Tag: wfmad

 

 

Thanks to everyone who participated in the discussion about the NPR’s Top 100 YA List. The good thing about lists and awards is that they tend to provoke conversation – sometimes debate – and in that way the titles of many more books are shared. And that’s a good thing.

But I really hope NPR follows up with some good journalism about YA and children’s literature by people of color as part of their  attempt to report about and for a larger audience. Let’s keep bugging them about that, shall we?

Question 5: How do you begin a story when you have numerous ideas circling around in your brain?

Answer 5: It does not matter. JUST START. Write them all down, every single one. Scribble down the ideas on a sidewalk with chalk. Then take a photo before it rains. Or open a doc on your computer or grab a pen and a piece of paper. It does not matter. JUST START. The ideas don’t have to be in order. They do not have to be complete sentences. You’ll probably find that as you scribble, they will grow, mutate, and give birth to new ideas. This is good!!!

When you have captured all the ideas buzzing around in your brain, take a day or so away from them. Let them cool down. Come to my house and help me weed my gardens while you’re waiting. Then go back and read them. Circle the ones that make your heart beat faster. Those are the ideas that you should be pursuing right now.

Today’s Quote

“Never be afraid to sit awhile and think.” 
                                                                                  Lorraine Hansberry

Today’s Prompt: I want you to think about someone that you went to high school with. It should be someone you’d say “hi” to in the halls, but not the person with whom you shared your darkest secrets. Or any body parts.

Write about what that person might be like today. Construct a family or a lack of family. A job. A house, or maybe she’s living under a bridge. Start with your memories of that person (which will be shaded by how you felt about them), but let your imagination fill in the blanks.

Hint: Try to make your details as specific as possible. That she likes coffee is not specific enough. Precisely how does she take her coffee? Where does she buy it? Who does she drink it with? In what kind of cup or mug?

 

Scribble… scribble… scribble…

 

Question 3: Any plans to write the final book to Chains – Forged series?

Answer 3: Yes, yes, a thousand times yes! As soon as this YA is done, I will dive into the final book of the trilogy, called ASHES. I can’t wait.

Question 4: You’ve never seen or met your characters, I assume: what techniques do you use to construct dialogue? How do you translate REALNESS into what they say?

Answer 4: I hear dialog in my head. It is often where my stories start; I’ll be out running or driving and I’ll hear the main character talking. Even though dialog comes easily to me, I find that I revise it countless times. In early drafts I’m often unaware of the nuances of the relationships between characters. As the book comes together, I might realize that a short line of conversation in chapter three sets up the Enormous Plot Twist in chapter 37. Also, my early drafts of dialog always, always, always, contain kitty litter.

“Kitty litter?” you ask, with a polite, nervous smile.

Indeed. Kitty litter. And occasionally turds.

Kitty litter is the stupid fillers that like to gum up a sentence so that the important words get lost. People speak in short, often broken sentences. If your dialog reads like narrative instead of sounding like it could be spoken by living human beings, look for the kitty litter. Cut mercilessly to bring dialog to life.

The turds are clunky bits of backstory that stink up perfectly good dialog. “As you remember from our childhood days at the lake, Jethro, I never learned to swim.” I wind up with dialog turds all the time in early drafts, largely because I need to remind myself of backstory elements. You must go through and remove these horrors when you are revising!

Today’s Quote

“[I start with an emphasis on] character, definitely. And by character I mean a person drawn full-round, not a caricature. E. M. Forster refers to “flat” and “round” characters. I try to make all of mine round. It takes an extrovert like Dickens to make flat characters come alive. But story as such has been neglected by today’s introverted writers. Story and character should grow together; I think I’m lucky so far in that in practically everything I’ve tried to write these two elements have grown together. They must, to give an impression of life being lived, just because each man’s life is a story, if you’ll pardon the cliché.”

William Styron

 Today’s Prompt: Eavesdrop in a public place and jot down the bits of conversation that you hear around you. Cafeterias and food courts are good for this. The New York subway is an exceptionally rich spot. The point is not to steal something for your story, or to be arrested. It’s to get you to hear the rhythms of real speech and get a sense for what they look like on the page.

If you have a work in progress, ask a friend to read and record several of the dialog passages for you. Play back the recording and mark what sounds natural and what sounds clunky. Toss out both the turds and kitty litter and start fresh.

 

 

Question 2: Do you do any editing as you go or do you puke it all out (so to speak!) then do all your revision once the draft is done?

Answer 2: Yes. And no. It depends.

Questions like this are tricky and I hesitate to answer them. I suspect that underneath this question is anxiety about the questioner’s writing process. He could be stuck in the middle of a project. Or he has completed a book, but is unhappy with the quality of it. Or he thinks he has a great idea, but is feeling unsure how to build on it.

I know the feeling!

It doesn’t matter how many books I’ve written, I have never written the book I am working on right now. In my experience, each book wants/needs to be written in its own way, much as every child needs to be parented in the way that best suits her, not necessarily what worked for her siblings.

 I also understand the desire to ask other writers about their process. I am a voracious reader of auther biographies and particularly like seeing other people’s marked-up manuscripts, like the opening of Charles Dickens Great Expectations, below.

