for the next 2 weeks, (March 6 - March 20), post your last para in the comments section below.

As added incentive, everyone who participates and manages to post a paragraph EVERY day will automatically be entered in my lottery for a SIGNED COPY OF THE STUD BOOK BY MONICA DRAKE!!!!

To get us started, here's my last paragraph from yesterday:

There are no sections in party stores where you can purchase Welcome Home from Prison banners. No piñatas in the shape of a ball-and-chain. Forget ordering a cake with a nail file baked into it. The only even close-to-gag party favors for a newly minted ex-con are squirt guns. So I bought a dozen, and then drove to the Little York Package Store for the booze.

Ready, set, GO!!

UPDATE 3/20/13 THANKS FOR BEING PART OF LAST WORDS! I'M SO INTRIGUED BY THE STORIES HERE. I'M AN EPISODIST AT HEART. (IS THAT A WORD? SHOULD BE.) ANYWAY, I DECIDED TO DO A RANDOM # GENERATOR THING TO DRAW FOR THE MONICA BOOK. I FIGURED IF I PULLED MY OWN NUMBER, I'D JUST REDO IT. BUT I DIDN'T HAVE TO. THE RNG PULLED 38, COUNTING DOWN, THAT MEANS THAT DAVID MILLSTONE WON THE SIGNED MONICA DRAKE BOOK! DAVID, THE BOOK COMES OUT APRIL 12. I'LL GET YOUR COPY SIGNED LICKETY SPLIT THEREAFTER AND SEND IT OUT. THANKS AGAIN EVERYONE!

unkiss me e-chapbook experiment

love. love. love.

I have several clients who either want to self-pub or are self-pubbing, and it occurs to me that, although I have a distance-learners understanding of the vendors, options, players, I've never done it myself, so all my advice is abstract.

A few weeks ago I signed on as a member of the "launch team" for this sweet little book by one of the most revered experts in the agent/pub community. If you're scratching your head about how, whether, when, what or if in the self-pub hubbub, I highly recommend HOW DO I DECIDE, by Rachelle Gardner. It's a $3.99 ebook, and a terrific reference.

chock full of goodies!

Me? Pretty much my whole adult life is a DIY experiment. I've freelanced for over 20 years, dabble in a variety of $-producing writing, editing and teaching gigs, and here I am, at 10:15, in my bathrobe (I'm not recommending that, per se, just trying to offer up the flexibility factor that defines, and will continue to define, my life).

And yet.

I have an agent, and she's pedaling two one of my novels at the moment, and I truly, truly want to nail the elusive traditional book contract. That said, I see a lot of potential in utilizing the technology, the social media marketing options, and the entrepreneurial spirit I'm cursed blessed with to learn more about getting some of my work in front of readers and building my platform and readership.

So, dear readers, I conducted a little Valentine's Day season experiment over the weekend, and uploaded a skinny collection of my stories that (but for one) have been published in small presses over the years. I did it via Smashwords, and I'm still messing around with paragraph formatting, but I think with the latest upload I figured it out. (The gatekeepers are finicky, which is probably a good thing.) I'm selling the book for .99 on Amazon, but am going to give it away for Valentine's Day (coupon code VP23Q until Feb. 15th) if you buy it through Smashwords. So far I've "sold" five twelve 17 27 copies, but the day week is young! Picture me at a mall food court donning an apron and a tray o' chicken teriyaki samples--that's going to be me for the next few days.

The other funnish thing that went along with this, was creating a web page to platform my little e-book--which relied on finding an amusing image for the cover that was big enough for the the background on the web page. (Thank God for morguefile)!

I'm thinking of making a video/trailer, too, but that could be a stretch.

On balance, so far this feels a little like playing house with a new boyfriend--you know? Like, you're not married or even officially living together, but you spend a few weekends testing the waters -- working in the garden, making soup -- it's about possibility as much as it is about caution, this little "let's put a book together and offer it up." Fun without all the gravity and seriousness of true commitment. I'm not sure that's what it's supposed to feel like, though ...

What about you? Have you lost your e-book making virginity yet? What did you think of the experience?

plot remediation

for plot-tards like me

I’m reading this book, OUTLINING YOUR NOVEL: MAP YOUR WAY TO SUCCESS by K.M. Weiland. Have you seen it? I was attracted by the cover, the sketchy visual cartooniness of it, which mitigates the cheesy marketingish title. (Having spent years writing that sort of imperative call-to-action, I’m always leery of taking the bait).

According to Ms. Kindle, I’m 30% of the way through it, and I’m already drinking the Kool-Aid. Chapter Three, “Crafting Your Premise” has some salient advice on taking a What if … ? statement and concretizing it into a premise. Yeah, it’s basic stuff, but my mind’s such a messy place, I’m happy to step out of the classroom with the Special Ed teacher and have it all broken down for me, particularly in the connection to solidifying characters, conflict and plot.

You see, friends, I am a plot-tard. That part of a writer that bravely marches down the path of most-resistance? The conflict-seeking organ? Well, I was born without that. I’m all, can’t we just be friends? with my characters. I like hanging out with them, and who wants to hang out with troublemakers?