(Read more about a facsimile version of Great Expectations)

All that being said, my books generally start with an idea and the voice of a character in my head. I scribble a lot; dialog, scenes, backstory, and often several different directions a story could go. When I get frustrated, I go back and try to figure out which scenes have energy and which ones are useless. I cut out the crap, often restructure what’s left, and fill in where there are plot or character holes. During the cutting and filling I will frequently polish those key scenes until they are pretty much ready to be printed, while others scenes are still incredibly rough (often just a line or two.) Why? Once I understand the emotional state, desires, needs, and weaknesses of my characters in those scenes, I have a clearer sense of how to pace the rest of that story.

But your mileage may vary.

 

Today’s Quote 

“Well, there are only three possible endings—aren’t there?—to any story: revenge, tragedy or forgiveness. That’s it. All stories end like that.”

Jeanette Winterson

 

Today’s Prompt: Choose one of the following character scenarios.

    1. Girl meets Girl

    2. Girl meets Boy

    3. Boy meets Boy

    4. Boy meets Girl

Now choose a setting: basketball court, bus stop, library, summer camp, elevator.

Then choose a problem: blind date, someone cheated, death of beloved pet, joined the military, lost movie tickets, earthquake, stubbed toe.

Finally, take one of the three endings proposed by Jeanette Winterson in the quote above: revenge, tragedy or forgiveness.

With those building blocks, start writing and see how far you can go.

 

Scribble… scribble… scribble…

 

 

On Twitter and Facebook I’ve started to take writing-related questions that I’ll answer here. If you have one, feel free to leave it in the Comments section.

Question 1: Please explain your daily routine, how you revise, how you balance professional demands (deadlines etc) with creative/artistic satisfaction.

Answer: I am still looking for the answer!! I got serious about writing in 1992. I had my first book published in 1996. I quit my day job in 2002, and started supporting my family only with income from writing and speaking.

It’s been hard. Way harder than I thought it would be. But maybe that’s good, because it has helped me develop pretty decent work habits.

My daily routine over the years has ebbed and flowed depending on how many kids were living at home, how many parents we were taking care of, whether I was divorced or married, where I lived, and how many weeks/year I was on the road. Right now my routine is fairly simple. I wake up around 5am. Two days a week I spend the morning taking my father to the gym and breakfast, then doing chores and errands for him. The other mornings I try to get out to my writing cottage by 6am. Right now I am working very hard on my new YA, so I write as long as I can, usually until dinner time. I’m bummed because I haven’t had as much time as I’d like for running or gardening this summer, but I really want to get this finished ASAP.

The creative/artistic satisfaction is still there, even though the burden of producing can sometimes feel overwhelming. I wouldn’t be able to work this hard if it were not for the moments of magic, the times when I lost myself in the story and surfaced an hour or four later, without a clear memory of having typed the last ten pages. The satisfaction is enhanced when I get feedback from readers who connect with the story the same way I did when I was writing it.

The revision process? That’s an answer for another day!

Today’s Quote 

“Anybody who has survived his childhood has enough information about life to last him the rest of his days.” 
― Flannery O’Connor

 Today’s Prompt: Write about the time your mother really dressed up. Everything. All the details. All the secrets. All of the dreams and the sadness that you can dredge up.

 

Scribble… scribble… scribble…

 

 

As writers, we play “what if” all day long. “What if” drives every decision about characters and plot twists. It is probably the tool we use the most.

Sometimes the “what if” tool becomes the bewitched broom of the Sorcerer’s Apprentice and winds up terrifying and controlling us instead of the other way around. We turn the “what if” on the quality of our work too early … and make ourselves miserable. What if this actually sucks? What if I never get published? What if everyone secretly thinks I am wasting my time? What if I AM wasting my time?????

I hate it when my brain does that to me.

There is a time and place for taking a giant step backwards and cooling critiquing the quality of your work. When is that? ONE: when you are revising, and TWO: when you are trying to figure out if your story or novel or whatever is good enough to submit.

NOT when you are trying to get into the daily groove of writing, or when you are looking for the door that will open the magic of a story.

When Doubt and Desperation creep into your brain and try to cannibalize your imagination, pick up something handy, like a burning torch or a double-headed axe, and drive them back into the shadows where they belong.

Today’s Quote

“It is worth mentioning, for future reference, that the creative power which bubbles so pleasantly in beginning a new book quiets down after a time, and one goes on more steadily. Doubts creep in. Then one becomes resigned. Determination not to give in, and the sense of an impending shape keep one at it more than anything.”

Virginia Woolf

 

Today’s Prompt: You (or a character) are trapped in a looming disaster. You are given a few minutes to find and carry one thing out of your house. All the of the people and animals that live with you are safe. All of your documentation; insurance paperwork, medical records, etc. have also been accounted for.

What is the first thing you choose and why?

You get to the front door and stop. You put down your first choice and run back and get a second item. Why? What is it?

Be sure to describe both the physical details and the emotional significance of the item.

 

Scribble… scribble… scribble…