OYN suggests you ask questions specific to your premise and define four or five big moments that will occur in your plot. And then, you dream up at least two complications to those moments—complications that will make your characters uncomfortable. I have pantsed my way toward these ideas in the past, but only in revision, and only after fighting the urge to keep my characters problems private. I mean, I’m embarrassed for them! What if they get caught?

Last time around, I built my little three-panel plot board and sticky-noted illegible plot-points upon until it looked like a colorful skin disease. That helped me visualize the arcs and so forth, but I didn’t do the initial work on blueprinting the premise from the gate, and by the time I’d scribbled on those stickies, I was already invested in my “people,” so the premise and the elements of plot had to serve them. My forte, if I have one at all, is voice, and I like to fit story around voice. Going back to my SPED teacher, if she was any good, she’d put duct tape on my mouth until I came up with the complications to four or five big moments. It’s for my own good!

Now, I’m not saying that this remediation is appropriate for all writers. All you TAG students, you know who you are. Keep pantsing or plotting as per usual, I’m sure your natural aptitude for having darling protagonists open all the wrong doors will spring from your pen like so many frogs (do I sound bitter? Do I?), but if you stutter and drool at the mere suggestion of conflict, pick up (or one-touch) a copy of OYN.

Happy outlining!

Liars, cheaters and frauds. Oh my.

Hey everyone, I'm in Las Vegas! My very first trip here. Possibly my last!

The thing I like most about traveling are the weird dreams I get fitfully sleeping in a foreign bed. And nothing shakes up the dreamworld more than the ridiculous over-stim of Sin City.

Right now, I'm sure you're all like, Oh, God, is she going to detail her dream last night? I hate that! Well, so do I. But hear me out. This one deals with something many writers face, particularly writers in long-standing writers' workshops.

In my dream, I was helping another writer flesh out an idea. The writer was this anonymous guy who tried his hand at a tropey little RomCom and was dissatisfied with it. I took a look and got all inspired and found all these ways to deepen it, strengthen it, get it off the ground. He liked the enthusiasm behind my counsel, but was all, "Nah. I think I'll just throw it in the garbage. I sort of hate the idea, anyway."

At this point I was thoroughly invested in the book. In my dream I contemplated asking him if I could steal his idea and make it my RomCom. But, even in my dream, I decided that was completely unethical, so I watched the manuscript fly off a building (similar to the Flamingo Hotel) and into the great black netherworld of aborted WIPs. I was horribly sad when I awoke. As though someone had died.

So, I guess I have a question to you writer folk. Have you ever been tempted to adopt someone's abandoned WIP? Where's the line between inspiration and thievery? 

need some mind-fi

It's the new year and we all want to be healthy, am I right? Trot that ass to the gym? Banish the sweets? Do more of this and less of that?

Typically, I'm up for all sorts of rearranging come January. Last year, I timed the launch of my new website with the new year. In 2011, I went on that cleanse. Remember that? In 2010, I pledged, once again, "to write before my monkey mind has a foothold." Ha! And here I am in 2009 with my workshop besties, promising this and that.

Now, I'm not knocking the tradition of taking inventory and forming intentions to better navigate the path ahead. I'm for it big time. And yet. Life, you know, sort of happens. The unscripted disasters. The earthquakes, the shootings. Biology, destiny and gravity all meeting in secret, putting together a powerpoint on the ways in which life will conspire to fuck you up.

A word that gets bandied about this time of year is "balance." Yoga and cardio. Fun and work. Kale and steak. Coffee and cigarettes green tea. Balance. Yeah. I'm feeling that one. Lack of balance, actually. Despite my carefully-crafted work time management plan:

• 25% writing for paycheck
• 25% teaching/editing
• 25% marketing, email-checking, blogging, tweeting and generally fucking around on social media
• 25% work-in-progress writing (includes research)

...that ain't happening.

The "marketing, email-checking, blogging, tweeting and generally fucking around on social media" is probably, oh, uh, 78% of my office time. If you pull the "research" out of WIP and stick it where it rightly belongs, in the "fucking around" section, then we're probably up to 86%.

Look, at the start of 2009, Facebook was just beginning to get its foothold. Nobody was on Twitter yet. Blogs were ramping up, but not ubiquitous. Pinterest? Not even a gleam. Now, there are all these sparklers and messages and imperatives to join this, respond to that. And don't, by the way, make a mistake because your digital footprint is unerasable. Sometimes, I'll follow a trail that starts with a tweet, and before I know it, I'm up a dark alley that holds no clue to what I first set out to explore.

What I want for 2013 is engagement. Substance. Depth. I want more steak, but balanced with kale, 'cause, you know, kale is good for you. I want to immerse in my projects and not write myself into a Googleable corner. (Oh, I guess I'd better find out what the world record for the 1500 is, 'cause my character needs to beat it--wait, what sort of training shoes should she be wearing. Better text my stepson and ask him.) Like that. Sometimes, I'm multitasking from device to device, as in:
Yeah, need some serious Mind Fi. So. What's my plan? Do I have a plan? I'm not sure I do. Other than, I think this whole idea might start with reading more. Reading deeply. A novel, a memoir, an article. From beginning to end. With engagement. I long to get deep enough into a book that I forget to check my email, my texts, my Google Analytics. Do you know what I mean?